Sunday Morning

Note:

This is a post that I started quite a while ago and forgot about, but I didn’t remove the information because I’m still interested in it. If you’re the type of person who doesn’t care about anything older than two days on the internet, then you should probably skip this entry. Or my whole blog, really. 

On Sunday mornings, I usually lay in bed reading until mid-afternoon. Since what I read often pertains to my work, I thought I’d start sharing it, if nothing else for my own record should I feel the need to come back to something later. It’s not that different from the process of collecting and responding to information in my sketchbook, except perhaps some limitation on how I can respond, which is mostly self-determined.

This is an unintentionally painter filled post. In the future they’ll be more varied, but I guess I’m focusing on painters right now because I have so many questions about my own paintings. Plus, I just love looking at paintings.

New American Paintings Blog: In The Studio: Q&A with Susanna Bluhm 

“Transferring Mary (Costa Rica Revisit: The Mary Parade 10)”, 2006.
24 “x 48”, Acrylic and oil on canvas.

Studio Critical: Julia Schwartz

Huff Post: A Conversation with Julia Schwartz by John Seed

A combination of working in the studio on three new paintings and reading the articles about Julia Schwartz helped me to realize that the way I think about painting — actually, visual storytelling as a whole — is experiencing an editing process where I ask more critically, “Is this necessary?” My impulse has always been to add, add, add, but as I worked (and later read) there was this building sense that what I really needed to do was cut away.

Update: Months later, I had already forgotten this shift, and set myself to other painting problems. (To be fair to my memory, I had stopped painting again for that time.) It was re-opening this draft that reminded me of what I feel was an important moment for me. How it will play out, I’m not sure. That’s what makes it fun, though. 

Painter’s Table: Jan Muller

Structure and Imagery: Jan Muller @ Lori Bookstein by Paul Behnke

“Walpurgisnacht—Faust II”, 1956. Jan Muller.
82 x 120 inches. Oil on canvas.

City Arts: Albert York: A Memorial Exhibition by Maureen Mullarkey

New York Times: Albert York, Reclusive Landscape Painter, Dies at 80 by Roberta Smith

Boston.com: Lurking in the MFA’s basement… by Sebastian Smee

“Woman and Skeleton”, 1964. Albert York.
12″ x 11″. Oil on canvas mounted on board.

Review: Q & A with Ryan Mosley by Joe Miller 

The Independent: Talent issue – the artist: Ryan Mosley by Michael Glover

(The above article is a little obnoxious, but whatevs.)

Berlin Art Link: Ryan Mosley: Archaic/Futuristic

“The Curious Tale of the Butterfly Hat”, 2008. Ryan Mosley.
Oil on canvas, 180 x 160 cm.

I’m not sure where I came across Simone Pellegrini‘s work. I feel drawn to it similarly to how I feel drawn to Martin Ramirez — in an almost mindlessly magnetic way, that is more pleasurable and internally stirring than thoughtful or verbose. (Though to some extent, all of the above paintings are immediately attractive to me without necessarily knowing why. The attractiveness undulates or altogether flattens and the meaning comes later.)

And last but not least:

New York Times: Heart-Pounding Art, Seen Solo by Dorothy Spears

Can I get a “duh”? Though at least now there’s an article to point to and nod.

A beauty but a funny girl

Tantrums
Spiked coffee
Yoga
Damiana
Husband hugs
Dark chocolate
Really good dinners
Running
Singing

The tantrums actually ended a while ago once I felt more secure in the progression of the work. At first it was not working out at all, my hands felt awkward and jumpy. Virginal in the ways of graphite and watercolour. Has it really been that long since I tried to draw something in earnest? It’s at least been a couple months. And before that I was busy masturbating a sea of hundreds, thousands tiny little black lines. Fight or flight, a combination of both.


My hands and my eyes remember more now, and I can see the faces much better. Soon I’ll move onto the figures. They will have to be quick and ruthless. In my head, they remind me of figures in the work of Kara Walker, Wangechi Mutu, Fay Ku, Peregrine Honig, and my former classmate Kenna Kindig (who needs a website or something).

Installation begins after this weekend, then a week until the opening reception. I knew there were some things I wouldn’t begin until I could move into the gallery, such as the mysterious substance flowing in and out of the figures, so that’s not really a concern. It will work. If it doesn’t I will burn the whole building down. (Not really, Karlota.)

By the way: I still need some pictures of faces. Just an up close portrait with no makeup or glasses. Unless you have a lot of facial hair, in which case I can’t really use you, but thanks anyway. Photos of random people on the internet just don’t work as well.