body

Painting

Vignette: Joshua Jenkins

"Searching For Enlightenment" by Joshua Jenkins, 43 x 64 x 1 in, acrylic and mixed media on canvas (2017)

"Searching For Enlightenment" by Joshua Jenkins, 43 x 64 x 1 in, acrylic and mixed media on canvas (2017)


“Art to me is the soul’s communication - a response to experience and life.” — Joshua Jenkins


"Summertime Contemplation" by Joshua Jenkins, 24 x 18 x 1 in, acrylic and mixed media on canvas (2017)

"Summertime Contemplation" by Joshua Jenkins, 24 x 18 x 1 in, acrylic and mixed media on canvas (2017)

Like any good Expressionist, Joshua Jenkins builds an atmosphere divorced from recognizable reality, and then populates it with figures of solidity that are often indistinct, occupying space as a mass but lacking the specifics of individual character. There is some detail in the faces he attaches to these figures, often on necks that protrude forward, so that the features often give the impression of a mask. Oftentimes the only insight provide for these figures are what they are holding: a stringed instrument is a common item, or a particular hat might give us some clue about the personality. Jenkins is more concerned with the composition and action of the paint, using setting and placement to suggest narrative.

“Some of the works in the show, like 'Summertime Contemplation' & 'Searching for Enlightenment' are an obvious transition from the body of work from my show Somewhere In Between Anxiety & Serenity,” states Jenkins. “There a lot of the paintings had more muted colors and calmer lines. A lot of these newer pieces harken back to my earlier work, the bolder style with warmer colors that I’m known for.”

"Summer Heat (detail)" by Joshua Jenkins

"Summer Heat (detail)" by Joshua Jenkins

"Summer Nights" by Joshua Jenkins, 48 x 30 x 1.5 in, acrylic and mixed media on canvas (2017)

"Summer Nights" by Joshua Jenkins, 48 x 30 x 1.5 in, acrylic and mixed media on canvas (2017)

For many artists, the theme of summer would conjure up images of sunbaked landscapes, perhaps a beach-lined coastline - open areas of escape. But in “Summer Heat”, Jenkins captures the claustrophobic swelter of a crowded urban environment. This artist’s summer also include a domestic scene of four figures in a modern day family in “Summer Nights”, and the detail of the faces is noticeably more developed, with hair and facial details that suggest an element of autobiography in the scene. As most of the paintings show figures of some universality, here we get the sense that Jenkins knows these people, that this is his summer, and not necessarily anyone else’s.

Jenkins’ solo show, Summertime, will be opening at Lenihan Sotheby’s International Realty, 3803 Brownsboro Road, August 10 with an Artist’s Open House from 5:00pm-7:30pm.

Hometown: Poughkeepsie, NY
Age: 30
Education: BA in Digital Media with a Minor in Studio Art, Marist College (Poughkeepsie, New York)
Gallery Representative: Joshua is self-represented locally, but has works available at Revelry Gallery, KORE Gallery, New Editions Gallery (Lexington, KY), and at Caza Sikes (Cincinnati, OH)
Website: http://www.joshuajenkinsart.com

"Summer Heat" by Joshua Jenkins, 64 x 59 x 1 in, acrylic and mixed media on canvas (2016-2017)

"Summer Heat" by Joshua Jenkins, 64 x 59 x 1 in, acrylic and mixed media on canvas (2016-2017)

"Summer Nights (detail)" by Joshua Jenkins

"Summer Nights (detail)" by Joshua Jenkins

"Nature’s Musicians" by Joshua Jenkins, 36 x 48 x 1.5 in, acrylic and mixed media on canvas (2017)

"Nature’s Musicians" by Joshua Jenkins, 36 x 48 x 1.5 in, acrylic and mixed media on canvas (2017)

Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

Are you interested in being on Artebella?  Click here  to learn more.

Are you interested in being on Artebella? Click here to learn more.

Painting, Print Making

Vignette: Adrienne Miller

Artist Adrienne Miller

Artist Adrienne Miller

The Community Foundation of Louisville, in partnership with Louisville Visual Art, has presented Louisville-based artist and printmaker, Adrienne Miller, with the fifth annual Mary Alice Hadley Prize for Visual Art. The $5,000 award is an opportunity for local artists to enhance their careers through a targeted enrichment experience.

