Artbeat

Shows feature Bedouin crafts, new works in glass, pastels

A camel milk bowl made of wood, silver and brass is on display at the University of Arkansas at Little Rock.
A camel milk bowl made of wood, silver and brass is on display at the University of Arkansas at Little Rock.

Clothes. Jewelry. Coffeepots.

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Courtesy of Nance Collection, McClure Archives and University of Central Missouri

An incense burner of wood, sheet metal, mirrors, metal studs and paint was part of most Bedouin households. It is part of the exhibition “Traditional Arts of the Bedouin” at the University of Arkansas at Little Rock.

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Courtesy of Boswell Mourot Fine Art

Kyle Boswell’s latest creations in his “Pails and Buckets” series is on display at Boswell Mourot Fine Art. This work is blown glass with textiles, shell, copper and a hardwood handle.

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A Murder of Crows: The End Hate Collection by North Little Rock artist V.L. Cox

All are everyday things we take for granted, things we usually stop noticing after we've used or worn them a few times. But when we see how others live and use them, it can open our eyes to a new level of appreciation for the beauty of everyday objects and our fellow human beings.

"Traditional Arts of the Bedouin," at the University of Arkansas at Little Rock's Gallery I in the Fine Arts Building through Aug. 5, is an opportunity to have such an experience.

For many of us, the lingering impression of a Bedouin is someone racing across the desert on a camel, robes flowing. Flashback to Lawrence of Arabia; the imagery lingers.

This informative exhibition focuses on parts of Bedouin life that survive today; it's a step across time and a cultural gap that illuminates perhaps unexpected commonalities.

With one big difference.

We sit rooted, for the most part, in our houses and apartments. Life for the Bedouins of Saudi Arabia was an exercise in impermanence; it was a culture on the move. In that respect, it recalls American Indian tribes and other indigenous cultures that followed the movements of animals and the change of the seasons. Their skilled craftsmen created utilitarian objects that also could be profoundly beautiful.

That's certainly true here. Some examples:

• A round floor mat of bark and leaf fiber was for sitting. The intricate pattern is enhanced with the use of the color purple.

• An exquisite hair ornament of silver, carnelian stones and bells, some 18 inches long, is stunning.

• Colorful prints on some women's clothing.

• A man's skull cap, usually worn for formal occasions, is beautifully embroidered.

• A man's red and white checkerboard-patterned head scarf that identified him as being from Saudi Arabia. It is held in place by a cord. Other countries use different colors and patterns.

• Perhaps the standout piece was the most subtle. A camel milk bowl of wood, silver and brass seemed pretty plain, but upon closer examination, the beauty of its design glowed. (A higher display would have enhanced its beauty). Tiny silver nails were driven into the palm tree wood bowl, creating the design and giving it an unexpected elegance. It recalls indigenous basketry and pottery in its beautification of a utilitarian object.

Several objects testify to the Bedouins' love of coffee: a coffee bean bag with richly colored fringe and one turquoise-colored tassel (to keep evil spirits at bay), a brass mortar and pestle for grinding the beans, coffeepots and a coffee cup holder made from a World War I brass artillery shell. It held two white cups, each decorated with the seal of the Kingdom of Saudi Arabia.

While the social, political and environmental realities have changed, Bedouin traditions endure.

Along with their love of coffee.

"Traditional Arts of the Bedouin," through Aug. 5, Gallery I, Fine Arts Building, University of Arkansas at Little Rock, 2801 S. University Ave., Little Rock. Hours: 10 a.m.-4 p.m. Monday-Friday or by appointment. Information: (501) 569-8977.

'Akin'

Everyday objects in our own and other cultures have inspired works by glass artist Kyle Boswell.

Boswell, co-owner of Boswell Mourot Fine Art in Little Rock, was inspired by -- of all things -- a blue plastic mop bucket when he was a resident artist at the University of Miami in 1999.

"I had studio time, but didn't have anything in mind," he says. "Then I saw the bucket."

So Boswell began blowing glass buckets with glass handles. Those early works have evolved to what he is showing in the exhibition "Akin," his first show of new work in five years.

Boswell incorporates an array of colors and patterns, some intense and inspired by Miami, others more subdued, in the glass. The vessels are enhanced with Asian and African elements such as bamboo, copper and driftwood handles decorated by shells, beads and fabric wraps. Shapes and elements echo world cultural references, but coalesce into a distinctive whole.

They provide a beautiful, light counterpart to the darker, but no less exquisite, pastels by artist Cynthia Kresse.

The Eureka Springs artist was in last year's Delta Exhibition at the Arkansas Arts Center with Hwy 62, Eureka Springs, Leatherwood at Dark. That piece reappears in this show, giving viewers a haunting, near-dark ride down U.S. 62 that feels like a Twilight Zone episode about to unfold.

It is the sense of mystery -- something might be lurking in the shadows, perhaps a fleeting emotion, maybe a moment of illumination -- that powers her work.

Kresse's superb technique allows her to explore stylistic variations. In Chicken House Light, the lights inside a chicken house play against the interior and exterior, creating an abstraction of form and light.

The portraits -- tightly focused, mega close-ups -- are surreal and revealing. Working with shadows, light and subtle hints of color, portraits such as Bill, the Guitarist and Barbara, the Astrologer, have the feel of psychological landscapes. Kresse also displays a wonderful portrait of her brother, Little Rock artist Kevin Kresse.

Sarah at Full Moon Christmas mines a tone and vibe that infuses much of Warren Criswell's work.

"Akin," new works by Kyle Boswell and Cynthia Kresse, through Saturday, Boswell Mourot Fine Art, 5815 Kavanaugh Blvd., Little Rock. Hours: 11 a.m.-6 p.m. Tuesday-Friday, 11 a.m.-3 p.m. Saturday. Information: (501) 664-0030, boswellmourot.com.

END HATE IN PRINT

The deeply moving exhibition "A Murder of Crows: The End Hate Collection" gathered all of North Little Rock artist V.L. Cox's "End Hate" series of mixed media artworks for its first public display this spring at New Deal Studios and Gallery in Little Rock.

Now we have another way to view these pieces -- Cox has self-published A Murder of Crows: The End Hate Collection (End Hate books, $40), a full-color softcover book that documents the exhibition and more. The photography, design and printing are excellent. While it's not the same as seeing the exhibit first-hand, the power of Cox's work radiates from the pages.

"It's almost surreal to finally see this," she says. "I've been working on it about a year and I'm so happy with how it turned out. It's another vehicle to keep people communicating. I wanted to have this available so more people can see the work and the dialogue can continue."

Cox's confrontational, thought-provoking mixed media installations, especially the Door Installation, are vehicles to stimulate discussion and reflection. And they do ... even if it takes courage to do so. The six doors were displayed twice last year at the state Capitol and the Lincoln Memorial in Washington. Labeled "whites only," "colored only," "LGBT only," "immigrant only," "homeless only" and "human beings," Cox also took the doors to Eureka Springs and other Arkansas locations.

The book is available at Gallery 26, 2601 Kavanaugh Blvd., Suite 1, Little Rock, or can be ordered at amazon.com.

Cox's next show will be Sept. 17-Oct. 29 at Gallery 26, with collage artist Michael Church.

Email:

ewidner@arkansasonline.com

Style on 07/10/2016

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