Love Poem (10 Minutes After the End of Gravity)
For Adam Cvijanovic’s third solo show at Bellwether Gallery, Love Poem (10 Minutes After the End of Gravity), he has created two monumental paintings that hark back to the triumphant decoration of late eighteenth-century Rococo. Painted on Tyvek, the indestructible, fibrous, synthetic used for FedEx envelopes and house construction, the works are affixed directly onto the wall; it is a process the artist terms “mobile frescoes.” They are ambitious works and it is easy to understand why Bellwether’s Becky Smith has been trumpeting the show all summer. For those who have followed Cvijanovic’s career at the gallery, it is refreshing to see the transformation of this adroit painter as he addresses increasingly complex compositions. Earlier large-scale murals tended towards straightforward subject matter—natural landscapes, newsworthy (but normal) scenes (baseball games, spring break on a beach, the launch of a space shuttle, etc.)—and their power and impact was a result of the scale rather than the scope of their content. Like many of the photo-realists, much of Cvijanovic’s work documents rather than deconstructs the conditions of contemporary American life, and while the verisimilitude is always engaging, there is often little beyond the feat of his execution.
The current installation, however, is pure imagination. It presents an unattainable situation made evident through the artist’s own musings, and it is vividly explored through a series of elaborate and detailed studies, one of which is also on view. In the front gallery, Cvijanovic evokes Tintoretto’s exultant heavens through a twelve-foot oval ceiling painting, Iolanthe (2005), where spatial boundaries dissolve in the illusionistic openings of the pale blue sky. Instead of clouds and angels, his is a scene of domestic disarray where a bed, linens, chairs, and the like float through space, propelled by unknown forces. It is neither frenetic, nor frightening, but rather more dream-like, as if the objects of one’s life could simply float away, and wouldn’t it be lovely to watch them go.
The explanation for this scenario is manifest in the rear gallery where a similar sense of remove is in evidence. Titled Untitled (from Love Poem) (2005), the scene is intended to depict Los Angeles ten minutes after gravity has failed, and it is the show’s raison d’être, a seventy-five foot mural that wraps three walls. It depicts an untenable combination of chaos and calm: ranch houses float through the sky; cars fall out of garages; books, shop signs, furniture, palm trees, and the other banalities of quotidian suburban life swirl through the sky. It is expertly executed, and Cvijanovic makes excellent use of the confined gallery space so that one literally feels sucked into the blue sky, surrounded, and pulled into the scene as water spirals towards a drain. The painting crescendos in the rear right corner where a refrigerator spews a rainbow of groceries, swirling out in their branded glory amidst a swell of buildings that cruise through the sky and off into the horizon.
Described in the press release as “a supernatural, impossible and metaphorical event” it is impossible to read the work at this moment without imagining the very real, almost supernatural force—and impact—of Hurricanes Katrina and Rita, on the southern shores of the
ContributorKatie Stone Sonnenborn
Erika Doss’s Spiritual Moderns: Twentieth-Century American Artists and ReligionBy Daniel Kraft
MARCH 2023 | Art Books
Through case studies investigating the role of religion in the lives and works of four 20th century American artistsJoseph Cornell, Mark Tobey, Agnes Pelton, and Andy Warholand through a short closing chapter discussing Christian imagery in more recent art, Doss demonstrates how reductive this dismissal of spirituality really is.
Robert C. Morgan: The Loggia Paintings: Early and Recent WorkBy Jonathan Goodman
NOV 2022 | ArtSeen
Intellectual, critic, and art historian Robert C. Morgan also makes paintings, and has been doing so for most of his long career. The current show, on view in the large, high-ceilinged main space of the Scully Tomasko Foundation, consists of a series of drawings called Living Smoke and Clear Water: small, mostly black-and-white works, of both an abstract expressionist and calligraphic nature (early on in life, Morgan studied with a Japanese calligrapher).
Leiko Ikemura: Anima Alma - Works 19812022By Jonathan Goodman
DEC 22–JAN 23 | ArtSeen
Born in Japan, Leiko Ikemura left for Spain to study language and art before moving to Switzerland and eventually to Germany, where she currently works. An artist of subtle feminist assertion, Ikemura has chosen in most paintings to represent women and in some instances children. Ikemura is well known in Europe and has shown extensively there, but this is her first exhibition in America. Her painting style tends to be diffuse and sensuous, in a manner not so distant from the art of someone like Marlene Dumas. Her training directed her toward a compelling mixture of figuration bordering on abstraction, even when she is rendering people.
James Brooks: Rendez-vous Paintings 1972–1983By Robert C. Morgan
JUL-AUG 2022 | ArtSeen
Although I have encountered the paintings of James Brooks sporadically in various group exhibitions focused on Abstract Expressionism, it has been relatively rare to encounter his works shown together in a context all their own. As such, the collection of works included in the current exhibition from the 1970s and early eighties suggest a somewhat timely occasion, providing the uncommon opportunity to understand Brooks solely through his own work and ideas.