June 2008 Unblurred and other miscellany.

Not long after midday on Friday the temperature is going to hit 90 degrees Fahrenheit. I'm going to be making an effort to keep Baby E. and I cool. The heat is expected to linger throughout the day, and its projected staying power is daunting. Weather.com says that it's still going to be 84°F by 9PM at night. You might as well just plan on being outside. In fact there's a lot to do this weekend to keep you distracted. Surprisingly it looks like several East End neighborhoods have coordinated their promotional efforts. They are advertising Art Cubed- with art, music, and cultural events through Saturday night. It looks a bit patchwork, but it's a good start. It will be interesting to see if it gets any traction.

June Unblurred is tomorrow. The event is the 'official kick-off' for this ART3 thing, but whoever put together the website didn't think to link directly to the Unblurred site. Anyway... there should be enough there to keep you busy. The Pittsburgh Glass Center (5472 Penn) has an open house, and Attack Theater (4805 Penn) is continuing their Game Night and 7-minute Dance Series. Carolyn Wenning re-opens her space (4823 Penn) to show a series of photo portraits taken by kids (age 5-15) who live and hang out along the Penn Avenue Corridor. Meanwhile there will be music and 'utilitarian' art (including Frank Knezevich's collection of cigar box guitars) down at Jason Sauer's Most Wanted Gallery (5015 Penn).

The Sprout Fund is having an open house (5423 Penn) featuring "snacks, drinks and live entertainment". If you missed the proposal unveiling at Concept Gallery last month, make sure to stop by for a taste of murals-to-be. There should be one or two board members and some staff strolling around, and you can accost and pepper them with questions. I guarantee they'd love to have the opportunity to justify their tastes. And when you are done there, make sure to drop in on the MOXBOX Fine Art Party (5014 Penn). The Boxheart and Moxie Dada Galleries used to be across the street from each other on Liberty Avenue in Bloomfield. They may have separated physically but they still occasionally pal around together.

At the center of Unblurred, the staple galleries are all featuring new work by artists I'm mostly unfamiliar with. Modern Formations (4919 Penn) has "Basements, Attics, and Closets", with Mike Tamburo, Darren Myers and Ange Gagnon. Garfield Artworks (4931 Penn) has Laurie Trock, Laura Phillips and Kristen McLain. The International Children's Gallery (located at 5020 Penn, and most assuredly not recommended for kids) presents work by Jessica Lotman and Laura Koposko. Metamorphose (4922 Penn) is advertising a "Variety Show" chock full of stuff by twenty artists working in all types of mediums. And finally... my friend Joab Naylor is exhibiting his paintings at Imagebox (4933 Penn). He says they are "new works", but I'll believe it when I see it.

Now here's the thing- maybe none of this sounds appealing to you. Perhaps you are more interested in a smoothie and a hand-tooled leather handbag down at the Three Rivers Arts Festival. Yes, it opens tomorrow night as well. But (for god's sake) it'll still be there after this weekend. So avoid the crowds and do something cool instead. Zombo (4900 Hatfield Street in Lawrenceville) is showing the painted designs of Bill Cousins in a double shot- Friday under incandescence and Saturday under black light. The Waco Brothers (including Jon Langford and other folks from the Mekons) is at the Warhol with the Working Poor (it starts at 8PM- $12).

And Pittsburgh Filmmakers (477 Melwood Avenue on North Oakland) has their 3rd annual Media Tonic event. That costs $15, includes performances by Chuck Prophet and Paper Rad, and runs from 8 PM until midnight. But I definitely won't be going. They are having a special "V.I.P Reception" beforehand, and I wasn't invited. Snobs. No way I'm getting stuck with the leftovers.

Reflections On Local Art Chaos. Part 2.

Without a doubt I was more impressed with the quality of the art this weekend than I was last week. It started well with an impromptu stop at the Zombo Gallery for a look at Ian Green's new work. Michael and Julie (the gallery owners) are dedicated to presenting good 'lowbrow' art at affordable prices. Green is not known for selling cheap- he puts a tremendous amount of time and craftsmanship into everything he does, and he rightfully expects to be compensated appropriately for it. They were able to strike a very nice balance with a mix of tags ranging from 60 to several thousand dollars. There was truly something for everyone. Green's dystopian aesthetic was on full display, with Gandhi fighting asteroids, and baby-binky vitual reality implants. If you didn't get a chance to see it, be sure to make the closing on May 23rd.

