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10 TIPS FOR BUYING ART
KIM BARRY& GALLERIE CHIZ INVITE US TO CHEW ON THIS
THE GREAT ART HUSTLE RACHEL RENAUDIN, AN ART PROFILE
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LETTER FROM THE EDITOR
C ON T EN TS
Welcome to the first edition of LOCALarts Magazine. As
Movement in Space
It’s Gotta be The Chiz
The Great Art Hustle
The Plate and the Palette
the arts community continues to grow and develop in the city of Pittsburgh, we wanted to create a centralized publication that focuses on all of the talent gleaming through our city walls. Artists, performers, musicians, dancers, and other creatives have made their mark and we want to share their journey with you. We’re not here to talk about the most popular, we’re here to promote all artists that deserve a voice in the community. We believe that all art should be seen, heard, and experienced.
Navigate the creative waters of buying art for your home like a pro.
We interview artist Kim Barry to discuss her art, philosophies, and why the 90’s are king. Our chat with Ellen Neuberg, owner of GalleriE CHIZ. Rachel Renaudin keeps it all in perspective as she balances art with life. Enjoy the marriage between art and food as we highlight great art finds in Burgh restaurants.
Much like art, publishing can be messy, chaotic, and downright frustrating. But the end result is a vision you hope triggers some type of emotion or connection to your audience, and that’s why art is so important in our city. It breathes life into our existence. It creates vibrant tapestries and incites inspiration. It simply defines our creativity. If you’ve read anything about our city, it’s that Pittsburgh is the next Brooklyn or Portland, and we’re on the cusp of greatness and livability.
But to me, Pittsburgh is Pittsburgh. We don’t need a big city comparison to feel good about ourselves, define our neighborhoods, and justify our arts. We’re blazing our own trail, and will continue to paint this city with creativity, passion, and yinz culture. Onward and Upward.
Editor-In-Chief, Rodney Burrell
A neighborhood publication focusing on the creativity and ingenuity of the arts in Pittsburgh. For more information visit localartspgh.com or email firstname.lastname@example.org
PUBLISHER Jeff Rose email@example.com
EDITOR-IN-CHIEF Rodney Burrell firstname.lastname@example.org
ART DIRECTOR Jordan Mitchell email@example.com
PHOTO DIRECTOR Julie Kahlbaugh firstname.lastname@example.org
Questions about LOCALarts or advertising opportunities? Contact us at (412) 215-6759
Cover Image: Julie Kahlbaugh
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1. It’s All About You.
2. It’s not Hip to Be Square.
3. Explore the Burgh Art Scene.
4. Size Matters.
Don’t be afraid to check out the art scene. Pittsburgh has one of the best art communities in the US, with hundreds of shows taking place every year. Not to mention the galleries, restaurants, and other establishments that support local artists. There are so many talented creatives in this city, you’ll be sure to find something that catches your eye.
Don’t shop with your brain or pocketbook, shop with your eyes. Art evokes emotions. If you want something to decorate with, go to Target.
Don’t be married to just paintings. Sculptures, installation art, and mixed media all emit very different looks and feels. Make sure you look around to see which one works the best for your space.
Make sure you measure, and measure again for the right size piece. There’s nothing worse than a beautiful piece of art on an ill-conceived space.
6. Color Me Crazy.
Every room has a personality. Make sure that your piece fits into the design scheme of the room, and doesn’t take away or lose focus in your space. Also, stay away from clutter. A huge no-no in the art decorating game.
Make sure that your color palette complements the home or room’s design scheme. Accent colors in your piece that complement wall colors, pillows, and other elements in your home will surely provide a great conversation piece.
7. Feng Shui Me.
8. Off the Wagon?
Does your sculpture flow with your coffee table? Does your painting complement the piano sitting stoically in the corner? Whatever the mood of your space, take into consideration if the piece will play well with others.
