Entering the Highway Clover Leaf of My Painting Career

Entering the Highway Clover Leaf of My Painting Career

Tree in Twilight

“Almond Tree – Tree in Twilight”, oil, metallic and enamel paint on canvas.

I was raised to think that art history evolved linearly – a straight line from Giotto to Pollock. I was not prepared for the halting, meandering movement of a career in art, where you race forward with one idea, retrack steps, add something new, abandon a direction and end up end up in the middle of a hi-way clover wondering which way to go. Nor was I prepared for all the things that would influence my work — art history, a random photo, a hand injury, the availability of materials. This is why I find it so unnerving to write grants — “describe your project”. My project is to get from where I am to where I am going without crashing. My destination is uncertain, the GPS is broken, I don’t have a map, but I do know that moss grows on the north side of a tree.

With my Almond Tree series, I decided to go deep. Explore the imagery every way I could, and see where that took me. The latest incarnation besides kicking the sacred cow of a Pollock drip, also involved using metallic paint. For most of my career I have used high quality artist fine oil paints, but after attending a workshop with Vincent di Siderio, where he told us that he started a painting with roofing tar and Rustoleum, I thought, why not?  The importance of how paint “feels” cannot be overstated. Silver Rustoleum is a lyrical medium with a mecurial affect.  With it I was able to add a layer to my Monet inspired landscape, where I was not only depicting the light, I was creating it. In these paintings the surface changes with the light. You never see the same painting. When you move, it changes. When the light changes, it changes. The surface was set in motion.

Funny thing about motion. I started taking photographs of the landscape while I was moving.

“Tree Tracings”, 22.5 inches x 24 inches, photograph, archival inkjet print.

When I decided to paint the same thing, More adventures with paint suggested themselves.

“Tracings”, oil on canvas

 

“Drive By – Night” 68 inches x 42 inches, oil, metallic and enamel paint on canvas.

 

While driving around and capturing these images first as photos and then as paintings, I also observed what rain looked like as my headlights beamed off of the drops.

Small Rain

“Small Rain”, 40 inches x 72 inches, oil and metallic paint on canvas.

 

“Small Rain”, side view showing the reflective quality of the paint.

 

“Ebb Tide”, 70 inches x 70 inches, oil and metallic paint on canvas.

In the end the paint was able to create qualities that I observed in nature. Each effort suggested a new way of working with the paint, subjects that were at times representational and at others abstract. Trying to write about this in a grant is frustrating. All I can say is that I am skidding on black ice in a vehicle hoping not to crash.

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Pat Adams at the Bennington Museum – A First Glimpse

Pat Adams at the Bennington Museum – A First Glimpse


Paintings by Pat Adams

Gatherum of Quiddities:

April 1 through June 18

“For sixty years Pat  Adams has approached painting with an empiricist’s concern for the nature of visual form and the intimist’s sensibility that addresses the layered complexity of being.  With abstract paintings characterized by seductive colors and richly encrusted surfaces, Pat seeks to bring from her “gatherum of quiddities” – that stew of unnamed qualities – a visual situation that bestirs contemplation.”

Pat Adams (b. 1928), That is to Say, 2010, oil, isobutyl methacrylate, pencil and crayon on paper mounted to panel, 19 x 24 inches, courtesy of the artist

Pat Adams (b. 1928), That is to Say, 2010, oil, isobutyl methacrylate, pencil and crayon on paper mounted to panel, 19 x 24 inches, courtesy of the artist

 

From 1973 through 1976 Pat Adams was my professor at Bennington College. Pat already had 20 years of experience as a serious artist, showing in New York and collected by museums. The “landscape” for women artists was not an open one. The art world was both smaller and fairly closed to women. Things were changing, but most advances were hard won. I’m not really prepared to talk about what Pat was up against. All I can tell you is that until the 1980s, I believe, only two women had had a one person shows at the Guggenheim — Helen Frankenthaler and Helen Frankenthaler.

