Seven Shows at PCA

Occasionally the schedule at the Pittsburgh Center for the Arts align, like the stars in some astrological chart, and all the galleries celebrate an opening on the same day. Last week the heavenly bodies were in alignment and seven exhibits appeared at the PCA. The evening had much of the feeling of an indoor gallery crawl and the scope and depth of the art on display demand more than one blog entry.
“Pittsburgh Through the Eyes of AAP” is, perhaps, the preeminent offering and the first of many events highlighting the Pittsburgh 250 celebration. Curated by Barbara Jones of the Westmoreland Museum of American Art, the pieces have been selected with the discerning eye of an impartial, yet informed, outsider. There are the requisite steel mills and bridges for which the city is renowned, but one also finds the hidden treasures and inside jokes that are sure to delight the true Pittsburgher. Foremost in the latter category is Rita Lee Spalding’s “Pittsburgh Speaks” which may be indecipherable to the outsider, but will bring a smile to the face of a native. Some pieces work on several levels, as in the case of “Pierogi Lounge” by David Watts. This delightful ethnic cuisine is not only good enough to eat (or sleep on) but calls to mind the region’s strong connection to the Pop Art movement.

The Pittsburgh landscape is well represented in photo, collage and paint. None is more striking that Robert Qualters’ “Penn Station, January1, 1954.” The color and light in this tapestry-like acrylic collage lift the status of the railroad terminal to that of the Pantheon or Medieval cathedral. In a truly historical vein, Adrienne Heinrich’s “Follow the Drinking Gourd” celebrates Pittsburgh’s connection to the Underground Railroad. Still the cast silicone piece calls to mind the racism that survived Emancipation. Some pieces, steeped in history are also clouded by obscurity so the Pittsburgh connection is not as obvious. Joyce Werie-Perry’s encaustic painting “Uncommon Faces Familiar Souls” is based on an early photograph of the Carnegie Museum’s directors. Frank Flynn is represented by two works, both of which have a wicked sense of irony. “Art Heroes: Memorial to G. David Thompson” is a Brancusi-like sculpture to the memory of an important collector of art. And “Margaret Morrison’s Endowed Chair” encrusted with “jaggers” is a tribute to an educational institution that no longer exists.
Each piece in this show will have a special appeal for the local patron and is sure to conjure up a wealth of memories and dreams. “Through the Eyes…” continues to March 9.

AAP at the Carnegie

Pittsburgh is unique among major cities in that it's museums offer local artists the opportunity to exhibit along with the Old Masters and Modern Icons. This year the Associated Artists of Pittsburgh have the honor of holding its 97th Annual at the Holy Grail of venues, the Carnegie Museum of Art. The exhibition was jurored by Polly Apfelbaum, a delightful (albeit slightly eccentric) New York artist. She has chosen a show which is wide in its diversity but still has a depth of insight representative of the Pittsburgh Art Scene. Pieces run the range from from digital video to installation to found art. Mixed in along the way is a rich variety of painting and sculpture, fiber arts and photography. So many styles and techniques—surely something for every taste.

Many pieces celebrate the rich heritage of Pittsburgh Art. Or at very least, they seem to draw inspiration from the region's past, present and future. Gary Zak's "PhotoSHOPPING the Pop Legend's Epitaph" is a whimsical installation that captures the spirit of Pop Art without imitating the '60s style. Ripe with puns and "Warholisms" this piece is well-deserving of its award-winning status.
The stark, almost brutal paintings of Daniel Bolick are most commanding. The vibrant color and strong brushstokes give the appearance of Photorealism gone mad. Socially and artistically "Portrait #24" and "Angry Youth" are powerful pieces with an important message.
Mark Panza's color photo panels are impressive in their scale and technical proficiency. The subdued color range and subtle multi-layered imagery create a fantasy-like world from familiar Pittsburgh locations.
"Archive XX" by Adrienne Heinrich is cast silicone with inclusions and conveys a time capsule-like view of then and now. A Daguerreotype frame set in the silicone has a Victorian feel, while the hand and manuscript gives a futuristic impression to the piece.
Matthew Forrest's "Icon Line Sheep I &II" reflect the juror's desire to "(let) the viewer see more of the work and thinking of each artist." Executed in silverpoint (a drawing medium that predates graphite pencils) the "Icons" are ghost-like in their subtlety and restraint. And yet, even with their traditional technique the pieces have a look as modern as any digital work.

The crowd attending the opening was as varied and interesting as the exhibition. They virtually exploded with exuberance and their excitement contributed to an evening of celebration of the Art and History of AAP. The 97th Annual runs through January 21, 2008 and includes the "Popular Salon of the People"—a show-within-a-show that celebrates the rich tradition of AAP in Southwest Pennsylvania. But the review of that show will have to wait for another day.