+ aynm Feran "Precisionism in DispatchEntertainment Reporter America■ 1915-1941: ReorderingReality" N 1915, ARTISTMARcEL DUCHAMP will openSunday proclaimedthe UnitedStates and continue "thecountry of theart of the throughJuly 4 at future." the Columbus "Look atthe !"he Museum of Art, said"Has Europe anything to 480 E. BroadSt. show more beautifulthan these?" Tourswill begiven The Frenchman's words at noonMay 26 and focusedattention on what was June 16, and 2 p.m. e seen as auniquely American artistic May 28and June movement. 18. Call 221-6801. "Precisionismin America1915-1941: ReorderingReality" is "thefirst major study of precisionismin a long time,"said NannetteMaciejunes, seniorcurator at the ColumbusMuseum of Art. "Precisionismis verytied up withthe search for a ABoVE:The cleanlines of rural unique Americanidentity," scenes: Bucks OHmJy Barn(1918) t she said"It wasabout the " by (1883-1965) tyingof a ruralpast to the mechanicalfuture. A lot of LEFT:The forms of the machine • people in the'.20s called it agewith classicalclarity: A.ugussin 'thetrue American art.' " andNu:oletle (1923)by Charles By the timeprecisionism Demuth (1883-1935) arrived,the waswell on itsway froma - ruralsociety to a nationof show,which began at theMontclair Art 0 big citieswith skyscrapers Museumin New Jerseyand features andhomes withmodern works by 26 artistsfrom almost 30 I marvelssuch asvacuum institutionsand private collections. cleanersand washing "Thisshow is so criticalto us," � �es. Maciejunes said"(Ferdinand) Rowald !'!. Painters and was majora collector in thisarea. He saw photographersassociated theparallel between and �� withprecisionism included precisionism, andhe collected both." iii CharlesDemuth, Morton Althoughmany works in theNew I Scharnberg,Charles Sheeler Jerseyexhibition are not availablefor the s andJoseph Stella. Columbusshow, precisionism'slinks with They wereinterested in developmentsin anotherart form - theforms of themachine - arecoincidentally on view age: factories,grain at anothervenue: The RiffeGallery, 77 S. elevators,steamships, steel HighSt., is presenting"Midwest bridges,crankshafts, light Realities:Regional Painting 1920-1950." bulbs. Theyalso were · "A lot more artistscome into play in reactingto American this (precisionism) show - a lot we ,which was haven't lookedat in a long time," stillgoing strongafter Maciejunessaid "It's interestingto see World WarI. how less well-knownartists fit into the "American movement." impressionismwas The movezpentwas all but over by concerned withthe surface - theway been taughtin art-historycourses." 1941. waterlooked on streets,the way dew With precisionism,the image is Some people have linked the lookedon trees,"Maciejunes said romanticired and cleaned up. mechaniredhorrors of World WarII with "Precisionistswere trying to get behind "For instance, Elsie Driggscompared precisionism'sfall from favor. the surface.They saw themselvesas part thesmokestacks in her Pitts'frurgh(1927) "There wasa lot of mechanicaldeath of theclassical tradition." to Greek columns." in World War I, too," Maciejunessaid The movement'semphasis on the Text panelsin theColumbus exhibit "Americanart . in thiscentury was totally abstractbeauty of the machine and on explainthat precisionism oftencrossed reinvigoratedat leasttwice afterinfusions exteriorforms, however, extended beyond over into poetryand other mediums, frompeople fleeingEurope." strictlyindustrial or urbanscenes. including film(Fritz Lang's 1926 movie Theresult afterWorld War I was "Even thoughmuch of precisionismis Metropoli.s). precisionism;after World WarII, urbanscenes, itis verymuch tied to folk PoetWilliam Carlos Williams,in abstractimpressionism. andvernacular art," said Maciejunes, particular,was closely allied with the "At first,the criticswere excited (by pointingout several still-life paintings. "It's movement. precisionism),"Maciejunes said, "but it anawroach to art,even to paintingpats of "It wasa sensibility,not just a style," was reallyon thedownturn by the timeof butt.er. Maciejunessaid "It had tiesto the thewar (World WarII). Criticshad "This show is not as much new literarycommunity." begunto thinkof it assterile; suddenly it informationas a rethinkingof old The interconnection"reminds us how wastoo, tooordered That'show art information,"she said."A lot of people much morecomplex the period between historygoes - swingingback andforth. stilldismiss precisionism as American thewars was we'dthan like to think." "As theworld becamemadder and cubism. It's a more f:1$cinating, TheColumbus Museumof Art has madder,precisionism seemed like not a complex storythan many people have beenan important contributor to the callto sanitybut irrelevant."

