Thursday, March 14, 2013

Zorn at the ISG

There's a new exhibit at the Isabella Stewart Gardner Museum.  It brings together some of the museum's own Zorn paintings and etchings, as well as a few on loan.

Aannndddd -- it's pretty spectacular.

There are a number of strong pieces, some different handlings of paint from different periods in his career (and different whims of the moment).  His etchings are fantastic (and there are dozens more upstairs in the permanent collection.  The exhibit is modestly sized, but even a cheapskate like myself felt it well worth the $15 admission fee.

There are a lot of pieces worth seeing, and worth discussing, but the crowning piece is the one the museum is using in their promotions, and on the cover of the guidebook.

"The Omnibus" is partnered with another, slightly earlier painting of more or less the same composition also called "The Omnibus."  The first is an incisive, workmanlike piece that when partnered with its second generation looks like an overly large sketch.  Strong and striking, but un-nuanced.

The second, is genius.  The colors need to be seen in person, and its a shame (and the loss of at least one sale to the museum gift shop) that the colors reproduced in the guidebook are handled poorly.   There's an amazing pop between the first two figures faces that is completely lost in every reproduction of this painting I've found.  Are you interested in "glow" in a painting?  Here it is, in a stripe of light that is such an arresting form you've got deal with it first before being able to really see the other, brilliant parts of this painting.

There's an amazing amount of implied detail, hands deftly rendered in a beautifully economy.  Evocative eyes brushed in, with a low level of detail and a low level of contrast that are more real and more striking for their restraint.

The beauty of the exhibit is the ability to look back and forth between the two versions.  The incredibly soft edges in the second, when held up against the crisp incisive edges of the first, are starkly contrasted.  If you want to understand the impact of edges, I can't think of a better place to start.

My friends and I got in as the museum opened Monday -- I was the first person in line at the ticket counter.  We briefly had the gallery to ourselves, but it filled up fast.  I was impressed and pleased at the notice the community is paying to this masterful painter.

Tuesday, February 5, 2013

Taking your time- finding the problem, not the solution

 Pink cites the research of celebrated social scientists Jacob Getzels
and Mihaly Csikszentmihalyi, who in the 1960s recruited three dozen
fourth-year art students for an experiment. They brought the young
artists into a studio with two large tables. The first table displayed
27 eclectic objects that the school used in its drawing classes. The
students were instructed to select one or more objects, then arrange a
still life on the second table and draw it. What happened next reveals
an essential pattern about how creativity works:

The young artists approached their task in two distinct ways. Some
examined relatively few objects, outlined their idea swiftly, and
moved quickly to draw their still life. Others took their time. They
handled more objects, turned them this way and that, rearranged them
several times, and needed much longer to complete the drawing. As
Csikszentmihalyi saw it, the first group was trying to solve a
problem: How can I produce a good drawing? The second was trying to
find a problem: What good drawing can I produce?

As Csikszentmihalyi then assembled a group of art experts to evaluate
the resulting works, he found that the problem-finders' drawings had
been ranked much higher in creativity than the problem-solvers'. Ten
years later, the researchers tracked down these art students, who at
that point were working for a living, and found that about half had
left the art world, while the other half had gone on to become
professional artists. That latter group was composed almost entirely
of problem-finders. Another decade later, the researchers checked in
again and discovered that the problem-finders were "significantly more
successful – by the standards of the artistic community – than their
peers." Getzels concluded:

Sunday, October 28, 2012

Dave Hickey tells it

Ah, to hear the sweet sound of splitting seams and rending cloth.

Dave Hickey gives us another nail in the coffin of contemporary art of our time.

Friday, September 21, 2012

This review by the recently-late Robert Hughes (He died August 6 of this year) that I grabbed wholesale from the blog of Nathaniel Meyer, a painter and student of mine from Portland ME.  It reminds me of the particular Orwellian cultural ocean in whose tide we painters (many of us anyway) felt we were submerged when we were ourselves students, and probably accounts for my sometimes strident tone.  Things are much better now, in a sense, if only from the great population explosion in the art world, which has permitted what had become a reviled niche (figurative art) to at least populate itself enough to produce it's own interesting microculture.   

So thank you Nathaniel and thank you Mr. Hughes- your criticism kept me sane.  

