Thursday, August 15, 2013

Studio Visits


Painter William DiBello came by the studio today and I visited his space to see the work he's finishing up for a show that opens in September. Will kindly indulged my interest in photographing studios, and the details below are from his workspace along with some reflections on our conversation.

Two paintings from William DiBello's upcoming show at Artspace Liberti
A big part of the fun of studio visits lies in seeing how differently people put together the world. Will had several large paintings underway, and was wrestling with a number of ideas about the paintings relate to prints, about the way screen-vision differs from traditional painting vision, and about systems of distribution in the arts that reenforce social hierarchies. This is a lot to consider. 

Some works one paper at DiBello's studio
Nowadays, it seems that artists are being asked to take on a lot of responsibility for situating their work that formerly belonged to curators and institutions - especially when exhibiting in independent spaces. Will wants to have a wide range of options as an artist (and as a person, I would imagine) and the art world's pressures to construct a unified bodies of work appear to press in on him uncomfortably as he searches for an midpoint between breadth and depth in his work.

Customized tools for working on a monumental scale
Making paintings that are exquisitely calibrated color ideas, Will appears to be searching for ways to connect the huge, almost inherently institutionally-scaled paintings he makes to more democratic conversations and experiences (but really, who besides a bank or captain of industry could fit these canvases in a domestic space?). He described interesting ideas for putting out take-aways with the paintings at the show, stressing how these would not be just reproductions of the pictures, but things in themselves, related to but different from the paintings. In this, DiBello reminded me of Chicago artist Gaylen Gerber, whose monochrome paintings address social spaces as well as (perhaps more than) art historical ideas to which they initially appear connected...

A place for color
But the most arresting thing about William DiBello's painting is their breathtaking color and near-overwhelming sense of too-much-ness. One needn't have a lot of theoretical tools on board to be blown away by a picture like Buzz Field, a tightly-knit abstraction that seems to be unravelling before your eyes. I look forward to his show next month, and appreciated the chance to step into another artist's working space for a few minutes...

Wrapping up the first month's work...

Spent yesterday working on six drawings at once - a definite luxury of this new studio configuration. In the standard studio, I can go between two or three drawings at a time. The advantage to working on a large number at a time is that I get ideas for variations faster and can start to spin them out...the disadvantage is that I have to finish the six of them before I can move on...

Here's a closer look at the drawings I am working through...

After Auden (Blessed are all metrical rules...)
In this one, planes of color are lifting off the cube structure. I am interested in following through on the plasticity of the form in future drawings, extruding and bending the forms....

After Marcel Duchamp (Each breath is a work of art....)
This and the next drawing are less about the role of writing than about the way speech lingers in the air...there used to be this idea among 19th century spiritualists that spoken words left traces in the world, and I wonder if Duchamp is reflecting this notion...


(Both) After Babbage (The air itself is one vast library...)
Both of these drawings take one quote from Charles Babbage (“The air itself is one vast library on whose pages are forever written all that man has ever said or woman whispered”), each configured slightly differently. I am curious to what extent they are the same drawing (their content is identical, but the configuration is different...)


After Jonathan Lethem (All writing consists of conjuration...)
Lethem's remark about writing ("All writing, no matter how avowedly naturalistic or pellucid, consists of artifice, of conjuration, of the manipulation of symbols rather than the ‘opening of a window onto life'") gets at something very important about inscription, I think...

So these are coming to a close and I'll post completed images on my website. I have been trying to figure out the correct relation between this diary and the sketchbook page on my site, and have concluded that I will just use this for everything until January, but I would appreciate your thoughts on the work in the sketchbook, as it is likely to appear over here at some point, in some form...

Tuesday, August 13, 2013

Sabbatical Diary Begins

I should have started this a few weeks ago, but I've actually been terribly busy. I wanted to take some notes on what I am doing during this time off - a great gift - and have a place to put out pictures and ideas. So, here's the diary...

