Notes On Art

Notes on Art – MOVED

2012-08-16T08:00:00.001-07:00

In order to streamline my on-line presence Notes On Art has moved to be a part of my web site at:

www.suzannegibbs.com

You can expect more blogging on Fine Art and Fun Art with a focus on:

Interviews, Influences, and In the studio.

Please join me at:

Notes On Art

Thanks for reading!

New Website!

2012-08-06T15:12:00.000-07:00

Exciting things are happening. I have a new website please check it out!

www.suzannegibbs.com

I had a little help. Thanks Kim @ ArtBiz!

A sample of how my work looks in a big space. UN-hung, sitting on the ground.

Considering Where To Put Your Focus

2012-08-04T15:56:00.001-07:00

This article is too good not to share:

http://blogs.hbr.org/bregman/2009/05/two-lists-you-should-look-at-e.html

I have written on this topic before:
http://suzanneutaskigibbs.blogspot.com/2012/07/pay-attention-to-what-you-pay-attention.html

Studio Process: The Tools I Make

2012-08-02T13:41:00.001-07:00

As an extension of my painting practice, I make my own tools with bits and scraps from the studio, what others might consider garbage. Sometimes, I will carry trash into my studio from my city visits and utilize these scraps in my work.

Wire tool hanger.

My Tools-Close Up.

More Tools-Close Up. This one is a favorite!

For me, the end of a used roll of tape and a bit of shelf liner becomes a tool with which to make ben-day type dot patterns. A scrap of wood with nails embedded into it becomes a paint tool or a scraper. Old erasers, plastic pieces of pipe, buttons, pennies, bike chains, and many other items that would normally end up in the bottom of a junk pile, are all fodder for possible use as tools or as a layer of texture within my work.

Some well used tools and some newly created tools.

General Studio Shot.

Studio view.

The possibilities for turning odd materials into painting surfaces or patterns serve my purposes well. I explore territories of structure and disorder, what is noticed and what is ignored. My paintings allude to maps, communities, architecture, house plans, and neighborhoods.

Fire extinguisher for safety and a red box full of scrap papers.

In progress work.

Suzanne Gibbs, 2012. Wax Paper Collage.

Thanks for viewing. Have you aver made tools to work with that you could not buy at a store? I'd love to hear your story.

A School Sweatshirt Needed A New Life

2012-08-01T19:35:00.001-07:00

Peace.

Paper printout from computer. Ikea paper for hashing out design ideas. Sharpie markers. Cardboard stencil cut with x-acto knife. Acrylic paint. Time. More acrylic paint. A school sweatshirt gets a new life. Thanks for viewing.

A Gallery Full of Words-Katie Grip and Kristen Bradford

2012-07-31T16:58:00.002-07:00

Oh how hard I tried to make a video of this installation and well, I blew it. I obviously need to read my owners manual. But to find the time...that's another matter.

Oh well, enjoy the stills. Work of Katie Grip and Kristen Bradford. Was displayed in East Gallery at CGU.

A Gallery Full of Sculpture-Matt Hillseth

2012-07-31T14:11:00.003-07:00

Matt Hillseth is continually working. But I never see him. Enjoy his art. Photos taken in East Gallery at CGU.

Leslie Love Stone–Artist Interview

2012-07-30T17:29:00.006-07:00

Interview With Artist, Leslie Love Stone

What kind of art do you make?

I am a painter, illustrator, and graphic designer who uses any medium or vehicle that best fleshes out my subject. Lately, I’ve been painting on smaller wood panels and mixing a full spectrum of colors, including black, from three hues only. The limitations are intriguing and ultimately appropriate to my current series. My work is a blend of well-crafted theory and application, intuition and intellect; it is abstract, mathematical, and elegant in its simplicity.

Leslie Love Stone, 2012.

When did you consider yourself to be an artist?

I can see very clearly a seminal moment when I was six—and there have been others at eight, ten, and fifteen—but, as someone who has had a full and successful career in another field, the point-of-no-return occurred the first time I sat down at the work table in my CGU studio. It was sublime.

After school, where do you plan to locate your studio? Do you have a plan for how you’ll set it up?

My first priority is finding a job. I’d really like to teach at a university, but positions are not readily available. Plan A is to take any full-time, tenure-track position offered, no matter where it is. (I have the luxury of being able to easily relocate.) Plan B is to look for an art-related position, perhaps in a gallery or museum. I hold undergraduate and graduate degrees with concentrations in finance, economics, marketing, and international business; and I have had an executive-level career and served on several nonprofit boards. Add that to an MFA and somewhere in there is the right mix of skills for somebody. Bottom line: Once I find a job—wherever that is—I’ll establish a studio. My set-up here at CGU is great and I’ve made sure everything is mobile and easily transported. The only thing I won’t be taking with me is the sink.