Seeing Pat’s paintings today I wonder why I didn’t know them better; why I wasn’t more aware of what she was thinking; what her process was; what battles she was waging on canvas. This retrospective at The Bennington Museum gave me a chance to experience her work and also see some of her materials: things she was looking at, tiny drawings she compiled endlessly in her notebooks. It was a revelation.

It was the opening night and not the best opportunity to take in the work, but at the end of the evening, when the rooms emptied, I had a moment to look closely at some of the pieces with the director of the museum, Robert Wolterstorff. I was struck by how my eyes were pulled around the canvas, how I flet moments of speed and slowness, of agitation and rest, of chaos and precision — like I was entering the universe. I wondered at the surfaces. How she achieved tiny irregularly shaped dots in a grid, how she painted a curved line that was at once as precise as a calligrapher’s curve, and yet broken in spots revealing the paint surface beneath. There was something so illogical about this line, so confounding, I couldn’t figure out how it was made.

When I was able to speak briefly with Pat during the show, she told me that some of the marks on the canvas were achieved by a kind of printing or transfer process. Painting on mylar and “stamping” it onto the canvas. But I didn’t get a chance to ask her about the lines.

Pat’s paintings are full of texture and unusual materials, mica, sand, pigment, and other minerals. Wolterstorff was most taken by this aspect of the work, which made him think of both Keifer’s straw and Beuys’ lard and felt. I forgot to mention to him that there was a Beuys exhibition at the college in the 1970s.

As we looked at the paintings, the rigor of the composition struck both of us. To me, they felt like mathematical journeys. Jamie Franklin, the curator, had displayed some things that Pat had pulled elements from — postcards of a Gothic Cathedral, the composition of an old Master painting, the shape of a sliced geode. All of these were echoed in the work.

Pat Adams' Notebook

Pat Adams’ Notebook

I believe that in the misogynistic days of the 1970s, these elements were at times dismissed as decorative. Seeing them now I know that they were no more decorative than the letters of a formula. What, after all, can be eliminated from E = mc 2 .

Pat Adams

Pat Adams

 

If you go:

Bennington Museum

75 Main Street
Bennington, VT 05201-2885
(802) 447-1571
administration@benningtonmuseum.org

June through October:
Open daily 10 am to 5 pm
Closed July 4

November through May:
Open Thursday through Tuesday (closed Wednesday)
Closed month of January, Easter, Thanksgiving Day, Christmas Day
Closes at 1 pm on December 24 and 31

A catalog is available. Call the Museum Store 802-447-1571 to order.

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Having Sex with Artists

Having Sex with Artists

A couple of weeks ago I dreamed that I had sex with Frank Stella under a boardwalk on Fire Island. We were both young. When I was the age I was in the dream I did this painting — clearly the “love” child of our astral meeting:

Leslie Parke Primary One

Leslie Parke, “Primary One”, oil on canvas.

 

Last night I dreamed that Anish Kapoor was courting me. It was all quite elaborate. I can’t wait to see how this will show up in my work. Harold Bloom would call this the “anxiety of influence”, I call it “having sex with artists.”

 

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The Aurora Borealis in a Zip Lock Bag — Essay about Leslie Parke’s New Paintings by Christopher Millis

Little do I remember of the astronomy lecture I attended twenty some years ago on a warm summer night in an observatory on what may be the last densely wooded tract of land in Cambridge. What I do remember is that the lecture put me in a kind of swoon. For the first time in my life, science and poetry became one. Somehow a talk on chaos theory and its relation to the order of the universe – randomness as the predictable and necessary precursor to design – had the heft and elegance and perspicacity of a poem you want to memorize or a painting you don’t want to leave.

Leslie-Parke-Road-Work

Leslie Parke, “Road Work”, 56 inches x 43.5 inches, oil on canvas, 2014. Photo Credit: Jon Barber

 

Leslie Parke’s paintings live at the same intersection where patterns court chaos, abstraction approaches the figurative and stasis hovers on the cusp of implosion. Her paintings are charged by contradictions: impersonal grids softened by sunlight; watery washes with metallic spikes; a cathedral of squiggles above a perfectly triangular black hole; the aurora borealis in a zip lock bag.

