Thomas Kerrigan "Desert Soul" - The Bungalow - March 24, 2004 - 3 1/2 stars

The color of these hand-built earthenware pieces from the artist's Desert Flora Series were oxidized metal. Predominantl opaque surfaces contrasted with high, primary colored glossy glazes emphasizing intricate design elements that appeared hot next to the overall cool finishes. The richly detailed surface treatments of the abstracted ceramic sculptures possess an almost irresistible tactile quality, like sand on a beach that you want to run your fingers through. The complexity of the surfaces and the soft curves of the pieces are imbued with meditation and tranquillity. Though March 31, 2004; 317-253-5028. -Mary Lee Pappas

Brad Schwieger "Cut Constructions" Architectural Vessels" - Artifacts - March 24, 2004 - 3 1/2 stars

The NCECA Convention's presence in the city has, without question, beautified the place. With these high-quality ceramics exhibitions happening all at once at so many venues around town, it was difficult not to get a healthy dose of good art last weekend, no matter which way you turned. Schwieger's (Ohio University Ceramic chair) skewed architectural ceramic sculptures, displayed in the window of Artifacts, were absolutely intriguing. Disassembled and reconstructed built forms possessed flatness and contrasting volume, giving them a kinetic, wobbly feeling. Symmetry in his column pieces (like architectural balustrades) was moderately distorted, creating a visual sensation of melting. This vapor, soda fired treatment only enhanced the animation, the movement of the forms. Through April 10, 2004; 317-255-1178. -Mary Lee Pappas

"Common Clay: Creating Old and New Ceramics" - Indiana Historical Society - March 17, 2004 - 3 stars

This is an overview of Indiana's pottery history, including a manufactured piece from the American Art Clay Company (AMACO), which mainly sells pottery supplies now. Most intriguing were examples by the Overbeck sisters, who produced work from their Cambridge City home (now a museum) from 1911 until 1955, when the last living sister, Mary Francis, died. Lovely, abstracted flower patterned vessels (probably thrown by Elizabeth and decorated by Hannah) are exhibited alongside little people and animal figurines, known as "grotesques" or "humor of the kilns" that the sisters made to earn pocket money. An exhibition on the unmatched Arts and Crafts sisters (who took their art secrets to their graves) alone would be most welcomed as this little element of the exhibition was great. Exceptional contemporary pottery pieces flank the second floor, like "Mother's Milk" by Kathy Roussel. It's a white shiny porcelain wall sculpture of three stacked utter covered round forms. A wonderful show overall, it's unfortunate that the pieces were distributed so thinly throughout the facility instead of dedicating a concentrated gallery space to this exhibition effort. Through June 6, 2004; 317-232-1882. -Mary Lee Pappas

Patrick Craig Manning " Cardinal Points - The Photography Gallery - March 17, 2004 - 1 1/2 stars

At the Photography Gallery, when pieces are visually uninteresting, the quality and presentation are usually still quite high, redeeming the work. In this case, the presentation is faulty. The Bitmap Series, multicolored cubes of color that, as the statement explains, are "created by a computer program that randomly assigns 16.7 million possible colors to each file in the digital bitmap file," are printed on an Epson matte paper that bows from the flat black mat boards they are mounted to. This presentation is sloppy for such visually clean work, although one image from the series has a small ink globby in one mini color block that is glaring against the mod design. The artist's intent, that each map is a "presentation of choices, a record of what we value, what we represent, and what we ignore," is ineffective. Through March 31, 2004; 317-423-9237. -Mary Lee Pappas

"Cartoon and Caricature from Iran" - IUPUI Cultural Arts Gallery - March 10, 2004 - 2 stars

