Joel White’s “Art in the City” was taken in Hollywood
in 1984. The photograph is one of 28 of White’s
photographs showing in a retrospective that opens
today at the Fort Lewis College Art Gallery.

An epiphany gave Joel White the freedom to photograph what his vision led him to see. It is a vision the caliber of which is not often seen in Durango. See White’s vision in a retrospective of his photographs that opens today in the Fort Lewis Art Gallery.

A neurosurgeon who lived in Los Angeles for 30 years, White with his early photographs attempted to imitate his heroes: Ansel Adams, Brett Weston, Ray McSavaney, Michael Kenna and Max Yavno. He writes of his epiphany in his artist’s statement: “It was not necessary to photograph to earn a living or satisfy others. The images were for me.”

That freedom allowed him to capture “marvelous combinations of form, shape, line and tone” rather than picturesque, marketable landscapes.

Since moving to Durango, White said by phone that he hasn’t photographed as much. When asked why not, he replied, “Well, Durango doesn’t have a really great slum.”

The most powerful images in “Shape, Line and Tone,” a 30-year retrospective of White’s fine-art photography are the early images from California.

“Art in the City, Los Angeles, 1987″ shows a concrete bridge with phrases sprayed on the wall: “To live and die in LA,” “La vie” and “Art in the City.” Looking beyond the trash and the tagging, the viewer is left with shape, shadow, line and form – a tunnel of white.

“Paper Bag, Hollywood, CA, 1989″ is a black image with an elegant, flowing, white “W” shape reflecting light and shadow.

These are pictures in which the form relates to the subject, allowing the photo to raise questions in the viewer’s mind. White shows us things we look at but rarely see.

White’s landscapes provide more insight into his vision. They are no longer imitations of Adams and Weston.

“Canyon de Chelly National Monument, 1983″ features the texture of a rock, water marks, graffiti or ancient petroglyphs and a single-step twig ladder. The ground is littered with rocks and part of a crate.

“Hot Springs, Yellowstone National Park, 1981″ shows charcoal black tree stumps amid a foggy white mist. The trees are clumped with thick, heavy pillows of mineral. The fourth tree fading into the mist on the right looks like a spirit figure.

“Calla Lilly, Hollywood, CA, 1990″ is far from the typical image. No O’Keeffe, White’s Calla, perfectly centered among gray leaves and empty darkness, is vividly white, photographed from above, the swirled tip of the flower pointing down.

As for images from the region, “Animas Forks, Colorado 1999″ is of support beams from a crumbling mine or mill. The numbers “5,” “8″ and “BD-14″ are upside down and sideways on the beams. The floor, littered with debris, says more about the past, present and future of the area than any image that focuses only on the natural beauty.

White’s 28 photographs are framed in simple black frames with large white matting. All the photos are printed with Ultrachrome pigment inks on Moab papers. Simple. Professional. Elegant.

White’s vision is that of a true artist: a creative being who sees beyond the ordinary and manages to nudge the viewer to observe more than shape, line and tone.

artsjournalist@centurytel.netLeanne Goebel is a freelance writer specializing in the visual arts.

Contents copyright ©, the Durango Herald. All rights reserved.

An epiphany gave Joel White the freedom to photograph what his vision led him to see. A retrospective of his photographs at the Fort Lewis College Gallery shares that vision with the community. And it is a vision the caliber of which is not often seen in Durango.

A neurosurgeon who lived in Los Angeles for thirty years, White’s early photographs were attempts to imitate his heroes: Ansel Adams, Brett Weston, Ray McSavaney, Michael Kenna, and Max Yavno. He writes of his epiphany in his artist’s statement saying: “It was not necessary to photograph to earn a living or satisfy others. The images were for me.”

That freedom allowed him to capture not beautiful scenes and landscapes, but as he writes, “marvelous combinations of form, shape, line and tone.”

Since moving to Durango, White says he hasn’t photographed as much. In fact, most of the recent works in this show are from Greece, Italy, Romania and Croatia. When asked why not, he replies: “Well, Durango does not have a really great slum.”

The most powerful images in the exhibit, “Shape, Line and Tone,” a 30-year retrospective of Joel White’s fine-art photography are the early images from Southern California.

