Archive for the 'Art Writing' Category

21
Sep
12

DARIN M. WHITE: OVERFLOW, BACK FROM NEW YORK, A SOLO EXHIBITION

Press release, for immediate release:

DARIN M. WHITE: OVERFLOW

BACK FROM NEW YORK, A SOLO EXHIBITION

Exhibition Dates: September 10-October 5, 2012

Reception Sep. 28th, 2-6pm as part of the

Campus Art Walk and Final Fridays, 2-7pm.

Kansas Union Gallery

1301 Jayhawk Blvd., Level 4

Lawrence, KS 66045

Hours 8:30am-5pm M-F or by appointment.

Darin M. White returns from his debut solo exhibition, OVERFLOW in New York with a expanded  version

at the Kansas Union Gallery. As a Kansas University Alumn, he is the first artist in a series of KU Alumni

Visiting Artist Exhibitions.

OVERFLOW Exhibition Catalog Forward

“I first met Darin White in my studio for a curatorial visit where he was choosing work for an exhibition

in Kansas City. I had never met him before, but instantly I knew he was both a genuine person as well

as being intuitive and sensitive with concerns to both asking questions and in listening to what I had to

say about my own artist practice. I did not know ahead of time that he was considering my work for the

Cara and Cabeza Contemporary show in KC, only that he went to KU, was a Visual Art alum, and was an

artist and art enthusiast.

Through the planning for the Cara and Cabeza Contemporary exhibition I learned more about Darin

and his artistic practice. My first visit to his studio proved to be very exciting! There was so much to see

and talk about, it felt as though we would never have enough time to discuss everything and touch upon

every little detail. Believe me, I wanted to. Artists are always inspired by other artists who go in depth

when it involves their studio, their tools, the layout, the work, the process. You name it, we love to talk about it.

It seemed only natural that when developing the concept for an KU Alumni Visiting Artist Exhibition in

the SUA Gallery inside the Memorial Unions Building on Campus that Darin White should be the first

artist in this exhibition series. I had seen his drive and determination in developing a Kickstarter in order

to have a solo show, OVERFLOW in NYC. I was impressed with both how hard he worked and then with

how well considered his show was when installed. So in offering Darin a solo exhibition in the SUA Union

Gallery, I presented it as having his New York show here at home. Home being both Lawrence, where Darin

lives with his wife Shannon and their daughters Noel and Claire. And art in the White household is truly a

family affair.”

The SUA Union Gallery and the Memorial Unions welcomes Darin White with an open heart and an open mind.

Thank you for taking the time to consider Darin’s work installed in the gallery.”

Gina Adams

Memorial Unions Curator

“The second Campus Art Walk is in collaboration with Final Fridays, which is held in downtown Lawrence each month. This event encompasses different buildings on campus with art collections and displays such as Watson Library, the Art and Design Building and Stuaffer-Flint Hall. The Kansas Union Gallery is the final stop before visitors go downtown to enjoy Final Fridays. This event will start at 5 p.m. to 7 p.m. in the Kansas Union on the fourth floor.

Our Darin M. White galley reception will also be held during this time, showcasing his “Overflow” installation exhibit. Also, the Campus Art Walk will include a performance by the KU African Drum Ensemble, an opportunity to take a commemorative picture at the photo booth and a ceremonial “yarn wrapping” of the Jayhawk.” by Student Union Activities

bioDarin M. White is an artist, independent curator and art consultant based in Lawrence, KS. White has a BFA in sculpture from the University of Kansas. With his wife Shannon, a painter and arts advocate, he founded b.a.l.m. (beauty, art and life movement) in 2007. Together they promote creativity and action, encouraging others in their art and understanding. In 2010, he helped launch the Final Fridays events in Lawrence, and is currently a commissioner for the Lawrence Cultural Arts Commission.White equates his artwork to digging in the field, looking for treasures and mysteries to reveal. This current work is related to visions and dreams, which he hopes will raise questions for the viewer about the life they are living. These concepts can be seen in Bear Heart, in which he states; “A naturally peaceful bear protrudes from the wall with arms extended in a kind gesture, paws touching. The negative shape of the arms creates a simple but powerful message, and encourages the viewer to wrestle with larger issues of life.”

OVERFLOW

SEEDS FOR REFLECTION: an essay

For those of us who like our epic quotes, you have heard this one before: “What good is it if you gain the whole world, but lose your soul?” That is a close paraphrase fished out of the Bible, spoken by Jesus. The pointed question echoes a proverbial human drama, if there is one; but have we considered its hypothetical inverse? What good would it be if we have our souls, then lose the whole world?

I would guess that Darin White, in the exhibition OVERFLOW, had considered that dilemma before. So let’s say you choose personal integrity and retain that inner consciousness, but then still watch your material universe (presumably as precious) slip away? In the text accompanying the exhibition, he initiates his version of the question, asking you and me: “What will you do with what we are given?”