Miller will use the prize to research the landscape and art historical influence of the Four Corners area of the American Southwest. The two week trip will cover close to 2,000 miles in a loop through the Four Corners region and will include a variety of stops, including several different pueblo ruin sites, printmaking studios in Albuquerque, The Georgia O’Keefe museum and archives, several National Parks, energy vortexes in Sedona, and several large earth works in the region.

"Keep Out/ Stay In" by Adrienne Miller, 16x20in, acrylic gouache and colored pencil on mylar (2016), $600 |  BUY NOW

"Keep Out/ Stay In" by Adrienne Miller, 16x20in, acrylic gouache and colored pencil on mylar (2016), $600 | BUY NOW

“I want the experience to be transformative and immersive so that I come away feeling as though the experience really was a tipping point for me,” said Miller of the Hadley Prize enrichment experience. “I want to return to Louisville renewed to create a whole new body of work.”

"Come With Me Into The Void" by Adrienne Miller, 16x20in, acrylic gouache and colored pencil on mylar (2016)

"Come With Me Into The Void" by Adrienne Miller, 16x20in, acrylic gouache and colored pencil on mylar (2016)

Miller’s images are hybrids of the representational and abstract that explore the human experience of constructed space. “Within the tradition of landscape art, the term picturesque refers to a view where the human presence is apparent,” states Miller. “We are often presented with a view or vista for our consideration. When viewing a landscape we are allowed to be objective, but when viewing ourselves, does that perspective change?”

“Within the delicacy of the Mylar drawings, I am beginning to break apart the environments into tiny details such as potted plants, ladder rungs, or the tilt of a roof line. For me, the landscape I embody on a daily basis is the idea of the home, an interior and much more intimate space. In some, the details explain a building interior while in others it appears to be just outside, similar to a residential yard space. The fluttering of the Mylar layers serves to remind the viewer of the constant state of change these sort of psychologically charged places experience. Through changes in perspective and unrealistic coexistence, the work encourages the viewer to address their own environments as well as themselves.”

"Man Made Islands" by Adrienne Miller, 32x40in, acrylic gouache and colored pencil on mylar (2017), $1200 |  BUY NOW

"Man Made Islands" by Adrienne Miller, 32x40in, acrylic gouache and colored pencil on mylar (2017), $1200 | BUY NOW

The $5,000 M.A. Hadley Prize is awarded from the George and Mary Alice Hadley Fund at the Community Foundation of Louisville. The endowment was established in 1991, and it supports the arts and humanities, particularly visual arts, crafts, theater and the Louisville Free Public Library. The award is a partnership between the Community Foundation of Louisville and Louisville Visual Art, which managed the application process.

Hometown: Memphis, Tennessee
Education: BFA, Studio Art with an emphasis in Photography, Murray State University / MFA, Studio Art with an emphasis in Printmaking, Northern Illinois University
Website: http://www.adrienne-miller.com/
Instagram: https://www.instagram.com/ay_dree_un/

"Man Made Islands (detail)" by Adrienne Miller,

"Man Made Islands (detail)" by Adrienne Miller,

"Maintaining the Overgrowth" by Adrienne Miller, 32x40in, acrylic gouache and colored pencil on mylar (2017), $1200 |  BUY NOW

"Maintaining the Overgrowth" by Adrienne Miller, 32x40in, acrylic gouache and colored pencil on mylar (2017), $1200 | BUY NOW

Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

Are you interested in being on Artebella?  Click here  to learn more.

Are you interested in being on Artebella? Click here to learn more.

Photography

Vignette: Steve Squall


"Wabi-sabi is the quintessential Japanese aesthetic. It is a beauty of things imperfect, impermanent, and incomplete. It is a beauty of things modest and humble. It is a beauty of things unconventional..." — Leonard Koren


Photographer, Steve Squall

Photographer, Steve Squall

Photographer Steve Squall’s images luxuriously embrace old school Black & White tonalities and the now-rare use of nude models in nature. As an artist, he is seeking to reconnect to the fundamentals, an intention driven by a specific, almost spiritual motivation.

“My current body of work focuses on the female form with an emphasis on the Japanese aesthetic philosophy of Wabi-Sabi,” explains Squall. “The images focus on simplicity in execution, embracing spontaneity - the ‘happy accident’, and finding the beauty in imperfection. It's largely a reaction to the highly produced work that I do for a living that often requires an entire team of creatives, heavy attention to detail, and a sizable amount of equipment to create.”  

