The Crystal Bridges Wonder World, part I

In introducing Wonder World, the temporary contemporary exhibit at Crystal Bridges, Director of Curatorial David Houston notes: “It’s ironic that the art of our own time is often least appreciated.”

As such, the presentations of the 33 pieces in this exhibit were purposely chosen somewhat thematically but beyond the obvious.

“We gave the same kind of care and stylistic associations as you will see in the first gallery,” Houston explained, “with each room having a theme, the art becomes familiar.”

The theme of the first room of the exhibition is clearly visual representation as Evan Penny’s wall sculpture, “Old Self: Portrait of the Artist as He Will (Not) Be. Variation #2,” greets you with his larger than life banality.

“He’s so seductive; people want to get that close,” Houston said.

Indeed, Houston explains that you are “pulled in by him,” which is exactly what he wants.

The room opens into familiar names of mid-career and emerging artists. Immediately, these works begin to beg for your interpretation. Easy to perhaps first tackle is mid-wall; John Koch’s, “Studio – End of the Day.”

“He’s a painter’s painter,” said Mary McCleary, an artist also featured in the room. “I love his compositions and how he puts together his images. He’s a plain good painter who paints from the life of the artist’s perspective.”

The work exhibits a clear understanding of light and perspective.

Across on the far wall, is amazing work by Richard Estes, and in particular, Antarctica. Estes take you on a journey and presents both the near and the far of vessel and uninhabitable island. He creates ripples, reflections and aura that is truly majestic.

On the fall wall by the studio work is Jamie Wyeth’s “Orca Bates,” a portrait of a wet, sinewy naked youth who sits steadfast waiting in front of a cold, massive whale jawbone. The bone creates a horizontal break in the composition. In this work, the opening narratives begin as you, the viewer, must interpret the story and plot points.

Behind you in the center right section, are the triptych portraits of none other than Bill Clinton by Chuck Close. It’s good to see Bill.

Across from each other in this section are works by Fairfield Porter and Andrew Wyeth. Both artists, “carried realism through the period of abstraction,” according to Houston.  The Wyeth piece, “Airborne,” at first seems a restful landscape of greens and grays. It is painted with precision and calm until one begins to speculate why the abundance of foreground feathers exists. Metaphorical or violent? Molted or something personal to the artist? We get to gaze and contemplate and then get lost again in the work.

Paired in the far right corner of the room is collage work by Mary McCleary – a piece worthy of an entire article and a second piece by Jamie Wyeth that gives you the impression that Jamie simply does not think too kindly of seagulls at all.

Another artist who presents a challenging narrative is Bo Bartlett in his work, “Lobster Wars.” Two men are presented in a boat that seems way too small for them. The stance of bearded gentleman is arresting. Behind, the other gentleman begins to look less like a fisherman and more like a minuteman. In the left horizon of the work, a small billow of gray smoke creates another narrative, but not nearly so much as the blood splattered cape of the lobsterman. I didn’t know lobsters bled.

Be sure to note the sculptural alabaster piece, “Cloud,” by Fayetteville artist, Anita Huffington. Notice how there is a connection between it and the amazing glass work in the next room by Karen LaMonte, “Dress Impression with Wrinkled Cowl.” Here is one of the first pieces where obsessive dedication to craft and art can be found within Wonder World.

LaMonte’s sculpture is in a rather stark room. It’s joined solely by an untitled piece by Dan Flavin. It is the piece that perhaps put the largest smile on curator David Houston’s face.

“I know this will sound crazy, but for an art historian of my age, this is the Kindred Spirits in the room,” he hints. “It is the piece from the 60s, when artists were doing things with industrial materials and tried to make things that didn’t look like art. It is one of the defining pieces that we have.”

He says that he knows the Flavin work is a “big jump for a lot of people.” He suggests that people circle back to the transcendental color of light in the historic landscape paintings.

“It’s a real theme that runs through American art,” he explains. “There is a real pulsating sense of color – oranges, yellows and blues that comes through and this simple piece picks that up.”

He says this theme continues all the way through the Skyscape installation on property.  For most, the piece remains a head scratcher of vertical fluorescent lights. For me, it is once again an open narrative. The light and the glass sculpture are perfectly paired.