“Art in the City, Los Angeles, 1987” a graffiti covered concrete bridge or structure with a receding pentagon opening. Phrases sprayed on the wall: “To live and die in LA,” “La vie,” “Art in the City.” Looking beyond the trash, the tagging, the viewer is left with shape, shadow, line and form. A tunnel of white.

“Lost Angeles, 1986” explores the texture and pattern of a brick wall, a chain link fence, a boarded up window and wide, white horizontal lines across the concrete. A graffiti sprayed figure and the words “lost Angeles” on the left.

“Paper Bag, Hollywood, CA, 1989” is a black image with a simple, elegant, flowing, white “W” shape reflecting light and shadow.

These are photographs in which the form relates to the subject allowing the photo itself to raise questions in the viewers mind. White’s vision is to show us the things we look at but rarely see.

Even his landscapes provide insight into his unique vision. They are no longer imitations of Adams and Weston.

“Canyon de Chelly National Monument. 1983” features the texture of a rock, water marks, graffiti or ancient petroglyphs and a single-step twig ladder. The ground is littered with rocks and part of a crate.

“Hot Springs, Yellowstone National Park, 1981” four charcoal black dead tree stumps stand amid a foggy white mist. The trees are clumped with thick, heavy pillows of mineral. The fourth tree fading into the mist on the right looks like a spirit figure.

“Calla Lilly, Hollywood, CA, 1990” is far from the typical image. No O’Keeffe or overwrought oversized image of a flower. White’s Calla, perfectly centered among gray leaves and empty obsidian darkness, is vividly white, photographed from above, the swirled tip of the flower pointing down.

As for images from the region, “Animas Forks, Colorado 1999” is of large wooden support beams from a crumbling mine or mill. The numbers “5,” “8,” and “BD-14” are upside down and sideways on the large wooden beams. The floor is littered with debris and says more about the past, present and future of the area than any image that focuses only on the natural beauty.

White’s twenty-eight photographs are framed in simple black frames with large white matting. All the photos are printed with Ultrachrome pigment inks on Moab papers. Simple. Professional. Elegant.

White’s vision is that of a true artist: A creative being who sees beyond the ordinary and manages to nudge the viewer to truly observe more than shape, line and tone.

If you go:

“Shape, Line and Tone”
A 30-year retrospective of Joel White’s fine-art photography
Opening reception
Friday, Jan. 26, 5-7 p.m.
Through Feb. 14
The Fort Lewis College Art Gallery
10 a.m. – 4 p.m.
970-247-7167

artsjournalist@centurytel.net Leanne Goebel is a freelance writer specializing in the visual arts.

“How to Explain Art to a Dead Horse,” was the title of Ottmann’s lecture. His basic premise? You can only explain Art to a dead animal because you cannot explain art.

“You have to experience art first before you can intellectualize it,” Ottman said.

Ottman defended his personal style and his choices for the SITE Biennial in a vibrant and lively lecture. Ottman limited his Biennial to thirteen artists in what many critics have suggested is a political statement on the future of the biennial. However, Ottman clearly denies having any motivation to make a political statement, claiming that every good curator has their own personal style.

“I’m a minimalist,” Ottman said. “I’ve never tended to overcrowd. It was very much a personal decision. I may or may not have been forceful enough.”

For Ottman, the role of a curator is that of mediator between the public and the artists.

“Often people only look at the art and not the presentation,” Ottman said. “But a succesful exhibition has to have the mark of an individual curator. Art made by committee is not a good idea. I’ve never seen it work. That’s why it is good to have a different curator every year.”

For the SITE Biennial, Ottman experimented by letting the artists present themselves with minimal oversight and control. He stepped back. A step that Art Forum criticized in their September issue: “…by putting himself so far in the background…he has not put forth a critical framework.”

“This is, of course, what I did not want to do,” Ottman said. “So they are right.”

Then he added: “I’ve learned from this and there are certainly things I would do differently.”

One of the things he said he wished he had done was insist that there be no title for the exhibition.

“I was concerned the audience would confuse a title with a theme and the artists would get influenced to work along the line of that title.”

