TIM McFARLANE

DIY art residency

2012-01-25T16:38:00.001-05:00

Great minds think alike. I just read Joanne Mattera's latest "Marketing Mondays" post ("Do It Yourself") and was very happy to see some the same thoughts that I've been having recently validated on her blog. The post is all about taking the DIY approach to getting the things you want to have happen with your work and art career: do your own solo shows, curate exhibitions online or in physical space, publish your own monograph, and the one that spoke the most to me at this time, create your own art residency, like sculptor Laura Moriarty did.

This past Sunday night, I was looking around the web for artist residency opportunities and kept coming up against time constraints and monetary obligations. I continued mulling over residency ideas long after I should have been asleep and slowly came around to the idea that I could create a residency in my own studio! I honestly don't know what took me so long to come up with this idea for myself, but I'm glad that I did.

So far, I've come up with a time frame of roughly two weeks full time (at least 8 hours per day in the studio) to be done in either March or April 2012. There are details to deal with, but, yeah, I think that this will be a good thing to do.

New BMG website

2012-01-21T13:15:00.001-05:00

My Philadelphia gallery rep, Bridgette Mayer, has just debuted the gallery's new website. It has taken a while to get together, but is very nice and has a bunch of new features. Check it out : Bridgette Mayer Gallery

One of the new things to check out is this "studio visit" video featuring me going on about some stuff that I do: Tim McFarlane, Studio Visit, 2011

Digital musings

2012-01-17T10:00:00.001-05:00

ecp 120511.1 (digital drawing)

ecp 120111.2 (digital drawing)

ecp 120711.2 (digital drawing)

Three drawings from an on-going series that I am developing paintings from. The titles reflect the file name in Photoshop, the date, and the order in which the drawing was done on that day.

I'm on my computer a lot when I'm home and, of course, I get flashes of ideas that I want to explore. So, in addition to writing or sketching in my physical journals, from time-to-time I will also tap into available tech to experiment with. My habit has been to use Photoshop mainly for photo-editing. I rarely get the urge to see what else I might want to do with it, preferring to pursue my main painting and drawing explorations in the studio.

One thing that I forget from time-to-time is that my studio is always with me 24-7 in my mind. Making art is as much a state of mind as it is physical. Like the saying goes, "Wherever you go, there you are", so wherever you are, so is your art. When I can't physically be in the studio (working, traveling, sick, whatever...) I'm continually turning creative thoughts over in my head. If I have been working on a painting, you can bet that before my next session in the studio I will have gone through several versions of it in my head. The painting will still turn out differently than anything I might think of, but engaging in that on-going thought process is always rewarding.

Wanderlust

2011-12-31T23:53:00.001-05:00

Wanderlust, 2011, acrylic on canvas, 60" x 72"

Last complete piece of 2011.

Onward

2011-12-30T14:32:00.000-05:00

All suited up and ready for the "winter sessions" in the studio. I'm looking forward to exploring a lot of new ideas and sending new works out into the world in the coming year. No resolutions needed, just continuing to work and keep the creative fires burning as bright and hot as I can.

All the best for a great, productive, inspiring 2012, no matter what you do.

Happy New Year!

-Tim

Art: the mourning after

2011-11-30T12:14:00.001-05:00

"Art is for the living. If someone has lived creatively and you are grateful, for goodness sake, write them a letter, or create a website about them; get an article about them published if you have the opportunity, or if you are an editor, commission tributes while she or he can read them. What is the point of making a fuss when they are gone? It is morbid and to me it seems inauthentic...Instead of lamenting the lost, we should be celebrating their achievements, and saying thank you, while they are still among us. So stop this saccharine artistic morbidity. Instead, pick your favourite living creative artist – and write them a fan letter."
-Jonathan Jones, The Guardian, UK

Full blog post here: "The mourning after: why we should celebrate artists while they are alive"

In his latest blog post, The Guardian's Jonathan Jones writes about the loss of Cy Twombly, Lucien Freud, and Ken Russell. His overall point being that the rush of the arts media to heap praise and tributes on the recently departed artists comes too late. Now, the people Jones mentions were hardly unknown and did live to see their work exhibited or seen by wide audiences. I think that it's the lesser-known people who should have a chance to have an encouraging note or two, especially from people that they don't know and may never meet.

I come across a lot of images of artwork on the web and when something strikes me in a particular way, be it art, design, photography, or music, I'll often find a way to let the artist know how I feel about their work, mostly via email and sometimes by posting about their work either on this blog or elsewhere.

I don't do this to "network" or to gain some other in-kind favor or notice, I do it because something about their work grabbed me. I do so for the same reason that Jonathan Jones mentions in his blog post for the Guardian; that we should celebrate artistic achievements while artists are alive and can appreciate the thoughts and accolades from peers and others.

The art of time/the art of lithography

2011-11-23T19:55:00.001-05:00

"The Art of Time" is a documentary about Tamarind Lithography Workshop, Inc, founded in Los Angeles in 1960 by the late June Wayne (1918-1911) to prevent the demise of lithography. "The Art of Time" (top) focuses on the more emotional aspects of lithography, while "The Art of Lithography"(bottom), a slightly different cut, focuses on the more technical aspects of lithography. "The Art of Time" and "The Art of Lithography" were directed by Marina Chamrad.

After watching these videos, I'm really itching to do some printmaking again after too many years away from it...

Mention in the Philadelphia Inquirer 11.20.11

2011-11-21T10:23:00.001-05:00

There is a nice mention of my painting, "Constant Flux" in the review of the group exhibition "Karmic Abstraction" by Edith Newhall in the Sunday Inquirer.

'Karmic Abstraction' will be on view at the recently re-designed and expanded Bridgette Mayer Gallery until December 31, 2011. There will be an Opening Reception on Friday, December 9th from 6-8:30pm

Charline Von Heyl @ ICA Philadelphia

2011-11-18T18:24:00.001-05:00

Charline Von Heyl, Igitur, 2008. acrylic on linen, 82" x 74"

I saw the Charline Von Heyl 10-year survey exhibition at ICA-Philadelphia today and had a hard time leaving. I kept wandering back and forth in the exhibition because I couldn't get enough of her work. At once chaotic, serene, and very much about the materiality of paint, Von Heyl's paintings really deserve some extended viewing time.

Besides the paintings, there is also a large selection of works on paper by Von Heyl that incorporate printmaking, collage, drawing and other techniques. The show is up until February 19, 2012 after which it will travel to ICA-Boston.