And for all you wild childs and Dirk Diggler enthusiasts, you may want a completely off the wall piece that has nothing to do with any part of your décor, theme, or overall decorating philosophy. Sometimes, just sometimes, a shot of energy into a room can create an electric atmosphere for those whose enter. While not recommended for all, this can be a popular choice for the adventurous art buyer.
9. How’s it Hangin’?
10. The Light of My Life.
Improper hanging of art work is a travesty in itself. If you’re going to spend countless hours looking for the perfect piece, make sure it’s displayed the way it should be. Try following the art gallery standard, which means the center of the painting should be about 60 inches from the floor.
Perhaps the most important element of the art display, the lighting. If you go too dim, the piece will hide, too bright and it will be washed out. Invest in track lighting, or make sure to display under recessed lighting. If you don’t have either. Get one. The fate of your art depends on it.
Haus 10 Tips
for Buying Art
Written by Enzo Knight
For more information on LOCALarts please contact us at email@example.com
KIM BARRY Photography by Julie Kahlbaugh
Kim Barry, a Pittsburgh native and graduate of Penn State University, has been doing popup studios all over the US since 2010. I am lucky to know her as a friend and a woman with a heart as gigantic and inspiring as her wardrobe. Her work has been featured in a multitude of spaces, both domestically and internationally. Most recently, she has moved back to Pittsburgh and opened SixTHreeFoUR, a multifaceted space where she blends her curious mixture of art, music, and the occasional smashing of a high-end timepiece. I caught up with Kim to talk about her upcoming solo exhibition at GalleriE CHIZ in Pittsburgh, life in the 90s, and her favorite color.
Tell me a little bit about what it was like growing up in the art scene in Pittsburgh in the 90s? As a kid I started doing Saturday young artist classes through CMU at the Carnegie Museum of Art. The grad students from CMU would teach the kids all the classical ways to approach art. It was comprehensive, but you felt you had to copy them in order to be “right.” So by the time I was 13, I started hanging out with some kids from the East End. They were getting into the graffiti movement that was coming out of New York City. I quit Carnegie Mellon youth classes and I spent all my time outside the school with these guys. They took me under their wing. They would show me what they were doing along the East End busway, under bridges, and inside abandoned buildings. At the time, the Strip District was a graveyard 6
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of the steel mills and there were tons of empty buildings that weren’t being touched. They were doing these beautiful throwups inside abandoned buildings. They weren’t worried about getting caught, because it was so isolated, so they could spend hours on these pieces. If caught, though, it was considered very criminal, but in their intent, it was all about individual expression on top of spaces that once meant something to people but were left to rot. Now I was in no way, shape or form a graffiti artist. At the time, girls did not do this. I was the watcher. But I took it all in and it always had its influence on me. I was grateful to be a part of it.
What are you observing about how the art scene has developed and changed over the years in Pittsburgh? I moved back to Pittsburgh in 2013, and I had no idea what to expect. When I got back I was blown away. What I’m seeing is a culmination of technology, art and discussion that lacked when I left. So much is happening. There are so many new ideas being embraced. 20 years ago, a person would have been thrown in jail for putting up a mural; whereas now, public art is almost mandatory. I’m seeing a lot of people coming to Pittsburgh and returning to Pittsburgh to become involved with it. I’m hesitant to use the word “Renaissance,” because the word sets up an unfair expectation. What I will say, is that there is a new sense of openness. So many people here are excited about art, and there are a lot of opportunities. There is a sense of recognition and encouragement within the art world here, and that is the coolest part. Your installation is called “Chew on This: A Germination Installation.” Tell me about that name? I would say that “Chew on This” is a POPy, lighthearted expression of the deeper concept that what you put into your body can fester. I’m always trying to find the humor underlying these kinds of issues, and I like to juxtapose that humor with symbols. In this case, I chose the molar. I don’t want to give away too much before the show, but the basic question behind the installation is simply, “What do we chew on?” We say things like “something is eating at me,” to be funny, but often there is an underlying meaning to those expressions. Sometimes we are physically manifesting something inside of you from the thought that is “chewing” you up. So that is what the installation is about—bringing that idea into the conversation.
