flyin jupiter resume fix

I just realized that this is Thursday night and on Sunday morning I am stoopid-crazy going to drive up to Portland for this little art fair in a hotel. Saturday is a wash because it is my wife's birthday. Friday is tomorrow. PLANK. I am having a very grain-of-salted mild panic. "I am not prepared!" I think. So, quizzically and professionally, I went to Mapquest to get the lowdown. If I drive legally, my destination is four hours and forty minutes away from my house (286 miles). I was shocked when I read that I will be only required to make 12 "maneuvers". All I have to do is make six maneuvers in order to get me onto I-5 and once I exit, five maneuvers will get me to the art fair.
Last week I wondered about making a card to take to the fair. Well, it is (financially) too late for me to follow Chris Ashley's advice and get some cards whipped up at PsPrint in Oakland. The amazing thing is that they could still have some sort of product on my door step by Saturday morning. If I am willing to pay. Amazing. There is a whole post-doctoral thesis in what goes into that two day process. Instead, I actually had fun making my own 50 cards tonight. My little plunge into business-card making reminded me that Design can be Artful. A person needs a deep technical base as well as an intuitive skill level to make beautiful print work. I wasted four sheets of paper before I found one that made a nice ground for my printed jpg. Then I Photoshoped ten cards onto five sheets of card-stock and printed them out. I sprayed the five sheets with a matte fixative. Then I cut the 50 sealed business cards out with a plaster caked utility knife. Done and done. These card's surfaces are not a gloss of any kind.
I settled on just the blogspot address. No e-mail, no phone number, no flickr link, and no central web page url. Just the blogspot.

Then I thought, "What if someone actually follows the link? There is no professional looking resume there."

Which brings us to this awkward post.

Please help me edit this version of my track record. As far as I can tell, the yellow entries are the ones that might be deleted because they are not traditional (the thing is, I invested a lot of time and energy into the paintings I produced for the yellow entries and most of them made me money). The red entries are deletable fluff, even to me.

EDUCATION
MFA, Painting, Claremont Graduate School, Claremont CA
BA, Art, Whitman College, Walla Walla WA

SOLO EXHIBITIONS
2001 - Sketchbook Drawings 1985-2001, The Rose Club, Seattle WA
2001 - Game, The Two Bells, Seattle WA
2001 - Bijouterie, Elliot Bay Book Store, Seattle WA
1999 - High Water Marks, 913 East Pine, Seattle WA
1997 - Craft, Mark Van S Studios, Seattle WA
1995 - Klein Art Works, Chicago IL
1994 - Foliated, Space Gallery, Chicago IL
1992 - East Gallery, Claremont Graduate School, Claremont CA

GROUP EXHHIBITIONS
2001 - They Shoot Painters, Don’t They, CoCA, Seattle WA
1999 - Lexicon: Arch-rivals to Zealot, 913 East Pine, Seattle WA
1998 - Surface: Dot, Dash, Grid, Klein Art Works, Chicago IL
1998 - Contemporary Abstraction, Klein Art Works, Chicago IL
1997 - Abstract Confluence, Klein Art Works, Chicago IL
1996 - Objects d’art, The Butters Gallery, Portland OR
1996 - New Art Examiner’s 5th Annual Spring Auction, Chicago IL
1995 - The 12th Annual Festival of the Arts, Fourth Presbyterian Church, Chicago
1995 - The New Group of the MCA Auction, Museum of Contemporary Art, Chicago IL
1995 - Wanderlust . . . abstraction in Chicago, A.R.C. Gallery, Chicago IL
1995 - Wink Wink, Space Gallery, Chicago IL
1995 - Contemporary Abstraction, Klein Art Works, Chicago IL
1995 - New Art Examiner’s 4th Annual Spring Auction, Chicago IL
1995 - Art 1995 Chicago: The New Pier Show, Klein Art Works
1994 - A Passionate Perspective - The Spiezer Collection, Rockford Museum of Art, Rockford IL
1994 - Three Rivers Arts Festival Juried Visual Arts Exhibition, Pittsburgh PA
1994 - New Art Examined ’94, The Gallery Centre Indianapolis IN
1994 - Get Back, Kohn Turner Gallery, Los Angeles CA
1994 - Faculty Exhibition, American Academy of Art, Chicago IL
1994 - Art 1994 Chicago: The New Pier Show, represented by Space Gallery
1993 - 28th Annual Open Exhibition, Fine Arts Institute of the San Bernardino Museumpan>
1993 - With A.E. Theobald, Space Gallery, Chicago IL
1993 - Halpert Biennial, Catherine Smith Gallery, Boone NC
1993 - Art 1993 Chicago: The New Pier Show, represented by Space Gallery
1992 - 20th Anniversary Exhibition, Sheehan Gallery, Walla Walla WA
1992 - The Affordable Show, Space Gallery, Chicago IL
1992 - Young Painters, Space Gallery, Chicago IL
1992 - Group Show, DA Gallery, Pomona CA
1992 - North American Invitational Series, Museum W/O Walls International, Bemus Point NY
1992 - 38th Annual National Juried Exhibition, San Diego Art Institute, San Diego
1992 - Visual Exchange, Otis Parsons, Los Angeles CA
1992 - The View From Here, State University of New York, Albany NY
1991 - Art Central, Da Vinci Gallery, Los Angeles CA
1991 - Open Juried Competition, Century Gallery, Sylmar CA
1991 - When Strangers Marry, Cal State University, Fullerton CA
1991 - Recurrence, Claremont Graduate School, Claremont CA
1990 - Visual Exchange, Cal State University, Fullerton CA
1990 - Freeways and Moondogs, Claremont Graduate School, Claremont CA