More images of Charline Von Heyl's work can be seen here: Charline Von Heyl via Friedrich Petzel Gallery

Back to now

2011-11-17T13:41:00.001-05:00

Me in the studio earlier this summer. I'm sporting some old-school Cazal frames for a special photography project. When Cazals were really trendy during the 80's and popularized by hip-hop icons Run DMC and you would not have caught me in a pair. Not only did I not like them, but there were kids and adults being robbed and killed for them. However, when they were presented to me as a prop for the shoot, I was instantly taken by...not nostalgia, but an instant connection to my teen years.

This shot was taken by Iman Jones. To see more of his work, go to Iman Jones.net

Interview on Artblog Radio

2011-11-14T23:45:00.001-05:00

The interview that I did a few weeks ago with Libby Rosof and Roberta Fallon of The Artblog is up, so check it out here: Tim McFarlane on Artblog Radio

There is also an audio slideshow of this interview on YouTube: Tim McFarlane Artblog Radio audio slideshow

It's so very strange listening to myself talk...

Christine Sun Kim: Sound and Vision

2011-11-09T19:20:00.000-05:00

Todd Selby x Christine Sun Kim on Nowness.com.

This is a great video portrait of deaf performance artist Christine Sun Kim. Kim uses sound in her work as a way to make the audience "listen with their eyes". There is an interview with Kim on the NOWNESS Facebook page. The video was directed by Todd Selby, aka, The Selby. Artist website: Christine Sun Kim Is Unlearning Sound Etiquette

About the video:

Cult photographer and filmmaker Todd Selby's latest short is a revealing portrait of performance artist Christine Sun Kim. Deaf from birth, Kim turned to using sound as a medium during an artist residency in Berlin in 2008, and has since developed a practice of lo-fi experimentation that aims to re-appropriate sound by translating it into movement and vision. "It's a lot more interesting to explore a medium that I don't have direct access to and yet has the most direct connection to society at large," says the artist. "Social norms surrounding sound are so deeply ingrained that, in a sense, our identities cannot be complete without it."

Selby filmed an exclusive performance from Kim in a Brooklyn studio as the artist played with field recordings of the street sounds of her Chinatown neighborhood, feedback and helium balloons, and made “seismic calligraphy” drawings from ink- and powder-drenched quills, nails and cogs dancing across paper to the vibrations of subwoofers beneath. Working with sound designer Arrow Kleeman, Selby carefully choreographed the film's ambient score to reveal the Orange County native's unique relationship with sound. "Her work deals with reclaiming sound because it's a foreign world to her and one she's not comfortable in," explains Selby. "I wanted the film to act as an artistic conduit for her to tell her story to the world.”
(text from NOWNESS.com)

Artblog radio interview coming soon...

2011-11-08T09:11:00.000-05:00

Mark your calendars! Next Monday, November 14th, an interview I did recently with Roberta Fallon and LIbby Rosof of The Artblog will be posted on Artblog Radio. There is a brief sample of the conversation with this link.

Karmic Abstraction @ The Bridgette Mayer Gallery

2011-11-06T11:02:00.000-05:00

Constant Flux, 2010, acrylic on canvas, 60" x 60"

The Bridgette Mayer Gallery reopens it's expanded exhibition space to the public on November 15th with "Karmic Abstraction", a group show featuring works from myself, Neil Anderson, Charles Burwell, Ryan McGinness, Rebecca Rutstein, Odili Donald Odita, Arden Bendler Browning, and more.

I've seen the new gallery space in progress and am really excited to see it finished. More wall space, more space to play with for exhibitions!

See the press release for Karmic Abstraction after the break:

Press Release

Group Show

KARMIC ABSTRACTION

November 15 - December 31, 2011

FOR IMMEDIATE RELEASE
October 6, 2011

Contact: Bridgette Mayer Gallery
t: 215-413-8893 f: 215-413-2283
e: bmayer@bridgettemayergallery.com

Bridgette Mayer Gallery re-opens with ‘Karmic Abstraction’
November 15 – December 31, 2011

PHILADELPHIA – Closed for renovation for much of 2011, Bridgette Mayer Gallery on Washington Square in Center City, Philadelphia, reopens November 15, 2011. The inaugural show in the expanded and transformed space is a group exhibit of contemporary painting, “Karmic Abstraction”.

The show’s title reflects gallerist Bridgette Mayer’s “interest in the idea of the karmic cycle of an artist’s history of painting and ideas.” The selected works, by sixteen nationally- and internationally-recognized artists reveals, “how, at a given moment in time, standing in front of a work of art, the viewer is faced with the multiple layers and concepts that create a painting as well as a lifetime of ideas, actions and history that make up the career and art history of a contemporary artist.”

The term karma derives from a Sanskrit word for “act” and, in Indian philosophy, describes the ways in which good or bad actions reflect on future existence. This interest with painting’s history and how we come to know it is a matter of concern for artists as well as historians, conservators, and audiences. In addition to whatever they depict, paintings are also about the history of their own making, with decisions recorded in brush strokes, patches of raw canvas, under drawing, and pentimenti. It is increasingly common to see X-ray images and other forms of analysis in the exhibition of paintings as old-fashioned connoisseurship is supported by a phalanx of scientific approaches to understanding the history of a picture. (In September of this year, the Rijksmuseum in Amsterdam announced that they had used florescent X-ray technology to locate a portrait, thought to be of Napoleon Bonaparte’s brother, Joseph, under Goya’s 1823 portrait of Don Ramón Satué.)

The artists in the exhibit reflect notions of how the history of a painting might be apparent on its surface in a number of ways. Some works speak to personal or cultural memory, while others address the traditions of painting or the medium’s capacity to generate a record of its own creation.

Atlanta-based artist Radcliffe Bailey situates his work in dialog with the past by incorporating photographs into his compositions. Odili Donald Odita, a Philadelphia painter, uses color to “reflect the collection of visions from […] travels globally and locally”. Philadelphian Tim McFarlane writes that “relationships between time, memory, and movement form the primary foundation” for his paintings, which have an atmospheric quality as if seen through a filter of recollection. For each of these artists, paintings are a repository for personal and cultural experience and means of reflecting on questions of identity.