� '1 '.f �- PaintiQg the towns If you're fromthe Midwest, the Riffe Gallery's current exhibition Midwest ities: Real­ Regional Paintings 1920-1950 may make you swell with pride. I} Find your city; paintings of Columbus, Cincinnati, Chicago, Detroit, Ann · Cleveland, Arbor, Indianapolis, Milwaukeeand other Midwesterncities are included. The _ paintings depicting Columbus scenes are Emerson Burkhart's Larry's (Larry's Grill used to be near Columbus State) and RobertChedeayne's Cliffside Drive. This watercolor, by Clarence Carter,is called Jesus Wept and was painted Portsmouth. in ,, The work "has a funny edgi­ ness," said curator David Lusenhop Portsmouth's of SouthernOhio Museum. "It has a surrealquality." Like much German art, the paintings in this exhibition have "dark, rich, ru earthy b shy, colors," Lusenhop said. He calls the style "regionalrealism." The 39 works depict urban, industrial and rural Midwesternlife-and, in many cases, reflectthe transition fromagricul­ , ture to.industry. In its quiet way, this exhibition is stun­ ning. It's on view"through June Ohio 17 at the Arts Council's RiffeGallery, 77 S.

ClarenceCarter's a "Jesus Wept" ..., � N High St. Hours are Monday-Wednesday f 11 a.m.-4 p.m., Thursday-Friday 11 a.m.- ...- 7:30 p.m., and Saturday-Sunday :noon-4 8. p.m. During � the Arts Fest (June 1-4), the ... gallery will have extended hours,-0pen Cl) 8 'ti] p.m. June 1-3 and 'til 6 p.m. June 4. Admission is free. -Karen Simonian

-- Regionalrealists present life on home front before, after war By Nancy GIison ana, Michigan and Illinois. The time form a definitionof "home" in pre­ DispatchEntertainment Reporter is 1920 to 1950, during which, even war and postwar America. in the bufferedMidwest, Americans "There's more to this show than The title is succinct: "Midwest were reeling fromthe effectsof war. meets the eye, but what meets the Realities." The 42 works in "Midwest Reali­ eye is very pleasing and accessible," The paintings are 'Ofthe realistic ties: Regional Painting 1920-1950," said Sara Johnson, director of plan­ school, but, more important, they opening Thursday at the Riffe ning at the Southern Ohio Museum investigate the landscapes and daily Gallery, take a broad look at Mid­ and Cultural Center in Portsmouth. duties - agra1ian and industrial - western realists and thefr influential The museum organized the Qfpeople in Ohio,,Wis�onsin, Indi- teachers. Together, the paintings exhibit, primarily to put into context the work of Portsmouth native Clarence Holbrook Carter. "We have about three dozen paintings by Carter, and we wanted to show them along with works by other artists painting at the same time in the region," Johnson said. Viewof Alm Arbor (1945), oil on board, by Jack Steele (1930), oil on canvas, by Jean Crawford "We think his works stand up very Adams well." FederalBuilding Carter, a resident of New Jer­ famousas Thomas Hart Benton and museum, the exhibit includes works "Midwest Realities: Regional. sey, lived in Portsmouth during the Grant Wood ..... We thoughtit was from about 20 institutions or private ■Painting 1920-1950" will open with a and '40s. On his 90th birth­ important enough. to put this show collections in fivestates. reception from5 to 7:30 p.m. day, he attended the Portsmouth together to take another look at "There is a definitesense of Thursday at the RiffeGallery, 77 S. opening of "Midwest Realities." 'them." place in these works," Johnson said. , High St. The free exhibit will continue The Springfield(Ohio) Museum Represented are Charles Burch­ "Some people view, this show with through June 17 (except Sunday and ·of Art has shown the exhibit. The field,Emerson Burkhardt, William nostalgia, representing a time when May 29). Hours: 11 a.m.