Does your studio location influence your work?

I believe the successful professional artist must establish a daily schedule and stick to it. It’s a job. So, for me, I need a place that is independent from my home, a place where all my work can be left in-process to be continued the next workday. I’ve always put in a lot of hours, but somewhere early in my career, I learned that if I were ever to have balance in my life, I had to keep work and home separate. I never take work home. I may stay at the office or studio for 14 hours, but I never take work home. I also never bring personal issues into my workplace; it’s just not professional.

Describe a typical day of work.

I get up between 6:30 and 7:30 to work on projects that require the computer, which might include writing, designing, or researching. I like to hit the studio around 10 and work until 6-ish. I usually stay in for lunch and take a walk-break sometime in the afternoon. I try to have two to three pieces going at the same time to minimize my downtime—there’s nothing worse than sitting around waiting for paint to dry. I typically work Monday through Friday, but will occasionally come into the studio on a weekend if I have a deadline or don’t want to leave a piece for two days.

What materials do you most often use?

Right now, it’s just paint and panel.

What is your most coveted studio furniture piece?

My studio is my office. All I need is a flat surface and a little elbow room.

What unique tools or devices do you use that are critical to your process?

It’s an interesting topic. I think I could make art with anything and often get into the questionable practice of using the same brush to perform widely different duties. Many of my colleagues are tools experts and pride themselves on knowing which specialized instrument performs what precise task. But that’s just not me. I would make a terrible dental hygienist and, if I could, I’d play the entire round of golf with just my seven iron.

Can you tell me about an item in your studio that has significance to you?

I believe that failure is a step on the way to success, that success is often 99% failure. I have a canvas in my studio from one of the first paintings I ever made. The painting was hideous and no matter how hard I tried to resolve it, I just couldn’t. But I learned some things and went onto the next painting and the painting after that and here I am in grad school. I put a little piece of that canvas on the back of every painting I make.

Describe your project schedule.

I am currently working on a series entitled, Segments. I’d like to finish it by the end of September so I can start on the next one. My goals for the summer include completing the redesign of my Web site and related collateral, photographing my work-to-date, and writing my thesis statement.

Where/when do you let ideas percolate?

I can’t think of a time when I’m not letting ideas percolate.

How often do you clean your studio?

My studio is fairly organized and stays pretty clean, which clearly requires ongoing maintenance. Typically, I sweep and mop on Friday afternoons before I go home.

How do you title your work?

No formal process—I just let the content drive the title.

Have you or would you work for another artist?

I would definitely work as an artist’s assistant. What I won’t do is create work on another artist’s behalf. Art is not composition; it is composition and execution.

Tell me your artist motto, manifesto, or creed.

A manifesto is simply a public announcement of intention. I began working on mine after seeing a presentation from another artist who shared hers. A few months later, I thought, “Why am I writing this?!!” As a visual communicator, painting my manifesto certainly makes more sense. The four tenets employ blues and browns to convey possibility and clarity, the unknown and the known; they express my intention to:

Balance intuition and intellect, my life and my art practice. The kind of person I am is more important than the kind of artist I am.
Make art to consider things I don’t know, not reinforce things I do. Searching for the truth is more important than finding it.
Encompass other perspectives. Allowing other viewpoints is the only way to achieve complete understanding. I am the sky; I have room for everyone.
Respect the dignity of all living beings. I feel a special responsibility to those who cannot choose for themselves the course of their own lives. To use them in my practice would be oppressive and exploitative. Therefore, I do not use animals or children (alive or dead) in my art.

Any advice for other artists?

Work hard. Put in the hours. Roll up your sleeves, start where you are, and work with what you have. Focusing on failures, setbacks, and missteps serves no purpose. You can only get to the joyful, transcendent moments when you keep going.

Any question I should have asked?

I think I would have asked about process. It seems like artists fall into one of two groups: they either jump in and let the materials take them to a sometimes surprise ending or they do the thinking up front, making the process more about implementation. I am the latter. I don’t make every decision before I start painting, but the “figuring it out” is a cerebral event and, for me, the joyful part of making art. Some people like suspense thrillers because they are stimulated by the rush of unexpected action; I like mysteries because they are puzzles to be solved.