How did you get into doing popup studios like SixTHreeFoUR? It was a complete, total surprise. I was living in Jacksonville, FL and the city had just begun donating spaces to artists in an effort to revitalize the downtown area. My ex-partner, Joey, had signed on for one of these spaces. By the time it finally opened, I was also a part of it. That is how Suite 106 got started. We didn’t know what we were doing. We had the resources of the city backing us, friends and creativity, but we did not see it as a solidified POP up project in terms of an artistic mission yet. We were just experimenting. We would blend art with music in a multifaceted space, and we were like, “Wow, this works.” In 2010 we held a benefit for the earthquake in Haiti and the response was amazing. By our third event, we were asked to do something special to engage a group of VIPs from the local galleries; to sort of prove to the city that what they were doing downtown was working. We did a lottery with tickets so that people could take a piece of the painting home with them. The response from that was incredible. I thought, this is really something here. You can connect people if you allow them to be a part of the art, rather than to just observe it.
How does the popup concept benefit the artist, in comparison to a more “traditional” gallery? For me, the popup concept was not about ignoring the traditional importance of galleries. I just couldn’t keep my hands still. When I first met with Ellen Chisdes Neuberg, I was able to show her a backlog of work that I would not have been able to if I had not been doing popups for a number of years. I think the idea of the popup allows artists to take more ownership over their voice and give it a space. You are more in control of your work—how it is presented and how it is received. It’s also intimate. You can really get a sense of who an artist is and what they want to say.
For those of us that don’t know Kim Barry, could you describe yourself in 3 words and one color? Are you ready for this one? I got it. I wrote it down. I wrote that I am a flawed, passionate explorer. And the color is red! What would you say to a young artist, just starting out? Don’t worry about labels or trigger words. Use those to your advantage to bring them into a new light, with your own perspective. Use your own two eyes, use your own heart to take in the life that’s around you. At some point you are going to have to decide what you want to say, and it’s scary to do that. There will always be the influence of one established camp of thought or another. I have never seen the point of copying anybody else. In my personal perspective and this might sound strong—an artist should be someone who is able to process the world around them as honestly as possible, from their own individual perspective. You can take in the world around you and be careless, or you can take in the world around you and be wise.
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What motivated you to open an art gallery?
Crazy, I guess! I had actually set up a lot of shows over the years for others, for fun, went back to college for a psych degree, graduated, and thought it would be a great thing to do, finally. How has the art market changed in Pittsburgh over the past 10 years? It is constantly changing. 9/11 changed people’s attitudes. I’m not sure what the actual art “market” really is. I do my best to show what I feel is exceptional, and hope that others will agree. What are some of the challenges you’ve faced as a business owner? I had been asked to do an art installation using 43,000 square feet for a benefit a few years ago at Bakery Square. There were concrete walls (no nails!) so, in addition to many large installation pieces, I asked one of my artists to produce a multitude of abstract paintings, which we wrapped around pillars, with tape, all over the large warehouse space. It was dynamic!
TELLS US WHAT
G a l le r i e
Chiz IS ALL ABOUT Written by Enzo Knight Photography by Julie Kahlbaugh
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There are many other constant challenges as well. Dealing with money has never been something that I have enjoyed. Finding new artists, dealing with the art and artists, clients, and young people who assist me in the physicality and aesthetics of the job are much more satisfying for me.
Whose art has inspired you the most over the years? I have always been drawn to the art of Willem de Kooning for my own inspiration. Contemporary art like that of Jeonghan and Choonhyang Yun is so beautiful and rich that their handmade paper works have brought tears to my eyes. We are so proud to represent them here. Of course there are so many others, both insider and outsider artists among them. What are you doing when you’re not at the gallery? When there is time (mostly Mondays), I try to paint. As a former musician, I enjoy classical music (WQED is always on) and going to a concert with my husband every so often. I love theatre, comedy, food (cooking and eating!) and I also enjoy some free time to sit, read (mysteries), stare at the ceiling, and even watch some TV (especially British and other international mysteries).