Actually, a lot has already happened in terms of research and in terms of work, but I'll loop back to some of that in future entries (part of what has slowed me down about this diary is what always slows me down...the wait for noteworthy news to report. The problem with this condition is that sooner or later, nothing looks like it's worth reporting and you end up with nothing to share...I am trying to overcome that and hope to avoid being tedious...)

Before we go too far, I have to say it's a little bewildering to be on leave from work to do research. I am so used to fitting writing and painting into the spaces between other projects that it feels strange to focus on them. I am a little concerned that inspiration for pictures and essays might be like some mysterious particles in physics that disappear when one turns one's attention to them.

Sabbatical Studio at the Crane Arts Building...it's a little like a base camp for a long climb...
The best way to combat this fear is to try to maintain continuity with earlier work. I have started a number of pictures that deal with the relationship between writing and painting (examples of these are on my website).

A lot of what I'm trying to do with this break is complete work for future shows. I also have several completed bodies of work that need to be photographed and 'packaged' for possible exhibition. While I'm doing this, I'm trying to come up with a workshop for a community agency I'd like to work with and complete a show I've been asked to curate for Bucks County Community College (opening in January). And there's always work-related stuff lingering on the fringes of my mind...there is plenty to do.

So please check in from time to time as I describe my progress. Thanks for reading...

Thinking about workshops with writing...

Sunday, July 14, 2013

On re-enactment


I'm very curious about The Act of Killing, Joshua Oppenheimer's film which got a feature in today's New York Times. I saw the trailer the other day and thought 'this is not for me', but I may not be able to avoid the discussion of revisiting historical events...

Friday, June 28, 2013

Thursday, June 20, 2013

Saturday, March 16, 2013

Four films on Remix Culture by Kirby Ferguson...

This is reposted from Open Culture. I'm thinking about it because of an essay by Tracy Thompson in Salon on the way the causes of the Civil War still inspire revision and debate. For more on this, see the collection Remixing the Civil War: Meditations at the Sesquicentennial.










Monday, March 11, 2013

Article of the day: Cut-up Technique



You may know a lot of stuff, but you never know when you need it...or that's what I've been thinking as I wrestle with texts for new paintings using the cut-up technique pioneered by Tristan Tzara and William S. Burroughs. I don't know that what I'm after is quite the same...I want something else - I want (I expect) the randomly combined bits of language to give me something I cannot find on my own...here's what they look like...

Friday, March 08, 2013

From the studio - Kandinsky Paints


I first came across this through Open Culture. Had to share it here, as I love to see people work in the studio...

Sunday, February 24, 2013

Send in the clowns



Here's one for the medium-is-the-message file: I was clicking through the trailers on iTunes the other day and noticed one called Silver Circle. Being that I'll watch anything computer-animated, I took a look.

Wow. It's like a right-wing, financial survivalist's Matrix.

Trailers are meant to give you enough of a film to get you interested - to help you see if you're in the audience for the picture. So when in the first seconds you see a character attacked by an army of faceless drones behind shields that read 'Federal Reserve', you know that you're watching something whose target market is waiting for the U.N. black helicopters to touch down.

Go on and you get an especially hoary piece of conspiracy theorizing. It seems that these characters live in a world where currency is supported by governments, rather than quaint things like precious metals (which haven't supported economies since the Bretton Woods Agreements...). "Rebels" have begun minting their own currency which they claim has "value"  and that draws the ire of the Federal Reserve (remember when movies were about mysterious foreign threats? James Bond, anyone? Please?)

Zoe, our spunky, lo-res heroine, is a freedom fighter. Her ultimate foe may be Victor Brant, Chair of the Federal Reserve, but her proximal adversary is Jay, who's investigating an arson and is drawn into a  romantic entanglement (with explosions, the website promises!). They live in 2019, which, with hyper-inflation, sounds a lot like Weimar Germany, and the dollar has lost its position as a lynchpin currency. It's notable that its not predatory banks or industries that are capitalizing on this crisis - it's the our own government.

Yawn. Ron Paul made this up in 2009. Or rather, he gets a ton of credit for what has been talked about in a mess of fringy groups for decades. But when the fringe starts releasing its own animate feature films, you know it's time to start getting active.

