Joyce Polance - Landscapes

Joyce Polance, Uprising, 2021, 30x36"

I’ve been curating fine art exhibitions for roughly twenty-five years. During that period, I’ve worked with literally hundreds of artists. One of the most prolific and inspiring has been painter, Joyce Polance. I was thrilled to see that Polance's work was selected for exhibition by curator, Suzanne Gorgas of the Laura A. Sprague Art Gallery.

Currently on (virtual) exhibition at the Laura A. Sprague Art Gallery of Joliet Junior College, is "Landscapes," a vehemently powerful exhibition of paintings by fine artist, Joyce Polance. The exhibition features twenty-one bending, twisting, and flowing compositions that blur the definition of landscape. Each canvas forces the viewer into a chaotic yet texturally-beautiful reality, weaving a visual story of emotional turbulence.

Joyce Polance, Tumbles, 2020, 36x36"

Polance’s abstractions begin with a specific reference. She explains, “once the image is initially laid in, I cease looking at it. Instead, I engage in dialogue with the painting, letting it lead me to unknown places. Objects begin to change shape; planes become distorted, crashing into one another, melting. I often paint upside down in order to view the subject as an abstract composition, enabling me to focus on color and movement rather than on representation."

And Polance isn’t afraid to destroy imagery that she has created. She explains, “In becoming willing to destroy my work, I allow for something entirely new to emerge. These processes occur multiple times during the creation of a piece, removing the image even further from reality.”

Joyce Polance “Landscapes” continues through February 25—with a virtual artist talk scheduled for Wednesday, February 16th at 1pm via Zoom Media. Additional information may be found on the home page of the Joliet Junior College Laura A. Sprague Art Gallery

Joyce Polance, Ticket, 2019, 20x28"

About Joyce Polance: 
Joyce Polance is a New York-based painter working in oils. Her work consists of expressionist portraits and landscapes which explore the chaotic inner worlds of their subjects—both as depiction of the subjects' own vulnerabilities and of their connections to the tumultuous political atmosphere we are currently living in.

Polance has exhibited internationally and is the recipient of multiple grants and awards including six Chicago CAAP grants, a George Sugarman Foundation grant, two Judith Dawn Memorial grants, and a fellowship at Spertus Institute in Chicago. Her paintings are held internationally in private and corporate collections.

Polance was born in New York City in 1965. She attended Wesleyan University and received a BFA from the Fashion Institute of Technology. She is represented by Judy Ferrara Gallery in Three Oaks, MI, Elephant Room in Chicago, IL, Gallery 13 in Minneapolis, MN, and Hemley Gallery online. Her paintings may be viewed on her website, www.joycepolance.com. Follow her on Instagram: @JoycePolance.

 

The exhibition catalog... The Art of Influence: Breaking Criminal Traditions at The Gallery at Penn College

Opening January 15th, at The Gallery at Penn College in Williamsport, Pennsylvania, is an elaborate new version of The Art of Influence: Breaking Criminal Traditions. This unique exhibition boasts a beautiful thirty-six-page color exhibition catalog highlighting each of the exhibiting artists, a beautifully-written introduction by executive producer, Cheryl Jefferson, and my curator notes. These notes simply offer insight into the exhibition with a brief overview of some of the included works of art. I have chosen to share those note here. 

The Art of Influence: Breaking Criminal Traditions is an exhibition addressing a variety of human rights issues. These atrocities include acid violence, stoning and honor killing as well as the more common tragedies that we see on the evening news... human trafficking, child marriage, and the rise of Fascism. This collection of work has been brought together with the intent of beginning a dialogue about these hard-to-discuss topics. 

Each object in this collection offers multiple levels of interpretation. Most of the pieces were not created specifically to represent the criminal traditions, yet they were chosen because the content alludes to the issues at hand—offering an opportunity to begin a non-threatening dialogue, create understanding and seek resolution.

As the exhibition’s curator, I interpret the criminal traditions based on works of art that offer conceptual, symbolic, and metaphorical content. For example, the typical viewer might see In the Middle by Teresa Hofheimer, as a painterly study of a crouching male in a minimal, high-key setting. The freely painted nude is placed in the upper portion of the composition with the illusion of space only implied through subtle tonal changes of an almost white background.

