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BEST OF THE LOCAL SCENE
Juried Art at the Lyndon House: The juror for
this year's Annual Juried Exhibit at the Lyndon
House Arts Center is William Fagaly, curator
of African Art at the New Orleans Museum of
Art. Facing the challenge of selecting a limited
amount of work from a large quantity of quality
art, Fagaly states (in the exhibit catalogue) that
one of his "main objectives is to identify a truly
original idea or concept." He does not seem to
be more affectionate towards any one medium
or style, and has included photographs, mixed-
media works, sculptures, repiesentational and
abstract paintings and ceramics. "Clever, inven
tive uses of conventional media or the introduc
tion of a new medium always evokes special
interest," as is demonstrated in the inclusion of
Lindsay Swan's dress fashioned out of American
Spirit cigarette boxes; the top of a toilet tank
painted by Tom Popps, Annie Wellborn's painted
gourd; and Ernesto R. Gomez's curtain of cel
lophane envelope windows. Artists selected for
the exhibit include experienced local artists,
fresh new artists and professors and students
from the art school
at UGA. A painting
by recently retired
art professor Horace
Farlowe greets visi
tors at the entrance.
Farlowe's 2-D work is
much like the marble
sculpture for which he
is known, large and
abstractly majestic.
Christopher Hocking
is another of the
many representatives
of the university art
faculty in the show.
His work contrasts
Farlowe's with tightly
rendered lines on pa
per on a small scale,
accented with insert
ed areas of pattern.
Juried Scholars:
Several graduate
students from the
art school are in the
LHAC juried exhibit as
well. Joshua Bienko's
"I Built a Nest in Your
Hair" (see this week's
cover) is a realistic
portrait of a woman
with a nest in her
hair, surrounded by
birds. The painting
includes a very nicely
painted section of tile along the bottom wall
With an expert combination of attention to de
tail and abstracted brushwork. Hooper Turner's
"Casper David Friedrich's Bed" focuses on a red
and white flowered bedspread, while leaving
background areas to the viewer's imagination.
Amanda Burk, who currently has work on display
at Evolution Salon on Hull Street, has created
a digital print resembling an old-fashioned pho
tographic portrait in an oval frame, replacing
the subject's head with a graphite drawing of a
bicycle. The glitter paintings of Claire Joyce are
excellent examples of Fagaly's interest in new
uses of a medium.
Lullaby for Hornbill: Many of the participants in
the 31st Annual Juried Art Exhibit at the LHAC
are local professionals. Rich Panico has a strong
image of a bird, titled "Hornbill." in pastels in-.
eluded in the exhibit. Stephen Humphreys' "On-
Line Market" is a color-saturated photograph.
Dark washes of colors form forlorn figures in the
work of Njambi Mwaura. John Powers uses a
standard wind chime and bell, along with gears
and mechanical devices, to create "Lullaby." The
chime of the bell establishes a calm, slow rhythm
for the South Gallery in which it resides. The
curatorial input is evident in the South Gallery;
juxtaposed photographs of similar size by Maria
Valias and Lisbeth Carney show varying ap
proaches to art-making. Valias' thought-provok
ing photograph of figurative lawn ornaments that
appear to be behind bars is charged with mean
ing. The photograph by Carney, "Happy Feet,"
is liberating in its youthful joy. With over 150
pieces of art, this exhibit has something for ev
eryone, including the very young; gallery games
for children are available with this year's exhibit.
The show is up until Apr. 22.
V Kindamo and the Anonymous Impostors: Brian
Kindamo's paintings at Transmetropolitan on
Clayton Street are whimsical explorations of
innocence. With titles as simple as "Puffy and
Creepy!," the purity of a young child is evident
in the cartoon characters Kindamo represents. In
"Puffy Cloud," a disembodied hand rests on top
of red stilts (which resemble chopsticks). But
not all of the work
is sugar and spice.
One small painting
(in acrylic on wood)
shows a blue robot,
holding a sword and a
grenade, surrounded
by Martian heads.
Kindamo moved here
in 1998 "to do the
rock and roll thing,"
with the band Hunter
Gatherer. The band
has since dispersed,
and Kindamo now
works as produce
manager at Earth
Fare and as an ap
prentice at American
Classic Tattoo. Two
of the paintings at
Transmet are by "anon
imposters," thus
giving his show the
title "I Didn't Paint
All Of These." These
anonymous impostors
are actually coworkers
at American Classic
Tattoo, who wanted
to see if they could
paint like Kindamo. .
Perhaps the most
peifect piece in the
show is just inside
the front door of
Transmet On a blue
background, as though floating in the sky, is a
creature with wings holding an hourglass. The
graphic quality of this painting gives it the look
of a hip magazine illustration. Kindamo says
inspiration for his work comes from Juxtapose
Magazine, Mark Ryder and the Low Brow art
movement. Kindamo's work is up through the end
of February; you can visit www.deaddreamnation.
com to see more.
Endnotes: Don't miss the "Salon des Refuses"
at the Clayton Street Gallery. The exhibit, which
runs until Apr. 1, comprises work not chosen
for the LHAC Juried Exhibit. ATHICA presents a
benefit concert for the Athens Area Homeless
Shelter, in conjunction with the current ex
hibit, "Neither Here Nor There: Perspectives on
Homelessness" on Friday, Feb. 24. See ABC and
Out There! for more.
Beth Sale
Be generous and share with us. Send your
art news to outthere@flagpole.com, and put Art
Notes in the subject line.
"Eight’ by Brain Kindamo at Transmetropolitan. Through Feb. 28.
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FEBRUARY 22,2006 • FLAGPOLE.COM 19