Thursday, July 17, 2008

Philly meets BMore

Last Saturday, I attended the opening reception for "Philadelphia meets Baltimore: Conceptions and Perceptions" at Towson University's Center for the Arts Gallery, with Alice Oh and Charles Burwell, who also have work in the show. It was curated by J. Susan Issacs of the Delaware Center for the Contemporary Arts (DCCA).

The show looks great, was very well hung, and a really strong grouping of works. Hats off to Susan Isaacs and her crew for a job well done.

I took a few photos before it was brought to my attention that no photography was allowed. I missed the sign they had posted in my excitement to document my work at the show and started clicking away. I didn't realize the gallery-sitter was even talking to me until she was about a few feet away.

Here are a few to give a sense of the show:








Me, Alich Oh, and Charles Burwell outside the Center for the Arts Gallery.

Thursday, July 10, 2008

Playing field









A few shots I took a couple of Sundays ago at the Municipal Services Plaza, a.k.a, Thomas Paine Plaza, across from City Hall. I found out that the piece is actually called Your Move and is by Daniel Martinez, Renee Petropoulis and Roger White.

While looking around the net for information about the works in the plaza, I came across an essay by James Dickinson titled, A Modest Proposal detailing Dickinson's idea of moving Richard Serra's Tilted Arc to the plaza. A moot point, really, since Tilted Arc is destroyed. However, It would be great to have a world-class piece occupying the plaza, instead of the one-note oversized game pieces that reside there now. Once you walk through, around, and over the pieces, there's nothing else interesting about it. The novelty wears off fast.

Judging from the marks on a lot of the game pieces, skateboarders and groups of kids on BMX-style bikes, like the group that was there when I was taking photos, make the most use of a still underutilized space.
......

I've been in the studio here and there so far this summer, generally taking my time about getting new things done. The works on paper and small panels that I've been pursuing have been very gratifying, but canvas is calling me again so I'll have to get a canvas-stretching schedule going again soon.

......

You might have noticed from looking through this blog that my camera is practically glued to my hand. The weather has been warm and I've been forced to get up earlier some mornings because of our rambunctious cat, who loves to run amok through the apartment around 5-6am. Not every morning, but enough that for a while, he could have been my natural alarm clock.

The good thing to come out of this is that I've taken to going out early some mornings with my tripod for a photo walk through the city. I don't usually go out specifically to shoot, I just keep my camera handy and catch what I can. After the past couple of morning walks, I'm hooked on being out when there are few people around getting shots in center city and my own neighborhood that I might not get otherwise.

I'll probably share more photos here in upcoming posts.

Thursday, July 03, 2008

Obscura


Obscura, 2008, acyrlic on cavas, 20" x 16"

Thursday, June 19, 2008

monochrome


Untitled, 2008, acrylic on panel, 16" x 16"

I've been in something of a monochromatic mood lately, as can be seen in some of my latest works on paper. This might last a few weeks or months, but for now, it suits my needs.

Wednesday, June 18, 2008

new works on paper


D52908, 2008, ink on paper, 20" x 24"


Field, 2008, ink on paper, 20" x 24"


White Pattern, 2008, ink and acrylic on paper, 24" x 20"

Sunday, June 08, 2008

kitty break



Meet Sydney, our new family addition. You can read the whole story here.

Friday, May 30, 2008

paint & ink

A couple of newly completed pieces.


Halcyon, 2008, acrylic on panel, 24" x 24"


D52908, 2008, ink on paper, 38" x 50"

Thursday, May 29, 2008

congratulations

The Pew Fellowship evaded me again this year, but three painters I know and whose work I admire here in Phily received one.

Congratulations to: Charles Burwell, Anne Seidman, & Mauro Zamora

ESPO goes legit

'Grafitti artist' and 'Fulbright scholarship' in the same paragraph!

From the New York Times:

"A love of graffiti has gained Steve Powers notoriety on the streets, fame in the art world and a long arrest sheet. It has also earned him a Fulbright scholarship."

