The New Art Examiner just published my review of the exhibition, Nares: Moves, which is on view at the Milwaukee Art Museum until October. With this publication I am now a contributing editor with journal. It’s a small moment maybe, but a really nice one!
My original post on this exhibition includes the text of the review. I am revisiting the material here for the chance to consider some of the work that was omitted from the publication. The exhibition is a complicated mixture of ideas and objects–too much to fit comfortably into 900 words. Following is some of what was left out.
Two rooms in the gallery space are devoted to items from the artist’s studio. Included are homemade brushes, sketchbooks and casting experiments, short videos, and a variety of objects.
Also located here are a number of works: sculptural arrangements of pigmented hydrostone, photographic series, and projected light drawings. In showing the experiments and objects of interest, the combination of works in such diverse materials and the studio items, the exhibition provides a view into the artistic process. The studio is not all completed work; there is much musing and playing and thinking and making of things.
The idea of experimenting and playing that is so evident in the studio section is also clear in the single-stroke paintings and those made with street-marking paint. The contrast between these ways of working could not be more pronounced. Nares has created luscious, monumental works with very different methods.
The thick, lumbering, thermoplastic “paint,” applied with a street-marking machine, has hundreds of tiny glass beads scattered in its surface. The works are stark but richly textured and reminiscent of (Motherwell’s) abstract expressionist strokes. Here though, the paint has been applied via a flaming, hot machine, by an operator swathed in protective gear. The stroke is not a brush in the hand of the artist, but the spewing dragon of a machine that lays down the rough lines.
White on black ground, covered with sparkling light, the works are non-functional crosswalks, street-markings gone wild. Chaotic and dangerous, they are contained and controlled when transferred in their rectilinear forms onto the gallery wall. They are confusing and gorgeous at the same time.
As the main image used in the marketing surrounding the exhibition, the single stroke paintings should take center stage in the exhibition. The fact that they don’t is mainly due to the richness of this artist’s practice. These works are amazingly delicate and graceful. In a demanding process that requires the artist to be suspended over the horizontal canvas, the works are made with elaborate, homemade brushes, and sometimes multiple attempts at accomplishing an acceptable single-stroke. Some include interference pigments that reflect and transmit light, creating color that shifts during the process of viewing. Even here, in what seems to be such simple imagery, the artist’s process and viewer’s experience is complicated.
These approaches to making paintings have some commonality, despite their dramatically different visual conclusions. Whether the artist’s activity involves a machine and protective gear, or the performance of a brushstroke that is tried and wiped away repeatedly, both groups of works have at their foundation the idea of gesture or movement. The artist’s body in deeply engaged by each process, there is an intense physicality required in each making.
One of the many works in the exhibition where movement of the artist’s body is at the core is the Giotto Circle. Can this be considered as one work? Maybe better thought of as a series, there are two iterations represented in the exhibition: Giotto Circle #1 and Giotto Circle (Tooled), both from 1975. Originally Super8 films, they show the artist’s body transformed into a mark-making tool. The artist, of tall and narrow frame, with arms outstretched, in circular movements, makes marks on a wall. A study in anatomy and engineering, the movements are quick and graceful, the marks are simple yet visually powerful.
The two films, made very early in the artist’s career, are supplemented elsewhere in the museum by Giotto Circle #4. Created onsite in a 2019 performance by the artist (start video at 6:50 for the artist’s entrance), this Circle is different than the first works, which is appropriate to the over 40-year distance of its making. It is acrylic and graphite on canvas, and will exist in physical form beyond the video documenting its creation. For now, the work occupies a beautiful spot, at the museum’s lakefront second entrance.
This artist’s long career has included much experimenting and play with different media. The threads of inquiry are consistent through the work and over the years. Movement and gesture, exploring materials and forms, this is intriguing and beautiful work.
Nares: Moves is on view from June 14 to October 6, 2019 at the Milwaukee Art Museum.