Feature: Keeping It Weird For The Holidays

Revelry Gallery located at 742 E Market Street, Louisville, KY 40202

“Buy Local” has become a rallying cry in American communities in the last several years, and with good reason. As outlined by the Louisville Independent Business Alliance (LIBA), the impact on local economy is obvious, but that impact extends to environmental and philanthropic ideals that are equally important. Businesses that market the work of local artists may not be the first local business that comes to mind, but Revelry Boutique Gallery exemplifies the points in the LIBA checklist. All of its products are Kentucky-made, its gallery space has become a spotlight location for local artists, and the owner, Mo McKnight Howe, has emerged as a community leader who works tirelessly in support of cultural non-profits (full disclosure: Ms. Howe serves on the board of Louisville Visual Art). As the intense holiday shopping season is now upon us, it is important to take note of the range of local creations available. Three Revelry artists provide examples of the range of unique gifts available.

"Scenes Of The Seasons" by Kevin Oechsli, Mini Paintings, Acrylic on Wood (2016), $30 Each

Kevin Oechsli

For a holiday founded on the most sacred of events in Christianity, Christmas has become surprisingly characterized by lightness and humor. The debate that the holiday has become overwhelmed by materialism has continued for decades and will likely continue for decades more, but some that feeling is founded, appropriately, in the innocence of children. The good will and jolly tone of the iconic Santa Claus figure never fails to find welcome at this time of the year, and Santa always seems to have good sense of humor about himself. Artist Kevin Oechsli’ s perennial series “Scenes of the Season” takes full advantage of this quality by placing an uncharacteristically athletic St. Nick swimming underwater, surfing a high wave, or airborne on a snowboard. It should not come as any surprise that the generous and beneficent figure should enjoy himself to the fullest, but that he is never seen except in his traditional red and white costume just might.

Hometown: Louisville, Kentucky
Age: 55

"Three Wise Men (Scenes Of The Seasons)" by Kevin Oechsli, Mini Painting, Acrylic on Wood (2016), $30 | BUY NOW

"Santa, Sled, and Reindeer (Scenes Of The Seasons)" by Kevin Oechsli, Mini Painting, Acrylic on Wood (2016), $30 | BUY NOW

Various Works by Wood & Twine, wood, string (2016)

Wood & Twine

An emphasis on “local” artists and craftspeople might not require motifs unique to Louisville, but perhaps it is inevitable that at the intersection of creativity and commerce we find community pride. Melody Niemann and Jessica England, who together form the team Wood & Twine, make no bones about their love for their hometown: “We feel that it is important to represent Louisville and its distinct culture in our artwork. This can be seen in pieces such as Kentucky, Louisville Skyline and Fleur de Lis. Our participation in the Louisville art scene, such as the Flea off Market, Deck the Walls, Cuteopia!, and local charity events, exemplifies the importance we place on giving back to the city that raised us.”

The simple appeal is not dissimilar to folk art, one of the virtues of which is the ability to connect on straightforward level with a wide audience. “Our artwork takes a very unique approach to utilizing raw materials. Using wood, nails and twine, we are able to create distinct pieces with an unprocessed and rustic, yet simple feel. Our work is very accessible to all, available in a variety of sizes and designs. And no two pieces are exactly the same, making each a one-of-a-kind staple for the home.”

Name: Melody Niemann and Jessica England (Wood & Twine)
Hometown: Louisville, Kentucky
Age: 23 and 25
Education: BA in Marketing, with Minors in Communications and Management, University of Louisville (both)
Website: https://www.instagram.com/woodntwine/

“Louisville Skyline” by Wood & Twine, 16x12in, wood, string (2016), $75 | BUY NOW

“But First, Bourbon” by Wood & Twine, 6x8in, wood, string (2016), $35 | BUY NOW

“My Old Kentucky Home” by Wood & Twine, 8x6in, wood, string (2016), $35 | BUY NOW

"Inspiration Bracelets" by Gretchen Leachman

Gretchen Leachman

Gretchen Leachman works in a variety of mediums, but the majority of her time is spent in jewelry design, mainly working with metal, wire, and gemstones. Some of the pieces are plaintive and understated, such as the necklace charms we see here, but others are more intricate and luxurious in their impact. “I pay close attention to creating pieces that will have meaning for the person wearing it,” explains Leachman.