Leslie Love Stone, 2012.

To see more of Leslie's work check out her website.

I cannot thank Leslie enough for her time and consideration in her responses to my questions.

Top 4 non-art supplies suppliers

2012-07-28T20:41:00.001-07:00

Non-art Supplies

Home Depot - while I prefer a neighborhood hardware store this big box store is more readily available these days, buckets, tools, rollers, tape, sand paper, picture wire, nails, screws, and more.

My bucket. Used to keep water, about half full. Why?
I use the water to dunk my hands in if I burn myself working with hot wax.
Alternately to put out a fire if I catch my art work on fire with my torch.
Yes, I also have a fire extinguisher in my studio!

ACE Hardware - while an old fashioned neighborhood hardware store would be my number one choice, when I live close to an ACE store I prefer it to Home Depot. In fact I would love for my readers to tell me about their favorite home-grown hardware store. Share pictures too!

150 Sand paper, sanding block for detail work. Sanding block for working with tile.

Tools of the trade. Making art is akin to construction in many ways.

When I do not use my torch I use a heat gun to fuse the encaustic paint. Thank, ACE!
PS I have two of these because they frequently overheat while I work!

Premier Packaging - to get ready for Open Studios, Art Fairs, or other selling venues this on-line store has bags and other display ready items.

Pexi-U Bracket for display and peg board.

Crystal Clear Bags - Bags for protecting cards and art work, some paper goods too.

Cards with matching envelopes.

Clear bags for larger art.

Package for 3-4 cards.

Cards inserted.

Clear Bag for one card.

After these there are the obvious other stores that a self-employed person would need to visit: Office Depot, Staples, or Office Max for office supplies.

Don't forget an A-Frame! This one uses chalk AND magnets!

Culver City Field Trip, Part 3, Lana Shuttleworth

2012-07-26T13:44:00.001-07:00

Lana Shuttleworth

These pieces are strange, or shall I say, strangely made? Made out of little cut up pieces of what looked to be rubber, the images appear very different from a distance. I took close-up detail pictures because the small piece work and hundreds of little nails is fascinating. Click on: Lana Shuttleworth to see what she uses to make her rubbery images. Her work can be found at: George Billis Gallery.

Studio Sneek Peak. New Work: Grids With A City Sensibility

2012-07-25T13:40:00.002-07:00

Diligently working every day this summer. I am enjoying the quiet of listening to my own voice without the professors daily input. My focus has been: Grids With A City Sensibility. Let me know what you think of this new body of work.

I am posting it ALL FOR SALE. Prices are reasonable. During the month of August I will be preparing for Year 2 of graduate school at CGU. The preparation includes finalizing my Thesis Paper and purchasing supplies for my final show sometime in the Spring of 2013.

Suzanne Gibbs, 2012. Reused, 20 x 20. Oil on Canvas. $280.

Suzanne Gibbs, 2012. Face Grid, 24 x 24. Oil on Canvas. $340.

Suzanne Gibbs, 2012. Rubber Band Grid, 20 x 20. Oil on Canvas. $280.

Suzanne Gibbs, 2012. Pocked, 24 x 24. Oil, canvas, paper, wax pastel, encaustic on wood panel. $620.

Suzanne Gibbs, 2012. Not sue if it finished yet grid, 24 x 24. Encaustic, pen, canvas on wood panel.
NFS, yet. Convince me it's finished, then you can purchase it!

Suzanne Gibbs, 2012. Musical Grid, 18 x 22. Tape, paper, canvas, oil, gouache, acrylic on Canvas. $280.

Suzanne Gibbs, 2012. Collaboration 1. 14 x 11. Acrylic, oil, oil stick, canvas on canvas. $180.

Suzanne Gibbs, 2012. Collaboration 2. 14 x 11. Acrylic, oil, oil stick, canvas on canvas. $180.

Suzanne Gibbs, 2012. Character Grid. 48 x 36. Oil, string, paper, gouache, oil stick on canvas. $575.
This one is slightly discounted because the canvas stretchers warped just a little bit after may layers of paint.

Packing and shipping are extra.

Visit to CB1 Gallery–Ardeshir Tabrizi

2012-07-25T10:43:00.001-07:00

Paintings and Notes. Work by Ardeshir Tabrizi. The art did not stand out for me. The paintings/drawing are well executed. I do enjoy seeing good drawing skills and art with a lot of patterning. I write about it here because I got to take home a dandy 16 page booklet. It has been sitting on my desk for weeks.

