Solo3 @ Warehouse Gallery

UPDATE: I've completed the mini-reviews for Alexandra Silverthorne's work (the first four images). See below:

Before I knew it Solo3 at the Warehouse Gallery was gone. Three solo shows by Alexandra Silverthorne, Joseph Barbaccia and Pat Dunning, disappeared before I could post images or write a review. That's ok though. Today I will begin the process of reviewing the show as even though the work is no longer up, it does merit some attention and praise.

Following the pattern with many of my recent reviews, I am posting images from the show first and later I will follow-up with my thoughts. Check back soon for updates.

Disclaimer: The number of pictures posted of each artist's work does not necessarily reflect my opinion of their shows. I have my reasons and they'll be clear soon.

Silverthorne

Alexandra Silverthorne's installation was a pleasant break from the typical grid structure employed by many artists today. That's not to say it's all that unique, it's to say that I felt the random, all-over installation fit perfectly with the subject matter of her photographs. Silverthorne has set out to document some of the lesser known parks in Washington, D.C. The content of her photographs, while at once true to the subject, are also all over the place. The artist presents viewers with portraits, landscapes, architecture, etc. Had Silverthorne hung her photographs in a static grid, I believe she would have lost some of the energy and randomness that is urban life. As it were, the presentation of the photos encouraged the viewer to go on a search, to uncover personal gems, much like Silverthorne did when she visited the parks in search of great photos.

It's no secret that Silverthorne is concerned about the difference between fine art photography and documentary photography. How do you determine if a particular photo is one or the other, and how important is that question? My guess is that Silverthorne views these photos as fine art (she conceived them as art and printed them herself). However, the artist furthers the fine art theme by mounting the photographs on plywood panels. This risky venture pays off big time. Silverthorne's photos are printed in editions of one. The subject matter is often based on nature (landscape or people). Combined with non-archival presentation, there's a sense of fragility in each piece, and it mimics the unique, fragile nature of the subject matter. Silverthorne makes a case - intended or not - that the people and places that make up our city should be preserved. Well, if you buy one of the photographs for your collection, you'll be responsible for caring for and preserving the photograph for year's to come. It's great to acknowledge the special things around us, but we all have a role in maintaining it. Yeah, she has created fine art photography here.

Silverthorne

Another important aspect to Silverthorne's work is the personal feeling that comes across in almost every single image. Silverthorne didn't pack up her camera and run through these parks snapping pictures. Instead, she integrated herself into the environment and its people. She played with the kids and talked to the adults. She clearly values these parks and the surrounding communities, and perhaps the best accomplishment is that this feeling comes across in the body of the work. Silverthorne doesn't always try to capture the slickest image possible but instead seeks out the most personal, the most real. Her motives are sincere.

Is Silverthorne blazing a new trail in the world of photography. Not really. But she is following a personal path and that is quite evident. As long as she stays on that trail, she'll contribute a lot to our experience of photography.

Silverthorne

I've posted this image, and the one below, for two reasons. One, I think they are two of the stronger images from Silverthorne's show. Two, I now own both of them. I don't want to put her in a tough place, but during the show Silverthorne was selling these pieces for $50. Remember, these are an edition of one and measure 8" x 10". That's an incredible steal deal.

I loved this particular image as soon as I saw it. I found that the baby looked very studious sitting right there in the middle of the walkway. I love how the light falls on the baby - not perfect for a studio setting but perfect for this setting. I love how proud the baby's father looks sitting in the background, watching his child be photographed. Furthermore, the subtle effects cause by the use of a Holga camera sealed the deal by creating ever-so-slightly blurred edges. I had to have this photo.

Silverthorne

This image was much tougher to fall in love with. It took a couple of passes around the gallery for it to grab me and not let go. The first pass I noticed the whiteness of the boy's shirt on the left. From every spot in the gallery it stood out. Among dozens of photos it was the one single element that would consistently grab my eye. The next time around the gallery I noticed just how different the physiques of the boys were. The boy on the left is in great shape with sculpted arms. The boy on the right is much skinnier. The stronger boy is in a tight fitting tank top while the other boy is swallowed up by a big shirt. It's funny to think they are both football players... one certainly seems out of place. By the third time around the gallery I caught on to one last detail. Though the strong boy certainly appears like he should be the toughest, he can't even look into the sun. He looks to be in pain having his photo taken. The skinny kid though, he's not having any problems. It doesn't take brute strength to look into the camera. He can just do it. I like that kid!