-7:30 p.m. RiffeGallery is its finalvenue. Sommer, Frank Wilcox, William they think they liked art more. But Thursdays and Fridays, noon-4 p.m. "There's clearly more of an Forsyth, Jean Crawford Adams, I think you can make a nice case for weekends and 11 a.m.-4 p.m. effortbyinstitutions around the William F. Kaeser, Jack Steele, connections to in this· Monday-Wednesday. Call 644-9624. country to recognize regional Frances Chapin, Reginald Grooms show. A lot of people think that the painters," Johnson said. "The and Sarkis Sarkisian. Midwestern regionalists. ignored artists represented in this show are In addition to the two Carter modernism, but I don't think that's (1934), oil on canvas, by William F. Kaeser in the same category but not as paip.tingsfrom the Portsmouth true."

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) .. by Floyd Hopper White Tower by Frances Chapin : RealistsRedFann capture industrial Midwest Dark· introspection marks RIFFE GALLERY "Midwest Realities: Regional fainting 1920-1950" periodbetween worldwars ■is showing through June 17 at theiRiffe Gallery, 77 S. By Jacqueline Hall High St. Hours: 11 a.m.-4 p.m. fv1onday-Wednesday;. A11 11 a.m.-7:30 p.m. Thursday andffriday; and noon-4 "Midwest Realities: Regional Painting , 1920- p.m. Saturday and Sunday. •Dispatch1950" is thought-provoking,Critic revealing an ambiguous, often uneasy relationship between a shrinking agri­ captured the tmeasiness. of a smal,l rural town Qn the cultural landscape and an expanding industrial one. verge of indusbialization. The l\frfiage· has a moody, The show's 39 paintings deal with images of myste1ious quality that b1ings Burchfield to mind. Illinois,' Indiana, Michigan, Ohio and Wisconsin - The exhibition presents aitists of the Great the industrial Midwest. They were mainly done Lakes region by ru-ea groups: Cleveland, Columbtis, between the two world wars, when the United States Jndiana, Chicago, Cincinnati, Deb-oit and Milwau­ .• ;was withdrawing upon itself to face its social and kee. All visibly belong to the same pe1iod of sb·ong economic problems. Artistically, that withdrawal that seems to have turned its· back on the from the world also meant a shift away from modern­ modernist innovations that . Americans studying ism and innovation and a return to realism. abl'Oad bl'Ought back from Europe in the first two The realism vruies from nostalgic and romantic decades of this century. Yet, a close look at the Above, Ore Freighter (lffsconsi11 Ore Freighter) by _ in the 1920s to aggressive and expressionistic paintings suggests that. although they emphasized Edmund Lewandowski thro�gh.. the J930s_ �cl '40s. I� tJ:ia�stl'On$' ho�d on_ concrete yisu- Rieht.Shore at Lake Erie hv AmmsLRie.hle. "Midwest Realiti�: · Regional Painting 1920-1950" periodbetween worldwa,:s ■is showing through Juiie,.17 •at the Riffe G,dlery, Tl S. By Jacquellne Hall High St. Hours: 11 a,m)4 p,rri, Monday-Wednesday; DispatchAn Critic 11 a,m,-7:30 p.m. Tttursd,ay. an,d Friday; and noon 4 "Midwest Realities: Regional Painting 1920- p.m, Saturday and Simday. 