Neil Anderson, of Lewisburg, PA, makes paintings that seek to stop time, arresting it at a moment of ideal formal balance. This notion of using painting – the original slow-media – as means of controlling time and pausing at a critical moment, resonates with other artists in the exhibit. Philadelphian Nate Pankratz describes his painting process as an ‘editorial’ one in which shapes are shifted, repositioned, and rearranged, imparting a sense of time and careful revision in the final works. In stark contrast to such deliberation, Los Angeles-based Iva Gueorguieva’s pictures are built of forms that one writer described as, “barely revealed and poised to disintegrate”. Korean-born, London-based painter Eemyun Kang shares an interest in pictorial instability (as Rebecca Rose notes in her essay, Topography of Flux). Arden Bendler Browning (of Philadelphia) also makes paintings that appear on the edge of flying apart, owing to the way they reflect on the artist’s technology-inspired navigation of the urban landscape.
The idea of a painting’s history becoming apparent through familiarity, quotation, or use of borrowed images is also a theme that runs through the exhibit. Philadelphia painter Rebecca Rutstein, whose use of undersea mapping and other geological imagery has earned attention for her earlier works, turns her eye to space exploration in a new body of work. Spatial images – those of black holes in outer space as well as the spiritual spaces of 16th century Italian paintings (such as Antonio da Correggio’s Assumption of the Virgin) – have influenced New York painter Ryan McGinness, creating a swirling confluence of past and future. Others in the exhibit wear their historical connections in more general and allusive ways. New Yorker Leslie Wayne writes of her fascination with 19th century Romantic landscape painters and how their awe before nature is translated into materials-rich abstraction in her practice. It is the history of painting’s use of figuration that inspires Matthew Fischer (another New Yorker), whose aim is to make “abstract paintings that have the pictorial grip of representational paintings: the grip of figure/ground relationships, the grip of volume and atmosphere within imaginary space.” Graeme Todd, of Edinburgh, Scotland, also notes that his “way into art wasn’t through nature, it was through art” and discusses the way ideas suggested by German Renaissance etchings crop up in his taut, layered abstractions.

The value of layering as a means of communicating a painting’s history is also recognized by Philadelphia painter Charles Burwell, whose compositions layer linear, labyrinthine, and biomorphic imagery. Though his works are rich in cultural and historical associations, Burwell is primarily concerned with a painting’s construction, and as such, his works are records of their own imagining, difficult to pin down using language. Los Angeles artist Joe Goode’s long career of exploring various media and images approaches layering in a different way – calling up and revisiting images from his past through photography and self-quotation. “As an artist, you’re always creating your own history,” Goode said in a 2008 gallery lecture. Painter Thomas Nozkowski (New York) also creates work that evades language in its pictorial complexity and richness. Talking about his paintings with writer Francine Prose in an interview, Nozkowski remarked:

The central fact of our lives, of any artist’s life, are the thousands upon thousands of hours we spend alone staring at these damn things, thinking about them. We sit there, and these things just go on, and on, and on. Everything in the world ties into them, everything that’s crossed your mind while you’re working on it. And, if somebody could just get a sense of that fullness in a work of art, it’s working, you’re on the right track.

This notion – that “everything in the world ties into them, everything that’s crossed [an artist’s] mind” seems central to the exhibit as an opportunity to look at abstract painting as a means of exploring the history of objects and artists.

Gallery hours are Tuesday - Saturday 10:00 a.m. - 6:00 p.m. & by appointment.

2011-11-03T13:54:00.001-04:00

Glas #048 Dub Techno Mix by glas

Glas #044 Dub Techno Mix by glas

Two mixes by Glas that I've been listening to a lot lately while in the studio.

2011-11-02T19:33:00.001-04:00

Great studio visit yesterday with Douglas Witmer, Jeffrey Cortland Jones, and Jones' colleague at Dayton University, Kyle Phelps. Jeffrey and Kyle were in Philly from Ohio and this was my first time meeting JCJ, after having been 'net friends for a few years now.

Studio visits with other artists always serve as reminders of how much time I spend with my ideas in my head and working in solitude because I talk so much when people come around...

Time travel...back to the 90's

2011-10-27T14:26:00.000-04:00

2. (detail)

I have been reorganizing my work space in fits and starts over the several months. A couple of weeks ago, while preparing for open studios (POST), I thought that it was time that I finally dealt with my storage rack. It's a very basic structure with and upper and lower level and no compartments, just open space to keep some works in a contained space. The main reason for the reorganization was to have a better sense of where certain works were in order to avoid having to guess where something is.

Before changing things, the lower level of the rack held older, heavier works from the mid to late 90's that I brought with me to my present studio in 2002. I wanted to make that space available for newer works only and had to relocate the older ones. I had not looked a any of these pieces in years and also realized that almost none have been documented. I thought that it would be interesting to take some shots of some of them as I was moving things around.

The works pictured above all date from around 1996-2001. The first two pieces are good representations of the mixed media approach I was involved in during the latter 90's. I was very interested in moving away from canvas for painting and used aluminum, plexiglas, hardware, enamel and acrylic paints, shellac, and even a solution I bought to create rust effects on various surfaces (see 1-3, above).

The studio I had then was located in a huge warehouse on 12th Street, just north of Vine (the Goldtex Building) on the northern edge of Chinatown. During the time I had a studio there, the building housed a couple of huge clothing sweatshops, along with photography studios, fashion designers and other artist spaces. At one time, it housed the graduate art studios of the Pennsylvania Academy of Fine Arts. While I was doing the mixed media paintings, someone rented the studio next to mine around '98-'99 to film a scene or two for an independent sci-fi flick (I have since forgotten the name of said film). When the filming ended, there was a ton of plywood left behind which I had access to and made use of for paintings.

Photos 4, 5, 6, 8, and 9 all show paintings made with that salvaged plywood. Photo 4, "The Carrot's Dream Wanders" (approx. 48"x 48"), is probably the heaviest painting I've ever done. I don't know its exact weight but, needless to say, I wanted to make sure that it wouldn't warp nor come apart, as it is comprised of two panels. It has held up very well over time, so I feel vindicated for my overzealousness with cradling the panels.

It's really interesting to look back at older work and be instantly transported back to moments where certain choices were made in regards to the building of the images. Some works are more explicit than others in how I recall what I did. In some pieces, like #8, I don't recall much about the making of, whereas with others I remember a lot about the process, but when I look at it now, it's hard to say how I even pulled any of it off.

POST: For those who couldn't make it...

