Grand Teton National Park, July 2012

Are you learning your personal rhythms?  For me, this continues to be one of the most difficult aspects of the creative life.   Nothing is static- talent, energy, optimism, ideas, hand skills… everything ebbs and flows.  The flowing part is great.  I love that.

What about the ebbs?  After a quarter century of image making, a few things are becoming clear.  I need to remind myself of them, so I’ll share them here in case you might be encouraged, too.

1)  Expect the rhythms of life- times of filling up and times of pouring out.

I can plan on January being a harder month than May.   Creative energy has ups and downs, like everything else in life.   Are you wisely accommodating your personal rhythms?  Are you avoiding feeling bad about yourself for having them?

Are you giving yourself permission to have a season of renewal?

I can’t produce art all the time without burning out.  The creative well must be replenished from time to time.    Are you giving yourself permission to take time off?  Time to read, watch instructional videos, go to museums?  Time to daydream?

Sometimes the best way to grow as a painter is to stop painting for a while.

Resting in Yellowstone, 2010

2)  A peak must be reached by climbing

Peak performance is made possible by the climbing we do to reach the peak.   Are you expecting periods of time spent feeling awkward, unable to control the paint, or stumbling around searching for an idea?  Even wondering if you have any talent after all?   Climbing is hard.

In those seasons, I need to think, “Oh yeah, this again.  Right on schedule.”

3)  Peaks cannot be maintained indefinitely

If growth is the goal, we have to leave the last peak to reach the foothills of the next one.  Sorry, self, but we’re moving on toward higher peaks, which means that in between you may experience some valleys.   So grab some trail mix and let’s go.

(Yes, self, I’m saying that going higher is going to sometimes feel like going lower on the way.

Any questions?)

Onward and upward.

Hiking in Dubois, WY July 2012

Here’s a movie theater ad which will run at various National Amusement theaters.  Pretty cool!

Thanks to all the folks at Simon & Schuster who work to make stuff happen.

Available at AMAZON.COM

Chuck Close | Self Portrait | c. Chuck Close

“Inspiration is for amateurs; the rest of us just show up and get to work.

If you wait around for the clouds to part and a bolt of lightning to strike you in the brain, you are not going to make an awful lot of work.

All the best ideas come out of the process; they come out of the work itself. Things occur to you. If you’re sitting around trying to dream up a great art idea, you can sit there a long time before anything happens. But if you just get to work, something will occur to you and something else will occur to you and something else that you reject will push you in another direction.

Inspiration is absolutely unnecessary and somehow deceptive. You feel like you need this great idea before you can get down to work, and I find that’s almost never the case.”  -

- Chuck Close

source: goodreads.com

Chuck Close is represented by Pace Gallery.

NY Times story about Chuck Close inspiring school kids.

A few weeks ago in Miami I could have sneezed on a 7.5 million dollar Picasso.

Not far away a large Helen Frankenthaler piece floated into view.

Helen Frankenthaler, “Constellation”, 1977 | 84 x 108, acrylic- ART MIAMI

Nearby hung some beauties by expressionist painter Joan Mitchell, neighboring several canvases by Robert Rauschenberg…

Over two days in early December, Art Miami and Art Basel Miami Beach brought me face to face with works by Diebenkorn, Chagall, Rothko, De Kooning, Motherwell, Basquiat, Dubuffet, Hopper, and Chuck Close.

Chagall piece- Art Basel Miami Beach

All this plus 90 degrees and sunshine.  I could get used to early December in Miami!

Hopper watercolor- Art Basel Miami Beach

Art Basel Miami Beach, now in it’s eleventh season, bills itself as “the most prestigious art show in the Americas”, with over 260 leading galleries from North America, Europe, Latin America, Asia and Africa.

Art Miami calls itself “the original and longest-running contemporary art fair in Miami”, showcasing modern and contemporary art from more than 125 international art galleries.

photo from the Art Miami web site

Both shows run the first week of December, along with many satellite shows and events in the Miami Beach area, the Wynwood Arts District, local museums and private collections.

