Tune in Mondays to KMAC Radio on ArtxFM from 11am to 12p where we use radio as a vehicle for exploring art, music, and social ideas. It’s simple to listen: Go to artxfm.com and click PLAY on the embedded player located in the upper left corner of the website. Monday’s show will be hosted by KMAC’s Communications Director Julie Gross and she’ll be discussing Photo as Document. Documentary photography can serve as a historical marker in time or spur social and political change. The captured images are painstakingly raw and equally beautiful in their candor, which is testament to the artful eye of the photographer. Photographer Bob Hower and Artist Todd Smith will participate in an in-studio interview to talk further about this topic. They are both part of the Louisville Photo Biennial happening this month and are exhibiting at Swanson Contemporary (Hower) and Bernheim Arboretum and Research Forest (Smith). This topic was derived from KMAC’s current exhibit of Gene Spatz photographs that document the celebrity social life of 70s New York. The artwork discussed on today’s radio hour will be:
Tune in Mondays to KMAC Radio on ArtxFM from 11am to 12p where we use radio as a vehicle for exploring art, music, and social ideas. Go to artxfm.com and click PLAY on the embedded player located in the upper left corner of the website.
Today’s show is hosted by KMAC’s Communications Director Julie Gross and we’ll be discussing the Art of Celebrity (or art that is inspired by a person’s celebrity status). This topic was derived from KMAC’s current exhibit Gene Spatz: The Art of a Paparazzo. The artwork discussed on today’s radio hour will be:
Special Guest Louisville Composer Daniel Gilliam will also be on the show discussing his newest work Jesse Stuart Songs that will be performed by bass-baritone Nathan Wilson and Andrew Fleischmann on Thursday, October 10, 2013 at 7pm at the Kentucky Museum of Art and Craft. This performance is free and open to the public.
Jesse Stuart was the 1954 Kentucky poet laureate and an American writer known for his short stories and poetry about Southern Appalachia. Jesse Stuart Songs consists of five sonnets from Stuart’s largest collection of poetry, Man with a Bull-Tongue Plow.
Songs and poems featured on the show:
Spring in Kentucky Hills
Spring in Kentucky hills will soon awaken;
The sap will run every vein of tree.
Green will come to the land bleak and forsaken;
Warm silver wind will catch the honey bee.
Blood-root will whiten on the barren hill;
Wind-flowers will grow beneath the oaks and nod
To silver April wind against their will.
Bitterns will break the silence of the hills
And meadow’s grass sup dew under the moons,
Pastures will green and bring back whippoorwills
And butterflies that break from stout cocoons.
Spring in Kentucky hills and I shall be
A free soil-man to walk beneath the trees
And listen to the wind among the leaves
And count the stars and do as I damn please.
Oh Don’t You See
Oh, don’t you see the willow leaves this Spring
And bright green finger needles on the fir?
Birds choose to light among their boughs and sing;
It’s where the summer jar-flies choose to churr.
And don’t you love the silver maple leaves
Upturned by silver winds to skies deep blue.
And don’t you love the leaves on white oak trees
And beech tree leaves when winds are blowing through?
And don’t you love green whispering corn blades
And wild fern leaf where placid waters lie
Beneath a tranquil lazy summer sky.
And don’t you love the smooth-fan poplar leaves
A-wavin’ in a silver summer breeze.
I ask these questions and I don’t know why.
Music Playlist: Spring in Kentucky Hills – Dan Gilliam composer, Performed by Nathan Wilson (Jesse Stuart author) Oh Don’t You See – Dan Gilliam composer, Performed by Nathan Wilson (Jesse Stuart author) Itchin’ On A Photograph – Grouplove New York, I Love You But You’re Bringing Me Down – LCD Soundsystem Sympathy for the Devil – The Rolling Stones Fine Dining – Cube Head and Mr. Smiles
The recent Donors’ Circle trip to EXPO Chicago was inspiring and stimulating. It was quite extraordinary to get personal home tours from esteemed art collectors, private viewings of new gallery exhibitions, invitation-only after parties and all the contemporary art Chicago’s Navy Pier could handle.
KMAC Donors’ Circle member Leslie Millar wrote a brief synopsis of the week-end in case you couldn’t join us.
The Highlights of EXPO Chicago September 2013
A group of about fifteen members of the Kentucky Museum of Art and Craft Donor’s Circle ventured north for a fast-paced weekend in the Windy City. Upon our return, we feel briefly sated with new and familiar works of contemporary art. This “food” will keep our minds and imaginations energized until our next trip, to Art Basel Miami! Here are a few morsels from our trip for your delectation:
Friday, September 20, 2013
We started the morning by touring the private collection of Jack and Sandy Guthman. Their immaculately restored five-story home includes a canvas thread piece by Tom Friedman, an installation by Sarah Sze, and video by Kate Gilmore. We admired a FedEx shipping box of Walead Beshty and bundles assembled by Shinique Smith. The wide-reaching collection revolves around a strong center of photography and some Chicago artists, including painter Judy Ledgerwood. During the afternoon, we toured galleries and met with artists and curators who were buzzing about the EXPO and accompanying Gallery Weekend Chicago. That evening the KMAC group was invited for cocktails at Kavi Gupta for the opening of Roxy Paine’s Apparatus.