What pointers do you have for young artists trying to find their way in this scene? Always do the best art that you can. Have it mean something to you. Forget the fads and trying to impress others. If it is good, and you are honest about your work, it will show. Try to forget the competition and “the scene.” What’s the philosophy of GalleriE CHIZ? To show art that I feel is worthy. To choose art that I love and want others to experience. To allow artists to sell their work to those who appreciate it and want to live with it. Hopefully, for the artists to be able to earn a living from their art. What gallery is on your bucket list to visit, and why? Any gallery in Italy! Because I have never been there.
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ALWAYS A CLASSIC
PATIO OPENING SOON We Invented Patio Dining In The South Side
MALLORCA RESTAURANT 2228 E. Carson Street on Pittsburgh’s South Side | 412-488-1818 | Free valet parking
As painter Rachel Renaudin invited me into her home, it’s surprisingly put together. From what I’ve experienced interviewing artists over the years, I never know what to expect. I’ve seen anything from farm animals to beer in cereal bowls and tie dyed shirts. A film of crust gently brushing the surface of an incapacitated stove. Broken doors and glass, it’s a crapshoot of blinding success or impoverished sensationalism.
THE GREAT ART HUSTLE Written by Enzo Knight Photography by Julie Kahlbaugh 12
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Needless to say, the cozy atmosphere was very welcomed, and put things in perspective. Renaudin is a full-time artist, professionally and personally. The elusive holy grail of the art community, paying your bills with art, has fallen prey to Rachel’s intense drive and seemingly endless reservoir of hope. “It’s my escape. I paint because I feel like it’s a language. It amplifies words, and it’s conjoined into two things that can take you to the next level of understanding,” said Renaudin. The Edinboro graduate is now the Visual Merchandiser for Giant Eagle’s “Market District,” in where she manages a team of artists to
create free-form visual displays, vintage sign painting, and in some cases installation art. For years, Renaudin worked in food service, odd gallery jobs, and anything she could do to pay the bills until she “saved up enough tips in the jar” to continue her work. “When you can get your bills paid with art, work full time in an art community, and be able to come home and create large pieces for other clients, it’s joyous,” said Renaudin. Renaudin’s manifestations speak to a large amount of social issues, including the entitlement of our society, greed, and our general disconnection from reality. Its impact resonates through vivid and somewhat disturbingly authentic imagery, and leaves remnants of emotion scattered about your mind. Her work demands attention, forcing technology to take a back seat. For at least a moment, we’re lost in time, contemplating our significance, and the overwhelmingly vast chasm we fail to recognize.
RACHEL RENAUDIN ARTIST STATEMENT My immediate surroundings are the constant inspiration of what I draw and paint. For me, art is not only an aesthetic representation of the world, but also an opportunity to communicate intellectual concepts where words fall short.
I strive to compel the viewer to be the subject, as I specifically design my compositions to lead the observer inside the world of the painting. Creating this sensation is pivotal in how I elicit my artistic language, as I believe there is immeasurable power in the human experience. By momentarily capturing my audience in a line of sight outside their own, I work to create a bridge of instantaneous understanding. Throughout the years of my artistic development, this conceptual drive has personally led me to utilize a thematic color palette and characteristic application of paint while still maintaining a highly observed foundation of form and figure. I play off these two visual sensations together on a large scale to create a harmonious dichotomy of a representational reality. In a world that is quickly transitioning towards a passive and technologically removed existence, I feel physical paint on canvas has never had the opportunity to project louder. I draw to speak. I paint to feel alive. Visit www.rachelrenaudin.com 13
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T h e P l at e + The
Palette Written by Enzo Knight Photography by Julie Kahlbaugh
RESTAURANT ART makes a valiant statement in the Pittsburgh art scene.