Ardeshir Tabrizi, cover of booklet.

The booklet could also be called a catalog. This week, art coach Alyson B. Stanfield shared a blog post encouraging artists to make catalogs of their work periodically. Read about it here.

Should artists share their sketch books in a gallery setting? Ardeshir Tabrizi not only framed some of the pages of his sketchbook, he also printed them in the booklet that was given away to interested patrons of the gallery.

I question if the sketchbook is a "sketch" once it is brought into the gallery. It brings up for me public vs. private domain of art production. Is a sketch for the eyes of the artist and/or fabricators only, or are they also relegated to the gallery setting as: Art? I have no answer to this question. Below are some pictures of the booklet.

Ardeshir Tabrizi

I like the raw feeling of the sketch pages. I was fortunate enough to be invited to the backroom of this gallery to see other works by this artist. The backroom work was better, I thought. I was and am grateful for the peek behind the scene at CB1 Gallery.

Please consider posting your ideas about:

Do sketches belong in galleries?
Have you considered making a catalog of your own work?

Culver City Field Trip, Part 5, Andrea Cohen

2012-07-23T16:12:00.003-07:00

What do you get when you combine an artist with plaster and bubble wrap? Some really funny in-side-out sculptures, that's what. Lately I have been using bubble wrap to paint with. Chuck Feesago has also been using bubble wrap in the creation of his work. I wrote about a recent show he was in.

On this field trip I saw some sculptures made out of the negative space of bubble wrap. All this has me feeling that we may have a need for a Bubble Wrap art exhibit. It may sound too simplistic, but maybe not.

Suzanne Gibbs, 2012. Pop It. Acrylic on found plywood made with bubble wrap prints.

Chuck Feesago. At University of LaVerne Harris Gallery

Chuck Feesago. Detail.

Andrea Cohen

Andrea Cohen's work can be found at the Walter Maciel Gallery in Culver City.

Culver City Field Trip, Part 4, Charlotte Smith.

2012-07-22T12:27:00.000-07:00

These paintings are beautiful. I have never seen anything like them. Made of layers of acrylic. Mostly dots and drips. Charlotte Smith's work can be found at George Billis Gallery in Culver City, LA.

Charlotte Smith.

Charlotte Smith. Detail.

Culver City Field Trip, Part 2, Michael Wilkinson

2012-07-21T10:44:00.001-07:00

Michael Wilkinson

The work of Michael Wilkinson at Blum and Poe. His work transformed the gallery space in a most unexpected, bewildering and wonderful way. Even the ceiling started to feel like it was part of the artists conception of the overall atmosphere. I will say no more. Let the photographs I took do the talking for me. Enjoy!

Michael Wilkinson

Michael Wilkinson. Lego Cube.

Michael Wilkinson

Michael Wilkinson, sand.

Michael Wilkinson, felt.

Michael Wilkinson, wood pole.

Michael Wilkinson, mirror material.

Michael Wilkinson, I found an abstract image in the work.

Michael Wilkinson.

Culver City Field Trip, Zhu Jinshi

2012-07-20T10:09:00.000-07:00

Below are my impressions of the following art. The work is by Zhu Jinshi and was on exhibition at Blum & Poe earlier this year.

The number one aspect that has stuck with me and has decidedly made me feel it is worth mentioning in my blog, is that Zhu Jinshi uses A LOT of paint. I do believe these pieces will take upwards of 75 years to dry, if they ever do. They are created in oil and range in size from13 x 8 feet to 24 x 24 inches.

They are very ugly. However, the work did make me think about the materiality of paint. What can paint do? How heavy does paint become in large quantities (the canvases were sagging from the weight in most instances)? The paint appears like lard mixed with sand or dirt in color on canvas. In parts the paint looked like swollen flesh. These paintings are insanely bloated. Other than the fact that they hang on canvas on a wall, they may as well have been sculpture made of paint.

Yes, this is all paint!

Review: Daniella Woolf

2012-07-19T08:20:00.002-07:00

Unbelievable! The cover of a magazine jumped out at me today. My encaustic teacher Daniella Woolf from a workshop I took about a month ago at R and F Paints is featured as the cover artist in Cloth Paper Scissors magazine, a publication for collage, mixed media, and artistic discovery.

Way to go Daniella! So excited for you. I want to work with you again, soon!

Suzanne Gibbs, 2012. Pick Up Stix. Encaustic.