She is currently involved in several pen & ink projects as well. “One of my current favorites involves collecting a series of words from family members about their home and family life … then using those words to depict a drawing of their house. Thoughts & feelings are the heart of what makes each home unique and loved, and I want to capture that as a reminder to those living there.”

“I love art. I always have. I fully support the theory that art should be fun and inspirational, and that is what I want to bring out in everything I do. It is my goal to make a connection with each individual, providing a small reminder of inner strength, joy and empowerment. Everyone has greatness and worth. Sometimes we just need a tangible reminder that we are, indeed, enough.”

Hometown: Louisville, Kentucky
Education: SHA 1990; BA, Advertising, Western Kentucky University 1994
Website: http://www.GretchenLeachmanDesigns.com

"Symbols Of Peace Made With Vintage Safety Pins" by Gretchen Leachman

"Hammered & Stamped Necklaces" by Gretchen Leachman

Other artists to be found at Revelry include painters Bob Lockhart, Julio Cesar, Melissa Crase, Ewa Perz, Joshua Jenkins, Erik Orr, and Gibbs Rounsavall, jewelry makers Rachael Erickson and Lindsay Hack, and household crafts by Ashleigh Anthony, DayNa Gliebe, Paul Nelson and Mark McGee, just to name a few.

Mo McKnight Howe, Molly Huffman and Major Hanging Out At Revelry Gallery.

In Louisville, the Buy Local catchphrase is “Keeping Louisville Weird,” which captures the unique tone of the River City’s celebration of the individualism of locally owned businesses. Flair and eccentricity are part and parcel of the experience, in which the idiosyncratic personalities of the owners are a crucial part of the identity of the enterprise. When you visit Revelry this holiday season, you also will meet Mo, Molly, and Major (the official greeter), and that personal connection to the community they represent gives added value to the shopping experience and deeper meaning to the act of giving.

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This Feature article was written by Keith Waits.
In addition to his work at the LVA, Keith is also the Managing Editor of a website, www.Arts-Louisville.com, which covers local visual arts, theatre, and music in Louisville.

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Vignette: Teri Dryden

"Echo" by Teri Dryden, 40x40in, acrylic on canvas, $2400 | BUY NOW

A line disintegrates into a smudge, which then blends into a new color, while an opposing stroke swipes across the canvas with ferocity. Teri Dryden works from such an intuitive, emotional creative spark that her paintings can only be seen as Abstract Expressionism, but, as with many such artists, the phrase seems limiting and only useful for academic discussion. The Museum Of Modern Art describes it this way: “The varied work produced by the Abstract Expressionists resists definition as a cohesive style; instead, these artists shared an interest in using abstraction to convey strong emotional or expressive content.”

That explanation certainly would seek to capture Dryden’s own action painting, with vigorous marks and color choices that invite the viewer to read a confluence of emotions applied to the canvas with a modicum of intellectual framework. “Echo” feels sunny and optimistic, full of hope, while “Twist and Shout” explores anxious energy in restricted release.

"Dive In" by Teri Dryden, 36x48in, acrylic on canvas, $2500 | BUY NOW

"Arden" by Teri Dryden, 40x40in, acrylic on canvas, $2400 | BUY NOW

“My artwork is process oriented. I begin each picture with a line. I have no specific outcome in mind. I respond to the changes in the painting as I explore and interact with materials by layering paint and paper, scratching, sanding and marking, creating open spaces, altering and adjusting. I move between intuition and logic, chaos and order. Being aware and open, taking risks with the materials, as well as the struggle itself allows me to have a more meaningful painting experience and often leads to a greater self-awareness. My goal is to create work that is authentic and genuine.”

