Tuesday, November 1, 2016

Brice Marden on Jackson Pollock

Thanks to a friend. I was able to get the COLD MOUNTAIN book of Marden's. Most of you who know me personally, know of my appreciation for Brice Marden. I find his work to be of utmost quality and vision. And he's not only great at making his own works, but he's also great at talking about his favorite painters. And speaking about them in a much more personal way than most art critics. Here is a clip from this book, I have spent the last 30 minutes typing out. I will go back and type in some of the rest of this talk about Pollock, especially since things like this NEED to be said and talked about.

And now, let's listen to Marden.

Video taken from the instagram account of his Daughter Mirabelle.

“There’s a very American reluctance to accept genius. With Pollock, there is always somehow the notion that he was doing something ‘wrong’: ‘he dripped, he was a little crazy, he drank too much, he had an automobile accident.’ Look at BLUE POLES, for instance. This is a complete painting: there is nothing more Pollock could have done with that painting. As someone said, there is simply no other painting comparable to BLUE POLES. Yet many people chose not to accept Pollock as capable of doing that painting. It became a very problematic work. “Why does Jackson Pollock painting suddenly have these things in it?”

“To maintain any kind of life as an artist is to make change. Yet for most observers change in an artists work is the most difficult thing to accept. It’s my belief that the culture is constantly striving to suppress the artist precisely because the whole part of making art is to maintain freedom – and in a society you don’t want people maintaining their individual freedom because it’s not societal. An artist ops to exercise freedom, and as one manifestation of that freedom, Jackson Pollock paints BLUE POLES and says, ‘Here, in exchange for me freedom I give you this.’ And the society doesn’t want to accept it. They say, ‘No, it’s not right. The last ones were right, but this one isn’t.’ A new book on Pollock says that he was drawing images and that they were ‘Falling on the canvas,’ which is another example of refusing to accept his genius. It’s really grasping at straws,’ ‘to look for alternative explanations of why the works look the way they do, as if Pollock were just too dumb to know what he was doing and the paintings somehow ended up looking this way. So many excuses…all rather than accept the fact that he was an amazing painter who encompassed in his work and astonishingly wide range of different things, including so many specifically American things.

“I have friends who insist that you cannot be an American painter unless you have driven across the country because otherwise you simply have no idea what this place is like. Pollock really knew this. The idea of movement is essential to Pollock’s work, but when talking about movement in a Pollock painting, you need to talk about the space of America. You need to know that during his lifetime Pollock traveled back and forth across the country, in cars, in trains, on the tops of boxcars. He spent a summer as a forest ranger on the north rim of the Grand Canyon. Think if an incredibly sensitive youth totally tuned in to the idea of making art, and then think of the impact on him of his immersion in this landscape for a whole summer and the effect that could have on what happens in the paintings.

“There’s a great deal of confusion about what an artist does in the studio as opposed to what happens outside the studio and what effect each of these environments and circumstances has on the artist. The great thing about Pollock – and something that since his death seems to have been forgotten about art – was his conviction that each work is part of a continuing quest. To be an artist is not about making individual works. To be an artist is to do your work and let your work express the evolution of a vision. It’s a continuous process for which there is never any full, unqualified reward. You don’t get something done and say, ‘oh, that’s it.’ You get something done and it’s part of a living situation. It isn’t a matter of getting something done, and then getting a number of things done, and then making an exhibition and selling the somethings. That’s what happens outside the studio, and for Pollock those issues never seemed to enter the studio, where he was finding his vision.


I will continue this as time permits.

Monday, October 10, 2016

TENSION: A Single Painting Exhibition

Thanks to Jeffrey Cortland Jones for curating this exhibition in his space CORRIDOR in Dayton Ohio.

The opening was on Friday. I drove out with a good friend and we had a wonderful time talking with people and seeing the rest of the art that was going on in the building.

As always. The documentarian that I am, I had to film the painting in the exhibition.

I chose one painting for this exhibition, mostly because of space considerations. I know I could have put 4 or more in there, but I wanted to give the viewer one representation of my work to focus on. I know artists when they get exhibitions they tend to want to cram in all their newest work. I made sure with this exhibition to do neither of those. This painting is...

