There’s a message here, but it’s easy to take, and fun

By Kristen Peterson

Wednesday, July 9, 2008 | 2 a.m.

Enough with the doublespeak and catch phrases. The new exhibit, “it’s all going down,” at Trifecta Gallery is a perfect example of how earthy behavior can be so very refreshing at times.

Part cartoon, part fight poster and part satire, the works by artist John Fanok use muted tones, iconic imagery and flag reconfiguration to portray the current American political battle. Macho, angry and ready for the bout, contenders have let it all go. “The Contender” and “The Champion” show Donkey and Elephant, gloves on hands, blazing forward for the kill. We see them again in “Round 13,” where they’re midscuffle, kicking up dust. Elephant is dinged but still fighting and Donkey has launched a maniacal all-or-nothing attack.

Fanok contends that the acrylic-on-board works in “it’s all going down” aren’t an expression of his own rage or frustration but a channeling of the campaign season, dirty blows between parties and internal fighting among Democrats. “It’s a Knockout” has Donkey kicking ass. Literally. “Happy Panda” represents China as the new capitalist on the block.

But this isn’t all blow-by-blow action. Fanok uses the same motifs to give us staid, polite news conferences and cozy town hall meetings where mindless sheep stand in clusters listening to pitches. Amid the symbolism in the works, Fanok uses Betsy Ross’ 13 stars and stripes to represent a time when Americans adhered to our country’s “original intentions.” And he proves that sometimes it’s fun to convey a literal message in art.

Fanok’s influences come from works by Keith Haring and other graffiti artists he was exposed to while growing up in Greenwich Village and Los Angeles. Elements of urban street art and propaganda fliers appear in many of his paintings.

The political paintings are a big change from his “Just a Little Girl” digital media series, in which he chronicles the adventures of a young girl battling her evil nemesis and her clones, along with other clever outtakes on life.

The Libertarian has been dabbling in political art for the past two years — oil, consumerism, mindless sheep mentality — and took on the indulgence of capitalism with “Money Talks,” an exhibit in July 2007 at MTZC gallery on Commerce Street that incorporated characters, money and other imagery from the game Monopoly.

Fanok’s move into painting hasn’t compromised his talent. He is a pro at characterization, knowing when and where to add humor and emphasize the poignancy of controversial issues.

Just outside the door

And while you’re down at Trifecta, be sure to check out “The Organ of Emotion,” an exhibition of contemporary portraits hanging in the main area just outside the gallery. Curated by Thomas Willis, Leah Craig and Jen Beaty, the exhibit, which features works by UNLV undergrads, M.F.A. students and graduates, is a good reminder that portraiture can be so much fun and shouldn’t get a bad rap in contemporary circles. Willis’ “Portrait of Mom,” a dish soap, detergent, salad dressing, grape jelly and graphite on canvas, has us looking at a beautiful and hypnotic seaside landscape that is his mother’s face elongated. “Snuggle,” an acrylic and oil on canvas by Los Angeles artist Kristin Calabrese, an artist in residence at UNLV, portrays a tender moment between photorealistic renditions of an SUV and a truck. Catherine Cruse’s “Unaffected” shows the multilayered intensity of portraiture — in technique and emotive qualities — and anything by Daniel Samaniego, whose “Untitled (Queen)” is on graphite, colored pencil and gel pen on paper, is always worth checking out.