Teresa Hofheimer, In the Middle, oil on canvas, 60 x 48"

But Hofheimer’s image is more than just a passionate representation depicting a love for the male form. The image speaks to the psychological pain inflicted on the perpetrator of an honor killing. Honor killing is the murder of a family member by relatives who believe that the victim has shamed or violated the family’s honor. The murderer is typically a young man who is expected to defend the family’s pride. In the Middle is symbolic of the psychological torture imposed on the executioner. The figure’s pose amplifies the impossible choice—torn and confused by the horrifying request of his family. 

Honor killing may be the result of common behaviors. Outside of Western cultures, women and girls have been honor killed for wearing makeup, using technology, reading, or any reason the men of the family may choose. Gay men have been victims as well. In some Middle Eastern countries, men are thrown to their deaths from rooftops based on the presumption of being homosexual. The stark background of Hofheimer’s painting may be interpreted as the intended cleansing—or at the very least—symbolic of the attempt at reestablishing purity. 

By taking the legal stand of “defending the family’s honor,” killers typically go free. Those imprisoned are treated as heroes. The psychological effects on all involved result in a society immersed in shame and fear. But in the 21st century, can murder truly be justified by beliefs passed down from a repressive male-dominated society?

Joyce Polance, Fault, oil on canvas 30" x 24"

Joyce Polance addresses personal authenticity in her work. She defines it as a willingness to be vulnerable and exposed, revealing the experience of inner chaos. Her paintings express pain and suffering on a visceral level. Although not addressing a specific criminal tradition, Polance’s imagery conveys the agony of repression. Her painting, titled Fault, is an image of pure emotion and inner rage. The intimate canvas presents a distraught female nude emerging from darkness. Perhaps in shock, the figure is almost lacking facial expression. Her vacant eyes suggest that she is numb to her surroundings. She embraces her legs—tightly holding them to her chest—seeming to be contemplating her predicament. She mutely stares back at the viewer, silently screaming to exist. Desperate slashes violate the image, ripping at the pigment’s surface. This imagery seems to address the debilitating fear, imposed anguish, and brutal repression of people—of women—throughout the world.

Anne Smith Stephan, Cold Ice, oil on canvas, 30" x 48" 

Interpretation is somewhat expected when approaching abstract art. Both splendor and agony are found in the abstract paintings of Anne Smith Stephan. With thinly dripping paint that sometimes builds to heavy impasto, these beautiful canvases offer unique environments to explore. A calming ethereal atmosphere is created with numerous layers of pigment that conceal a deeper message. Like an archaeologist, digging and scraping, the artist seems to be excavating—uncovering elements of a not-so-distant history. The rich and compelling multi-layered surfaces can be interpreted as exposing the physical and psychological wounds of life.

The works included in this exhibition may be interpreted on many levels. Although all are beautiful at face value, this collection is intended to touch the viewer’s mind and soul by highlighting the challenges faced by our global community. The hope is that these paintings, drawings, and sculptures will inspire discussion that supports positive social change.

A reception for The Art of Influence: Breaking Criminal Traditions will be held at The Gallery at Penn College on Thursday, February 7 from 4:30-6:30pm. I will be presenting some additional insights in a gallery talk which is scheduled for 5:30pm. The gallery at Penn College of Pennsylvania College of Technology is located at one College Avenue in Williamsport, Pennsylvania 17701.

Special thanks to Penny Griffin Lutz, Galley Director of The Gallery at Penn College and Emily Kahler for The Art of Influence: Breaking Criminal Traditions logo design. Cover image by Joyce Polance, Pull, oil on canvas, 24" x 24"

The Penn College version of The Art of Influence: Breaking Criminal Traditions, includes work by: Carol Brookes, Corinna Button, James Deeb, Sheila Ganch, Clare Girodie, Charles Gniech, Sergio Gomez, Suzanne Gorgas, Teresa Hofheimer, Lelde Kalmite, Pauls Kloczkowski Luberda, Richard Laurent, Kathy Liao, Zurich Miller, Joyce Polance, Nancy Rosen, Lorraine Sack, Dominic Sansone, Barbara Simcoe, Anne Smith Stephan, and Neil Tetkowski.
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The Importance of "Breaking Criminal Traditions"

Foreground image by Joyce Polance, Background image by Charles Gniech 

Installation view from the Breaking Criminal Tradition exhibition at The Human Rights Institute Gallery of Kean University

Following is a wonderful article by Elana Knopp of the Union News Daily. The article discusses the importance of the "Breaking Criminal Traditions" exhibition, which has been on view at The Human Rights Institute Gallery of Kean University in Union, NJ since June 2016. The exhibition closed eariler this week.


