{"id":1359,"date":"2009-12-08T17:29:34","date_gmt":"2009-12-09T01:29:34","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2009\/12\/john_buck_-_message_in_a_bottl\/"},"modified":"2009-12-08T17:29:34","modified_gmt":"2009-12-09T01:29:34","slug":"john_buck_-_message_in_a_bottl","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2009\/12\/john_buck_-_message_in_a_bottl.html","title":{"rendered":"John Buck &#8211; message in a bottle"},"content":{"rendered":"<p><a href=\"http:\/\/www.johnbuckart.com\/\">John Buck<\/a> carves carnival worlds. Press his foot pedal to see heads of famous artists revolve with their<br \/>\npaintbrushes, their dripping watches and their trains coming out of<br \/>\ntheir foreheads.<\/p>\n<p>Dividing his time between Montana and Hawaii, he favors a fast-growing white wood found in Hawaii and known as<br \/>\nMalaysian jelutong. Similar to cottonwood, jelutong is soft and pliant.<br \/>\nEach of Buck&#8217;s rough, chisel cuts eats into the wood and creates small<br \/>\nripples of disturbance across the surface.<br \/>\nNo matter how precise and detailed his carving becomes, it&#8217;s never<br \/>\nfussy or anonymous. Evidence of the artist&#8217;s hand is always there,<br \/>\nrecorded in ragged little stabs.<\/p>\n<p>A survey of his prints <strike>(with some paintings)<\/strike> is at the <a href=\"http:\/\/www.bellevuearts.org\/exhibitions\/current\/john_buck.htm\">Bellevue Arts Museum<\/a>, curated by Stefano Catalani from the collection of Portland&#8217;s <span class=\"style1\"><span class=\"style47\"><a href=\"http:\/\/blog.oregonlive.com\/visualarts\/2007\/03\/a_chat_with_jordan_schnitzer.html\">Jordan D. Schnitzer<\/a><\/span><\/span>.<\/p>\n<p>Aside from carving, woodcuts are Buck&#8217;s strong suit, well represented here. The boldly articulated central figures are surrounded by knotted coils of representation that appear to derive from <a href=\"http:\/\/www.williamtwiley.com\/\">William T. Wiley<\/a>. What is comic frenzy in Wiley becomes for Buck a crazy world sealed in a bottle and seen at an austere remove.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"johnbuckTattoo.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/johnbuckTattoo.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" height=\"419\" width=\"200\" \/><img loading=\"lazy\" decoding=\"async\" alt=\"johnbuckexplode.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/johnbuckexplode.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" height=\"597\" width=\"367\" \/><img loading=\"lazy\" decoding=\"async\" alt=\"johnbuckself.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/johnbuckself.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" height=\"505\" width=\"300\" \/>Through Feb. 28. <\/p>\n<div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>John Buck carves carnival worlds. Press his foot pedal to see heads of famous artists revolve with their paintbrushes, their dripping watches and their trains coming out of their foreheads. Dividing his time between Montana and Hawaii, he favors a fast-growing white wood found in Hawaii and known as Malaysian jelutong. Similar to cottonwood, jelutong [&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-1359","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\/1359","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=1359"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1359\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/media?parent=1359"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/categories?post=1359"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/tags?post=1359"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}