2011-10-19T11:19:00.000-04:00

A look around the studio as it was set up for the Philadelphia Open Studio Tours.

It was a great couple of days with lots of great conversations, new faces and some that I hadn't seen in a while. The great weather brought out a lot of visitors and the new work generated some good dialogue and feedback. Thanks to those who were able to make it out and thanks to the organizers of the Philadelphia Open Studio Tours for helping to make it happen!

POST Weekend!

2011-10-14T09:24:00.001-04:00

Oops! This post has been a 'draft' all week, which has been a very busy one, so please forgive the late announcement Anyway, if you are in the Old City section of Philadelphia this Saturday and/or Sunday, October 15th and 16th, feel free to stop by my studio. I will have it open as part of the Philadelphia Open Studio Tours. I will have a selection of new and recent paintings and works on paper on display.

Here's what you need to know:

Dates: Saturday, October 13th and Sunday, October 16th

Times: 12pm-6pm, each day

Studio address: 16-A North 3rd Street, 4th Floor (location map)

Old City, Philadelphia.

While you're in the area, make sure to visit some of the other Old Ctiy POST participants, as well:

Philadelphia Open Studio Tours-Old City

2011-09-28T23:41:00.000-04:00

There's no way that I could have said this better.

(Source)

Divided by Zero and falling

2011-09-26T12:19:00.000-04:00

Divided by Zero, 2011, 40" x 30, acrylic on canvas

A new painting, Divided by Zero, on the studio wall. It's one of a few new "hybrid" works that highlight spatial and compositional dynamics previously unexplored in my painting. This is one of the results of new creative challenges I set up for myself recently in an effort to rethink some of my art-making practices. The process of moving beyond places of stagnation in the work is always tough, but necessary for the the work and artist to grow.

The creative growth process can be harrowing at times because of all of the questioning that comes along with it, but you have to be willing to take on those doubts with action(s) since doing so is an essential part of creativity. The real issue is understanding that for the art and artist to grow, those questions, whatever they may be for any particular artist, by nature, are unanswerable.

I watched a video of an artist talk given by Bill Viola on the Tate Channel (from 2006) not long ago. In it, Viola addressed the issue of creative doubt by saying, "Artists need to know how to fall, to step off of the ledge in a leap of faith." I could not agree more. When I'm in the studio, I'm often in a state of "falling". Not only that, but I also thrive and gain energy from what feels like a striving to get "there", even when I know that there is no "there" to arrive at. As soon as you get "there", all bets are off since what you have been looking for doesn't always seem quite as satisfying anymore. All that's left to do is to start falling again. I'm sure that anyone pursuing any kind of creative path already knows this, consciously or not. It's good to hear someone speak about those feelings and remind us of how important it is to accept the risks of a creative life.

Falling, as it is generally understood, has failure attached to it because falling implies that a goal has been missed; you fall from a cliff, you can die. The goal of living, in this extreme case, has been been missed. For artists, falling is critical for there to be growth and discovery. When I take that step and don't quite know where I'll land is the thing that fuels the fire. It's one of the ways I keep myself connected and thoroughly engaged with the work. Without falling from time to time, real engagement with the work is lost and what's left is, at best, mediocre.

Thinking about falling as it relates to creativity got me thinking about Laurie Anderson's "Walking and Falling"

POST 2011: the pick up

2011-09-15T22:08:00.002-04:00

Yes, it's that time of year again, that time when Philadelphia artists open our studios up to the public for a peek behind the curtain(s).

Today was the first day to pick up our promotional materials.

Imagine the surprise on my face when I saw my mug staring back at me from the back of the brochure for the 2011 edition of the Philadelphia Open Studio Tours. I had no idea this was happening, but I'm pleased and honored. The brochure photo was taken in my studio last year by Bernadette Dye. And, no, I don't smile...ever.

My studio will be open on Saturday and Sunday, October 15th and 16th from 12-6pm both days.

16-A North 3rd Street, 4th Floor-Old City, Philadelphia.

2011-09-12T10:02:00.000-04:00

That Certain Moment, 2011, acrylic and ink on paper, 22" x 30"

Sander

2011-09-03T20:38:00.000-04:00

Every so often, the power tools get their time in the limelight when I'm working.

Summer papers 2011, pt. 1

2011-08-31T07:38:00.000-04:00

Assortment of new works on paper. All water media and acrylic on paper, 30" x 22".

Studio 8.30.11: Happenings

2011-08-30T12:05:00.001-04:00

Works in progress. The pink one is done, the other two are not quite there yet.

Detail

7522, 7557

2011-08-26T11:59:00.000-04:00

7522

7557

Studio 8.21.11

2011-08-22T12:27:00.000-04:00

Studio 8.21.11: Incident on the floor

Old city sunrise: 8.01.11

2011-08-04T15:34:00.000-04:00

The view from my studio on a recent morning after having stayed over night. I didn't sleep well and was up early enough to watch the sky go from deep indigo to bright pale blue.

Through the lens 7.02.11

2011-07-20T07:41:00.000-04:00

Berum

CL72

Flail

Streak

More recent photographic detours. This time on the abstract side of things.

Through the lens

2011-07-06T19:55:00.000-04:00

Recent photographic detours. More to come in later posts.

Slope

Nightlight

Vane

Franklintower

Chrysalis (night)

Studio: 6.03.11

2011-06-19T10:55:00.001-04:00

Cousins of a sort.

Summer in the studio. Things are coming along and taking on a life of their own.

re-imagining

re-using

re-inventing

re-evaluating

Art In The Open this week

2011-06-08T21:48:00.000-04:00

For the second year in a row, the banks of the Schuylkill River becomes an outdoor studio as a select group of Philadelphia artists brings their working processes outdoors for all to see. Visitors will be able to view artists at work as well as participate in many events and make some of their own art in the open. Art In The Open celebrates artists, their inspirations and their relationship to the urban environment.

There will also be an exhibition of works created during Art In The Open at the Painted Bride Art Center from June 18th-July 5th, 2011. Closing reception Friday July 1, 2011 from 3-6pm. All works will be available for purchase.

For more information, be sure to visit the Art In The Open website.