Artists' statements and inspiration or purpose for the exhibition were not available. Stylistically, nothing about this work suggested a distinctive sense of place. It looked like it could have come out of any American newspaper. Organized by the Iranian America Student Association of IUPUI, this small exhibition of work by Touka Neyestani, Nik Ahang Kowsar and Massad Shojaitabatabai (IUPUI students or artists from Iran?) left something to the imagination. Cartoons and caricatures on display were inkjet reproductions of originals with some colors and details being lost in this process. A predominant theme was that of power struggle touching on the war in Iraq. One cell depicted Saddam Hussein in a Santa suit being approached by a small reindeer that asks, "Are you a Bad Santa?" Many of these frames could very well accompany news pieces covering current events in the Middle East. Through March 31, 2004; 317-274-3931. -Mary Lee Pappas

Maryann Michna "National Road" - Bona Thompson Center - March 10, 2004 - 2 1/2 stars

A video specialist at the Indiana State Library, Michna is too dependent on her camera to achieve painted works that make up this show based on her back and forth travels along U.S. 40, the old National Road, from her home in Terre Haute. There is a meditation that takes place when you drive great distances in a car by yourself with an awareness of horizon points, sky and landscape whizzing by. Epitomizing that experience most effectively is an acrylic on clayboard painting, "Three Views of 40," where three landscape scenes are stacked to achieve this experience. Other paintings executed with acrylics on clayboard are painted in a hurried, gestural way, like a painted sketch. Paint appears flat and opaque as it is thinly applied. The anxious appearance of the work overlooks tone and contrast while simply filling in shapes with some color. Through April 18, 2004;
317-353-BONA. -Mary Lee Pappas

Maria Magdalena: "La Familia" - Munce Fine Art Center - March 10, 2004 - 4 1/2 stars

Abbreviated and generalized family portraits in oil, whose circular and rhythmic compositions fill the canvas space, are elegantly linear and refined. The naturalistic faces are masks of serenity, waning on elongated necks. Romantic and weightless, they recall the gentle quality of Botticelli's works (think "Birth of Venus") and Modigliani's portraits though stylistically they are Magdalena's own. Soft, vibrant shades of lavender, cool light blues, yellow and oranges fill the flat pictorial Cubist-like components. These works capture the soul of Magdalena's family. Every element of good painting is represented in this body of work. It should be noted that prices are not only reasonable, but also actually low for this high quality of work. Cheech Marin should have one of her pieces in his collection. This will knock your socks off as will the exceptional blown glass vases by Joan Schneider created specifically to accompany Magdalena's work. Through March 20, 2004; 317-873-6862. -Mary Lee Pappas

Judy Leiviska - Cafe Patachou (Carmel) - March 3, 2004 - 3 stars

Leiviska's work on display, monotypes and color reduction hand printed woodcuts, possess a tranquillity through muted color and a linear execution of composition. The elongated quality of the woodcuts is reminiscent of water rushing wherever it goes, giving the work an element of rhythm and life. Colors, such as muted deep purples and greens with an undercurrent of faded orange, further this sense of ease, stillness and softness. One abstracted monotype, on the other hand, is composed primarily of red, yellow and blue (the sacred trinity of color), with touches of washed orange and light blue. The blotches of color, dry and smooth, are given a pulsating life through her gestural application. The basic colors and hot white paper background achieve an engaging, sophisticated abstraction. More of Leiviska's work can be viewed at the Hoosier Salon. Through March 31, 2004; 317-569-0965. -Mary Lee Pappas

Rick Epley - Cafe Patachou (River Crossing) - March 3, 2004 - 1 star

A gallery owner recently asked me, "Who do you think is buying all of these art supplies at art supply stores and craft stores?" Painting prowess doesn't always lie in a particular brand of paint, a certain grade of prefab canvases or any other marketed utensil pointed in the direction of aspiring artists. Aside from acquiring a painting mojo (a very beautiful thing), there is an element of fine tuning that needs to occur, a level of craftsmanship that needs to go hand-in-hand with desire and is to be aspired to. Epley's sequences of strictly decorative, layered squares lacked substance, depth and a sense of color even though the paintings displayed possess bright palettes. These works, filling the north wall of the restaurant, did just that - they filled a bare wall. Through March 31, 2004; 317-815-0765. -Mary Lee Pappas