"Kasho" by by Steve Squall, 20x20in, photograph (2016), $350 |  BUY NOW

"Kasho" by by Steve Squall, 20x20in, photograph (2016), $350 | BUY NOW

“Allowing myself to simply walk into a setting with nothing but a camera body, a single lens, a model, and just exploring while stopping to shoot when we find interesting scenes or stunning natural light has been quite a freeing experience. The work has helped me to rediscover the simple joy of just taking a photo without having a jumble of variables running through my head. It's reminiscent of the feeling I got so hooked on when I first picked up a camera and would just point it at whatever I thought looked interesting without worrying about too much else.”

"Wabi-Sabi Portfolio No. 1" by by Steve Squall, 810in, photographs (2016), $350 |  BUY NOW

"Wabi-Sabi Portfolio No. 1" by by Steve Squall, 810in, photographs (2016), $350 | BUY NOW

Squall’s images are classic in their juxtaposition of the soft human flesh against the stark and harsh textures of the elements. A woman stretched out across a large rock, her hair spread across the surface, is a formal study in contrasting textures, but also a suggestion of humankind in relationship to the environment, the artificial raiment of society discarded but the exposed flesh separated from nature by a vulnerability that cannot be so easily erased.

“I liken the experience to the famous quote attributed to Picasso: "It took me four years to paint like Raphael, but a lifetime to paint like a child." Well, it took me more than four years to photograph like a pro, and now I'm learning how to photograph like a child.”

Hometown: Shively, Kentucky
Education: BA in Graphic Design, Indiana University Southeast, 2009.
Website: www.stevesquall.com

"Cassandra No. 1" by by Steve Squall, 20x26in, photograph (2016), $350 |  BUY NOW

"Cassandra No. 1" by by Steve Squall, 20x26in, photograph (2016), $350 | BUY NOW

"Enso" by by Steve Squall, 20x20in, photograph (2016), $350 |  BUY NOW

"Enso" by by Steve Squall, 20x20in, photograph (2016), $350 | BUY NOW

Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

Are you interested in being on Artebella?  Click here  to learn more.

Are you interested in being on Artebella? Click here to learn more.

Painting

Vignette: Jordan Lance Morgan

Artist, Jordan Lance Morgan in front of his painting "Rising and Setting"

Artist, Jordan Lance Morgan in front of his painting "Rising and Setting"

Jordan Lance Morgan describes himself as a figurative painter, and he seems concentrated on the head and face. Yet, his work doesn’t feel as if a limitation has been imposed on the artist and his themes, and Morgan imbues his work with a powerful sense of narrative. His subjects are captured indoors, but there is little evidence of a typical studio environment: the lighting is muted and the surroundings feel urban and dank, as if we have wandered into an abandoned basement.

“I am a figurative painter with an emphasis on portraiture, symbolism and storytelling,” explains Morgan. “While my work reflects a desire for realism, my main concern is to emphasize tension between the illusion of volume and flatness within the picture plane. Beyond this formal interest, I am heavily influenced by early American art, historical iconography, military and political history.”

"Black Bile" by Jordan Lance Morgan, 6x8in, oil on linen on board (2015)

"Black Bile" by Jordan Lance Morgan, 6x8in, oil on linen on board (2015)

The allusions to history were once overt in Morgan’s work – portraits of individuals in military uniform that were strictly formal in their composition, but in these recent paintings, the references are more elusive: a Phrygian cap, an early 20th century German army helmet, and…could that be Benjamin Franklin in the dour, oversize portrait, “Rising and Setting”, or are we just meant to ponder the identity? In any event, the image is startling in its immediacy, demanding attention from the viewer and displaying a sure psychological understanding.

“I paint and draw to understand people. Aesthetically I am constantly changing how to produce a portrait. My ambition is to connect myself and the viewer with history and the people who made it.”

Morgan certainly seems in control of his medium and the expression of his themes, yet we catch him here in a moment of crucial development, an emerging artists who is ready to launch.

