AMAM
Exhibt: Worldly, Eclectic, Contemporary
by Scott Weaver
The
Ellen Johnson Gallery opened Sept. 25 with an eclectic exhibition
of works by contemporary artists from around the world aquired by
the Allen Memorial Art Museum over the past four and a half years.
Curated by John G. W. Cowles Director Sharon F. Patton, the exhibit
will be on display only through the end of the semester, a relatively
short time for an exhibit of this size. Patton sees this exhibit
as a chance to inform audiences of the type of contemporary works
added to the collection as it may be years before they appear on
display again. This exhibition marks the first time many of the
works have been on display to the general public. In 1997, the Allen
received a series of generous gifts from Cristina Delgado and Stephen
F. Olsen, five of which are now for the first time being included
in a major exhibition at the Allen.
The show includes a number of unique works from a variety of different
artists working in a wide range of mediums. The artists themselves
range from well-established artists, like Chuck Close, Jim Dine,
Gene Davis, Claes Oldenburg and Romare Bearden to mid-career artists
such as Rimer Cardillo and even to emerging artists like Rashid
Johnson and Robert Melee. As the media range from paint on canvas
to found-object sculpture, the visitor is presented with a broad
view of contemporary art.
Over the past few years, it has been one of the Allens important
goals to broaden the accepted definition of contemporary art by
increasing the representation of artists of different cultures and
ethnicities. Indeed, this exhibit represents what one could see
as a number of different trends in the art world. Works such as
those from Jan Schoonhoven, whose works focus on the form of paper
and meticulous organization lines, find expression in a distinct
minimalist aesthetic.
A number of works contain narratives, both personal and political.
Cardillos Untitled (1996), from the Vanishing
Tapestries series, is a series of silk-screened images of extinct
species on canvas. The piece comments the destruction of Uruguayan
life and culture. Similarly, works such as Rashid Johnsons
photographs Jonathan and Jonathan with Hands
(1998-99) explore the human condition in an urban environment. Also,
in an effort to dispel the notion that the epoch of Asian art ended
in the 19th century, the exhibit includes three works from contemporary
artists of China and Japan.
Whats
interesting and surprising about this show is the apparent lack
of continuity among the works. While Patton wasnt trying to
create a show with a theme, an exhibition of recent acquisitions
presents a number of curatorial difficulties. Patton recognizes
that it can be frustrating for the viewer because it is hard to
classify contemporary art. The variety of works in the exhibition,
dating between 1964 and 2000, make it clear that many of these artists
were working from very different contexts. This unstructured setting
can make the individual works of art rather unapproachable, but
Patton contends that she made a conscious decision to pull back
the authoritative tone of the show. She believes that the threads
of continuity in this exhibition exist in the associations the viewer
already has with contemporary art.
Recent
Acquisitions in Contemporary Art will be on display until January
13, 2002.
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