Reinhard, McCann and Katz @ UVa Off-Grounds Gallery

This is a report that will be part of a continued series regarding the University of Virginia studio art student exhibits at the Off-Grounds Gallery during the months of April and May.

I dropped by Off-Grounds Gallery on Saturday to catch the first of the final exhibits of 4^th and 5^th year student work. This show included the work of three 5^th year Aunspaugh Fellows: Adam Reinhard’s paintings, photographs by Libby McCann, and the collages and prints by Jessie Katz

ADAM REINHARD - Playing With Matches

Adam Reinhard takes on an ambitious subject matter: stripping children of their innocence in order to expose the effect adults' actions (and an adult world) have on them:

By projecting my scenarios onto the purity of children, I am trying to show what can happen when technology is abused and consumerism preoccupies our lives, without directly indicting the viewer.  In this way, my artwork serves as a mirror of sorts, but only insofar as I want my viewer to be aware of the world around them.

In his statement, I am glad to see Adam also admit to his reliance on images of consumerism and commercialism in the "despoilment of innocence." Unfortunately, it can easily get in the way of the overall image. It often appears there is more interest placed on the commercial logo than on the person depicted. Loose sharp brushstrokes used for facial features turn to precise thoughtful lines spelling corporate names and logos.

I am always a fan of an artist (in any 2 dimensional medium) who flattens their scenes. Pulling the background forward is an inherently modern element to the visual arts, but it’s not an easy trick to pull off well. I believe Adam gets it done. However, his flat spaces (the filler around his people) are often overweighted compared to the chopped brushstrokes used in his faces. An evening of technique would create a greater balance.

Adam captures the often undetectable dangers of playing games, or, more importantly, in role playing. He displays the potential harm of adult behavior through the actions of children. I found "Boredom" (pictured) sums up Adam’s premise well. Despite the vast availability of stimulating board games, today’s youth still cannot overcome TV’s mind numbing effect. Well done.

If Adam's exploration continues, I'll come back for more.

LIBBY McCANN - Conversation

Libby McCann photographs close-up studies of the face in black and white. High contrast lighting plays an important part in detailing the landscape of each individuals face. We are met eye-to-pore with the space between the upper lip and nose, the brow, an adams apple, and a cheekbone. The effect and consistency of the dramatic, raking light used gives the haunting essence of film noir. However, I found only a couple of hints of displays emotion out of the 19 individually framed photos. Because of this, the conversation between them is thwarted.

I preferred the tone of the grouping of the photos over the narrative. Having hyper-real close-ups of human facial features thrust at you is stimulating. And, high contrast black and whites are always jarring and a little bit spooky. But, for them to work better as a group, I would suggest better use of the negative space between each image. Negative space is often a forgotten design element, but effectively using it can tie a group of photos such as these together and create a finer sense of "conversation."

JESSIE KATZ - The World is my Living Room / My Living Room is the World

Jessie Katz's collages and prints tell a story: Katz anthropomorphizes potted house plants and pits them against their wishes for the freedom to live wild. But do they really? They are given rolls within mid-America households and have dreams of their own. They pose the quintessential question whether it is better to live a sheltered life or one in the hard, wild world.

Ultimately, Katz answers her own question with her piece aptly titled "It's Not So Glamorous Out There As You Think." Ah, yes, the grass is always greener… until you get to the other side.

Katz's process, however, leaves me feeling like an under-watered begonia. My biggest complaint lies in the work that includes a few too many words on the images. Note to young artists: be very very careful about including words and sayings on your art. Show the viewer what you want them to think, don't tell them. It is a rare artist who writes on their work successfully. A much more cleaver use of expressing ideas is when Katz gives her plants thought bubbles. No words, just the pictures of lush grasses and greenery. This is exactly the language a plant would use – not words.

Overall, I would have liked to see a better, crisper product from Katz. I know she has excellent print work in her oeuvre, but the inkjet on paper included in this show needs a much higher resolution for it to really make a punch. The images are something of a throwback to the '50s and '60s. Sharper and bolder colors were the design norm back then. This element is lost in Katz's grainy translation.

One last thought… For those students who have been given the task of manning the gallery: Show a little bloody interest when some one walks in! I understand you may be bored out of your mind sitting in a quiet gallery for a couple of hours on a Saturday. But, the best way to break out of your stupor is by engaging in some conversation with the people who have come to see the work.