Hometown: Goshen, Kentucky
Age: 28
Education: BFA, University of Louisville, 2012, Lou, KY; MFA, Pennsylvania Academy of Fine Arts, 2016, Philadelphia, PA
Website: http://www.jordanlancemorgan.com
Instagram: http://instagram.com/Jordanlancemorgan

"Phrygian" by Jordan Lance Morgan, 24x24in, oil on linen on board (2015)

"Phrygian" by Jordan Lance Morgan, 24x24in, oil on linen on board (2015)

"Ray" by Jordan Lance Morgan, 12x9in, oil on linen on board (2015)

"Ray" by Jordan Lance Morgan, 12x9in, oil on linen on board (2015)

"Rising or Setting" by Jordan Lance Morgan, 64x64in, oil on canvas (2016)

"Rising or Setting" by Jordan Lance Morgan, 64x64in, oil on canvas (2016)

"Appeal to Heaven" by Jordan Lance Morgan, 12x9in, oil on board (2016)

"Appeal to Heaven" by Jordan Lance Morgan, 12x9in, oil on board (2016)

Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

Are you interested in being on Artebella?  Click here  to learn more.

Are you interested in being on Artebella? Click here to learn more.

Photography

Vignette: Kevin Warth


“Resisting normative constructions of time, I examine moments in which the past, present, and future collapse upon each other.” Kevin Warth


Artist, Kevin Warth in his studio

Artist, Kevin Warth in his studio

When one says “digital” it tends to suggest clean, polished audio and visual product - the pristine clarity of the CD, or the magical ability to animate entire worlds in your favorite blockbuster movie. Yet there are legions devoted to the warmth and subdued crackle of analog technologies. Vinyl, for example is still first choice for many.

Kevin Warth’s photographs here are exposed and confessional self-portraits that have the feel of x-rays. The intentionally distressed images seem furtive and from a by-gone time, recalling vintage pornography and early experiments in multiple exposure techniques, so that we find Warth delivering a suitable marriage of theme and technique.  

“My work explores temporality, memory, and the body through self-portraiture. Resisting normative constructions of time, I examine moments in which the past, present, and future collapse upon each other. My body becomes a vehicle for memory as the past haunts the present. These images are tangible yet insubstantial. I use alternative and historic photographic processes alongside current digital methods of image making to further complicate and queer linear time. Moments are not discrete or bound to sequential time; rather, they bleed into other timelines in unexpected, jarring ways.”

"Echoes" by Kevin Warth, dimensions variable, photo transfer on glass (2016), $500 |  BUY NOW

"Echoes" by Kevin Warth, dimensions variable, photo transfer on glass (2016), $500 | BUY NOW

"I Am Consumed By Specters" by Kevin Warth, 16x20in, kallitype (2015), $400 |  BUY NOW

"I Am Consumed By Specters" by Kevin Warth, 16x20in, kallitype (2015), $400 | BUY NOW

Warth is a recent graduate of the University of Louisville’s Allen R. Hite Institute, where he had received the Mary Spencer Nay Memorial Scholarship, the Allen R. Hite Scholarship, the Barbara Bullitt Christian Memorial Scholarship in Photography, and the Allen Memorial Prize in Creative Art.

On May 4th, Warth will be participating in Rainbows & Roses, a benefit show to raise money for Louisville's future LGBTQ+ Community Center. On June 2, he will organize/participate in Queer Voices, another charity show to be held at OPEN Community Arts Center in which a percentage of the work sold will be donated to a local LGBTQ charity in remembrance of those lost in the Orlando nightclub shooting.

Hometown: New Albany, Indiana
Age: 24
Education: BFA in 2D Studios and BA in Art History, University of Louisville, 2016
Website: http://www.kevinwarth.com
Gallery Representation: garner narrative contemporary

"Un" by by Kevin Warth, 7x7in, ambrotype (2015), $750 |  BUY NOW

"Un" by by Kevin Warth, 7x7in, ambrotype (2015), $750 | BUY NOW

"I Am Consumed By Him" by Kevin Warth, 16x20in, kallitype (2015), $400 |  BUY NOW

"I Am Consumed By Him" by Kevin Warth, 16x20in, kallitype (2015), $400 | BUY NOW

"Deux" by Kevin Warth, 7x7in, ambrotype (2015), $750 |  BUY NOW

"Deux" by Kevin Warth, 7x7in, ambrotype (2015), $750 | BUY NOW

Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

Are you interested in being on Artebella?  Click here  to learn more.

Are you interested in being on Artebella? Click here to learn more.