Second Skin

2011-06-04T10:53:00.000-04:00

Second Skin

Art is dirty

2011-05-31T10:23:00.001-04:00

Hands With Graphite

My hands after a recent studio session where I was using powdered graphite in some new works on paper. They looked like this after using gloves, I should say. I don't care about my hands getting dirty because making art is a messy business, if anything, I welcome the mess. The thing about using powdered anything to make work is that the dust can get everywhere. The majority of my work has been with liquid-based mediums for years, with the exception of using charcoal and pencils, of course. The last time I used pastels was over 20 years ago.

I used a mask with the graphite powder. However, I was still surprised by the amount of blackened sweat that I wiped away from my face and head while I was working. I found out later, while cleaning up for the day, that every exposed part of my body was covered in a film of graphite dust. Some research I've done has shown that long-term inhalation of carbon dust can be harmful to the lungs of course. However, I'm keeping my exposure limited with masks, using small amounts of the graphite powder and not snorting it up with old, rolled up drawings. I'm sometimes more scared of what I'm breathing in on a daily basis when I'm out in the streets.

Studio 5.20.11

2011-05-22T23:45:00.000-04:00

Markers

2011-04-17T23:48:00.003-04:00

Marker I, 2011, acrylic and ink on paper, 50" x 38"

Marker II, 2011, acrylic and ink on paper, 50" x 38"

Marker III, 2011, acrylic and ink on canvas, 50" x 38"

These are the first in the "Marker" series. They are really new and unlike some of my other work, they immediately took on an identity of their own that was at once identifiable to me but also hauntingly mysterious. They have something of the patina of age about them, but of what age, where, when, and why?

Kesha Bruce - In The Studio: Art School Confidential: Tim McFarlane.

2011-04-15T10:31:00.002-04:00

Kesha Bruce - In The Studio: Art School Confidential: Tim McFarlane.

Artist and blogger Kesha Bruce invited me to participate in a series on her blog called "Art School Confidential". For ASC, Bruce asks participants a series of questions relating to art schools and their roles/responsibilities in preparing art students for the business aspects of being artists.

JEFFREY COLLINS: PAINTER: Howard Hodgkin

2011-04-12T23:38:00.001-04:00

JEFFREY COLLINS: PAINTER: Howard Hodgkin

A great post by Jeffrey Collins with behind-the-scenes videos of the preparation and installation of Howard Hodgkin's huge print, "As Time Goes By", at the Phillips Collection.

Studio: March, 2011

2011-04-05T11:26:00.000-04:00

Jon Manteau-"To A Hammer Everything Looks Like a Nail"

2011-03-31T20:30:00.000-04:00

JON MANTEAU

"To a Hammer, Everything Looks Like a Nail"

LG Tripp Gallery

April 1 – May 14, 2011
Artist Reception, April 2, 5 – 8 pm
First Friday, April 1 and May 6, 6 – 8:30 pm

Lg Tripp Gallery

47-49 North 2nd Street

Philadelphia, PA

Jon Manteau's third solo show with Luella Tripp opens tomorrow and continues through May 14th. Check out the video below to get a sample of Jon woking in his studio preparing for "To a Hammer..."

Jon Manteau - Gumtrees and Ghosts from Woodshop Films on Vimeo.

Woodkid-'Iron'

2011-03-30T09:50:00.000-04:00

Woodkid - Iron from WOODKID on Vimeo.

More music/visual goodness, this time from Woodkid for a song titled, "Iron". There's a live video from Woodkid here: Woodkid live

TV On The Radio-'Will Do'

2011-03-28T23:46:00.000-04:00

TV ON THE RADIO "WILL DO" from Dugan O'Neal on Vimeo.

TV On The Radio is one of my favorite groups to hit the scene over the past few years. This is the video for their new song, 'Will Do'. There are few music videos that really grab me, but this one works so well with the song. I like that the effects don't overpower the song. The concept remains pretty strong throughout, as well.

Lagoon stretched

2011-03-26T23:02:00.002-04:00

Lagoon stretched.

If you've been following my blog for a while, you'll recall this painting from last year titled, Lagoon. It was the only canvas of this size (70" x 130") that I had painted on that wasn't stretched first. Due to it's size, it was easier for me to paint it unstretched so that I could store it rolled up. Had I stretched it first and left it stretched, I would not have been able to get it out of my studio. Not only that, I would have no place to store it in there.

Fast forward to this year. I was asked by Bridgette to stretch Lagoon so that it could be included in the Dallas Art Fair next month. Not having had experience with stretching painted canvases previouisly, I was undoubtedly anxious about the prospect. However, I went ahead with it and even managed to finish it in a much quicker time than I had anticipated. I opted to purchase some extra heavy-duty stretchers from French Canvas and am very happy with the results.

As I mentioned, stretching Lagoon at my studio was highly impractical since there is no way I could have gotten it out of there without a crane or some kind of pully system, which I had not the time nor money to deal with. Luckily, my boss was generous enough to allow me to use some space in the basement to do the stretching. From joining the first two stretcher bars to putting in the final staple, it took me maybe 3 1/2 hours to complete-way faster than I initially thought. The corners were a pain to deal with because of the stiffness of the canvas, but I made it work, as you have to in these situations.

So ends the latest installment in the life of Lagoon. I say latest because while working on it last year, I documented almost every step in it's evolution on this blog. To follow the progress of Lagoon, see the links below:

Lagoon In progress I
Lagoon in progress II
Lagoon in progress III
Lagoon in progress IV
Lagoon in progress V

Studio: 3.23.11

2011-03-23T23:42:00.002-04:00

In progress 3.23.11

This painting has been sitting in my studio for several months now, probably a record for me. I've been working on it here and there, trying to get a handle on where to go with it. It's a bit different from my other recent paintings in that the image is completely made up of stenciled markings.

I've been taking my time with it and instead of turning it to the wall in a corner of the studio when at a loss as to how to proceed, I've left it out. I've worked on other things and then turn around to this one sometimes grind my teeth in annoyance, but I have refused to let it get the best of me. Doing a number of works on paper in the interim has moved me to a place where I think that I may have a resolution within reach. It's not there yet, but I have the beginnings of that familiar tingling in the pit of my stomach that tells me that I'll be ready to leave it alone soon and possibly send it out into the world.

I sat on my couch today staring at this latest stage and thinking about it for almost an hour. It was one of those days where I felt that much more progress was made by being more cerebral than physical in the studio. The scene was set with the cold, rainy, dark cloudy day outside and my feeling incredibly tired due to a fitful night's sleep. With that mix, it didn't take long before deep studying of the painting turned into deep napping. When I woke up, I still liked where I was with the painting, so I think I may be on the right track.

