Thursday, November 29, 2012

Exhibition Review: Cow Jumping Over the Moon, Cow Art from Around the World

Written By: Jeanne Stetzer

Timothy Kussow, Inside/Out:Nipple Bucket I, 1998
As previously mentioned in discussing “The Cow Jumping Over the Moon: Cow Art from Around the World” the cow, since ancient times, represents fertility, nourishment, motherhood, abundance, and feminine power. But for the artist, the cow may represent something different which is the case with these three artists that are currently on display. For Timothy Kussow and Macario Alfaro the image of the cow brings to mind their memories from their past, where as Heather Foster is fascinated with the cow as her primary subject. 

Timothy Kussow graduated with a Masters in Fine Arts from the University of Wisconsin Madison in 1998 and now is currently the Chair of the Art Department at Manchester Community College in Connecticut as well as a part-time firefighter. Kussow grew up in the Madison area and spent time at his grandparent’s cattle farm where he found inspiration for his art. For him the cow represents these fond childhood memories as well as a sense of whimsy. This sense of whimsy can be seen in his sculpture Inside/Out: Nipple Bucket I from 1998 (the same year in which he graduated from UW-Madison). Inside/Out: Nipple Bucket I was created using a milking pail, lining it with calf fur and attaching rubber nipples to the outside; the work itself is literally what the title describes. The work also references the famous surrealist sculpture "Object" by Meret Oppenheim from 1936, which was a tea cup, saucer, and spoon covered in fur, inspired by a conversation between Oppenheim and Picasso. 
Meret Oppenheim, Object, 1936

While Kussow may not be making a political statement with his piece,Inside/Out: Nipple Bucket I captures his sense of playfulness combined with fond childhood memories. 

For Macario Alfaro the cow represents something entirely different. In his work entitled Retablo Exvotos (Peasant Released from Jail by Cow) from 1939 painted with oil on tin, he depicts himself imprisoned within the municipal jail, hands gripping the bars with a look of longing on his face. Looking into the window is a black and white Holstein cow and above is the figure of The Holy Child of Atocha (Santo Nino de Atocha). The figure of the Holy Child of Atocha is typical of the Roman Catholic Church among Hispanics from both Spain and Latin America. The Holy Child is Jesus Christ portrayed as a small Spanish pilgrim boy; he holds in his left hand a basket of bread and in his right a water gourd suspended from his staff. He was witnessed by many people who were imprisoned for their faith and he used these items to feed the prisoners. Due to the symbolism associated with the Holy Child of Atocha his appearance in this painting is relevant due to the events taking place within. While this seems like a very strange composition the text located in the right corner gives clues to its meaning. 

Macario Alfaro, Retablo Exvotos (Peasant Released from Jail by Cow), 1939

The text translates to:
"I give thanks to the Saint "Nino de Atocha" that the cow finally appeared and I was able to get out of jail and demonstrate my innocence and honesty in front of my children, my wife and the village and because I am Mexican, honest and keep my promises."

While it is unknown how this cow enabled Alfaro to escape from the municipal jail, it is apparent that because of the events that transpired the cow for Alfaro represents his freedom and salvation. 



Heather Foster, on the other hand does not paint cows specifically due to her past recollections, rather she paints cows in attempt to capture their sprits. In 1990, Foster graduated with her BFA from the Maryland Institute, College of Art and had originally done work as a conservator and restorer of art. Soon Foster began her infamous cattle series in which she had worked on for roughly ten years. One such example from this series is Nursing Cow painted using oil on canvas from 2001. To paint images such as this one, Foster traveled to ranches and dairy cows observing them and their surroundings. Once back in her studio she would combine her memories and experiences into her work. This passion can be seen in Nursing Cow, which is painted using vibrant colors and thick energetic brush strokes. Here the cow is not only interacting with the viewer, by looking out, but is also interacting with the calf, almost shielding it from the viewers gaze while still feeding it. Foster has given the impression that we have walked into an intimate scene and that by glancing upon the cattle are gaining a sense of their sprit. 


Heather Foster, Nursing Cow, 2001



















This exhibition will be on view through January 12th 2013 at the David Barnett Gallery.







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