Heartside ArtPrize: 2014 venues along S. Division

Of the 174 venues hosting art in this year’s ArtPrize competition, 59 can be found in the Heartside District. To scale it down to parameters nearby Cathedral Square, here is a guide to the 14 neighborhood venue locations along the strip of South Division, beginning at our showcase venue and descending by location to the Fulton intersection:

1) This list starts with Cathedral Square. Begin your ArtPrize expedition in our venue on the second floor of Cathedral Square Center. Enjoy art selected within our 2014 theme, “HeArtbeat: The Pulse of Art & Life”, which embodies rhythm as a compositional device and subject matter, and reflects the culture of Heartside in which we are rooted. // 360 S. Division

2) The next stop on this tour lands at Avenue for the Arts (AftA). As residents in Heartside, they are active participants in shaping the neighborhood. AftA has been recognized as a center for arts and culture in Grand Rapids, with honors such as the 2004 Cool Cities Designation and 2009 Neighborhood Business Alliance Award. // 307 S. Division

3) The next stop on your ArtPrize venture is Take Hold Church. They were nominated as one of the top five venues in 2012. This year they will be featuring the artistic creations of Hannah Johnson from Ohio. // 222 S. Division

4) As you mosey north along Division, you'll discover Dégagé Ministries. Dégagé is on the corner of Division and Cherry an area which is often bustling with activity. They have large windows where artwork can be displayed outward facing south and west. There are sidewalks and easy crossing for patrons and visitors. // 144 S. Division

5) Don’t miss the exhibit at Have Company. Have Company is a general store and artist residency space specializing in local handmade goods, small publications, and collaboration. They also host a rotating domestic residency program, where artists come to live, work and teach in the space. // 136 S. Division

6) Tune into the entries at Vertigo Music. Vertigo is the largest record store in West Michigan. They say they are “not the right place for extremely religious or patriotic art.” Vertigo makes space for 2D and 3D work, displayed in large front windows facing S. Division. // 129 S. Division

7) The next stop will land you at Parliament the Boutique. Parliament is the studio home and showroom of Littlewings Designs. Parliament is proud to host Grand Rapids ceramic and installation artist Kate Lewis with ceramics that guide the viewer through an experience of peace and acceptance. // 120 S. Division

8) Visit two venues in one location: The Bandit Queen and Propaganda Doughnuts. The Bandit Queen is hosting a  "junk-chic" theme of a spice-route gypsy caravan, circa the Victorian era -- borderline Steampunk (but more tasteful). Propaganda Doughnuts is a small urban doughnut shop with a pulp-fiction spy/detective/mystery theme and an art-nouveau style. They are open late with sweet and savory offerings that draw people in day and night. // 117 S. Division

9) The next duo you'll want to visit combines The Local Epicurean and Harris Building. During ArtPrize the Harris Building will be hosting pop up events and services as well as large events. There are many unique areas and situations available to showcase all types of art media. The Local Epicurean is a specialty pasta company with an indoor Italian food shop. // 111 S. Division

10) The next venue is located at the Calvin College (106) Gallery. The (106) Gallery is part of a reclaimed building housing over a dozen live/work artist units, operated by the Calvin College Department of Art and Art History. During ArtPrize, the gallery strives to curate a cohesive exhibition of artists with compelling and complementary artwork. // 106 S. Division

11) The tour continues with Heartside Gallery & Studio. Heartside Gallery & Studio displays its artists entries in its large front windows. They will be showcasing art made by local Heartside Neighbors. // 48 S. Division

12) Don’t miss the exhibit at Rockwell | Republic. Rockwell | Republic is a restaurant-lounge providing two distinct dining atmospheres and three bar areas. They strive for an ambiance that is relaxed, smart and cool. // 45 S. Division

13) The next stop on your ArtPrize tour should be Craft House. Craft House is a collaborative exhibition space and artist resource interested in hosting artists who appreciate the value of collaboration in the process of art making. They will feature the project “Love is Cliché” by Grand Rapids artist Alaina Clarke for ArtPrize 2014. // 40 S. Division

14) Finally on this South Division tour, enjoy work at the Urban Institute for Contemporary Arts (UICA). This exhibition center sits at the corner of Fulton and Division. UICA has been pushing contemporary art and the creative community to the forefront of the city for 37 years. Their 2014 exhibition theme is COLLABORATION, featuring art and artists that build upon exploration into inspired combinations. // 2 W. Fulton

For more exploration of Cathedral Square and the Heartside Neighborhood, “like” our Facebook page: 
ArtPrize at Cathedral Square

One Artist, Five Questions: Elizabeth Brandt

Engage with new and returning artists before visiting the Cathedral Square venue to see their amazing array of work. Learn about the artists’ personal stories and creative ambitions through five enticing art-related questions.

