Figurative art abounds: IMAS member’s juried show features works by new, established artists Valleywide

A variety of artistic approaches successfully come together in the 4th Annual Members Juried Art Show at the International Museum of Art & Science.

Judged by artist Jon Joanis, this year’s exhibit reveals a large selection of figurative art in a broad range of styles and a few abstract works, but even with the large number of entries, this exhibition feels unified through the overall excellence of the artworks.

Joanis was asked what drew him to certain works.

”It’s really when I see the hand of the artist,” he replied. “What drives me personally, that’s something that happens on an intimate basis and not something that happens by comparison to other works.”

Awards included Best in Show for “The Boxer” by Robert Mirza, second place for “Lamentation Before First Morning Ciggy (Nude in Wire Chair)” by Ken Foltz, and third place for “Borrowed Shadow” by Alan Hollander. Honorable mentions went to Nina Palomo’s “Manifest Migration ll,” Jacqueline Garza’s “La lucha de la mujer,” and Luis F. Zuniga’s “Hen after Rain.”

Wall pieces typically rule the gallery space, and because of their quality the sequential movement of viewing the artworks is a smooth experience, unifying the installation. Sculpture, metalwork, ceramics, and woodworks are shown in the alcove area, separated from the main part of the show. Interestingly, this group feels discordant with the beautiful and technically complex work by Guadalupe Navarro and Michael Blum shown with less ambitious attempts.

The human figure dominates subject choices, with Robert Mirza and Ken Foltz leading the way. Mirza’s acrylic and marker work, “The Boxer,” was constructed within a linear organic matrix that defined the picture plane and identified the subject by a red outline. White-filled shapes suggest energies flowing in and out of this active personage. Foltz’ acrylic and charcoal on canvas, “Nude in Wire Chair,” features a more passive subject and is a stunning play of cool blues and greens contrasting with pinks, reds, and intense yellows, but this image isn’t just about color. The colors reveal conflict while the position of the figure indicates defeat — the oncoming failure to resist the addiction. Alan Hollander ‘s ‘Borrowed Shadow’ falls somewhere between urban landscape and abstraction. Or a piano — the rhythm is there.

Social concerns are addressed on personal and national levels. Nina Paloma’s “Manifest Migration Il’” a Prismacolor drawing, references illegal immigration showing a decoratively clad mother holding a child after crossing the border. The pastel drawing, “The Struggle of Women” by Jaqueline Garza, addresses the concerns of Mexican women regarding their missing children, and depicts an indigenous woman waiting; a sign behind her reads “Women have the right to know.”

“All the Lonely People” by Noreen Graf, a mixed media work, demonstrates social disconnectedness. “My Debts: Hospital, Food, Rent and School” by Marco Lopez points out personal struggles in American society.

The number of drawings is notable in that all three Honorable Mentions relied on drawing media. Other excellent drawings included “John and Daisy,” colored pencil on paper, by Allison Ledezma. It is a beautiful work, and one of several that comment on relationships, but this drawing speaks of the sensitive human and pet bond without pretending.

The annual member’s juried shows provide an opportunity for the community to professionally display their artwork at IMAS for museum viewing.

For novice artists, according to Joanis, “Exhibiting one’s work is a necessary part of the artistic process and journey, so too is seeing one’s own efforts displayed with the work of those we have both encouraged and admired.”

4th Annual Members Juried Art Show

WHERE: International Museum of Art & Science, 1900 Nolana Ave., McAllen

WHEN: Through Jan. 5, 2025

HOURS: 10 a.m. to 5 p.m. Wednesday through Sunday

CONTACT: (956) 681-2800 or theimasonline.org

Nancy Moyer, Professor Emerita of Art, is an art critic for The Monitor. She may be reached at [email protected].