‘Breaking Criminal Traditions’ exhibit 

calls attention to human rights abuses 

By Elana Knopp 

An exhibit highlighting human rights abuses around the globe, “The Art of Influence: Breaking Criminal Traditions,” opened this month at Kean University’s Human Rights Institute Gallery. The fine art exhibition, featuring the work of 24 artists from around the country, calls attention to the ongoing ancient rituals that kill or maim millions each year, yet are not considered crimes.
The Human Rights Institute Gallery at Kean University is located at 1000 Morris Ave., Union. “The Art of Influence: Breaking Criminal Traditions” runs through Dec. 16.

The exhibition debuted in 2013 at the IIT Chicago-Kent College of Law and brought topics such as honor killing, child marriage and acid violence into public consciousness and into public debate. The exhibit continues to expand and evolve, with a unique presentation designed specifically for Kean’s Human Rights Institute Gallery.

Cheryl Jefferson, executive producer of Breaking Criminal Traditions, said that when she first learned of the scope of these human rights abuses, she was driven to learn more. “This resonated with me so fiercely,” Jefferson told LocalSource during a phone call. Jefferson [said] that since 2013, the exhibit has evolved. “With each show, we try to add more layers,” said Jefferson. Curator Chuck Gniech chose approximately 50 pieces of fine art in a variety of mediums.

Gniech, curator at the galleries of The Illinois Institute of Art, Chicago, told LocalSource that his background in creating exhibits benefiting nonprofit organizations such as Heartland Alliance and Worldview Education and Care was a good fit for the project. “My history as a curator — creating shows with underlying human rights themes — and the numerous artists with which I’ve worked — made my inclusion in the project a perfect marriage,” Gniech said.

Gniech said that once Jefferson defined each of the human rights topics addressed in the exhibition, he searched for fine art pieces that alluded to the issues at hand. “With a unique version of the exhibition presented at each new venue, I explore the human rights topics conceptually,” Gniech said. “This is a conscious choice. There is plenty of very dark and horrifying work that many would assume would be perfect for the show. But my intention is to present approachable work with multiple levels of symbolism and meaning. The work becomes a jumping-off point for discussion — the means to begin a dialogue, expanding awareness and promoting change.

According to Gniech, all of the criminal traditions represented in the exhibition are still practiced today — in various cultures — although sometimes by another name. “Here in the United States, honor killing is simply referred to as murder,” Gniech said.

Some of the criminal traditions showcased in the exhibit include acid violence, bride burning, breast ironing, circling, blind stitching, female genital mutilation, child marriage, child soldiers, war, guns, stoning, and human trafficking.

As provocative as the exhibit is, said Gniech, the works are approachable and thought-provoking. “There is nothing visually shocking or gory,” Gniech said. “I would want the viewer to understand that — perhaps, other than the work created by Richard Laurent, Teresa Hofheimer and Zoria Miller — the art that they are experiencing was not actually created by the artists to represent the criminal traditions.”

James Deeb, "Silent Witnesses"

Gniech cites as an example a work by artist James Deeb entitled, “Silent Witnesses.” “It is a Monotype that was developed from James Deeb’s interest in medical and dental x-rays,” Gniech said. “I found it appropriate for inclusion in the exhibition due to the implied content — the use of figurative abstraction with an emphasis on the bone structure of the mouth. Deeb has created a graphic image that alludes to the silencing of the repressed. But the tortured mouths seem to scream with tension.”

As the exhibition’s curator, said Gniech, it is his interpretation of the work that ‘implies’ the issues on exhibit. “The works are a representation of the traditions used to begin a discussion of human rights issues,” Gniech said. “It’s a daunting task, but bringing awareness to these global issues is the intent. We believe that awareness is the first step toward change. And I believe many of these issues are coming to the forefront of social conscience.”

Janice Kroposky, director of the Holocaust Resource Center at Kean U., told LocalSource that she worked closely with Neil Tetkowski, director of Kean University Galleries. “We use a two-pronged approach to exhibition selection,” sais Kroposky. “First, we look for work that reflects both the mission and goals of the Kean University Human Rights Institute. Second, we identify exhibitions that lend themselves to the creation of programmatic opportunities for discussion. Art has the power to introduce difficult issues through an alternate lens.”