Christopher Smock - Cafe Patachou (49th & Penn.) - March 3, 2004 - 3 1/2 stars

Acrylic and graphite on board paintings line the very poorly lit south wall - unfortunate for this good show. Nevertheless, red "sold" dots are affixed to the title labels, testament to the astute quality and reasonable prices of these pieces. Produced primarily from leftover theatrical set supplies, these works are polished and superior without a footprint of their workroom origination. Great artist's statement, too. Smock's art doesn't pretend to be anything it's not though it hardly lacks substance. Void of pretension or ulterior motives, a sincere interest in craft shines as this artist has seemingly freed his mind of sales, material cost and ego. Local street scenes, interiors and bustling spaces are laid out in washed layers of acrylic to compose accomplished representational images. Expressionistically sketchy, these paintings are inspired and aptly executed. More please. Through March 31, 2004; 317-925-2823. –Mary Lee Pappas

George Michael Bell: "Discovery and Explorations" - White River Gardens - Feb. 25, 2004 - 1 1/2 stars

Boring and forgettable. Only sometimes beautiful when independent of each other, this exhibition of color photography is the stuff found in a generic travel brochure. Overall, little artistry is demonstrated in these shots that are more homage to technical prowess than individual style. A point and click feel exists without any compositional consideration. A great shot looks like good luck. It doesn't help that most of the photos are matted in unflattering black set in stock metal frames. The most radiant image, "Sunset with Clouds," has a suitable, colorfully complimentary blue mat that enlivens and enhances the quality of the image. Sunset sky colors reflect neon pink, red, yellow and rich purple off of a field of clouds. It's heavenly. However, "Vultures in Trees," shot at the Indianapolis Zoo, doesn't benefit from its well-chosen color mat. The primary vulture's beak, the picture's focal point, is out of focus while the back of another vulture, half out of the scene, is sharp. Through March 3, 2004; 317-630-2001. -Mary Lee Pappas

"The Art of Healing: The Wishard Art Collection" - Indiana Historical Society - Feb. 25, 2004 - 4 1/2 stars

Having once adorned the walls of Wishard Memorial Hospital, these works by prominent Indiana artists at the turn of the cerrtury are a who's who treasure trove. Outstanding examples by TC. Steele, William Forsyth, Wayman Adams, John Ottis Adams and William Edouard Scott were created in an ingenious public art project - to decorate the then new hospital wings (around 1914) for the benefit of uplifting patients' spirits. Forsyth's thoughts on this project are included in the exhibition: "Perhaps the best work ever done by most of these artists is to be found on these walls; and it is no exaggeration to say that it is a monument to their accomplishments." Pieces hang on the first floor in the Lacy Gallery and in the fourth floor hall of the IHS. Three season-themed, 60-inch-by-111-inch paintings by Steele of the Brown County countryside have an expressionistic grace and grandeur though two of the three, "Autumn" and "Spring," are blocked by column obstacles in the narrow space, preventing a proper view of the works. Steele's signature has been chopped to make way for framing. "Whitewater at Brookville," an atypical landscape by Adams, is clouded behind an ancient varnish and nicotine film like so many pieces on display from the hospital. Conservation is required. A test cleaning in a corner revealed a lush light blue true color that had turned green from the pollution. The sale of exhibition mementos from the IHS gift shop will generate funds for the conservation needs of so many of these historical works. Instead of reinventing this city's history, perhaps this 90-year-old public art effort can serve as an example to the powers that be that art in public spaces is age-old and a win-win situation. To make a contribution to the Wishard Memorial Foundation visit www.wishardfoundation.com. Through May 23, 2004; 317-232-1882. -Mary Lee Pappas

