High Art from the Highlands - Scottish artists at the PMA Craft Show

Scotland was in Philadelphia last weekend, in the person of 25 extraordinary artists at the Philadelphia Museum Craft Show. Each year the PMA Craft Show highlights the finest  work of a particular country - this year it was Scotland, and what a rich showing these northern folk put on. I didn't get to talk to all of them, unfortunately, but I'll point out a few that stopped me in my tracks. I'm always on the lookout for drawing, even if I'm not aware of it, so Claire Heminsley's booth drew me in like a magnet. I felt like I'd found a long-lost sister when I saw her loose line drawings and saw her tribute to her artist dad who taught her about drawing (my father did the same - we used to go out sketching together.) Much of Claire's work involves fabric - printing her drawings on practical items like aprons or tea towels, as well as on multimedia work that combines stitching, typography, printing, and found objects. Her marriage of the ordinary with the ethereal adds up to a wonderful sense of serious fun. See more at  http://www.incahoots.org.uk/index.html   Across the aisle, Stacey Bentley was drawing too, this time in metal jewelry. Stacey is one of those delightful, well-groomed women whose appearance belies the tough reality of the process behind their work - industrial enamels, twisted and soldered metals, multiple firings - her work has a kind of brawny industrial feel in miniature, with an effect that mixes delicacy and grit. Stacey calls it an 'urban aesthetic' and cites influence from what she observes in her travels. See more at http://www.staceybentley.com/index.html.  Fabric is the medium for Jilli Blackwood. Her extravaganzas, some wearable, some decorative, shout excitement across the room, but also pull you in close to examine her marvelous, infinitely adventurous play with cloth, embroidery, stitching, color, and texture. Process and imagination for Jilli, as with most of these artists, are tightly interwoven. She talks of color and hand dying as the entry point for developing her ideas and bringing in the unique personality that marks each piece. She described one piece as based on elephants she observed while creating costumes for the Commonwealth Games in India - it made sense as she pointed out sinuous lines that recall an elephant's flexible trunk and the grey green texture of cloth that stands for an elephant's tough hide - from there, in, on, and around those concrete images, she wove her magic to conjure up a whole visual narrative of association through stitch and color. See more at  http://www.jilliblackwood.com/index.html   Carla Edwards resin jewelry matches Jilli's work for color but is a world apart in texture. Her softly bright pendants, earrings, and brooches, inspired by natural shapes and forms, have a smooth, inviting visual and tactile feel. See more at http://www.carlaedwards.co.uk 

The haunting charm of Karen Akester's small evocative figures is still vivid in my mind - her work was one of the most memorable experiences of the entire show (which, of course, also included much fabulous work by American artists - see my posts from other years about this great Crafts Show.) Karen, educated at Edinburgh's School of the Arts and working there in one of several art communities supported with private and government funds (from what I heard from these artists, the US could learn a lot from Scotland about supporting the arts) was not only delightful to talk with, but an artist whose work rises to that rare place of brilliance in conception and craftsmanship. She creates with glass and metal, sometimes together, sometimes separately, but her figures always add up to more than the sum of their parts. Using vintage photographs of schoolchildren as her starting point, she makes small standing figures, a bit woebegone and melancholy, that quietly spill out an intense sense of dark whimsical mystery. It's impossible not to want to know more - or to start telling yourself their stories, which are surely full of guilty mischief, punishments involving bed without supper - or worse. See more at http://www.karenakester.com/

These artists were all so warm, friendly, interesting and gifted. If only my MacGregor ancestors had been better behaved in the 18th century - if they hadn't been run out of the country as outlaws I might still be there working and hanging out with them. 
For more information about Scotland's Craft Artists in general and these artists in particular go to http://www.craftscotland.org/about-us/our-work/PMA/ 