Barbaccia

As a frequent commenter on TAA, I've come to be pretty familiar with Barbaccia's artwork. I've had the privilege of visiting his studio and seeing his work in person and in depth. Seeing Barbaccia's solo show was a unique experience for me, one where seeing the work prior to the gallery show did not ruin the show for me. In fact, viewing such a wide array of his work all together in one room hieghtened my experience. In Barbaccia's studio/house, it can be tough to really "see" the work individually or collectively. I would assert that the image above does a good job in illustrating the creative brilliance found in his work.

While on the surface Barbaccia's work can appear very distinct, taken as a collective you start to see a common, unexpected theme running through each piece: spirituality. Spirituality may be tough to see in the penis knife or boob ladles, or even in the sequin blobs, but there is a solemn presence in each piece that communicates a personal, heightened vision. At this point, I'm not making much sense to myself, but believe me when I say this mimics my experience of the show.

Take another look at the image above. If we're to look at inidividual pieces we may see six different artists in a group show. There's the sort-of-graphic artist exploring body parts and steel; there's the artist working on a conceptual level; there's the craftsy portrait artist; the artist interested in materials and form; the surreal artist; and the religious artist. Whew! What I take from this is that the artist must either suffer from multiple personality disorder, OR, the artist is intensely interested in the creative process, where the studio practice is what's important. I'll go with the latter in this case.

Barbaccia

My favorite piece in the show, this sculpture is first to welcome viewers as they enter the gallery and I can't think of a more fitting welcome to the show. This piece sets the stage for the upcoming viewing experience. Merging two of the artist's apparent interests, this piece is about spirituality and material. Barbaccia suggests that perhaps these two elements operate a delicate balance as evidenced by the figure being formed from sharp pins. This suggests to me that the work as a whole cannot decide if wants to be about one or the other. However, I think this gray area is where Barbaccia likes to operate, and it's what gives his work such subtle power. His is work that probably won't appeal to everyone. Material viewers might not get enough from just the materials in each piece. Subject matter or content viewers may not get enough from just the subject. But, if the viewer is able to see materials and content at once, they will be richly rewarded.

Barbaccia

This piece was one of the toughest for me to get my head around. At first, I only saw the sequins and they scared me. But, as I viewed the show and began to understand what it is the Barbaccia is doing, I started to see past the sequins. Suddenly I saw a very organic form covered in a slick, shiny skin. All of the elements merged into one thing. How do you describe that thing? I'm not entirely sure. It's a presence, a being. It's there and interacts with you. The same thing could be said for spirituality, I think.

Dunning

Though I am very high on Silverthorne's and Barbaccia's work, I can't say the same about Pat Dunning's. When I first saw these paintings I thought two things, 1) The contrast is way too much, and 2) The compositions are far too disjointed. For me the color choices just don't work. They are not visually appealing. The red is too red, white is too white, etc. The forms operate in the gray area of distinct and not distinct. I wanted one or the other. I think the combination of jarring colors and strange forms resulted in the disjointed feeling I got.

Dunning

I believe these are fine paintings for what they are. But they don't feel resolved enough to be taken seriously, or as seriously as I want to take them. In Silverthorne's and Barbaccia's work, there are aesthetic an conceptual reasons to be intrigued. Unfortunately, I didn't get any reasons to be intrigued by these paintings.

Comments

[Joseph Barbaccia]

JT,
Thanks for the props.
I'm in line with you when you speak about spirituality and to my interest in the creative process. There's a mystery at the point where concept/idea manifests into material. It's a mystery of immeasurable depths and fecundity. My work is to reach into the darkness and create what I find. Though I enjoy working with all sorts of materials, the object itself is secondary. In a way, the resulting art object is like a vacation photograph. A fond reminder of a good time. It's just dross, dressed up.

~Joseph