I started the above art work when I was in class with Daniella. Since then I submitted it to Studio Visit Magazine and it was juried in by Jonathan Greene for publication this winter.

I cannot thank Daniella enough for her teaching and encouragment. With her help I have brought my work to a new level.

In the artist profile article in Cloth Paper Scissors, Barbara Delaney writes that Daniella Woolf uses her own unique combination of artists techniques to keep herself focused and grounded to making not only more work but coherant work. I'd like to share with you the three tips that jumped out at me from the article:

Morning Pages
Containers
Ideas flow from a bigger force.

Morning pages was an idea coined by Julia Cameron. For the past 18 years or so, beginning with a workshop I took in Eugene, OR, I too have found myself working back and forth between using the morning pages technique and abandoning it. Often, it is most helpful when I am feeling stuck.

The containers idea, while not new, is becoming increasingly important to me as I develop my practice while earning my MFA at CGU. I have been making art for the past 30+ years, more if I count my childhood. I am off and on again with my production. I am beginning to realize that I have often dropped away from my creative work when I loose sight of containing the ideas that flow through me. I LOVE the containers idea!

Basically, containers means setting parameters BEFORE beginning a series of work. I would like to attend a workshop on this idea alone. Instead, I will try to channel Daniella and remember that I can produce a more cohearant body of work by roping in some part of my practice. The container could be the materials, the size of the work, the colors I use, or any other parameter that feels appropriate. If you, dear reader, have any ideas on this topic, please share.

Finally–the work comes from forces larger than ourselves. The larger force is different for everyone, but many would agree that it is out there. Thanks for reading and most of all Daniella, congratulations and thank you for your awesome work!

Lecture Notes: Pattern Painting

2012-07-18T12:29:00.000-07:00

I was in a lecture recently that discussed Pattern Painting. It is important to me because I use patterns and grids to create my paintings. According to this lecture, Pattern Painting is the opposite of Abstract Expressionist, or said another way: Post Painterly Expressionist. Post-painterly Abstraction is a term created by Clement Greenberg.

Suzanne Gibbs, 2011.

Pattern Painting in itself is not an art movement. Yet many artists use patterns in their work or use patterns as their work. Saying pattern painting is the opposite of abstract expressionist is true and relevant in an art historical lecture, but not as relevant when viewing artwork as influence. A short list of painters to look at in the genre of pattern painting are:

Agnes Martin–gorgeous lines on a neutral background

Suzanne Gibbs, 2012. String, acrylic gel on canvas. Influenced by Agnes Martin work.

Bridget Riley–graphic alteration of perspective on a flat space in black and white

Karl Benjamin–he has the most awesome command of color

Tim Bavington–making music in color

Carl Fudge–super patterny (made up word)

Philip Taaffe–complex all over patterns often made with stencils

Suzanne Gibbs, 2012. a detail of some stencil work I've done influenced by Philip Taaffe

Jackson Pollock–all over drip paintings (a strange and fun Pollock website)

Jasper Johns–his motto: do something that friends aren't doing

Suzanne Gibbs, 2012. Detail of XO. Encaustic, paper, ink and house paint on paper. Influenced by Jasper Johns.

Robert Motherwell–bold black marks on white

Willem De Kooning–bold expressive mark-making, often female forms

Hans Hofmann–another master of color in loose shapes all over the canvas

Barnett Newman–color fields zipped together by color

Robert Rauschenberg–his work is loaded with stuff, combines

Helen Frankenthaler–every bit of the surface is important in her work

Clyfford Still–worked a lifetime of paintings, now has a Museum in his name

Frank Stella–geometric paintings that were flat then moved into three dimentions

The lecture made me think about:

Creating a totality and a choreography of the space.
What are valid subjects for paintings?
Giving people a point of reference.
Starting with materials and make the work coming from that.
No planning just canvas and materials are brought together.
The experience of color is tactile and more.

I could have found pieces of my work that have influences from each of these artists. All artists look at other artists work for inspiration. My son asked me the other day: "Where do musicians get their ideas?" I said, "from other music I suppose, and from life." We are all learning from one another.

Leo Castelli is an important guy because he had the galley that showed most of the artists I listed above. He influenced the art through sales.

Pay Attention To What You Pay Attention To.

2012-07-17T11:25:00.000-07:00

Clearly, where we put our focus is what we will materialize in our life. I am finding that in grad-school everything is what we make of it each day. What we choose to pay attention to manifests the results. Post-grad work will be a plethora of opportunities–or at least I sure hope so!

