Drawing a live nude model is a standard part of a college art education and an undeniably important part of art history, so, on the surface, it may not seem particularly notable that Creativity Explored (CE) is currently presenting an exhibition called ‘Naked’ featuring the nude human form. However, CE’s gallery is unusual in that it is connected to a studio day-program for adults with developmental disabilities. When the idea for this exhibition began to take root last spring during the time I was teaching a workshop at the studio, I remember there was a bit of a buzz of anticipation. How would adults who retain, in many cases, a child-like perception of the world respond to this taboo subject matter?

The opening was packed, as usual, with a line of people waiting to purchase work already 10 people deep when I arrived mid-way through the event.  Openings at CE typically consist of 2 related, but distinct, art viewing experiences.  In the gallery are framed works presented in the context of a carefully curated exhibition. Step through the back door into the studio and you will find groups of works layed out on tables, tacked to walls, hanging from the ceiling, spilling off of shelves and out of flat-file drawers. During the Naked show, the back-room was crowded with mingling artists, teachers, art enthusiasts and a live old-timey country band. In the more refined front gallery the overall tone of the show was more subdued than usual, dominated by a black and white palette of ink, pencil, pen and charcoal drawings. Already this is a bit different than what one would expect from CE, whose shows are usually dominated by bright colors and a fairly playful subject matter. There is a certain serious feeling to this show, which surprises me a little. I was also interested to see that the theme was interpreted broadly to include 'nudes' that are not just lacking clothes but outter layers of skin and muscle as well, revealing the inner human anatomy - but not rendered in the typical style of clinical anatomical drawings. These are more like anatomical gesture drawings. 

One of the better known artists in the show, John Patrick McKenzie, whose work is easily recognized by his trademark blocks of densley packed text in black marker lettering, had two works side by side in the back corner of the gallery. Each of the pieces consisted of text on a white background, one with a black and white photocopied image of Yoko Ono and John Lennon in the bottom left corner and the other with an image of the Red Hot Chili Peppers, all of the above appear naked. The text in each peice worked almost like a giant cartoon speech bubble. Yoko & John's starts "John Lennon and Yoko Ono like pink nail polish in the sixties" and goes on to describe their affinity for pink clothes, a vairety of foods, and sixties cars "in the sixties." The Chili Peppers text spells out similar affinities for pink, though not tied to the sixties.  Seeing the two works side by side I found myself smiling at the thought of John Patrick McKenzie projecting his current obsessions on his chosen nude subjects, turning them into spokespeople - like an advertisement for what's currently going on in his head.  

Another memorable moment in the show was a wall of breast paintings by Sarah O'Sullivan, tacked to a corner wall in the packed studio. Sarah is best known for creating portraits, and often has a long waiting list for commissions.  The breast paintings read like portraits as well. They are painted in varied skin tones, some with small perky nipples and some with soft bright pink nipples - there are even a couple with hair sprouting out where the armpits would be if the breast where attached to a body. Though the shapes are simple - basically a loopy upside-down "M" - each set has distincit character. I didn't get a chance to ask Sarah about her inspiration, she was too busy manning the main attractions in the studio - a life size cut out of a nude man and woman, painted in a semi-sexual embrace (with leaves covering the the man's privates). Gallery visitors could stick their faces in the holes cut out where the face would be and take home a ploraoid for $1. This contrast to the more serious framed work in the gallery brought a playful irreverence to the classic subject.
http://www.creativityexplored.org