TEACHING EXPERIENCE
1996 - 2001 The School of Visual Concepts, Seattle WA, Figure Drawing, Introduction to Drawing, Introduction to Painting, Intermediate Painting, Color and Composition.
1997 Bellevue Community College, Bellevue WA, style="font-style: italic;">Mixed Media, Drawing From the Outside, Color Theory and Perspective.
92-95 The American Academy of Art, Chicago IL, Fundamentals of Art 101,102, Life Drawing 101,102, Anatomy, The History of Western Civilization, and The Science of Perception

PUBLICATIONS
Holg, Garrett “Living With Art” ARTnews October, 1996, 101-104.
Artner, Alan G. “Art” Chicago Tribune October 20, 1995, 65.
Lazare, Lewis “The Culture Club” Chicago Reader June 16, 1995, 28.
Deal, Janice “Local Talent” Where/Chicago November 1994, 10-11.
Brunetti, John “Contrariwise Paintings” New Art Examiner May 1994, 43-44.

Yin yang bias or what?

On my daughter's field-trip yesterday, I was in charge of the purple group. They were one group of four pairs of partners with eight different walking speeds. I performed the best authority/clown routine that I could. There was only one broken water bottle, one allergic reaction, and one cranial conk with a falling acorn. I learned that there are beavers on Bear Creek along the shore (they don't build the dams here). I can now tell the difference between a black oak and a white oak (leaf shape). Generally, I felt that the boys needed ten pound ankle weights as well as those peripheral blinders that you see on horses. And yet, when I quizzed them on the way home, I was surprised by what everyone had retained.

First grade teachers rule.

These are the words that happened in between these four drawings tonight:

• This is just like throwin' a vessel of clay on a wheel.
• I'm projecting a static 3D shape from a spinning 2D plane.
• I am trying to draw so un-like a machine.
• The computer has challenged me to be as Human as possible.
• Remember to turn mistakes into heroes.
• Respond to accidents without fear.
• Poop fertilizes blossoms.
• I can't do these drawings with bad posture or white knuckles.
• These drawings force me down mental rapids.
• The problem with really good music is, I have to stop what I'm doing.
  

Random thoughts I painted over

• The painting was sophisticated and goofy like any good butler from the movies should be.
• The problem with a "good imagination" is that you can often freak yourself out.
• Slow and steady may win the race but it can also fuck you up.
• Drawings should operate on two levels of awe: 1) near, and 2) far.
• "Symphony Space fosters artistically and culturally diverse performing arts, literary, and film programs that bring artists and audiences together in an atmosphere of exploration and intimacy."
• We have Antonyms (tonight I learned about beautiful words that are defined as "auto-antonyms," or words that can mean the opposite of themselves under different contexts or having separate definitions like "fast" (moving quickly; fixed firmly in place) and we have Synonyms, but why isn't there a word that describes a word that is in between? "Greyisms"? There should be a word that describes the nature of Gray, Fall (the season), and Purple.
• "Studio 360 offers stories that move us, just as art does. Like the art and artists we cover, Studio 360 uses the medium of radio to encourage listeners to see the world in a new way."
• Why have I been hearing about the movie Westworld in songs? Spoiler Warning! Don't tell me, I'll rent it some day soon.
• Some music that I found myself singing along to with embarrassment: Beatles, Mose Allison, and Buffalo Tom.
  
• Some old albums that Stacy asked me to upload to our players tonight: This Mortal Coil, Beth Orton, Swell, Buena Vista Social Club, XTC, Rufus Wainwright, Make-up, Solex, Cat Power, Serge Gainsbourg, Le Mans, New Order, Mazzy Star, Parliament, Penguin Cafe Orchestra, Arvo Part.
  

Value

As I come up on my year anniversary of blogging, I have been reflecting on whether the whole endeavor has been valuable. One measure has been Sitemeter's graph below.I just stumbled across an even more interesting measure however. Below is graph from a fantasy blog stock market called Blogshares. I don't know who is speculating on my blog but it seems to be a fascinating thing to do. I wish I had the time to play it.

As I did my initial rapid page flip through September's Artforum, the third image that made me stop was this painting by Robert Feintuch.He is having an exhibition at CRG Gallery this month.
I instantly thought of Ingres' The Bather of Valpincon, 1808.

Painting or drawing the human back is one of the most challenging tasks. There is always so much going on, and yet, there are no lines. I felt that there was something beautiful in Feintuch's painting. There was something more than just a reproduction of a photo. There seems to be a conceptual pairing of surfaces as well as a visual one. In fact, the more I looked at Feintuch's painting, the less I seemed to be thinking about a human's back. I spun into some kind of abstract observation of marks. I wonder if I could paint like that? I'm not immediately certain that I could, and so I am intrigued.

Please help me

I haven't figured out how to attach animated gifs yet. But CLICK HERE and explain to me how there can be alternately 12 and then 13 figures. After you click, wait several seconds for the gif to animate.

Kiitsu and Blair

I would like to utter the names of

Suzuki Kiitsu
and Preston Blair
in the same breath.

They are connected influences that I naively assumed were household names.