Mask Appeal

Robin Rice on Visual Art: Totems and Teenager Project


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Published: Oct 14, 2009

Totems

Through Oct. 29, University City Arts League, 4226 Spruce St., 215-382-7811, ucartsleague.org

Once I took a class in primitive art. Each student was lent, for the semester, an object from a museum in Columbus, Ohio, an object that had so far not been identified or authenticated. We had to figure out where the object came from, what its meaning or purpose was, and, finally, get confirmation of our ideas from leading authorities. We each wrote a paper supporting our conclusions and attaching the letters from experts. It was real-life; our papers would be archived in the museum. They really could determine how the objects were identified when displayed, and how future scholars approached them.

I decided that the object I'd been assigned depicted a totemic relationship between a man and a monitor lizard. But when I wrote to the top scholar in London, he replied that although my location of the work to a particular group and time (and lizard) was correct, "The subject of totems is very complex and one should be wary of making assumptions."

I recall this when I see contemporary art based on the now-popular idea of totems. Culturally, totems are usually linked, perhaps as progenitor, to groups of people. No doubt, the totem has a distinctive personal significance for each member of the group. Totemic art for contemporary artists is usually even more personal: self-chosen and particular to an individual. As the London professor said, we shouldn't assume.

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"Totems," at the University City Arts League, was organized by respected Philadelphia storyteller Linda Goss. She has done an A-1 job, bringing together three artists who distinctively address the totem concept. Although viewers are unlikely to see the show as feminist, Goss has suggested that one of her aims is to make totems — which she feels were mostly patriarchal — relevant and available to women.

Nothing in the show imitates specific art from other cultures. The work is mostly three-dimensional and wall-mounted. It's heavily textured, sumptuously rich and rewards close attention. For this reason, it is well-suited to the Arts League's small gallery. More might be too much.

Martina Johnson-Allen, noted for her African-inspired sculpture based on clothing forms, is showing, among other pieces, vertically displayed Quadrants of boxes, mounted on the wall. Often containing a small mask, each is open to the room like a tiny stage. Incrusted breastplates and freestanding dolls, one in yellow satin, suggest ritual and narrative. Though there are sparkling encrustations and many materials, the majority of Johnson-Allen's pieces in this show emphasize a single strong color.

Lace, buttons, shells, porcupine quills, hammered brass wire and other ornamentation is prominent in the work of Gretchen Shannon. She, too, refers to narrative, partly through the inclusion of text and the layering of stamped, printed and decorated papers. Angels and bluebirds appear. Masks, one with its open mouth sewn to immobility, and breastplates might almost be intended for performance.

Kooki Davis, in her Philadelphia debut, is showing a gorgeous "narrative coat" constructed from fabrics of Mali, Ghana and Senegal and a bit of gold lamé.

Susan Hagen: Teenager Project

Through Oct. 17, Schmidt Dean Gallery, 1710 Sansom St., 215-569-9433, schmidtdean.com

Susan Hagen's polychrome figurative wood sculpture show at Schmidt-Dean closes soon. Hagen started exploring the theme of adolescence about five years ago but set it aside to complete a major project ("Recollection Tableaux," still on view at Eastern State Penitentiary). Most of the boys and girls depicted for this project are well into their teen years (as is her son, 14). They project a more evolved sense of self and sometimes sexuality — not quite an adult one but thoughtful and open, not the sullen withdrawn teen of cliché.

Their clothing is mostly crumpled and casual but decidedly trendy. Of course — they're teenagers! How will we understand these fashions in 10 years when they'll be passé? In 20 years when they become nostalgic? Whatever. See this provocative and technically impressive work now while the originals are still in style.

(r_rice@citypaper.net)