Steve Powers, a.k.a, ESPO wins Fulbright, paints legally

Powers/espo slideshow here

Blue ribbon bland





I like murals, well...ok, some murals. Living in Philadelphia, you kind of get used to seeing one on almost every other side of a building, thanks to the city's mural arts program. The murals are good and not-so-good but, overall, I think they tend to bring another level of life to an old city.

A few weeks ago, I was out on an errand. Walking past Fleishman's Fabrics (pictured above) I noticed the outlines for a mural on the side of the building at 5th and Monroe."Nice", I thought, "something other than the black walls to look at..." A couple of days later, I saw the mural taking shape with two guys painting the walls and colors starting come through. About a week in, the wall was finished.

I didn't know what to expect, but I definitely didn't like what wound up there. As you can see, it's basically an ad for Pabst Blue Ribbon beer using the art of Pabst art contest winners. It seems Pabst has an art contest where the works have to feature the beer prominently. The winners, apparently fans of the beer, get a monetary prize, spots in a traveling exhibition, AND they get to have thier works reproduced in murals. Great, now I get to look at mediocre images of a mediocre beer every time I pass this corner, which is at least four days a week.

This movement of so-called 'viral marketing' has got to be the most cynical and tired efforts by corporations to gain new consumers. Not that it hasn't worked, but most of these campaigns, especially those targeting the 18-25 demographic, come off as heavy-handed and usually missing the mark. I'm reminded of some ads for a PSP video-game console that mimicked street artists by using grafitti-inspired characters and wheat-pasting. That campaign was basically laughed off the walls, and faced the wrath of business owner who didn't want the ads on their businesses. In fact, there were some prominently displayed on the walls of a business directly across the street from the one I'm complaining about.

I'm guessing Fleishman's were offered some money to have the murals put up. That's the only way I could imagine them agreeing to have it up. Maybe, they really like Pabst and wanted to show that love to the world. But what do I know? I know that if they really wanted something artistic, eye-catching and original on the walls, they have a school-full of creative, energetic grade-school kids right around the corner who, with some guidance, could probably have put something up that was amazing. Not to mention that there are thousands of LOCAL artists and would-be artists who would have been happy to help spruce up this dark corner. Instead we passers-by get a bland, corporate logo to brighten our day.

Yay.

A related item is here

Thursday, May 22, 2008

Double the fun!



I was leaning out the rear window of my apartment, trying to take a shot of something else when I spied this amazing sight.

Wednesday, May 21, 2008

Olafur Eliasson: Take Your Time

I'm heading into the studio to work, but in the meantime, here are some shots from the Olafur Eliasson show, Take Your Time, which I visited last Thursday. Well, the MoMA part, at least. I hope to get to the P.S. 1 part in June sometime. Take Your Time is up now through June 30 at Moma and P.S.1

Great show and true to it's title, you really should take some time to be with the works on view. The only hinderance I found was the crowds. We were at MoMA on a Thursday afternoon, which seemed to be a prime time for school classes to visit the museum, making the crowds more intense than usual. If you go, consider getting there earlier than mid-afternoon, if possible or earlier in the week.


I only see things when they move, 2004

Our shadows in color

Room for one colour, 1997

1 m3 light, 1999

1 m3 light, 1999

360º room for all colors, 2002

Wall eclipse, 2004

Friday, May 16, 2008

living color

I love to work with color, but nothing I can come up with can match the amazing things that nature can produce. Take, for instance, the brilliant hues of Toxic Nudibrachs, photographed by David Doubilet for National Geographic Magazine.

The soft bodied sea slugs are pretty vulnerable except for the toxins they absorb from prey. Those toxins wind up creating amazing colors and patterns on the skins of the slugs, in addition to taking them off the menu of larger, faster predators.