Leslie-Parke-Silo

Leslie Parke, “Silo”, 46 inches x 96 inches, oil on canvas, 2014.

 

But even contradictions are connected by themes, and what’s most striking across these disparate, spirited works is their relentless energy. This is a painter who thrashes in her sleep. And it is not merely high-powered kinesis that comes through so much as the integration of movement, color and form. It is no coincidence that the lines of “Silo” shift from vertical on the left half of the diptych to horizontal on the right; those same lines correspond with the play of light – muted to the left, increasingly luminous as the eye moves right. For all that it initially appears purely cerebral – the meticulous study of an industrial grid – the painting as a whole achieves the thrilling solace of a sunrise.

 

As with many artists at their performance peaks, Parke’s recent paintings seem deceptively effortless. They’re not. Go back to them; they have a lot to say.

Christopher Millis

Cambridge, MA

Christopher Millis’ criticism has appeared extensively in such publications as Art News, Artspeak, The Black American and The Boston Phoenix as well as on National Public Radio. He is the former editor of artsMEDIA Magazine in Boston.

Christopher Millis‘s writing has been published, produced and broadcast widely in the United States and Europe for the last twenty years. He has authored three books of poetry: The Handsome Shackles (2002,) Impossible Mirrors (1994,) and The Diary of the Delphic Oracle (1991,) and his poems have been featured in numerous magazines and anthologies. In 1994, his translations of the Triestine poet Umberto Saba appeared as The Dark of the Sun (University Press of America,) and the first of his acclaimed translations of Palestinian poet Mahmoud Darwish, “Requiem for Mohammed Al-Dura,” was published in The London Review of Books in 2000. His translation of Darwish’s “I Remember al-Sayyab” appeared in 2004 in The London Review of Books, The Daily Star, and The International Herald Tribune.

In 1979, Millis was commissioned by the Theater of the Open Eye in New York to write the libretto for Jean Erdman‘s dance opera The Shining House, a collaboration with Michael Czajkowski, Paul Jenkins and Ralph Lee. The Shining House established itself as part of the repertoire of Jean Erdman and Joseph Campbell’s Theater of The Open Eye with productions until 1984. The following year, Poems for the End of the World (1985,) choreographed by June Anderson, appeared at the Merce Cunningham Dance Studio. Millis collaborated with Anderson and David Leisner on The Magnetic Properties of Moonlight at New York ‘s Dance Theater Workshop in 1986.

Millis’s one-man autobiographical play Garbage Boy, directed by Ashley Lieberman, premiered to critical acclaim in Cambridge Mass. in 2004 and was included in the 2006 New York International Fringe Festival

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How Ed Ruscha and Jules Olitski Saved Dinner

As I was rinsing up some pots and pans, the Cuisinart, that was whipping my black beans into soup, leapt from the counter and crashed on the floor sending copious amounts of  brown sludge onto the floor, stove and walls.  My first thought, as I saw this gigantic splatter was, “Is there a painting in this? Can I make art out of this?” As I sifted through my mental catalog of art that might inform this decision, I thought of Ruscha’s drawings made with mustard, catchup and other culinary items.

 

 

 

 

 

 

 

 

 

 

Ed Ruscha, Very Angry People, cherry stains on waterfall rayon
20 H x 24 W (inches), 1973

And then, when I dug out my flat pastry blade to scrape up the thick soup, I thought that this was a painting tool that Jules Olitski would appreciate. Even Walter Darby Bannard made a brief appearance, when I slid the scrapper across the floor and left thick brown lines at the edges and smears in the middle.

Jules Olitski, Shekinah Light* (1990), acrylic on canvas

 

 

 

 

 

 

Walter Darby Bannard, Old Battles

Happily, once I cleaned up the floor, stove and walls there was still enough soup left in the pot for dinner.

