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Still
Life Now
Nine Contemporary Artists
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Jane Ellefson Carl Holzman
Steven Jones Tamara Peterson
Sangita
Phadke Christopher Ryan Lowell Tolstedt
Dennis Wojtkiewicz Pamela Workman
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November 4 -
December 17
Opening Reception
November 4,
6:30 - 8:30 pm
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Nine Contemporary Artists
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Pewter Pitcher with
Oranges, 2007.
Oil on linen, 14.75" x
14.75".
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Jane Ellefson
College of Lake County
Grayslake, Illinois
I have always been drawn
to still life. I enjoy staging objects and presenting them artistically so
that they can be appreciated for more than just what they are. Each
component is crafted individually, but must be integrated into the whole.
The work in this exhibition focuses on balance and bringing things near. |
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Still Life with New
Potatoes, 2011
Oil on canvas 18" x
18".
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Carl Holzman
Chicago, Illinois
I have used studio
light to create dramatic effects of shadow and reflection unavailable to me
without it. Studio lighting can also heighten the contrast between
foreground and background to dramatic effect, bringing something of the
Renaissance atmosphere to even the most contemporary of subjects. This
effect is dominant in many, but not all, of the paintings in this series.
One of the challenges for
me has been to compose the elements of the paintings without cliché or
gimmickry. One sometimes labors mightily to avoid the appearance of
laboriousness. A successful still-life arrangement, I think, should combine
elements of the natural and the artificial in fresh ways consistent with the
mood being communicated.
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Books and Strings II,
2009.
Oil & tempera on panel, 36” x 24”.
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Steven T. Jones
College of Lake County
Grayslake, Illinois
Jones selects
old, well-worn books that trace the many hands that have leafed through them
and have shaped their outward character. The books’ spines may be bent or
frayed and the typography may be faded; however, they do retain their
inner “potency of life.”
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BANG, 2004.
Acrylic on canvas, 40” x 40”.
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Tamara Peterson
Columbus College of Art
and Design
Columbus, Ohio
The intentional compression of space,
exaggeration of color and detailed stylization of forms unite to reflect my
keen attraction to pure design. While the iconographic choices – whether
cryptic or clear – reference personal observations of current events and
popular culture in relation to the elegant complexity of the natural world
we live in. |
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Mr. Aubergine.
Pastel, 11"
x 14".
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Sangita Phadke, P. S. A.
Colts Neck, New Jersey
My series of paintings pay tribute to the
land, the people who harvest our food, and of course the delicious and
beautiful products of their care and hard work. Every painting is an
experience in taste, flavor, fragrance, color, and a sense of place.
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Olive
Branch, 2006.
Oil
on linen, 16" x 16".
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Christopher Ryan
Chair and Associate
Professor of Art
Hiram College
Informed by his
experiences living in Italy, Professor Ryan’s artwork reflects a fascination
with the ancient and medieval mosaic and inlaid stone floors found
throughout Italy. His paintings treat such floors as a kind of stage for
human actions, where the debris and residue of contemporary life is
juxtaposed with the narratives found in the ancient designs, patterns, and
images, but also as metaphors for that which is trod upon, passed over, or
disregarded. This combination of forms both old and new, sacred and profane,
and public and personal, establishes new dialogues and unexpected
relationships.
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Cherry, Apricot and Strawberry
with Reflections,
2007.
Colored pencil,
7" x 11 1/4".
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Lowell Tolstedt
Professor of Art Emeritus
Columbus College of Art
and Design
Columbus, Ohio
Tolstedt is known for
his exquisite drawings done in silverpoint, gold point, and colored pencil.
His works range from intimate to mural in scale. His subjects, chosen from
everyday life and experience, are investigated with a sensitive and
penetrating intellect. His drawings are often iconic presentations,
simultaneously recalling the American tradition of still-life painting and
engaging the viewer with contemporary questions about the fundamental
relationship between reality, perception, abstraction, and creation.
Keny Galleries
Columbus, Ohio
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Horn Melon Series #2,
2011.
Oil on
canvas, 38" x 60".
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Dennis Wojtkiewicz
Professor of Painting
Bowling Green State
University
Known for highly-rendered drawings and
paintings with the emotive quality of light as a primary concern. Recent
paintings are still-life oriented with subtle use of glazing techniques to
inform the image. The underlying theme manifests itself as a contemporary
approach to still life.
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Flash Gordon,
2003.
Oil on canvas, 44" x
55".
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Pamela Workman
New York, New York
Pocket-sized quotidian
-- glass marbles, postage stamps, bits of fabric, comic books, pencil stubs,
written phrases, and reflective surfaces -- offer a rich and colorful
vocabulary for my work. I am endlessly interested in responding to
observed chromatic relationships.
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Opening Reception
A Photo Album by Steve
Katz
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Curator's Statement
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In the early 1990’s,
Norman Bryson wrote
Looking at the Overlooked: Four Essays on Still Life Painting,
a text which attempts to remedy the marginalization of
still life in formal art history. This exhibit,
Still Life Now,
should also aid in the process of focusing on a sometimes overlooked genre.
Most ordinary viewers
actually like still life—what’s not to like? Many home owners are
comfortable with gentle paintings of apples or fuzzy watercolors of
sunflowers on their walls.
But
Still Life Now
attempts to stretch the boundaries a bit by including works in a variety of
media, with some unusual subjects, or with original stylistic
variations—whether the crowded plenitude of Tamara Peterson’s allusive still
lifes or the monumental and sometimes eerie fruit of Dennis Wojtkiewicz. In
some cases, this exhibit hopes to evoke this response: “Well then, what is
still life?” and to encourage viewers to interrogate the use of such terms
as “still life” or “natura morta.”
While ArtSpace/Lima
has a mission to showcase important area artists, it also embraces the
necessity of introducing the works of artists from outside our community.
Thus, Still Life Now
includes artists from a wider area—including New York and Illinois as well
as Columbus, Hiram, and Bowling Green. They all help us to see that
contemporary still life is not a “simple” art form by any means and that
when we look carefully, it repays our attention.
Mary Ann Sullivan
Professor of Art
History Emerita
Bluffton University
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Gallery Guide
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For a
printable copy of the Gallery Guide in pdf format,
please
click
Gallery Guide.pdf |
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From The Lima News
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Notes from our Guest Book
(The
exclamation points are from the originals!)
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Unique.
Totally incredible!
Great
show!
My favorite show of
any ArtSpace has done!
Amazing!
C'est magnifique!
Excelente!
Strong
Works.
Radiant!
I cannot think of another
show its equal.
Phenomenal!
I'm in awe!
Beautiful
work!
Wonderful show!
Oh yes!
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