Here's a related video

Wednesday, May 14, 2008

Blue (pattern I)

Blue (pattern I), 2008, acrylic on panel, 24 x 24 in.
(photo courtesy of Mark Brosseau)

New painting. The blue form doesn't look as 'blue' as it is in person, but one of the problems with digital cameras seems to be the accurate capturing of some blue hues. I've since reworked the loose form by adding another layer of color to it, but it's essentially the same as this, except denser.

This painting, and a few other recent works, is currently on display in the offices of Tierney Communications, in center city Philadelphia.

Anne Seidman @ Schmidt/Dean






Anne Seidman at Schmidt/Dean Gallery, Philadelphia, PA
May 2-June 7, 2008

Made it to the opening of Anne Seidman's show, Touching, last Friday night at Schmidt/Dean Gallery in spite of the cool, rainy weather. I've always admired Anne's work for it's boldness of color, confident compositions and taut energy, all of which are in evidence here. The complex subtleties of even her least complex images (upon first viewing them) really warrant some investment of time to really appreciate what Seidman accomplishes.

Her newer paintings, such as the untitled piece above (top, right), bring a new kind of tension and potential to Seidman's works. The jagged, sharp-edged, multi-colored form unfolding along the edges of the painting appears to be in a continual state of change, poking and testing the edges of it's surroundings and establishing it's place (limits?). The energy and tension in this painting and others by Seidman belie their size and draw me in every time.

At the opening, I ran into painter and art blogger, Steven Alexander. We talked for a bit about Anne's work and he has posted a great review of Anne's show on his studio journal.

Tuesday, May 13, 2008

Robert Rauschenberg, R.I.P

Estate, 1963, oil and silk screened ink on canvas, 96 x 70 in.


Robert Rauschenberg, one of the giants of 20th century art, has died. Here's the New York Times obituary by Micheal Kimmelman

Friday, May 09, 2008

Like what you see? Jump for it!

(photo: Caroline Giegerich)


Ever feel like you want to possibly go out of your mind when you see a piece of art/architecture/design that you love? You know that intense rush you get when in the presence of something that makes you as giddy as Homer Simpson in a doughnut shop?

Well, why not take Van Halen's advice and do a little Art Jumping?

More Jumping here

Wednesday, May 07, 2008

scrub out



I'm continuing to work on this new series of what I'm calling 'altered photos'. I've learned so far that it's better to scrub the photo when dry if I want to keep some of the more subtle colors and patterns I've masked out.

In other news, I managed to make more work for myself in the studio today courtesy of tiny paint spatters that have managed to find their onto the surfaces of newly completed works. I thought I had them out of the range of my main working area, but obviously I was wrong. Of course my better judgment tells me to turn works I'm considering finished towards the wall. The problem is that my better judgment likes to go on coffee breaks at the most inopportune times.

It's not too bad. I think I'm fairly good at camouflaging unwanted stray marks. There have been times when I've left the strays where they landed, but it's not a preferred way of working.

......

Last week. I delivered my registration form and check to be in the next Philadelphia Open Studio Tours. I almost considered not participating this year, but that bit of madness passed quickly. I couldn't come up with a legitimate reason not to do it, so I ponied up. Now I won't think about it again until the month before. Then again, knowing how organized POST has become over the past couple of years, with new email updates almost once a week, it won't be that far removed from my daily consciousness.

Seriously, it's good to see (and participate with) an arts organization that's almost completely artist/volunteer-driven thrive and get better with time. With the way the art-scene in Philadelphia has grown and changed over the past 10 years, it's vital to have an organization like POST around to bring artists and the general public together. They do so in ways that can foster better understanding of art and art-making in ways that visits to galleries, museums, reading the latest 'art and fashion/music/pop culture' magazine articles and scandalous headlines from the art world can never accomplish.

Thursday, May 01, 2008

shock and yawns

Yale art student submits new work for senior thesis. (artinfo.com via c-monster)

This has been kicking around for a couple of weeks now and my reaction to this latest twist is a big resounding, '90's pseudo-nihilist "whatever...".

