{"id":1064,"date":"2009-09-15T15:08:42","date_gmt":"2009-09-15T22:08:42","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2009\/09\/chas_bowie_scores_a_knockout\/"},"modified":"2009-09-15T15:08:42","modified_gmt":"2009-09-15T22:08:42","slug":"chas_bowie_scores_a_knockout","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2009\/09\/chas_bowie_scores_a_knockout.html","title":{"rendered":"Chas Bowie scores a knockout"},"content":{"rendered":"<p>Chas Bowie&#8217;s review of Jeffry Mitchell and Roy McMakin&#8217;s collaboration in Portland:<\/p>\n<blockquote>\n<p>&#8220;Joy and Reffry,&#8221; on view at <a href=\"http:\/\/www.pulliamdeffenbaugh.com\/\">Pulliam Gallery<\/a>, sounds at first like a curatorial sendup of &#8220;The Odd Couple&#8221; recast with two of Seattle&#8217;s most highly regarded artists. <\/p>\n<p>Playing the role of neat freak Felix Ungar in our contemporary incarnation is master craftsman <a href=\"http:\/\/www.pulliamdeffenbaugh.com\/Artist-Detail.cfm?ArtistsID=219\">Roy McMakin<\/a><br \/>\n&#8211;artist, furniture designer and architect, whose impeccable sense of<br \/>\nformal restraint and subtle humor have led to international success in<br \/>\nboth the art and design communities. McMakin&#8217;s free-spirited foil in<br \/>\n&#8220;Joy and Reffry&#8221; &#8211;his Oscar Madison, if you will &#8211;is genre-twisting<br \/>\nceramic artist <a href=\"http:\/\/www.pulliamdeffenbaugh.com\/Artist-Detail.cfm?ArtistsID=182\">Jeffry Mitchell<\/a>,<br \/>\nwhose showy, neo-Rococo sculptures of pachyderm romance and<br \/>\nirrepressible curlicues would seem stylistically antithetical to the<br \/>\ndeadpan austerity of McMakin&#8217;s furniture-art. <\/p>\n<p>McMakin and Mitchell&#8217;s first collaboration,<br \/>\nhowever, finds the unlikely duo&#8217;s well-honed voices layered in a rich<br \/>\nharmony, with &#8220;Joy and Reffry&#8221; humming a lovesick tune about long-lost<br \/>\nobjects, invented memories, mournful absences and tactile pleasures. (<a href=\"http:\/\/www.oregonlive.com\/art\/index.ssf\/2009\/09\/review_roy_mcmakin_and_jeffry.html\">more<\/a>)<\/p>\n<\/blockquote>\n<p>I read it with interest and mounting dismay. To my knowledge, this show attracted only one other review to date &#8211; <a href=\"http:\/\/www.artsjournal.com\/anotherbb\/2009\/09\/jeffry-and-roy.html\">mine<\/a>. Bowie&#8217;s reached a deeper level and did it with ease. His Oscar and Felix conceit is on target. I comfort myself with the idea that having one day in Portland, I reviewed the show at the opening, always tricky. But McMakin and Mitchell are Seattle artists. I wasn&#8217;t seeing their work for the first time. Maybe I&#8217;m posting too many images and not enough text.<\/p>\n<p><b>Speaking of good reviews<\/b>, there&#8217;s also Douglas Britt&#8217;s in the Houston Chronicle, titled, <i>Houston can take cues from Seattle exhibit<\/i>:<\/p>\n<blockquote>\n<p>The Seattle Art Museum&#8217;s <i>Target Practice: Painting Under Attack 1949-78<\/i>, which closed on Labor Day, was the kind of ambitious show that deserved to spend the next couple years on tour. Maybe in a better economic climate it would have. But other museums &#8212; perhaps daunted by the cost of shipping major works borrowed from more than 70 lenders around the world &#8212; passed. They missed a chance to present that rarest of birds: a crowd-pleasing survey of some of art history&#8217;s most difficult material for audiences to understand, let alone appreciate and enjoy. (<a href=\"http:\/\/www.chron.com\/disp\/story.mpl\/ent\/arts\/theater\/6613710.html\">more<\/a>)<\/p>\n<\/blockquote>\n","protected":false},"excerpt":{"rendered":"<p>Chas Bowie&#8217;s review of Jeffry Mitchell and Roy McMakin&#8217;s collaboration in Portland: &#8220;Joy and Reffry,&#8221; on view at Pulliam Gallery, sounds at first like a curatorial sendup of &#8220;The Odd Couple&#8221; recast with two of Seattle&#8217;s most highly regarded artists. Playing the role of neat freak Felix Ungar in our contemporary incarnation is master craftsman [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-1064","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1064","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/comments?post=1064"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1064\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/media?parent=1064"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/categories?post=1064"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/tags?post=1064"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}