Food and art has been a storied marriage of delicate balances. For a long time, restaurants shunned the notion of original artist-driven work and opted for the easier homogenized depot-style acquisition. The frenzy has resulted in horrific abominations of store-bought pictures that have draped eateries for decades. But as the belt loosens and the art community grows, especially in Pittsburgh, we’ve come across a wide variety of restaurants and coffee shops that welcome the idea of promoting local artists, and allowing them the opportunity to feature and sell their work to a client base that otherwise probably wouldn’t be reached. From classic oil paintings to modern art and installations, the Pittsburgh restaurant scene has transformed into a bustling creative epicenter for art showcasing. Next time you’re sitting down for a bite to eat or a cup of coffee, snap a picture of your favorite piece and send it to us. We’ll pick the top reader submissions and feature them in the next issue of LOCALarts. Enjoy our collection, and we hope it inspires you as much as it does us.
PAN JOHN MULDOON
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SEVICHE AUGUST VERNON
A R T S HAPPENINGS <
PITTSBURGH BALLET THEATER
Pittsburgh Ballet Theatre’s March mixed repertory program features four works with distinct voices – ranging from the gravelly vocals of Johnny Cash to the millennial edge of PBT’s own Principal Yoshiaki Nakano, who’ll be the first PBT dancer to debut main-stage work in Terrence S. Orr’s directorship. Onstage March 10-13, at the Byham Theater, Mixed Repertory #2 features (in program order): Antony Tudor’s “Jardin Aux Lilas (Lilac Garden),” Michael Smuin’s “Eternal Idol,” James Kudelka’s “The Man in Black,” and Yoshiaki Nakano’s “A Fellow Feeling.” Three of the works are Pittsburgh premieres; PBT last performed “Jardin Aux Lilas” in 2013.
< PITTSBURGH PUBLIC THEATER
Black, White, Muslim and Jew all share the same idea of the good life, until ingrained prejudices get the best of them in Ayad Akhtar’s Pulitzer Prize-winner. Pittsburgh Public Theater presents the regional premiere of Ayad Akhtar’s Disgraced, winner of the 2013 Pulitzer Prize for Drama. Directed by City Theatre Artistic Director Tracy Brigden, Disgraced runs March 10 – April 10, 2016 at the O’Reilly Theater, Pittsburgh Public Theater’s home in the heart of Downtown’s Cultural District. For tickets call 412.316.1600 or visit ppt.org. 16
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< PITTSBURGH CULTURAL TRUST
Spotlight Productions is bringing ROCK ‘N’ REMEMBER LIVE! to the Benedum Center Saturday, April 23, 2016 at 4:00 and 8:00 p.m. for one night only. Spotlight Productions has assembled this power-packed 60’s show that features legendary greats, Felix Cavaliere’s Rascals, Peaches and Herb, Gary U.S. Bonds, The Happenings and The Reflections. Charlie Pappas from Spotlight Productions shared, “When I was developing the ROCK ‘N’ REMEMBER LIVE! concept, I wanted to assemble a live show of legendary artists that every one of all ages would always remember.” This is the first show that these legendary artists have all shared the same stage.
Join us for an evening of live music on March 26th as 4 of Pittsburgh’s finest bands take the stage for our very first Layer Music Showcase. Acts include: The Commonheart, Wreck Loose, Devin Moses and The Saved, and Working Breed. The show will be hosted by local comedian Stoph Edison and will also feature live painting by Danielle Robinson. The door will open at 7:00 PM and the show will begin at 7:30 PM.
< LAYER CAKE SHOWCASE
PITTSBURGH MUSICAL THEATER
Sister Act is the feel-amazing musical comedy smash based on the hit 1992 film that has audiences jumping to their feet! Featuring original music by TONY and 8-time Oscar winner Alan Menken (Newsies, Beauty And The Beast, Little Shop Of Horrors), this uplifting musical was nominated for 5 Tony Awards including Best Musical.
At The Byham Theater Thursday, March 17th, 2016 @ 7:30pm Friday, March 18th, 2016 @ 7:30pm Saturday, March 19th, 2016 @ 7:30pm Sunday, March 20th, 2016 @ 2:00pm Friday, March 25th, 2016 @ 7:30pm Saturday, March 26th, 2016 @ 7:30pm
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