We've seen movies as vehicles of allegory and protest before. What's amusing is when the medium of cinema gets put to use clumsily. Really? Silver Circle is lower quality than the animatics you see in bonus features for a major studio release. It is painful to watch a two minute trailer, almost as painful as watching SIMs act. It's implied on a page about the studio that director Pasha Roberts picks lo-tech 'South Park-syle' animations because they give the work counter-culture cred. Don't believe it. This thing looks like one of the (once) popular animated news re-enactments.

But why are they doing this? (Who are they? I'm not there yet - hang on) Let's read a from a post on the Silver Circle Underground Blog:
Science fiction movies often introduce ideas that are later produced by science. After all, science fiction writers spend a lot of time dreaming up technological gadgets for their heroes and villains to use. In the Terminator movie series, cyborg assassins were equipped with built-in technology that allowed them to see in infrared. In addition, their eyes could access software that provided a heads-up display full of useful information about objects and individuals in their field of vision.
To me, this looks like a classic case of if-you-can't-beat-'em, join'em. For years, citizens on the right have decried the liberal bias of the entertainment/media complex. But with the success of FoxNews, it appears that a wholesale effort is afoot to craft an alternate universe. The story quoted above goes on to describe how the government is 'compiling untold volumes of unconstitutional data' on citizens. Don't bother asking about evidence, there is none. In the real world, there are plenty of allegations - supported by data - of corporations collecting consumers' private data and selling it or turning it over to the government, but that's not exactly the same thing, really. It seems that every sin that could be committed in the Silver Circle universe must be committed by the government, and one assumes that power is the motive. Corporations, motivated by the much more fungible concept of profit, seem to be nowhere to be seen...

Hmmm...wonder why that is?

No really. We were just treated to a whole year of politics based on the idea that a lie told loudly and often becomes truth. Now see a new kind of lie - one predicated on omission, one that claims that everything wrong with the country today comes from the doings of its government. With citizen ire directed toward the government - an institution that carries out the will of its people - no one has time to care about the greed and indifference of corporate entities whose greatest concern appears to be that there is too much money out there - too much for them to control it all.

Lately my work has led me from a once-sunny and mildly postmodern/ironic attitude toward codes to a much more sinister place lately. We are hearing all sorts of weird newsspeak like 'liberty filmmaking' and 'truth language'.  I have become interested in the various cyphers and verbal secret handshakes or hate groups and anti-government organizations, most of whom operate under the delusion that they are the ones with real freedom and a frightening responsibility to save the rest of us.

We could ignore this. That may be the best strategy. But I am afraid that the people who think that it's a good idea to oppose our government through violence and fear-mongering propaganda rather than through the political process will keep up their rhetoric and some people may start believing them. Critical thinking skills are not something we can count on in the electorate these days, and Silver Circle looks like the latest attempt to take advantage of that situation. We are living through the consequences of unchecked access to guns and ammunition no, something we should have had the political will (if not the moral responsibility) to oppose. I have enough trouble letting a bad movie ruin my day, let alone my country.

Saturday, February 16, 2013

Some times it IS the worker, not the work...

Charles Kraft's Hitler Idaho
Most interesting read of the week? Jen Graves unnerving essay on ceramic artist Charles Kraft who - it turns out - is not ironically interested in Nazi imagery, but is actually a frightening person.

To me, the best part is reading as Graves sorts our her own feelings toward the work, for which she previously professed admiration.


Wednesday, February 13, 2013

Ongoing stories...

An interesting reading of the Bush-is-a-painter story from Lee Rosenbaum at Culture Grrrl...

Sunday, February 10, 2013

When Presidents Paint

Images from Gawker.com
With the discovery that George W. Bush has been secretly at work on paintings, the art world experienced something on the order of a tear in the space-time continuum

Citizens of that utopia called 'the art world' have had to deal with the severe cognitive dissonance that results from liking the work and loathing the source.

