Space Domestic @ McLean Project for the Arts

Last Thursday I was able to attend the opening reception for Space Domestic, a group show curated by Jiha Moon, at McLean Project for the Arts. As a disclaimer (take what you will from this review), I own one of Jiha's paintings and several pieces by Warren Craghead who participates in the show. I also consider Jiha, her husband Andy, and Warren to be friends. If you feel those relationships taint (scroll down) this review, please stop reading now.

For me, Space Domestic is a simple show. It's about, well, space... whether that's suburban space, city space, interior space or imagined space. The works in this show are brought together by the fact that each deals with space in some way. Ignore for a minute that all art deals with space in some way, but these assembled artists tackle the issue more directly. Sure, the show won't revolutionize our thoughts on space in art but as a summer group show, it provides an interesting look into what is being made by locally known and unknown artists.

What I want to do with this review is make it mostly about the show. I'll share nine images taken from the opening and provide a brief commentary below each image.

Gianna Commito is a new artist to me and I felt that she stole this show. Her delicate works on paper convey a sense of interior space through mostly non-representational means. Her brown fields of color suggested to me wood paneling like you might find in an outdated family den. The sense you get from being around such paneling (I know from first hand experience) can be disorienting. Her fields of brown accented with bold, striped colors suggested to me a collision of influences. Blocky, slow and outdated times come face to face with a fast modern world.

This piece, titled Pinch, is sized at 45" x 38" and is priced right at $1200.

Warren Craghead's always delicate, always intriguing drawings/collage pleased as well. Unfortunately, Craghead's work suffered from what I felt was a poor installation. Warren's six pieces are hung outside the main gallery all by themselves. The rest of the show is located inside the Emerson gallery. Warren's work, in my opinion, is best shown tightly. He uses confined space in his drawings and they are enhanced by a tight hanging.

But being outside the main gallery makes Craghead's work feel like an afterthought. All the other artists are able to talk to each other and engage in a discussion on space. Once inside the Emerson, it is easy to forget that Craghead is part of the show. I think his work should have been brought inside and if space were an issue inside the main gallery, perhaps one piece by each artist could have been moved outside as a sort of spatial introduction to the show. On the other hand, maybe Warren can list the show as a solo on his resume.

Andy Moon Wilson's over the top yet still in control installation is brilliant. Over the course of a few years I have witnessed Wilson's work evolve from rough, spastic doodling to refined, finished professional work that still holds true to its roots. In all honesty, I was amazed by the leap forward evident in this show and I can understand why he has gotten so much attention recently.

This image is obviously a detail of the installation. Here you can get a fantastic glimpse into Andy's world. He is an obsessive drawer. He draws on anything at anytime. The resulting diversity of that is what sets this installation apart. And somehow, for some reason, he continues to price is work unexpectedly low. Framed small drawings run from $100-200. Business card drawings are $30. Needless to say, his work was selling briskly at the opening.

The above image shows several works on paper by Amze Emmons on the left and a painting on the right by Isabel Maria Manalo. Emmons' work was a pleasant surprise. It's quirky and makes use of potentially appalling colors but the everyday-ness of the depicted scenes grounds the work. It makes the work visually intriguing and conceptually thought-provoking. Just why is Emmons interested in these scenes?

Manalo is no stranger to us locally. I have always admired her work and found the simplicity in her pictures to be most appealing. However, it seems that recently her work has become more complex and that makes her work tougher to take in. Perhaps it was too easy before, I don't know. I appreciate that she's pushing her work in new directions and creating challenges for herself and the viewer, but I still long to see the older work.

More of Amze Emmons's work.

Better images of Manalo's work.