This week: Elizabeth Brandt

Elizabeth Brandt, Random Thoughts, 2013, fiber, 0.25 x 127 x 79 inches

Elizabeth is returning to Cathedral Square. Recently, Elizabeth has worked as a fiber artist, using traditional techniques and materials. Her 2014 entry, “Random Thoughts”, is part of her “Karma” series exploring connections between color, shape, line and balance. Karma, in this sense, refers to the idea that for every cause there is an effect. This relates to the way Brandt improvisationally constructs quilts without initial sketches or templates. With each piece of fabric included or removed, it affects other elements in unexpected ways.

What is your background?

I worked in advertising as an art director, then as a freelance illustrator for many years. I've only been working on my own art for the last 4-5 years. It's taken awhile to adjust to having no client parameters for a given project, except what I set up for myself.

What is your preferred medium and why?

I was doing occasional hand-quilting as a hobby when I discovered an artist, Nancy Crow, who teaches improvisational quiltmaking as an art form. I had played around with pastels and paints, but never fell in love with them enough to get very good at them. But for some reason, pulling out my piles of colored fabrics really gets my imagination going and I can spend endless hours cutting and sewing. I use no patterns or sketches--the piece is created and recreated from moment to moment and can change dramatically up to the end--I find that both challenging and exciting.

What style/genre do you most identify with and why?

My work is abstract and I am drawn to the era of abstract expressionism of the 1940s and 1950s. This group of artists didn't follow a set of "rules" to create their work, they have no cohesive style--each artist found a way to make the materials express his or her individual voice. Some of my faves from this period are Motherwell, Kline and Gottlieb.

Do you have a favorite artist? What attracts you to that artist's work?

I love many artists, but in addition to those mentioned above, I especially love Calder, Klee and Miro for their beautiful colors and shapes. All three have a playful, yet mysterious quality to their work.

What is the hardest step in creating work?

The easiest part is the start, the excitement of beginning a new piece. The hardest part is in the middle, when I face the tough work of figuring out how to actually sew what has come together on my design wall. At that point, I can get bogged down and start second guessing myself--everything all looks terrible at that moment.  If I get stuck in that mind state, I can spin my wheels for days.

Learn more about Elizabeth Brandt: http://www.elizabethbrandt.com/

ARTology: Composition, abstraction & unity

Composition: A mutual assembling of parts to form a whole.

It has been determined that humans see the whole before we see the parts (tune into our next ARTology post about Gestalt psychology for more on this). In this regard, we have a natural tendency toward completeness and harmony. Symmetry tends to promote stability. Regularity creates rhythm.

John McLaughlin’s 2014 entry, “Running In Circles,” applies the rules of composition through a fluctuation of control and careful planning, along with letting go, allowing for surprises, then bringing it all back into a state of focus. Many layers are put together to depict beauty.

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Abstraction: The concentrated essence of a larger whole, considered apart from concrete existence.

Abstract work springs from and must be responsive to a physical reality. Abstract art comes from spirit rather than nature; in this sense, it is uniquely rooted in humanness. Exaggerated space, subjective use of color, and synchronicity of perspectives are all principles of abstraction.

“Ode to Cadere” is the 2014 abstract entry by artist Christie Helm. In her painting, Helm navigates space and paces out the boundaries of her space in vertical line and color: her abstraction represents the particular proxemics of her being in the world (proxemics defines the different personal spaces allotted to people in various cultures).

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Unity: The ability of a composition to coordinate its various parts into a stable whole.

Unity defies formulation but will often include careful attention to hierarchy, rhythm and balance. It is the positive effect of establishing a sympathetic relationship between parts. Even a disjointed composition can achieve unity; for example, in a crowded street. Visual unity denotes some harmony or agreement between items that is apparent to the eye.

