May 25th, 2016 by dave dorsey
Mountains-Cloud-Haze, David Smith, Hong Kong, 12″ x 15″ oil on plywood
I’m happily painting every day again, to the neglect of other things, such as writing about painting. But I want to pass along a series of examples from the INPA 5, the latest international painting annual from Manifest Gallery. This detail, slightly cropped at the right edge, is of a painting done by David Smith, one of my favorite artists who exhibits regularly at Manifest in Cincinnati. He combines the subject and feel of classic Chinese scroll painting–misty camel-hump mountains–in a contemporary mode. Instead of water-based paint on paper, he’s using oil on plywood, and the integral role of the brushwork in traditional Chinese painting here has a gestural quality that reminds me of Richter’s abstraction. And yet it works perfectly to evoke nearly the same kind of world a Song dynasty painter-poet would have evoked. Would love to know more about Smith, how and why he paints in Hong Kong, and if he was born there or is an expatriate.
May 20th, 2016 by dave dorsey
I’ve been talking with some other artists lately about the motivation to make art–and how easy it can be to lose the intrinsic urge to make it by focusing on it as a means rather than an end. If you aren’t selling anything at the moment, or no one seems to be paying much attention, then it’s tempting to go outside and, say, plant some vegetables rather than struggle with a resistant picture. Art is hard work, but I do it mostly because it’s so pleasurable to finish a painting, and sometimes even more so if the image played hard to get. It’s easy to drift away from that zone where the effort is both constraining but also feels good, the reward of pushing back against a challenge, with the sequence of the hundreds of interim completions along the way toward being done. When it’s most frustrating, it’s easy to dismiss what Keats said about poetry: “If Poetry comes not as naturally as Leaves to a tree it had better not come at all.” But I doubt that he meant all good creative work has to be a first draft: Kerouac, non-stop with his long scroll of paper, or Edwin Dickinson with his premier coup work. I think what he meant was that the urge to create something comes naturally, and that’s why people do it, with no other purpose in mind. It’s an end in itself: which is what the “fine” in fine art really means, fin, the end.
I had coffee yesterday with a young artist, Adam LaPorta, who also sells Piction software to art museums. He sat down with me, Bill Stephens and Bill Santelli, for a casual conversation about how technology has changed MORE
May 17th, 2016 by dave dorsey
Heart of the Matter, Jean Stephens, oil on canvas, 12″ x 16″
An interesting two-artist show opens this week at Patricia O’Keefe Ross Art Gallery at St. John Fisher College, with a reception Thursday evening. Entitled “Where Two Women and Nature Converge” it features new work from Jean K. Stephens and Raphaela McCormack. I’m familiar with Jean’s work from exhibitions at Oxford Gallery, and have always loved her nests and the less frequent skulls she does. This show also features images based on still lifes she has assembled from various materials–natural and human–many of them in the shape of female figures. McCormack assembles sturdy-looking but delicate urns, vessels and images of sailing ships from natural materials. Both artists honor the physical qualities of the materials they gather and shape in the process of creating an image that has human resonance–without obscuring the actual nature of what you’re seeing.
May 12th, 2016 by dave dorsey
Cupid and Psyche, charcoal on paper, Barbara Fox
On the heels of my visit to New York to see contemporary interpretations of Medusa and Pandora at Danese Corey, I recently toured Oxford Gallery’s Myth’s and Mythologies. The invitation to this themed group show went out half a year ago and the results are thought-provoking, rewarding, and occasionally stunning, built around various interpretations of mythological figures as well as modern “myths” begging to be busted—the glory of motherhood, in one case, and “trickle-down economics” in another. In other words, there’s a little something for everyone. It ranges from an astonishingly beautiful example of classical sculpture in cararra marble from Italy to a minimalist abstraction painted on a metal panel. A small figure of Daphne, carved by Dario Tazzioli at his studio in Italy, has already been sold—the highest priced piece in the exhibit. It’s easy to see why: astonishingly well done, the female figure seeming to reach up and dissolve into a filigree of roots and branches around her head so delicate that it’s hard to imagine how the sculptor did it. It’s a rare example of centuries-old artistry done by someone trained in Renaissance techniques, using the kind of marble Michelangelo used and a bow drill—reason alone to visit the show. At the other end of the spectrum is Ryan Schroeder’s “Trickle Down Economics,” a large, vigorously executed oil showing the half-demolished interior of an abandoned building, with what appears to be a sinkhole almost underfoot—overall a sardonic reflection on how one man’s ceiling is another one’s floor, economically speaking.
