mylar

Painting

Q&A: Quappi Projects


“We have more knowledge than at any time in human history, yet not only do we not seem comforted or buoyed by that knowledge, we have - or some of us have, I suppose - begun to openly reject knowledge, experience and even commonly agreed-upon facts.“ – John Brooks


Artist, John Brooks

Artist, John Brooks

Q&A with John Brooks about Quappi Projects

‘Quappi’ was the nickname of Mathilde von Kaulbach, who was married to German New Objectivist painter Max Beckmann (1884-1950). It was derived from the similarity of her surname to the German word Kaulquappe, meaning ‘tadpole’.

It is a singular phrase with no other formal meaning, which seems to delight Louisville artist John Brooks, and so he chose it as the moniker of his new exhibition initiative, Quappi Projects. Occupying most of his current studio space at 1520 B Lytle Street in the Portland neighborhood, the mission is to showcase four artists each year from in and outside of Louisville. The inaugural show will be work of Adam Chuck, a Cleveland, Ohio native, now living and making work in Brooklyn, New York.

What motivated you to devote some of your studio space to exhibition space for other artists?

"Diogo In Pink" by Adam Chuck, 5x7in, oil on mylar

"Diogo In Pink" by Adam Chuck, 5x7in, oil on mylar

Running a gallery is an endeavor I've long been interested in, but it was difficult to imagine a way in which I could maintain a studio practice, run a gallery, and afford to do both. I was between studios in 2015 and spent the summer in Berlin. Part of that time was spent studying under the German artist Norbert Bisky, whose work I've admired for a long time.  We discussed a lot of things, including lamenting the difficulty of finding avenues to show and share work. He advised that I (or anyone!) should just "start my own thing;" so I've had this bee in my bonnet for a couple of years. Since January 2016 I've shared my Lytle Street studio space with another artist, and when he decided to move out I knew that this was my opportunity. The space is perfect - clean, bright, white, and with enough room to allow me to continue my studio practice and to exhibit others' work in a proper way.

As an artist, I know how difficult it can be to find arenas in which to show your work, and I am thrilled by the idea that I can provide that opportunity to other artists. Also, I've been fortunate to live in both London and Chicago, and have traveled the United States and Europe fairly extensively, so I feel like I have a broad range of art-related experiences and knowledge that I can rely on to help inform the direction of the gallery's platform.

"Baptism" by Adam Chuck, 4x7.35in, oil on mylar

"Baptism" by Adam Chuck, 4x7.35in, oil on mylar

How did you become aware of Adam Chuck's work?

"Hand Palm" by Adam Chuckn, 5.5x7in, oil on mylar

"Hand Palm" by Adam Chuckn, 5.5x7in, oil on mylar

Adam Chuck paints primarily images from social media; fittingly, we "met" quite randomly through Instagram a few years ago. Though we've never yet met in person, we have developed what I consider to be a real friendship, which speaks both to the power and possibilities of social media but also the power and purity of his work. When it became clear that Quappi Projects was really going to happen, I knew I wanted to inaugurate the gallery with a show of Adam's work and happily he said yes. I'm a fan (and a collector) of his work and am so excited to be able to share it with the Louisville art community and the city at large. At first glance, Adam's work might seem to border on the salacious, but I think it creeps up to that line and then walks back. Most of the work is tiny, phone-screen-sized, owing its existence to social media platforms such as Instagram. The work is intimate, sensual and extremely honest. Each work is an exposure, really; it is essentially about reaching out, about the deep desire to connect, and represents an attempt to know and be known. In an age of terror and big fears, Adam's work seems infused with knowledge of those fears, but speaks more to the fundamental needs and basic human fears of need: to be desired, to be loved, to be seen, to be considered.

Tell me about the term "quappi"? I know the Beckman story, but what does it mean to you?

I believe very much in the transformative power of art. I have experienced this enough times in my own life to understand and value its merit, and I firmly believe that the highest function of art is to allow human beings to know ourselves more deeply. My own work has been concerned with the emotional resonance of particular experiences and what Max Beckmann described as "the deepest feeling about the mystery of being." Quappi Projects' goal is to exhibit contemporary art reflecting the zeitgeist, and the zeitgeist is mighty strange. Perhaps all times are strange, but I don't think there's any arguing that we are living in very strange times.

"Bildnis Quappi" by Max Beckmann

"Bildnis Quappi" by Max Beckmann

We have more knowledge than at any time in human history, yet not only do we not seem comforted or buoyed by that knowledge, we have - or some of us have, I suppose - begun to openly reject knowledge, experience and even commonly agreed-upon facts. I find that very worrying. I think the experiences of 20th Century German artists like Max Beckmann (and others) are relevant to us today.  Beckmann didn't consider himself a political person, yet his entire life was thrown into upheaval because of politics. He considered political concerns to be secondary to the concerns of the spiritual or metaphysical. Although I am a political person (and have a BA in Political Science) I agree with him and certainly find most explicitly political work too narrowly focused. At the same time, I think the best art reflects the times in which it was created, so it must have some element of the political. Take Velazquez' "Las Meninas," for example - artistically, it is a masterpiece, but it also tells us so much about the Spanish Court and what was going on at the time. I find that balance fascinating, and hopefully we can show work that is interesting in the same way. Even if we fall just a little short of "Las Meninas," we'll be very successful!

I plan to alternate non-Louisville-based and Louisville-based artists have a great series of artists lined up: Baghdad, Iraq-born artist Vian Sora, who now lives and works in Louisville; Louisville native Whit Forrester, who lives in Chicago and just graduated with an MFA from Columbia College; wood artisan Michael James Moran, a central Kentucky native who now lives and works in the Hudson Valley; and photographer Ryan Tassi.

"Raven Wings" by Adam Chuck, 5.5x7.25in, oil on mylar

"Raven Wings" by Adam Chuck, 5.5x7.25in, oil on mylar

Beckmann credited Quappi with keeping him going, keeping him on task and inspired. I think we're living in times when we must keep going, be on task, and be inspired. It's very easy to want to give into the notion of being quiet and comfortable, but I think we must resist that. We must be open, communicate, and connect. I'm hoping the spirit of Quappi can help me do that.

Adam Chuck / Instant Gratification

August 18 – September 29
Opening: Friday, August 18 / 5:00-9:00pm

Quappi Projects
1520 B Lytle Street
Gallery open by appointment only
www.quappiprojects.com

"Portrait of Les" by Adam Chuckn, 3.25x4in, oil on mylar

"Portrait of Les" by Adam Chuckn, 3.25x4in, oil on mylar

Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

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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.