Review of TCNJ Art Gallery’s Featured Exhibition: Ruane Miller: Through the Window of My Mind, by Scott Samuels

Scott Samuels, a junior studying Art Education and Spanish, kicks off the Spring 2014 semester with his review of TCNJ Art Gallery’s featured exhibition. Read more about Scott’s reactions, and be sure to check out the exhibition for yourself now through its closing date, February 20th! Scott’s Blogger Bonus is featured at the end of this post, find out what he’s looking forward to most this semester!

Ruane MillerThrough the Window of My Mind…Ruane Miller, Paintings and Prints
What: an exhibition of 46 prints and paintings by Ruane Miller
When: Jan 22 – Feb 20, 2014 (Gallery hours: Tues, Wed, & Thurs 12pm-7pm, Sun 1pm-3pm)
Where: TCNJ Art Gallery, AIMM Building, First Floor, Space 115

To commemorate the retirement of TCNJ faculty member Ruane Miller, the college is exhibiting a retrospective of her gouache paintings and digital prints.  The works feature vibrant color, undulating patterns and shapes, and symbolic representations of the various locales in which the artist worked, most notably the northern Arizona desert.  The show’s title, Through the Window of My Mind, reflects the deeply personal nature of the works, as well as their surrealistic and psychological elements.

Ruane Miller Image 1

Several works featured in Ruane Miller’s exhibition, “Through the Window of My Mind”

Miller’s works can be roughly divided into two groups: the digital compositions and the traditional paintings.  I feel the digital prints lend themselves to narrative, as they prominently feature the motif of a nude woman with short hair, depicted as a flat silhouette often with a glowing radiance around the edges.  Scenes from a Shadow Play contains no less than six copies of this enigmatic, curvilinear figure, framed in mysterious doorways, with a fuzzy turquoise tapestry weaving throughout the composition.  The largest figure dominates the lower half of the picture, and appears to be delicately holding her own head, or perhaps holding up binoculars to her eyes.  Since the figure is illustrated in a deep black with only a beige glow about the edges, the observer cannot discern whether she looks out into the pictorial space, or back at the viewer.  Or perhaps she is a stand-in for the real-life viewer, gazing surreptitiously upon the other female forms.

Ruane Miller Image 3

Several works featured in Ruane Miller’s exhibition, “Through the Window of My Mind”

Shadows Dance, another print from her Desert Light and Shadow Series, depicts the “silhouette woman” gazing out of an open door onto a sprawling desert landscape.  This picture seems to bring to life images from the subconscious; although the rock formations are strongly lit, the sky above is filled with deep gray rainclouds, recalling the visual trickery of René Magritte.  In the foreground, we see a literal interpretation of the piece’s title, as a row of small, floating, childlike silhouette figures dance under an instructor’s direction, each of them casting a shadow onto the sandy soil.

One of Miller’s most vibrantly colored digital prints is Desert Messenger, which shows the familiar silhouetted woman standing in a plain, smooth-walled room with petroglyphs carved into the far wall.  She stares out the window at a breathtaking, cloud-filled sunset.  A small bird is perched on the windowsill, and beneath the window sits an empty tribal-looking chair.  Is the woman waiting for a human presence to occupy the chair?  Or is the messenger the bird?  Or perhaps some unseen force or spirit living beyond the reach of our comprehension?

Ruane Miller & President

TCNJ President R. Barbara Gitenstein admiring one of Ruane Miller’s works

Among Ruane Miller’s gouache paintings are a series depicting the Arizona canyons.  In Canyon Music Composition #1, the artist simplifies the rock faces and utilizes repeating forms to suggest the immensity and depth of the natural wonders.  The canyons are painted in tones of rich burnt orange, punctuated with blue, green, and orange dots that resemble music notes on a staff.  The flowing river underneath is shown as a series of wavy lines of blue, red, yellow, and green; these are the “legato” passages in the composition, contrasted with the rigid “staccato” marks of the rocks.  Based on this model of abstraction, Miller moves further from naturalistic depiction and deeper into the nonobjective realm.  In Canyon Music Composition #2, the artist transforms the canyon into a winding road of perpendicular lines and carefully placed rows of green dots.  Using the strong complimentary contrast between the saturated blue background and the deep orange of the canyon, she gives us a sense of infinite depth, while simultaneously flattening real-life forms into geometric shapes.

