Copro Gallery: ‘Suggestivism: Chronology’

Copro Gallery presents a midsummer group art exhibition ‘Suggestivism: Chronology’ curated by noted artist and author Nathan Spoor. This exhibit features 42 of the New Contemporary Art movements most talented and intriguing painters. Suggestivism has been the focus of several exhibitions curated by Spoor, collaborating with galleries and museums that seek to focus on the current narrative built from the strong creative threads that exist amongst a selection of uniquely talented artists.

An opening reception will be held Saturday, August 16th from 8 PM – 11:30 PM. The work will be on view through September 6th.

Artists featured in this exhibition include: Aron Wiesenfeld, Joe Vaux, Nicola Verlato, Hannah Yata, Chet Zar, Jana Brike, Nicoletta Ceccolli, Dan May, Marco Mazzoni, Hsiao-Ron Cheng, Seamus Conley, Sam Wolfe Connelly, RS Connett, Peter Ferguson , Ken Garduno, Robert Hardgrave, Naoto Hattori, Joe Hengst, Charlie Immer, Gregory Jacobsen, Sarah Joncas, Andy Kehoe, Linsey Levendall, JeanPaul Mallozzi, Chris Mars, Mars-1 / Mario Martinez, Julian Callos, Jeff McMillan, David Molesky, Scott Musgrove, Michael Page, Joe Remmers, James Roper, Rob Sato, Nick Sheehy, Jason SnyderAmy Sol, Nathan Spoor, Heidi Taillefer, Jaime Brett Treadwell, Winnie Truong, Heather Watts and more!

Spoor first engaged the concept and usage of the term,  “Suggestivism” during his graduate school days as a way to conceptualize his vibrant and engaging style of work. Once the internet gained popularity and more thorough searches could be made of scanned books, Spoor made the discovery that art historian Sadakichi Hartmann has actually used the term ‘suggestivism’ in his critical art texts. Hartmann’s writings between 1890-1902 assert his certainty that the modern ideal of “an art that is possibly more than it seems, or possibly an art that is not what it seems” had begun to take hold (as documented by Jane Calhoun Weaver in the introduction to Hartmann’s influential book: Critical Modernist: Collected Art Writings). Hartmann noted the works of some of the most influential artists and writers of the day such as Edgar Allen Poe, Arthur B. Davies and Georges Seurat were living embodiments of the true spirit of Suggestivism. Hartmann quite deftly sums up the power of their efforts by historically saying that “the suggestive style was one of poetic mysticism and psychological intensity.”

As California State University Fullerton’s acting director Mike McGee says in the forward to the 2011 book, ‘Suggestivism’: “Indeed, there are a number of similarities between Hartmann’s suggestivists and the artists Spoor claims under his contemporary suggestivist umbrella. One of the most notable parallels is the relationship of these two groups of artists to the prevailing aesthetic tides of their respective times.” As modern exhibitions reveal many impressive voices within the New Contemporary Art movement – none are complete without the allure and vitality that Suggestivism brings to the conversation. According to Spoor, the conversation of Suggestivism is an ongoing and growing one: “As artists, we accept our roles as explorers into unknown territories. We encourage inspirations and suggestions whenever and wherever they might appear. We accept that our creative destination is defined by a series of journeys and illuminations; our days are invitations to the suggestions that exist as well as the adventures yet to be.”

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