Chuck Close self portrait at Pace Prints, ART MIAMI

Basquiat at Art Basel Miami Beach

There was plenty of weirdness, too.  A toilet made of sparkly stuff. Bronzed enema bottles.  Pencil erasers lined up on a one inch wide white shelf twenty feet wide.

One gallery’s booth space had a badminten birdie lying on the floor.  Was it supposed to be art?  Who knows?   (Who cares?)  Another gallery was displaying canvases slashed with a knife.  (They come in red and white.)

Many pieces were playful, like these pencil sculptures.  No deep statements, but fun to look at–

Pencil Sculptures at Art Miami

close up shot of pencil sculpture

How did they do that?

Korean “light artist” Chul Hyun Ahn toyed with the depth perception at C. Grimaldis Gallery at Art Miami–

(Professional quality photos of these pieces and many others are available online)

How do you feel about animals made of bullets?

Tiger made from bullets

Can’t fit the tiger in your living room?  Then try the hand-grenade spider:

Hand grenade and bullet spider at Art Miami

Whimsical pieces dominated both shows.

Here are a few spoof vintage records.  I especially appreciate the title of the one on the top left-

Vintage record spoofs- Art Miami

Here’s a piece made from hand-modified cereal boxes from various countries-

cereal box painting

The down side to this sort of thing is that it’s a visual one-liner.  Once you’ve seen it and smiled at it, the piece has nothing left to offer.  Cotton candy for the eyes.

WHERE ARE THE PAINTINGS?

I was on the hunt for oil on canvas paintings by living artists, which made up a very small percentage of the works on display in Miami.  Here’s one that caught my eye by a young painter from China-

Lu Luo (b.1971) |  Untitled #902  |  Leslie Smith Gallery at Art Miami

Paul Thiebaud Gallery was one of the only places traditional representational painting could be found.  But I was actually drawn more to this abstract piece-

I also enjoyed the works by contemporary Austrian painter Hubert Scheibl represented by Torbandena Gallery of Trieste, Italy:

Hubert Scheibl paintings- Art Miami

Here’s one by a living artist who is not afraid to paint LARGE.  This is painted on tyvek, held to the wall with magnets over screws-

Paintings by deceased artists were also rare relative to the rest of the art on display.  There were two I liked by Milton Resnick (1917-2004) -

Milton Resnick painting | Art Basel Miami Beach

Painting by Milton Resnick

Picasso still strong after all these years-

Picasso | Art Basel Miami Beach 2012

Botero and Picasso at Art Basel Miami Beach

Joan Mitchell at Art Basel Miami Beach

But the big discovery from this trip for me was the work of Uraguayan artist Joaquin Torres-Garcia (1874-1949):

Torres Garcia

Torres Garcia

Torres Garcia

Several galleries were showing Torres-Garcia pieces.  Each one made me stop and stare.  Beautiful work.  I can’t believe I’ve never heard of him before.

But like I said, most of the “art” was experimental, conceptual stuff.

“Break Glass in Case of Emergency” – Art Miami

This framed gun is art?  Hmmmm….

Seeing so much art at once is an opportunity to learn.  It becomes clear that there is good, mediocre, and bad conceptual art.  There is good abstraction and bad abstraction.   So what’s the difference?   Puzzling over that question on the flight back to Indiana, a few key things came to mind:

   1.    Concept is King

The best art conveys one visual idea.
As an artist job #1 is to ask:  “What am I trying to say?”

Many of the pieces I saw in Miami also prompt the question: ”Is it worth saying?”

     2.  Compelling Design

Compelling design is captivating.

In his book “Problem Solving for Oil Painters”, artist Gregg Kreutz talked about creating  a “visual event.”

(Note to tape to my easel:   “What’s the visual event?”)

     3.   Sophisticated Execution

Fine craftsmanship matters.   Materials should be handled skillfully in service to the concept.

Form follows function:  The meaning and materials are in harmony with each other.

 

I came home inspired to

• clarify the visual concept for each piece
• edit for boldness of expression
• use color fearlessly in service to the big idea.

