Best Visual Artist
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33.03% Terry Ratliff*
Roger Hultquist, Dave Fredrick, David Birkey, David Krouse, Diane Groenert, Dominic Manco, Jerry Seabolt, Jody Hemphill Smith, John Gruse, Justin Vaughn, Liz Mornier, Mary Gerome, Matt Kelley, Matt Shaffer, Matt Sturm, Nate Clinton, Sue Sells, Tim Brumbeloe, Tom Colvin
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You gotta ask yourself: Is there an inherent problem with the whatzup polling procedures regarding the Whammy awards for best visual artist? With all the local talent — even beyond the year’s nominees like Tom Keesee, Julia Meek and Mee Kyung Shim — how come painter Terry Ratliff continues to reel in however many consecutive Whammys? Is it because voters eat lots of pasta and drink lots of Italian wine in the ambiance of the Casaburo family’s restaurants? Does he scour the obits and capture the votes of the recently deceased? Maybe he gets volume discounts at Kinko’s and duplicates ballots. Or, you need to ask, does owning a RatArt T-shirt inherently turn voters into indebted zombies? No ... no, the answer is that he’s a well recognized artist (a painter, graphic artist and theatre set designer) with an abundance of talent. Ironically, any knocks on him may spring from his success. As his detractors point out, his talents aren’t always spread evenly throughout his prolific output (nobody hits a homer every at bat). His acceptance appears to stem from his being a marquee name plus being an appealing, popular guy. And popular taste, like cream, rises to the surface. whatzup pollsters may differ, but the idea of rating the merit of visual artists by sheer quantitative measures is wrought with difficulties and ripe for debate. Eclectic taste and qualitative judgment are tossed aside in the rush to determine a “winner.” Being ranked fifth out of a list of 20 influential artists on each of 50 ballots will vault that choice to the top of any survey, i.e. that particular choice is no one’s favorite but accumulates enough chads (hanging or otherwise) to be declared the “best.” Understand here that I am in no way demeaning Ratliff’s stature in local circles nor belittling his individual worth, which has been previously noted as being immense. Likewise to the whatzup pollsters, I don’t want to diminish your valuable efforts to showcase the work of performers and artists. I guess I just feel for the other established and emerging artists who aptly deserve recognition. The 37-year-old Ratliff, himself, is quick to concur. “I’m never quite sure how to accept the awards,” he explained a few days after picking up his fourth Whammy last Thursday. “In some ways it is with some reluctance, and I feel a little weird. In many ways I’m in awe of the other artists ... Michael Poorman, Karen Moriarty and David Krouse. “At the same time I’m thrilled to receive the recognition. The publicity is certainly a positive part of it. It’s not easy to come by in a smaller market, and [the publicity] helps generate contacts and possibilities for work. I guess I feel, if anything, that I represent local artists, and that’s humbling.” For those unfamiliar with Ratliff’s work, it’s become a mainstay at Casa Mare and Casa Grille and adds to the flavor of what was once Harvey’s and is now Ernie’s in Riviera Plaza. His work is regularly shown at the Castle Gallery and at Artlink, as well as at his own studio/gallery at 1020 West Washington. He also has a burgeoning commercial career, taking on assignments from ad agencies. Others may have seen his stage work for the Arena Theater where he last did the set for Mousetrap. As one of the winners of Artlink’s juried regional show last fall, he’ll be featured there in September and is currently preparing an exhibition for installation at Henry’s next month. “I’m excited about Henry’s. I’m planning some raw pieces where it’s as much about the pencil lines as it is about the paint ... not as refined as some of my other work,” he said. Therein lays Ratliff’s genius. He’s willing, even enthusiastic about trying out new ways to express his ideas and feelings. Being in some ways “all over the place” defies strict classification in art appreciation terms. Not a copyist, he does examine and study the works of other artists. He’s particularly fond of the German Expressionists like Edvard Munch, Max Beckman, Georges Rouault and Emil Nold among others. “My subject matter and form come to me as I attempt to express, symbolize or draw what I’m feeling. My work isn’t so much about what I intend but more like what I feel. And that changes. If I had to do just still lives or portraits or whatever, I simply couldn’t do it for long. I crave change.” Because of his recognition, Ratliff, like many of his contemporaries, is constantly being hit upon to contribute pieces to a wide variety of charitable, fundraising events. “It’s a way to contribute something back to the community,” he explained, “I’m happy to be able to do so for the right causes — The March of Dimes, the AIDS Coalition and the Fort Wayne Ballet.” Down the road, Ratliff is pondering with some friends a project that involves art education and the potential for a sort of art collective for younger artists in inner city. “I’ve never lost my interest in education and sharing. Maybe some day I’ll go back into academics and get a Masters,” he added. Given his current schedule that may be a bit away. In the interim we’ll just have to be satisfied with his ‘undoctored’ view of the world. |
* On the ballot
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