Chance Falls - Pat Steir at Locks Gallery

I first became aware of Pat Steir when I assigned an Art in America article about her work to a student years ago. I can't remember what the student did with it, but Steir's graceful, mesmerizing work really stuck with me. I was happy, therefore, to find it close to home, in a fine exhibit currently at the Locks Gallery in Center City Philadelphia. The large color drenched canvases seem somehow made for this particular setting with its dark ceiling and columns; the fit of space and content has an organic, inevitable feeling that adds satisfaction to the experience of the show. Any description of Steir's painting includes the word 'waterfall' - the pictures make the description self-explanatory. She treasures the happenstance of art-making, a value she credits in part to her friendship with John Cage, who introduced her to its potential. Steir's work testifies to her chronology - her Action Painting approach connects her not only to the ideas of Cage but also to older, but not distant contemporaries Joan Mitchell and Helen Frankenthaler. Color pours down her canvases in watery, nuanced sheets of layered hue, shade, and value: the action of the making continues in the finished work. At a distance the canvases give off a rich, soothing rhythm, but up close the general blur defines into fine trails that mingle, divide, and pool together. There is also a strong link to Chinese landscape painting, mentioned in the press release for the show, manifested in a feeling of ethereal grandeur as well as the fine layering of organic strokes. Most of the works in the show are named for the pigments she used in creating them: naples yellow, paynes grey, indigo, a particular green or blue. Several include gold pigments. A good part of the pleasure of the work, for me, was inspecting the surfaces at close range, finding the happy accidents that arise from Steir's process - rivulets of gold coursing through, over, and behind sheets of white, blue, green, leaving little nuggets at a crossroad where she made a divide, a buried color suddenly peeping through to make a quietly assertive statement.
Pat Steir: Water and Sand is at the Locks Gallery through November 26.
http://www.locksgallery.com/exhibits_works.php?eid=133

Chess - A Game of History and Charm: The Lewis Chessmen

My favorite little men are coming to New York - The Game of Kings: Medieval Ivory Chessmen from the Isle of Lewis opens at the Cloisters on November 15. Bug-eyed Kings dismayed at the prospect of close and bloody combat, Queens holding worried faces, Soldiers so eager to begin that they bite their shields in anticipation, Bishops gripping their croziers, Horsemen hunched and ready: these little ivory creatures give us a world that faded long ago, though their iconic battle persists and endures in the game of chess. It is a fact that these delicate but vigorously carved ivory creatures were found in 1831 on the Scottish Isle of Lewis. It's agreed that they date from around the 11th century (partly attested by the style of the Bishop's miter) but beyond that almost all is speculation. Are they Icelandic, or Norwegian, for whom were they created, by whom were they used? The pieces have so much personality; it's frustrating that they can't tell more of their story. The game of chess predates these 'men', which are likely pieces from four sets - some are now in the National Museum of Scotland and some in the British Museum (which lent theirs for the show.) Chess began sometime around 600 in northern India or Afghanistan - the vocabulary of chess and the basic forms and rules come directly from those origins. These Indian illustrations show chess games between Krishna and his consort Radha and another played outdoors by high born gentlemen. Chess became very popular in aristocratic Europe during the 11th century - the quality of the Lewis Chess Set identifies the owners, whoever they were, as being of wealthy and privileged rank. Even the backs are carved, in the intricate woven patterns consistent with the time and place. Norse mythology is written in these pieces, particularly in the 'Berserkers' those avid soldiers - Berserkers in the sagas were soldiers so frenzied by battle that they fought in a trance. The pieces are small, but larger than the ordinary chess 'men' of today's game - it is said that the board needed for a full game would have measured about 3 feet across - and that the board may have been red and white rather than black and white. Either color opposition makes symbolic sense: archetypal opposition can be seen as dark vs light, or as blood/passion red vs purity/innocence. A drafty battle tent, a lofty hall in a great stone castle, a blustery cold wind flapping and wuthering, the light from a fire flickering over battle-worn hands, faces creased as they ponder their moves and shift these woeful, charming little creatures - the Lewis Chessmen tell us silently that they were there, somewhere.  
The following links give information about the exhibit and the Lewis Chessmen.

http://www.metmuseum.org/exhibitions/listings/2011/the-game-of-kings-medieval-ivory-chessmen-from-the-isle-of-lewis

http://www.nms.ac.uk/our_museums/national_museum/lewis_chessmen_unmasked/meet_the_chessmen.aspx

 


In a park in Geneva, Switzerland life-sized men are 'men' in a giant game of chess. Do you play chess? Is it just a game for you or an iconic battle of good and evil?