JANUARY 2025
SOUTH GALLERY
UNTITLED : Portal Series | j.Reto
Photographs by Hans Hallinen
Photographs by Hans Hallinen
Presented in the North gallery for January, a collection of sketchbooks and drawings from Carol Lambert, curated by Joe and Sally Carr.
Carol was a longtime friend and supporter of the gallery as well as a regular exhibiting artist in our community.
As an accomplished painter and printmaker, Carol fundamentally took an analytic approach to her practice and method of creation. This involved countless hours of drawing and development of concept and ideas.
This exhibition provides insight into a truly unique creative mind, and a wonderful human being.
Photographs by Hans Hallinen
This is a love letter to the great land. After the gold has been extracted and the trees harvested; what remains of industry, the grand machinery of human endeavor, ambition and toil, sinks into the gentle embrace of earth. So prevalent in Alaska, the rusting iron of the past is beautiful somehow. Wrecked and abandoned now, it seems to belong, becoming a part of the forgiving landscape, a witness to the passage of time. It is a story of history and decay, of nature's reclaiming force, accepting the encroachment of age on all things.
Photography by Hans Hallinen
Listening to the quiet is about noticing what I notice when I venture outdoors through the Alaska seasons. Taking in the beautiful complexities before me. Paying attention to the light as it gracefully skips across the water or shines through the clouds. Listening to the wind as it whispers through the trees, and gently moves around my face. As the poet Mary Oliver said about nature, “If you notice anything, it leads you to notice more and more”. I agree, I long ago embraced, I’m always painting, even when I’m not painting. I’m an observer, an explorer and an eternal student.
Photography by Hans Hallinen
A few years ago I walked into a paper store in Seattle and haven’t been the same since. I was seduced. This show of works in collage represents the products of that seduction. The images are based on elements from my homeplace, a place that has mesmerized me with its splendor my whole life. Alaska: My Take. Please enjoy!
Instagram @elizabethpohjola
Photography by Hans Hallinen
Textile artist, Abigail Kokai, has fabricated a world of little fuzzy haired characters that manifest into human-size form as they visit Panda Mick's RV Park and Stay-In. Through a collection of small sculpture, air-blown inflatables and paintings Abigail constructs a universe of creature comforts inside the gallery.
abigailkokai.weebly.com
Instagram: @kokaithefabricator
Behind The Canvas is to emerge yourself in a fascinating world of vibrant colors and captivating expressions. Each work becomes an artistic testimony that captures the essence and diversity of the daily experiences of each woman. From warm and passionate tones to fresh and lively tones; we immerse ourselves in each brushstroke that transmits an emotional range and reflects the complexity of female emotions and experiences. These works offer a visual journey through the multiple dimensions of femininity. By exploring this collection, viewers enter a universe of beauty, strength, and vulnerability.
Instagram @samuelmarchan_
This exhibition by Mieko Takamae includes a collection of both old and new ”eh-teh-ga-mi” picture letters. This year, Mieko welcomes 93 years of life. Inspired by everyday life, she finds beauty in simplicity and nature. Her work teaches us to take a moment to appreciate the small things around us and be grateful of each new day. She hopes viewers can find a sense of peace through her art.
My artwork navigates scenes I encounter from everyday life in Alaska. Ranging from magnificent sunset cityscapes to glorious natural landscapes, these paintings reflect the inherent grandeur of local Alaskan scenery. My goal is to convey the message that beauty is everywhere, and often where we least expect it.
What I do best is keep working and letting things happen. I called this show Guided by Voices because that’s sort of how the process works. I work intuitively and I try not to second guess my intuition. To me, being an artist means working in private and letting things happen–finding surprises, experimenting, showing up, not mediating, not censoring. It also means being vulnerable and presenting what happened.
scottmcdonaldart.com
I have always been curious about better understanding my extended family, a large and generally disconnected bunch, many of whom I have photos and faint memories of, but no strong ties. As I've grown and learned more about my family’s history, I can recognize how many of these connections were lost. Domestic violence, substance use, and unresolved trauma play a large part in the lack of connectedness we have towards one another. I’m especially interested in how that shapes the experiences of my grandmothers, mothers and myself.
My sweetest memories are associated with celebrating, cooking and eating. The women in my life are, by and large, the ones who continue to pass down these traditions. Our relationships with food are similarly complicated to our relationships with one another. Everything shared, taught, internalized. Not only how we make food, but how we eat it, how we talk about it and about our bodies. What we shouldn’t eat because we're trying to be “good”. What we make when we’re hosting a party, when we’re struggling to pay the bills, when someone we love is sick. Socialized to provide comfort and tender care for others, often at the expense of showing tenderness towards ourselves.
