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WEEKLY CALENDAR ONGOING EVENTS Dumb and Good Looking, 1st year MFA students in Painting, Drawing and Intermedia | Art Gallery West January 22 – 26, Reception on the 26 6:00 - 8:00 pm Axles and Aperture: Roller Derby Photography Englert Gallery at the Englert Theater January 10 - February 12 Russell Jafe, HELL-Ø-SCAPES PSZ, 120 North Dubuque St. | through January 24 Nancy Purington, “Clouds and Waves” Hudson River Gallery | January 25 February 23 UIMA “Napoléon and the Art of Propaganda,” Old Capitol Museum & the Black Box Theater, IMU | through January 29 Robert Polidori, “Selected Works, 19852009” Faulconer Gallery | Opens January 25 Monica Correia and Terry Rathja, Legion Arts Main Gallery in Cedar Rapids through January 31 Joseph Patrick, Legion Arts Club Room in Cedar Rapids| through January 31

CRITIC EVENT PICKS Oni Buchanan, Jon Woodward and John Gibson The relation between poetry and music these days is somewhat strained: the poetry that goes into “songs with words” often doesn’t translate onto the printed page well, and new composed music (often fragmentary, dissonant, and decidedly not “hummable”) does not always assimilate well with text. This is of course an oversimplification, and there are exceptions to each clause of the claim: but the point, that music and poetry stand in a more ambiguous relation to one another than they might have, say, 100 years ago, still holds. Oni Buchanan will read poetry at Prairie Lights with Jon Woodward on Saturday and play Piano at Riverside Hall in John Gibson’s “Uncanny Valley” on Sunday. Buchanan’s poetry and performance are bound up in this uneasy relationship between new music and new poetry; the two events should allos the listener an engaging meditation on the possibilities present at the intersection of these two art forms.

Nancy Purington, Opening reception for “Clouds and Waves,” Hudson River Gallery at 538 South Gilbert St. | 6:00 - 8:00 pm

Lloyd Dunn, Legion Arts Digital Gallery in Cedar Rapids| through January 31

Adam Krueger, Syzygy Lecture at Art Building West in the auditorium, room 240 6:00 - 7:00 pm

Pieta Brown, Legion Arts Digital Gallery in Cedar Rapids| through February 28

Dumb and Good Looking, reception at Art Building West | 6:00 - 8:00 pm



Gerhard Loewenberg, Prairie Lights Bookstore | 7:00 pm

Oni Buchanan & Jon Woodward Reading, Prairie Lights Bookstore 7:00 - 8:00 pm

Russell Jafe, HELL-Ø-SCAPES PSZ | 6:00 pm

The Mountaintop - an MLK Celebration of Human Rights Event at E.C. Mabie Theatre, Theater Building | 7:30 pm

FRIDAY JANUARY 25 Tim Fay & Wapsipinicon Almanac at Prairie Lights Bookstore | 7:00 pm PS1 Art Auction Opening, at PS1 in the basement of the Jefferson Building 6:00-8:00 pm Seagull Society at PS1 | 8:00 pm


Dumb and Good Looking A survey of the newest crop of graduate painters, which should be a great introduction to their work, especially if you missed the Painting Open House at the end of last semester (full disclosure: the show also includes Intermedia grad student Heidi Wiren Bartlett, one of this publication’s founders). HELL-Ø-SCAPES Having attended one of Jaffe’s poetry readings, I can assure the reader that the event at PSZ will be high-energy, if less than immediately coherent. Whatever “Painted electronic sculpture doomsday snuggle time effect memory icons” may be, they’re certainly worth a look. Legion Arts A number of shows are closing soon at CSPS in Cedar Rapids, including Monica Correia and Terry Rathje’s sculptures generated, at varying scales, from computer models, Joe Patrick’s delicately balanced oil on canvas compositions, and Lloyd Dunn’s digital works based on found recordings.

MONDAY JANUARY 28 Honor Choir in the Main Lounge at Iowa Memorial Union | 7:00 pm Katherine VanWormser & Charlotte Suddeth Reading at Prairie Lights Bookstore 7:00 - 8:00 pm Lecture by Michael Krueger, visiting artist in Printmaking 116 Art Building West | 7:30 pm

TUESDAY JANUARY 29 Kirsten Yon, violin and Dmitri Vorobiev, piano at Recital Hall, University Capitol Centre | 7:30 pm Intermedia I: Collaborate Accumulate at the Porch Gallery | Tuesday - Thursday



“Uncanny Valley” - piano/poetry/electronics concert - length work by John Gibson, featuring Oni Buchanan, piano at Riverside Recital Hall | 7-:30 pm