He suggested that Patty Chang’s video for the Biennial, “Condensation fo Birds” was too influenced by the title.

And what of the suggestion by Zane Fischer in the Santa Fe Reporter that Santa Fe got second hand work from some artists while their better work was shipped off to the Whitney Biennial in New York and other shows around the world?

Ottman said he wanted all the work shown to be new or never seen before in the United States. “I didn’t want to show stuff at SITE that was already seen in New York, Venice, Los Angeles or Paris. I wanted to treat Santa Fe as an important sight and place and make sure people will come to Santa Fe to see something they haven’t already seen.”

Robert Grosvenor only makes one sculpture every three to four years and Ottman chose a piece that had never been shown before.

Peter Doig was another story. Doig who was also in the Whitney Biennial did not have as much available work, so Ottman chose a few older works, borrowed a piece from a museum in Holland and Doig sent two large paintings that were actually wet when they arrived. Ottman believes that the Doig paintings are representational of the painters new style.

Wolfgang Laib began his milk stones sculpture in the 1970s and continue to show similar work today. With Laib, Ottman did a retrospective, a very complete survey of his pollen fields, his beeswax and his newest body of work that Ottman felt looked like antique Burmese vessels that one might find in an antiquity shop in Santa Fe.

Wangechi Mutu, Ottman admitted, “was a bit of a problem.” She had her first one person show are her gallery in New York and participated in a simulatenous show in New York. Ottman believes that the solo show was “too big a show for a young artist.”

“I agree that she was overextended and it did influence this show.” Mutu’s video “Magic” had originally been a graduate student project and was shown at SITE with “Clepsydra” partially filled plastic bottles dangling from the ceiling.

“I like it, but I think she could have done something better,” Ottman said. “Young artists have not learned to pull back and limit themselves.”

Referring back to the Art Forum criticism that he was not forceful enough in exercising his curatorial vision, Ottman said:

“I still feel the exhibition was very successful and what I tried to do was successful. Could I have been more forceful? Yes.”

Ah, well, this is all old news. The Biennial is gone now. Lance Fung will curate the Seventh International Biennial at SITE. But it doesn’t open until July 2008.

February 10-May 13, SITE will feature the work of Darren Almond, Barry X Ball and Stephen Bush.

Lorraine Trenholm’s pastel “Yakin’ III (Animas)” won Best of Show Award and the Durango Chamber of Commerce “Reflections of Durango” Award at the Four Corners Commission Juried Art Exhibit at the Durango Arts Center.

Envision an art exhibit in which the Durango Area Tourism Office and the Chamber of Commerce both select work to use in promoting Durango. Imagine artwork that “celebrates the unique quality and diversity of the life, land and heritage of the Four Corners region.”

Now add to the mix former gallery owner and local jewelry artist Carol Martin, chairwoman for the Public Art Commission, who juried the work. Let simmer that the call for entries to this show didn’t go out until early December.

The Four Corners Commission Juried Art Show at Durango Arts Center is partly what might be envisioned: images of the landscape and wildlife.

I expected this show to be predictable and a bit of a clich`E9. Some of it is.

But unlike many recent juried shows, this one doesn’t seem overly crowded, and that is a good thing. When I looked past the predictable plein air paintings and Mesa Verde photographs, I was pleasantly rewarded with some different views of the Four Corners.

A mixed collage by Judy Hayes, “The First Winter” layers color and texture in a dimensional painting. A steel, wood and copper sculpture by Bryan Saren, “Readymade #4″ conveys simple elegance. Acrylic paintings by Tirzah Camacho, “Longing for Grace” and “Old House, New House” give viewers a glimpse into the contemporary vision of one American Indian artist living in the region. A vibrant Pyrex glass figurative sculpture by Grace Kruse, “Durango Mama” is a sashay of color. A digital photo by Linda Pampinella “Susie, Navajo Rug Weaver” captures multiple shades of vermilion and the reality of one artist’s life.

None of these won awards, but they aren’t banal, either.

Neither is “Yakin’ III (Animas),” winner of the Best of Show Award and the Durango Chamber of Commerce “Reflections of Durango” Award, a pastel drawing of a kayaker by Lorraine Trenholm.

