Steamroller Printing

A group of us from Peregrine Press had a great time participating in this steamroller print project in May, organized by the folks at Running with Scissors artist studio building.  Here we are inking up our 4’x8′ block and printing it on muslin.  Many other print shops joined in, Pickwick Press, Wolfe Editions, Meca, UMaine, Circling the Square….it was a party!

 

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“Abstraction” review!

Excited to be mentioned in this Dan Kany review of the Abstraction exhibit!

Maine Sunday Telegram. February, 19, 2017
Abstraction’ goes long at Greenhut Galleries
Despite some crowding, the show is full of thought-provoking work.
BY DANIEL KANY
Established in 1977 by Peggy Golden, Greenhut Galleries is Portland’s oldest gallery. Frost Gully Gallery in Freeport, which opened in 1966, closed last year, making Greenhut the respected elder of the Portland area gallery scene.

Greenhut is now showing “Abstraction,” a rather basic show that somehow manages to raise some remarkable questions. By “basic,” I mean nothing demeaning – it’s a strong show – but what is most remarkable is how natural it feels.

The team-curated show features a pair of the gallery’s long-time artists, Jon Imber and George Lloyd. But it also includes newer ones: the reductive but powerful paintings of Ken Greenleaf and a work by gallery employee, Chris Beneman, whose constructed architectural monoprint image is a pulsing high point of the show. As a whole, “Abstraction” is testament to Maine contemporary art’s no longer taking a back seat to more traditional observation-based painting.

Greenhut smartly starts “Abstraction” with a large painting by Frederick Lynch in the front the window. Lynch died in 2016 at the age of 80 after a long and highly engaged career as one of Maine’s leading abstractionists. “Division 114” acts like a geometrically carved wooden room divider barely jammed into the 7-foot canvas. Lynch acknowledged the corners of the canvas with the darkest bits of the scene where the trompe-l’oeil-ish architectonic surface form didn’t quite reach out. This is in fact a witty blend of the modernist practice of emphasizing the literal edges and corners of a canvas to underscore its literalness and of postmodernism’s willingness to play games with any tool, however fictional or cliché. The result: We see the painting as a flat, cornered rectangle with artist-energized painting stuff happening all over the surface. We see the thing, the process, the intention, the faith.

But the main problem with “Abstraction” is immediately apparent: There are too many works in too small a space. This is initially visually distracting, but there is an argument for more-is-better if you’re actually there to see as much art as you can. While this is less an issue for the more self-contained paintings, it’s tough on works that rely on an object presence. Noriko Sakanishi’s grandfather clock-like “Sentinel,” for example, looks like something jammed into an attic if you approach from the left side of the space, but it’s strong if you enter from the right and see it straight on. Sentinels need space to watch over, and this one is no exception.

Lynch’s other work is a complicated object painting that suffers from lack of space, as do a few of the tightly grouped grids in the side gallery such as Willa Vennema’s “The Circular Nature of Chaos and Order,” which feels like a circle jammed into a box, and, in particular, Allison Goodwin’s “The Sum of Its Parts,” a playful piece that comes across as too many kids on a cramped city playground.

Still, the work is generally very strong. I was particularly struck by new-to-me Lisa Noonis’ “Birch,” a rhythmically rich and pleasantly vertical visual field worked with a light touch. The strongest work in the context of the cramped show is Tom Flanagan’s jumpy and jagged “Shelter.” Conversely, Penelope Jones’ “Byzantine Permutations” bubbles to the top by carving out its own corner of historically layered decorative elegance. George Lloyd’s small paintings pack a visual punch, but they’re hard to see on the busy walls unless you specifically give them a few moments of their own: Do it. The payoff is big.

“Abstraction” is not short on appeal. Daniel Anselmi’s, Sandra Quinn’s and Ingrid Ellison’s elegantly finished square paintings all shift in real time with the mesmerizing grace of dancers. Nor is it short on formal intelligence, which arrives in spades with the unfurling shaped-canvas geometry of Ken Greenleaf’s “Lotus Blossom” and Lori Tremblay’s musically mapped blues unfolding as a circular tri-fold earth.

By far the strangest and most intriguing work in “Abstraction” is another square work – Tom Paiement’s “Tone Scale,” which features five horizontally stacked folder-tab-colored lucite bars in the middle of a two-foot skin-toned panel. Four of the bars are LED text screens. The middle one is blank, seemingly playing the role of the drawn line in L. Ron Hubbard’s famous explanation of his Scientology “Emotional Tone Scale”: “Just draw a horizontal line on the page. Put the people who are less alive on the bottom and the people who are more alive on the top.” Hubbard, in fact, listed 81 steps on the logarithmically numbered scale. And it is these that Paiement flashes at us. It’s a startling piece in the context of Donald Trump’s current anti-Muslim efforts. But Paiement’s ironical weaponry, unlike the Scientology scale, is comfortably capable of handling multiple positions simultaneously. On one hand, the work is about painting’s inability to respond to the shifting emotional states of its viewers. On the other hand, Scientology ostensibly values creativity and yet has tied itself to a dogmatic orthodoxy of labeling and judging anyone and everyone on its enumerated terms.