A Fiesta of Whining

It is an axiom that next to running the National Endowment for the Arts, curating the Whitney Biennial is the worst job in American culture. Every two years, the dread summons to represent the most vital and interesting currents in American art looms before the museum. Its curators do their stuff, and the result is nearly always the same: abuse from the art world and the fanged calumny of critics. "Every time I award a state commission," some 19th century French Minister of Culture was heard to sigh, "I create one ingrate and 20 malcontents."
During the 1980s, the Whitney was content to take dictation from dealers and collectors, so that its Biennials tended passively to reflect the fashions of the art market without showing more than an occasional glimmer of independent judgment. The 1993 version is different and scaled to a chastened art world. The sour taste of the collapsed '80s star system has galvanized the "new" Whitney, under its new director David A. Ross, into a veritable transport of social concern. This Biennial, assembled by a team of curators under the supervision of Elisabeth Sussman, is not a survey but a theme show. A saturnalia of political correctness, a long-winded immersion course in marginality -- the only cultural condition, as far as its reborn curators are concerned, that matters in the '90s. The aesthetic quality (that repressive, icky word again!) is for the most part feeble. The level of grievance and moral rhetoric, however, is stridently high.
Instead of the Artist as Star, we have the Artist as Victim, or as Victim's Representative. The key to the show, the skeptic might say, is its inclusion of the tape of the police bashing of Rodney King taken by George Holliday, a plumbing-parts salesman not known for his artistic aspirations before or since. The '93 Biennial is anxious to present all its artists as witnesses, just like Holliday. Witnesses to what? To their own feelings of exclusion and marginalization. To a world made bad for blacks, Latinos, gays, lesbians and women in general. It's one big fiesta of whining agitprop, in the midst of which a few genuine works of art and some sharp utterances (mainly in video) manage to survive.
The bulk of the show is video, photography, installations, a few sculptures and words on the wall. It contains enough useless, boring mock documentation to fill a small library. There are only eight painters out of 81 artists (Holliday brings the count to 82). But that's because it's more or less given that painting is a form of white male domination, implying "mastery." Indeed, the catalog presents quite a riff on this subject when it reflects on what might strike the unprepared visitor as the wretched pictorial ineptitude of such artists as Sue Williams, Raymond Pettibon, Mike Kelley and Karen Kilimnik. (Williams can't draw at all, although her installation The Sweet and Pungent Smell of Success includes a dandy splotch of plastic vomit.) Their work, says the catalog, "deliberately renounces success and power in favor of the degraded and dysfunctional, transforming deficiencies into something positive in true Warholian fashion." Presumably if they weren't vigilant with themselves, they might turn into teensy Titians, engorged with mastery.
No sodden cant, no cliche of therapeutic culture goes unused. If we are at the point where any attempt at aesthetic discrimination can be read as blaming the victim, is there any use in choosing anything over anything else -- or in holding a Biennial at all?
Much of the art on view conforms to the recipe for postmodernist political utterance set out, with lapidary accuracy, by the art critic Adam Gopnik a couple of years ago. That is, you take an obvious proposition that few would disagree with -- "Racism is wrong" or "One should not persecute gays" -- and encode it so obliquely that by the time the viewer has figured it out, he or she feels, as the saying goes, included in the discourse.
An example is the collaborative piece by Hillary Leone and Jennifer Macdonald, which fills a whole room. It consists of a few canvases (actually bed frames covered with muslin) adorned with elegant arabesques burned into them with hot irons. The branding irons, 55 of them, hang from the ceiling. The squiggles they produce, one learns from the wall label, are in fact Gregg shorthand symbols, by which means the artists have filled the canvas with replications of multiple-choice answers from a survey on sexual behavior -- "More than once a week. Once a week. Two-three times a month . . ." Rarely has such a prolonged setup been followed by such a dim punch line.
Some work, but not much, gets above this level. Kiki Smith's sculpture Mother -- a pair of ghostly, transparent feet, before which lie scattered dozens of glass drops, large and small, which might be tears or babies -- has an unforced and melancholy poetry. Charles Ray specializes in weird dislocations of scale; his 45-ft.-long red toy fire truck parked outside the museum is an arresting street presence, while his naked nuclear family inside -- father, mother, daughter and son, all exactly the same size -- is distinctly spooky in a way that derives from Magritte. Byron Kim's Belly Paintings, 1992, representing six different hues of skin, each a gracefully swollen sac of solid color, are beautiful metaphors of the human body.
The found-object assemblages by the Cherokee artist Jimmie Durham -- parodic weapons made out of rusty gun parts, salvaged wood, plastic pipe -- deal with race and cultural resistance, but do so by imaginative, not merely rhetorical, means. Even Janine Antoni's sculptures -- a big cube of chocolate gnawed by the artist and a fairly repulsive mound of lard chewed up by her, flanked by a vitrine or mock reliquary displaying chocolate cases and lipsticks made from the residue of both (link between bulimia and beauty cult, get it?) -- have a sort of Monty Pythonish looniness that makes them almost endearing as traces of obsessive effort.
Of course this show isn't the end of civilization as we know it, but it's glum, preachy, sophomoric and aesthetically aimless. Indifferent to pleasure, it becomes college-level art for college-level thinking about civic virtue. Part of the trouble is that the Whitney, like a swimmer clutching a spar, still clings to the romantic avant-garde idea that visual artists get to sense things before anyone else, that they are uniquely equipped with social antennae that tell us what's wrong with the world before other folk can cotton on to it. Apart from a small number of gifted exceptions, all dead, there is very little evidence for this piety. What supports it? Picasso's Stalinism? Josef Beuys' mystagogic vaporings? Certainly nothing in this Biennial, whose political messages contribute nothing fresh, and little of intelligence, to America's quarrels and complaints about gender, race and marginality.
The catalog confirms the academic bent of the show, with essays of such jargon-filled obscurantism that they go beyond parody. Thus Avital Ronell: "What impresses itself upon us is the fact of finitude's excessive nature, not only because of the inappropriability of its meaning but, as the experience of sheer exposition, because of the way it refuses to disclose itself fully." One would bet $5 that neither David Ross nor anyone else connected with the Biennial could say what such gibberish might mean or translate it into clear English. But that would be a hegemonic transgression on the integrity of marginal language, right?