"(Aliza) Shvarts had allegedly told the university administration that she had not in fact performed the described acts, but rather that the story itself was the artwork"

I'm not entirely sure what her intent was with the original thesis, but she certainly managed to be up there with the shock factor, alongside this guy. Self-inseminating and then self-aborting will no doubt garner a lot of attention with today's atmosphere surrounding sex a woman's right of choice in how she uses her body.

However, if, as stated in the latest report, Shvarts work was the story, then it falls flat. The so-called news is saturated with 'stories' like this all the time-where there is not real story, just a collection of innuendo and false leads.

In terms of false leads, she might have actually accomplished something-the classic bait and switch for fame. Student puts forward a controversial idea for a work of art, gains tons of attention and at the last minute, submit something more 'palatable' for her thesis committee to consider and voila! instant attention around the art world and byond.

Can you hear it? "Is it art? Did she really do that?, This is why I hate so-called contemporary art!" and on and on... Everyone yells, screams, praises, questions, and pontificates and then it all dies down until the next time.

She'll either captialize on this attention or we'll never hear about her again. At this point, I couldn't care less.

Sunday, April 27, 2008

By Bom.k


By Bom.k
Originally uploaded by vitostreet
Vitostreet is one of my newer contacts on Flickr. He lives in Paris and finds some of the most amazing street art to photograph, as can be seen in the photo here.

If you have a few minutes, go through his photos and explore a bit...

Monday, April 21, 2008

spencer and imler

Spencer and Imler


Lorica 6 diptych, photo assemblage, 15 x 30 inches

This morning I recieved an email from former studio-mates, Deborah Imler and Allen Spencer, announcing their new website. Deb and Allen shared my work space two years ago, but moved on to another space nearby that was more suited to their need for a cleaner, dust-free work area.

They work collaboratively on beautiful photo assemblages that are made up mainly of carefully cut and arranged pieces of 35mm photographs. The photo images start off as building facades, interiors, and other surfaces and re-imagined as geometric photo abstractions that allude to their sources but lead to other places altogether.

Spencer and Imler.com

new painting


Clusterchroma, 2008, acrylic on panel, 24" x 24"

One of a few new paintings I've been working on lately. The colors might be slightly more saturated in this photo, but not by much. I've been into playing around with more intense colors and patterns recently. This might be a reaction to some paintings I did last year where I used a lot of 'all over' light tones atop some richer colors, like Plume: plume

I liked how Plume and others like it turned out, but currently I'm more interested in pushing myself out of a certain color comfort zone I created for myself.

There might be more images posted later in the week.

Sunday, April 20, 2008

No to boycott?

I agree with what Edward Winkleman has to say about the idea of boycotting the upcoming Olympics. Despite those who might think about the Olympics being ,"... one big festering boil of marketing, politics and kitsch...", as one respondent to Winklemans's post put it, taking away the opportunity for those athletes who want to compete and might not have another chance four years from now is incredibly short-sighted.

Tuesday, April 15, 2008

altered images



top: Burnout(sky), 2008, altered photocollage, 12" x 12"
bottom: ...and the sound goes BOOM!, 2008, altered photocollage, 10" x 23"








top: Infinite Boundary(detail), 2008, altered photocollage, 20" x 20"
bottom: Night Static, 2008, altered photocollage, 12" x 12"

A new, ongoing series of 'altered photos' I've been working on. I first mentioned them back here.

While working on these, I've had time to think about what personal photographs can mean for us in regards to how we self-identify; how parts of our identities and memories are reinforced by images of where we've been, what we looked like x years ago, who was in our lives, etc...

I've been literally erasing some photos (see above detail of Infinite Boundaries) and severely distorting others, like Night Static, also above. What has occurred to me through this process has been the physical and partial 'erasing' of a memory. The two photos that comprise Night Static are copies of one image that was taken in 2005 from the fire escape that sits outside of my studio window. It was a Saturday night and I was facing north, looking up 3rd Street. I was also trying to get a handle on taking night time photos with my old film camera. The shots wound up being very blurry and unusable to me at the time as photographs, so I stashed them away.

