All posts by eileenyanoviak

Food and Art on KMAC Radio

This week’s KMAC Radio hour on ARTxFM is hosted by Dane Waters, the Director of Education at the Kentucky Museum of Art and Craft, and Eileen Yanoviak, the KMAC and Hite Art Institute Curatorial Research Fellow. The topic this week is the intersection of food, art, and music, looking at the rich history of art and music inspired by our fascination with food. Tune in to ARTxFM on Mondays from 11:00-noon EDT to catch the KMAC Radio hour. Each week, the KMAC blog will feature artworks discussed during the show.

The focus on food for this week is inspired by the KMAC’s annual Bourbon Bash happening October 5 at the Kentucky Center for African American Heritage. The theme for Bourbon Bash is “The Art of the Chef and the Craft of Cooking.” Join the KMAC Radio hour to discover how artists and musicians have been motivated by food for millennia.

Digital reconstruction of the triclinium of the Villa of the Mysteries, Pompeii, 79 AD, Getty
Digital reconstruction of the triclinium of the Villa of the Mysteries, Pompeii, 79 AD, Getty
Roberto Bompiani ,A Roman Feast, late 1800s
Roberto Bompiani, A Roman Feast, late 1800s
Jan Davidszoon de Heem, Still Life with Fruit and Ham, 1648-49
Jan Davidszoon de Heem, Still Life with Fruit and Ham, 1648-49
Pieter Brueghel the Elder,  The Peasant Wedding, 1568
Pieter Brueghel the Elder, The Peasant Wedding, 1568
Wayne Thiebaud, Cakes, 1963
Wayne Thiebaud, Cakes, 1963
Claes Oldenburg, Pancakes and Sausage, 1962
Claes Oldenburg, Pancakes and Sausage, 1962
Baompass & Parr, 50 States of Jell-O, 2010
Baompass & Parr, 50 States of Jell-O, 2010
Vin Muniz, Action Photo, after Hans Namuth, 1997
Vin Muniz, Action Photo, after Hans Namuth, 1997
Spurse, The Civil Appetites, 2013, for Eat It,  Contemporary Art Center of Rochester
Spurse, The Civil Appetites, 2013, for Eat It at the Contemporary Art Center of Rochester

KMAC Radio on ARTxFM

Join Kentucky Museum of Art and Craft Director Aldy Milliken and Associate Curator Joey Yates during the KMAC Radio hour on ARTxFM from 11:00-Noon EDT. Fresh from Expo Chicago, the international exposition of contemporary and modern art, Joey and Aldy will discuss expo highlights. KMAC Radio employs the medium of  radio as a vehicle for exploring art, weaving together visual art, music, and social ideas.

Inspired by the expo and the exhibitions on view at KMAC, Aldy and Joey will be discussing works by these artists.

Paul Sietsema Brush painting (green) 2012 enamel on dyed canvas
Paul Sietsema, Brush painting (green),  2012, enamel on dyed canvas

 Boris Zakic Alizarine 2006-07 oil on canvas

Boris Zakic, Alizarine, 2006-07, oil on canvas
Enrico Castellani Superficie bianca  1968 oil on shaped canvas
Enrico Castellani, Superficie bianca, 1968, oil on shaped canvas
Zilia Sánchez, Mujer (de la Serie el Silencio de Eros), 1965 (Woman of the Series the Silence of Eros) Acrylic on stretched canvas
Zilia Sánchez, Mujer (de la Serie el Silencio de Eros), 1965, acrylic on stretched canvas

These works are now on view at KMAC in the exhibitions Creative Growth: Judith Scott and Dan Miller and Gene Spatz: The Art of a Paparazzo!

Judith Scott Untitled 2006 mixed media
Judith Scott, Untitled, 2006, mixed media
Gene Spatz, Micahel Jackson and Stephanie Mills, 1977
Gene Spatz, Michael Jackson and Stephanie Mills, 1977

C.C. Coyle and the Parables of America

In The Passing of Weary Souls (pictured above), 1921, a pair of black boots, set in stride, dominate the image. The boots are animated, but no person wears them. As though anyone might be walking in those shoes across the landscape, this painting is about a journey. Emerging from the storage of the collection of Berea College to the walls of the Kentucky Museum of Art and Craft, C.C. Coyle’s paintings are a moral journey through American life as told by a self-taught Kentucky country man.

Coyle’s paintings tell the stories of America through the land, family, history, and imagination. In many paintings, Coyle depicts the quintessential scenes of the American landscape. The expertly composed Yosemite, Bridal Veil, Nevada, and Vernal Falls, 1935, depicts the four great falls of Yosemite National Park. He also painted the famed Mariposa giant sequoia tree of southern Yosemite and Red Rock Canyon of the Painted Desert. During the late 19th and early twentieth centuries, Americans gained access to and protected these national treasures through the establishment of National Parks. Coyle painted these scenes in person, and occasionally through photographs. His landscape paintings echo the words of famed environmental advocate John Muir (1838-1914), whose tireless work led to the protection of the Sierra Nevada, when he stated in Yosemite, 1912, “Everybody needs beauty as well as bread, places to play in and pray in, where nature may heal and give strength to body and soul alike.”

The falls of Yosemite appear again in the grand painting entitled The Hand that Rocks the Cradle Rules the World, 1935. This painting best illustrates Coyle’s sense of narrative as parable. Like a moral story, the painting is an illustration of the American dream and the value of motherhood. Coyle provides a rich description of this painting in his diary, stating, “I am giving this picture to the public believing that every great man or woman had for their background the training of a good mother. It has been said that many of our great men owe their crown of glory to a good wife. That takes us right back to the mother again. This wife got her training from a good mother. Of course we must make some allowance for a fertile brain; even a fertile brain can be ruined if it does not get the proper training and support.” Thus, the good mother rests near a cabin, representing a schoolhouse, surrounded by her four children at various stages of need and independence. It is clear that her good deeds lead great men to the innovations of technology and the pages of history contained on the right side of the canvas, from aircrafts and railroads, to memorials and the White House. A sweeping epic of generations, the story unravels across the canvas, floating on dream-like clouds.

C.C. Coyle, The Hand That Rocks the Cradle Rules the World, 1935.
C.C. Coyle, The Hand That Rocks the Cradle Rules the World, 1935.

In all of these paintings, and in the words of Coyle’s diary, there is an earnesty to his call for moral fortitude and the American spirit. Although Coyle might be considered a folk artist because he was not traditionally trained, his deliberately planned, studied, carefully executed and sophisticated painting style reveals a body of work that is far more complex and cohesive than might be imagined for a naïve artist. While some research has been done on the biography and interpretation of his works, there is great potential to reveal a rich tapestry of American life.

       -Eileen Yanoviak has been selected by KMAC as the incoming University of Louisville Hite Art Institute Fellow for 2013-2014.