Bush, after all, is remembered as the man who cut taxes and relaxed regulations on the wealthiest American citizens and industries. After 9/11, Bush squandered the good will of the world and led America into two wars whose primary purpose appears to have been to provide unending work for defense contractors. His administration perfected Orwellian newspeak with educational reform programs that had such benevolent names as 'No Child Left Behind' that rewarded 'achievement' while fundamentally skewing the goals of education. In the last election, we watched as chagrined candidates from his his party pretended his administration hadn't existed.

But W's paintings have been popping up on Facebook and all over the Internet (1,590,000 Google hits for "George W. Bush paintings" and counting). People seem to like them for their naivete. People are reminded of art they love, from history or from the present. One of the funniest lines of reasoning (one Jerry Saltz touches on) is the symbolism of the bathtub in Bush's pictures and its connection to other artists. Art, after all, is about art, right? So it only makes sense that if George W. Bush is making paintings, they should be connected to other paintings.This is the sort of pop culture soul-searching Slate was made for.

Some people have been quick to point out that Hitler was a painter, too. On the other hand, Jimmy Carter was a poet. Being Hitler didn't make Hitler's paintings 'good' or 'bad' any more than being Jimmy Carter redeemed the ex-president's verse. The confusion of the person for the product - the most profound muddle faced by artists in the 21st century - is at the core of this problem. People who hate Bush struggle to figure out how they can like his paintings...or even rationalize their existence.

But it's startlingly easy to resolve this conflict - one needs only to remember that not all paintings are art. Before crowd-curating, Marcel Duchamp described how things made by people are ratified by discussion in a 1957 statement, The Creative Act (you can listen to Duchamp here...). W's paintings need to be seen for what they are - the products of a hobby enjoyed by retired individual who emailed them to his sister. He didn't put them on display in a gallery or museum. They weren't discovered - they were hacked into. The assumption that they are art appears to rest on the medium in which they have been made - paint. As an industry, the art world is pretty good at separating things made with paint into categories of 'works of art' and 'museum-quality oil paintings' that wish they were art. Here is yet another opportunity to practice such discernment.

What' really tragic about this is all the wasted time. I am as guilty as everyone else of giving Bush's pictures more attention than they deserve by adding to the melee. While thousands of artists produce work that we could be talking about - attempting to contribute to a millennia-long conversation about cultural value by producing objects and images and setting them into a context of other objects and images - we are spending time rooting through the private emails of someone who much of the world regards as a war criminal.

Let's make sure the former president is remembered for the right things.

Monday, February 04, 2013

Media Seen

 
 
I was rather taken with this piece by Ben Rubin called And that's the Way it Is....hope you like it. More info here.

Sunday, January 27, 2013

Last suppers

The subject of a death row inmate's last meal has been dealt with by a number of artists. Julie Green's Delft blue ceramic take on the idea, spotlighted in this week's New York Times, caught my eye...

The last meal served to John Wayne Gacy, as imaged in an essay in the Mail Online
I think part of what interests me about this work its potential to revitalize the idea of the still life in some way...it still contains the moralizing overtones of traditional Dutch still life painting, but with a decidedly modern, documentary spin...more on that later (perhaps).

Friday, January 18, 2013

It's not okay to use the word 'cultureverse'...

...but I still really was interested in a story on today's Morning Edition from Neda Ulaby called In a Fragmented Cultureverse, Can Pop References Still Pop?

If you have a chance, give it a listen - some of the interesting ideas that came up include
  • The 20% rule
  • The degree to which increasing tribalization of cultural reference makes as all like immigrants
  • A comedian saying "I assume everyone has seen Fargo"
More soon - I hope...but enjoy for now...

Tuesday, January 08, 2013

The beauty of code

Picked this up from Artsjournal.com today...loving it the expression of boredom with the cliches of 'new media'...

Monday, January 07, 2013

Stop whatever you are doing...


...and go to Soundcloud to listen to the Portland Cello Project performing Beck's Song Reader.

What are you doing still here - go! NOW!

If you require some kind of hype, read the LA Times Pop & Hiss on this monumental achievement...

Sunday, January 06, 2013

You can almost smell the stale beer...