Kroposky said that the pieces selected for the exhibition offer a portal of interpretation that ultimately leads directly to critical discussion of the issues represented. “Those of us who work in the field of human rights education do know about the issues,” Kroposky said. “However, to the first-time viewer, the topics addressed can certainly be disconcerting. The acts, taken as a whole, are perpetrated globally, including some occurring in the United States.”

According to Kroposky, educating the broader community is the first step in raising awareness. “Many of the issues represented in ‘The Art of Influence: Breaking Criminal Traditions’ that affect humanity globally, also occur in the United States,” she said. “When these issues occur in the United States, they may not be recognized as the same. Therefore, educational opportunities provide the framework for sparking activism. There is no way to predict if an individual might be motivated to advocate for change, but the art gallery provides an opportunity to ignite the spark.”

Kroposky asserts that the exhibit looks at practices that are accepted in some cultures, while not accepted in others. “The traditions examined in the exhibition have been, and continue to be, monitored by major human rights groups because they pose physical and emotional harm. Judging other cultural norms can be a dangerous thing, therefore, it is imperative to support individuals or groups who are advocating for change within the practicing group.”

The vision of the Kean University Human Rights Institute, Kroposky said, is to promote understanding and tolerance across ethnic, racial, religious and other barriers, as well as to inspire action.

One of the works in the exhibit that stands out to Kroposky is a piece called, “Holiday in Fallujah,” by artist Dominic Sansone. “I interpret the work as a call to recognize that regardless of where we live or who we are, we share the common bond of humanity,” said Kroposky.

Jefferson, a participant in the United Nations Commission on the Status of Women, noted that the global reach of these complex human behaviors extends to the United States. “The exhibit allows us to take the first step toward change and to support the legal evolution that can only come from within other cultures and our own,” she said. “We forge ahead. I really believe we can keep hammering away at this.”

For more information, visit www.kean.edu/galleries, or call 908-737-0392. For more information on “The Art of Influence: Breaking Criminal Traditions,” visit www.breakingcriminaltraditions.com.

Joyce Polance ~ Emotional Imagery

Joyce Polance, Once, oil on canvas, 30" x 24"

I spent some time—yesterday morning—in the studio of Chicago painter, Joyce Polance. I first met Polance roughly fifteen years ago, when I became the Exhibition Curator for the galleries of The Illinois Institute of Art-Chicago. Polance entered one of her powerfully energetic cityscape paintings to our National Juried Exhibition—which, I believe was called the “Collection Exhibition.” The title referred to a challenge I was given to create a corporate fine art collection for the Institute. A juried show was the perfect way to explore the fine art currently being produced across the country as well as a way of generating funds to purchase work for the collection. Polance’s painting was included in the exhibition—and it received one of the purchase awards.

I contacted Polance a few years later, while I was opening Gallery H in Three Oaks, Michigan with Nancy Hoffman. Hoffman—a collector of mine—had experienced my work and curatorial skills via the galleries of The Illinois Institute of Art and the Fine Arts Building Gallery. She asked me to help her to find quality artists to represent in the Michigan gallery, and to produce the shows. Polance was one of the artists I selected for representation.

Joyce Polance, Spill, oil on canvas, 60" x 72".

I’ve watched Polance’s career evolve over the years—moving from cityscape to the figure; hyperrealism to her current work, which is powerfully expressionistic and emotional. The latter was the work I wanted to experience first hand.

Joyce Polance, After, oil on canvas, 30 x 24

Polance paints about emotion. Her most recent body of work explores the single female form amongst a flurry of movement. The paint seems to glide across the canvas—layer upon layer—building a surface of unexpected color and texture—the quality found on the surface of a clay sculpture. The texture often interrupts the figures with a play of positive/negative space. The imagery is beautifully poignant—defining not only the turbulent emotions of the creator but also the chaotic atmosphere of today’s world.

Joyce Polance, Fall, oil on canvas, 40" x 30"

The painting above, titled “Fall”, is a transitional piece created between a series of large hyper real canvases about the relationships of women and the most recent works exploring emotion. “Fall” is emotional but in an entirely different way. When Polance pulled this painting from a shelf in her studio, I was stunned. Rarely do I find myself holding back tears. But there I was… holding back tears—trying to listen to her words but hearing nothing. I looked at the painting and found myself looking into the face of anguish and understanding the subject's gut-wrenching, horrific pain. The canvas is a masterpiece.

I plan to be working again with Polance in the near future. Her work will result in a powerfully moving exhibition.
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