Art Map Burlington, August 2007

ART REVIEW

On View
at the Maltex

The Maltex Building on Pine Street currently hosts an exceptional array of work by eight Vermont artists. This four-story group show, arranged along hallways rather than in designated gallery spaces, represents multiple genres including collage, photography, and sculpture, and is worth a special trip.

Carol MacDonald creates haunting monotypes, often depicting birds and themes of flight. In Skyway (15.5”x22”, monotype and thread) two black birds hover at center, facing each other in midair. The sky is a darker shade than storybook blue, giving a sense that there is a weighty intent behind these images. Above and below the center panel, two narrow rectangles are sewn; on each, three small black airplanes fly into the frame from opposite directions. The addition of the planes, their size, and their mimicry of the birds are somewhat ominous and very effective elements. In Respect Earth (17.5”x17.5”, etching, monotype, pen and ink) an open-mouthed crow is intricately rendered in black and white, facing the handwritten poem that gives the work its title: “Respect earth and life/ in all its diversity”. This is an example of the refined yet unpretentious, organic nature of MacDonald’s work.

On the ground floor, Margaret Kannenstine’s vibrant jazz-themed paintings are clearly inspired by live music. The artist uses bold acrylics and intense lines to express motion, sound, and the passion of the musician. In Sweet Honey In The Rock (acrylic on linen) four female figures are shown as elegant silhouettes on a brilliant red background. Their instruments and faces are not fully fleshed out, the softness of the lines working well with the brightness of the colors. One woman has her head tilted expressively, listening; all four seem to be closely communicating. Piano Reflections (acrylic on paper) showcases a pianist in a violet shirt viewed from behind. A midnight blue base contrasts with the spread of sheet music, which forms the painting’s focal point. At top right, a moonlike music light illuminates the keys of the piano. With these vivid paintings, the artist skillfully allows us to witness her well-integrated senses of sight and sound.

Larry Broder’s photographs from his “Morocco Series” are masterfully arranged. Perfectly bridging the spaces between painting and photography, each print provides a clear and evocative perspective on North Africa’s spectacular array of colorful scenes. Classic Mediterranean blue, the arid sandy browns of the desert, and a jumbled rainbow of rag scraps in an overstuffed basket are standouts. The artist took full advantage of the wealth of material, gently shaping and interpreting it to give a sense of his own experience. Green Shutters is a glimpse of two irregular wooden doors set in a wall of patchwork yellows and terra cotta. Graffiti adorns one shutter in an instance of simple, everyday beauty. Similarly, Sun Shadows captures light cutting through narrow slats of a courtyard roof, casting shadows on a building’s façade and a stack of crates, with the effect of an Impressionist painting. The photographs exhibit the appreciation and wonder of a tourist, with none of the obtrusiveness.

Sandra Mudge’s mixed media, 3-D collage works are somehow light-hearted and brooding, playful and dark at the same time. Mudge uses mirrors, scraps, vintage clippings, glitter, and found objects to create a cohesive and specific vision. In Glass Moth (mixed media collage on canvas), a ruby red doll’s dress is affixed to the canvas, resting on painted wings. Dozens of butterfly and moth postage stamps from all over the world, glued to the picture frame, complete the ensemble. The Wind uses similar techniques with varied materials; a portrait of two Southeast Asian dancers is surrounded by Indonesian currency, aviation stamps, floral and pastoral images, and bits of text. Mudge emphasizes the wonderful textures of her work by framing them without glass. These are generous glimpses into the artist’s imagination.

Whatever one’s aesthetic tastes, it would be difficult not to be taken in by this group exhibition, which also includes impressive work by Dan Gottsegen, Andy Duback, Kathy Black, and Bruce Hathaway.

by G. BLAKE MACPHAIL

Art Map Burlington ARTICLE
BACK
Glass Moth by Sandra Mudge 28” x 32” mixed media collage Flight II by Carol MacDonald 22.25” x 15” oil monoprint and etching on paper 42. Maltex Building 431 Pine Street (802) 865-7166 www.burlingtoncityarts.com		ART REVIEW On View at the Maltex The Maltex Building on Pine Street currently hosts an exceptional array of work by eight Vermont artists. This four-story group show, arranged along hallways rather than in designated gallery spaces, represents multiple genres including collage, photography, and sculpture, and is worth a special trip. Carol MacDonald creates haunting monotypes, often depicting birds and themes of flight. In Skyway (15.5”x22”, monotype and thread) two black birds hover at center, facing each other in midair. The sky is a darker shade than storybook blue, giving a sense that there is a weighty intent behind these images. Above and below the center panel, two narrow rectangles are sewn; on each, three small black airplanes fly into the frame from opposite directions. The addition of the planes, their size, and their mimicry of the birds are somewhat ominous and very effective elements. In Respect Earth (17.5”x17.5”, etching, monotype, pen and ink) an open-mouthed crow is intricately rendered in black and white, facing the handwritten poem that gives the work its title: “Respect earth and life/ in all its diversity”. This is an example of the refined yet unpretentious, organic nature of MacDonald’s work. On the ground floor, Margaret Kannenstine’s vibrant jazz-themed paintings are clearly inspired by live music. The artist uses bold acrylics and intense lines to express motion, sound, and the passion of the musician. In Sweet Honey In The Rock (acrylic on linen) four female figures are shown as elegant silhouettes on a brilliant red background. Their instruments and faces are not fully fleshed out, the softness of the lines working well with the brightness of the colors. One woman has her head tilted expressively, listening; all four seem to be closely communicating. Piano Reflections (acrylic on paper) showcases a pianist in a violet shirt viewed from behind. A midnight blue base contrasts with the spread of sheet music, which forms the painting’s focal point. At top right, a moonlike music light illuminates the keys of the piano. With these vivid paintings, the artist skillfully allows us to witness her well-integrated senses of sight and sound. Larry Broder’s photographs from his “Morocco Series” are masterfully arranged. Perfectly bridging the spaces between painting and photography, each print provides a clear and evocative perspective on North Africa’s spectacular array of colorful scenes. Classic Mediterranean blue, the arid sandy browns of the desert, and a jumbled rainbow of rag scraps in an overstuffed basket are standouts. The artist took full advantage of the wealth of material, gently shaping and interpreting it to give a sense of his own experience. Green Shutters is a glimpse of two irregular wooden doors set in a wall of patchwork yellows and terra cotta. Graffiti adorns one shutter in an instance of simple, everyday beauty. Similarly, Sun Shadows captures light cutting through narrow slats of a courtyard roof, casting shadows on a building’s façade and a stack of crates, with the effect of an Impressionist painting. The photographs exhibit the appreciation and wonder of a tourist, with none of the obtrusiveness. Sandra Mudge’s mixed media, 3-D collage works are somehow light-hearted and brooding, playful and dark at the same time. Mudge uses mirrors, scraps, vintage clippings, glitter, and found objects to create a cohesive and specific vision. In Glass Moth (mixed media collage on canvas), a ruby red doll’s dress is affixed to the canvas, resting on painted wings. Dozens of butterfly and moth postage stamps from all over the world, glued to the picture frame, complete the ensemble. The Wind uses similar techniques with varied materials; a portrait of two Southeast Asian dancers is surrounded by Indonesian currency, aviation stamps, floral and pastoral images, and bits of text. Mudge emphasizes the wonderful textures of her work by framing them without glass. These are generous glimpses into the artist’s imagination. Whatever one’s aesthetic tastes, it would be difficult not to be taken in by this group exhibition, which also includes impressive work by Dan Gottsegen, Andy Duback, Kathy Black, and Bruce Hathaway. by G. BLAKE MACPHAIL

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