Most of the work relies on traditional mythology. Icarus gets a lot of attention here, as does Persephone, as well as a crew of other Greek or Roman figures: Medusa, Pluto, Neptune, Pandora, Romulus and Remus, Cupid and Psyche, and Pegasus. But the subjects are wide-ranging and the artists find clever ways to put a mythical spin MORE
May 9th, 2016 by dave dorsey
Bathers by the River, Matisse
I woke up at 1:15 a couple nights ago and couldn’t get back to sleep until around 2:30, which has been my sleep pattern for years, but while I tossed and turned, my thoughts came together on Matisse, whose work and life I’ve been studying intermittently for half a year now. It occurred to me that he knew exactly what he was doing when he wrote the famous line in 1908, a year after Picasso’s outrageous Demoiselles D’Avignon was painted, and this short passage of prose probably relegated Matisse to a back seat, in comparison to Picasso, with critics and historians ever since. (Do a search for the many biographies of Picasso and then try Matisse. Incredibly, as far as I can tell, only one biography has been written of Matisse, and it was published only a decade ago.) I came across his personal declaration of independence again yesterday reading Matisse on Art:
What I dream of is an art of balance, of purity and serenity, devoid of troubling or depressing subject matter, an art that could be for every mental worker, for the businessman as well as the man of letters, for example, a soothing, calming influence on the mind, something like a good armchair that provides relaxation from fatigue.
Imagine the derision this remark must have inspired from all quarters, and still probably does even now in the Age of Koons, especially over his “devoid of troubling or depressing subject matter.” From the point of view of those who saw art as a continuous shocking overthrow of prevailing artistic norms—modernism’s hollow legacy—this sentence sounds like blasphemy and backsliding, or worse. I think, in reality, it was a way of taking a stance against history, in a way. Matisse knew the risk he was taking, that he was setting himself at odds with the elements and theories he expected to be most celebrated in painting as it emerged in the 20th century. He asserts that he’s painting for the middle class, the businessman, the ordinary art lover, the loathed bourgeoisie—all of the people modernism was trying to outrage and unsettle and disturb. Instead, like Van Gogh, MORE
May 7th, 2016 by dave dorsey
Striped Bowl in the Kitchen, detail
I’ve gotten back to a schedule of daily painting, and it makes a difference. When you get pulled away from painting for periods of time, it takes awhile to regain momentum and also to restore a sense of confidence in balancing the freedom of making intuitive, felt choices—taking chances to see what will happen—against an adherence to predictable craft, what you know paint will do from years of working with it. Which is obedience: to what you see, and what you know you need to do. If you go too far toward freedom, or you surrender completely to a routine of reliable labor, the soul of the painting slips away, or else it just becomes a mess.
So far, since I’ve been able to resume working every day, I’ve stuck to a series of smaller paintings of patterned bowls in order to focus more on the surface and the paint, less on producing an exact replica of what I see. I’m giving myself more room to improvise with color, and the way I’m setting up each still life it’s easier for me to see the flat pattern of shapes and color in an abstract way. I’m trying to increase the tension between representation and visible marks. I told Bill Santelli recently that I’m attempting to use a thicker application of paint, but afterward I realized that wasn’t entirely right: in places I’m letting bits of canvas show through, so the paint’s actually non-existent in those spots—one can’t get any thinner than that. But when I’m applying the paint, more often its consistency is closer to its original viscosity out of the tube. It’s thick where it needs to be and thin where it needs to be, that’s all, but overall a little heavier than in the past. I want the paint to be visible, as paint, as much as possible. I’m also trying to simplify the areas of color, and value, striving for the ability to depict more with less brushwork, while leaving more evidence of my hand and the brush. I’ve done all of these things in the past, intermittently, and then returned to the more finished, highly detailed realism of most work I usually sell. (I plan to alternate between both modes now.) Paintings I’ve done this way have sold, as well, so marketability isn’t the calculation I’m making. In this series, I want paintings that evoke more while specifying less, that’s all. And if I succeed, I may be able to apply what I’m learning in more and more ways.
When I was in Manhattan to see Suzie MacMurray’s show, I put in a day touring a dozen other galleries, and saw Alyssa Monks’ new paintings at Forum. She seems to be trying to break away from the photorealism she’s been known for—and it’s giving her a path toward a much more varied palette, looser application of paint, and images that are much less about the way the physical world looks and seem closer to a psychological depiction of an inner world. It’s a move away from the urge to astonish with technical skill toward something more felt and elusive and hard to pin down. Still, I wanted them to be even more abstract, looser and ambiguous—in reality they may simply be straightforward depictions of a beautiful face seen through a window that reflects a wooded tract behind the viewer. (A new take on her faces seen through water, only this time the water is still and reflective.) But her focus on color and the more painterly technique seems as if it might lead to something even more interesting. And I learned Arcadia, one of my favorite galleries, has moved to Santa Monica. I was disappointed not to be able to pay a visit, but it’s now located on the same street where my son and daughter-in-law live–which will be mighty convenient in July.