I only remember that because of having found the photos. If I hadn't, the memory of that particular instant on that particular night would have most been filed away into the deep recesses of my mind, most likely not to be found again. It wasn't an event that commanded a lot of attention or memory space, so to speak. So, if I had totally obliterated the image, would that even have even occured for me after a whlie? If I hadn't found the photo, would I even be thinking about it now? Probably not.

Now, with my personal history attached to it and my 'interventions' on them, the shots have begun to take on another life and history altogether in my mind. Who knows what kind of meanings and interpretations Night Static might have for other people viewing them.







Thursday, April 10, 2008

wall rubbing


Surface Patterns, 2008, graphite on paper, 30" x 40"

I was in the mood for some 'direct' art interaction, so out came the graphite sticks and a big piece of paper tacked to the wall.

This is one of those 'happy accidents' that happen once in a while. It was going to look a lot different had I followed my original idea. The alternating darker stripes would have been partially covered by some looping 'netting' forms in paint or ink.

However, once I started rubbing the graphite onto the paper, I noticed how the imperfections of the wall, mainly paint spatters and lumps, created the surface texture you see here. So, instead of just filling in the alternate vertical stripes, I covered the entire paper.

Stepping back, I noticed the slight appearance of wrinkled fabric the drawing was taking on and wound up doing several smaller pieces similar to this, only without the patterns. Don't know what might happen with them, but we'll see.

Saturday, April 05, 2008

The time needed for art

Place: looking out

Quoted from a post on wondercabinet:

"For the artist, any artist, poet, painter, musician, time in plenty and an abundance of ideas are the necessary basics of creativity. By dreaming and idleness and then by intense self-discipline does the artist live. The artists cannot perform between 9 and 6, 5 days a week, or if she sometimes does, she cannot guarantee to do so. Money culture hates that. It must know what it is getting, when it is getting it, and how much it will cost. The most tyrannical of patrons never demanded from their protogees what the market now demands of artists; if you can't sell your work regularly and quickly, you can either starve or do something else. The time that art needs, which may not be a long time, but which has to be its own time, is anathema to a money culture. Money confuses time with itself. That is part of its unreality."

- From Art Objects, Jeanette Winterson

A tough but true reality of today's art world. Time for ideas to develop is in especially short supply in the ever-quickening market-driven side of the art world.

One way around it is to opt out of the market side altogether, make what you want when you want to, work another job and make peace with that.

There is a middle ground there. A place where I suspect most of us creatives inhabit. We work jobs which don't take much from us creatively, keep fairly regular studio hours, might be lucky enough to work with a good gallerist or two, if we're lucky, manage to get grants when possible and do whatever we can to make sure that our art gets the time it needs to develop.

Attempting to keep up with the demands of the art market is deadly to the artist and to art: the artist burns out and winds up making things that don't satisfy them and the art isn't as strong as it could be. These conditions might push some to greater limits of creativity, but does good art result from the frenzy-inducing schedule of say, the fashion industry? No, I don't think so.




Friday, April 04, 2008

'Bikes' video



Video I just found on MySpace while browsing though and clearing out some 'friend' requests. It's not often that I find a good collision of two of my favorite past-times-music and cycling and this does it for me. The artist is Jamil Kayin and the music is from his self-produced cd titled, Days. I'm listening to some cuts from the cd on Jamil's MySpace page and enjoying my continuing aimless wanderings on the interwbs for the night...

Thursday, April 03, 2008

Oddments, pt. 2


left-Oddment: Flats II, right-Oddment: Yellow Above



left-Oddments: Flats III, right-Oddments: Yellow Sill



left-Oddment: Trio, right: Oddment: Streaks


left-Oddment: Piletop, right- Oddment: Yellow Arrangement