The artist told me he does not care for political enmeshment, but OVERFLOW is after all a show traveling from a Brooklyn, New York gallery called Soapbox to a space called Union Gallery at Kansas University (And I as essayist have just newly returned to the Los Angeles area). Notice that the artist’s question, consciously or subconsciously formed, addresses “you” while acknowledging a collective “we”. Sounds like Kennedy’s Camelot speech. Not to get bogged down with American politics of current election-season 2012, one cannot help but consider the ideological tug-of-war between shared or individual powers, what is inherited and what is earned, the rhetoric’s between “you didn’t build that” and “the achievement of the individual.” Art world gatekeepers– art dealers to art academics– speak about the “timeliness” of consequential art-making, and I’d say the contents of OVERFLOW are pretty darn timely.

What we are given here: choices, self-conscious souls, material goods, an American two-party system, a big nation where we are allowed to ask big, philosophical questions out loud and to one another. But allow me to touch upon a few points on what we are given, in the more concrete ways we as gallery goers can see, smell, touch (at least with creative imaginations).

What provokes us in OVERFLOW is a once-living black bear, with arms roughly forming a heart-shaped void. A real bear hug to the usual living-room trophies of fierce teeth and outstretched claws typical of Americana. This bear seemingly presides over a wooden structure which in turn sits atop a large pool of corn seeds. In White’s written text, his subjects of “farmland, barns and brimming silos” are invoked more as dreamy state and visionary condition than simple nostalgic sentimentality; we are living at a time not only of nationwide recession and serious natural droughts. In fact, a material crisis is shared, if not eclipsed, by the wider economic shakeup of European and Japanese powerhouses. Timely? Look up what hot-blooded Italians did with Arte Povera (literally “Poor Art”) during the 1960s, in a time of too-cool American minimalism.

As he composed this installation between Overflow and Bear Heart, did Darin White realize how unsettling OVERFLOW is as a show? Did he ever think “bear market”, as we like to call cycles of downturn? Did he consider the ironic contrast of connotations in “Over” versus “Flow”? Here is another fact, this one about those copper etchings, available to anyone who can look up “copper” in Wikipedia.com: “Copper has been in use at least 10,000 years, but more than 95% of all copper ever mined and smelted has been extracted since 1900.” And here I thought quoting Jesus would be controversial.

Samuel W. Kho

Curator, Los Angles and New York

Facebook invitation:

Darin M. White: OVERFLOW, Back from New York, A Solo Exhibition – Kansas Union Gallery

DARIN M. WHITE

Artist | Independent Curator | Art Production Consultant

http://darinwhite.com

785.842.2216

https://i2.wp.com/payload.cargocollective.com/1/1/40895/894465/Image%201%20Darin-M.-White-F8-Web.jpghttps://i1.wp.com/payload.cargocollective.com/1/1/40895/900788/image%201%20DarinMWhite_QuiverFullAngledWeb.jpghttps://i2.wp.com/payload.cargocollective.com/1/1/40895/899924/image%201%20_MG_1456.jpg

“~speaking for truth and beauty, with the tools of my trade and the eyes of my heart, which are not my own~”

22
Aug
11

THE SPARKLE THAT FEEDS

Here is an art review I wrote a little bit ago. I waited to publish it on my site to give enough time for eReivew to the get the press out.
Hope you enjoy!
By Darin M. White May 13, 2011

A review of the spring Bread and Glitter journal release exhibition

ChrisBohatyritz2
Chris Bohatyritz, “Untitled,” acrylic on canvas, 2010-11. Image: courtesy of the artist
Monarch Gallery
Kansas City, Missouri
April 8 — May 13, 2011

Because of the fact that our oldest daughter had a sleep over to get ready for that night, we arrived late from Lawrence, Kansas, to the exhibition party, spurred on by our collective interest in art and an invitation. (My wife Shannon was included in this issue of Bread and Glitter). Bread and Glitter is very recent, well-thought, and well-written ‘zine journal covering art, aesthetics, deep thoughts, and various takes on faith. I have an insatiable diet for seeing art lately. Is it that “art” has increased in quality, or have I become a better viewer? Whatever the answer, my wife, our 10-month-old daughter, and I entered the room about the time when the DJ’s bass kicked in and we could feel our hearts bumping to the beat. The scene took me back to the days when we threw raves in the lunchroom of my family’s manufacturing company.

