MARCH 2013 PART ll of Vl of 6 month online curatorial project is temporarily interrupted today saturday march 30 and will resume in another online venue soon.
BLACK SKETCH 18v20" acrylic/canvas 2013
This month of March, 2013, is the month ll of Vl which is a 6 month curatorial project of mostly works on paper on etsy. As some of you know, I have always considered my works on paper as preparatory to the works on canvas and they are also far more numerous. Most of these works are not usually shown outside of the studio and are on view during this project only. During this time, there will also be a semi full accounting of works still available from a body of work spanning 20 plus years in Picassa albums.
This month continues offerings from the NC series. Instead of the 5x4” size shown in February, in March 7x5” sizes are featured. Also, with this group, the option of a frame is given, shown in detail images. There are also 4 square 5x5” works on offer here.
The smallest works in the selection this month are 4 black paint on rough white watercolor paper of a group of 5, executed in 1995 title “blot series” (#1). This was one of those afternoon idylls which make up so many of the exercises that go into painting. A blot was splashed onto each paper, and then a figure was made from what appeared there, in 3 of these. Though a lot of figurative drawing was done by me in the 80’s, very little was in the 90’s.
The 2 small (4.2x7.3”) works on pink card stock are from a small portfolio titled “eggplant” which is one of my favorite colors for drawing.
There is a pale peach poured work using rose petal extract, (one of 3) and another from the “food” portfolio using tumeric, chili & ink. Also a couple of acrylics on the same 8.5x5.5 watercolor portfolio that was used between larger works in the mid-late 90’s and a black & white spiral 5.2x4.2, from the early 90’s and 2 on paper made in india about the same size.
This month the first work on canvas of 2013, BLACK SKETCH 18x20” is offered along with 2 very small canvases “donated” to me of 5x7” and 6x8” executed in 2012, titled Mini Canvases #1 & 2 PURPLE & ORANGE 9x16” also in 2012 and finally, POND (it came true!) 16x12” done in 1994 in oils on canvas. All except for the very little ones will be shipped rolled. I consider the works on canvas more integrated and autonomous as works of art, so they are priced in accordance with that, which is to say much more than the works on paper.
Have not had the pleasure of doing public curatorial projects for a while and am enjoying this. I hope you do also!
I was reading Claude Reich’s stimulating thread on influence the other night and this conversation triggered some new thoughts about artist’s influence at various times. Artistic influence in the 21st century is so wide ranging and multiplying at such a speedy rate that it is difficult to define. Hopefully as we progress, or more likely develop more positive ways of being in the world so that the species may survive, art will become so integrated into the lives of most people that living masterful work will be a part of every vibrant community. Rather than having a one, or 3 or even a dozen “geniuses”, there will be thousands, hopefully millions, functioning in communities everywhere. I think most artists understand, even if no one else does, that there are probably at least a thousand artists functioning now that have the talents of a Picasso, a Du Champ or even a Pollock. There are too many of us for this not to be true, The more are empowered to choose this path, the more richly cultured and balanced life will become.
The 20th century still contains enough old paradigm ideas and structures historically to be instructive regarding influence artistically. The rarity of art practice (in the so called west) makes it easier to pinpoint during this time, and perhaps contributed to the massive war and killing taking place in that century. How would history be different if Hitler had the option to just live a simple life in art? The idea that one must conquer competition and be “one in a thousand” is part of a paradigm that is deadly. I digress.
The main art influences in 20th century may correspond neatly with 3 main states of human consciousness which are feeling/emotional states, thinking/intellectual states and spiritual/metaphysical awareness.. The 3 artists that personify these states most clearly are in the same order, Picasso, du Champ and Kandinsky. The strength of their influences are an instructive indication of western humanities general states and value systems. The passion and feeling of Picasso is the base consciousness common to us all. The intellectual games of du Champ, who is mentioned on this thread as the most influential, even now, mirror modern societies love of science. Kandinsky’s abstraction is connected to the evolving, though still by no means prevalent, concern with spirituality. Of course all 3 artists used aspects of all 3 states as any artist does, however this orientation may be useful for illustrating influence which is a mirror of the society it is in. These 3 states of being, when balanced, are all included in human states of being. The imbalances of society are mirrored in the varying degrees of influence accorded these 3 approaches in the 20th century.
It is said by some that imbalance is at the root of most of our problems. This historical approach may be used to illustrate the lack of value placed on things of the spirit by way of Kandinsky’s seeming lack of influence. Things of the spirit have been ignored and denigrated then and still are to a certain extent that is unbalanced. As this changes, art will become a much more widespread process as will self governance. Regarding Kandinsky’s “Spiritual in Art”, the ideas in this book in no way match the brilliance of his early Improvisations, although certainly the title matches the content of his best work. It is worth noting that malnutrition contributed to his early death shortly before WW2 ended, while Picasso went on to fill mansions full of his work. The spiritual is starved, while passionate materiality dominates. Mirrors.
I think it is an interesting and perhaps instructive idea to approach 20th century art through the lens of these 3 states of being and welcome commentary and feedback on this idea, which may be developed further in many ways.
