Roy Deforest

Reyfuse: Selections from the Graham Collection
June 1 - August 21, 2009


2009 Roy Deforest


Director's Note

The title of this exhibit is a word play on the famous Salon de Refuses 0f 1863 in Paris when avant garde artists rebelled against the Academy.  From that point in time to be avant garde was to be on the cutting edge of what was new and perhaps more relevant to contemporary society.  This selection shows how art can reflect a particular place in time, geography, and as personal taste.

There are sophistication and folksy, soulful expressions.  Roy DeForest's series of lithographs comes out of the Tamrind Institute's printing atelier.  His imaginative approach treats the dog as both object of reverence and man's best friend.  While Eastman's folk art juxtaposition of seemingly unrelated objects and a portrait of Al Kaline speaks to the youngest player ever to win the American League Batting title, while injecting mysterious biographical clues.

There is also precision and pattern in this selection.  Nina Elder paints a rendition of industry with an almost clinical adherence to a set idea of color, shape, and form.  Michael Hart gives us a strange vision of two worlds and asks us to question the question of the title.  Jim Jacom's, Slight Portage is a geometric expression of color and shape.  And Radenbaugh's Sherman's March is almost Oriental in its restraint and its composition.

In all, this selection shows the diversity of one person's choices, and inspires us to open our eyes to the great diversity of contemporary art.

Deborah Mitchell, Director -- APEX Gallery

archive 2009

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