Grousing out of the way first: we all know Jan Mellor is the hardest working art dealer in the region, but do we have to see the Taos Gallery logo on every single label? The unrestrained self promotion is more than a little annoying. Second, "international" apparently is justified by one artist from Mexico and one artist from Canada. That, after a press release saying she got entries from around the globe...makes one wonder what was juried out...
As with any group show, there are high and low points with the art itself. The vast majority of the pieces are unimaginative landscapes. Which is not a surprise considering the choice of the judges.
On the low side, Maryland artist Anne Cherubim has made some poorly conceived pieces (pedestrian brushstrokes, unremarkable composition, distainful presentation) and then priced them at twice as much as she asks on various vanity web galleries, which is probably too much to begin with.
On the high side, there are a small handful of good pieces that make the long trip south (I almost thought I'd start seeing bbq joints) worthwhile.
One of my favorite homeboy artists, Chris St. John has two pieces that flaunt his bizarre characters and their emotional ghosts, front and center. His piece 'Antartic Keyhole' is in a palate not common for him with lovely frosty greens, pinks and midnite blues. St. John's scratching and scrumbling and bits of eroticism are a refreshing break from the sameness of the rest of this exhibit. Do not be convinced by his artist statement at the front desk - these are very personal pieces. At least I hope so.
'Dark Red Motion' by Brenda Hope Zappitell earns my 'artist to watch' award. Her piece near the entrance has a ton of motion and is priced to sell at $1,250. This piece has a lot of nice layering to the acrylic, but the composition begins to work through ideas and then semi-abandon them rather abruptly. Personally, I would have expanded the palate slightly to make a more interesting painting.
John Sorg has some insanely detailed scratchboard pieces done in native motif that are compelling from a technical standpoint. Each line, pick out, and fleck of removed material adds to the resonance of the obsession it must take to make this art. Sorg has several pieces in the show and it's interesting to walk between them to see what works and what doesn't.
A small painting around the corner from the entrance titled 'Fledglings Released' also caught my eye by Denver artist, Peggy McGivern. This is a nicely balanced piece with wildly confident brushing of oil on masonite. The protaganist's skyward expression of beatific joy as he (she?) is releasing birds to flight is sublime. Watery fleshtones contrast gorgeously with a blue/gray sky in a simple composition that is full of grace. McGivern's pieces have been used in a therapy program for troubled adolescents - and although I no longer qualify age-wise...well, anyway.
So, go see art and make up your own mind.