The process of making this work allows me to reflect on the relationship and stories I have of the women in my life. Using food and everyday objects, this series of work serves as an abstracted matrilineal family tree.
Photos by Hans Hallinen
Thank you so much to the folks that attended Jade's paper quiltmaking workshop - and to Jade for creating this experience for everyone!
Photos by Hans Hallinen
I paint outdoors from life almost every day, and doing so I have witnessed the seasons changing, from the marsh grass growing back in the spring, to the cattails shedding their feathery seeds in the winter, to the bend of a thick branch under the snow load. These paintings reflect the beautiful changes I have witnessed around me, each piece painted on site. However, while this show is outwardly called “Season of Change," inwardly I also had a season of change.
I turned 50 in 2022, entering the autumn of my life. Suddenly while painting from a spot on a marsh, I felt wholly connected to autumn and begrudged winter. And what a long winter we had, with relentless snow and dark days. The decaying leaves, the broken branches, the migrating birds, all of them suddenly speaking to me in a different way than I had ever heard before. Winter is on the horizon.
Part One: Stand Still
This series of 15 landscapes was painted from the same vantage point over a period of 13 months. The paintings aren't meant to be maps of the landscape but rather an expression of the constant evolution of change around us. While we go about our daily lives, so do the birds, the trees, and even the water. If we ever stood still, this might be what we would observe.
Part Two: Autumn
These paintings of Potters Marsh in autumn comfort me as I enter the autumn of my own life.
Part Three: In Everything
Everything has a season of change. And for many living things, there is a final season.
www.samialiart.com
Instagram @sami_paints_
Contemporary British Painting (CBP) is an artists collective of over sixty members, founded by Robert Priseman and Simon Carter. The group is run entirely by volunteers from within the membership. It's a platform for contemporary painting in the UK "seeking to explore and promote critical context and dialogue in current painting practice through a series of solo and group exhibitions [in the UK and beyond]." CBP also facilitates the donations of paintings to art collections, galleries, and museums in the UK and around the world. In 2016 The Contemporary British Painting Prize was founded, an annual prize promoting the best of contemporary painting produced in the UK.
To learn more about CBP and their member artists visit www.contemporarybritishpainting.com.
De Bestiis Insularum (Of the Beasts of the Islands) explores the role and impacts of colonial expansion on mammalian and other species occupying islands along the North Pacific Coast. Those impacts first emerged as a consequence of the Bering Expedition and the “discovery” of Alaska by Russia in 1741-1742. The exhibition’s title is in reference to the treatise De Bestiis Marinas (Of the Beasts of the Sea) written by the Bering Expedition’s naturalist Georg Wilhelm Steller while the Expedition was shipwrecked on what became the Bering Island in the Commander Island group in the Russian portion of the Aleutian Archipelago. Although Steller’s contribution to the study of diverse species occupying these remote islands is widely admired by scientists working in Alaskan locales and elsewhere, the consequences of the Expedition on island ecosystems via, for example, overharvest of mammalian species and introduction of exotic mammals, was and remains devastating. Subsequent negative consequences of colonial expansion after the ‘discovery’ of the Aleutian Islands and islands to the east (e.g., Alexander Archipelago) desolated Indigenous people and the non-human species they depended on. This pattern, which started in the Aleutian Islands in the west, has repeated across numerous islands in the Pacific Northwest, including the Kodiak Island and Alexander Archipelagos in Alaska, the Haida Gwaii Archipelago of British Columbia, the San Juan Archipelago in Washington and islands further south.
This exhibition, sponsored by the Far Northwestern Institute of Art and Science (FNIAS), includes work from artists living in Alaska, British Columbia, and Washington State. Many of these artists are also trained as scientists and have conducted research on North Pacific Islands or on the species living there. Other artists have considerable experience exploring various North Pacific environmental issues in their art and writing. The FNIAS believes that the exchange of information between art and science is critical for generating new knowledge and deepening an understanding of our world, and as such, this exhibition seeks to entice audiences to explore the amazing world of island mammals (and ‘mammal adjacent species’ such as prey, parasites and pathogens) through art.
Darwin Estacio Martinez was born in 1982, in Manzanillo, Cuba; he is a graduate from the Professional Academy of Fine Arts "El Alba" in Holguin city, and also is a graduate from the Higher Institute of Arts in Havana. He is professor at the National Fine Arts Academy (San Alejandro), and has had an extensive artistic career having participated exhibitions across Cuba and other countries around the world. Images of his works have been included in several publications and many of his artworks belong to private collections in and outside of the Island.
My paintings and videos are intended to embody general ideas through fragments and details that allude to a chain of actions that are maintained only in a speculative and interpretive level. For me, nothing happens except what an observer is able to infer. The use of the human figure removed from any individual reference helps me focus on personality archetypes. I use each figure as a kind human being type. I want to achieve in the medium of cinema the effect I achieve in my painting and paradoxically to create within my paintings that which I have captured in film.