Ruane Miller Image 4

Several works featured in Ruane Miller’s exhibition, “Through the Window of My Mind”

Miller’s subtle, beautiful recording of landscapes onto paper continues in Canyon Music Composition #3, in which the sky, clouds, mountains, and desert landscape seem stacked on top of each other like layers of sedimentary rock.  These background components are lightly painted in pastel shades, whereas the nearer rock formations pop off the canvas with hues of scarlet, blue, and gold.  In this picture, the rocky outcrops resemble a child’s building blocks, resting on each other in leaning columns that seem on the verge of toppling over.  The abstraction process reaches its conclusion in The Canyon’s Elemental Dance #1 and #2.  In these paintings, the natural elements are broken down into colorful lines and flat shapes: the canyons become orange rectangles with yellow stripes, the rivers turn into wavy or zig-zag lines, and the clouds are merely flat amorphous shapes with bright, radiating borders.

Finally, I think the most breathtaking painting in the exhibition is Dusk of Dawn…A Wakening, for its harmonious colors, flowing forms, and sensual qualities.  A gray-silhouetted woman lays along the picture’s bottom edge, enveloped in red flowers and flowing yellow draperies.  The outline of her feminine shape, her hair, and the border of her bedside window are embellished with pearls, and through the window, a blackbird glides in holding a pearl in its beak.  Behind the bird, the vista is a blooming cloudscape rendered in soft pink, gold, orange, and purple.  The female form and copious flower petals suggest fertility, rebirth, and rejuvenation, and the pearl in the bird’s mouth can be read as the egg of conception.  Though all of Ruane Miller’s captivating images have something to tell the viewer, I think Dusk of Dawn most powerfully brings us into her mind and inspires us.

Ms. Ruane Miller

Ms. Ruane Miller, featured artist

Blogger Bonus!
What are you looking forward to this Spring 2014 semester?

Scott Samuels: This semester I’m looking forward to creating a mural in downtown Trenton at the Artworks Visual Arts Center with my Advanced Painting class.  We will be reaching out to the community for inspiration, and will be working under the mentorship of Will “Kasso” Condry, a mural artist born and raised in Trenton.


Review of TCNJ Art Gallery’s Featured Exhibition: Video Cubano, by Scott Samuels

Please welcome Scott Samuels, a junior studying Art Education and Spanish, to the TCNJ School of the Arts & Communication blog! Scott reviewed the TCNJ Art Gallery’s featured exhibition, Video Cubano, which is on display now through December 15, 2013. See what Scott’s reactions were, and be sure to check out this free exhibition for yourself before the end of the semester!

Scott Samuels

Scott Samuels, Junior, Art Education and Spanish

Scott Samuels is a junior studying Art Education and Spanish.  His hobbies include painting, playing drums, tennis, and creative writing, and he is currently coaching the speech and debate team at Bridgewater-Raritan High School.

 Video Cubano:
What: Video Cubano, a collection of 22 videos from 18 Cuban artists
When: October 23 – December 15, 2013 (Gallery hours: Tues, Wed, & Thurs 12pm-7pm, Sun 1pm-3pm)
Where: TCNJ Art Gallery, AIMM Building, First Floor, Space 115

Hamlet Lavastida (b. 1983), Reflexión, 2009. DVD 3:05, courtesy the artist and The 8th Floor.

Hamlet Lavastida (b. 1983), Reflexión, 2009. DVD 3:05, courtesy the artist and The 8th Floor.

The current exhibit in The College of New Jersey’s Art Gallery features videos by artists from our island neighbor to the south.  The goal of the show is to let Cuban art permeate the sometimes impenetrable wall that exists between Cuba and the United States, giving us a glimpse at life within the socialist state, and providing Cuban visionaries the opportunity to share their stories.