1950" is thought-provoking, revealing an ambiguous, often uneasy relationship between a shrinking agri­ captm-ed the uneasiness of a small rural town on the cultural landscape and an expanding industrial one. verge of industrialization, The image has a moody, The show's 39 'paintings deal with images of mystetious quality that btings Bm-chfield to mind, Illinois, Indiana, Michigan, Ohio and WISconsin - The exhibition presents attists of the Great the industrial Midwest. '])hey were mainly done Lakes 1-egion by ai-ea groups: Cleveland, Columbus, between the two world wars, when the United States Indiana, Chicago, Cincinna_ti, Detl'Oit and Milwau­ was withdrawing upon itself to face its social and kee. All visibly belong to the same pe1iod of sti·ong economic problems. Artistfoally, that withdrawal 1-ealism that seems to have tmned its back on the from the world also meant a shiftaway frommodem- modernist innovations that Americans studying ism and innovation and a return to realism. abl'Oad brought back from Em'Ope in the first two The realism va1.ies from nostalgic and romantic decades of this centm·y. Yet, a close look at the Above, Ore Freighter (»fsconsin Ore Freighter) by in the 1920s to aggressive and expressionistic paintings suggests that although they emphasized Edmund Lewandowski through the 1930s and '40s, It that sti·ong hold on conc1-ete visu­ Right, Shore at LakeErie byAugust Biehle eventually talks of the spititual al facts that has been the hall­ vacancy accompanying industii- mark of American paintings alization. through history, those 1-egionalist The Great Lakes regional painters were not totally' unaf­ painters tended to favor dark fected by modernism. palettes and heavy forms, which In Brandywine Landscape, suggest disenchantment and ap- William Sommer accepts the two­ prehension. An occasional sunni­ dimensionality of the picture's ness touches theil' landscape or smface and does not c1-eate any city scenes but rarely achieves a feeling of depth. In Ouernavaca, eat-efree feeling,. Me.'lJico, Clat·a Bieke creates a The most cheerful and eat-e­ cubist vision of the Mexican town. ft-ee images a1.·e those by four Sai·kis Sarkisian handles Factmy a1.tists who inspit-ed Midwestern Worker in a volumetiic manner painters in va1.ious ways. that would have pleased Cezanne, William Forsyth and Henry as would have Joseph Fliebe1t's Keller we1-e imp1-essionists who absti·acted rende1ing of a taught in Indianapolis and Cleve- . ment at Night, with its stt·ong land, encouraging theit· stucjents Factory Worker by Sarkis Sarkisian hotiwntal manipulation of Tene­brush to paint the Midwest landscape, and pigments. John Sloan, an important member of the Ashcan David Fredenthal in The Beach offers an ab­ school, had helped make urban landscapes worthy of stract vision of breakers and faintly visible running

a1.tists' attention. His work was Iwell-known in the figm-es, which makes the spectator think of works by Midwest. The national 1-ecognition of Charles Burch­ Ametican modernist John Maiin. Finally, in field's rural scenes encouraged Midwestern attists to Freighter (Wisconsin 01·e Freighter), Edmund follow his lead. Theil' paintings are among the Lewandowski appmaches his subject with the hat'Cl­Ore sunniest in the exhibition. edged dramatic style peculiat· to that most Ametican Among the 1-egionalists who seem most 1-eadily modernist style, p1-ecisionism. inspil'ed by those artists are Cleveland painter Similat· modernist tendencies can be found to a August Biehle, in his imp1-essionistic view of at lesser degree in many of the exhibited aitists. But Lok E1ie; Emerson Bmkhatt of Columbus, with his the painters who appmached theil' subject with th·eil' Grillby sunny view of the street in Lan71's Grill;Shore and emotions rather than theil' minds best captUl'ed the Emerson Chicago 1-egionalist Francoo Chipin, with his urban mood of the G1-eat Lakes 1-egion between 1920 and Burkhart scene White Tower. 1950. . Theil· paintings leave visito1's in a thoughtful Larry's With Farm, Indiana painter Fk,yd Hopper frame of mind.

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