{"id":453,"date":"2009-04-21T00:42:25","date_gmt":"2009-04-21T07:42:25","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2009\/04\/in_response_to_jen_graves_1\/"},"modified":"2009-04-21T00:42:25","modified_gmt":"2009-04-21T07:42:25","slug":"in_response_to_jen_graves_1","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2009\/04\/in_response_to_jen_graves_1.html","title":{"rendered":"A lot younger than Jesus at the Jacob Lawrence Gallery"},"content":{"rendered":"

In response to Jen Graves’ provocative article, The Vancouver Problem<\/i><\/a> (my response here<\/a>), Ries Niemi<\/a> logged the following reflections on Artdish<\/a>, quoted in part:<\/p>\n

I know a lot of Vancouver artists- and, some of them are just like Jen
\ndescribes, while others are just as provincial as she accuses Seattle
\nartists of being.
\nAnd in Vancouver, the shadow of a certain style of text and photo
\nbased, detached and cold conceptual work, somewhat Baldessari-esqe,
\nhangs over a lot of the artists.
\nThere has been a big concern lately, as Emily Carr has been closing all
\nthe “crafty” art departments, and going more and more towards a Photoshop-only curriculum, that nothing but one style of art is
\n“approved” in Vancouver. And, strangely enough, THE EXACT SAME THING
\nhas been happening at the (University of Washington).<\/p><\/blockquote>\n

Ries:
\nThe text\/photo crowd, most of whom are not “cold and detached” although
\nthere’s nothing wrong with an ambitious chill, is in the ascendancy
\neverywhere. The extra reason why at the University of
\nWashington comes down to faculty: photographer Paul Berger<\/a> and photo-technician\/curator Michael Horn<\/a> (neither of whom has a Web site), along with Rebecca Cummins<\/a> and Ellen Garvens<\/a>. Add the recently demised Larry Sommers<\/a>, and you’ve got the Pied Pipers of the art department.<\/p>\n

A
\ngood crew graduates from the UW this year with BFAs in photography,
\nvideo and whatever trails those categories as installations.(Exhibit at
\nthe Jacob Lawrence Gallery, through May 2. Tuesdays-Saturdays, noon-4)<\/p>\n

From  Sol Hashemi<\/a>, Special Event<\/i>
\nis a collage of the world’s corny surfaces, what takes up space around
\nus, our sometimes inadvertent lightening and brightening touches. At the
\nlast minute, Hashemi added to the show a forlorn construct he’d made on
\nhis way in, titled, Untitled (Mardi Gras Mylar Spray Pick #2)<\/i>.
\nHe was doubtless thrilled to see it booted out soon after and placed
\nnear a trash can, not in the trash can, which I presume would have been
\nbetter.<\/p>\n

(Click images to enlarge.)
\"SolHashemi.jpg\"<\/a><\/span>In the spirit of Robert Rauschenberg, rejoice.<\/p>\n

\"Solhashemitrash.jpg\"<\/a><\/span><\/p>\n


\nJulia Salamonik’s still life looks as if a child put it together in her room and magically enlarged it to life size.<\/p>\n

\"BFAshowUW.jpg\"<\/a><\/span>Jason Hirata<\/a>
\nonce licked a primed piece of canvas till his tongue bled. The blood is
\nthe evidence of engagement. It’s a tribute the body artists of the
\n1970s but tied to painting. Yes, it’s hard. (below, Lick Painting<\/i>, and detail.)<\/p>\n

\"jasonlickcanvas2.jpg\"<\/a><\/span>\"JasonHiratableed.jpg\"<\/a><\/span>He has a lighter side.
\"jasonhirataorange.jpg\"<\/a><\/span>His photos of various assemblages of wooden beams are like maps to a dance.<\/p>\n

\"jasonhiratawood.jpg\"<\/a><\/span>The photos of Zofia Gill<\/a>
\nexude a breathing calm. Despite the clarity of her forms, they seem
\nfluid, almost in the Chinese landscape tradition. Instead of idealized
\nvistas, however, she presents semi-urban in between spaces, vacanies at
\nthe edges of an unseen action.<\/p>\n

\"ZofiaGill.jpg\"<\/a><\/span>Among the other projects I admired is Jacob Sweeney-Samuelson’s video of plastic tatters that is
\nframed in the same tatters, so much more glamorous on the screen, with
\nits tawdry pink and purple lights.<\/p>\n","protected":false},"excerpt":{"rendered":"

In response to Jen Graves’ provocative article, The Vancouver Problem (my response here), Ries Niemi logged the following reflections on Artdish, quoted in part: I know a lot of Vancouver artists- and, some of them are just like Jen describes, while others are just as provincial as she accuses Seattle artists of being. And in […]<\/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-453","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\/453","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=453"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/453\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/media?parent=453"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/categories?post=453"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/tags?post=453"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}