From the NYC subway, yet again.
T.B.




From the NYC subway, yet again.
T.B.




Which of course means I am a little behind on my project, and when I think about how much time it might take to cut up hundreds of little pieces of paper and get all antsy and overwhelmed I’m just going to think about this guy, who doesn’t seem to have that problem at all.
These quilts are each 3″ x 3″ or smaller. I need to practice before getting to the major task of quilting and binding the larger quilt I’m making so these are good exercises.
These are bigger on your screen than they are in life. My rush job to scan and editing last night didn’t do them much justice either.
Not much decoration here, but the binding is hand sewn.
Machine applique, with machine binding.
My first attempt at hand applique. Not quite circular, but whatever, I’ll get better, and the small size made it more challenging. This will be hand bound but is currently held with pins.
-JD
(Get it? Minnie? Mini? I’m hilarious?)
BTW, I’m in the market for my own personal Mr. Ando. Anyone interested in applying for the position send a special email with “Lickety-Lickety Peng-Peng” as the subject line to Artspit@gmail.com. Arigato for the link, Bodart-san!
Rubens’s Rape of the Daughters of Leucippus confronts the viewer with an interpretative dilemna. The composition illustrates the story recounted by Theocritus and Ovid of how the twin brothers Castor and Pollux (called the Dioscuri) forcibly abducted and later married the daughters of King Leucippus. Rubens’s depiction of the abduction is marked by some striking ambiguities: an equivocation between violence and solicitude in the demeanor of the brothers, and an equivocation between resistance and gratification in the response of the sisters. The energized ebullience and sensual appeal of the group work to override our darker thoughts about the coercive nature of the abduction.
I’ve decided to take this painting and place it in another ambiguous and disconnected space, distorting much of the narrative and for lack of a better cliché, recontextualizing. At this late stage it still needs some tweeking and resolution of various passages.
Tom Bennett
Sisters, oil on panel, 24″ x 30″
Today on Tumblr I wrote a long thing about appropriation art law and what I think of the recent ruling regarding Richard Prince. Long story short, I think people are making it out to be a bigger deal than it is. I explain my understanding of the history and use of some of the key concepts in copyright law and fair use. I’d repost the text here but the formatting is going to be too hard to transfer.

gouache, acrylic, charcoal and pastel on mat board
16.5 x 10.5 inches
I found this sketch the other day in a pile in my studio. I did it a few years ago and then forgot all about it. When I found it, I was surprised at how relevant it seems to what I’m doing now, but then I figured that’s how things work. I concentrate on one thing while another part of my brain sorts through other stuff. I never know what the hell’s really going on.
With amused acceptance,
-Steph
I am continuing my exploration of the city of Saint Louis and its unique mixture of what was with what is. As mentioned last week, most of these photos were taken in an abandoned (except for the homeless) building downtown.
All Nikon N80 with either Nikkor 50mm f/1.8D or Nikkor 105mm f/2.8G lenses; Ilford HP5+ BW Film.
More after the jump–> Read more »
I’m continuing with the deconstruction and reconstruction of antique allegorical paintings. This was initially influenced by Tiepolo’s The Martyrdom of St Bartholomew. I’m concerned here with the relationship of process and the subconscious; finding the ambiguous spaces between the concrete and the obscure. At this stage it simply looks like a semi cubist painting, so I’m unsure of my feelings about it.
The support for this painting is a ready-made cradled hardboard with a texture I’m not entirely happy with. The acrylic gessoed, evenly patterned surface seems to absorb the medium too fast and too much, and the texture isn’t quite responding to the tools I’m using for mark-making. I think I’ll be returning to a little more resistant surface.
Tom Bennett
Bartholemew 3-11, 2011, oil on panel, 24″ x 18″
Enso is the Japanese word for “circle” (so I’m told). It is also a vital concept in the tradition of Japanese Zen art. In that tradition, the calligrapher must center himself mentally before composing the circle in one or two strokes. The symbol is meant to represent everything, including nothing.
Clearly, this piece is not calligraphy and took more than a moment to compose, and instead of seeking enlightenment I was probably watching the X-Files. However, it was also created with the tradition of the Enso in mind. The simple elegance of that symbol has had a large impact on me, and anytime you see a circle in my work, it has informed me to some extent. I thought this week was an apt time to share this.

“Enso” 16″ x 13″ Acrylic on Canvas, sewn
The tradition of Japanese calligraphy is cited in Bill Evans’s liner notes to Miles Davis’s seminal album “So What” as an important point of reference to understand the concept of “Modality” that album experimented with.
-JD
I managed to get this group of monsters to wrap around after fiddling with them forever on the computer. I’ve wanted to try this for a while to get some fabric printed with my characters in the pattern. The pattern doesn’t match exactly, but close enough. I’ll probably just have a swatch printed with this exact pattern. I’ve had some fabric printed with monster faces before, that I made into dolls, but not an original drawn pattern. I’ll have to experiment more with.


acrylic and collage on 3/4 inch birch plywood
21 x 8 inches
Above is another sketch I finished this week. The previous sketches I finished in this vein were about working out a kind of chaotic, icky element to incorporate into my current work. This one is about starting to combine that stuff with ordered pattern underneath. As usual, the photo representation of it is only so decipherable. Maybe I’ll get some detail shots to add later.
Have a happy Saturday!
-Steph
Well, the numbers are kind of animated. Enjoy!
and yet another non-cartoon with a fun musical theme.
-StephG
In the last two weeks, I have switched from focusing on the small patch of woods in the urban park where I work to the more industrial side of St. Louis. My city is a strange place that still makes things, all kinds of things, from chemicals to jet planes. This reality means that there is a lot of space (most manufacturing centers stopped building up and started building out at least by the 1940′s), and since most of my city’s population had left for the suburbs by the end of the 1970′s, that means a lot of empty space. So “space” is what I have been concentrating on lately (with a few exceptions). Enjoy!
All Nikon N80 or Nikon n8008s with Nikkor 50mm f/1.8D or Nikkor 105mm f/2.8G lenses.
More after the jump–> Read more »
All I have is this representation of how I feel with or without coffee.

This may be a solution:
I forgot it was Tuesday for a second. I’m trying to make it through this wee without caffeine. Please bear with me.
These aren’t all that to look at on the screen. I apologize for that. Sincerely. They look alright in person though. Good enough to tear up for use in something else anyways.
They are patterns that have been “drawn” with thread and a sewing machine.
The funny thing about these is they took far longer to make than is even remotely reasonable. The one below took 6-7 hours of work and they aren’t even that big.
This is one of the interesting parts of the type of work I do. There will be some initial thought, then I’ll set myself on some long, repetitive process that requires little thought. During that process, I’ll then think idly about other stuff.
Now I’m trying to flip that process a bit by taking on more complicated representations. So, though, far I’ve spent most of my time ironing fabric.
-JD