The artist

I was on hand at the American Indian Community House Friday night for their current exhibition featuring Onondaga/Tuscarora painter Jay Carrier. Though there was no Gary Farmer, there was a surprisingly nice turn out that was intimate and engaged, not only with each other, but with the artist and his work. This was a nice surprise indeed as most gallery openings are boring snooze-fests or socially demoralizing. Just a brief note about the AICH gallery-it really is a gem of a space for indigenous artists to show their work in New York City. Unfortunately it is tucked away in a nondescript building across the street from the hallowed halls of the National Museum of the American Indian. I think it gets over-looked by tourists dazzled by Battery Park, water transport, and the NMAI’s gi-norm-o banners shrieking “FREE ADMISSION!” to the passers-by. Just so you know, it’s free to visit the AICH as well. You may have to search for it but it is well worth the effort (www.aich.org).

Guests enjoy the awesome bean dip and hand-made tortilla chips.

Jay Carrier’s paintings could be dismissed as derivative of 80’s artist Jean Michel Basquiat-a bad abstraction of his style and completely lacking in form. But that would be an easy cop out. True, it is derivative but Carrier purposefully appropriates the symbols canonized in Basquiat’s work to laid-back effect. One could say the same about Basquiat himself, but his mellow ruminations were, for the most part, drug induced. Never trust the heroin addicted artist: their work is a delusion.

Although I was immediately taken with Carrier’s style I was hesitant to say I liked it on it’s own merits since it reminded me of many artists besides the one, obviously, referenced above. However, speaking to the artist himself offered insights to his process-both thought and action-which allowed for a more nuanced reading and by nuanced I mean the guy is completely without guile and utterly lacking in pretention. This made his work much more palatable.

Discussing Risen From The Ashes Of Two Fires

After an hour or so the artist was called upon to speak. As with most artists called to do so, especially in front of an audience, he told us he wanted the work to speak for itself while simultaneously claiming many of the pieces in the exhibition contained socio-political import. Of course, he didn’t expound upon the socio-political importantance imbued in his work preferring to “not beat anyone over the head” with his agenda. I actually believed him-on both counts. Another pleasant surprise was the depth of questions proffered by the visitors. This seemed to please and frighten the artist as he seemed unprepared for the thoughtful questions. Hesitant at first, Carrier opened up a bit more about his process offering candid insights, such as when he revealed he often used words in his paintings so that he wouldn’t have to be bothered actually painting the thing he referenced with text. This comment elicited quite a few laughs. Like I said, the man is without guile.
All in all, I’d say his work is a combination of half-formed skill and intentional mis-direction; a what you see is what you get approach mixed with shucky-darns affability. This is evident in the xeroxed images slap-dashed onto over-textured surfaces; technicolor clashing hues and a poetic sensibility revealed through fractured text used to convey tender memory; and, unintentionally humorous references to caged wolves. These stylistic clashes made for a confusing but enjoyable viewing experience. The show truly was visually spectacular. It’s a shame the show might not enjoy the visitation it deserves.

Some images from the exhibition:

Guest getting a closer look.

I’m Not Indian-mixed media

I’m Not Indian-detail

Center: Gallery director-Soni Moreno

Out Gettin Chicken-mixed media
The show will be up until November 21.
Look for an in-depth feature on Jay Carrier in the Fall edition of NAICA online.

All photos copyright: Maria Colon