Palin slams the arts as "frivolous"

2011-03-17T13:42:00.001-04:00

So, Sarah Palin is at it again. I don't know why I'm even acknowledging her existence, but Sarah Palin and supporters who think that the arts are "frivolous" can all suck on my big tube of Mars Black.

The CEO of cable network, Ovation, struck back, saying that, "America's arts sector is a huge driver of our economy and proposed cuts to the NEA don't take into account the substantial return on investment those funds generate in tax revenue to local, state and federal treasuries. Shame on her for turning the arts into partisan politics. It doesn't take much creative thinking to work this out".

I usually try to ignore uninformed, ignorant partisan political nonsense like Palin's, but sometimes, its just too fucking diffcult not to. It's tiresome when people continually pounce on low-hanging fruit for their arguments against governmental support for the arts, while completely ignoring the obvious financial benefits from revenue and taxes generated by various sectors of the arts. Not to mention the community good that arts organizations and individuals help to bring about.

Unfortunately, as long as the government does fund art and art-related entities, it will always be a political punching bag. Consequently, the bar for intelligent discourse about art in the public sphere of the U.S. is set even lower, providing an ever-widening ignorance about the value that art and artists bring to society. I think that most people see through this sort of ranting, but the problem is that I'm sure that a lot of people, conservative politicians hoping to remain in office, especially, will seize upon it as another reason to disparage art and artists in this country.

The idea that cutting out arts funding is good for the country completely escapes me, but I'm sure Palin and her ilk would have some kind of off-the-cuff answer for the people whose jobs will be lost, the museums that might have to close, schools and centers that will no longer be able to provide any sort of arts education, the state and city governments that will lose money and future generations of Americans who will have even fewer connections to art in the United States than they do now, should anything she proposes gains any support from representatives in the Congress and Senate, which I doubt, but you never know what can happen.

Ok, I'm done for now. Time to go and be productive in the studio, wash Palin out of my head, and make room for more important things.

Exhibition trailers-an idea whose time has come?

2011-03-15T23:20:00.001-04:00

McNay Art Museum: New Image Sculpture from McNay Art Museum on Vimeo.

Exhibition trailer for New Image Sculpture at the McNay Art Museum (San Antonio, Texas).

Interesting. Putting together a short (2-5 minutes) exhibition preview video, if done right, could create excitement for an exhibition in ways that still photos only touch on. Seeing short glances of the artist's work, an installation in progress, and creative editing can lay the groundwork for more interest in and possibly, better attendance of some exhibitions, especially in today's increasingly video/moving-image information-gathering world.

One of the downsides is that this approach isn't something that can be done for every exhibition, particularly with most gallery shows, many of which turn around every four-five weeks. Exhibition trailers might work better in larger institutions or for special gallery shows with some lead time. Still, the idea can do some good in bringing more attention to art exhibitions and possibly aid in demystifying some of the processes behind contemporary art for people who may not feel connections to what artists are doing today.

New American Paintings

2011-03-10T22:09:00.001-05:00

I'm pleased to announce that my work was juried into the latest edition of New American Paintings-Northeast edition, #92. It's available online and should be available in the art magazine section of your favorite bookstore by next week. In the meantime, there are scans available on the Bridgette Mayer Gallery website.

JR: Using art to turn the world inside out

2011-03-04T23:04:00.000-05:00

From TED:

JR, a semi-anonymous French street artist, uses his camera to show the world its true face, by pasting photos of the human face across massive canvases. At TED2011, he makes his audacious TED Prize wish: to use art to turn the world inside out. Learn more about his work and learn how you can join in at insideoutproject.net.

Upcoming shows-heading out west

2011-03-03T23:46:00.006-05:00

Some of my work is taking a trip out west and south in April.

The first stop is Richmond, California for Life of the World to Come: Darkness Falls Upon Us, a group exhibition organized by Timothy Buckwalter at the National Institute of Art & Disabilities (NIAD). "Darkness" is part two of a three part exhibition series, "LIfe of The World to Come" where Buckwalter pairs the works of disabled artists with those of mainstream artists. My painting, "Restless Wandering"(2009) will be shown in this exhibition.

"Life of The World to Come: Darkness Falls Upon Us" will be on view from
April 4 - June 3, 2011.

Reception: Saturday, April 4, 2011, from 2-5pm.

NIAD information:

551 23rd Street
Richmond, CA 94804
Hours: M-F 9-4pm
Tel: (510) 620-0290
Fax: (510) 620-0326

Below is a promotional video for the show.

promo: Darkness Falls Upon Us from timothy buckwalter on Vimeo.

I'm also happy to share with you that the Bridgette Mayer Gallery will be including several works of mine at the Dallas Art Fair, also happening in April.

Dallas Art Fair 2011

April 7 - 10, 2011

Booth G4
Fashion Industry Gallery, 1807 Ross Avenue, Dallas, TX 75201

Fair Hours: April 8 - 9, 2011, 11am - 7pm / April 10, 2011, 11am - 5pm
Preview Gala: April 7, 2011, 7 - 10pm

Hitotzuki

2011-02-25T01:01:00.000-05:00

Video for the making of "The Firmament", by husband and wife Tokyo street artist team Kami and Sasu, aka, Hitotzuki. More at their website: HITOTZUKI

Random linkage

2011-02-23T09:52:00.000-05:00

• Caravaggio-one of the original bad boys of art has his police records aired.
• The New York Academy of Art is no match for Facebook's no-nudity policy.
• Great street photography from relatively unknown Vivian Maier is brought to light.
•

Steve Powers, aka ESPO, speaking at TedxPhilly about his project, 'A Love Letter for You', in Philadelphia and a similar project in Brazil.

• Desperate for a place to live, a museum guard holds Renaissance paintings for ransom that are later stolen from his car.

Been a little busy...

2011-02-20T10:15:00.001-05:00

Scenes from my studio-January to mid-February 2011

Steven Powers @ TedxPhilly

2011-02-20T09:38:00.002-05:00

Steve Powers, aka ESPO, speaking at TedxPhilly about his project, 'A Love Letter for You' , in Philadelphia and a similar project in Brazil.

The sweet spot

2011-02-19T22:35:00.002-05:00

Nope, no wires nor photoshop, that's just a canvas standing on edge on my notoriously uneven studio floor. Just one of those small, almost magic, moments.