May 5th, 2016 by dave dorsey
Manifest Creative Research Gallery and Drawing Center has shipped its fifth International Painting Annual, which arrived here last week. As usual, it’s full of treasures from artists who made the cut from the around the world. The gallery received 1,475 submissions: 434 artists from 44 states and 20 countries submitted to INPA 5 and out of those artists, only 69 were chosen. For a select few, Manifest choose several pieces for inclusion, offering a clear sense of that artist’s stylistic continuity from one work to the next. The honor was fully deserved in the case of the lucky few. It’s a joy to see the diversity and vitality of work, some of it technically astonishing, from painters located in places as far-flung as Hong Kong, Kentucky, Germany and Scotland. I’ll post some of the work that impressed me the most over the next couple weeks. There are some real gems.
May 4th, 2016 by dave dorsey
The Creation, Bill Stephens
A fascinating new invitational group show is up at Oxford, on the theme of myths. I got an early look at some of the work while it was going up last week, on a visit with Bill Santelli and Bill Stephens. A wide range of media and subjects, some distinct interpretations of familiar myths, others tangentially related to a broader definition of mythology. The opening on Saturday evening should be fun.
May 2nd, 2016 by dave dorsey
Two quotes from Gravity and Grace, one specifically about art, the other not, but just as applicable to the making of art:
It is an act of cowardice to seek from (or to wish to give) the people we love any other consolation than that which works of art give us. These help us through the mere fact that they exist. To love and to be loved only serves mutually to render this existence more concrete, more constantly present to the mind.
With all things, it is always what comes to us from outside, freely and by surprise as a gift, without our having sought it, that brings us pure joy. In the same way real good can only come from outside ourselves, never from our own effort. We cannot under any circumstances manufacture something which is better than ourselves. Thus effort stretched towards goodness cannot reach its goal; it is after long, fruitless effort which ends in despair, when we no longer expect anything, that, from outside ourselves, the gift comes as a marvelous surprise.
April 26th, 2016 by dave dorsey
Susie MacMurray’s Medusa, at the opening Thursday
I’m rarely captivated by art outside of painting, which means I usually cherry-pick my way through a tour of New York City shows. A few memorable exceptions would be Terrence Koh’s kneeling crawl around a cone of salt a few years ago at Mary Boone, and the spectacle of Kara Walker’s Sugar Baby. More powerfully than either of those, Susie MacMurray’s work won me over immediately in her 2013 show at Danese Corey. Her work’s metaphoric power seems secondary to its formal originality. It’s conceptually anchored but its impact doesn’t depend on the meaning you extract from it. Most of her work looks unstrained and almost natural. In her current show at Danese Corey, Hinterland, what would have caused injury, in its original form, has been disarmed, and, in turn, is disarming, drawing you toward it rather than pushing you away, as it was originally meant to do: snakes, sniper shells, barbed wire, all become alluring, if only as objects of curiosity, but nearly as often because they’ve become beautiful in the new context she gives them. Her craving for simplicity and unity gives her innovative forms the feel of fresh archetypes, metaphors that attract interpretations rather than assert or contain a fixed meaning. Mythology has that quality, and she echoes a couple Greek tales in this show: Pandora and Medusa.
Medusa was a celibate disciple in the temple of Athena, but was lured into Poseidon’s bed and then punished for her infidelity, given a hairdo of serpents that petrified MORE
April 19th, 2016 by dave dorsey
A computer-generated, 3-D printed, Rembrandt
A short video at thenextrembrandt shows you how researchers created a very convincing forgery, a “new Rembrandt”, using advanced software and data mining to guide a 3-D printer that actually creates a topography of peaks and valleys in the print’s surface to imitate layering of paint. If an artist’s style can effectively be impersonated by artificial intelligence, does that mean a perfect, computer-generated art forgery could essentially convey everything an actual Rembrandt would? In other words, if if passed some kind of critical equivalent of the Turing test by fooling an authenticator and essentially creating a work of art indistinguishable from those of the artist being impersonated–is it virtually the same as an original Rembrandt? If it were possible to generate new works of art this way in the style of your favorite artist, what would happen to the value of the holdings among those who crave art the way the Hunt brothers craved silver? Nothing, probably. The original would still be what it is. I wouldn’t mind having an exact duplicate of my favorite Braque or Matisse or Van Gogh, down to the physical texture of the paint on the surface, for whatever one of these would cost. In this case, it’s still ink, paint-based or not. How long before they can build one of these using actual paint? Artificial intelligence marches on, for better or worse.
