Arts » Visual Art

On View

Capsule reviews of current area art exhibitions.

NEW

March of Crimes -- Dissident only in the vaguest of senses, this small exhibit feels like a rally whose participants have neither a cause nor a message -- let alone much aesthetic interest. Of the four featured artists, Bob Peck is one of two worthy of consideration. His dripped-acrylic and spray-painted pictures may be a touch gaudy and sloppy, but at least they present intelligible concepts. His best is a busy view of an urban skyline tited "The City Never Sleeps." Two of Grant Smrekar's paintings, as well, offer some cause for marching. In an apparent protest of the Iraq war, what appears to be the camouflaged face of a Middle Eastern man stands out against a background of splattered red; at the top is printed, in blunt Army-style type, "My War." Smrekar's untitled image of Michael Douglas's gun-toting character in the film Falling Down hauntingly recalls an instance of protest going too far. Elsewhere, Ali Calis contributes an incoherent set of curved wooden panels painted with cartoon-like characters à la Matt Groening, and Nick Zaremba offers a collage of pink paper, figurine drawings, and cutouts from a textbook -- the visual equivalent of babbling. Through April 9 at 1300 Gallery, 1300 W. 78th St., 216-939-1300, www.13hundred.com. -- Zachary Lewis

On a Pedestal -- Chicago sculptor and guest juror Richard Hunt presents a mixed bag of media, techniques, styles, and quality between these 32 pieces. Most of the best selections reveal a virtuoso ability to manipulate a chosen material, as in "Trap," Brent Kee Young's stringy, cylindrical web of glass; "Deep Blue," Leo Price and West Vayo's elegant, semi-abstract brass whale fin; and "Pitch and Roll," Robert Huff's fine, leaf-like etching in a pillar of sandstone. Other memorable pieces include Molly Flanigan's "Envelop," a ceramic arrangement that looks like cancer overtaking enlarged human sinews, and Pamela DeCoker's envelopes and pouches made of dried acrylic. Other, less fortunate works lack either a compulsion for being or the ability to evoke more than a brief smirk from the viewer. Under this category fall Andries Fourie's "House of Bondage," an aluminum structure silkscreened with pictures of irons and wheelbarrows, and a blunt piece of the emperor's conceptual new clothing by Chris Helman titled "Pedestal Support No. 1." Still, anyone with an appreciation for sculpture in its many forms will find much to enjoy on these pedestals. Through April 15 at the Sculpture Center, 1834 East 123rd St., 216-229-6527, www.sculpturecenter.org. -- Lewis

ONGOING

From Leipzig -- The seven young artists here are all representational painters associated with the Leipzig Academy of Visual Arts, yet there is tremendous variety among the show's seven paintings, covering a wide palette of styles and subjects. Martin Kobe and David Schnell are fascinated with perspective: In Schnell's acrylic, "Stangen im Mai," a grid thickly populated with trees and other vertical objects extends beyond sight in every direction; Kobe's untitled acrylic resembles a surrealistic architectural design, in which the walls, floors, furniture, and blank space have been dipped in red and stretched to infinity. A surrealism more versed in the tradition of Magritte reigns in "Automat," Matthias Weischer's four-panel oil on canvas: Here, a peculiar object -- a cross between a bed and a pinball machine -- stands like a shrine inside a ruined open-air temple that no one ever visits. It's strange and compelling in its odd stillness. German political and industrial history is the subject of "Prozession," the oil-on-paper narrative-style painting by Neo Rauch, who at 44 is the oldest artist in the show. An atmosphere of decay pervades the unusual composition: Giant men in top hats hold small men in their hands like slaves, while others trudge into a factory that's billowing smoke into an already darkened sky; the impression is of a bleak labor sector in which the workers hold little power. With only one work from each artist and all displayed in a single gallery, From Leipzig whets the appetite for more from each. Through May 1 at the Cleveland Museum of Art, 11150 East Blvd., 216-421-7340. -- Lewis