An awareness of Paiement’s art in general isn’t necessary, but it helps: He doesn’t comment on the Tone Scale. He doesn’t need to. He lets the systems logic and the gallery practice of contemporary art viewers do the work. Contemporary art, after all, is charged with explaining its own self-contained logic. The fact that we have to reach out further to educate ourselves and judge the merits of the piece as we would judge any work of contemporary art puts the ideas (and orthodoxy) of Scientology in a standard line of critical inquiry.

The result is a bit of self-education by the viewer, but the creative context is challenging. It’s a fair question to ask yourself if Paiement is an earnest Scientologist, and in the end, the hypocrisy revealed by the contrasting of internal art logic with the externally imposed religious dogma doesn’t discount that possibility. And there’s the wit. It’s one thing to come up with this system, as Hubbard did. But it’s another altogether to follow Hubbard in using it to judge yourself and others. Paiement is far too subversive to straightforwardly announce his own judginess. Besides, if it weren’t up to such iconoclasm, it wouldn’t be art – it would be religious testimony. And religion it ain’t.

You might not see Paiement’s “Tone Scale” as abstraction, but you would be hard-pressed to argue it isn’t. To me, it is an extraordinarily timely work because it offers a path for Paiement to open up a critical line of thinking about religion: That it is inextricable from irony, a truth made clear by organized religions throughout history that have preached a variation on “love they neighbor” while simultaneously judging and persecuting people of other faiths.

The greatest quality of contemporary art is that it can build its own paths to content. This is precisely why it is such a powerful cultural tool. Contemporary art can be pretty or revolutionary. It can fun or political. It can be quiet or spiritual. It can be anything. We make the mistake of assuming an abstract painting’s standard of success is aesthetic – when it can be so much more. There is a reason why both Hitler and Stalin saw abstraction as a threat and made it illegal. Something that can do anything, after all, can be very powerful indeed.

Freelance writer Daniel Kany is an art historian who lives in Cumberland. He can be contacted at:

dankany@gmail.com

February 2017 exhibitions

Looking forward to participating in two upcoming exhibits!

Opening on the first Friday, Feb 3rd, 5-8pm is The Unity of Opposites at the Institute of Contemporary Art at Maine College of Art.  My work in the show “Lineation” is a drypoint and monotype collage, 33″ x 14″.

Click here for more info:https://www.meca.edu/about/institute-of-contemporary-art/coming-soon/collective-actions-ii/#unity-opposites

Abstraction at Greenhut Galleries, opening reception Saturday, Feb 4th from 1-3pm, features work by 25 Maine artists.  My piece in the exhibit is “Urban Grid”, collagraph and monotype, 34″ x 26″.

Click here for more info: http://www.greenhutgalleries.com

 

Upcoming holiday open houses

I have work in 3 shows coming up this holiday season, hope you can join me at one or all of these!

2 small (5×5 inch) working waterfront paintings will be part of the holiday exhibit at Ocean House Gallery in Cape Elizabeth. Opening Friday, Nov. 25 from 5-8pm. Show continues through December.

Lineation, my solo show at Vestibule 594 on Congress St. will be open to the public on the First Friday art walk, December 2nd from 5-8pm.  This show is up until the end of December.  If you would like to see the show and can’t come by on Dec 2,  email me at cbeneman@gmail.com to make an appointment.

Finally, The Bakery Studios at 61 Pleasant St. in Portland will be hosting open studio day on Saturday, December 10th from 10am – 4pm.  Peregrine Press will be open with some of the 30 members displaying their work. I will open my own studio that day, along with many others in the building.

 

Lineation opening at Vestibule 594

 

My solo show ” Lineation”  will open as part of the First Friday Artwork, November 4th from 5-8pm.  The show features recent monoprints and acrylic paintings.  Vestibule 594 is located at 594 Congress St in Portland, near the Congress Square intersection and the Portland Museum of Art.  Exhibit will be on display through the end of December.

 

George Marshall Store Gallery exhibit coming up!

Very excited to be included in the October/November exhibition at George Marshall Store Gallery in York, Maine.  My monoprint, Urban Salvage, is featured on the invitation and will also be included in an ad for the show in Art New England magazine.  Urban Salvage is 80″ long by 26″wide…one of the largest pieces I’ve ever printed.  GMS curator Mary Harding came to my studio today and selected 2 additional pieces for the show as well…a High Line collagraph and a small collage.  Exhibition opens Saturday, Oct 8 from 5-7pm

gmsshow-2016

 

gmsshow-4b-2016

History of Peregrine Press and the making of the collaborative falcon kite, videos on You Tube

Peregrine Press has posted videos created for the 25th anniversary celebration on You Tube.  This first video is an excellent introduction to Peregrine Press, its founding, mission and evolution over these past 25 years:

 

The second video is a short overview of the collaborative process making the 25th anniversary falcon kite that hung over the exhibition at the Lewis Gallery.  Measuring about 14 x 8 feet, the kite was composed of collaged prints by all Press members, mounted on a structure created by David Wolfe of Wolfe Editions.