California Art Club presents winning pieces
A rich display of talent sits in the Fisher Museum of Art this month, as the California Art Club presents its 104th Annual Gold Medal Juried Exhibition. From March 29 to April 19, the never-before-seen works from prominent national artists will be on campus.
The first impression when walking into the main gallery is the multitude of colors. More than 200 works are on display in the exhibit, yet the space does not feel cluttered. Deep, warm hues dominate the paintings, and though one might expect so much work in one room to be overwhelming, the exhibit is well curated, subjects and tones complimenting one another beautifully.
The Annual Gold Medal Juried Exhibition is not themed, which, according to the California Art Club’s website, allows artists to explore their art without constraint. But the exhibit is remarkably coherent, several subjects seeming to be repeated throughout the galleries.
Distinctly western landscapes dominate the show. Rolling canyons and coastal scenes are painted in brushy and ephemeral strokes, recalling the California Impressionist movement of the early 20th century. Also known as the Plein-Air movement, regional art was characterized by bright, loose brushwork. Featured artists were clearly inspired by this period in California art history.
Artists such as Amy Sidrane and Tim Solliday use the style to effectively capture the vast West Coast scenes. According to Sidrane’s website, her landscapes serve more than decorative purpose.
“I paint not only to cultivate my own artistic nature but also to bring attention to our need as a community to protect our fragile and vulnerable undeveloped landscape,” her website states.
The exhibit juxtaposes urban and natural subjects, giving the audience varying views of Southern California. Michael Obermayer’s “Sixth Street Bridge” sits harmoniously next to Kenn Backhaus’s “Desert’s Evening Reverie,” the deep hues of gold and blue in both paintings reflecting a Southern California night. William Wray’s “7 Eleven” is an interesting take on beauty in urban settings, playing with color and abstract shape to render a familiar scene magical and rare.
Some of the most interesting pieces, however, are those with the less traditional subjects. Cindy Jackson’s imposing sculpture, “Always Wanting/Never Enough,” presents suffering male and female figures covered in luxury brand logos. Jackson’s artist statement explains her intent behind the impressive piece:
“Completely covered with Louis Vuitton and Gucci logos, this couple is a powerful symbol of emotional entanglement, as well as the literal embodiment of consumerism and superficial pleasure/desire.”
Pieces like Jackson’s hanging marble sculpture of a bewildered baby face, appear rather unexpectedly in the exhibit. They do not quite seem to fit in with the more traditional pieces around them, but they provide a refreshing break from the paintings, which can become slightly repetitive.
The impressive range of pieces in the California Art Club’s exhibit is well worth checking out, even for just a few minutes between classes. The show mainly presents oil paintings, but there is a little bit of everything. Though some of the works are more original that others, and the exhibit features perhaps a few too many landscapes, the talent is undeniable. Lovers of impressionism will be inspired by the works paying homage to California’s Plein Air movement, and even those less familiar with art history will enjoy the regional tones of the exhibition.