New Radiohead

2011-02-18T11:36:00.000-05:00

The video for 'Lotus Flower', the first single from the upcoming Radiohead album The King of Limbs.
Oh, yes, it's a happy day when I find out that there's new Radiohead music on the way.

Once Was Light

2011-02-15T00:08:00.001-05:00

Once Was LIght, 2010, collage and acrylic on paper, 38 x 50 inches

(photo: Karen Mauch)

Callum Innes: Tate Studio Visit

2011-02-11T22:33:00.000-05:00

Painter Callum Innes talks about his process with watercolors.

Bruce Pinchbeck-Morning With: Moe Brooker

2011-02-09T01:22:00.001-05:00

A short video by Bruce Pinchbeck featuring Philadelphia-based artist and educator, Moe Brooker. (via Heavy Bubble)

Studio Visit: Steven Baris 12.30.10

2011-02-09T00:20:00.001-05:00

I found out about Steven Baris and his work through an exhibition of his that I saw at Pentimenti Gallery about six or seven years ago, I think. His use of plexiglas and mylar as supports for his oil and acrylic paintings along with the sense of space he was able to achieve, controlled use of high-keyed colors and intricate compositions drew me to see more of his work at later shows. At some point, we met at either one of my shows or his here in Philly and have stayed in touch ever since.

Steven often has a couple of projects going on at once. One such project is "Exurban Archipelago", where Baris makes use of Google satellite images to map out and manipulate architectural forms that are similar to those used in his paintings. In addition to the roll-over images that you can explore, there is a fictitioius (and funny) interview where Baris delves into his theories about exurban spatial relationships. Steven Baris's "Exurban Archipelago" was also recently mentioned on "The Artblog".

Feeling Lucky? Or Let Down?: A Roundup of Art Critics on Google's New Mega-Museum - ARTINFO.com

2011-02-08T10:56:00.001-05:00

Feeling Lucky? Or Let Down?: A Roundup of Art Critics on Google's New Mega-Museum - ARTINFO.com

As with any kind of new tech application, there are going to be pros and cons. I tried out Google's Art Project and found it good in some ways and way wonky in others. The good includes getting to examine some works in close detail that you wouldn't be able to in real life. The not-so-good, for me, are the somewhat limited selections from each museum that you are able to see. Granted, it's a big undertaking to document the collections of major museums for an online application, not to mention all of the legal wrangling that must be involved.

I guess my expectations for more views of the museums' various rooms and collections were a little high at this stage of the game. Hopefully, there will be some tweaking of the program to and more of the collections included at a later time. That said, no matter how good Google's Art Project gets, it is still a far second-best to being able to view the works in person.

A quote for the ages

2011-02-08T09:51:00.001-05:00

"People who say that it cannot be done should not interrupt those who are doing it"- George Bernard Shaw

Changeling

2011-02-07T09:38:00.001-05:00

Changeling, 2010, acrylic on canvas, 66 x 64 inches

(photo: Karen Mauch)

Spark

2011-02-04T09:36:00.000-05:00

Spark, 2010, acrylic on canvas, 60 x 60 inches

(photo: Karen Mauch)

My artist page on the Bridgette Mayer Gallery website has been updated with this painting and several other newer works: Tim McFarlane

Black clouds, silver lining

2011-02-04T00:26:00.000-05:00

Portion of a new work on paper in progress

Some days the practical aspects of being an artist can seem a never-ending trial. Having had years of dealing with the issues that come up, I'm usually able to deal with what comes my way and move on. Every once in a while, the mental and financial gymnastics one has to go through sometimes are enough to leave a black cloud the size of Texas dangling over my head, like this morning. Once again, I was able to get by, but it still left me in a foul mood for a while. Luckily, I had things to do before heading up to the studio, so I had some time to distract myself, reflect, figure things out and ease out of my bad mood so that it wouldn't affect me creatively.

Once I got up there, I was more than ready to dive into work. I've spent more time out of the studio in the past couple of weeks than in and in that time, I'd had plenty of time to think, and re-think some ideas for projects that I've been working on. No matter how rough things might make me feel, getting into work-mode always puts me in a better place. I always feel at my best when I'm figuring out problems in the studio and seeing the results of learning from the good and bad can work wonders.

Constant Flux

2011-02-01T12:05:00.000-05:00

Constant Flux, 2010, acrylic on canvas, 60 x 60 inches

(photo: Karen Mauch)

Pink

2011-01-31T23:56:00.001-05:00

Paint color names from art supply websites

Pam Farrell, Maybelline

36 x 48" oil and alkyd on canvas 2010

Late last year, Pam Farrell put out a "Call for Pink". Out of the images she received, Farrell has curated an online exhibition of pieces that feature the color pink in various ways. I have a recent piece included, titled, "Blink". You can see the entire show here: PINK

"Pink" has been online for two weeks, but I'm running behind on my posts here. Life and art happen (as they should), but I'm slowly catching up to things online and off. Thanks for continuing to stop by!

Studio visit: Dolores Poacelli 12.21.10

2011-01-30T11:17:00.000-05:00

Dolores Poacelli worked for many years as a graphic designer before turning her attention to being a full-time artist. She often works in series that can have up to 90-something pieces, depending on how obsessed she is with any certain idea.

Her studio is dead in the heart of the Italian Market, where she says that she's the "last Italian left", and that's only a slight exaggeration since the demographics of the area have moved over the years from primarily Italian immigrant families to a mixture of asian, Mexican and South American immigrants.

Dolores Poacelli will be showing work at AxD Gallery in a two-person show with Paul Davis Jones. "Resonances and Reflections" runs from May 20-June 18th, 2011. Opening reception: Friday, May 20th, 5-8pm

Hiro Sakaguchi interviewed on Art:21

2011-01-15T00:18:00.000-05:00

Hiro Sakaguchi, "Pulling Tank," 2007. Graphite and watercolor on paper, 9” x 12”.

I was just wandering around the "Art:21" site and found this new interview with Philadelphia artist, educator, and curator, Hiro Sakaguchi:

Occupying Multiple Scales at Once: An Interview with Hiro Sakaguchi

Featured Blog

2011-01-08T11:14:00.000-05:00

I just found out that my blog is the 'Featured Blog' on Painters' Table.com. Thanks, Brett! (and Vincent for pointing it out)

HNY!!

2011-01-01T10:52:00.000-05:00

HAPPY NEW YEAR!