Suzanne Gibbs, 2012. Linear Collage. Gesso, acrylic, gouache, tape, paper, and canvas on canvas.

Myths that I hate, Artists are:

poor.
loners.
weird.
replaceable.
crazy.
odd.
unreliable.

A Can Do Focus

The steps, as I see it, that can be taken to bust the myths.
Work the Art.
The business of art.
Work ethic.
Resiliency.
100% supportive people.
Understand and leverage the power of ideas.

I took the time to look up the artists that I feel are best symbolizing the above mentioned myth busters. Following is what I came up with.

Work the Art

“I follow my instincts and work on the projects that interest me, whether writing, painting, blogging...or something else. No one can anticipate where each project will lead – you just have to embrace the not-knowing.” Sharon Butler,  Author of: Two Coats of Paint and other publications, Artist and University Professor.

Sharon Butler, Untitled (detail), 2012
pigment, binder, pencil on unstretched linen
48 x 60 inches

The Business of Art

“All my work is about what we want from art, what collectors want, what artists want from collectors, what museum audiences want.” Andrea Fraser, Artist, Performance Art, Writter, University Instructor

Andrea Fraser.

Work Ethic

“I am the head of a team, a coach, a producer, an organizer, a representative, a cheerleader, a host of the party, a captain of the boat, in short, an activist, an activator, an incubator.” Gabriel Orozco, Artist and business owner, lives in two countries.

Gabriel Orozco. Yielding Stone (Piedra Que Cede), 1992. Plasticine and dust.

Resiliency

“I was supporting myself, but nothing like the guy painters, as I refer to them. I always resented that actually.. we were all getting the same amount of press, but they were going gangbusters with sales.” Cindy Sherman, Artist, Performmance photographer.

Cindy Sherman.

100% Supportive People

“I think about, the economics of collaboration.” Alexandra Grant, Painter, Collaborative Artist, Business Owner

Alexandra Grant. Studio Shot.

Power of Ideas

“I just wanted to find out where the boundaries were. I've found out there aren't any. I wanted to be stopped but no one will stop me.” Damien Hirst, Artist, business owner, celebrity.

Damien Hirst.

Focus on a career in Art:

Work the Art.
The business of art.
Work ethic.
Resiliency.
100% supportive people.
Understand and leverage the power of ideas.

We all have the potential to be our own brand of artist.

My brand of artistic career contains the following:
Making Art
Teaching Art
Writing about Art

– And for some shameless self-promotion, if you are reading this blog thank you. If you really like the content consider subscribing (use the button to the top right). Alternately, if someone shared this post with you and you want to see more, go to my Blog at:

http://suzanneutaskigibbs.blogspot.com/

Most importantly, what did I leave out that any one of you might find highly relevant? Please share in the comments section below.

Formalism vs. Conceptualism

2012-07-15T21:45:00.002-07:00

At the onset of my pursuit of a MFA degree I was very confused about Formalism vs. Conceptual-ism. Not because I had never heard the words but because I could not understand why the terms had to be mutually exclusive. I kept wondering could these terms be like the chicken and the egg story?

Some of my materials.

I took notes. This is how I have understand these things so far. I have a lot more to learn.

Formalism

the way things are made
process
painting and sculpture
technique
structural design
patterns
form in isolation from concept
aesthetic evaluation of formal characteristics

Conceptual-ism

know the difference between concept and content
the idea behind the work
performance art
strange looking stuff that is called art
1960's - 1970's origination
how it looks or what materials are used is less important than the idea behind the work
making a plan and executing it

The funny thing about all these terms is that we all could find art work that straddles either Formalism or Conceptual-ism. Even a child's drawing for his or her family could be both conceptual and formal. She/he used crayons to represent what she/he wanted her family to look at.

Formal:

use of crayons and paper

Conceptual:

any family drawn, not her/his own, because the idea is to draw a better/worse/different family

Alternately,

Conceptual:

crayon line drawn on the wall all the way around the room until the crayon ran out just to see how long it takes for the crayon to run out and to see what mommy will say or do

Formal:

the process of walking around the room with the crayon touching the wall

Sharing an artists work: Linda Stillman

2012-07-15T21:32:00.000-07:00

Love her work. Take a look: Linda Stillman.

Marina Abramović - Documentary Review

2012-07-13T06:30:00.000-07:00

I recently went to see: The documentary about the performance piece, The Artist is Present by Marina Abramović.

A picture of me and a friend Present in New York City on a beautiful morning.

