Recent Work by Whitfield Lovell and Visions From the South BY ERIC D. BOOKHARDT Excerpt: Whitfield Lovell collects old photographs of African-Americans, often decked out in their best suits and posed formally before the camera. Displaying fine draftsmanship, he recreates their images on wooden planks and then incorporates antique symbolic objects in his eloquent sculptural…
Whitfield Lovell collects old photographs of African-Americans, often decked out in their best suits and posed formally before the camera. Displaying fine draftsmanship, he recreates their images on wooden planks and then incorporates antique symbolic objects in his eloquent sculptural assemblages. Deuce is emblematic: A black couple from a century ago posed with a Victorian chair. Extending from the front of the sepia wooden planks is a tabletop covered in antique lace and vintage silverware. The vintage objects and eerily photographic images contribute to a resonant sense of “presence” that allows us entry into a time and place different from our own, yet so familiar that we can readily relate.
Shifting gears, in James Drake’s grand baroque theater drawing, Dancing in the Louvre, the elegantly simulated moldings mediate the viewer’s imaginative transgression of the proscenium plane. The gown that overflows into the foreground space, the dynamic diagonal and counterpoint of the dancers’ elegantly dressed forms, and the two point perspective defined by the pedestal at the left and the voyeur couple on the right serves to establish a continuum from the viewer’s real world space through the fore,
middle, and implied distance.
by Andrew Page for UrbanGlass GLASS Quarterly Hot Sheet: What are you working on?Gene Koss: I’m currently working on a monumental sculpture 13-by-10-by-30 feet titled Line Fence. It’s inspired by the feeling of a particular site in the Wisconsin landscape. I’m in the metal fabrication stage now working with the fabrication shop. I’ve already spent two years in…
The photo-based work of Ted Kincaid may itself be an illustration. For one thing, his medium, perhaps more than any other, proves the disparity between what we see and what we think we see.
Last year at the first Dallas Art Fair, David Bates was everywhere, in person and in paint, in numerous galleries. The second Dallas Art Fair opens Friday and, this time, Bates may again be the most overexposed artist – or he may be more discreetly low-profile. “After last year, it’d be OK to be the invisible man,” he says. “I was proud, but … “
Nineteen years ago, David Halliday moved to New Orleans to be a chef in a food-obsessed city; now he’s a photographer. As it turns out, his path between the kitchen and the dark room is deliciously short.
Katrina On Film And Canvas David Bates Since 1982: From Everyday To Epic By Eric Swanson, AUSTIN DAZE BOOKING David Bates, a Texan by birth and still a Texan by choice, makes art. In a way, Bates’ art is like the city of New Orleans: both can mean different things to different people. You may…
Those who love to be out in nature won’t mind going inside the Austin Museum of Art to see David Bates Since 1982: From the Everyday to the Epic. In large paintings such as The Rookery, we’re encompassed by the cacophony of the bird world. The swampy landscape is devoid of people, glorious and dangerous: A snake eyes a bird in the marshes, the trail of alligators swimming registers.
Art: Creator of highly manipulated photographs of clouds and trees that he hangs in suites. He presents the individual photographs in interdependent grids that tend to generate sales of multiple images to single collectors.