Monthly Archives: March 2013

Interesting articles by Jerry Saltz, RMRE Juror 2013


Saltz on the Death of the Gallery Show  Vulture, March 30, 2013 By Jerry Saltz

“There is no “the” art world anymore. There have always been many art worlds, overlapping, ebbing around and through one another. Some are seen, others only gleaned, many ignored. “The” art world has become more of a virtual reality than an actual one, useful perhaps for conceptualizing in the abstract but otherwise illusory. Once we adjust to that, we can work within the new reality.”

Jerry Saltz on the Outsider Art Fair — and Why There’s No Such Thing As ‘Outsider’ Art Vulture, February 1, 2013 By Jerry Saltz

“Millions of viewers and thousands of nascent artists are being denied the chance to see some of the best work made in the last 100 years simply because it was once decided that to be an artist meant having had preapproved training. It’s a self-perpetuating false distinction, like the one art historian Linda Nochlin famously wrote about in 1971, asking, “Why have there been no great women artists?” The answer to this brilliant rhetorical question, of course, was that to be a “great artist,” one had first to be trained in the academy via drawing the nude. Since women weren’t allowed into academe and were considered too pure to look upon the nude, they couldn’t be seen as “great.”


Kwanza Humphrey Exhibition


Humphrey_Kwanza_Man With Starfish_EX_3_13_webMarch 27, 2013 I have been working on this latest series for just about a year. All of my paintings start with a drawing where I figure out composition and sometimes tone. I continue too make adjustments on the canvas but for the most part I have a good shell to work with. I start with a light sketch then lay down color, rarely mixing on the palette, letting the colors mix optically.

I began this series in a jazz theme, capturing the emotions and essence of the person. This was a way for me to get my feel for painting again after an extended period of time off. It was a natural progression for me to move to people I’ve met or have seen. I try not to create a representation per se, but rather capture the life of each individual through an expression, eye position or angle. I am interested in the story of people just below the surface rather than the mask we present to the world. Through that interpretation I hope to show the realness in all of us, and that’s something we can all recognize on some level.

Kwanza Humphrey


Jean Wender Exhibition


When people first see my work, they often ask me how I get my glazes. Or they may remark on their affinity for raku pottery. My response is to let them know that what they’re looking at is neither glazed nor raku but the result of a technique that is loosely termed “smoke fired”. Why I have chosen to reject glazing my work may be summed up in the words of Robert Frost: “Something there is that does not love a wall.”

Let me explain: I love working with clay – its yielding fullness in the raw state; its suppleness on a potter’s wheel; the subtle sheen of a burnished surface. My hands have guided and coaxed a form into existence in a series of almost ritualistic steps. To then encase a piece in a wall of glass strikes me as a betrayal of this relationship. Instead, I leave my pots unglazed and surround them with a combination of minerals and organic combustibles, then set them on fire. As the fire burns and the heat rises, beautiful transformations occur. Smoke and fumes dance across and are absorbed into the body of the pieces. I don’t use glazes. Much better to leave the surface open and porous, receptive to the marks and colors that result from the firing process, open and receptive to the touch of a hand.

Jean Wender


Laura Nugent Exhibition


Every Day is Not the Same is a collection of my most recent paintings.  This body of work represents some of the largest individual pieces of my career as well as a genuine transition to abstraction.

Before these paintings came to be, I had been making smaller works with a pattern element that usually relied on some sort of imagery for subject.  Next, I moved to making work that was only based on pattern in the way that a quilt or textile might be.  In fact, to explain myself, I often said that I intended ambiguity with those works. I wanted viewers to not know that they were paintings until they got up close and investigated. I laugh now as I acknowledge that most of those viewers seemed disappointed when they realized that my work wasn’t quilted or woven. It was only painted.

Understanding that I had moved past making a painting that was “like something else” was greatly liberating. I am creating works that do not represent anything but themselves. Now, I am loosening my brushstrokes, scratching and scraping into surfaces, and happily living with the results of falling paint.

The title of this show refers to the name I gave one of the first paintings I made in this body of work, three years ago. At the time, I was working for long stretches on paintings with muted color relationships and vague pattern elements. I started noticing how repetitive my studio practice was: waking at the same time, walking the same route with my dog, eating the same meals, even wearing the same studio clothes made stiff by acrylic paint. I became intrigued by the slightest variation in my painting. Those weren’t patterns at all! There were no straight lines or perfect squares. Each slight wobble of an edge made by my hand became an incredible relief, an area of interest to my own eyes. I couldn’t predict how the pattern would fall apart, but always felt satisfied that it did.  And, in turn, the seeming sameness of every day was made bearable.

Thank you to the Kansas City Artists Coalition for the opportunity to show in this beautiful space.

Laura Nugent