30.5" X 67"
Acrylic on Acrylic Yarn on Painted Wood Chassis and Incorporated Aluminum Frame

The exhibition will be up in Dayton at Corridor/Divisible until the end of October. If you would like any other information about it. Please feel free to ask. You can also find out more here if you are on Facebook.

More pics.....

Thursday, September 8, 2016

Dayton and Heidelberg

September began with a bang for me. Jeffrey Cortland Jones curated a wonderful groundbreaking exhibition called Fiction (With only Daylight Between Us), the exhibition is only part of a grand scale traveling exhibition. It's already been announced to be heading to Heidelberg, Germany, opening October 15 at boecker contemporary.

The show is running currently at Corridor (divisible) in Dayton, OH from September 2 – 22.

The image below is from the website Curating Contemporary, run by Brian Edmonds. I would like to send a special Thank You for taking the time to put the exhibition online and on your website. It's a very well put together site I must add.

Those who know me, know that I am not a well traveled artist, not yet at least. So to me, this is a very big thing for me and my future. I have worked a lot to get to this point and I am enjoying it the best I can. I know I deserved it and am grateful for the opportunity. To be having my first group show in another country is something quite big in my book, I count no opportunity as smaller than the others, because each one helps me to reach another plateau that can be used to better my life, and the lives of those around me.

NOW. It's onto October when I will be having my first one person exhibition of 2016 also at Corridor, curated once more by Jeffrey Cortland Jones, titled TENSION. Running the duration of October. Below is the painting included. It's a solo painting for a solo exhibition.

30.5" X 67"
Acrylic on Acrylic Yarn on Painted Wood Chassis and Incorporated Aluminun Frame

Wednesday, June 22, 2016

Kenworth Moffett RIP

Kenworth W. Moffett died yesterday at 10:40 AM peacefully in Stamford, CT, after a prolonged battle with heart problems, though he put up a valiant fight for decades ,to survive to write and exhibit the artists he loved so much, he succumbed at age 81.Despite his ongoing battle , he was Director of 2 Museums , Museum of Art Fort Lauderdale (Now NSU Museum Fort Lauderdale), then MCA Denver(then MoCAD ), and was Curator of Contemporary Art at The Museum of Fine Arts, Boston, prior to that, while simultaneously, also a full time Professor of Art History at Wellesley College, in Wellesley, Mass. Ken's writing was published internationally in magazines,books, & journals, throughout his career. He is survived by daughter Kay, and wife Cynthia.

Photo Credit Wendy Seiler.

Photo below: Me talking with Moffett and telling him about what I do and offering my services. Very kind man. I believe Peter Reginato took this picture. Thanks!!!

I only recently got to meet KM through the yearly shows in Brooklyn at Sideshow Gallery. I offered to do an interview with him, but unfortunately the circumstances never conspired to allow it to happen. Now I find myself being quite saddened that I didn't get to tell his story. I can only hope that maybe there is someone out there that knew Moffett and decides to make a book on this man. Thanks Lucy Baker for keeping me abreast of what has been going on.

Tuesday, June 7, 2016

Wesley Kimler

I visited yesterday with Painter Wesley Kimler in his Chicago studio, and wanted to share this photo essay with you. I believe we spent about 4 hours talking about all kinds of things painters talk about when they get together. I got to spend some wonderful time around his collection of birds too. One of which is quite entertaining.

These paintings are so haunting in person. I told Wesley they reminded me of new versions from the Horrors of War, just this time not from Goya, but from Kimler.

And finishing up with my painting that I brought to share with Wesley. 

Tuesday, May 31, 2016

Aaron Garber-Maikosvka at C-l-e-a-r-i-n-g

For every NYC trip I make these days. I always head down to C-l-e-a-r-i-n-g gallery on Johnson Ave in Bushwick. Aaron Garber-Maikosvka is new to the gallery and this first exhibition is quite the smack in the head to a lot of people. 

First, upon entering the gallery and hearing someone yelling, I was like, "oh no, not more video art". But upon further viewing, and the fact that the work this gallery exhibits always gets me to spend some time and slow down and take in the work, I always end up finding work that intrigues me and keeps my brain thinking. Upon reading what the artist was accomplishing in this video, I immediately felt it to be better than 90% of the other video art I have seen over the years. His yelling and dancing were choreographed moves of a medicine man or other types of "creator-beings".