Nor is “Meandering” a diptych by Mary Ellen Morrow, which won the Juror’s Choice Award. This is probably the most unusual work in the show. Upon first glance, the two oil paintings don’t seem to go together. Look again and it becomes obvious: The second painting is like zooming in and blowing up the river valley in the first small painting.

More commonplace, yet beautifully executed is “Blacksmith’s Song” a forged and fabricated steel sculpture of a violin resting against an anvil by Kathleen Holmes, which won the Merit Award.

Honorable Mention Awards went to: “Relics and Remains” a hand-coated silver emulsion shadow gram by Linda MacCannell (clever); “False Hellebore” a black and white photograph by Chet Anderson (gorgeous); “Dragonfly III” a found object sculpture by Susan Andersen (enthralling); “Hidden Arch” a watercolor by Barbara Tobin Klema (not your traditional watercolor); “Fall, Hermosa Cliffs” a pastel by Betty Jo Kilpatrick (pretty); “Winter Sage” an oil by Lori Walters (peaceful); “Spirit Rocker” a handcrafted wooden rocking chair by Doug Hunderman (impeccable).

The show may not be unique, but it is beyond banal.

artsjournalist@centurytel.netLeanne Goebel is a freelance writer specializing in the visual arts.

Envision an art exhibit in which the Durango Area Tourism Office and the Chamber of Commerce both select work to use in promoting Durango. Imagine artwork that “celebrates the unique quality and diversity of the life, land and heritage of the Four Corners region.”

Now add to the mix former gallery owner and local jewelry artist Carol Martin, chairperson for the Public Arts Commission, who juried the work. Let simmer that the call for entries to this show didn’t go out until early December.

The Four Corners Commission Juried Art Show at Durango Arts Center is partly what might be envisioned: images of the landscape and wildlife.

I expected this show to be predictable and a bit cliché. Some of it is.

But unlike so many recent juried shows, this one doesn’t seem overly crowded–and that is a good thing. And when I looked past the predictable plein air paintings and Mesa Verde photographs, I was pleasantly rewarded with some different views of the Four Corners.

A mixed collage by Judy Hayes, “The First Winter” ($1,500) layers color and texture in a dimensional painting. A steel, wood and copper sculpture by Bryan Saren, “Readymade #4” ($1,100) conveys simple elegance. Acrylic paintings by Tirzah Camacho, “Longing for Grace” ($1,900) and “Old House, New House” ($700) give viewers a glimpse into the contemporary vision of one American Indian artist living in the region. A vibrant Pyrex glass figurative sculpture by Grace Kruse, “Durango Mama” ($300) is a sashay of color. A digital photo by Linda Pampinella “Susie, Navajo Rug Weaver” ($175) captures multiple shades of vermilion and the reality of one artist’s life.

None of these won awards, but they aren’t banal either.

Neither is “Yakin’ III (Animas)” ($900), winner of the Best of Show Award and the Durango Chamber of Commerce “Reflections of Durango” Award, a pastel drawing of a kayaker by Lorraine Trenholm.

Nor is “Meandering” ($1,400) a diptych by Mary Ellen Morrow, which won the Juror’s Choice Award. This is probably the most unique work in the show. Upon first glance, the two oil paintings don’t seem to go together. Look again and it becomes obvious—the second painting is like zooming in and blowing up the river valley in the first small painting.

More commonplace, yet beautifully executed is “Blacksmith’s Song” (NFS) a forged and fabricated steel sculpture of a violin resting against an anvil by Kathleen Holmes, which won the Merit Award.

Honorable Mention Awards went to: “Relics and Remains” (NFS) a hand-coated silver emulsion shadow gram by Linda MacCannell (clever); “False Hellebore” ($150) a B&W; photograph by Chet Anderson (gorgeous); “Dragonfly III” ($595) a found object sculpture by Susan Andersen (enthralling); “Hidden Arch” ($650) a watercolor by Barbara Tobin Klema (not your traditional watercolor); “Fall, Hermosa Cliffs” ($650) a pastel by Betty Jo Kilpatrick (pretty); “Winter Sage” ($450) an oil by Lori Walters (peaceful) ; “Spirit Rocker” ($4,800) a handcrafted wooden rocking chair by Doug Hunderman (impeccable).