This diorama show offers a radical departure from the sculpture that viewers have come to associate with the artist. Two room-sized installations replicate, in unvarnished wood, a control room and a fast food counter, right down to the straw dispensers and fry basket. We finished the night with a raucous party at gallerist Monique Meloche’s house.
Saturday, September 21, 2013 The Donor’s Circle dined on a hearty breakfast on the patio at the Museum of Contemporary Art Chicago. Downstairs, we enjoyed a photo show from the museum’s collection. Upstairs, the MCA showcases a retrospective by Chicago-born cartoonist Daniel Clowes. On the third floor, an exhibition of installations called Homebodies features a walk-through Victorian house fabricated in nylon by Do Ho Suh. The Donor’s Circle took particular note of constructions and video by Chicago resident Theaster Gates, as we recently exhibited one of Gates’ shoe-shine stands at KMAC during the Storytelling as Craft. Next we visited the private Collection of Howard and Donna Stone, which centers around 60s and 70s Minimalist and Conceptualist work, including: a double-portrait wall drawing by Jim Hodges, pieces made of yarn and elastic thread by Fred Sandbach, a candy pile by Felix Gonzalez-Torres, and an installation by Sarah Sze. We spent the rest of the afternoon strolling through Chicago EXPO, on the Navy Pier viewing works by established artists like Fred Tomaselli and Leon Ferrari and site specific ampersands by emerging artist Karl Haendel. Some revelers continued on to Late Night at the Wright Auction House.
Sunday, September 22, 3013 We finished our Chicago weekend with a brunch at Rhona Hoffman Gallery, where we saw Spencer Finch’s color-swatch watercolor paintings and light boxes and took in Judy Ledgerwood’s dense oil paintings.
Many thanks go to the collectors, curators, and gallerists who shared their gracious hospitality. Even greater thanks to KMAC Director Aldy Milliken and Development Director Angela Hagan for their tireless efforts of organizing the trip and shepherding the members of the Donor’s Circle around the city. We hope that you will join the KMAC Donor’s Circle on another of these intellectually invigorating art outings!
Kentucky Museum of Art and Craft hosted an afternoon panel discussion on the work of adult artists with disabilities in conjunction with the current Creative Growth: Dan Miller and Judith Scottexhibit. The panel consisted of Tom di Maria, Director of Creative Growth, Krista Gregory, Exhibitions Director and Samantha Charek, Outreach Director of Visionaries + Voices and Al Gorman, Site Manager of StudioWorksand was led by Judith A. Axelrod, M.D., Behavioral-Developmental Pediatrician and Founder of Square One. The discussion provided great insight into the work and process of the artists and the ways these successful organizations approach group studio practice.
The life story of Carlos Cortez Coyle is so similar to the many Americans that lived during the Great Depression that it’s hardly newsworthy. His stories of financial and emotional trauma during this time are not what make him unique. But what does separate Coyle and arouses public attention are his 24 paintings that are on exhibit at KMAC. This is just a small sampling of his 82 piece collection stored at Berea College in eastern Kentucky. Compositions consisting of Kentucky and California landscapes, humorous morality tales, mystical visions and most importantly a visual diary of a man concerned with leaving a lasting heritage. This special research exhibition is presented in order to lay the groundwork of including him among the names of Modern self-taught artists and to begin answering the question of Who Is C.C. Coyle?
Coyle spent the early part of his life in Dreyfus, Kentucky and in 1889 he briefly attended Berea Foundation School (now Berea College) where he was introduced to Appalachian arts and crafts. Some of his early drawings of birds, plumes, feathers and goddesses can be found in an old school diary that Berea College now possesses. Coyle left Berea before graduating for reasons unknown and moved to Florida, then Canada and eventually to San Francisco where in 1929, at the age of 60, Coyle took up oil painting and completed over a hundred works in just thirteen years.
In 1942, prompted by his failing health, Coyle paid to ship four crates from San Francisco to Berea College in Kentucky containing 47 paintings, 35 drawings and an illustrative diary of his work. He wrote a letter to the college explaining his shipment of works and the intention “to give my art to the land of my birth where I played and spent most of my youth.” Berea staff were unsure as to what to do with this unexpected collection and the works were left crated and put into storage where they remained with the occasional piece being pulled from time to time until 1960 when art professor Thomas Fern discovered the collection and held Coyle’s first solo exhibition. The exhibit received some local public recognition from the Louisville Courier Journal’s art editor William Mootz who wrote that Coyle “may some day rank as an important American primitive.” Berea Art Department staff found Coyle who at 88 was suffering from blindness and residing in Leesburg, FL. He wrote a letter of thanks to the school for showing his work in the gallery. Carlos Cortez Coyle died two years later in 1962. He was 90.
The Kentucky Museum of Art and Craft presents the work of C.C. Coyle to be viewed in the larger context of exceptional naïve artists and to recognize his place in Kentucky’s art history.
Image: Carlos Cortez Coyle, Age 65 and 22. 1936, oil on canvas, 44 x 36 in. Photo: Geoffrey Carr