Vignette: Shae Goodlett

“Humor has always been at the forefront of my work." - Shae Goodlett

"Forever Endeavor" by Shae Goodlett, Acrylic on Wood, 4ft x 2.5ft, 2017, $300

Shae Goodlett brings humor and a youthful, gleeful energy to his art that is infectious and bright – even when it tiptoes around darkness. He brings together pop culture and everyday life in ways that are instantly familiar and relatable, and Goodlett finds the fun in every simple detail. “Humor has always been at the forefront of my work,” he says. “Creating imagery that evokes laughter is something that I strive for, as it can serve as a means of connection between two anonymous parties: artist and viewer.”

"Brain Freeze" by Shae Goodlett, Acrylic on Wood, 4ft x 2.5ft, 2017, $250

After graduating from Bellarmine last spring with BAs in Painting and Digital Arts Technology, Goodlett is currently a first-year graduate student at the University of Louisville, enrolled in the Master of Fine Arts program at the Hite Art Institute with a concentration in Painting and Drawing. He also recently wrote and illustrated his first book for all ages, “What the Moon Saw on Halloween”. Additionally, he often draws amazing donuts.

He refers to the cartoons he grew up watching when he says he uses amusing subjects to present more serious ideas that comment on what’s being discussed around him. He filters these concepts through his personal views to comment at times on politics, religion and other weighty topics through his art.

“I feel that an artist’s work serves as a reflection of his or her soul, built by the creator’s personal past experiences,” he continues. “To be able to apply that to various current events, cultural movements, and conversations in contemporary society is essential to the work of a modern artist.”

He says there is nothing he is more passionate about than his art. He hopes he can find ways to offer new perspectives to viewers of his work. What he wants each viewer to take away, more than anything else, is “how much art-making means to me. The joy and excitement that is brought to my life through each project is something that I will forever be thankful for.”

Hometown: Crestwood, KY
Age: 23
Education: BA in Painting & BA in Digital Arts Technology, Bellarmine University (May 2017)
First year MFA candidate at the University of Louisville's Hite Art Institute: Studio Art & Design. Concentration: Painting & Drawing
Website: shaedraws.com
Instagram: @shaegoodlett

The artist in his studio.

"POP Gothic" by Shae Goodlett, Acrylic on Plywood, 4ft x 2ft, 2017, $450

"Untitled 2017" by Shae Goodlet, Acrylic on Plywood, 4ft x 2ft, 2017, $450

"POP Gothic II" by Shae Goodlett, Acrylic on Plywood, 4ft X 2ft, 2017, $300

"Take Another Little Pizza My Heart Now, Baby" by Shae Goodlett, Acrylic on Plywood, 3ft x 4.5ft, 2017 SOLD

Written by Peter Berkowitz. Entire contents copyright © 2017 Louisville Visual Art.
All rights reserved.

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Curatorial Spotlight: Ann Stewart Anderson

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“I believe that I’m here to create in a world that’s falling apart.”

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A photograph of Ann Stewart Anderson. Photo by Sarah Katherine Davis Photography for LVA

I’ve known Ann Stewart and her work much of my adult life. As I got to know her work, I admired it for its visual accessibility and its conceptual complexity. Her resume of accomplishments and milestones is pages long. Over the past several weeks, I’ve read what others have said about her work, what she’s said about it, and looked at images of pieces I remember, along with ones I’ve never seen. This process has only increased my admiration.

Recently, she and I had a conversation in her studio that ran the gamut from homemade paper dolls to theologian Paul Tillich’s assertion that myths express truth. 

In our conversation, Ann Stewart talked about her father, a Presbyterian minister who studied architecture in college, built a playhouse for his three little girls, and had the courage to stand up publically for civil rights in a time when most other white ministers steadfastly kept their seats; and her mother, an artist who nurtured her daughters’ creativity with easels and paints in the sunroom, building supplies outside, and the steady encouragement to imagine.

Her parents were bedtime story readers, letting the girls take turns picking the book. When it was Ann Stewart’s turn, she always picked Greek mythology, tales of valorous men in war and the women whose lives intersected their personal and public battles. 

Dolls hanging in Anderson's studio. Photo by Sarah Katherine Davis Photography for LVA.

After graduating with honors from Wellesley with a BA in art history, Ann Stewart got a job as a secretary to the Assistant Director of the Corcoran Gallery of Art in Washington, D.C. With additional odd jobs and what she saved (proudly recalled) from her $2,700 a year job, she paid her own way through graduate school, earning a degree in painting from The American University.

