Happy Thanksgiving.
Age Before Beauty, 1993-2011, oil study into monotype on paper. 20″ x 16″
Leafing through the archives of not-quite successful prints, I came across a good candidate. I didn’t document it in its original stage, as I haven’t really done for most of the pieces in this series, but suppose I should. I will, however, search for a slide of it, which I am almost positive I have catalogued somewhere in the cave I call my studio.
I’m not isolating the printmaking paper with hide glue or gesso or anything. It should last at least until a meteor hits the earth, destroying civilization as we know it.
Hedwigs’s Spread Spectrum, oil over monotype on paper, 20″ x 16″

digital collage
Because of things and stuff, I spent far too much time this week. I spent it and now it’s gone. If time were money, I’d be broke. I have no idea what it means in this context that I AM broke. Anyway, as you can see,I fucked around with pixels instead of paint.

That’s it.
-Steph
p.s. I love Crooked Fingers. Mine are, too, crooked I mean.
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″
This was an very old, unresolved monotype I’m painting back into and as it’s developed, I realized that a bit of my father’s design sensibility had creeped in; the Dante series to be specific. I’m not quite sure about the lower portion with abstracted stalagmite ink streaks. I wanted to have an area to strike a tense balance down there. What do you think?

A Bow to Purgatory, oil over monotype on Rives BFK paper, 24″ x 18″
detail
Below is a painting on monotype from last week.
The queen in the Afternoon, oil on monotype on paper, 20″ x 16″
I’m continuing the exercise of painting over monotypes and I’m just exploring the application and reaction of the oil on printmaking paper. The paper is a medium to heavy weight Stonehenge brand and absorbs the oil paint and turps relatively quickly; the opposite of the method used in making the monotypes, since with the monos its about oil based paint and ink applied to plexiglass: no tooth nor absorption but simply a resistant glassy surface that the paint glides over. With painting directly on the paper, its about discovering the various lengths of time different paint films and colors tack up and how they interact with paint layers placed over them. I’m allowing and developing loose abstracted form with these early stages. Technically these could be called either paintings or monotypes, but you can call them anything you want. If it’s a four-letter word, I don’t really need to know about it.
Pigeon is old slang for a young woman, back when men were men and misogynist was a 10-letter word.
T.B.
Old Ruling Class Revise, oil on monotype on paper, 20″ x 16″
The original monotype:
there are many formal aspects of the print that I really like and have been changed and obliterated. Ah well. You must destroy to create to destroy again.
To be clear, if one is making a monotype from life, working from a an inanimate subject like a still life doesn’t pose many problems. working from a live landscape is more challenging in that one requires a press(if one is using a press) to be nearby, and working from the live model is only problematic if the model becomes uncomfortable since the process can be a stop and start, dragged out thing. The monotypes below were made from life “once removed”, in that I drew the model in a sketchbook first and then created the monos from the drawings.
Tom Bennett
Rex and Rabbit 1, monotype, 16″ x20″
Rex and Rabbit 2, monotype, 16″ x 20″
Work in progress, another in the series “Old Ruling Class”.
The support is a cradled masonite board treated with a white clay ground, which produces a nice balanced surface that is both a resist and absorbing platform which allows me to do reductive mark-making with tools such as a razor blade, which is a technique my father, Harry, used to great effect in a number of projects such as his Divine Comedy series.
Harry celebrates his 92nd birthday this weekend. Happy Birthday, Dad!
Old ruling Class 5, wip
oil on board, 24″ x18″
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″
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″