What if all of history were approached through the lens of art rather than war?
11x14" acrylic/canvas most recent series
This painting, formerly in part 1 of the 6 part curatorial project on etsy has moved to HERE
This painting is from my most recent series of green & slipping glimpser. "Slipping Glimpser" is a nonsensical word term by Willhelm de Kooning to describe himself as a painter. The reason I am using it here is that many of the works in this series are deliberately "set up' technically so that there is very little resistance between the brush and surface while painting, making it slippery. I am also, most definitely a glimpser. The preponderance of green in these works has seeped in from my studio environment, which windows face a large green yard and pond. This work may act as an "antidote" to city living by bringing nature with it, or fit nicely in tropical or other country environments. All paintings are sold unframed, though this particular work may be shipped partially framed on medium sized bars. Most of my paintings look best with simple strip frames, though some look nice in a subtle baroque frame and a canvas spacer.
This is an acrylic painting on canvas executed within a very short time of experiencing a variety of disasters, hence the title. This is a painting about clarity of intent and consistence of practice under any and all circumstances. It is a view from inside a crucible, a distillation of difficult experiences and their transcendence.
The painting is 30 inches tall and 60 inches wide. This work is catalogued as FACING EMBERS and signed en verso. It was executed in 2005 and shown in Cliff Ross's gallery in Naples the same year.
"Great Courses" offers lectures on DVD and CD of various lectures by university profs at a percentage off regular prices for select courses. Its really great stuff. The library here has (had?) the philosophy selection. These are short term sales (one month I think) of these recorded lectures, which are already a very good deal.
So, you might be wondering, why I am bringing this up on my painting blog? Because this program is similar to the 6 month project I am doing online with my paintings and drawings, except that this project is scheduled to run for six months only. As the GC program does, I am curating periodic selections every month of a group of unique original works. This particular SELECTION is available until March 1, at which time a new "exhibition" will be presented. I am doing this in part to finance production of the new print series "Mirrored Symmetries", which works will then be priced similarly to some of the on paper works shown during this project. This project is scheduled to run until July 2013.
This painting was part of part 1 of 6, the 6 part curatorial project in its second phase.
I do not generally do announcements without producing events or exhibitions, however I think friends, collectors and business associates may be interested in the larger changes I am making in my art and the business of being an artist now and in the next few months. I have been cosseted and cocooned for a very long time now and it is time to do what am here to do and fly onward!
I have represented myself exclusively for several years and want the time spent doing this to do more studio work. I am considering several options for transferring representation to select gallerists and agents which will take place in the next 7 months.
Until then, the Picassa albums, which constitute an inventory of most of my work that is still available will be open for public viewing until June 2013. These albums are linked from the tumblr site address. After June, only my agents and representatives will have access to these albums.
Please note my new main blog address here and book mark, http://anonstudios.blogspot.com. I will be keeping the tumblr, which is linked on the new blog site, and slowly transferring some of the material there to the new blog or elsewhere. The tumblr blog may perhaps morph into a photo/print blog. Tumblr is also really good for detail shots, so new painting may go there too.
I am considering limited production of a large group of photographs taken in the 90’s of roses in the coming months. As some of you know, I am still seeking partnerships to produce and finance the MIRRORED SYMMETRIES print group with an accompanying publication. Designs for this series, only in existence on the computer screen now, number over 50.
For the next 6 months sale priced limited selections of sketches and preparatory small works on paper will be offered on Etsy for periods averaging one month, along with the more representative paintings from my main body of work. The smaller drawings and paintings are priced for very new collectors. The presently curated group of the NC series, small works on paper and sketchbook series shown there now are on offer until March 1 2013. These are catalogued works and so part of my body of work. A new selection will be curated to replace this one in late February and every month thereafter until July.. Please note, this is my first online exposure to selling paintings and is intended as an interim measure only.
Again, for the next 6 months I will also be offering works from the main body of paintings which will be available only in select galleries in 6 months once this transition is complete. These are available online, as they are from my studio, at retail prices with appropriate discounts "to the trade". These prices are not sustainable, and having remained the same for 10 years, will be raised soon, most likely at years end.
Thank you for your ongoing interest! This work was included in Part l of the 6 part online curatorial project, now in its second month, or part.
The black lines shown scattered in the lower half here originate from a drip/rorschach process developed by me in the early 80's.
Some first thoughts on this paintings placement,
My paintings are intimate in feeling. Many in private collections hang in bedrooms.
I see this in either a light airy very pale lavender room with or without delicate black accents such as spindle legs.
or an extremely pale grey green one.
It would also be interesting on a shiny black wall (the work is matt).
I have absolutely no problem with my work being perceived as decorative because it just happens to be what I do, much of the time anyway. I very much like other sorts of art also. I do not believe that art must disturb to be real deal art, though sometimes real deal art does. My paintings are a small part of the pendulum swing back from Warholian glorifications of commercial industrial culture returning to the idealism and pastoral values that have been seen as unrealistically romantic for a while now.
I see my work as a back drop for new ways of living in a world made new.