Erica Entrop was born in Roswell, New Mexico and graduated Cum Laude from the University of New Mexico in Albuquerque with her BFA. After completing her studies, she began traveling across the United States exhibiting in different locations including Chicago, New York, and Los Angeles. She has had an extensive artistic career having participated in exhibitions across the country and the world. Her works have recently been included in the Premier edition of Blue Bee Magazine. In the past year she has participated in the 13th Havana Biannual and the 25th Romerias Festival showcasing her newest film works in collaboration with her partner, Cuban artist, Darwin Estacio Martinez.
New Normal
My work began capturing commuters on the trains and buses of Los Angeles. The genre that seemed to capture the historical narrate of the American experience is that of realism.
A year after I created the I, Voyeur series I moved to Havana, Cuba. As my time outside of the country extended, I began to grow nostalgic about the United States. Looking to Edward Hopper, Norman Rockwell and George Tooker for the attitude and environment that felt most true to my memories of living and working in Los Angeles.
This year I became a mother. During my pregnancy I was drawn to the subject of children and the modern experience. The conversation between the nostalgic view of a Rockwell but for a new generation. How are technology and societal norms have altered forever the experience of the individual. Our children will live in a world so removed from what we lived. For me, even more so given that my daughter is part Cuban, what she will go through is completely removed from the story of both of her parents. Capturing that modern storyline was my motivation in revisiting Rockwell’s pieces and branching out from what he captured in his Saturday Evening post pieces.
Another aspect that has impacted the genre of realism that has had a true revolution is the presence of photography in our everyday lives. How photography impacted the masters of the genre in America is for me an area of interest in that the cellphone has altered not only in the same manner that photography flattens the image, but also in how we have been modified by this technology that is ever present at our finger tips.
This all creates for me an interest in the artist as lens and how I can project that into what may be the modern equivalent to the nostalgia that pervades the historical realism of the genre. The ability to experience realism as a true reflection of reality is a collaboration between the artist and the audience. The perspective must be shared in order for the realism to be truly seen as truth.
Paracosms of Abstractions is an exhibition that defines feelings and emotions through color and brushstroke. In this exhibition, artist Carlos Pereira, Jr. transcribes sophisticated dreams and visions into narrative abstract paintings with elements of realism, and things recognizable as structures or figures in the natural world, while some paintings hint at a sequence of events. His art is a soliloquy built from personal experiences. Through this channel of thought, he wishes to capture an audience that is intrigued by his stories.
The numinous happens all around us, from the ever changing cloud formations to the play of light on treetops. Anywhere from the seemingly mundane streets in my neighborhood or the shoreline of Point Woronzof, from Anchorage parking lots at sunset to the landscapes of Central America there is transcendence. As an artist I keep my eye open for latent beauty wherever it may occur.
These somber works completed in 2020, shortly after Behnke arrived in Taos, are a deliberate reaction to and against the fabled light, color and space of the high desert community. Threading form and color together with an uncharacteristically grayed down palette the paintings do not consciously reference landscape. But instead plumb the depths of memory and very loosely act as an abstract visual interpretation of writings that reference winters spent growing up in the South, and recently lived, on the East Coast.
Artist Bio
Paul Behnke was born in Memphis, TN, and received a Bachelor of Fine Arts degree in painting from the Memphis College of Art. Behnke’s paintings have been exhibited widely in the United States and internationally.
He has had solo exhibitions in New York, Heidelberg, Philadelphia, Saint Augustine, and Memphis, as well as group shows in San Francisco, Honolulu, London, Dublin, Paphos, Glasgow, The Netherlands, Cernay-lès-Reims and New York.
His work has been reviewed in Hyperallergic Weekend, The New Criterion and The New Republic. Behnke’s writings have appeared online at AbCrit: A Forum for Debate on Abstract Art, at The Painters’ Table and in print in Gamut a Southern regional art magazine, and No. Magazine. He was the co-editor of Shad Runn a self-published art zine in Memphis, TN.
He has edited Structure and Imagery: A Contemporary Art Blog since 2011 and was the co-director of Stout Projects exhibition space in Bushwick, Brooklyn from 2015 to 2017. Currently, Behnke lives and works in Taos, New Mexico.
Artist Statement
The paintings in this show were among the very first I made when I moved from New York City to Taos, NM in the summer of 2020. I believe they were an attempt to reject everything I thought I knew about New Mexico – the fabled light, the vast open spaces and the rich color that makes up everything from the artwork created by the Pueblo fine artists to the piercing color combinations of the ski jackets in the ski valley and the sky itself. And an attempt to hold onto the chill and grayness of my favorite season in the Northeast. In New York, I made color -seared, garish paintings with expanses of competing colors and bold, broad forms. If I had set out to make paintings in both locales that were the opposites of their environments, I couldn’t have done a better job.
