Thursday, February 28, 2008
I wish I could paint like this cat's photographs.
I wish I was bilingual too.
At the same time these graphic series are a work of abstract art. Each one displays an aesthetic network of lines, the density of which increases with the energy of the game. This happens in a strict concept of time (90 minutes) and form (football field)."
Robert Hodgin's Flight 404 all manner of distractions is worth perusing for painters wishing to keep on eye out for the next "end of painting".
Wednesday, February 27, 2008
Sunday, February 24, 2008
Friday, February 22, 2008
Oil on paper on canvas, mounted on wood panel, 9 x 18"
My eye spins through a compositional helix. I travel through a sublime Escher space where the beginning meets the end (like that Land of the Lost episode where they leave one side of the valley only to appear upon the other).
Oil on paper laminate, 11 x 13"
What is that tiny rainbow doing in the bottom right hand corner?
Aaah, my eyes! That is so cool. . .
Tuesday, February 19, 2008
Monday, February 18, 2008
Sunday, February 17, 2008
During the most recent session I handed out some images for the kids to copy, just to get a feel for what might be happening. The problem, it seems, is that there is a VAST disparity between what these little humans can see and do. Take student "A":
and compare that to student "B":
1) This disparity can also be observed in my Intermediate Drawing class, a four credit baccalaureate program. If I ever find myself in a position of authority at a school, I would insist on a thorough front-end assessment/portfolio review. I find myself metaphorically thinking that, like the importance of a stable ground to paint on, we should never underestimate the value of the first step in education. Proper prep work on a canvas prevents all sorts of future problems and proper placement in a school facilitates learning.
2) Last week I had students crying in both environments. Did the self-critical judgment of the college student start in grade school? I find myself completely baffled at the crippling emotions brought on by a 6B pencil line. Well, not baffled actually, but intrigued. Rooted in our attitude towards our mistakes rests a vital element regarding all learning. Sitting next to the sobbing First Grader was a cackling and rapturous individual declaring, "This is hard, I can't do this! Bwa ha ha!" and all the while continuing to draw.
Friday, February 15, 2008
Thursday, February 14, 2008
Tuesday, February 12, 2008
Monday, February 11, 2008
Friday, February 08, 2008
Some of my favorite silkscreens in the book are from Motherwell's Africa Suite, 1970 (above). What a sweet word "suite." I think I'll discontinue calling my series "clusters."
I was also struck by 40 etchings Motherwell created for Joyce's Ulysses (above). But I'm not being dramatic when I say "my breath was taken away" by a suite of 27 lithographs that were done to accompany poems by Octavio Paz (below).
Once I looked at all the images in this 400 page book, I went back to read the text. Robert Motherwell says it all:
"The subject does not pre-exist. It emerges out of the interaction between the artist and the medium. That is why, and only how (my work) can be created, and why its conclusion cannot be predetermined. When (one has) a predetermined conclusion, you have 'academic art' by definition."
". . . A creative person. . . . directs his (attention) toward the one other thing in human existence as rich, sensitive, supple, and complicated as human beings themselves: that is to say, an artistic medium, which is not an inert object, or, conversely, a set of rules for composition, but a living collaboration, which not only reflects every nuance of one's being but which, in the moment in which one is 'lost,' comes to one's aid, not arbitrarily and capriciously. . . but seriously, accurately, and concretely with you, as when a canvas says to one, 'This empty space in me needs to be pinker'; or a shape says, 'I want to be larger and more expansive'; or the format says, 'The conception is too large or too small for me, all out of scale'; or a stripe says, 'Gouge me more, you are too polite and elegant'; or a gray says, 'A bit more blue - my present color is uncomfortable and does not fit. . .'"
"I often paint in a series, a dozen or more versions of the same motif at once - of the same theme. . . I bring the weakest up to the strongest, which in turn becomes the weakest and so on and ad infinitum, so that one goes beyond oneself (or sometimes below!) There is no knowing, only faith."
Wednesday, February 06, 2008
Monday, February 04, 2008
What is interesting to me is that because I merely have a blog, and a Flickr account, I am overly qualified to approach this subject.
What is changing here?
Slides are out . . . obviously, just talk to Chris about that.
Should all students be members of the CAA?
Should all students mainline feed to Deborah Fisher's SELLOUT?
How effective are the artist's registries like Saatchi Online and Artist Space?
What about social-networking slash info-buzz systems like ArtSlant and deviantART?
Do the Creative Commons icons protect your work? Why even bother protecting your work? What is wrong with visual sampling? Karen Jacobs has an interesting story about this.
I appreciate that I've been asked to talk to the students (and faculty) but I wonder what I/we have to offer? Isn't it, in the long run, about finding/creating the time to be in the studio? Isn't it about making quality? Is the pitch: "It is not what you know, but who you know" really what it is all about? (Hopefully, its the hokey-pokey).
Regardless, I'm going into a classroom on Tuesday the 12th with my laptop and a video projector. I'm going to show them this post. I'm going to show them how you helped me:
Americans for the Arts
This is a great resource for news on legislation that affects the arts. It is also a resource for information on how arts affect communities. - Susan
Duane Keiser = the Ebay/PayPal pioneer with chops.
Etsy = "The place to buy and sell all things handmade"
Understanding the game?
Gallery owners who blog = Edward Winkleman.
Ex-gallery owners who publish "newsletters" = Paul Klein.
Collectors who blog = Lisa Hunter.
Finger on the pulse?
emailed magazines like Artkrush.
Regional Arts resources:
Oregon Arts Commission
Joanne Mattera's post A Long Marriage (A Brush with Destiny) is a sweet take on the relationship between us and where we find "flow".