"What's New?" - G.C. Lucas Gallery - Feb. 18, 2004 - 4 stars

Always consistent in presenting quality, G.C. Lucas now delivers work by more homegrown artists up to snuff with his national fare and very much in keeping with his keen aesthetic sense. John Reynold's farm animal paintings are beautiful beyond their subject matter. Using old bed linens, paint and a multitude of other devices, Jen Swearington's works are sophisticated autobiographical narratives. Quilted scenes of powerlines, bears and cars assemble to symbolically conceptualize her life experiences and create unique visual treats. Eric Jacobsen and Angel Mercado join the impressive fold of outstanding artists represented at G.C. Lucas as well as the notable Debra Delbecq. New works by Lorraine Sack are on view also. Through Feb. 26, 2004; 317-255-4000. -Mary Lee Pappas G. C. Lucas Gallery, John Reynold, Jen Swearington, Eric Jacobson, Angel Mercado, Lorraine Sack, Artist, painting, drawing, Indianapolis, Indiana, Debra Delbecq

Kristen Lee Florey - Amici's Italian Restaurant - Feb. 18, 2004 - 3 1/2 stars

Florey's work - the energy, colors and the execution of her encaustic paintings - is such a breath of fresh air. These are real action paintings. A propane stove, woodcarving tools and a blowtorch are a few of the tools that assist in these spontaneous abstracted creations. Broad applications of beeswax and rich pigments to her canvases create lush, thick and deep textured surfaces. "Flexing Muscles," a steal at $250, contains a pure Zuni turquoise blue tone that practically flashes against the subdued orange and black it shares the canvas with. Her energetic process gives life to the deconstructed forms she paints. The word "Liberty" resonates as a descriptor for the overall visual appearance of this show ripe with gesture. Www.kristenleeflorey.com. Through Feb. 29, 2004; 317-634-0440. -Mary Lee Pappas

Justin Cooper - Vic's Downtown Expresso Bar - Feb. 11, 2004 - 3 1/2 stars

Cooper's work, a small selection of painted panel pieces and large canvases, are a good fit for this space. The panel pieces are of distorted, definable female portraits. There is no model and there's no need for one as facial features, are broken down and defined by balanced forms. The forms independently float and stack like puzzle pieces, seemingly disassociated from one another, combining foreground and background. This merge, enhanced by the colors, is reminiscent of cubist style, "Ma Jolie" color scheme (though not Picasso at all) and conceptual execution. Forms are done in washed sienna and tawny tones, executed on white, and are surrounded by brown stained board. Terrazzo marble-like squares decoratively set the physical forms off and are sometimes set on top of mazes of Greek key designs. This work is about the art process and how an artist perceives the world through an art geometry, constantly dissecting what they view into colors and shapes and light. Through February 2004; 317-951-0335. -Mary Lee Pappas

Rich Clarkson "The Champions: Portraits from the NCAA Arena" - NCAA Hall of Champions - Feb. 11, 2004 - 4 stars

* Pictured - Pete Maravich by Rich Clarkson, 1968.

Considered one of the 50 most influential individuals in American photography, Clarkson's sport portraits and action shots on exhibit at the NCAA are supreme. An exhibit display explains that his portraits are "Slices of the emotional ride through which sports take us." And so true this is upon surveying the unglamourized, unheroic or idealized images of sports greats through game candids and portraits from the 1950s to now. "Pistol" Pete Maravich's 1968 portrait as a player for Louisiana State is one example. The beautiful, true-to-life color and technical expertise of the shot allows the viewer to see Maravich's ruddy knuckles and the tender little boy looks of this super star with a way-out-there jump shot. Though beautiful, this piece, like all of the pieces in the exhibit, also reflects a triumphant sense of success. There is an emotional sense of drama within the tiny exhibition space. The images are approximately 24-by-40-inches, a large size that only enhances their lifelike crispness. Clarkson's images have appeared in Sports Illustrated, Time and Life magazines. He, like his subjects, is the best of the best. Through April 24, 2004; 317-916-HALL. -Mary Lee Pappas