Unblurred had a number of pleasant surprises for the discriminating viewer. Metamorphose continued a recent string of excellent shows with the paintings of Joana Ricou. In 2000 Ricou moved from Portugal to attend CMU. The 'Burgh is exceedingly lucky to have her. I first became aware of her work (which she describes as the intersection of biology and art) when she had a show with Stacy Gross at ModernFormations last March. She has been exhibiting lush depictions of the nude female form soaked in brash temptation. Her fiery color palette and sinewy brush-strokes collaborate in a body of work that is both reminiscent of the classical tradition and altogether fuckin' hot.

Across the street at ImageBox was another unexpected series of treasures. Brant Dykstra has been focusing on making rap music since his graduation from art school several years ago. He had actually taken an indefinite leave from painting until quite recently. His re-emergence caught more than a few eyes at his first solo last Friday. There is something vaguely 'day of the dead' about his imagery. His figures populate barren landscapes of muted color. They are stark, but exceptionally contemporary. He was present and accessible at his reception, and was gracious in representing his work. It seems that painting is in his blood. His older sibling Joren showed at the sadly-defunct Digging Pitt in February of 2007, as part of the excellent "Visual Grammar" exhibition of abstraction. I would be very surprised if we didn't see a lot more of both Dykstras in the future.

My post-Unblurred plans were stymied by the Brillo Box's decsion to hold an invitation-only party for the elite after the Carnegie International, and so I found myself with some other local artist schmucks down at Remedy. My sources tell me that things got a bit wild late night at the Brillo, despite the imposing velvet ropes guarding the esteemed entranceway. I guess those San Francisco graffiti guys can get a little out-of-hand. Any short-termed feelings of displacement melted away as I resumed my customary back-booth station on Saturday night. It was surprisingly slow- I guess everyone was at the fancy Piet Mondrian party at the Warhol.

The party for the Pittsburgh Center for the Arts Biennial was relatively sedate. But I have to give props to co-curators George Davis and Laura Domencic for their shared vision- the entire exhibition was well-planned and engaging. I particularly enjoyed an installation by Adam Welch- a full library of 'books' painted powder blue, periodically jarred from the shelves by a mysteriously ambulatory power-drill vibration. Also outstanding were a series of ornate paper cutouts of mayhem by Bovey Lee, a battlefield landscape featuring a Sasquatch Army by personal favorite Jen Cooney, and an otherworldly topographical installation at Pittsburgh Filmmakers by Keith Tassick. There were elements of fancy and fantasy to a lot of the pieces that added a factor of delight notably missing from most group efforts. I was hard-pressed to find anything disappointing at the show, and will refrain from identifying the exceptions. You have to see it for yourself.

"We Will Dance Again" @ Melwood Screening Room.

The day of my reception has finally arrived. It's been a waiting game ever since I delivered the work to the gallery. Since then I've found out that several people showed up last Friday, expecting the reception to be on the actual day of the opening. It's a bit of a shame they missed out on the free refreshments, but I was gratified to learn that they cared enough to take a look. As far as tonight is concerned, I am experiencing very little anxiety. My last solo exhibit was recent enough to take the edge off of this one. So hopefully I'll arrive early, drink a couple of beers with some friends, and relax.

I figured I'd take this chance to provide a little context about the show. Here is the blog post I wrote last year after first visit to Asbury Park. It's hard to believe that almost an entire year has passed since that visit. I wanted to travel to this destination for several years before I actually got my act together. The sights I saw are still fresh in my mind, no doubt aided by the visual record I have put together. It's notable how few people in Western PA have any idea about what Asbury Park once was. For that reason, I thought that I might provide a basic outline of its storied history.

The land that Asbury Park sits upon was purchased by James A. Bradley in 1871. He named the community after Francis Asbury, the founder of Methodism in the US. Bradley had traveled extensively throughout Europe, and used his experiences as a foundation in the planning and layout of Asbury Park. Right from the very beginning, it had its own unique character among northeastern beachfront towns. It was actually the first seaside resort in America to benefit from a sanitary sewer system. It was an early adopter of trolleys and electric power, and was equipped with an operahouse and several fine hotels. By the last decade of the Nineteenth Century, a boardwalk and amusement pier with rides had been built.

