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Sept. Oct 2024
An exterior art site at the corner of Case and Edgerton, Saint Paul, MN
@ce.studios.artboard
 

MEETING PLACE
Michael Kareken
@michaelkareken
www.michaelkareken.com

Case Edgerton Studios is proud to present new work for the board by Minneapolis-based artist Michael Kareken. MEETING PLACE is on view through October at the corner of Case and Edgerton. 

Kareken’s newest body of work was inspired by the experience of looking out a neighbor’s window at dusk and observing how the dynamic reflections shifted with the light - a motif that has now occupied several years of intensive study. In these complex compositions, inner and outer worlds blend together as the window both reveals and reflects two distinct spaces, the edges blurring with the artist’s fluid marks of conte and gouache.

“People are absent from the work, although their presence is implied in the parked cars, porch lights, and dining room tables. The focus is on the space itself and the movements, rhythms and transitions between the overlapping scenes and objects. Based on observations of specific places, the images are inventions that combine multiple locations, points of view, seasons, and times of day. These elements are woven together in a way that is intended to feel at once cohesive and disjointed. I used what I observed in the window reflections as a guide, blurring edges to connect near and far, dissolving forms into shadows, establishing multiple light sources to create shifting focal points within the compositions.”

Michael Kareken, a Tacoma, Washington native, moved to Minnesota in 1993 after ten years of studying and working in New York. Kareken has been the recipient of grants and awards from the Bush Foundation, the Minnesota State Arts Board, The McKnight Foundation, Arts Midwest, the New York Foundation for the Arts and the Millay Colony for the Arts, among others. Kareken is a recipient of the Louise Nevelson Award for Art from the American Academy of Arts & Letters and printmaking award from the National Academy of Design. He is Professor Emeritus at the Minneapolis College of Art and Design, where he taught painting and drawing from 1996 to 2023.

Michael Karekene Large file for theboard printing.jpg

Meeting Place (detail), 2024, Conte Crayon on Duralar, 24x24"

Exhibition Statement

The painter Scott Seebart and I have been traveling to Venice, Florence and Rome and surrounding cities for over 20 years and for the past 10 years have spent almost every summer and many Winter breaks working from the ornate fusion of visual archetype and artistic innovation that is the core of the Italian Renaissance. 2 summers ago, rather than staying in the cacophonous center of Florence or Rome, we rented a farmhouse on a mountain just outside of Citta di Castello located in the center of a collection of works, in situ, of Piero della Francesco which became the destination for day-trips, breaking the solitude of the ruins of the medieval town of Pietrolo where our farmhouse stood, isolated, the only renovated structure on a wild mountain that is home to screaming chiungale and an abundance of tadpoles as the trickle of fresh mountain water from our well pooled into a river that eventually joined the Tiber. Rather than the picturesque patchwork of distant multi-colored fields that decorate the mountains moving away in a blue haze of atmospheric perspective, it was the house itself that became the landscape that I studied, nestled inside of a forest alcove that hid the huge sky, the gnarled tree trunks and shifting beams of light, the walkways, the kitchen, the fireplace and the garden became a collection of shifting planes that confused scale and responded to composition through the touch of the painters hand and the direct physicality of an image in flux. At the same time, the works of Piero were a constant reminder of an image that serves geometry, slowly building a network of carefully balanced relationships. Creating an indirect image that hides its process. I developed a series of portraits that sought to slow the viewer down and to erase the hierarchy of mark-making, leaving a from that creates its own conventions of light.

 

This summer was especially influential for my work, as I transitioned from the use of the Italian facade as a lexicon that I understood only though a series of academic studies to the integration of its influence with my own use of allegory and form. I am honored to be included on this exhibition with a group of such amazing and serious painters who I have looked to as examples of excellence, invention, rigor and a subversive commitment to the act of looking.

 

July 4th, 2012

Jessie Fisher

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