My trip to Art Basel Miami Beach and Art Miami was a helpful shot of encouragement to take more risks, experiment more, and press on to growth and artistic maturity.

From the ART MIAMI web site

And did I mention that it was 90 degrees and sunny?

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Fifteen years after I graduated from Rhode Island School of Design, it was clear that I needed a painting mentor to help me get out of a deep creative rut.   So I called Tom Sgouros, an illustration professor at RISD.   Tom’s warmth and kindness immediately made me feel welcome.   I made a 900 mile trip and spent a life-changing few hours with him in his studio.

Tom held photos of my work up to his failing eyes,  diagnosed my problem clearly, then gave wise counsel shared with gentleness and grace.

Rmembered Landscape 14.IX.09 | 2009 by Tom Sgouros

Tom helped me understand that painting is about the relationships on the canvas, not the subject represented.  He challenged me to eliminate anecdote from my work and focus on small vs. large, warm vs. cool, rough vs. smooth, line vs. mass.

Remembered Landscape | 44 x 48 by Tom Sgouros

His remembered landscapes were all around the studio in preparation for an upcoming show.  Tom talked openly about his personal struggle behind those powerful canvases.  Macular degeneration was stealing his sight.  Practically blind, Tom told me he stood with his face up to the canvas as he worked.

I learned much more that day than I had expected.

Remembered Landscape 9.VI.10 | 2010 by Tom Sgouros

I saw an example of courage I will never forget.  I also saw simple kindness — a mentor willing to take time to help a former student.  I saw a gifted teacher distill knowledge with humility and clarity.   I saw personal tragedy converted into beautiful art.

Remembered Landscape 7.III.08 | 2008 by Tom Sgouros

My work improved after one afternoon talking with Tom.  I will always be grateful.

Remembered Landscape 26.VI.10 | 44 x 48 by Tom Sgouros

Thank you, Tom.

May God bless your family with peace as they say goodbye.

-David Slonim, (RISD IL 1988)

Providence Journal Obituary here

“Silly and Satisfying!”  - Kirkus Reviews

It’s out!  Loose in the world.  TODAY the loathing begins!

Available from Amazon.com and everyplace else!

Slonim substitutes the word “loathe” for “love” and truly runs with it.  The rhyming text rollicks along: “I loathe you more than chicken pox, / more than stinky, sweaty socks. / More than garbage in a dump, / or splinters sticking in my rump. / Mosquito bites? I loathe them, yes, / But next to you, a whole lot less.”

As the monsters sling increasingly gross and endearingly disgusting claims of loathsomeness, readers will alternately screech with “ewws” and laughter as they pore over the hilarious cartoon illustrations   – Kirkus

After the Rain | 36 x 48 | $12,000

My easel is surrounded by images by De Kooning, Diebenkorn, Wyeth, and Cezanne–  Masters of spacial relationships, color, and line.    The goal is for their wisdom to be absorbed into my creative bloodstream.

Shady Spot Abstraction | 30 x 24 | $5,400

Abstraction is music for the eyes.  A good abstraction takes elements from our visual experience of nature and transposes them into a harmony on the canvas.  Not to represent nature, but to celebrate certain aspects of the artist’s experience of nature.

“Which means WHAT, Dave?”

It means instead of painting nature in a “photographic” way, my goal for this series was to paint a visual song about nature.   “Shady Spot Abstraction” is based on a photo of a tree trunk and the grassy spot in front of it, taken on a hike in Wyoming.   I took the photo because of the way shapes were colliding – grass, rocks, shade, light.  So that’s what I emphasized in the painting.

Sundown Near Greg’s Place | 30 x 48 | $12,000

Based on a July visit to Wyoming, these paintings use nature as a starting point for experiments in visual rhythms.   I had a blast painting them.    Now it’s time to order frames, build crates, and send them to Denver.

Thanks for your interest in my work.  I’d love to know what you think of these new pieces.