An installation shot of the main gallery. Except for the single painting on the right (another Manalo), everything you see hear is by Lily Cox-Richard. I exhibited with her last summer when she showed petri dishes and some other things on a table (I didn't really get it). Here she checks in with an installation of vinyl floor tile, photos, postcards and stand, as well as some colored pencil drawings and collages. Admittedly, I can't get a grasp on how all of this work (including that from last summer) wraps up cohesively, but it's a fascinating look into creativity. Other than the large installation in the middle, I'm not sure how Cox-Richard's work relates to the concept of the show.

This is a detail shot of the vinyl floor tile piece which measures approximately 10' x 10'. Although not adequately illuminated, this piece is a standout. Walking through the environment for a period of time reveals more and more... a highway here, streets there, buildings too. It's a promising piece that challenges our notion of seeing and experiencing art. Modernized Carl Andre, perhaps.

Space Domestic is worth a drive to McLean. It's not groundbreaking but it doesn't have to be. I can safely say that there will be something(s) that you will like.

Comments

[wwc]

Thanks for the review J.T.

[Digital Art Photography]

I like your concept of space as it breaks some of the color rules of design. I've found that people really like experimenting with color using their digital cameras. There's all kinds of in-camera tweaking that can turn into expermential art. Nice blog.

[Robin Walker]

Regarding your comment on Gianna Commita's work: "This piece, titled Pinch, is sized at 45" x 38" and is priced right at $1200."

What the heck does that mean - "priced right"? Because it's priced LOW, that equates to "right"?? If I was the artist I would be insulted by your demeaning comment. Indeed, as an artist, I AM insulted!

[wwc]

I'm sure the artist decided how to price her work. Saying its a bargain isn't offensive - its implying her work should be worth more.

[J.T. Kirkland]

Robin,

Thanks for dropping by.

WWC,

Don't bother explaining it.

[Kriston]

But why not answer Robin's question? The tone was that of a back-handed compliment.

[J.T. Kirkland]

OK, Kriston, let's answer it.

The way I intended "priced right" (and is used frequently when talking about art shows or fairs) is two-fold:

1) By saying "priced right" I am issuing a call to the collectors who read this site that this is a great piece of art, in my opinion, and the price of it is a bargain. If I had $1200 to spend on art right now I would buy it immediately.

2) By saying it is a bargain implies that the work is, in my opinion, more valuable than $1200. I place more than $1200 of value on the piece and I think that is a good thing, no? In fact, given the strong likelihood that Gianna set her own price (i.e. value), I'm telling her that in my opinion she is undervaluing her own work (though I can certainly understand why she chose the price point). Of course though, I'm sure some people feel that the piece isn't worth half that price... I think it's worth twice as much.

There are some other pieces in this show that I would not say are a bargain at $50, much less $1200. This implies that, in my opinion, that work is awful. I don't even place $50 of value on the work even if its price is $500.

I've read this phrasing so many times that I thought my intention would be clearly understood, like WWC did.

I'll email Gianna and see if she finds it offensive. I certainly would not if it were said about me. In fact, I would be thrilled.

Lastly, to assume that I would drop an insult at the end of discussing how I feel the artist stole the show seems a bit silly to me. Why would I praise the work and then insult it?

[gianna]

HI! It never occured to me to feel slighted, especially since JT's opening words were so kind. I have a hard time pricing work, rightly or otherwise, particulalry this piece. It's on paper, unframed, a little beat up from travelling so much (to be fair...). Hey, I'm happy when people even notice my work, selling it has only recently started to enter the equation!
I'm wishing I'd priced it higher for one reason: it was damaged by a leaky roof yesterday and the gallery has to "buy" it from me. Still interested, JT?

[J.T. Kirkland]

Oh no! I hate to hear that the piece was damaged (by natural causes, not travelling). Was any other work harmed?

I think I'll have to pass on this piece what I would like to talk to you about another I saw on the White Columns site. I'll email you.

Thanks for posting your thoughts.

JT

[Robin Ann Walker]

Okay, I feel better having heard back from Gianna. And I also appreciate the detailed explanation from JT. It does clarify the reasoning behind the comment. I'll pipe down now....
Robin
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