Wednesday, September 19, 2012

Our Discussion

Without wanting to preempt the conversation that I hope will take place sometime next month within the hallowed walls of the BFAC, I'd like to offer the beginnings of it as it occurred in some email exchanges between a few of us.  Jon Nix proposed a question last night, as we were winding down our discussion, that he feels is at the center of our lives as artists, and that he particularly joined the group in order to answer.  The question is some form of "Why do we bother, want to, insist upon painting people?"  There are so many reasons to not paint and draw people.  After all- they're hard to do, they don't sit still, people don't like to buy them, or at least not hang them in contemporary homes and certainly not in business or corporate settings where the lowest common taste denominator needs to be soothed. So why bother?

Here's our exchange, to serve as a jump-off for a discussion next month:

Jon- As for the topic(s) I raised, at first I thought it could be distilled down to one question: "Why do we paint the figure?" But reflecting a little further on the drive home, that seemed unsatisfactory. Since what I'm looking for is a theoretical underpinning -- or at least justification -- for this aspect of my work, perhaps the question should be more pointed: "Why SHOULD we paint the figure?" Or even "Why MUST we paint the figure?" I defer to your judgment as to which of the latter questions would make a better jumping off point for discussion. The blog piece you wrote last year was one of the clearest and most edifying essays on art that I've ever read, which is what drew me to BFAC in the first place. I'd love to see us come up with a manifesto. I think I've always secretly wished for an "ism" to paint under -- what the hell, maybe we'll end up with one. "Vernonism"? The Sixist School?

Damon- Hey that's great- I so much appreciate your close analysis of things,
and your last question I think is the strongest, and nearly serves as a
manifesto by itself.  It includes a kind of moral feeling, which I
think can really animate our pursuit.  We paint figures to some degree
because it's the hardest, most direct, and least susceptible to the
fraud and chicanery that infuses the art world (where opaqueness and
incomprehensibility are allies of the art con-job).  We want to offer
something absolutely valuable, a direct line to the viewer without the
intervention of would-be priests of art (the dealers and theorists who
make money on our backs).  Alright, I'll stop- I'll try not to get too
dogmatic yet, and after all we need dealers and theorists.

Tuesday, September 4, 2012

Quick news

Hi to our blogging public- this is by way of announcing that we will be moving our studio down a floor to a larger space October 1, and renting out our upper floor space to some members of the crew.  If anyone is interested in taking 200 sq. ft of space for $200/month, please get in touch with me at  As our online group continues to grow, we'll have better space for larger groups with models and for events (look for a fundraiser with art and live music in conjunction with open studios in early december).

That's all the news for the moment, next time perhaps we'll muster a more intellectually stimulating post.

Saturday, July 14, 2012

The Nature of Paint - Jason Cheeseman-Meyer

Years ago, a conceptual artist I rather like personally, and respect professionally, was giving a talk about 20th century art movements.  

She talked about the Abstract Expressionists rejecting the "illusions of painting."  Paint had been lying to us and pretending to be three dimensions.  Abstract Expressionism instead, was letting "paint be paint." Paint could now be true to its nature, and be honest about it's two-dimensionality.  Paint could throw off the yoke of illusionist, realist depiction and revel in the honest beauty of paint. 

And many Abstract Expressionists DID find an honest beauty in paint.

But if anyone's going to talk about the true nature of paint, they need to keep in mind that paint is not a natural phenomenon.  Paint is not a living being.  Paint is a human invention. Early man didn't invent paint to make their cars bright red or their houses a homeowner's-association-pleasing shade of beige.  They invented it to create depictions.  People, animals, scenes.  Life.

Look at the cave paintings of Chauvez-Pont-d'Arc, which Werner Herzog captured cinematically.  Or even older caves, now dated around 40,000 years old, so old they were probably painted by Neaderthals rather than Homo Sapiens   They've been preserved in the depths of the earth, but think of how they must have painted everywhere, in places time has wiped clean eons ago.

Mark-making, symbolic strokes, magical depictions, life-size buffalo for target practice.  Handprints.  All depictions of life.  Of thinking, living, interacting, striving, loving, hating, celebrating, mourning.

THAT's the true nature of paint.  That is its honest beauty.