Thomas Roeser’s 2014 piece, “Ecuador”, coordinates the elements of a market as a vibrant space full of color and life. Lifelines in all civilizations, markets stand the test of time as the harmonic crossroads of people, goods and commerce. The experience is a kaleidoscope of colorful sights, creating a unity between the beauty of the Ecuadorian culture and its attachment to the global experience.

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See more artists who convey composition, abstraction, and unity by “liking” our Facebook page:

https://www.facebook.com/pages/ArtPrize-at-Cathedral-Square/209285349115311

One Artist, Five Questions: Tony Hendrick

Engage with new and returning artists before visiting the Cathedral Square venue to see their amazing array of work. Learn about the artists’ personal stories and creative ambitions through five enticing art-related questions.

This week: Tony Hendrick

Tony Hendrick, Gathering Sap, 2014, acrylic on canvas, 2 x 81 x 64 inches

Tony is a returning artist who has created paintings and murals for many individuals, businesses and organizations. He teaches painting workshops and has lead many public art projects. This year, he returns to ArtPrize at Cathedral Square with his entry titled Gathering Sap. This painting exhibits a rhythm connecting the early spring season with the flow of sap from roots to branches. It has rich colors and bold strokes, but as the viewer steps back and allows the colors to softly blend together, it feels very natural and rhythmic.

1. What is your favorite or most inspirational place?

The most inspirational place for me to create art is inside my heart, and many places support me gaining access. Exploring wildlife sanctuaries around Michigan is a great way for me to restore my aliveness, especially places like Pictured Rocks or Sleeping Bear Dunes. I also enjoy going to art museums and shows with friends and my wife, Mary Ann, who is also an artist. Seeing the many unique ways others have opened their heart to create art, and sharing the experience with friends who look to do the same, is very inspiring and helps me strengthen my own resolve.

2. What themes do you pursue?

My primary purpose as an artist is to develop my expression of living as love and to experience this consciously. Many different themes support this purpose and usually begin as a nudge, something I’ve hidden inside myself, itching to be felt and seen. I find this approach to be very magical, revealing one hidden treasure leading to another. The best theme in a work of art is the one that changes with me as I grow.

3. What is the hardest step in creating work?

The most challenging step in creating art is to move from listening to beliefs I have about myself and expectations I have for my work to focusing on what is happening on the canvas as I work. I often have a vision of what I’d like to achieve, and sometimes make a commitment to that vision, but I’ve found the best commitment to make is to trust my inner sense about what is going on with the work while I’m working on it. This can mean getting rid of something I really liked earlier in the process.

4. What is integral to the work of an artist?

The thing I look for in the work of an artist is whether it looks like the artist is genuinely having fun creating it. What is fun for an artist can be, and essentially is, different for each artist, and different for each person who views the work. However, the place where everyone connects is in the aliveness that opens inside when one is having fun.

5. What is your dream project?

My dream project involves using my experience of working on large-scale mural projects with a community of artists and my ability to magically use vibrating color, rhythm, patterns and light to transform an urban landscape with nature-inspired and deep archetypal images. I see the project

opening the space for people to embrace, respect and celebrate one another’s unique creative genius, inspiring harmony with nature, and supporting healing and living in the active, conscious, presence of LOVE 24/7, 365 days of the year.

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Experience Tony Hendrick's creative process:

View Tony's ArtPrize 2013 entry here.

ARTology: Balance, figure & proportion

Balance: A stable state characterized by equal opposing forces.

Our sense of balance is connected to some of our most primal discoveries of how our bodies work, as balance is necessary to stand, run, jump, etc. In Taoist thought, balance is the ultimate power and goal of the universe, represented through the yin-yang symbol. A traditional Navajo greeting may refer to the harmonious relationship between humankind and nature; physical and spiritual.

Blair Reickmann’s 2014 entry, “The Shortest Route”, plays off rhythm through a balance of weight, structure and functionality.

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Figure: What stands forward in a composition, in contrast to ground, which recedes in a composition.

The degree of harmony or tension between figure and ground contributes immensely to the effect of an art piece. Through understanding and use of unusual figure/ground relationships, artwork is generally made more interesting to the eye.

“Believable Possibilities”, James Wilson’s 2014 ArtPrize entry, captures all the possible human rhythms on a Midwestern farm that the painting can grasp. Figure and ground are uniquely blended to encompass the entire scene so that no part dominates another, but rather stands visually appealing as a whole.