Although she began her career in art as a painter, early collaborations with friends like potter Sarah Frederick and fiber artist Lida Gordon offered opportunities to experiment with other media. Her first big collaboration came when the Louisville Visual Art Association chose Ann Stewart as one of five artists for its “Collaborative Effort” show. The only condition was they needed to pick an artist from outside the region to work with.

But whom would she ask? “Somebody suggested Judy Chicago,” Ann Stewart recalls. At that time, Chicago was gaining a national reputation as a feminist artist with The Dinner Party. So Ann Stewart wrote a letter and sent some of her work. Miraculously, Chicago called. 

“What do you want to do?” Chicago asked.

A close look at Anderson's studio's desk. Photo by Sarah Katherine Davis Photography for LVA

Ann Stewart recalls feeling unprepared. “When she was on the phone, I had to say something, so I just said ‘menopause.’”

And that was the birth of the Hot Flash Fan project, a giant multi-media collaboration that eventually included work by over 50 artists and helped bring menopause out of the shadows and away from silly euphemisms like, “the change.”

Throughout her career, Ann Stewart’s subject has been women and the sustaining rhythm of their ordinary days. Her goal has always been to see women as subjects, not as objects. “That opens the possibility for other women to identify with the women in my work. I don’t paint portraits. I make up these women and somebody will say, ‘That reminds me of so-and-so,’ or the situations will remind them of themselves. Only women can do that. I admire male artists and have been influenced by the painting of Matisse, Bonnard and Max Beckmann, but I think there’s something significant about a woman artist being able to see something and identify with other women.”

But she’s also been a thoughtful artist, one who reads widely, assesses dispassionately and, for much of her life, kept an ongoing journal about her work: a conversation of ideas, technical struggles, connected and disconnected thoughts.

"Esther" by Ann Stewart Anderson, 14x12in, paper mosaic (2016)

It’s Ann Stewart’s point of view that makes her work so provocative. In one series, she creates women in conversations. “It’s the kind of thing women are criticized for,” she says, “nattering, gossiping, but it’s how people learn things. It’s how the important things of life are passed on.” 

Her point of view sometimes reveals a wicked sense of humor, too, like the Ugly Bride series, and the Reject project that she put together at a time when she wasn’t being accepted in shows. “I got depressed,” she says. “Nobody wanted my work. It was going on too long and I decided I had to do something, so I created an art project.” By following the steps to enter a juried exhibit--excruciatingly well known by most artists—she made a point of attempting acceptance in twelve shows. The project culminated in a gala at Louisville Visual Art (LVA) when their home was the Louisville Water Tower, where all her rejection letters were displayed.

“The theme was ‘lemonade from lemons.’ Everything was yellow, and I put up all my rejections on a big wall and invited everybody else to stick theirs on, too, and then I gave ribbons for the best and worst rejections.” Although it was not part of the plan, the mojo worked. After that show—she started getting accepted again.

In her artist’s statement, Ann Stewart says her work is “characterized by dynamic ambiguity.” You can see that in the planes and angles of her “broken dish” women, or in those whose faces are partially hidden—under the brim of a hat, behind a veil or sunglasses, or the old women in extravagant dress and accessories. “You have to fill in the spaces yourself,” she says.

Various works hanging in Anderson's studio. Photo by Sarah Katherine Davis Photography for LVA.

One of the most satisfying experiences she’s had as an artist came with a series depicting the relationship between mother and daughter from the time the mother was pregnant until the day her daughter stood by her mother’s flower draped coffin. At the time, this work was displayed through LVA at Louisville International Airport. One day, Ann Stewart got a call from LVA telling her a woman had called, wanting to talk with her. She assumed the caller wanted to purchase her work, but as Ann Stewart recalls, “It was even better.”

“Are you the artist?” the woman asked.

When Ann Stewart said yes, the woman told her she’d never talked to an artist before but, ”’I was at the airport between planes when I saw your work. My daughter and I were having a big fight, but after I saw your work I was moved to reconcile with her.’ I tell that story to a lot of artists—it’s easy to feel guilty for ignoring social ills, but we don’t really know how our work affects people. “

"Sun Stand" by Ann Stewart Anderson, broken dish mosaic (2008) NFS

Throughout her life, she’s been blessed with having good jobs to “support my habit,” she laughs. For her, there’s never been a question of how to balance making a living with making art. “Art has always come first. I always had a studio because making art is what I do.” Even marriage to Ron Mikulak, food writer and retired Food Editor for the Courier-Journal, has not created the tension some artists experience trying to balance home with making art. “I’ve been lucky. Ron cooks and I make art. When I’m working in the studio, he’s creating in the kitchen, where he loves to be. And when I come out of the studio, there’s a beautiful meal on the table.” 