Make sure you stop at the New York Times for The Party is Not Over...it's pretty awesome.

Friday, January 04, 2013

Seeing the light, then losing sight of it

Greatly enjoyed Jim Shepard's essay on Flannery O'Connor on the Atlantic website...Shepard names something that has always bugged me about the idea of epiphanies in literature - that they don't last. He writes:
Writers talk a lot about epiphanies—what O'Connor, in her Catholic tradition, called "grace"—in short stories. But I think we're tyrannized by a misunderstanding of Joyce's notion of the epiphany. That stories should toodle on their little track toward a moment where the characters understand something they didn't understand before—and, at that moment, they're transformed into better people.
[...]
This kind of conversion notion is based on a very comforting idea—that if only we had sufficient information, we wouldn't act badly. And that's one of the great things about what The Misfit tells the Grandmother in the line I like so much. He's not saying that a near-death experience would have turned her into a good woman. He's saying it would take somebody threatening to shoot her every minute of her life.
In other words, these conversion experiences don't stick—or they don't stick for very long. Human beings have to be re-educated over and over and over again as we swim upstream against our own irrationalities.
I have to admit I've had more earth-shattering epiphanies than I can actually recall...too many moments in which everything seems to make sense, only to get swallowed in the fog of living again a few hours or - if I'm lucky - days later. I've tried to write them down, draw them when they are of that nature, but even then, I too often end up looking back at my notes and wondering what on earth I was seeing in that state of enlightenment.

Wednesday, January 02, 2013

Images of creativity

Today, I'm thinking about people making things...

Mother Nature forging a baby. Note the unfinished infants at the bottom left...

I've always been really interested in the image of God as an architect...


Monday, December 31, 2012

Studio wall


Having trouble getting images on my webpage's sketchbook, so I wanted to share this here....still sorting out the studio to some extent, but getting work done a little at a time...these are transcriptions of passages from the readings I assigned my students this fall, or things I found while I was researching the Intro to Visual Studies class.

Saturday, December 29, 2012

Yet more graphic violence...

Some time ago, I notices that hazard signs had become more specific about the consequences of misuse or ignoring warnings...I wonder if this is response to some kind of lull brought on by less explicit signs. Here are a few examples of rather specific hazard signs...










Friday, December 28, 2012

More graphic violence


from the Retronaut...do they have a category for gruesome deaths?

Friday, December 21, 2012

Today's news - Kraftwerk Victorious

Could the Economist have found a more dire photo? Oh right, this is Kraftwerk,,,
So it seems that the German courts have gone where few dare tread and ruled on a case that involves sampling and appropriation. According to a December 18  post on the Economist's website:

Like all of these sorts of things, the narrative is tricky. It seems that in a 1977 song, Kraftwerk created a sound in a song called Metall Auf Metall that caught the ears of producers Moses Pelham and Martin Haas, who used it in a 19997 song called Nur Mir. This being the latter quarter of the 20th century, Kraftwerk sued. The case has been working its way through the German courts for a dozen years, and finally the German Supreme Court ruled in favor of Kraftwerk, saying (in the words of the Economist):

The question at the heart of the case is how far sampling the work of other artists—a mainstay of modern hip-hop and techno—is permissible when creating new music. The answer given by the Supreme Court is that it is only permissible if the same effect could not have been produced by the new artist himself. After various demonstrations by expert witnesses, crashing metal on metal and using instruments such as a 1996 Akai Sampler, it was shown that an imitation of the sound-bite would have been possible in 1997.
So, if I understand this correctly, the decision has to do with what is technologically possible, not what the use of another recording might mean. This a bit of a bummer for those of us who are hoping for a more open culture and less choking control on those things that are already in the world.

One remediates (my new word for using another's images, words or sound in another work) often because one wants to be in conversation with the original work - not just because it sounds cool. The whole point is for readers, viewers, or listeners to recognize other's voices as an integral part of making your own voice. We are, all of us, patched together from borrowed pieces of codes, little snippets of other's identities that surface from time to time. Trying to control that is like trying to stop the tide from coming in...it's not a question of what a machine can do, but what a person needs to do something...

