Tuesday, October 31, 2006
Saturday, October 28, 2006
Friday, October 27, 2006
Harold has been layering the medium on thick and working the squeegee angle. He pulls the semi-translucent paint with a screed in order to produce the background or field. I can't help but think of Michael Kessler's painting's. Michael has been fine tuning and tweaking his version of the squeegee shtick for decades. Harold's twist is the effervescent graphics percolating in the foreground. It is impossible not to see a depth of field, or space, when Harold overlaps his symbols (culled from fonts and wrapping papers new and old). Michael also applies graphic signifiers across his paintings (usually taped grids). Where Harold's ringlets become opaque layers, floating over the surface, Michael's lines create space in a different way. His planes become windows or veils.
Michael's use of color is indebted to a history of interior design steeped in a Renaissance palette.
Harold is inventing his own palette.
Wednesday, October 25, 2006
Tuesday, October 24, 2006
Imagine a tree where the tints and shades are replaced by slides of historical examples. Scott McCloud has been working on certain branches of this tree for over 15 years. I'm going to quote from McCloud's site now:
In Chapter Two of my 1993 book Understanding Comics, I devised a map of visual iconography (i.e., pictures, words, symbols) that took the shape of a triangle.
The lower left corner was visual resemblance (e.g., photography and realistic painting).
The lower right included the products of what I called iconic abstraction (e.g., cartooning)
And at the top were the denizens of the picture plane ("pure" abstraction) which ceased to make reference to any visual phenomena other than themselves.
The move from realism to cartoons along the bottom edge was a move away from resemblance that still retained "meaning," so words, the next logical step in the progression, were included at far right, thereby enclosing anything in comics' visual vocabulary between the three points.
I found that "The Big Triangle" as it came to be known, was an interesting tool for thinking about comics art...
...and for visual art and language in general! Eventually, I hope to include a Java-enabled interactive version of Triangle here on the site, but until then, feel free to "interact" with Understanding Comics to find out more.
(You can check out Scott McCloud's site here).
Its funny how these things work. Last century, at the American Academy of Art, I taught a class using Understanding Comics as the central text. This week I received a "thank you" e-mail from two ex-students who now write for Sequential Tart, "a Web Zine about the comics industry published by an eclectic band of women. . ." One of them, "Wolfie" also has presence over at deviantART, which claims to be "the largest art community in the world!"
Anyway, if I find the time (down dog, drop it, no bity), I'm going try and place myself in Dennis' tree.
Monday, October 23, 2006
Sunday, October 22, 2006
I appreciated the close-to-home exotic vacation sensibility nonetheless.
I was more interested in people-kinds desire to see things in driftwood.
Check out this dragon:Pretty cool, but ultimately decorative.
Personally, I found myself studying the foam's logic. Eventually, two other couples and their kids arrived.
Stacy made spanakopeta and we all ate into the sunset.
The next day, Saturday, there was splashing, goofing, treasure hunting, hiking, eating, and the extra bonus of satellite television and the Cartoon Network's Boomerang.
Sunday was the birthday kicker.
On the way home, we adopted a Labrador puppy.
Thursday, October 19, 2006
Forty-three is the 14th smallest prime number. The previous is forty-one, with which it comprises a twin prime, the next is forty-seven. 43 is the smallest prime that is not a Chen prime. It is also the third Wagstaff prime.
43 is the fourth term of Sylvester's sequence.
43 is a centered heptagonal number.
Let a(0) = a(1) = 1, and thenceforth a(n) = (a(0)2 + a(1)2 + ... + a(n-1)2) / (n-1). This sequence continues 1 1 2 3 5 10 28 154... (sequence A003504 in OEIS). Amazingly, a(43) is the first term of this sequence that is not an integer.
43 is a Heegner number.
43 is a repdigit in base 6 (111).
43 is the largest natural number that is not an (original) McNugget number.
- The chemical element with the atomic number 43 is technetium. It has the lowest atomic number of any element that does not possess stable isotopes.
- Messier object M43, a magnitude 7.0 H II region in the constellation of Orion, a part of the Orion Nebula, and also sometimes known as de Mairan's Nebula
- The Saros number of the solar eclipse series which began on April 29, 1513 BC and ended on June 5, 233 BC . The duration of Saros series 43 was 1280.1 years, and it contained 72 solar eclipses.