Her work has tended to follow the chronology of her life. Today, she’s working on “old women” and, most lately, a series she calls the Teffubud Sisters. 

“I was working on the broken dish women, and I was getting really tired having to be in a mask breaking dishes. It was a big mess.” A friend gave Ann Stewart a book about paper mosaics. “I thought, ‘I’d like to try that,’” so she began hunting through some old art magazines she’d tried unsuccessfully to sell at a yard sale for material to use in mosaics. “I discovered I loved working with paper and scissors.”

"Discord (Women and War)" by Ann Stewart Anderson, 46x40in, oil on canvas (2010)

That change of medium was fortuitous when she and her husband moved into a condominium where she couldn’t work with oil paints any more because of the fumes, and still more so later when she was diagnosed with Parkinson’s disease. “There are some things I can’t do, but fortunately, I can still cut.”

The Teffubud Sisters were born from a picture of a grotesque man by artist Jean Dubuffet that Ann Stewart discovered in one of the art magazines. Each sister’s face takes its basic shape from the Dubuffet “parent,” but after that the ridges, lines and contours of each woman—and her adornments—belong to her alone. 

Parkinson’s has forced other accommodations. The most painful? - The fact that she can’t write any more. As she tells me this, Ann Stewart points to a long row of books and notebooks on the top shelf in her studio. “I’ve always journaled about what I’m doing—and I can’t any more. That’s really hard.”

So how does she look at her art now? “I don’t think being recognized is the most important thing anymore. I want to be like Renoir—and this story might be apocryphal—but he’s supposed to have painted on the day he died. That’s what I want to be. I want to keep creating.” 

Today, she says, that’s more important than ever. “I believe that I’m here to create in a world that’s falling apart. Creative energy is the only counter to all the destructive energy out there. That’s why it’s so important for all of us.”

"Phoebe" by Ann Stewart Anderson, 14x12in, paper mosaic (2015)

"Millie" by Ann Stewart Anderson, 14x12in, paper mosaic (2016)

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This Feature article was written by Sarah Yates.
Sarah Yates is a writer who lives and works in Louisville, KY.

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Vignette: David Keator

A photograph of David Keator taken by Geoff Carr.

“Resurgence” by David Keator, 30x38in, oil on canvas (2014), $1000 | BUY NOW

During the first part of his life as an artist, David Keator was celebrated for unique ceramic work: traditional forms such as vessels and pots featuring details of great delicacy, but also furniture pieces. Dorothy Weil, writing in Cincinnati Magazine in June 1986 describes how Keator’s work at that time, “…brings out the elegant side of Art Deco. His tables are crafted of wood, marble, and porcelain, and have formal, classic, straight lines and pretty Deco blues and pinks. Humor and whimsy come out when Keator decides to throw in zigzag legs or create a table and vase in one.” 

Keator worked in Louisville for many years, including a stint as Professor of Ceramics at the Louisville School of Art. Later he moved to Florida and, in his last years, turned to painting when arthritis made the intricacy of his ceramics work a challenge. In a statement from 2013, Keator talked about the change in medium: “Paint became my new fascination and ‘creative outlet.’ My paintings are non-representational. They are a search for the impression or expression of objects or subjects in a spontaneously responsive manner.”

Perhaps there is more of a relationship between the work with which Keator made his reputation and the work with he makes his last artistic statements. The sophisticated surface treatments on clay give way to a more abstract but no less sophisticated development of the painted canvas surface. Curvilinear figures and jewel-like geometric shapes echo the Deco qualities Weil refers to 30 years ago. The nature of the work may have changed over time, but the character of it remains consistent to Keator’s overall aesthetic.

A silent auction of David Keator’s paintings will be held at Headliner’s Music Hall in Louisville November 6 from 4:00-6:00pm. All proceeds will go to Louisville Visual Arts and the Louisville Fund for the Arts.

David Keator
(1951-2016)

"Abrupt Turbulence" by David Keator, 15x20.5in, oil on canvas (2014), $600 | BUY NOW

“Fallen Skies” by David Keator, 13x31in, oil on canvas, $950 | BUY NOW

“Gathering Impulses” by David Keator, 10.5x29.5, oil on canvas (2014) $800 | BUY NOW

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

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Q&A: Illustrator Scott Soeder

Photograph of artist Scott Soeder at work.

