There was a moment of sadness last September when the first In Real Life was taken down. It had brought a moment of excitement to the dog days of August, and a feeling of justifiable pride not only to the participants, but also to those who work with them. We were part of a creative community, and the feeling of group accomplishment far outweighed our own individual achievements. We had done good, but like all good things it had to come to an end.
Now August has returned, and we're back! The second GSD Staff Art show is here--a sequel of sorts-- bigger, bolder, better than the original. Those of us who survived the original adventure are joined by a new cast of artistes and craftspersons. Together we will recapture the nostalgia of the Summer of '93 (although nostalgia, like fine wine, should be allowed to ferment a bit longer) and forge ahead to new horizons of artistic excellence (a cup of dry metaphors, please--shaken but not stirred).
And so, with more further ado than is really necessary, let me introduce our cast:
Submitted for your consideration, two paintings, in oil and charcoal on gray cardboard, by one Minerva Smith, Assistant to the Registrar at a famous New England School of Design. A small charcoal and oil portrait of a young daughter, Jeanette, with wide eyes and upturned hair, resting her head on one elbow in a sultry (in a nice way) and thoughtful manner . In contrast is a large oil painting with green and brown squares and circles, framed by jagged, jig-saw puzzle shapes, which resemble playful dragons filled with green spaghetti. Yes, it's the last signpost up ahead next stop "The Abstract Zone." (Sorry, Rod.)
In contrast, Doug Cogger documents the real world of Gund Hall in his photo-essay "Faces, Spaces & Things". Photos of familiar Design School personalities alternate with imaginative shots of the Gund Hall landscape, from many angles, and photos of architectural models in color and black and white, floating surreally against black or blue backgrounds.
Sarah Travis has developed a very interesting photographic technique involving old negatives, feathers, special paper & strange chemical emulsions which are hand painted on the paper and then exposed. It's all very technical, and I only pretended to understand her explanation of how it's done, but the effect is quite pleasing, with a gentle, dreamlike quality that evoked memories of childhood summers.
Scott Kehoe has traveled all over and taken the kind of photos that never make it onto postcards. Bright green cannon at West Point, flowers next to a statue commemorating man's relations with the lobster, a purple pond, a stone ring in the Orkneys, a Scottish road sign (although I have seen postcards of Welsh road signs), and silver trailers in Rhode Island, all taken with an eye for brilliant color, contrast, and juxtaposition of the ordinary and the exotic.
Desiree Goodwin has created a variety of earrings from multicolored beads and other tiny ornaments. They hang from wire bookends and a plastic cup like miniature chinese lanterns, tiny tiffany lamps or little wind chimes (we're talking small here).
Richard Delozier's poetry can best be described as emotional sushi--raw, highly spiced, and not for all tastes. He has contributed nine poems from a work in progress BOA: Book of AIDS. Sometimes grim, sometimes funny, often intensely intimate, and always uncompromisingly honest. I have always had a healthy respect for complete honesty, which is why I steer well clear of it in my own work.
At the other end of the poetry scale is Kate Kibbee's "Looking for the Moon" (sorry, my mistake, brochure says it's prose). A prose choodren's story in rhymed couplets with illustration. For those of us who have choodren, or who remain choodren despite the ravages of middle age, this is a real treat. For those with little patience for choodish things, try reading it out loud after a few glasses of wine, at least your friends will be amused. Also included is "Fenway" a poem in playful typography on translucent paper superimposed on a photo of Fenway Park.
Two brightly colored pastels of office chairs brighten the dark corner outside Piper Auditorium. These are the work of Jil Lesko. Drawn from unusual angles in brilliant greens, oranges and purples that office furniture frequently lacks, she achieves an abstract effect without the loss of the subject.
Paula Ehler has contributed two different sets of collages. One set of four pieces consists of cardboard with brightly colored tropical bird feathers. These are both interesting to look at and to touch (but please don't). The second group is impressions of the planets done with layers of colored paper, with the top piece cut to show layers of topography or cloud layers underneath.
