Crossing the ‘Threshold’ at the Charles Allis Art Museum

×

Expand

Photo by Jim Wildeman

The exhibition Niki Lee Johnson curated at the Charles Allis Art Museum, “Threshold” (running untol Feb. 28), is all about crossing over into new experiences. By all means devote at least an entire day or way more to wandering and pondering the exciting works of 25 artists. It’s exhausting. It’s exquisite.

Johnson selected the artists and directed the placement of each piece. The concept of interiors within the interiors of the Allis works. Does it ever!  In the French Parlor on the first floor is a tree unto itself. Placed perfectly on an elaborate carpet and centered on a round floral motif, the white porcelain tree by Jeremy Hatch is both dead and not. As silent as a tombstone, it reminded me of the recent bloody chaos of Paris. It’s the ghost of terrors past, present and future.

I followed an intricate (and sometimes to my old eyes, confusing) map of the placement of each piece. Though there were some I admired more than others, in summation, the exhibition is a total smash. Johnson is not to be denied and the Allis has scored well into the future. It’s a gorgeous venue (I still adore the George Inness painting in the library), but like Johnson, the Allis also needs to cross the threshold. Violent Femme Brian Ritchie has composed much beauty in a narrow space that was once an entryway. It’s usually sealed off to the public, as well, “useless.” Not now. Remove your shoes and enter his installation. It’s magic.