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"Art means me. It is my personal visual language for communicating my ideas and getting lost in my thoughts." — Scott Soeder

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Scott Soeder is an award-winning professional illustrator and designer specializing in illustrations for children's books, magazines, apps and games. Select clients include Highlights for Children, Timehop, Lightchange Studios, Reelio Inc, 311, Lake Street Dive, Sharks 4 Kids and more. A graduate of the University of Louisville, he is based in based in Louisville, KY.

When did you first think you would be an artist?

I can’t say there was any defining moment. I have been drawing as long as I can remember, as if I’m simply naturally attracted to do so. Maybe we all are and for whatever reason some of us move away from it. I played football on a team when I was a kid, but by the time I got to high school I had very little interest in playing. Maybe art is like that for others. Also I was a scrawny kid, even in high school, and I knew I would end up a small pile of broken bones had I attempted to play.  I was very fortunate to have parents who kept me stocked in art supplies and who encouraged me. I absolutely adored looking at and reading “Peanuts” in the newspaper and watching Bugs Bunny cartoons. Animation and comics were my experience with art. When I was around 7 or 8 or some age expressed in a single digit, my grandfather made me an easel. I would sit for hours drawing at that easel. I remember feeling like a real artist working at that easel. At an early age I was equipped with art supplies, had a paying customer and friends referred to me as a “good drawer” So artist was added to my list of “what I want to be when I grow up” directly under Astronaut and Spiderman. 

Is all your work for clients?

Being a full-time artist means that a big chunk of what I create is for clients. However, I do spend time working on pieces for fun, to experiment, or for personal projects. I have been working on illustrating a series of vehicles from pop culture titled Pop Wheels for fun and to give my self a challenge. I have done about 16 and have a long list of others I’d like to do. Also, I work on writing and illustrating my own stories for children’s picture books.

What frightens you the most?

That’s a great question and probably depends on the moment I’m asked. An overarching, big-picture-thought that comes to mind is - being forgotten. That my little blip of time on the planet being Scott Soeder was wasted and that I didn’t use everything I’d been given to the fullest. I want to be able to leave something behind that my children, grandchildren and great-grandchildren could say: “my dad did that”. Besides my children themselves of course, they are my best creations. But in terms of art, Charles Schulz lives in Charlie Brown and will continue to for generations, possibly inspiring other kids to pick up a pencil and draw. That’s an amazing accomplishment.

What is your favorite music to listen to when making art?

Something upbeat and rocking. The list of specific artists would be long! I love music and enjoy listening to it while working. I’d say most of the time it would be music from 311 or pop metal bands from the 80s. 

What are you reading right now?

I’ve been reading Chuck Jones’ autobiography, “Chuck Amuck”. I love looking at his drawings in the book and it is really funny. I would have loved to meet him. I bet he was hilarious. 

What advice would you give a young artist just out of college?

Learn about business and develop your business acumen. Educate yourself on all the opportunities available for artists. Put in the work. 

Tell us about an important moment of transition for you as an artist?

I feel like every moment is one of transition. It is persistent evolution. Always striving to express the emotion or develop the image I see in my head. There are moments or milestone pieces if you will. The ones where something clicked or a visual problem was solved or it made someone laugh, etc. Some of my favorite moments are getting an email or message from someone who really enjoyed a piece and took the time to say so. 

What does art mean to you?

Art feels like a part of me. It has been tied up in my identity for as long as I remember. Art has been the means of showing others ideas in my mind, of depicting humor and simply passing time. When I was a kid my sister had dance lessons and I would bring a sketchbook and art supplies with me to stay occupied. I don’t know what I would have done without it. A great benefit of art is that I am never bored! Art means me. It is my personal visual language for communicating my ideas and getting lost in my thoughts. 

If you could have a talent that you currently don't already have what would it be and why?

I would like to be able to sing. Being able to sing like Steve Perry from Journey would be nice. I play drums and can hold my own on a few other instruments like guitar and bass, but I lack a singing voice. A rusty muffler being drug down a gravel road would sound more pleasant. I have a personal project where I am playing and recording all the instruments myself and having a decent singing voice would be advantageous. 

If you could meet any celebrity who would it be and what would you ask them?

If it could be anyone even if they were deceased it would be Charles Schulz. If it were a contemporary it would be John Lasseter. I would ask Charles Schulz about his work ethic and productivity tips. He drew every single Peanuts strip himself for 50 years. He’d have to have some awesome tips! I would ask John Lasseter about storytelling and creating great characters. Pixar has had an amazing track record of doing both. 

Name: Scott Soeder
Hometown: Louisville, Kentucky
Age: 43
Education: BFA in Communication Art & Design, Magna Cum Laude, University of Louisville, Louisville, Kentucky
Website: http://www.scottsoeder.com

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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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