Side Note: While writing this, I suddenly felt the desire to put the headphones on and listen to some ELEH, which you too can hear here. As I often feel ELEH is also a "creator-being", but of the sound world.

As I sat on the gallery floor to partake in the viewing of this piece. I was at first very interested in the technical side of things, from the 4 cameras being used to film this, to how the editing plays out over the length of the piece.

Once beyond all the technical garb, I was able to get to the meat and bones of this film. What I perceived was a modern medicine man, at a hilltop Lowes business, and his constant barrage of sound and fury being a way to subvert big business and in some ways even to put a curse on said business. I couldn't help but laugh a few times as I was feeling the flow of Aaron's bombardment toward the sign and therefore the company. I remember telling the gallery owner how I felt he was putting a curse on Lowes and we should keep an eye out for that company to see if it works. Only time will tell, and we really won't know if it was Aaron's doing or not.

I don't know if this film will ever see a broader release, maybe something on youtube, but that would negate the value of the artwork, but I feel that if more people took the 10 minutes to check this out, they would being to want to learn more about these "creator-beings" and how they manifest their magic.

From the galleries press release: "Within the animist belief system of Indigenous Australians, a songline, also called dreaming track, is one of the paths across the land (or sometimes the sky) which mark the route followed by localised ‘creator-beings’. The paths of the songlines are recorded in traditional songs, stories, dance, and painting. When Aaron Garber-Maikovska sets out to make a video he packs a van with equipment and a cameraman, leaves his studio in Gardena, LA and heads East. He drives in search of frontiers between the urban landscape and the Californian desert, a spot where he can position himself, center of a makeshift stage, surrounded by the attributes suburbia, and record himself forging a new song, story and dance. Every video is shot in a different location and form a sort of mapping of the Inland Empire around Los Angeles."

Check out the video AND the work by Zak Kitnick "C&D" until June 26th. So there is still plenty of time. Though I wouldn't wait too long, there is a good chance that upon first view, you might get the desire to visit again and you don't wanna be too late for that second viewing.

Be sure to read the full press release before partaking in the exhibitions, they will give you so much more to think about upon viewing than regular press releases do. These ones actually help.


Max Frintrop at Lyles & King

One of the first galleries I knew I wanted to visit when I got to NYC this time was heading down to Forsyth and go to see Max Frintrop's paintings at Lyles & King. First thing I want to mention is the atmosphere of the gallery. Not many really have an atmosphere, they are just big ass rooms. This space has a character and rawness to it that really works with the paintings. You walk from outside down into this room with very low headroom. I mean VERY low. If you are over 6 feet tall you are going to walk around with your head down in the entry of this gallery. The big space is in the back of the gallery, walking down the hand hewed beams that make up the stairs is just totally engaging for me, I had to spend my time admiring the architecture of the space, and once that was taken in, I was then able to really take in the paintings.

Instead of giving you the typical art talk about painting. What I want to give you is more of a photo essay on these paintings, photos you won't see anywhere else, my own personal choices of details I thought you the viewer might find interesting. Hopefully getting you to desire to see these in person just as I did.

I personally feel that if critics like Harold Rosenberg had seen this, they would have been praising it. It's quite amazing action painting. Even though no one really uses that term anymore.

Text from Alex Bacon from the press release for the exhibition: "Lately Frintrop has been pushing the quality of liquidity inherent in his use of ink as his medium of choice. The resulting works are simultaneously pared down (without being reductive) and more spatial, in a pictorial sense. In some paintings forms tumble over one another, and rush towards the viewer, while in others a built up assemblage of marks are threatened by an aqueous shimmering that dissolves the legibility of its structure. In still other paintings a tight grouping of marks surge in a particular direction, upwards, and to left, right, or center. At times they even collide, causing a spectacular pictorial event to unfold near the center of the canvas."

There was something that made the viewing in the front room like snuggling up in a comfy blanket. I guess it was because of the low ceiling that the painting was forced to be in the middle of the wall and because of this, the viewing was much more like you might catch if you were in the artists studio, with the paintings propped up on paint cans. Really gives viewing in this room a direct and comfortable experience. Would love to personally make a nice 12 foot wide painting and put it there. 

Now go hop in your speedwagon and get down there, the exhibition closes June 5th.

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Columbus, Ohio, United States



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