Thursday, December 20, 2012

Writing makes worlds


Super interested in Joshua Foer's New Yorker article on article on Ithkuil inventer John Quijada. Like all New Yorker articles, it's a two day investment for me these days, but found a lot to groove on in the first section, which gave an overview of invented languages and seemed like a complement to Joanna Drucker's Alphabetic Labyrinth, which I have been struggling with for about a month. Most interesting me - because it connects up to some work that's going on in the studio - is the reference to ideas put forward by Descartes and Leibnitz (which I am still trying to wrap my head around) that suggest numbers may be a more precise mens of constructing written language than phonetically-driven formula we use. 

The use of numbers to replace words may have first come to my attention with the CD 10-codes of the 1970s (I remember a plastic trash bag you were supposed to hang in the car that I insisted on memorizing because it had a list of these codes...and it should be immediately obvious that we had no CB radio in the family). But I remember Target getting some bad press for selling shirts that were emblazoned with an 88 some years back, and then I started to realize that written language might work a few different ways...

Anyway, looking forward to finishing this, and I'd be happy to hear from anyone who is a native Esperanto speaker or has other language issues to share...

Wednesday, December 19, 2012

Imagery


Loving the song Dumb Ways to Die, I was amused to find this image in a collection called 30 Ways to Die by Electrocution

New work

I often put images of things one the studio desktop on the sketchbook page of my website...and I'm nto sure why I am using this instead...but I am.

The book factory has had a slow start this year. I think it's the chaos of the new studio. But I am working...

small books getting done...
I have also been working on some new paintings...I hope to have some images of them to post soon, but here is a small piece I made for a fundraiser that I think might suggest where things are going...

We/You/I See...gouache on paper, 10 x 8 in.

Monday, December 17, 2012

Sing along


KCRW playing a cover of this song with Aimee Mann...which is nice, but this is such a pleasure as is...

Changing direction

Bridget Riley, Squares in Motion, 1961

I have decided to close my Facebook account for the time being. I have noticed a number of things that bother me about interacting with Facebook that I want time to sort out. I will miss the easy connection to family and friends that the application provides, but I will try to keep up through letters, email and phone calls.

Another thing I will miss is just sharing interesting news reports and images that come across my field of vision, so I will use this forum for re-posting them.

Here's an interesting story from the Pacific Standard that reports that we respond to visible stimuli - starkly contrasting patterns shown to test subjects led to more decisive behaviors. I expect I will be painting my office a number of shades of grey...

Monday, October 29, 2012

Some disasters...

from "The Day After Tomorrow"

from the same film...New York really gets it in these films...

last one...

from the 2007 film "Flood"

and another 'Flood' image

London deluged in 'Flood'...nothing for Philly...



Wednesday, September 19, 2012

:-)

"When an interviewer asked Nabokov how he ranked himself among great writers, [...] the writer replied, ''I often think there should exist a special typographical sign for a smile -- some sort of concave mark, a supine round bracket, which I would now like to trace in reply to your question.''



TYPOGRAPHIC MILESTONES; Happy Birthday :-) to You: A Smiley Face Turns 20
By Katie Hafner
New York Times September 19, 2002

Monday, September 17, 2012

Class prep



...thought I would show a video of Marshall McLuhan to my Visual Studies class today (after all, the medium is the...well, you know the rest...)

This one didn't make the cut, but it sure is good...

Saturday, September 08, 2012

Thursday, August 16, 2012

Sinister decorating ideas...

I have a new favorite toy online...Chip it! by Sherwin Williams helps you select the right paint colors for your new decor. You simply give it the URL of a picture you like (you can even up load a picture!) and it helpfully returns the Sherwin WIlliams products that make up that picture.

I plan to update this with a number of notable images, and invite your suggestions....

Francis Bacon would choose a color called 'mesmerize'...

Very manly palette in this Robert Capa photo...

Mmmm...'toasty'

I've always been a huge fan of Philadelphia artist Judith Schaechter, too...