my strategy has been to cook. i’ve managed to channel the art making energy into cooking. my time abroad recently inspired me to follow recipes for moroccan dishes. i even purchased a traditional moroccan cooking vessel … tagine … and am working with lots of new untried spice combinations. so while i sit and wait for the studio to be completed we’ll be eating well.
one bit of art news … i’m in a show the snowflake salon show curated by the good folks at heavybubble. here’s my entry
Yesterday Toni Tiller posted about the show Its a Small, Small World, also called Cluster Fluck, an open show at Family Business, a 10′ x 12′ foot space curated by a very funny Hennessy Youngman. Entertaining art happening. There may have been maybe 100 artists represented; here’s the little piece I had in it. It was in a good spot. On the other hand, when you’re talking about 120 square feet, any spot is a good spot.
Drunken Silenus, ink and graphite on paper, 11 x 8
Below is a recent Monotype reworked with oil.
April, oil paint into monotype on paper, 24″ x 18″
Silvermine Art Center in New Canaan, CT is organizing a fundraising event it has hosted for 10 years now, Signed, Sealed and Delivered. It’s an art sale and auction designed for collectors and art lovers featuring over 500 small, 4″ x 6″ original works in all media for sale at $50 each, to benefit the Center’s programs and outreach.
I’m contributing these 3 tiny paintings, all oil over monotype on Rives BFK printmaking paper. I rarely, if ever, paint this small with oil and I find it to be a disciplined exercise in control and direct manipulation of materials and form. Hellzalotta of fun.
Tom
SSD 1, oil on monotype on paper, 6″ x 4″
SSD 2, oil on monotype on paper, 6″ x 4″
SSD 3, oil on monotype on paper, 4″ x 6″
I haven’t been in my printshop in weeks so when I found myself with some time the other night I crawled into my basement, where the etching press is located and made some images. I used some lower grade oil paint along with the professional grade inks and came up with an almost realized print. When it was dry I went back into it with oil sticks. I’m placing it into the series of nudes I started a couple of months ago.
The Old Ruling Class 4, monotype, 20″ x16″
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Art of The Northeast
The annual regional survey “Art of the Northeast”, representing artists from New England, New York and New Jersey, is up again at The Silvermine Arts Center in New Canaan, CT. http://www.silvermineart.org/about-silvermine/directions.cfm
I have this painting in the show. It’s a take on Caravaggio’s The Crucifixion of St. Peter.
The juror this year is Tom Eccles, Executive director, Bard College, Curatorial Studies Program.
The opening is this Saturday, 4PM to 7PM
Pete’s Going Away, 2011, oil on panel, 40″ x 30″
Back in February, we had a little d’Arteboard field trip to Mass MoCA. In typical Steph fashion, it’s now April, and I’m just getting around to sorting through photos from the outing. I was psyched to catch “Material World: Sculpture to Environment” before it came down later that month. The group show featured site specific installations constructed from everyday materials that transformed the museum galleries into otherworldly environments. One of the artists included in the show was Alyson Shotz. Her installation “The Geometry of Light,” composed of Plastic Fresnel lens sheets, silvered glass beads and stainless steel wire was like a little jewel tucked away in a smallish room to the side of heaven and hell–two louder installations I will post about in the future.
“The Geometry of Light” was a beautiful, sparkly display of light and shadow. Shotz strung beads and plastic discs in regular patterns along steel wires which were suspended diagonally across the room beginning in the far right corner and fanning up and out to the left wall. A perfect example of the whole as “more than the sum of it’s parts”, the effect was much more impressive than the list of modest materials might suggest. The room had a magical underwater sort of quality to it. Light passed through, reflected off of and was partially occluded by the strands of discs and beads causing the work to cast layers of painterly shadows and reflections on the floor and wall. Among other things, the installation brought to my mind 1960s textile patterns, the dappled sunlight of a Renoir painting and alien-looking seaweed. For more photos, follow the jump.
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I left my camera down south and can’t photograph what I am currently working on. That’s just as well. So here is a piece from two years ago. It was accepted into an upcoming show at the Zullo Gallery in Medford, MA, organized by the Monotype Guild of New England.
Its a monotype inspired by André Kertész, who I’ve talked about before, and who’s beautifully distorted photographs of the female nude excited me as a young man. He used distorted mirrors to achieve the twisted form. His work subtly refers to the classic aesthetic and the same time reflects the then current developments of avant-garde thinking.