John Manning, tuba at Riverside Recital Hall 7:30 pm


we’re all in this together and Breach, Faulconer Gallery at Grinnell College, Grinnell, Iowa Today I meet Tilly Woodward who tells me “The meaning held in objects, often given to me by others.” Then David Van Allen says, “It’s great to be retired” followed by Jane Gilmor’s, “You can say yes.” Then everyone is putting this on, that on, walking upstage, walking downstage, getting ready for “Hand to Mouth,” The Riverbed Theatre’s new work being presented in the Faulkner Gallery, Grinnell College, November 8, 9, 10, 11. -David Dunlap concerning the opening reception of we’re all in this together

ACTING AS FORM By Christopher Reno

breathing Facebook – have fun, take part, take pictures, and post them for others to see!). Various set and costume props were to be found and employed within the large interior construction, which was painted and papered to appear aged and musty, and seedily lit, setting a tone of unease. Within the space wall sculptures and installations added to the feeling of mystery. Images, words, objects, furniture, even the room itself, were made and Upon viewing two shows that ran simultaneously combined such that no single narrative could last month in the Faulconer Gallery at Grinnell be construed but an essence of age and decay College, I was taken with the notion that infused all. theatricality is a concept in art that continues to find new form. While the artists involved in Having just watched the meta-horror film each of these shows used very different methods, The Cabin in the Woods, I was struck with the acting became the primary formal vehicle for the similarity of a themed room full of curiosities delivery of meaning in both. nested within the larger gallery space of the Faulconer, also typically a themed room full The first show, we’re all in this together, was of curiosities. In The Cabin in the Woods, an ambitious collaboration developed by ten said cabin of horrors is housed within a larger artists led by Craig Quintero and members pseudo-military complex of horrors. With that of the Riverbed Theatre Company. Riverbed film in mind, I appreciated the fact that the is known for blurring the boundaries of stage space was enclosed in a plain exterior art and theatre through innovative stage shell that contained the mysteries, a nice touch design and open-ended narrative strategies considering the shell was the largest visual <>. The group approached element within the gallery. the show with the goal of creating a space that inspired gallery visitors to act, or to take part in Given the collaborative spirit of Riverbed the artwork through acting rather than through Theatre and the large number of artists the traditionally passive role of looking. engaged in the making of we’re all in this together, it follows that this group would make Upon entering the Faulconer, I was encouraged something that asks the viewer to take part to climb a staircase and enter another door as well. Artists and theatre companies have where I found myself within a pretty creepy collaborated from the beginning, often with room. In that room, I was expected to take a the aim of engaging the viewer in a novel way. role in the production, to engage in theatrical From Gian Lorenzo Bernini’s immersive and art making activities of your choice, and shocking operas to Bread and Puppet’s populist perhaps to photograph or record the activities. actions, art and theatre have always been My images might then be incorporated into a natural allies. looping slideshow that was shown on a small television or they might be printed and hung on In the case of Andrew Kaufman’s concurrent a wall at the back end of the space (think living show, Breach, the formal conceit of acting

was more slowly revealed. Kaufman uses images and objects to entice the viewer with a cumulative and complete portrait of an artist in control. This artist is a man and this man is named Andrew Kaufman <>. The results of this artist’s endeavors were on display at the Faulconer for all to consider. Here is a painting. Here is a painting. Here is the perfect painting. This is a painting. How does it construct a space? Why does it construct space? Scrutinize its surface, smooth and flat. How was it made? Why was it made? Look at the perfect painting. Look at the image. How does the image fall? Fall on the ground. Fall in space. Look at it. Look at it now. Look at it all the time. Kaufman wrote these words in his exhibition didactic, a riff based on the dialogue of the short film The Perfect Human by Jorgen Leth, and the first clue that all was not as it seemed in this show. Initially I was struck by the Duchampian air of self-conscious sophistication, of conceptual play, throughout Kaufman’s work. Just as the humans in The Perfect Human were on display via clean, white, pseudo-objective, pseudo-documentary circumstances so were Kaufman’s objects projections of a distant, self-conscious poise and cleanliness. His work reflects the gleam of controlled design inherent in contemporary market driven art and the IKEA Galaxy iPhone Prius world that we artists must live in today. But upon closer inspection, I realized that cracks showed through the projected façade. The show was called Breach after all. Perhaps Kaufman’s objects were not quite so sexy and easily consumable after all. Perhaps this artist is not so in control as he projected. Perhaps fear, paranoia, and other negative thoughts pervade this artists’ thoughts just as they pervade mine! I noticed cracks in the paint, slight mis-registrations of paint layers, a series of objects made through the process of spitting but called Ejaculation (?!), and clean digitally printed drawings that record Kaufman’s attempts to hold his hand still and steady despite the pull of gravity… All of these observations sowed doubt within me as to the conceptual position that I initially believed Kaufman to be taking. As handsome as the work was at first blush, there was an undeniable feeling of unease, perhaps even dread, that emerged through extended viewing…Look at The Perfect Artist. Look at him now. Look at him all the time.


iowacityartsreview@gmail Andrew Kaufman, Spraypaint on Canvas, 60”x 42”

2011 co-creators: Brian Prugh and Heidi Wiren Bartlett

Icar vol1 ed06  
Icar vol1 ed06