Despite a horrible fire in 1917, Asbury Park continued to grow in size and prosper. The year 1923 brought a building boom, and several structures depicted in my show (including the Casino and Convention Hall) were constructed during that time period. Cookman Avenue, which has recently been rejuvenated through the latest round of development, was a bustling business district. But in the wake of the post WW-II years, social changes brought about an almost imperceptible transition in Asbury Park. With the completion of the Garden State Parkway, less and less vacationers used trains to reach their destinations, and the railroads that brought tourists to Asbury were becoming progressively empty. At the same time the construction of suburban shopping malls took a big bite out of the commercial activity on Cookman Avenue. Office parks on its periphery drew professionals away from downtown residences, and the opening of Great Adventure (a huge amusement park) presented overwhelming competition for leisure dollars. On July 4th, 1970 civic unrest turned into riots, and the declining fate of Asbury Park was sealed.

Although several rock clubs (like the Stone Pony, the Fast Lane, and Asbury Lanes) have played host to big name musical acts throughout the years, Asbury Park has been considered a seedy and slightly dangerous beach town for the past few decades. Bruce Springsteen immortalized this period with his seminal album Greetings From Asbury Park. It's been known as a mecca for populations as diverse as bikers, gays, criminals, drug addicts, and artists. Now as the last remains of Asbury Park's past crumble into ruins, a new future is dawning. The attention of investors has been naturally drawn to this underdeveloped beach-town only about an hour's ride from NYC. The modern explorer is met with the evidence of large-scale construction projects that will soon result in resorts of massive scale.

I was compelled to photograph Asbury Park on the cusp of what I perceive to be another lamentable example of the homogenization of the American landscape. Soon all evidence of a once unique and authentic city along the Atlantic shore will be wiped away forever. Like everything else of specific interest on the East Coast, the future of Asbury no doubt will be characterized by the suburbanization of our urban environments. Gentrification, driven through the commercial imperative, is bound to make Asbury Park look as blandly uninspired as the US itself. The structures I saw on my trip, despite their state of rapid deterioration, encapsulate a stark grandeur that seems to be forever receding into our past.

The Show is Hung... the Wait Continues.

My show at Pittsburgh Filmmakers is finally up on the wall. This is a bit of a strange situation for me, as I haven't even been in to look at the finished product. Of course it is a bit unconventional to have the artwork exposed to public view for a full week before the opening reception. It makes my promotional hot card a bit misleading. Originally the opening was scheduled for tonight, but it had to be pushed back by a week because of scheduling conflicts. Now it's going to happen a week from today, on "First Friday". I'll admit to having mixed feelings about that.

I've made my frustration about Pittsburgh event-planning pretty well-known on this blog. Weeks will go by without anything much of interest, and then there will be a flood of options packed into a single night. This weekend, for example, there is very little happening in the 'Burgh. Earlier this evening I attended the single thing I had identified as wanting to see- a multi-artist opening curated by Thad Kellstadt, downtown at the Space Gallery. Actually, considering the lack of entertainment opportunities, this event was sparsely attended. It was good to see Thad on the eve of his big move to Chicago. I'm sure he'll do well there. But while he's settling in there next weekend, there will be plenty of things to see here in Pittsburgh.

I anticipate that many of the folks who would ordinarily show up at my opening will be occupied with Unblurred on Penn. Hell... if I wasn't unveiling my own work that night, I'd be right there with them. Some of my friends have tried to mollify me by saying that the art walks in the summer are weak, but that wouldn't have kept me at home otherwise. The only thing that could work in my benefit is that everyone will already be out, and perhaps they'll jump around a bit. Either way I'm sure I'll enjoy next Friday with whomever shows up. If you've never been to an opening at the Melwood Screening Room, you'll be pleased to discover how great the spreads are at their receptions. If no one else comes, that just means more beer and food for me. I'll be the one laying in my own vomit in the lobby.

Actually the entire experience with Filmmakers has been wonderful so far. It certainly didn't hurt that I contracted the very competent Paul Roden and Valerie Lueth of Tugboat Printing (Lawrenceville) to frame my work this time around. They did an excellent job at an extremely affordable price. Between them and Panza Frame and Gallery, Pittsburgh artists and collectors are spoiled. You can't go wrong with either of these excellent shops.

