Episode No. 341 of The Modern Art Notes Podcast features artist Inka Essenhigh and curator Kenneth Myers.
The Virginia Museum of Contemporary Art in Virginia Beach is showing “Inka Essenhigh: A Fine Line,” a mid-career survey of the New York-based Essenhigh’s work. The exhibition was curated by Heather Hakimzadeh and remains on view through August 19. The exhibition’s catalogue, an impressive 216-page monograph that also features work not in the show, was published by the museum. It’s available from Virginia MOCA for $45.
Concurrently, The Drawing Center in New York is showing Essenhigh’s Manhattanhenge, a site-specific commission for the museum’s stairwell. It’s on view through August 4, 2019.
On the second segment, Detroit Institute of Arts curator Kenneth Myers discusses his exhibition “Church: A Painter’s Pilgrimage.” The exhibition considers the paintings Frederic Edwin Church made in the late 1860s and 1870s of his trip to the Middle East and the Mediterranean. It opens at the Wadsworth Atheneum on June 2; the conversation on this week’s program was recorded in December, 2017. The exhibition’s excellent catalogue was published by the DIA. Amazon offers it for $41. For images, see Episode No. 322.
Air date: May 17, 2018.
Inka Essenhigh, Deluge, 1998.
Inka Essenhigh, Arrows of Fear, 2002.
Inka Essenhigh, Green Wave, 2002.
Inka Essenhigh, Power Party, 2003.
Inka Essenhigh, Brush with Death, 2004.
Inka Essenhigh, Bullies, 2005.
Inka Essenhigh, Subway, 2005.
Inka Essenhigh, Spring, 2006.
Inka Essenhigh, The Grass at Night in July, 2006.
Inka Essenhigh, Yellow Fall, 2007.
Inka Essenhigh, Fog, Moss, Lichen, 2008.
Inka Essenhigh, Spring Bar Scene, 2008.
Inka Essenhigh, Green Goddess I, 2009.
Inka Essenhigh, Minor Sea Gods of Maine, 2009.
Inka Essenhigh, Diana, 2010.
Inka Essenhigh, Summer Landscape, 2013.
Inka Essenhigh, Spruce, 2016.
Inka Essenhigh, Fog Spruce with Orange Fungus, 2017.
The Modern Art Notes Podcast 
looking at the paintings first, very excited to listen to the podcast already
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Good if you like illustrations that stop shortly after you see them.
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I’m curious if Essenhigh’s background at CCAD had significant influence on her appreciation and incorporation of narrative within her works. As someone who spent some time studying at CCAD, I can recall a couple instructors who made comments which reminded me of her comments about adding to the complexity and story within in her work.
I’m also often curious about the influence that art schools have on the artists they “produce.” Of course, I immediately think of the exceptional example of Black Mountain College. However, in general, I feel as though art schools tend to espouse ideologies which are deeply influence the artists they teach, and I would love to see a show or a catalogue curated in groupings of particular art.
Thank you for doing and sharing this interview!
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