The paper was accidentally torn as the print was pulled. Here you can see it (on the bulbous hip) before I repaired it with an archival paper adhesive.
Elegy to Kertesz 2, 2009, monotype, image:12″ x 18″, framed: 23″ x 28″
I am reminded every so often how lucky I am to live and work in this city. The center of everything, and certainly art. I work half the time in a building a block away from MOMA, a few blocks from the 57th St. galleries and across the street from Christie’s, just to name a few. Christie’s, for example is really one of the only places you can see a revolving show of the greatest art the public will rarely, if ever see. It’s the great auction house for incredible private collections from around the world.
I just had a two-person show down in Philadelphia at Tyler School of Art, but
I’m now back drawing to pay the bills. At any rate, I thought I’d post some more New York subway indi-gesteral drawings:
I ran over to MOMA ( the Museum of Modern Art, for all those neophytes) the other night and zipped right in with a membership card through the thousands of tourists and what seems like -every friday night at MOMA- a holiday weekend at JFK. I visited a great show from their Contemporary collection, and a mind-blowingly large retrospective of Henri Matisse. Among the intense range of his paintings and drawings from his years in Paris, Morocco and Nice were some monotypes which he obsessively did for several months in 1914. He made 70 that year, 10% of his lifetime total. The simple, rich, heavy, flat yet deep black with contours drawn to reveal stark white lines against said black were powerfully elegant.
I came home and played around with the black that I had drifted away from. Here is a figure I made using tools like a screwdriver, pencil, knife and razor blade. I’m also including a related but tonally very different image, one from a series made with india ink, pencil and letraset ink on paper.
Neverland 2, 2008,monotype, 14″ x 10″
Neverland 1, 2008, mixed media, ink, pencil, 11″ x 8″
The
Whitney
pulls an all nighter all week. 24-7. Give me the cot by the Koons.
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The Silvermine Arts Center, in New Canaan, Ct, is having its annual exhibition of some of the best work from New England, New York, New Jersey and Pennsylvania. The Guild was founded over 90 years ago and has had the Northeast show for over 60 years. I’m represented in the exhibition with this monotype.
Prized Blade, monotype, (based on photographs by Toni Tiller) 18 x 24, 2009
The Newark Museum has an exhibition tracing abstract art in North and South America.
Joaquin Torres-Garcia’s “Locomotive With Constructive House” (1934)
It’s up unti May 23. Looks good, let’s go!
I haven’t had a lot of time to make art lately because I’ve been busy turning my house upside down and gettig rid of HUGE amounts of stuff. You all have seen the pictures before so you know what I am up against. But on a more positive note I have a new sewing machine and a new painting from the MICA show I told you all about last week.
The show was pretty cool, there was a lot of work I hadn’t seen in my preview visit, and also one painting I had seen, but it was upside down. Meg hung it right side up and I decided I had to have it. Have a look.
Meg Rorison
I took few shots of other things I liked incluging this piece that reminded me of JD Hastings in it’s inventive use of masking tape, made by Jinhee Kang titled “The Five Compositions”.
Here’s a detail shot
I love Ryan Soper’s creepy medical inventions, here is “Aparatus #44-506″
Chaney Trotter and I had a nice conversation about our mutual love of dead things expressed here in her painting “Decadent Shelter”
I recently had the opportunity to get a behind the scenes look at this Friday’s upcoming MICA show. Now I could spoil all the fun and post pictures of the work but that would blow the surprise of attending, something I encourage all of our Baltimore friends to do, so instead I am going to post some sneaky pics of the studio spaces. I’d also like to mention that we can look forward to some upcoming guest blog posts by presenting artists Meg Rorison and Ryan Soper.
Sadly, I don’t think this piece will be making it to the show, so I can feel comfortable revealing it here.
I thought this was a pretty clever way to keep an eye on your over all color palette choices.
Thanks for sending me that image Meg Rorison.
See a bit more and get the invite after the jump.