When Marina describes the difference between performance art and acting I devoured her words. She has developed her own sense and sensibility about what she wants others to know about her life and art practice. I believe she said something about a performance artist using a real gun and an actor feigning death. Abramovic is nothing of not real.

I admire her work tremendously.

The first half of the documentary was full of tidbits of which young artists should take note.In thinking about the movie I visited a few other bloggers posts. Here is a blogger sharing an interview with Marina. One other blogger expounding on Marina's:

"current life's mission: moving performance art from its historic position on the fringes of the art world into the mainstream."

I am hopeful that she will reach her goals for herself. I do not recommend the documentary The Artist is Present. I would much rather see Marina perform in real time and in real life one day. I felt like it was the difference between reading the book versus watching a movie based on a book. I would rather read the book. I wouldn't mind another morning in New York on a balcony above it all with tea and a friend either.

Book Review - The Death and Life Of American Cities

2012-07-12T05:35:00.001-07:00

This summer I read "The Death and Life of American Cities" by Jane Jacobs in order to further the research needed to deepen my practice of understanding the anomalies I see in everyday random moments, the patterns of life upon our environment. Especially in cities and how they support the life we live. All that I see influences how I paint.

Can you imagine my surprise when I found out that my brother's wife's mother's aunt IS Jane Jacobs! We need more words for relatives, the way Mexicans do. My brother's mother-in-law's aunt, is that clearer?

Here is the excerpt of the moment when my brothers family member (and mine too by extension) realized the connection:

"Suzanne, did you know that my aunt, Jane Jacobs is noted widely as a heroine in the pursuit of building cities for people? You might look her up. Her best known book was The Death and Life of American Cities. Neighborhood walks are held all over the world to celebrate her philosophies, around her birthday. I just thought knowing she was a quasi-relative might reinforce your quest!

Jane (and Bob) was a big influence on me and my girls because we spent about every 6th weekend with her and my Uncle Bob, in Toronto, all the 13+ years we lived in Buffalo, until we moved in 1984. They lived in Greenwich Village when I was a kid, and we visited them there. Jane is my Mom's sister-in-law. (BTW, Mom will be 100 this year! Looks like we have longevity like you do!)

Check into the "Jane's Walk" (online). Iona and I went on one in May, in Cambridge, and my brother Robin and I went two years ago. There were several in Boston to choose from, and 8 in NYC! Amy went on one, this year, in Seattle.

A peak-a-boo picture through a fence in Los Angeles on Fairfax Avenue.
Possibly considered blight by others, to me this is Art!
And the shops in this area are fantastic.
We drive an hour to visit the Thrift Stores and other amazing shops in this area.

Their children live in Canada, and I often see some of them when visiting Amy and Steve, since the congregate in Vancouver, BC now and then! It means a lot to me that Jane's philosophy is meaningful to YOU!

My Uncle Bob was an architect, and primarily designed hospitals, again, trying to create an environment where people would be comfortable. He died in a hospital he designed. I visited him there, and with a big smile on his face, he said how lucky he was to be in such a lovely place to die. Hummmm. We should all feel that way about our environs.

The stickers make it quite clear that many people visit here. Fairfax Avenue in Los Angeles.

That makes me think of your theme of "no home." We search, I think for that comfort of what we think home should be. Jane had a larger concept. I find a lot of my work is done in warm tones, colorful, and with comfortable "domestic" topics... home. For many years my life was chaos, and I was terribly unsettled.

When my parents announced they were moving to FL (after I'd moved east to be near them), that was another jolt, but I made my first, comfy, home here, and love it. Now, I can move and realize that my home is where I am, and what I make it. I can leave if I want or need to. Thus the artwork. It freed me up, some, I think. Just thoughts provoked by your journey..."

Even the weeds like Fairfax Avenue in Los Angeles.

While I read the book by Jane Jacobs I felt like I was reading the words of a kindred soul. I wanted to tell her I believe you, wow, yes, tell me more...there are all sorts of ways to evaluate the patterns of life and the people who live in cities.

Jane Jacobs' work was first published 50 years ago, however much of what she says still rings true today. At least it does for me. I am so thankful for her work. Next May I plan to attend a Jane's Walk. How about you?

Go See It–LACMA Visit

2012-07-11T08:33:00.001-07:00

My family and I went to see the art work "Levitated Mass" on July 7, 2012. Or as well call it, "The Big Rock at LACMA." Nicknamed, "The Rock." Upon first approaching it my younger son said, "So what is the big deal with this rock, the Egyptians moved a lot of rocks, maybe even bigger than this one, without any trucks." He was not in LA during all the news coverage, so he really did wonder, what is the big deal?

