GMG - Las Vegas Weekly

September 12, 2013

Las Vegas Weekly

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A&E | FINE ART EXHIBIT TWO OF A KIND Suspicious Evidence unites a pair of veteran Vegas artists > STANDOUTS AMONG THE SAFE "Forestry," top, and "Zenith," part of Donna Beam's Diversified. REVIEW TOO SAFE DIVERSIFIED EXHIBIT BY LEILA NAVID; BRUNER & BONDI: SUSPICIOUS EVIDENCE BY GINGER BRUNER art appreciation, 2D design and photography. Four graduated from UNLV. Artists understandably cleave to universities to earn a living, but the politics and bureaucracy of the academy rarely unleash the unpredictable, roiling energies of creative freedom. The Diversified exhibition has a safe, almost tamped-down feel, with some standout works. Donna Beam's Diversified exhibit has Among other attention-getters is Susanne Forestieri's standout works—but not enough of them "Pale Fire," an appealing 30-inch by 40-inch abstract BY DAWN-MICHELLE BAUDE painting that seems somehow inverted. The deep blue middle ground recedes as the whitish top and bottom pop, and a luminous shape in the center funnels a gravAdam Morey's "Zenith" is a prehistoric slab of a ity-defying white mass. Stormscape? Forget it. The loose diorama, a fossilized rectangle of extinct biology, a hunk of brushwork, light impasto and color contrast are what give visual perception culled from a vat of calcified gelatin. Its the picture plane verve. 23.5-inch by 47.5-inch plexiglass and mylar form attaches Similarly, Elizabeth Blau's 30-inch by 56-inch to the wall of UNLV's Donna Beam Gallery "Forestry" painting is full of movement—her with parasitic inertia. It's there to stay, maybe windowpane of prismatic transparencies recall to come to life again during a radioactive thaw. aaacc the Orphic Cubists, František Kupka and Sonia Like an uncanny specimen from a sci-fi DIVERSIFIED movie, "Zenith" is all about latency—it's an art- Through September Delaunay. Lyrical points and curves, lines and planes divvy up Blau's pictorial space. Spearmint work that is about to happen. From one view- 21; Monday-Friday, comes to mind. The work can read like a frostypoint, the bas-relief looks like a seascape com- 9 a.m.-5 p.m. UNLV's ing into focus, from another, a cosmic map. Aim Donna Beam Gallery, green forest of Artic fractals jutting beneath a red sky cutout. a flash at it and wham! New dimensions unfold. 895-3893. The best pieces in Diversified remind us Lighting is a significant curatorial hurdle for that one legacy of Modernism is art that is "Zenith": Too much and it loses intrigue, too more about "what might be happening" than "what is." little and it flattens. Interpretation moves from observation and appreciaViewing conditions aren't optimal in the Diversified exhition of the materials to their potential stories (and back bition, since Morey's sculpture has to share exhibition space again). The key is having rich art objects for speculation with more conventional work. The nine artists included in that maintain "diverse" interests over time. the show teach at the university, giving courses in drawing, Bruner & Bondi: Suspicious Evidence at RTZvegas features the work of longtime Las Vegas artists Ginger Bruner and Anthony Bondi, whose digital photography (and two of Bondi's playful mixed-media pieces) in the show is in some ways a for-themoment summation of each artist's work as it has unfolded and transformed over the past couple decades. Half of the gallery is dedicated to Bruner's large-scale abstract color photographs of artificial and "extant" light refracted, magnified, blurred and intensified, BRUNER capturing what & BONDI: is, for many, the SUSPICIOUS essence of this EVIDENCE 24-hour city. The Through lead photographer September and co-producer 28. Tuesdayof Our Las Vegas, Saturday, who recently noon-4 p.m., exhibited her Daily RTZvegas, 1017 Frame shots of Las First St. #195, Vegas featuring 592-2164. street scenes and sunsets, shows a more meditative side. Bondi takes over the rest of the space with his "tableaux" made by photographing built environments he has been creating since the early '90s (some made it to Burning Man, where Bondi and his sculptures are regulars on the playa). Some of the prints are abstract portraits of the environments. Others feature model Emma Rhodes posing within them, resulting in fantasyesque storyline snapshots or, as in "Snake Eyes," Botticelli's Venus revisited in a rapturous world of snakes and lizards. –Kristen Peterson 46 LASVEGASWEEKLY.COM SEPTEMBER 12–18, 2013 46_Fine_Art_20130912.indd 46 9/11/13 4:19 PM

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