The exhibition’s official pamphlet contains a brief interview with one of the artists, Geandy Pavón, which sheds light on the power of art and anti-government sentiment in Cuba.  Pavón recalls that on the opening night of his first exhibition in 1988, a multitude of people showed up, including many who had no particular interest in art, simply because they had heard that the works “portrayed Castro and some of the issues that were taboo in the country at the time.”  But before the doors could open, the state authorities intervened, prohibiting the controversial works from being shown.  In response, the artists extricated their pieces and displayed them in a well-lit storefront, an act which became “a public catharsis” for scores of frustrated Cuban citizens who could not freely and openly express their political views.

Geandy Pavón’s contribution to Video Cubano is a piece called “Timing Revolutions,” in which we see a pair of hands folding a photograph of a fatally wounded Ché Guevara into an origami elephant, perhaps signifying a Hinduism-inspired reincarnation of ideals.  Sandra Ramos gives us a heart-pounding relay race, or “Carrera de Relevo” in which hand-drawn, cartoony figures pass a green baton inside a cavernous stadium filled with roaring fans.  The baton starts off in the hands of a Renaissance prince, who runs it to Uncle Sam, who passes it to Hitler, then to Lenin, and then to Fidel Castro, who, being shot by an unseen bullet, collapses and tosses the baton precariously to a young girl dressed in pink.  Ramos’s animation suggests the notion that, after an age of shifting political ideologies, the power of the idea is finally in the hands of the people.

Jeosviel Abstengo-Chaviano’s “Prendas Corpus” is a series of clips where various individuals (whose faces are off-screen) strap slabs of raw meat onto different parts of their bodies, trying to assimilate the extra flesh in order to smuggle it to their destination.  “Concierto” by Analía Amaya is a beautiful rendition of nighttime scenes in Cuban neighborhoods, in which the vistas are built piece-by-piece to a moving classical score reminiscent of the climax of a dramatic film.  And Alexandre Arrechea’s “Making Room” features a split screen: on the right a wrecking ball demolishes a historical building in black and white, while simultaneously on the left, a dark-skinned man dons multiple pairs of pants in an ambience of electronic trance music.

One of the more powerful videos is “La Ronda” by Adonis Flores, in which a Cuban soldier dressed in camouflage prowls the streets of an affluent city on all fours, wearing five-fingered black rubber boots on his hands to match the conventional boots on his feet.  Onlookers cautiously move out of the way as he struggles by, some staring with curiosity and others aghast.  A symbolically loaded piece comes from Amilkar Feria Flores, whose work “Tengo una idea” shows a hand lighting a match against a black background.  The match then ignites a row of tiny human figures standing arm in arm, whose heads are themselves made of matches which promptly burst into flames, signifying the incendiary spread of ideas and the potentially destructive aftermath.

“Invencible” by Ricardo Miguel Hernandez is a frantic scene of shaky handycam footage showing a man darting behind barricades, tossing Molotov cocktails at an unseen enemy.  We are immersed in the din of explosions, helicopters, gunfire, and sirens, yet when the character finally gazes out from behind a rusty barrel, we see that there is no assault, just an empty field in front of him.  Finally, “Diglosia” by Ernesto Leal is a compilation of words filmed from different billboards, signs, and advertisements, which form the sentences of a political discourse.  The words come from different public places throughout Cuba; some seem old and withered, some are new, some zoom in or out, others are out of focus.  At the outset of the video, Leal provides a definition of the term “diglosia,” which represents the divergence of the two forms of a language, one written and one spoken.  When we interpret this definition in the context of the piece, we realize that a duality is set up between the language of pro-government propaganda, and the actual conversations that take place in Cuban homes regarding the country’s social and political situation.  One of the (translated) phrases reads, “Today’s Cuban no longer believes in the happy utopia of a supreme and immortal socialism.”  We see that a widening disparity exists between the communist party’s constructed public image and the living opinions floating in the minds of the Cuban people.

The works of Video Cubano are the vehicles of dissemination for a generation of artists acting as the leaders of a new ideological movement.  Through their images and sound, these artists aim to illuminate diverse perspectives, influence the world’s perception of Cuban society, and fight for the right of the Cuban people to be global citizens.

Video Cubano Opening

Opening reception of Video Cubano, a collection of 22 videos from 18 Cuban artists