The show may not be sui generis, but it is beyond banal.

If you go:

Four Corners Commission Juried Art Exhibit
Through January 30
Durango Arts Center
802 East 2nd Ave
Tue-Sat., 10 a.m.-5 p.m.
(970) 259-6571

artsjournalist@centurytel.net Leanne Goebel is a freelance writer specializing in the visual arts.

Holiday gift giving doesn’t have to be redundant and predictable. Unique, original gifts are available during Holiday Art Ole at the Durango Arts Center.

Holiday Art Ole is a juried show of fine arts and crafts, specifically selected for gift giving. The Barbara Conrad gallery is crammed full of folk art, jewelry, paintings, photography, ceramics, sculpture, scarves, clothing, candles, boxes, ornaments, jackets, purses, pens, teddy bears and Santa’s.

It’s difficult to describe the multitude of creative vessels and adornments available at the DAC. The gallery is overflowing with possibilities. I spent nearly two hours perusing the gallery to find these hidden treasures.

Lorraine Trenholm’s pastel drawings of kayakers are vibrant strokes of color on black paper ($150). Trenholm uses intense hues in her pastel work—haystacks are yellow and purple ($150) and a cloudy sky reflects that intense red hue we see here in the Southwest ($150). Trenholm also shows tiny oil paintings of cows, chickens, trees, horses and landscapes in big, gold frames. These small three and four inch paintings are only $75 and would make a perfect hostess gift for Aunt Mabel who agreed to let you crash at her house for the week while you ski Durango Mountain.

Dave Sipe’s folk art trees, Santas and totems ($45-$995) are hand-carved and finished to reflect a hip, fun vibe. They are not your typical folk art bears and sculptures seen around the region. Sipe’s work has soul and character. Heck, I’d prefer his carved wooden trees to the real fir in my living room. Less needles to sweep up come January.

Deborah Gorton’s collage and mixed media boxes are ideal for keeping all your wishes and dreams. “Travelers Box” ($220) and “A Special Place” ($200) are large footed vessels with an Asian design influence. “Traveler Box” features a female figure postage stamp over an idyllic European street scene. Gorton also creates shadow box collage with torn paper and found objects that are like dimensional paintings. ($75-$175) Women like Gorton’s artwork. There is a feminine aspect to her colors, objects and design. Give one to your mom, your aunt, your sister or your girlfriend.

Gorton’s work is displayed near, and compliments the Raku ceramics by Fiona Clark. A large vessel with spiral lid ($110) is white with a spiral crackle pattern. Clark’s small round vessel ($44) is nicely shaped and a bargain at that price. Buy it for your boss or favorite professor.

Artisan made jewelry by Rachel Davis includes silver leaves on earrings and necklaces ($46-$89). Davis’ large rectangular textured wave earrings ($79) are for the woman who wants to make a statement. Nancy Frederick Conrad creates Dichroic glass jewelry well priced at $24-$62 that is ideal for a young woman or your tween niece. At the higher end, intarsia and lapidary pendants, bracelets and rings by Brian and Stacey Maggard of Albuquerque provide Southwestern style art to wear. A red Hopi rug pattern pendant and bracelet set is $485 and would make a lovely gift for the wife who wears only Pendleton jackets with her jeans.

In Local Expressions, hand painted silk and velvet tops and jackets ($55-$165) by Lynne McGee are colorful additions to any fashionista’s wardrobe. Mary Ellen Morrow’s “Quite a Pair” ($250) is a beautiful still life of two pears painted in an impressionistic style. Take this home to grandma in Connecticut and she’ll remember you in her will.

Holiday shopping should be fun and at Holiday Art Ole they have something for even the most finicky and difficult person to buy for. If you go, leave plenty of time to really take in everything being offered. And go back more than once, because while I was there three artists came in bringing new items to add to the collection.

If you go:

Through Dec. 28
Holiday Art Ole
Durango Arts Center
802 East 2nd Avenue
970-259-2606
Tues-Sat, 10 a.m.-5 p.m.

artsjournalist@centurytel.net Leanne Goebel is a freelance writer specializing in the arts.