Art in Sac: Hi-Fructose: Turn the Page

If you’ve been reading my blog, you already know I was stoked to see the Turn the Page: The First Ten Years of Hi-Fructose Exhibit at the Crocker Art Museum. Aside from a bevy of sentimental reasons to attend, I've followed a fifth of the exhibiting artists since their actual features in Hi-Fructose and another three are on my list of very favorite visual artists (Yoshitomo Nara, James Jean, Audrey Kawasaki). I was also excited to see the work of artists I’ve read about in Hi-Fructose but only recently began to enjoy (namely Mark Ryden, Kris Kuksi and Kehinde Wiley).

The exhibit was immediately engulfing (as you'll see if you attend) and did not disappoint.

Unrequited (Variation in Pink), 2015 Resin infused refractory material, paint. 14 1/2 × 15 × 43 in. 

I was floored by:

• Nicola Verlato’s Carravio-esque chairoscuro and cinematic content in “Off the Grid.”
• all the manic eyes in Todd Schorr’s “The Last Polar Expedition of Commander Peary”.
• how my husband got lost in the chaos of Kris Kuksi's "Eros at Play" and the fog of Jeremy Geddes’ "The Street."
• the personified loss in Beth Cavener’s “Unrequited (Variation in Pink)." It made me choke on my tears.
• how reminiscent of Northern European Renaissance Dutch oil paintings the details in Femke Hiemstra’s "Hypnos” were.

Rosie's Tea Party Oil on Canvas, 2005

I savored:

• the magnitude of Kehinde Wiley’s "Philip the Fair”.
• the clown's doll-like hands in Ron English’s “Combrat Rising”.
• the sassy kitschy play in Mark Ryden’s “Rosie's Tea Party”. I found it ridiculously fun remaining entranced in Rosie's eyes and the details of her tea party. While Ryden’s technical skill is stunning, yes, “fun” is the word I’d use to describe experiencing this painting. I have fallen into his world fully and happily and now fully understand why Ryden is such a huge player in the pop surrealist world. 

I keep forgetting how marvelously thrilling it is to see a piece in person rather than on a computer or in print where it loses a bit of it's luster. It truly is in the experiencing of a piece in person that one can really understand what makes art.

If you are in the area and are interested in the exhibit, take note that it runs at the Crocker Art Museum through September 17, this year.

Art in Sac: Turn the Page

I just got a pamphlet heralding "Turn the Page: The First Ten Years of Hi-Fructose", showing at the Crocker Art Museum from June to September. I am stoked.

Kris Kuksi. Churchtank Type 9” (2010) . Crocker Art Museum

Hungrily consuming art magazines like Hi-Fructose back in 2007 made me realize my particular art style and voice was relevant and lead to my decision to go to art school. I realize now I've admired their work since the beginning since this exhibition marks the tenth anniversary of their art magazine. 

Art expected to show include a Mark Ryden (who I first learned about through Hi-Fructose), a Kris Kuksi, a Todd Schorr and a Kehinde Wiley.

The Crocker already has a Kuksi. It's a smaller work than the one expected at Turn The Page and was staggering to behold and turn over and over in my head. Perhaps the small size of it made the heaviness of the detail and content much grander, heavier. 

I am excited to see Eros at Play and the rest of the Hi-Fructose exhibit in June! I am really enjoying the stuff Crocker is bringing to my hometown!

Art in Sac: Antemann Dreams Collection

Stepping into the Chris Antemann  x Meissen Forbidden Fruit collaboration at the Crocker Art Museum was like breathing the bright air of two different time periods.

"The Pursuit of Love", Antemann Dreams Collection, MEISSEN®

To me, Antemann's work is a powerful reimagining of and reintroduction to 18th century symbols, techniques and media through the point of view of an empowered 21st century female artist. I was inspired by that bold juxtaposition.

It's funny how art created within the vernacular of another time period can make a viewer feel that, although the piece was made within present day, they are looking at a portion of history. Is that an intentional deception or part of the magic? It feels like Antemann's work exists both in the 18th and 21st century- but of course it doesn't.

I'm fascinated with the idea of repurposing the medium and culture of a different time period as the vehicle of more modern ideas and whimsy. I know technically there are many mediums that we don't immediately think of as antiquated but are indeed very old. For example, oil paints are still used so often in art, I don't think of antiquated times immediately when seeing it's use.  In Antemann's work, the use of porcelain and Rococo visual cues have made a palpable and unique bridge across the centuries. Just looking at her work for a few minutes, I'm aware of their history as well as their modernity: Antemann's infused commentary on sensuality, cultural interpretations of the Garden of Eden and social rank. I find it exciting!

I wonder how people from the 18th century would view this artwork. 

The Forbidden Fruit collection will be at the Crocker Art Museum through June 25th.

Detail from "Covet", Antemann Dreams Collection, MEISSEN®