Ed Ruscha: In his drawings, prints, and paintings throughout the 1970s, Ruscha experimented with a range of materials including gunpowder, vinyl, blood, red wine, fruit and vegetable juices, axle grease, chocolate syrup, tomato paste, bolognese sauce, cherry pie, coffee, caviar, daffodils, tulips, raw eggs and grass stains.[27] Stains, an editioned portfolio of 75 stained sheets of paper produced and published by Ruscha in 1969, bears the traces of a variety of materials and fluids. Ruscha has also produced his word paintings with food products on moiré and silks, since they were more stain-absorbent; paintings like A Blvd. Called Sunset (1975) were executed in blackberry juice on moiré. However, these most vibrant and varied organic colourings usually dried to a range of muted greys, mustards and browns.[28] His portfolio Insects (1972) consists of six screen prints – three on paper, three on paper-backed wood veneer, each showing a lifelike swarm of a different meticulously detailed species. For the April 1972 cover of ARTnews, he composed a Arcimboldo-like photograph that spelled out the magazine’s title in a salad of squashed foods. [Wikipedia]

Jules Olitski  evolved a radically innovative technique of laying down atmospheric blankets of colored spray on the canvas, marked at first by barely discernible straight-edged value changes near the edge of the picture and later by acrylic paint dragged along portions of the edge. He exhibited internationally in the late 1960s and was selected as one of four artists to represent the United States at the Venice Biennale in 1966. In 1969 he was invited to exhibit large, aluminum, spray-painted sculptures at the Metropolitan Museum of Art becoming the first living American artistto be given a one-person exhibition there.

He taught at Bennington College from 1963 to 1967.

In the 1970s Olitski returned to the thick impasto surfaces which characterized his work in the 50s but with innovative techniques that took advantage of the newly improved polymer and gel acrylic mediums. [Wikipedia]

*The Hebrew word shekinahis a feminine term for God’s transcendent presence, which doesn’t “actually descend down from heaven, but rather is described as the light that occupies everywhere.”

Walter Darby Bannard began using the new acrylic mediums in 1970 and his paintings evolved into colorful expanses of richly colored gels and polymers applied with squeegees and commercial floor brooms, which continues to the present. [Wikipedia]

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Was it Rodin who influenced Matisse, or Rodin’s model?

 

MatisseTheSerf

Matisse, “The Serf”

 

Matisse’s  second sculpture, The Serf, was a direct confrontation with France’s greatest living practitioner, Auguste Rodin. Its subject was  César Pignatelli, nicknamed Bevilacqua, a favourite model with Rodin, who cast him over 20 years as a handsome, wolfish young John the Baptist, a gaunt, death-bound Burgher of Calais and the homicidal Count Ugolino, driven by starvation to devour his own sons. In 1900, when Pignatelli first posed for Matisse, he was simultaneously modelling for Rodin’s abortive study of the mad king Nebuchadnezzar.

 

Rodin-st-john-the-baptist

Rodin, “Saint John the Baptist”

 

Rodin said of Pignatelli:

As soon as I saw him, I was filled with admiration; this rough, hairy man expressed violence in his bearing… yet also the mystical character of his race. I immediately thought of a Saint John the Baptist, in other words, a man of nature, a visionary, a believer, a precursor who came to announce one greater than himself. The peasant undressed, climbed onto the revolving stand as if he had never posed before; he planted himself firmly on his feet, head up, torso straight, at the same time putting his weight on both legs, open like a compass.The movement was so right, so straightforward and so true that I cried: ‘But it’s a man walking!’ I immediately resolved to model what I had seen. (Dujardin- Beaumetz, 1913).

 

Pignatelli

Pignatelli

 

Matisse, "Male Model"

Matisse, “Male Model”

 

Rodin, "Head of John the Baptist"

Rodin, “Head of John the Baptist”

 

Matisse-Pignatelli

Matisse, “Pignatelli”

 

Video of Rodin: http://www.youtube.com/watch?feature=player_embedded&v=32ai6cLaKGw#!

Video of Matisse: http://www.youtube.com/watch?v=GN0okOq8Hyc
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Or order from your local independent books seller. Mine is Battenkill Books. Find the independent bookstore closest to you at IndieBound.org

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