Lepidopteran Still by StephG
I have some work in an exhibit that’s up at the Northampton Center for the Arts right now. The themed show is a yearly event organized and curated by artist extraordinaire and all around wonderful person Jane Lund. This year’s theme, “animals in art”, has been interpreted by over fifty artists. I hear there’s quite a variety of work and some very inventive approaches. The reception is this evening and, barring any cataclysmic events, I will be there. Maybe I’ll even manageto snap some photos to share here like I did last year.
details from the center’s website:
Join the artists for a festive opening reception featuring the music of West County Jazz on Friday, December 11, 5pm-8pm. Regular gallery hours are 11am-4pm, Tuesday through Friday. The gallery is closed on Christmas but open on New Year’s Eve until midnight!
Saturday, November 14 – Thursday, December 10
opening reception Saturday, November 14, 3 to 5pm
Central Gallery
UMASS Amherst
If you have a chance, stop in and see this show. It’s a quiet little gem–the kind that continues to creep back into your consciousness and alter your internal dialog for days. The title of the show, Call and Response, refers to the musical pattern which consists of an initial phrase or melody followed by a different phrase or melody that acts as a sort of answer or response to the first, much like a conversation. The lines are usually played by different musicians. In this exhibit, Diane Simard has paired 16 visual artists and writers. Each of the eight pairs has created two sets of works, one with a visual call and written response and one with the opposite. Included is a wide range of styles, subjects and media. The works vary from subtle and cryptic to straight-forward and remarkably human. The result is a somewhat eclectic show with a strikingly intimate tone.
Well yeah, you’ve already missed the opening reception because… er, well I meant to mention it before now. Anyway, no sense crying over spilt milk. Now you know and it’s up for a while yet.
-Steph
Present Tense, a show featuring the works of four abstract painters–Barbara Neulinger, Clint Jukkala, Sean Greene and Yvonne Estrada–opened at A.P.E. Gallery in Northampton, MA this week. If you like paint, if you like abstraction, if you like to look at beautiful things, this is a show not to be missed! The reception is tonight from 5 to 8 pm. Hope to see some of you there!
More info after the jump! Read more »
Missouri artist/gallerist and d’Arte Board friend Jeff Youngblood is exhibiting a fun new series of paintings at Spina Restaurant in the East Village. Visually, the work is an exploration of bold blocks of layered pattern and texture rendered mostly in flat dimension, punctuated occasionally by areas of thick drippy paint and found images. There will be a reception with the artist Monday October 26 from 6 – 8 pm at Spina. Partial proceeds from art sales will be donated to Mwangaza International, a charitable organization that helps to rescue and rehabilitate child soldiers who have been kidnapped and ravaged by the war in The Congo. A good cause, free wine, hors d’ouevres, great art and fun people–it should be an awesome night! Hope to see you there!
New Paintings by Jeff Youngblood
RECEPTION
Monday, Oct 26th
6-8 pm
http://www.spinarestaurant.com
175 Avenue B @ E. 11th St.
The East Village
New York City
212-253-2250
I grew up in love with Mad magazine and all and anything related to it. Basil Wolverton was long before my time but as a kid I remember my brothers and I had bubble gum stickers with portraits of hideously disturbing characters sporting pasta for hair and wart covered pickle-like tongues, with normal, wasp-sounding names like “Roger” and “Susan”. The Barbara Gladstone gallery in NY is honoring him with a show. I know I want to see it for screams and an upsetting stomach.
Heres a slide show from the NY Times
http://www.nytimes.com/slideshow/2009/07/22/arts/20090723_BASIL_SLIDESHOW_index.html
I was invited to participate in an exhibition, “Three Printmakers” with two Oregon artists, Mike Baggetta and Frank Janzen, at the Riversea Gallery in Astoria, Oregon.
The show runs from August 8th through September.
I have not met the other two gentlemen and shall not be able to attend the show, but am always happy to be exposed. Excuse me, its my turn to flash the neighbors.
below and after the jump are the images I will be showing. All monotypes.
Lapin de Garenne, monotype
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Irony again???
German authorities are asking if a nazi-saluting gnome on exhibit in Nuremberg is in violation of the law. I can see this in my backyard garden in Brooklyn as a flippant bronx cheer to my loud, authoritarian, merengue-playing neighbors.
The artist has been overtly disingenuous about the potential socio-political provocativeness.
Agora Gallery - the proud sponsor of the Chelsea International Fine Art Competition, which offers contemporary artists the opportunity to show their original art at one the most acclaimed juried art shows in Chelsea, New York’s art galleries district.
Tom Bennett
darteboard
galinatodorova
Jason Gray
jdhastings
laelia e. mitchell
probrucer
ssstephg
Toni Tiller