April 13th, 2016 by dave dorsey
Medusa, handmade copper chain mail
Susie MacMurray is back with another solo show, Hinterland, at Danese Corey. I plan to be there for the opening reception next week and hope to talk with her in person about the new work, which arrives less than three years after her last solo show in Chelsea. From this distance, it looks like another knockout. I’m eager to see it up close.
April 3rd, 2016 by dave dorsey
Symmetrical book stacking. If you feel the need to call Ghostbusters, call Bill himself and leave a message, not the new crew. His 800 number is out there somewhere. but Peter Venkman’s irony in the New York Public Library–“No human being would stack books like this”–wouldn’t apply here. It’s a stack of books that works like a blog post–except I can’t imagine it will stick around for long. I wonder how long blog posts will last?
March 28th, 2016 by dave dorsey
Carpe Diem, Autumn’s Last Flowers, oil on linen, 30″ x 52″
To the same collector in Connecticut. For sales, it’s been the best consecutive 18 months I’ve ever had thanks to Jim and Jinny Hall at Oxford Gallery.
March 26th, 2016 by dave dorsey
Breaking Free, Cutting Loose, oil on linen, 49″ x 49″
To a collector in Connecticut.
March 22nd, 2016 by dave dorsey
Yellow Hat, 1936, Norman Lewis
The reappraisal of Norman Lewis, decades after his death, nice story from CBS.
March 19th, 2016 by dave dorsey
Henry James’s critical genius comes out most tellingly in his mastery over, his baffling escape from, Ideas; a mastery and an escape which are perhaps the last test of a superior intelligence. He had a mind so fine that no idea could violate it…. In England, ideas run wild and pasture on the emotions; instead of thinking with our feelings (a very different thing) we corrupt our feelings with ideas; we produce the public, the political, the emotional idea, evading sensation and thought…. Mr. Chesterton’s brain swarms with ideas; I see no evidence that it thinks. James in his novels is like the best French critics in maintaining a point of view, a view-point untouched by the parasite idea. He is the most intelligent man of his generation.
I reread “The Beast in the Jungle” today, after being reminded of it by reading John McGahern’s “The Wine Breath,” which was first published in The New Yorker in 1977. So I was led back to this quote from Eliot, which I’ve always loved. We need more and more painters who have that same kind of intelligence.
March 14th, 2016 by dave dorsey
This is an uncharacteristic still life at Paul Fenniak’s show comprised mostly of dream-like narrative scenes of people who seem adrift or maybe sleepwalking and not at all sure what to think about it, now at Forum Gallery. The texture of the paint itself evokes the texture of the folded cloth and what appears to be a strip of foam rubber carpet pad he’s slipped in near the top. Likewise, the lyrical column of blues and purples on the right, representing the nearest wall, relies on scumbled layers of paint to give you the feel of plaster. So many blues flickering in that chiaroscuro.
March 11th, 2016 by dave dorsey
At my old haunt, Viridian. Deadline, April 9.
March 9th, 2016 by dave dorsey
Harvard Murals, Mark Rothko
There’s no substitute for the actual painting. The physicality of paint matters. This was nicely put earlier this month in a letter to the editor from The New Yorker, Feb. 1, 2016,
THE RESTORER’S ROLE
In discussing the digital component of the artist Josh Kline’s work, which relies on technology that doesn’t yet exist, Ben Lerner makes a comparison to the computer-generated restoration of the “Harvard Murals,” a suite of paintings by Mark Rothko. In the early nineteen-sixties, as an apprentice in the conservation department of Harvard’s Fogg Art Museum, I was among the crew that worked with Rothko on the installation. Lerner describes the murals’ recent exhibition at the Harvard Art Museum, in which color that was fading was made more vivid by the projection of computer-generated hues. Lerner suggests that the original art may not be necessary if projectors could produce the same effects. As the former head of conservation at the Harvard University Art Museums, I disagree. I maintain that the experiment with projected color brought us closer to that of the originals. Lerner did not see the exhibition, but, had he been there, he would have been able to experience the haptic effect of Rothko’s brushwork, seen on a huge scale. The colored light did not obscure the painter’s application of layers of various media—egg white, glue-size, oil—that suffuse the clouded, glowing expanse of canvas. Hue and substance were reintegrated. Though Lerner questions whether “the present’s notion of its past and future are changeable fictions,” he gives short shrift to the aim of conservationists, which is to find ever more accurate and responsible methods of preserving and restoring original works of art.
Marjorie B. Cohn Arlington, Mass.