StuartBury_BreadandGlitterVol1Issue2
Stuart Bury, “Take an Axe to Fear!” cover art illustration for “Bread and Glitter” Volume 1, Issue 2, 2011. Image: courtesy of the artist

Ryan LaFerney, founder and co-editor of Bread and Glitter, which also has an online component, greeted us and graciously provided a run-down of the show, apologizing for the intensity of the sound. This is the B & G Volume 1, Issue 2 Spring Release party. Beyond a party, beyond an exhibition, there is a sense of community in this space called the Monarch Gallery on the first floor of an eight-story brick building on Main Street in Kansas City, Missouri.

Shannon pointed out the fresh-baked bread positioned on a pedestal, displayed as art with a collection of glitter and a small cup of honey. As we looked around the gallery amidst the flashing lights and thumping sounds, we saw additional beacons of bread lifted up to art status and purposed by glitter. Food-for-art, the art of food — how ever it is thought of, is something I think about often.

Katherine O’Hara, who acted as co-curator of the evening’s event, stated she was very pleasantly pleased with the exhibition, which was based on an open-ended general call. In my experience, this strategy can open the door to a potential madhouse — with a plethora of miscellaneous art hung salon-style and crammed so closely together that your eyes beg for mercy. Merciful it was, though, as we were not subjected to an overload of art, but with a variety of thought-provoking, fascinating, and even humorous works.

I was already familiar with many of the artists and have even shown their work in a flash space in Lawrence, Kansas. The talent oozes and the works delight. Being a sculptor and typically drawn to this work like a magnet, I sauntered over to Christina Dostaler‘s piece which looked like a May-day basket in filled with all sorts of edible goodies. I chewed on the luscious colors forms and shapes, but was reminded by my daughter that we should continue to move if we intended to take in the entire exhibition. We enjoyed the miniature and colorful weblike drawings of Lori Bury (whose husband Stuart Bury drew the cartoon for the cover of this B & G issue); her well-thought quintuple arrangement looked like a beautiful happy accident of bright spills and connecting DNA drawings.

ChristinaDostaler_IHopeIHavePotential
Christina Dostaler, installation view of “I Hope I Have Potential,” acrylic on Mylar, monofilament, and plastic, 2010. Image: courtesy of the artist

I was intrigued by Chris Bohatyritz‘s work, especially an untitled painting that reminded me of a monotype plate, with translucent reddish-brown spread across it with a pallet knife, topped with an explosion of small brilliant bright colorful strokes floating and flittering in and out directing themselves in shapes. At the bottom right of the painting peeking out from behind the swaths is a dog with droopy ears and lonesome eyes that looks up and out over the shoulder of the viewer as if he wishes to be somewhere else.

LoriBury_Detail1
Lori Bury, detail of set of four “Untitled” drawings, mixed media, 2011. Image: courtesy of the artist

______

ChrisBohatyritz2detail
Chris Bohatyritz, detail from “Untitled,” acrylic on canvas, 2010-11. Image: courtesy of the artist

______

AmandaBowles_QuietUtterance
Amanda Elise Bowles, still from “Quiet Utterance/Stolen Breath,” video on DVD, 2010. Image: courtesy of the artist

Linnea Gabriella Spransy had a variety of beautiful portraits on paper, which shows her talent to draw from life and to handle any medium/style, as the majority of her current work is completely abstract. I passed by Amanda Elise Bowles‘s video installation Quiet Utterance/Stolen Breath and realized that this wasn’t the time that I would be allowed to sit and contemplate the conceptual observations that she has made. Later, I spent some time with the Bread and Glitter issue itself and read more about her work, wishing I was able to see the installation again. I was drawn to the use of salt-encrusted bricks and the use of breath as a medium.

Ben Jones_Jeremiah
Ben Jones, “Jeremiah,” woodcut on paper, 2009. Image: courtesy of the artist

______

JaneSheldon_TrustingType
Jane Sheldon, installation view of “The Trusting Type,” acrylic on paper, 2011. Image: courtesy of the artist

Instead, however, for this moment I took in Ben Jones‘s large woodblock prints and came back by again to see Jeremiah, with the strong contrast of black and white and the fascinating comedy. I circled back and took some time to study Jane Sheldon‘s paintings (or should they be called drawings)? They are stunningly awkward, but in a way that makes you like them all the more. Her use of text is interesting and somewhat left to the viewers’ imagination, as in The Trusting Type wherein she paints over the majority of the words; some are revealed as though through white-out from beyond the shoulder of the individual portrayed. I can make out “I’m normally the Trusting type…” and a few other words, but it seems as if it really isn’t the words that are important but the mood that the image creates. Again, these works by Sheldon like many of their counterparts are colorful, and after a long winter of drab, this glimmering viewing seems to be just the food I need.

Note:
The exhibition also included work by Wen Dan-Lin, Christina Lenert, Amanda Monson, Lizeth Niño, Brendan O’Shaughnessy, and Michael Powell. Jake Myska is also co-editor of Bread and Glitter.

Original article in:

eReview Magazine




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