The new batch of McGuffey Art Center members have put together a solid show to introduce themselves, and the artists honor the building’s roots as an elementary school, with, among others, Peter Krebs’ skyscapes presenting views you might see at recess, and Amber Zavada’s earnest earthwork constructions lining the halls.
“Aquarian Woman” and “Soul Travelling” attempt to deify the female body. A rope construction by Sonja Weber Gilkey.
For science class, Bethany Pierce’s small, luminescent paintings beautifully explore a cellular universe. “Horizon IV” is like the most exquisite cataract you’ve ever seen, a star exploding from an eye. For all the delicacy of paint, there’s still a strong painterly quality to her work. Pierce doesn’t smooth out her brush strokes, using them instead to move the viewer through the depths of her pieces. In “Umbilicus,” which draws from scientific realism, the viewers’ eye follows the strokes that create the cord-like structure, which floats along the plane of the picture as delicately as if it were in a womb.
Social studies class takes place in front of Darrell Rose’s mixed-media paintings. His bright, chaotic panels seem at first approach to be pulsatingly cheerful, but the semi-abstract figures are so distorted and bruised that we’re forced to realize an undertone of violence and disaster to the chaos. These figures dwarf the urban settings that line works like “New York, New York,” and “On the Block,” making us wonder if we should fear them or pity them. Across the hall from Rose, Dan Hildt’s mixed-media works fill the gallery air with the smell of asphalt, an element in his sculptural images. Hildt replicates moments on a road or parking lot where painters miss their mark, asphalt cracks, and leaves run into oil patches, using, it appears, the same materials. The shift from horizontal street scene to vertical wall hanging confronts notions of what makes a work of art.
In the upstairs gallery, Sonja Weber Gilkey continues to question the idea of art’s construction. Her zany rope sculptures, made from found objects and crafted ropes, draw from the craft-becomes-art tradition of feminist artists of the 1970s and retain that interest in intimidation. Oversized, strangely and deliberately figural, works like “Aquarian Woman” and “Soul Travelling” attempt to deify the female body, with a strong central axis delineating breasts, pelvis and buttocks.
On the other side of the hallway, the mixed media works of Aaron Eichorst can best be described as the after-school drama class—perhaps the best part of the day. Eichorst draws from theater, mythology, ancient architecture, psychology and a deep appreciation of both aesthetics and wit. Giant figures peek from small stages, flowers replace heads and eyes emerge from leaves. A numbered series subtitled “Grotesque” is unfairly mingled in with other works, forcing the viewer to jump around between “The Temple,” “The Shrine,” and “The Theater” in order to absorb the progression of these Italianate expositions. “The Temple” is the most frantic of the three, as Eichorst plays with color theory, linear perspective and an intimate understanding of Italian iconography. Eichorst and his fellow new members have a lot to teach us, and this exhibition should make for eager pupils.
When Donald Trump and his son Eric bought former billionaire Patricia Kluge’s 45-room mansion in 2012, completing a $12.7 million takeover of her 776-acre county estate, the younger mogul hinted it could become a boutique inn for the adjacent Trump Winery. Now those plans are coming to fruition
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The Albemarle Board of Supervisors voted 4-2 April 15 to raise the property tax rate by 2 cents to 81.9 cents per $100 assessed value. Chair Jane Dittmar and Ken Boyd cast the nay votes for a rate that’s a penny more than what County Exec Tom Foley asked for. The total fiscal year 2016 […]
In its first time entering the Virginia Press Association Awards competition in more than a decade, C-VILLE Weekly walked away with 11 awards, as well as two additional “best in show” nods. In selecting news editor Graelyn Brashear’s July 9, 2014, story “From cancer center to courtroom” as the
As we wander toward this November’s General Assembly elections, one thing is perfectly clear: There is no way in hell that Virginia’s Democrats are going to retake the House of Delegates. In fact, it’s a near-certainty that the House will stay in Republicans’ hands until at least 2020, when the
Activists seeking to keep Sweet Briar College open had their hopes dashed yesterday when a Bedford County judge denied a motion to kick out the school’s governing board and permanently block a plan to shutter the women’s college. After a contentious morning in court that saw
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In Charlottesville, five candidates had tossed their hats into the ring by February for three open City Council seats. In Albemarle, which has open seats for constitutional offices as well as the Board of Supervisors, it’s April, and candidates don’t seem to be in much of a hurry to declare
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