- The Saros number of the lunar eclipse series which began on August 27, 1482 BC and ended on March 15, 70. The duration of Saros series 43 was 1550.5 years, and it contained 87 lunar eclipses.
- The designation of Interstate 43, a freeway in Wisconsin.
- The code for direct dial international phone calls to Austria.
- The number of times Danny croaks "Redrum" before his mother wakes up and Jack starts to break into the apartment in Stanley Kubrick's The Shining.
- Part of the title of the historical British comedy show Hancock's Forty-Three Minutes, starring Tony Hancock.
- The number of poppadoms ordered by the nine guests at a curry restaurant in Rowan Atkinson's classic Indian Waiter stand-up comedy sketch.
- Part of the title of a historical short story by Hershel Finman titled Forty-Three Rubles, about Rabbi Zvi Elimelech Spira.
- Idaho was the 43rd state to join the Union
- At age 43, Marie Curie won her second Nobel prize (for the isolation of pure radium). John F. Kennedy became the youngest man elected president
Wednesday, October 18, 2006
But even his startling croppings of chance-like perfection were not the photographs that the curator was showing me.
Who was the photographer?
Sunday, October 15, 2006
Many fashionable combinations were tested.
My aesthetic opinion meant nothing.
A simultaneously matching and opposite combination was chosen.
We set forth.
I was simply a protective shadow.
But, wait. . .
where are we going?
We took turns telling tales.
The object was to mix truth with believable fiction.
Saturday, October 14, 2006
Friday, October 13, 2006
I'm working on a non-painting related project right now. It is a nice break. Nothing is as intuitive and I am measuring everything three times. The top image is the original pediment in France. The second image is the raw one here in Ashland. The third image represents the incredible good fortune of how I will be able to carve this out of only two 4 x 8 sheets of foam. The last image is just a rough doodle as I think of how to make the design best hide the three seams.
Tuesday, October 10, 2006
You get what you get and you don't raise a fit.
I was in a loose groove, and yet I found more importance in the fact that October's Artforum arrived today. Not only had I not finished posting last month's eye catching advertisements, but Walid Sadek is featured in the body of this months edition. Serendipitously, I had posted a blurb about Walid eight days ago.
Here is the rub:
In Ashland Oregon, I'm spending my wee hours of the night pushing around puddles of pigment and thinking about something so goofy as whether a lump of coal has a soul. Walid, on the other hand, in Beirut Lebenon, is trying to make art about something I've never experienced. Here is a snipit from the Artforum article:
Walid "invokes Beirut’s once picturesque settings by reproducing just the informational labels for paintings by Mustafa Farroukh, a prominent Lebanese artist in the ’30s and ’40s who depicted idyllic scenes of the city and the surrounding landscape in the style of academic European art. Sadek’s conceptual installation left ghostly white expanses where the paintings should have hung, the distance between two lines of additional wall text (composed by Sadek) corresponding to the dimensions of Farroukh’s missing canvases. While the pictorial absences double the destruction of those geographical sites—not only has the geography changed but also the very culture that Farroukh’s practice inhabited—Sadek’s act of negation also implicitly questions the ability of visual language to convey loss. In Cotter’s perceptive catalogue essay, she refers rightly to the “mistrust of the image as reliable document of history” among the artists in “Out of Beirut.” Such a mistrust informs Sadek’s pointed refusal to show what has been lost to the past, as if its representation would only repeat the violence by objectifying it, or would further offend by pretending to grasp some essential truth—even while his work, like Joreige’s, still attempts to come to terms with destruction’s lasting effects.
Walid is more sensitive and intelligent than any plein air painter I have ever met. I recommend you go buy October's Artforum and read the feature Out of Beirut.
Here are the advertistments from last month's issue that I'll never get to:
Kuno Gonschior at Stux. I looked at these paintings for some time. I thought I felt some "connection". Chris Rywalt actually stood in front of these things and has a more informed opinion about them. Worth the read.
Who is this guy Andy Moses above who is treading in the same field as my friend Matthew Landkammer below?
I really wanted to do a thoughtful post about what happens when we see other people doing what we do. Victoria Haven tells a story of how she walked into one of her galleries once and mistook another artist's piece as her own. The good and bad, give and take, of artist/human interaction is what I really wanted to focus on. But, instead, I pushed pigment around.