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Proportion: Comparison between size and quantity of parts as they relate to a total physical form.

Ratio is a comparison of any two quantities. Ratio formulas are often used to determine visual order or balance. Proportional systems establish visual relationships of size, shape and quantity between the parts of each form and its whole. Each shape should be made to interact with the shapes around it.

Elizabeth Brandt’s 2014 entry, “Random Thoughts”, explores connections between color, shape, and proportions. She plays off the idea that for every cause there is an effect. With each piece of fabric included or removed, it affects the proportions of other elements in unexpected ways.

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See and learn about other artists who convey balance, figure and proportion in their work by “liking” our Facebook page:

https://www.facebook.com/pages/ArtPrize-at-Cathedral-Square/209285349115311

One Artist, Five Questions: Sun Young Kang

Engage with new and returning artists before visiting the Cathedral Square venue to see their amazing array of work. Learn about the artists' personal stories and creative ambitions through five enticing art-related questions.

This week: Sun Young Kang.

New Cathedral Square artist Sun Young makes book and installation arts using paper to create physical and conceptual space. Kang has incorporated traditional Korean door designs into her 2014 entry, “Memories Unfolded”. The Korean rice paper door does not isolate inside from out, but rather creates a concept of two sides that are connected. Kang’s entry resembles an accordion-style hand-cut book, which illustrates the memories and connections shared with those who are on the “opposite side”.

Sun Young Kang, Memories Unfolded, 2012, book arts, 2.5 x 20 x 3.25 inches

What is your background?

I started to be trained in the traditional Korean Painting since I was 12 years old. I received BFA in Korean Painting from Ewha Womans University in Korea. After briefly working as an illustrator for children’s book, I moved to the U.S. where I studied Book Arts and received MFA in Book Arts/ Printmaking from the University of the Arts in Philadelphia, PA.

 

What themes do you pursue?

I see our world is composed of two antithetical ideas: presence and absence, life and death. These ideas can be understood in the Buddhist philosophy of “Emptiness”—every existence, every single moment that has ever existed, can only be conceived as between the past and the future. The abstract nature of this concept is often difficult to grasp, but my work is an attempt to secularize this fundamental idea. I use an ironical working process, which is visualizing non-visuals to approach this concept: the continual parallels of presence and absence, the inseparability of life and death to question the boundaries of all antithetical ideas in life.

What is your preferred medium and why?

Paper and the effect of light and shadow are my most preferred mediums. Light and shadow and the delicacy yet strength of thin paper are metaphors for the inseparability of life and death. They are also installation devices creating two conceptual spaces in a gallery or in a book structure. In installations the translucency of paper can also function metaphorically to suggest one’s ability to glimpse at what is on the other side or what is beyond presence.

What style/genre do you most identify with and why?

I would say Book Arts and Paper Installation. As I started making books, I was so attracted to the physical and conceptual space of a book. While physically a page of a book is a 2 dimensional space of paper, its contents can be structured into 3 dimensional spaces.  The space that a book contains never gets limited by its physical size. Holding a tiny book can mean holding the whole world.

I also love the idea of a book as an art.  This intimate art form can be touched and held by people and gives unique experiences to viewers. Books can multiply with more editions which allow even more people to share the work. Most of all, since people are already so familiar with books, they can be an art form for anyone to enjoy.

Paper installation is an extension of my practice of making books. Most of my installation pieces were inspired by the idea of the book and its structure. I like to create a physical or metaphorical space within an actual space of the gallery that people can be part of and participate in. Like how a book invites a reader into its story, I enjoy creating a space as a more active way of bringing viewers into my work.

What memorable responses have you received for your work?

Being an artist especially outside of my own culture is a privilege because art is the best way to connect to and communicate with people who are total strangers.  The most memorable response that I have had was someone’s tears. My work evoked her own memories and this person who I had never met before started talking about her experiences and how they related to my experiences. I have had quite a few people open up themselves while they were viewing my work, and these experiences have made me realize that despite differences in culture or professional backgrounds, we still hold a very deep and fundamental origin that is connected to everyone else.