He has a point.

As a family we approached the art piece as do many other people by walking down the ramp towards the rock. We stood under the rock for a few seconds. We looked up and noticed that it is bolted to metal strips on either side of the deep ramp. We began walking up the other side of the ramp. While moving away from the boulder we turn around a few times to look again. We took some pictures.

My Husband and Son.

The Bolts under the Rock.

Other Families.

It is funny. When we arrived, the rock did not feel or look that big to any of us, but as I view these pictures I realize that yes, the scale is rather large in comparison to the people in the photographs. The images are right out of my camera. No special lens. No Photoshop. As my older son mentioned while we ate lunch after viewing The Rock, "You know that rock was pretty amazing."

I opened the Los Angeles Times news paper today, Sunday, July 9, 2012 and Levitated Mass is on the front cover. I moved to The Guide, Museums section, and again The Rock is mentioned. This time by critic, Christopher Knight. Basically everyone saying, "Go See It." I would be remiss if I did not mention Michael Heizer, the artist who conceived of this project.

Is Michael Heizer a super hero? Didn't Superman move rocks to save the city from a dam bursting or a nuclear power plant from being demolished? Will Levitated Mass save LACMA from infrequent visitors? Is anything sensational any more?

Our family saw The Rock–um Levitated Mass–and we had a wonderful day. We also viewed Chris Burden's Urban Light. We took some requisite pictures.

We ate lunch off of a truck. We went to TINI–a wondrous store. We went to KR3W–a swell store. We also visited the Original Farmers Market to eat some ice cream. The Grove is nearby. What I am trying to tell you is, go ahead and see "Levitated Mass" because there is so much else to do in a 3-6 block radius. You have nothing to loose.

Did I mention the La Bea Tar Pits, The Craft and Folk Art Museum, and Galleries near LACMA called the Miracle Mile Art Walk? Obviously you could also view a temporary exhibit or a permanent installation at LACMA while you are there. The adventure took a whole day and there was something for everyone in our family.

Gallery Visit–OCCCA, Maldita Frontera

2012-07-10T10:19:00.002-07:00

I recently took my second visit to the OCCCA Gallery. My first being in June of this year. I was not disappointed. Maldita Frontera opened on July 7, 2012. The show ends on July 28, 2012. The event was held during the Santa Ana 84th Anniversary celebration of the Santora Building.

Ramon Carrillo, detail.

The meaning of maldita frontera is: damn boarder or horrid boarder. There are so many times when I walk into an exhibition and think to myself, yea well so what? This exhibit tries to ask the viewer to care, to look deeper, to think. The execution of the art varied from excellent quality to somewhat rougher executions. One begins to see that this topic should be given more time and consideration.

Does the show do enough? Is there enough content presented to bring attention to the realities and horrors of the boarder between the United States and Mexico? The show walks the tight rope of informing and not blaming. I should mention that all of the gallery tags are in Spanish first, then English. A nice touch allowing Spanish first.

My teen aged children who viewed the work with me felt the show was about prostitution and drug trafficking. They rely on what they see without reading labels in a gallery. This tells me that the images could be read on multiple levels.

Below is a gallery shot of the work of Ramon Carrillo. The execution was of layers and layers of dripped acrylic paint to create the image. The paint kind of binds on itself just as the topic of the US/Mexico boarder is complex and multifaceted. The US and Mexico are bound to each other and we need each other. Similar to how each layer of paint holds up the next layer and creates form.

Ramon Carrillo.

Ramon Carrillo, 2009. Human torso hanged with metal hook.

Pablo Castaneda, 2012. Orson Wells/Thirst for Evil, according to Orson Wells. Detail.

Many people at the opening.

Pablo Castaneda full view. Almost big enough to make me think of Guernica by Pablo Picasso.

Eduardo Kintero, 2012. Ceramic on Panel.

Eduardo Kintero.

Eduardo Kintero. With a translation by Suzanne, the author of this blog post:
I need some help. My boy went to the other side. He went for a few dollars.He did not return.

Eduardo Kintero, 2012.

Across the street I visited another open studio/gallery.

Jose Quant.

This painting stopped my son and I in our tracks. It was hung in a stairwell, so I was unable to get a straight picture of it. Still, remarkable use of paint and texture.

Marinus Welman, The Execution. 78 x 64 inches, oil on canvas.

Marinus Welman, detail.