The current exhibit on display at Loyola University's Julio Fine Arts Gallery, Ownership Society, features the work of artist Kim Beck. Typically Beck's work observes ìinsignificantî objects and places that tend to be overlooked or ignored in our daily lives. This particular show happens to concentrate on the notion of space as it is constructed and destructed as well as occupied and vacated. Beck formulated her ideas for this exhibit while living in New York during the heart of the economic downturn caused by our "Ownership Society." As our consumer culture exploded, Beck became intrigued by the concept of manís desire for ownership. This ultimately led her to examine the inevitable foreclosures and bankruptcies that ensued after the economyís collapse. The subject matter of this exhibition emphasizes the dismal nature of the global credit crisis and its effects. For example, the series of grayscale gouache and ink images, "Foreclosure Homes 1-5," depicts a number of vacated homes.
The monochromatic color scheme of these works appropriately communicates the realistic sadness that is associated with the sale of a home due to foreclosure. Each image, adapted from real-estate agent photographs, is devoid of residents, emphasizing the forced vacancy of these homes and the lack of funding our economy has become accustomed to. Shadow is also accentuated in these images, again, adding to the dramatic ambiance Beck strives to communicate.
These same themes are repeated in a series of three large, untitled compositions lining the rear wall of the gallery. "Untitled" represents architectural plans with an intricate web of geometric cutouts, possibly representing the incomplete nature of the home that it strives to portray. This series illustrates a partially constructed house that has been abandoned, again, due to foreclosure. The nature of the work itself, with paper lightly tacked to the grey painted wall, creates depth and shadow much like a three dimensional building. These combined characteristics of the work aid in communicating Beckís desire to show what is being both constructed and deconstructed at the same time.
This same notion of the beginning and ending of homes/spaces is paralleled in "Everything Must Go", a collection of gouache, pastel, and charcoal signs on paper. This piece uses eye-catching colors typical of window signs posted in consumer establishments in order to capture viewersí attention. Though these signs are commonplace, Beck moves viewers by underlining the heartbreaking nature of a store closing.
As mentioned during the gallery reception, she envisioned a young woman, who recently joined the work force, ìmaking her own obituary.î After this fictional character has just begun her job, she is forced to create the sign that signifies the end of her employment. Thus, Beck exposes the true loss that is concurrent with the liquidation of a business.
Additionally, the materials Beck uses to create "Everything Must Go" are messy, much like the situation she alludes to through the signage. The pastels and charcoal smudge and create blurred letters and edges, creating a clouded scene. This parallels the idea that there are both exciting aspects to the sale of a store/business as well as disappointing aspects.
Beck's observation of the trivial features in life allows viewers to reassess the environment around them and contemplate different viewpoints. In this show, she has successfully blended elements of architecture and landscape to present thoughtful works of art that resonate with viewers even after they have left the gallery.
Due to the contemporary nature of her subject matter, the show is not only for art lovers. It really brings to life the reality of the economic crisis and artistically renders the effects felt by victims of the credit crunch. If you are interested in viewing Ownership Society, it will be on display in the Julio Fine Arts Gallery until October 4th.
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