George Davis and the entire crew at Filmmakers have also made the preparation for this show extremely pleasant. Despite the fact that they usually don't print cards for the outer gallery, they were tremendously accommodating in granting my request for them. They made them in-house and (thanks, Gern) they came out looking great. When I delivered the work on Wednesday morning, George and I organized the work through a smooth collaborative process. We laid the photos along the walls, and agreed on a meaningful presentation. I couldn't believe how smooth a process it was. After we were done with the layout, I was able to leave immediately. I felt completely indulged, knowing that competent professionals would hang and light the work. An artist could get used to showing at the institutional level.

While the inner gallery is considered a more prestigious space to show, the lobby of the Melwood Screening Room has some extraordinary benefits. It is impossible to go to see one of the many fine quality foreign or independent films without being exposed to the work in the outer gallery. Unlike a private gallery, this theater attracts a whole population of folks who otherwise wouldn't make a point of looking at art. While there is really no sales orientation in the facility, showing at Pittsburgh Filmmakers is a great way to broaden your appeal. I'm definitely looking forward to the reception, and I hope you will join me (if at all possible).


The opening reception for We Will Dance Again runs from 7-9PM on Friday, August 3rd. The gallery/screening room is located at 477 Melwood Avenue in the Oakland neighborhood of Pittsburgh. Contact Pittsburgh Filmmakers for further information at 412-681-5449. My work will be available for viewing through September 2, 2007.

Jacob Young @ Film Kitchen on Tuesday, June 12th.

I know that, during the run of this blog, I've made only scant mention of West Virginian filmmaker Jacob Young. That's a bit of an egregious oversight. Young is one of the most compelling documentarians working in the United States. He's focused his efforts on presenting people and stories from his home state. Of course when you're born in the Mountaineer State (the most beautiful and enigmatic place in the Eastern United States), there is plenty of ground to cover.

Some of Young's early subjects have included Appalachian junkyard owners, the rich industrialist who plagues the land with those goddamned three crosses, the warden from the Moundsville Penitentiary, white supremacist author Dr. William Pierce (author of The Turner Diaries - a book found on Timothy McVeigh after the Oklahoma City bombing), and the swami-turned-felon of the North American headquarters of the Hare Krishnas. Young has received some well-deserved praise for his West Virginia Public TV-produced Different Drummer series, which (of course) documented the antics of a string of eccentric WV characters. One episode is about a senior citizen hussy, who dolls herself up and sings show tunes in the dives of the hollers, performing as "Amazing Dolores".

But Young has received his greatest notoriety with The Dancing Outlaw. This was a documentary about the "Last Mountain Dancer", Jesse White. This Boone County native has appropriated at least two alter egos- Elvis (The King) and Satan himself (nicknamed "Jesco"). Young presented White, his family, and his girlfriend in all their backwoods splendor. Jesco assumes center stage as he relates stories about his lamentably departed father and siblings, and his own gas-huffing, thieving, and alcohol-sodden childhood. But when he's not raising hell White plies his trade in a mix of clog and tap dancing, accompanied by bluegrass music. This was his own father's stock-in-trade, and Jesse has aspired to keep the dying art alive.

Having received his fifteen minutes of fame, Jesco later resumed his place in the spotlight when Roseanne Barr became a fan of The Dancing Outlaw. He was actually invited to Hollywood to appear on her show, and Young was along for the ride to document his adventure. All did not go as expected. Barr had Jesco removed from the set when she noticed a tattoo of a swastika on his arm. White later had the offending symbol covered up when he realized its significance. He explains that it was merely a youthful indiscretion.

It would be a more just world if Jacob Young had received as much acclaim and name recognition as Jesco. But his misfortune pays off for us tomorrow. We can actually meet him in person at Pitsburgh Filmmakers in Oakland (Melwood Street). He'll be at Film Kitchen, presenting his newest documentary- Urim and Thummim*. It's about a man named Todd Walker who bought an object at a Nashville Goodwill for 69 cents. Apparently he was pleased to discover that the thing proved to be a visual gateway to both Heaven and Hell. But evidently others were skeptical about his claims. Young followed Walker on a "witness tour" aimed at convincing the locals that the relic was a genuine and miraculous holy object.

If you are so inclined, you can chat with Jacob Young at the reception (7PM) that precedes the screening. I've spoken with him on two previous occasions, and I've found him to be both accessible and generous with his thoughts. But if you are the shy sort, stick around for the Q & A session after the film. It's sure to be illuminating.


* - Find out more about this obscure-sounding title here.