Dryden is currently part of a group show called "Mix it Up", New Work by Gallery Artists at New Editions Gallery in Lexington, now through October 2016. 

Hometown: Annapolis, MD
Age: 58
Education: Towson University
Website: http://www.teridryden.com
Gallery Representative: View Gallery (Jackson, MS); New Editions, (Lexington, KY); B. Deemer (Louisville, KY)

"Sunday Afternoon Promenade" by Teri Dryden, 24x30in, acrylic on canvas, $1400 | BUY NOW

"Twist And Shout" by Teri Dryden, 40x40in, acrylic on canvas, $2400 | BUY NOW

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Written by Keith Waits. Entire contents copyright © 2016 Louisville Visual Art. All rights reserved.

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Curatorial Q&A: 9 Questions for Peter Bodnar III

"Indehiscent form #2" by Peter Bodnar, 19x46x4in, acrylic on steel (2016), $1200 | BUY NOW

Having known Peter Bodnar for a LONG time, in fact since my days in New Harmony, which date back forty years, I am always excited to see what he is up to, so the prospect of a show of new work at Swanson Contemporary (opening Oct. 7) is indeed something to look forward to.

I value Peter for lots of reasons, his thoughtfulness, his integrity, and ability to question authority, his persistence and dedication, his humor, both good and funky, and his ironic stance in the face of a non-caring universe.  All these character traits show up in his art, which to my mind is the principal duty of being an artist: putting in, giving form to the world an authentic and personal vision.

These questions are all things, that while I had made assumptions about, I had never really asked Peter directly, so this was a chance to learn from him in a new way.  — John Begley

When starting on a piece of work of art, what's the process?

PDBIII - An idea becomes a drawing, which begets more drawings until a path toward final execution is clear. Small models make form concrete and guide the larger work. Paul Klee showed me that one could invent a living world with a pencil and paper.

JPB – I am delighted to see the Paul Klee reference, have always liked his “taking a line on a walk” statement.

Since you work abstractly, how do you know when you are finished with a specific piece of art?

PDBIII - I’m not sure that the moment a work is “finished” is any different for abstract or representational work, having done both. It generally is the point at which something cannot be added without losing something else. I live with my pieces for a long time. They are released into the world when they possess fewer things that bother me than excite me. That said, the desire to make new work comes from a feeling that I never quite get it completely right.

JPB – I should have realized that you do work in a multitude of manners and not asked the question so narrowly.  I find your explanation of not being able to add something without losing something to be very revelatory, and right.  And the motivation to do new work because there was always a choice that you could have made, and did not, and therefore are not sure that you indeed get it right to be compelling.

“Liquid Structures Suite” by Peter Bodnar, 15x67in, acrylic on paper (2013), $950 | BUY NOW

Since you have long tenure in the Louisville art community, how are you feeling about local art scene in Louisville?  What's good? What's not so?

PDBIII - Things change, some for the better, some not. I am especially grateful for the support & leadership you, John, have given this community over many years. With experience comes the long view. I am still dismayed at the lack of institutional support for regional artists. From an ART BASEL perspective, we’re all folk artists.

JPB – Thank you for the compliment, and I do agree that the art history of our community is neglected and deserves the same thoughtful analysis that work in other places receives.

“Cusp #5” by Peter Bodnar, 24x28in, acrylic on steel (2016), $1200 | BUY NOW

You have exhibited with Chuck Swanson for several years, what are your thoughts on the artist/ dealer relationship? What makes it work?

PDBIII - I am lucky to have had Chuck’s friendship over these years.  I have been able to show bodies of work in an un-curated context. The classic artist/ gallerist model is a rare bird these days, and Louisville is fortunate to still have a few long standing examples. Sales and promotion have few rewards in hinterland markets.