"From A Different Perspective" - Hoosier Salon - Jan. 28, 2004 - 3 stars

This nonrepresentational art show is not the stuff you'd necessarily expect from the Hoosier Salon artists participating. Julie Muney Moore, Indianapolis Art Center director of exhibitions and artist services, and juror for this show, says in a statement, "I would urge those who work in this vein to look to the Hoosier Salon as a venue for promoting work of quality by all Indiana artists regardless of style or approach." I second that. This colorful exhibition is a surprise of a show and flips the bill for quality modern-minded works. Judith A. Leiviska's acyrlic abstractions of strictly color and form concoctions are executed in a painterly way. A rhythmic Synchronism-like piece - reds, fleshy pinks and orange yellows embody this exercise of artistic expression. Compared to similar works shown in the city recently, this show is above average. Well worth a visit. Through Feb. 14, 2004; 317-253-5340. -Mary Lee Pappas

Laura Boone: Photographer - IUPUI Cultural Arts Gallery - Jan. 28, 2004 - 2 1/2 stars

Ordinarily an artist's statement enhances and validates their art. It serves as bridge between the artist and the audience because pretty pictures aren't always enough. Fortunately for Boone, her photos are great as is. A typically youngish angst is revealed in the writing and in titles like "Isolate" and "Numb." But in the work itself, very personal, and yet universal, expressions are examined and beautifully, lyrically manifested. A digital print, "Voice," the least impressive image among the silver gelatin and c-type prints displayed, conceptually interprets how much information there is in the world, how hard it is to keep up and how it can make an individual's voice feel smothered. It would make for a great installation. The venue, a concrete block room at the old IUPUI library, is pretty sanitary with an inadequate florescent haze, which is not up to standard with Boone's work. But she hits a home run with her images. Next time pick a venue that compliments the work. Through Feb. 20, 2004; 317-274-3931. -Mary Lee Pappas

Bartosz Pietrzak: Photographs - Bona Thompson Center - Jan. 21, 2004 - 4 stars

An exceptional display of photography: Pietrzak possesses an unmatched imaginative aesthetic that spans his life experiences as a photographic artist. Photography composites, in many instances, are montaged to create surreal landscapes, like "Terra Est Rotunda," where desert dry earth monumentally curves into an earthy sphere, suggesting a poetic fragility to the planet. His works, both montage and journalistic spanning the last 30 years, possess a narrative quality without the suggestions of the titles. Simply the expressions of his human subjects juxtaposed against or within the natural panoramas he captures are quite fantastic. A sense of wonder and emotion are imparted from each piece. All 24 images (black and white, color, collage, montage) exhibited are technically and consistently pristine and crisp. Through Feb. 22, 2004; 317-353-2662. -Mary Lee Pappas

"The Portfolio Club: Then and Now" - Bona Thompson Center - Jan. 7, 2004 - 3 stars

The Neo-Classical Revival building that is the Bona Thompson Center, once Butler University's library and now a centerpiece to a quiet neighborhood, was renovated by the Irvington Historical Society two years ago and serves as a gallery venue. One of the state's oldest arts organizations, founded in 1890 by Mrs. Mary Steele (TCs first wife), many Portfolio Club members resided in Irvington close to the BT Center. Among the pieces on view in the exhibit are works by William Forsyth, Clifton Wheeler and Constance Forsyth belonging to the Irvington Historical Society; Wayman Adams' portrait of Forsyth, Simon Baus' portrait of Hilton U. Brown and a portrait of Kurt Vonnegut Sr. by Clifton Wheeler belonging to the Portfolio Club; TC. Steele's portrait of Bona Thompson, on loan from Butler University's Fairview Campus. Two slightly cartoonish mural pieces by Clifton Wheeler, extracted from the Propyleum during their renovations years ago, are also on view. Once hung above a fireplace in the basement of the Propyleum, a charming painting, "Portfolians in a Classical Landscape," of Baus, Forsyth and other notable Portfolians, had been set against the white painted back of "Woman in an Empty Landscape" also by Wheeler. Only when the first painting was pulled was it realized the second was there - a hidden painting now on view at the BT Center. While esteemed members of the past are exhibited in the North Gallery, contemporary efforts are exhibited in the South Gallery by the likes of Cynthia Blasingham and Mary Ann Davis. Through Jan. 11, 2004; 317-353-BONA. -Mary Lee Pappas