The exhibition John Balistreri: By and Large at Belger Crane Yard Gallery (Kansas City, May 2 – August 16, 2014) features the sculptor’s newest large-scale ceramic sculptures that were created over a 2 1⁄2 year period at the Jun Kaneko Studio in Omaha.
Red Star Studios informs us that while today the phrase “by and large” means “generally speaking,” or “on the whole,” the origin is nautical, an order to the man at the helm of a ship to sail slightly off the wind. A similar command was “full and by” which meant to “sail as close to the wind as it can go.” The risk of sailing too close to the wind was the danger of being “taken aback” (when the sails press against the mast and progress halts).
Certainly I was taken aback when reviewing this exhibition. My first question to Red Star was whether his was a collaboration between Balistreri and Kaneko? I would not have liked it any more if that was true but it would at least have made some kind of sense. Alas, it is not.
Before I continue let me first emphasize that Balistreri is an excellent sculptor as the image above of the unfired works attests. He can work in a massive scale and his forms have strength, conviction and presence. If this were not true, I would not have written this review.
The problem with the work is not sailing too close to the wind but rather, to use an mythological metaphor, Balistreri is flying too close the sun. The latter is a metaphor for Kaneko’s kiln. The palette, readily identifiable as Kaneko’s, are the attempts at pattern and decoration. Maybe this was a desire to pay homage to Kaneko but the result is the same, Balistreri does not own this work aesthetically, Kaneko does.
The form is much more interesting than that of his mentor but that strength is smothered in flat color and tediously obvious and derivative surfaces. Moreover, he does not paint but illustrates, coloring in each component of the form so the color is not fluid and does not travel across the body of the form. It breaks the form into a series of fits and starts.
One overall color does not work either, Blue Note flattens the form and removes all the sensuality of the clay, something that the sculptor usually exploits wonderfully. Reef, if taken as a conscious compliment to Kaneko is the one painted piece that works for me, the pattern fits the piece like a knitted jumper but is elastic enough to let the contours move.
The problem is that what works for Kaneko, works against Balistreri. Kaneko’s forms are generic, the endlessly-repeated Dango shape, and have no power if unadorned. They are painted into life.
Balistreri’s forms are the opposite, at their best when left near-naked. They become complex, involving, moving, sprouting, twisting, swelling and undulating. By trying to direct the eye with planes of overweening color, their innate generosity, complexity and organic power is stifled.
This is all too evident with Ogallala Hindsight or North Wind, both stunning works with minimal color that allow the form to roam. These works alone are sculpturally alive.
John Balistreri is a Professor of Art at Bowling Green State University, where he has been the head of the Ceramic program since 1996. He is best known for his large-scale ceramic sculpture as well as his innovations using digital technology to create ceramic objects using ceramic 3D printing techniques. He has been awarded two patents related to this research. One video about the former and another about the latter are included in this post.
Garth Clark is the Chief Editor of CFile.
Above image: John Balistreri in the studio with his unfinished works. Photograph courtesy of the artist.
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Balistreri in the studio.
John Balistreri, Blue Note, 2014; stoneware, slips and glaze, 45 x 20 x 13 inches
John Balistreri, Reef, 2014, stoneware with slips and glaze, 124 x 55 x 31 inches
John Balistreri, North Wind, 2014, stoneware with slips and glaze, 119 x 52 x 30 inches
John Balistreri, Ogallala Hindsight, 2014, wood-fired stoneware, 63 x 30 x 21 inches
In-process and completed works by John Balistreri. Photographs courtesy of the artist.
John Balistreri discusses 3D Printing Ceramics at Bowling Green State University.
A time-lapse video showing the installation of By and Large at Belger Crane Yard Gallery.
Visit John Balistreri at Red Star Studios
Visit Belger Crane Yard Gallery
There is no such thing as work that will resonate with everyone that could still remain ‘ art’ and not object. The Vaillant opposition to the value of the work is attack without benefit as the art is just an expression Love or hate doesn’t matter as it can be both Does there have to be a winner.
THE MAN DOES NOT UNDERSTAND THE TRUE NATURE OF CERAMIC AESTHETICS.
BIG IS NOT BEAUTIFUL. BIG OR LITTLE THEY ARE ESSENTIALLY NOT TRUE TO THE KNOWLEDGE OF CERAMIC PROCESS.
A WHOLE LOT OF DISNEY LAND MIKEY MOUSE FIGURES THAT WOULD HAVE BEEN BETTER TO HAVE BEEN MADE FROM PLASTIC WHICH THEY BETTER RESEMBLE. HIS MENTOR KANEKO IS THE SAME.
BIG AND UGLY.
GARTH CLARK WAS FULLY AWARE OF THIS BUT DID NOT HAVE THE INTELLECTUAL GUTS TO SAY SO.
It may be a bit dated to comment, but I would be remiss to not do so. I have had the distinct pleasure / honor to witness the creation of John’s art first-hand. To even think about classifying it as derivative to a mentor is inane. Kaneko’s work is clearly an asset to the ceramic’s community, but to classify Balistreri’s work as an homage to a mentor misses the mark. I have had the great privilege to wood fire with John and see how form, color, and pattern truly inform his work outside of a “controlled” gas firing. His use of color and pattern is intentional and masterful. Even in small-form work, his use of precise “fits and starts” (colored or not) give his pieces power. In terms of color, it is precisely the “stifling” of the organic form that causes one to pause and re-evaluate the world. Interrupting the flow – the obvious – forces one to stop and re-examine. There is a disconnect that forces one to stop and think – to resolve – or to accept a dissonance. Balistreri’s use of color is truly thought-provoking. More critically, in my opinion, compared to Kaneko’s work, Balistreri’s pieces force you to observe the negative space surrounding the work. This is an amazing component given the complexity of many of his pieces – which on the surface beg one to look at the piece itself. This is starkly contrasted to the primal simplicity in Balistreri’s work. These totems of a seemingly ancient culture speak volumes of the future. He masterfully captures a complex simplicity of form. Balistreri’s work is a critical component of contemporary ceramics and should not be discounted. I greatly look forward to firing with him again. It doesn’t surprise me that people stop in their tracks when seeing John’s work – it has the same effect every time we open a kiln.
They look dumb.
They look nice but a little bit too much like bratwurst. A start of a new -ism?
– Sausagism.
Too close for comfort.
Great writing. The raw shapes as a group are what draws me to the art and the story.
Finally some interesting criticism – thoughtful , balanced,informed and succinct.
Dear CFile, Thanks so much for your coverage of John Balistreri’s “By and Large” exhibit currently in the gallery at the Belger Crane Yard Studios in Kansas City. It’s always a pleasure to hear Garth’s thoughts on art and design…John Balistreri’s exhibit was three years in the making and we are very proud to be a the first gallery to present this work to the public. It takes courage and faith to tackle such a monumental exhibit and working with John as he finished the sculptures and transported the work from Omaha to Kansas City was an inspiration to us all. The exhibit runs through August 16 and we hope anyone who gets anywhere near Kansas City this summer will stop by and see it in person. Since we opened the exhibit in May, I have watched visitor after visitor literally stop in their tracks when they see the work for the first time. Yours,
Mo Dickens, Gallery Assistant
Belger Arts Center / Red Star Studios
Kansas City, Mo