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October 2011
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Untitled
I am a pedestrian and I’m proud of it.
I’ve taken the liberty of creating my pedestrian point of view to the commentary published Saturday, October 1, 2011 in The Grand Rapids Press by “occasional art critic” Ed Riojas entitled A disappointing field: ArtPrize Top 10 are distinctly pedestrian (commentary)
By Lynne Johnson | A Simple ‘Ol Pedestrian
Riojas Title:
A disappointing field: ArtPrize Top 10 are distinctly pedestrian (commentary)
Pedestrian Title:
Amazingly Cool and Unique field: ArtPrize Top 10 are Wonderfully Pedestrian.
Pedestrian Commentary: The Top 10 finalists for this year's ArtPrize competition have been announced, and it's quite a unique field. Please tell me I'm not alone in this opinion. Otherwise, I might go out and buy a Chihuly chandelier, which I’ve always been fascinated with, but know a hockey puck would careen into within 10 minutes of it’s installation.
Roijas Commentary: This public-endorsed group is the most lackluster yet in the event's three-year run, and I challenge any other critic to deny it. In spite of Rick DeVos' intent to start a discussion, the public is not yet ready to get into a discussion about serious art. The masses want to be entertained; they want what is cute; they want what is clever. It is clear the public does not want pieces of esthetic merit, and the front-runners are proof of that.
Pedestrian Commentary: This public-endorsed group is the most enthusiastic yet in the event's three-year run, and I challenge any other pedestrian to deny it. Because of Rick DeVos' intent to start a discussion, the public is ready to get into a discussion about serious art. The masses want to be entertained; they want what is cute; they want what is clever. It is clear the public clamors for pieces of esthetic merit, as well as unique creative concepts, and the front-runners are proof of that.
Riojas Commentary: The public is obviously ready for a copper-clad street performer -- times three. Robert Shangle's “Under Construction” may be art by some sort of definition, but I couldn't find it in my book.
Pedestrian Commentary: The public is obviously ready for a copper-clad street performer -- times three. Robert Shangle's “Under Construction” may not be art by some “occasional art critics” sort of definition, but I could watch them all day while sipping spanish coffee and never tire of the concept.
Roijas Commentary : “Rusty,” by Ritch Branstrom, is a bit higher on the esthetic ladder, but not by much. It relies on cleverness and massive scale to sell itself. I'm not buying the concept. It would have been just as dull executed in marble or bronze.
Pedestrian Commentary: “Rusty,” by Ritch Branstrom, is a high on the esthetic ladder, but not by it’s diminutive spirit. It relies on cleverness and massive scale to sell itself. I'm definitely buying the concept. Just think if it had been executed in marble or bronze.
Roijas Commentary: “Grizzlies on the Ford,” by Llew (Doc) Tilma, also uses the cleverness card. It's cute, but it is neither naïve enough nor refined enough to pull off what would otherwise be a brilliant play on a public space. Never mind the fact that its humor is overshadowed by stately tombs just a stone's-throw away.
Pedestrian Commentary: “Grizzlies on the Ford,” by Llew (Doc) Tilma, also uses the cleverness card. It's cute, and the fact that it’s neither naïve enough or refined enough is what pulls off a brilliant play on a public space. The fact that its humor is overshadowed by stately tombs just a stone's-throw away is what makes it even more effective.
Pedestrian Commentary: Bill Secunda's “Mantis Dreaming” must be proof that he finally ran out of cement nails from previous year's entries. I loved those lions! Great amounts of technical skill are behind this piece, it works because few, if any, sculptural decisions were made and it is static yet alive.
Pedestrian Commentary: “Ocean Exodus,” by Paul Baliker is a recycle project featuring driftwood entanglement. It even sports a similar globe to help refresh pedestrians memories from past entries. I think it's a good idea that some beaches frown on collecting driftwood, but somehow this stuff keeps washing up on the shores of the Grand River. It’s nice to see Paul recycle.
Roijas Commentary: Tracy Van Duinen's “Metaphorest” piece is certainly big enough to attract the public's attention, but it bothers me that sections of the mosaic were intentionally -- or otherwise -- abandoned in favor of mundane wall paint. Parts of it are lovely, but the overall effect is a bit disjointed.
Pedestrian Commentary: Tracy Van Duinen's “Metaphorest” piece is certainly big enough to attract the public's attention, I love that sections of the mosaic were intentionally -- or otherwise -- abandoned in favor of mundane wall paint. Parts of it are lovely, and the overall effect while a bit disjointed is inspiring.
Roijas Commentary: After seeing Sunti Pichetchaiyakul's entry last year and researching him online, I was hoping for good things. This year, he played the local card with his subject, but the presidential pose is rigid and the sculptural presentation is awful. When I saw it, I wondered if the case had popcorn or plush toys in it, and I kept looking for controls to the robotic claw.
Pedestrian Commentary: After seeing Sunti Pichetchaiyakul's entry last year and researching him online, I was hoping for good things. This year, I was thrilled he played the local card with his subject. While some may dislike that the presidential pose is rigid the sculptural presentation is carnival like. When I saw it, I wondered if the case had popcorn or plush toys in it, and I kept looking for controls to the robotic claw. That would have been a sight to see!
Roijas Commentary: “The Tempest II,” by Laura Alexander is delicate and mesmerizing, but lacks composition. Standing in front of it is like looking at a shower curtain or bed sheet. It can hold a viewer's interest for nearly 30 seconds before the eyelids get heavy.Pedestrian Commentary: “The Tempest II,” by Laura Alexander is delicate and mesmerizing. Standing in front of it is like looking at a shower curtain or bed sheet. How cool is that? It can hold a viewer's interest for nearly 30 seconds which is more than some art pieces in Paris I’ve seen can do.
Roijas Commentary: I had high hopes for Mia Tavonatti's “Crucifixion,” but was disappointed. The piece shows fine craftsmanship, but is not especially moving, considering the subject. Historical accuracy and religious significance have been traded for book store schmaltz and sanitized fluff.Pedestrian Commentary: I had high hopes for Mia Tavonatti's “Crucifixion,” and was not disappointed. The piece shows fine craftsmanship, and it is especially moving, considering the subject. Historical accuracy and religious significance are included along with book store eye candy.
Roijas Commentary: “Rain,” by Lynda Cole, is imposing. In concept, it is elegant. Some might even say it is meditative. If one views it long enough, its gentle, deliberate movement takes hold. One wonders what it could have been if taken a step or two further.
Pedestrian Commentary: “Rain,” by Lynda Cole, is imposing. In concept, it is elegant. Some might even say it is meditative. If one views it long enough, its gentle, deliberate movement takes hold. One is in wonder as you take a step or two further from the display.
Pedestrian Commentary: Fortunately, there is a dessert filled table of taste tantalizing art comprising this year's top 10. The pedestrian quality of ArtPrize front-runners explains one thing: Why “occasional art critic” commentaries line the bottom of bird cages throughout the world.
Editor's note: Ed Riojas is an artist and occasional art critic with The Grand Rapids Press, and an entrant in this year's ArtPrize.On another note: Lynne Johnson is a hockey mom and occasional cook in her own kitchen. She is a proud “pedestrian art connoisseur” in this year's ArtPrize.