Explore more about Sun Young: http://sunyoungkang.com/

Rhythmic Wisdom: Illustrating rhythms of life and art

As we move into mid-summer, the theme of rhythm, under which the ArtPrize at Cathedral Square exhibit is being created, is growing ever more prevalent. The artists with whom we’ve connected all follow a rhythmic beat in the composition, symbolism and configuration of their work. But what about the viewer? How does the understanding of rhythm resonate with the audience?

Let’s start with the basics. Rhythm is defined as a “regular, repeated pattern of sounds or movements” or the recurrence of a formal element (such as a beat or motif). In the case of ArtPrize at Cathedral Square, the theme “HeARTbeat: The Pulse of Art & Life” integrates rhythmic involvement from all walks of life, diverse functionality of the neighborhood, and a pulsing beat of growth for the diocese, the Heartside Neighborhood, the city and ArtPrize itself.

Conventionally, rhythm is measured on daily, weekly, monthly and yearly levels. One’s heartbeat, the generation of new cells, and schedules of sleep, work and socialization are all examples of daily rhythms. Any Michigander can recount the experience of seasonal rhythms through preparation for drastic winters and short-lived summers. Meanwhile, holidays, anniversaries and birthdays are celebrated as parts of yearly rhythmic phases.

Mother Earth has rhythms to follow, too. Although it may not always seem significant, Earth's rhythms grant us the very access to follow our own declared rhythms! Without Earth's recurring rotation, we wouldn't have a grasp of waking and sleeping. Cultural rituals would not prevail without giving reverence to the cosmic rhythms that determine our existence.

As if that isn't thrilling enough, all these observable rhythms emerge in the world of art as method, subject matter, personal affairs, and means of networking.

This leads to the important role of another fundamental element in this experience: the viewer. An audience is identified as a common group of spectators that manifests interest, support, enthusiasm, or similar congruity. There are underlying rhythms that circulate through any audience, as viewers routinely form expectations, interact on the basis of common interests, and develop temporal and spatial schedules to make the best possible use of the experience. These are rhythmic traits of any given assembly of people, especially displayed within a radically versatile event like ArtPrize.

Before assuming things like “it’s impossible to understand art”, “artists and viewers will never see eye to eye”, or “some artwork is better than others”, keep in mind that every person and thing has a role in continuing life’s grand rhythm. If ArtPrize seems like just a trivial social event, remember that every individual decision to take part, from leader to spectator, adds a beat to the cadence of ArtPrize, to the pulse of Grand Rapids, and to the rhythm of life.

So join in, take part, and keep the movement going!

One Artist, Five Questions: Thomas Roeser

Engage with new and returning artists before visiting the ArtPrize at Cathedral Square showcase venue to see their amazing array of work. Get insight into the artist's personal stories and creative ambitions through five enticing art-related questions:

This week: Thomas Roeser

Thomas Roeser, Ecuador, 2014, oil on canvas, 24 x 30 inches

Thomas is a Chicago-based artist who specializes in representational oil paintings which depict people in various urban settings. His fifth ArtPrize entry, Ecuador, highlights the uniqueness of Ecuador’s indigenous markets. The goods that are shown in the market often emanate in lush conditions without technological intervention. The market is depicted as a kaleidoscope of colorful sights displaying flowers, foods, textiles and crafts. Thomas hopes to reveal the understated beauty of the Ecuadorian cultural experience and its connection to worldly rhythms.

What is your background?

My formal background in art started at about age 12 when I won a $50 bond at a local art contest.  My parents then enrolled me in private oil painting lessons from a woman who provided art instruction out of her home.  I studied under her for a few years.  After earning a business degree in college, I studied commercial art from the American Academy of Art in Chicago.  After a brief career in commercial art, I rekindled my interest in oil painting and have pursued it ever since.

What themes do you pursue?

The themes I pursue often include a confluence of the urban landscape and the people who dwell within it.  I enjoy depicting the actions of people as they conduct their everyday affairs.   

What got you interested in art?

I have been interested in art ever since my fingers could hold a crayon.  I have been creating art ever since.

What is your preferred medium and why?

My preferred medium is oil painting because of its richness and permanence.

What style/genre do you most identify with and why?

The style I most identify is representational art.  I enjoy replicating texture, light and color from a three dimensional scene that I have observed, then photographed and translating that to a two dimensional work on a canvas.

Reflect with Thomas Roeser’s representational paintings: http://roeserart.com/