Mark Rosen has created two color photography of beads of water, on glass surfaces (or ice?), shot under purple and orange light. This may not be an accurate description of the technique, but Mark keeps the secrets to himself. The effect is quite soothing, although looking at it I started to feel thirsty. Maybe this is how beer commercials work. To keep the record straight, Mark says that my description of how he did it is not even close.
Laura Snowden made two children's sweaters. One is white (or light gray) with a row of blue hearts and tiny hearts scattered all over. The second is blue with red hearts and red M&M's for buttons.
Mimi Truslow's medium of choice is water color, and she has contributed two excellent examples. "Pending Storm" has purple storm clouds looming at a distance over hilly terrain--ominous buy not threatening, the storm is still far away, and sunlight is shining through from behind the clouds. "Water's Edge" has blue and purple plant life against a liquid background, abstract with just a hint of detail.
Dogs love to get their pictures taken. Or maybe they're just waiting patiently for you to throw the camera as far as you can so they can bring it back to you. Christine LaFleur has contributed two black and white photos of "Birdy" and "Ariel" and their owner.
Now a sequel within a sequel TenBroeck Patterson's "Curious Embellishments" was a personal favorite from last year's show. This year styrofoam balls have replaced glass bulbs. The styrofoam is covered in fine tissue, crocheted, and covered in thousands of beads. These are arranged in the exhibit case like a turn of the century balloon race (didn't I say that last year?) or easter eggs in sequined sweaters (I didn't say that last year).
Randa Tukan has composed an interesting video montage "Through My Mind". Dreamy peaceful landscapes (accompanied by John Lennon's "Imagine"), are juxtaposed with a war torn cityscape, images of invading soldiers, the cries of the survivors. It is disturbing, but the ultimate message is of hope, that we can imagine an end to the suffering.
Gail Gustafson's "Choices" is a poem about the dilemmas of summer. So many things to do, but it's really too nice a day to do anything.
Pamela Davies has contributed a wedding invitation & business card she has designed, in greens and browns on soft, rough edged paper. While professionally done it has a cordial, informality and homemade charm about it.
Kelly Donahue has made a bright blue baby blanket (if you have wine and time left after reading "Looking at the Moon" try saying that several times fast). Knitted from cotton (cotton wool, no that's the stuff you get free with aspirin). It looks colorful and very warm.
Paul Shoemaker has taken a photograph of a bridge over a bicycle path in upstate New York, and created a series of computer enhanced images. Kind of like pedaling through a wormhole, the trees and sky swirl around the path like a green tunnel.
Even though I'm composing this review at the last possible moment (there is something positively inspiring about an expiring deadline), there are still a few exhibits which haven't hit the wall as yet:
John Driscoll statues were the centerpiece of last year's show. This year he has three items "Permanence and Change" in Tennessee pink marble and black granite, "Stick Dancer" in Tennessee pink marble, and "Consciousness Totem" in marble and wood.
Wade Hokoda's "Tucker" is a digital collage, still at Typeotech and unavailable for preview.
Kathy Sterling is planning to contribute, although I have no information yet about her work.
Last year I was not listed as a contributor. This was mainly because the concept for my piece came after everyone else's work was already on the wall, and the brochure was already printed. This year the cat's out of the bag, the haggis is in the fire for sure, my cover has been blown, and I'm a fully recognized co-conspirator. (There you go doing that metaphor thing again.) My last refuge of objectivity has evaporated and I have to represent myself as a reviewer, not a critic. We can always get Mr. Campbell from the Globe to come down and say some unkind words if necessary. This year I'm an exhibitor (exhibitionist?) just like those above me, and while my art may not be as clever or beautiful or heavy or provocative or suitable for young choodren as my fellow artistes, I can console myself in the sure and certain knowledge that it is totally recyclable.
Thanks for coming to the show and see you again next year!