George Mauersberger -- The Cleveland State drawing instructor reinvigorates the floral genre by forcing pretty flowers to share the attention, rather than hog it, in these large pastel and charcoal drawings. Unlike traditional still lifes, Mauersberger's flowers tend to be just one of many elements to regard, and his settings are not of the usual fragile, inhumanly perfect variety. Most are drawn in the ultra-lifelike trompe l'oeil style and appear to be taped to a wall. Big, beautiful, and vibrantly colorful as the roses are, the tape is often of equal or greater visual interest: Mauersberger lavishes care on the qualities that distinguish one sort from another, such as the gooey thickness of electrical tape or the thread veins in packing tape. Mauersberger titles all these unconventional, seemingly accidental compositions "Wallflowers." He also expounds on the idea in a pair of drawings titled "Black as Silk" and "White as Milk." Metal scissors and plastic hangers add to the array of textures, while a white nighttime-sky scene on a black background lends a surrealistic feel. Different they may be, but the quality of the drawings is high, as it is in every piece here. Through March 26 at the Bonfoey Gallery, 1710 Euclid Ave., 216-621-0178, www.bonfoey.com. -- Lewis

Masterworks From the Phillips Collection -- Touring this group of highlights from the renowned Phillips Collection is like taking an art-history survey course on Impressionism and Abstraction, and the list of artists reads like the textbook's index: Monet, Manet, Courbet, Morisot, Cézanne, Delacroix, Corot, Ingres, Van Gogh, Goya, Bonnard, Braque, Matisse, Renoir, Degas, Picasso, Kandinsky, and Klee. Duncan Phillips, founder of the collection and wealthy heir of a steel magnate, displayed amazingly prescient taste, buying works by artists whose true worth was not always recognized at the time. Organized by period and subject matter, the show consists of 59 paintings that originally hung in the Phillips home, now a major national museum in Washington, D.C., in addition to 18 comparable works owned by Cleveland. Renoir's magnificent "Luncheon of the Boating Party" may be the best-known piece, along with a handful of Degas' ballet paintings and Matisse's "Etruscan Vase," but the exhibition is not short on less familiar works and less familiar names. Cubism gets a weighty nod via still lifes by Braque and Picasso, but the show ends on a whole note of pure abstraction with Feininger's elegantly geometric "Village" and four exotic musings by Klee. This is not a class to cut. Through May 29 at the Cleveland Museum of Art, 11150 East Boulevard, 216-421-7350, www.clevelandart.org. -- Lewis

Misha Kligman: Icons for the Nonbelievers -- Whether he sells one or every picture on display, 2001 Cleveland State graduate Misha Kligman should count his first solo exhibition a success. His oil paintings are derived by stripping fashion magazine covers of their ink and overlaying them with entirely different colors; the results are shadowy portraits that would be appropriate in a cathedral, if only the figures were biblical. In "April," one of only two titled works, a bird stands on the shoulder of a girl with slick hair pulled back over a face as white as a mime's. The pictures look like relics of a bygone era, oddly tinted daguerreotypes of people who, as models, had perfect skin, hair, and bone structure, but never quite existed among the living. Their skin now appears far too sallow for traditional beautiful, their haunting oval eyes -- one of few traits that remains recognizably human -- burn through the layers in ways both alluring and frightening. Meanwhile, Kligman's dark tones render their glamorous poses silly and their once-lavish costumes as coarse rags. This show marks a strong start for an artist worth knowing better. Through March 26 at the E. Gordon Gallery, 2026 Murray Hill Road, 216-795-0971. -- Lewis

Urban Passages -- Tucked into the second floor of the Tri-C West library, Urban Passages features two artists making intelligent visual points and counterpoints. William Chill offers views of factories and other urban landscapes that document Cleveland's status as a waning industrial city. He demonstrates great variety within his theme: The show opens with stunning semi-abstract charcoal drawings suggesting smokestacks and heavy industrial machinery. The wispy graininess of the charcoal creates an almost tactile effect of smoke and grime baked onto metal, while vast areas of white space contrast sharply with smaller but dense patches of bold black. Chill's photorealistic scenes of downtown show the city's architecturally modern -- even sleek -- side. Pam Gilliland, too, submits dynamic views of curvy highways and bridges. In her paintings of intersecting telephone and electric lines as viewed from street level, some lines overlap to form pleasing geometric patterns, while others are less orderly. One or two of these might be called formally balanced compositions, but none presents a compelling subject, even in design terms. Through April 9 at Cuyahoga Community College West Library, 11000 Pleasant Valley Rd., Parma, 216-987-5322, www.tri-c.edu/art. -- Lewis

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