Java.March.2017

“ABSTRACTION IN THE SINGULAR”
at Bentley Gallery
By Amy Young
Abstract art has always been polarizing. For some, its lack of direct
representational qualities is a deficit, while others see brilliance in its ambiguity.
Add in factors like intention and technique, and both of those stances seem
limited. Abstraction in the Singular, at Phoenix’s Bentley Gallery, curated by Dr.
Grant Vetter, makes an outstanding case against maintaining a limited purview of
abstract works.
Vetter’s show is so thoughtful it hurts. It’s as if it was geared only toward tearing
down staid, dismissive perceptions about abstract art. That could easily be part of
Vetter’s intention, but despite any initial mission, the outcome is spectacular.
More than 40 sizable paintings, predominately oils, by more than 25 artists
(local and national) are threaded by their collective abstract nature, but each
work is a force unto itself, using the others to form an impenetrable union yet
strong enough to stand alone. If you ever wanted to have a conversation about
abstract art, here’s a great opportunity. Whatever you end up thinking and
feeling, there’s a lot to discuss.
Bentley’s owner and namesake, Bentley Calverley, shares that take, so much
so that she offered Vetter a rare curatorial opportunity at her long-established
gallery. “Dr. Vetter was the perfect choice as our first guest curator,” she said.
“He has a different viewpoint than I, so collaborating on this exhibition seemed
like a wonderful opportunity that would enhance all involved. The presentation of
such diverse schools of abstraction is a reminder that art is ever evolving, and the
different styles force us to reassess our definition of abstract art.”
Kent Familton’s Double Dip uses just a few colors and shapes to exemplify the
twinship in curves and corners, and the subtle fluidity that can exist amid the two.
John Mills’ Formal Foibles is a solid, intriguing piece that reads like the aftereffects
of an ebullient brain explosion. A few bold paint colors and some graphite work
are contained partially, and undramatically, by fine lines that create a flower-like
result. The adage that we look for order in chaos comes to mind with this piece.
There are points in the painting that offer potential codification, but overall the
chaotic nature and the way it’s presented provide the real magic.
The angular constitution of California artist Joe Lloyd’s Spur is given depth
through both shaded and brightened areas. Rather than just enhancing the electric
colors that are prevalent, these touches bring all the angles to the forefront. A
deconstruction of shapes, the work allows a mesmerizing look at the coexistence of
these planes. It’s like getting a sneak peek at how every line competes for space.
18 JAVA
MAGAZINE