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Abstract/Avant Garde Open Juried Show

Juror Keith Fox’s Statement for the

Wickford Art Association’s 2009 Abstract/ Avant-Garde Open Juried Show

(Click on images for a larger view)

First Place			Melting by Steve Patience, digital photograph
The digital photograph titled “Melting” by Steve Patience captures the reflection of an advertising notice in a metallic surface.  This reflection—as a mirror image—is not only reversed, but also does appear to be melted, as the title of the photograph suggests.  These characteristics of the image alone can cause people to think in unfamiliar ways.  Additionally, there is a less-immediately-obvious aspect to this piece that can catch people off guard.  The artist/photographer has painted a false shadow to the side and bottom of the photograph.  (The photograph has been mounted onto a large sheet of watercolor paper, onto which the false shadow has been painted.)  This false shadow is so convincing that the eye can be tricked into believing that it is an actual shadow.
Second Place			Remembering that I Probably Didn't Recognize Love by Jill Tyler, acrylic
Through distortion, humor, and an unusual assembly of objects and characters, such as a pair of false teeth that are falling to the ground and a large bird whose tearful eye also happens to be a showerhead, Jill Tyler’s acrylic painting titled “Remembering that I Probably Didn’t Recognize True Love” effectively creates unconventional representations that communicate the humor, tragedy, and lunacy of our short lives.
Third Place			Measuring Up   by Kenneth MacDonald, welded metal: aluminum framing squares & brass plumb bob
By treating aluminum framing squares in such an impulsive and illogical manner, Ken MacDonald’s sculpture titled “Measuring Up” defies the skilled craft of the carpenter.  As it dangles in the center of the sculpture, the brass plumb-bob confirms that this sculpture does not actually measure up because it is clearly not upright (or plumb). Through such humor, this assemblage defies the rules and offers the audience a wonderful example of the avant-garde.
Honorable Mention			Galilee by Theresa Girard, acrylic
Theresa Girard’s abstract acrylic painting titled “Galilee” explores the nature of picture-making itself by deconstructing the picture plane (i.e., the flat surface of the canvas as represented by the color gray).  As such, there is an impression of instability rather than stability in the overall abstract image.  It is as though the picture plane is torn by an asymmetrical arrangement of non-representational forms that explode across the painting’s surface.
Honorable Mention			Anatomy of a Spine by Emily Henderson, alabaster
Formed from a private language, Emily Henderson’s alabaster sculpture titled “Anatomy of a Spine” presents the audience with an unusual depiction of anatomy. By providing the audience with a phantasmagoric portrayal of the spine, this sculpture of fantasy blurs real and imaginary elements as in a dream.

Accepted Works:

3, 8, 9, 10, 15, 16, 17, 19, 21, 22, 23, 28, 31, 32, 35, 37, 38, 39, 41, 42, 43, 49, 50, 51, 52, 54, 55, 56, 57, 58, 61, 62, 63, 65, 66, 67, 70, 72, 73, 75, 76, 78, 79, 84, 86, 89

• Artists must carry their own insurance

• WAA is not responsible for damaged or stolen artwork

• Framed pieces must be wired with screw-eyes

• Sculpture is accepted

Juror Keith Fox’s Statement of How He Defines “Abstract/Avant-Garde” for the 13th Annual Wickford Art Association’s
Abstract/Avant Garde Open Juried Show (2009)

A work that is abstract may not be avant-garde (i.e., ahead of its time); a work that is avant-garde is not necessarily abstract.

Because this competition is for two types of art (i.e., abstract and avant-garde), many works will be included that are not necessarily abstract, but instead function to defy artistic tradition through innovation (i.e., they are avant-garde).  Likewise, many works will be included that are remarkable primarily in terms of abstraction rather than in how unconventional they might be.

Therefore, there will be works included that are skillful in how they do not faithfully represent the surface or physical appearance of objects (i.e, their abstraction is well done); additionally, there will be works included that do, in varying degrees, represent the surface or physical appearances of objects (i.e., they are representational), but are, nonetheless, innovative, experimental, or unconventional (i.e., avant-garde).  Of course, works that are simultaneously abstract and avant-garde will also be included.

All forms of abstraction are welcome.

Listed are some time-honored forms of abstraction:

1. reflexive (the artist explores the nature of picture making itself, such as the picture plane);
2. reductive (the artist reduces natural appearances to radically simplified forms);
3. constructive (the artist builds abstract art objects from non-representational forms, such as geometric shapes);
4. associative (the artist gives visual form to things that are non-visual, such as music);
5. spontaneous (the artist freely works with his or her artistic media, for example, by dripping and/or pouring paint on a canvas in spatters and swirls).

All avant-garde works of art that upend conventional aesthetics are welcome.  Such works will be difficult to comprehend from the outset, will cause people to think in unfamiliar ways, and will defy the rules of what is appropriate for a gallery.  Importantly, such works will also provide evidence of genuine exploratory activity.