These works are small and intimate. Understated with only accents of unmodulated color, the paintings remind me of what I appreciate about A.P. Ryder’s work, than the British Pop abstractionists that I previously felt akin to. This palette is grayed down, muted and seems to reference, of course, winter, loss, vacancy, twilight or early mornings in the fall. The palette still relies heavily on the interplay of opposites, but the paintings are keyed and rely on a subdued mood, a grittier feeling. The toned down greens, browns and grays are reminiscent of Freud, Auerbach, Minton and are similar in mood to the School of London.
While my forms still allude to previous content – Biblical and Pop Cultural references, alchemy, occult symbols and transformation – they have become less defined. The application of the paint became more slapdash and the edges blurred. The bombastic power of my earlier, larger paintings became subtle, subdued and subversive. Lines snaked along arbitrary paths or sometimes meandered or dashed through the meat of the looser forms linking adjacent elements – moving the viewer’s eye to better direct and connect a composition.
Oddly, in thinking about the line’s movement across the canvas, I am now reminded of a very early memory that I revisit often.
I am about seven years old, lying on my back in the middle of a baseball field next to my house. It’s cold and I can feel the hard ground through my dark blue corduroy coat and hood. The coat has a nutcracker type soldier sewn on the left breast. I am looking up at a dappled dark and light gray sky. In my field of vision, from my right a dotted line of black looking birds moves its way even further south. They are tiny and I feel sad they are going away.
Listen to a conversation with Paul Behnke and Graham Dane on the KONR Out North Radio program Art Matters: open.spotify.com/episode/2ObBlakSQ5bFa7TrruYDhD
Prior to his emigration to Ecuador in 2017, Garry Kaulitz was a driving force at the University of Alaska Anchorage, where he taught from 1993-2016. He has been noticeable for his work both within UAA and the wider Anchorage art scene and beyond, as well as for his support of students and artists generally. His contributions have been recognized with numerous awards, grants and residencies including the 2015 Rasmuson Foundation Distinguished Artist award. This new exhibition is of selected works from sixty years of active art production including paintings, prints and drawings.
This exhibition is taking place concurrently with another exhibition of Garry’s work at Off Arte Contemporáneo in Cuenca, Ecuador. What is easy is seldom excellent is curated by Graham Dane and produced by Bob Curtis-Johnson /SummitDay.
Curator’s Statement
Garry Kaulitz was a leading figure in the Anchorage and Alaskan art scene, He taught at the University of Alaska Anchorage from 1993 to 2014, when he retired. Throughout this time he made art. Before this he had been running his own print shop in Louisville (1981-93); three of his screen prints from this time are included here, one of which gave rise to the exhibition’s title, What is easy is seldom excellent.
First time I saw a large exhibition of his work was a one-person show at what was then The Anchorage Museum of History and Art. Poignant, honest and deeply personal, it dealt with tragic moments of his life, difficult issues, but then Garry’s never been shy about producing work that deals with the dark and unsavory aspects of life, what he referred to as the human condition. His work deals with the enigmatic, visual and autobiographical nature of existence utilizing the juxtaposition of figurative, landscape and object elements with mind fictions and frictions. As Ken Deroux said, “You've taken on big themes in your work: domestic abuse, sexuality, the war in Iraq, and your own dysfunctional family upbringing.”
I’ve known Garry for over twenty years. Being asked to curate from over fifty years of artistic output was a first and was a surprise, and a show of trust to be asked. How does one show work to represent nearly sixty years of production? To look through so much work, to attempt to find either “the nuggets” or to pick work that tells a certain narrative is probably the hardest thing I’ve been involved with exhibitions-wise.
Within this small and limited survey of Garry’s output are some of the oldest pieces (a portrait of a friend from graduate school, a landscape with a barbed wire fence) to the last print that he produced in Cuenca (Ecuador) where he and Kathy, his wife, are now resident. As he wrote to Ken Deroux,
“My BFA from RIT (Rochester Institute of Technology) was in illustration (in those days heavy into process and concept), and I had planned on being an illustrator. However, in the process of getting my MFA I made the decision to pursue teaching so I might not have to make art for other people, and could follow my own artistic dictates.”
Thanks to
Garry and Kathy Kaulitz
Graham Dane
Joe Carr, Karinna Gomez and Hans Hallinen /IGCA
Conservator Janelle Matz /ArtCare
Gabrielle Owens Thorndyke /SummitDay
Hal Gage /Gage Photographics
Leslie Matz /ArtCare
Bryce Frederick
Mark Heinrichs
Marilyn Doore
— Bob Curtis-Johnson and Graham Dane