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Here are the miniature paintings I’m sending to the Coors show for the silent auction scholarship fund raiser:

Summer Storm | 8 x 10 | Silent Auction

Morning Mist | 9 x 12 | Silent Auction

The Coors Western Art Exhibit and Sale

The 2013 Coors Western Art Exhibit and Sale will open with a Red Carpet Reception on Tuesday, January 8, 2013. Advance reservations (prior to December 15, 2012) are $175 per person; after December 15th, they are $200.00.

For additional information or to receive an invitation, please call National Western, 303-299-5560 or email CoorsArt@nationalwestern.com.

The exhibit will be open to the public each day of the National Western Stock Show, January 12-27, 2013.

Location:
National Western Stock Show Complex
4655 Humboldt St | Denver, CO

Exhibit Hours:
Sunday – Thursday 9 A.M. – 8 P.M. (On the last Sunday the Stock Show closes at 6:00 P.M.).
Friday & Saturday – 9 A.M. – 9 P.M.

Turned Earth (30 x 48) | David Slonim

Visions: Four Indiana Painters

Works by renowned Indiana contemporary artists, Ken Bucklew, Joel Knapp, David Slonim and Jerry Smith create a powerful image of the current art of Indiana.

OPENING RECEPTION TONIGHT – September 28 6-8 PM

Show hangs September 29 – December 18

Chalk Drawing (18 x 24) | David Slonim

102 South Tenth Street Lafayette, IN 47905

(765) 742-1128

Tuesday – Saturday 11am – 4pm
Closed Sunday and Monday

Brothers in Snow (24 x 30) | David Slonim

PLEIN AIR INTENSIVE | Sept 20-21

Zionsville, IN

Sullivan Munce Cultural Center, Zionsville, IN

East of Yellowstone | 9 x 12 painted from life

In order paint from life well, you have to edit.

In order to edit, you have to know what to emphasize and what to leave out.

To do that, you have to have a VISUAL IDEA.

Rotting Log | 16 x 20 painted from life

CREATIVITY THRIVES WITHIN CONSTRAINTS

• Key Principles from master works that will take your work to new levels of excellence
• Demos
• One-on-one attention – instruction tailored to the individual
• a relaxed, fun atmosphere that encourages experimentation and growth.
• all levels welcome. All mediums and styles.

$300 for two full days | to register contact Cynthia Young 317-873-6862

cynthiayoung@sullivanmunce.org

Turned Earth | 30 x 48 painted from life

Come prepared to learn, laugh, and leave encouraged and inspired.

“The best workshop I’ve ever taken.” – J.K.

Space is limited. To reserve your place call 317-873-6862

Once you are registered for the workshop, a supply list and directions to the location will be sent to you.

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Obsidian Creek, Yellowstone | 8 x 10 painted from life

“You are very encouraging. I appreciate the tone you set and the atmosphere.” -J.D.

“Strengths as a teacher: intelligence, hard work, sense of humor, humility. I told Bonnie on the last day of class that I feel very lucky to study with you.” – L.W.

unpublished art from I LOATHE YOU by David Slonim | acrylic on board 9 x 13.5 | Mazza Museum Collection

Jerry Mallett, Curator, and Benjamin Sapp, Museum Director are interested in the process as well as the final result.  This unpublished painting for I LOATHE YOU (2012 Simon & Schuster / Alladin) will help visitors to the museum see that even good art may need to be redone.  In this case, the art director wanted simpler clouds so the text would read more easily.  I repainted the whole thing, taking it as an opportunity to loosen up the handling of the paint and line work.

Here’s how the published piece looks:

“I loathe you more than bellyaches!” | acrylic and charcoal on board 9 x 13.5

This one is from Silly Tilly by Eileen Spinelli (Marshall Cavendish 2009):

Silly Tilly’s Apple Juice Bath | acrylic on linen 11 x 17

The last one is from YOU THINK IT’S EASY BEING THE TOOTH FAIRY? by Sheri Bell-Rehwoldt (Chronicle Books 2007):

“Good think I’m athletic!” | acrylic on linen 13 x 21

I want to thank Jerry and Benjamin for their support and encouragement.

They have created and developed something truly special at the Mazza Museum.  I’m excited to be part of it.