Our Shared Past blends the personal and universal through the prism of family
[“It Was Supposed to be Fun.” All original images courtesy of Jefree Shalev.]
[“A Few Years Later,” photograph by Carolyn Brass, 2013.]
The phenomenon of memories can be as slippery and ephemeral as the combination of passing time and thought that lifts them into our consciousness. Does every memory that we keep carry with it some importance and resonance? Why will one recollection occupy our lives while others are overlooked, dismissed or forgotten altogether? Refined through the spectrum of our feelings and emotions, the past can bring us joy, resentment, and even mislead us completely. When combined with nostalgia, that seemingly-universal longing for what can no longer be experienced, a remembrance can even turn into a kind of memorial. Nostalgia can be likened to a funeral where time is buried, yet we still insist on revisiting the headstone, in some weird hope of deciphering these memorials of our past.
And if there is an even greater collective resemblance of memory, it is that they are generally tied into relationships; reveries which seem tethered to our connections to lovers, enemies, our own place in the greater universe, and invariably family. Continue reading →
Marcus Kenney streams his vision through mixed-media with Shed My Skin
[“How to Make a War,” mixed media, 48″ x 48″; 2007.]
The singular artwork of Marcus Kenney is as mercurial and ever-changing as the media he employs. Equally adept at disciplines including collage, sculpture, painting, photography, and installation, Kenney’s work is at once personal and transparent, inviting the audience to navigate his imagery of animals, family, and political musings. Colorful and modified taxidermied wildlife, agitprop collages, and enigmatic black and white photos are all fair game to be hot-wired in Kenney’s creative universe.
Ed Paschke (1939-2204) “Malibu,” 1984, oil on linen. Acquisition Trust Fund. MOCA Jacksonville Permanent Collection.
The Museum of Contemporary Art Jacksonville is currently hosting the exhibit “ReFocus: Art of the 1980s” through January 6. The collection features works by eighties arts luminaries including David Salle, Jean-Michel Basquiat, Keith Haring, Nan Goldin, Cindy Sherman and Eric Fischl, along with works by influential predecessors such as Andy Warhol, Frank Stella, David Hockney and James Rosenquist. MOCA has been offering some decent programming to coincide with the exhibit. Some of their choices have been sublime: Barbara Colaciello’s October 11th lecture chronicling her time working at Andy Warhol’s de facto art manufacturing plant The Factory was a resounding success. While other events, such as the Nov. 8th screening of the 1983 David Bowie-driven, new wave vampire suckfest known as “The Hunger,” veered towards the sappy.
The museum’s final 80s-themed event has the possibility of being the most interesting, if not community specific, of them all. This Saturday, Dec. 15 from 1-5 p.m., MOCA presents “MyFocus: A Community Response to the Art of the ‘80s” a unique panel discussion that features 11 members of the Northeast Florida arts scene. This free event allows these artists a chance to talk about specific pieces from the exhibit while also reflecting on their own lives during the decade that witnessed everything from the arrival of AIDS and Reaganomics, to the fall of the Soviet Union and the rise of crack cocaine. Continue reading →