JPB – I think “un-curated” may be a bit misleading. Chuck’s ultimate curatorial choice is to choose the artist and then trust the artist to bring a cogent body of work to the exhibition space.

What advice would you give a young artist? Any regrets for paths not taken? 

PDBIII - Beware of fashion and seriousness. Develop as many skill sets as possible. You will need and enjoy them. Knowing what I know now, I might have chosen another profession.

JPB – I find I am susceptible to the “seriousness” problem, and I think that is why I always find the“dada-fluxus” response so freeing.  I have always loved your “eclectic” cooperative as absolutely fun, anti-seriousness in its most honest form.

What role do you think is important for an artist to play in a community? What is the artist's job? 

PDBIII - I feel my job, as a citizen of this community, is to strive for equality and justice for all its members and to protect the environment of this place. That is my social practice. As an artist, I work to make the community a place that can support creative individuals. When I was starting out, I felt my challenge lay outside NYC, to forge a new art / community dynamic in flyover America. As an educator, I know I have made a difference in specific cases, but in general, after forty years, I fail to see much effect on the community as a whole.

“Oscillating behavior series 02” by Peter Bodnar, 22x28in (framed), mixed media on paper (2014), $400 | BUY NOW

JPB – I think many of us feel this frustration at the slowness of change, at the same time I remain hopeful that if we keep doing it, we might get it right at some point.  I think you must feel the same way.

You have worked with ideas from science and mathematics for long periods in the past, what is exciting you now?

PDBIII - Same inspirations— just deeper, less literal— in my view. I want to see how an idea looks in the flesh, so I have to make it. I strive to make animate objects, so my metaphors are animal, vegetable & molecular.

JPB – Ideas incarnate, sounds almost religious.

You have used a variety of materials and media, as well as engaged in performance work, collaborations and installations, what is the cause of your restlessness? (I don't want to imply that question as a pejorative.)

PDBIII - I don’t / didn’t want to miss anything, so that when opportunities arose, I took the bait. Different audiences respond to different stimuli, and the question of whom you’re making your work for is an important one. I find I need a better “effort-to-return” ratio to prompt me in my golden years. Large installations with a clear narrative receive a predominance of media coverage, but are usually costly affairs that turn an artist into a fundraiser.

JPB – If we do this kind of thing again, I want to explore this idea of the artist as fundraiser.  You have provoked me again in a most positive way.

“Above / Below (in blue)” by Peter Bodnar, intaglio w/ pigment (2016), $300 | BUY NOW

Your father has had a successful career as an artist/teacher, how has that shaped your approach to making a life as an artist?

PDBIII -. My father has been a great influence on everything I do. I purposely ran in different directions as a youth in order to define my own self, but am constantly aware of how much I’ve circled back to the groove. His work ethic approach to art making—perspiration not inspiration-—kept me going from the start. I was fortunate to catch a career as artist –teacher before that model became difficult to maintain, and was able to develop my expertise in ways that were never available to him. He’s 87 and still painting and I am proud to be carrying on a family tradition. 

JPB – Peter, thank you for your willingness to share these thoughts, as well as your work.  I look forward to the new show at Swanson with much anticipation.

Peter Bodnar’s Neo Phenomena
Swanson Contemporary, October 7 - November 12, 2016
Opening Reception 5-8pm, October 7

“Vibe Series 01” by Peter Bodnar, 14.5x16x5in, intaglio on paper w/ HC (2015), $300 | BUY NOW

“Whirl Study” by Peter Bodnar, 14x14in, burnt cedar on paper (2015), $200

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This Curatorial Q&A was written by John Begley.
John Begley is a Printmaker, Installation and Video Artist. From 1975 to 2014 he was a Curator and Gallery Director, including 19 years as Executive Director of LVA and several years with the UofL’s Hite Art Institute, where he is now Coordinator of IHQ Project.

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Entire contents copyright © 2016 Louisville Visual Art. All rights reserved.

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