All the best for a happy, healthy, prosperous, and productive 2011!!

Through the lens

2010-12-28T01:33:00.000-05:00

A.M.

Jude (math)

Kathryn

Kathryn (closed)

Last summer, I tried my hand at doing some posed portraits. Until this point, most of my photos of people had been captured spontaneously or I would use myself as a model. A good thing, but this year I thought that I should try to see what can happen when I used other people as models. I learned a bit about communicating and giving directions. I know I have a long way to go, but I do feel like I learned a lot. With the exception of Jude, these were all taken in my studio with a Canon Powershot A-650. I wanted to keep my set-up as simple as possible, letting the diffused natural light that comes in from my front windows do the heavy lifting, while keeping the background stark.

If anyone reading this blog has been following along for a while, you know that photography is another of my creative outlets. I've been learning what I can from just taking photos and experimenting for a while. I know there's a lot more that I need to learn, but I feel like I've come a good ways. This coming year, I'm planning on moving up to a DSLR, most likely another Canon. The Canon EOS 60D is high on my want list and thanks to a generous Christmas gift from my wife, I'm very close to one. Now, to figure out what lens to get...

Merry Christmas!

2010-12-25T15:59:00.000-05:00

...although Cooper still isn't sure about your idea about sleeping with him under the tree.

Perspective

2010-12-22T23:35:00.000-05:00

2010 Queensland Astrofest Skyscape Time Lapse – Portrait Image Shift from William Castleman on Vimeo.

There's nothing like watching the Milky Way stretched out before you to get a little perspective...

Studio Visit: Rebecca Saylor Sack 12.08.10

2010-12-20T00:54:00.000-05:00

I caught up with painter Rebecca Saylor Sack at her studio in the Crane Arts Building recently. We talked about a number of things, but one thing that we had a good laugh about was that the work of painters, especially those who work with abstract imagery, progresses because we wind up making problems for ourselves.

I know that whenever I begin to feel too comfortable with some aspect of what's going on with my work or if it begins to feel too "easy", it's very likely that I'm going to find some kind of wrench to throw into the situation-changing sizes and kinds of supports, trying different media to paint with, bringing different forms into the work, etc... I feel like if I don't create challenges for myself, the work will stall and feel stagnant.

Rebecca seems to keep her work fresh just from the balancing act of using abstraction that closely references landscape, but stops well short of being exactly landscape painting. However, like myself, she has deemed it necessary to mix things up a bit over the past year or so by bringing mark-making strategies, like spray paint, to the work that mixes well her very capable paint-handling skills.

Rebecca Saylor Sack is represented by the Nicelle Beauchene Gallery in New York.

Artist website: Rebecca Saylor Sack.com

Second State Press

2010-12-09T12:29:00.000-05:00

This is exciting! Second State Press is a new printmaking studio that's opening up in the Crane Arts Building in Philadelphia. The studio is member-driven and can be rented on an hourly, weekly, monthly or yearly basis, depending on need. There will be a Grand Opening on Saturday, December 18th, 2010, from 2-7pm

Location:

Crane Arts Building, basment (Map)

1400 North American Street

Philadelphia, Pa, 19122

Jacob Krupnick: "After The Art Fair"

2010-12-09T01:12:00.000-05:00

Photographer Jacob Krupnick was able to go through the aftermath of Art Basel: Miami and shot a series called, "After The Art Fair". More of the series can be seen here: Jacob Krupnick-After The Art Fair

Studio Visit with Kehinde Wiley on New Art TV

2010-12-09T00:11:00.000-05:00

Painter's Table

2010-12-08T21:51:00.001-05:00

"Painters' Table is a daily digest of web content for people who love painting – artists, curators, collectors, and the casual art lover. Highlighting writing from the painting blogosphere as it is published, Painters' Table serves as a jumping off point for exploring blogs that focus primarily on the subject of painting."

Painter’s Table is a site that I just found that aggregates blogs and blog posts featuring painting as the main subject. A recent post I made here about the current Brice Marden show at Matthew Marks in New York was listed recently on the front page there under “New Posts”.

I haven't gone through a lot of it yet, but from my first glance, there's a lot of content relating to painting and painters, including interviews, videos and blog posts. It's definitely worth a look when you have a moment to get out of the studio.

Studio: 12.01.10

2010-12-07T12:28:00.000-05:00

A new, as-of-yet untitled painting in the studio-acrylic on canvas, 66 x 64 inches. I've been moving on with a lot of new things int he studio for a few months now and, thankfully, the momentum has been unabated. If I could afford to sqezze in another day in the studio instead of being at the job, I would in a hearbeat. However, making the most of what time I have now is working. It has to. I've had days where two hours of laser-focused studio activity have enabled me to get way more done than I thought was possible.

I can't sustain that way of working, as I also need those days where I might have time to stand back and/or sit and contemplate on what's going on and what I might want to do next. Having that inner dialogue time with the work is as important as the time to experiment with materials, do research, day dream, and so on. The real important thing is to be with the work, regardless of how much time you have in the studio. Things don't progress unless you are in there dealing with it, whether that means physically working on something or just being in your work space thinking. I'm writing this from the standpoint of someone who relies on a physical space to make the work, and "dealing with it" can mean just about anything to a lot of people these days. However, from the standpoint of a painter, nothing changes until you're right there, engaging the work directly.

Scenes from Aqua: Miami 2010

2010-12-04T22:49:00.001-05:00

I didn't make it down to Miami for the Aqua Art Fair, but the Bridgette Mayer Gallery has shared some photos, so here we go...

Four of my new works on paper exhibited by the Bridgette Mayer Gallery at the Aqua Art Fair: Miami 2010. To the right is a painting by Dana Hargrove.

Mark Brosseau helping to set up the gallery's space at Aqua.

Bridgette Mayer Gallery booth at Art Miami with Steve Tobin's "Steelroot" sculptures.

Paul Oberst with his "Banded Props"

Paul Oberst's "Banded Props" with a selection of his photographs on wall.

Works by Rebecca Rutstein, Matt Freedman, and Dana Hargrove

A work by David Slovic to the left of mine.

Miami-bound!

2010-11-24T09:20:00.000-05:00

Kinetic Bliss, 2010, acrylic on paper, 22 x 22 inches

I will have new works on paper exhibited by the Bridgette Mayer Gallery at the Aqua Art Fair Miami from December 2-5, 2010-Room #221 at the Aqua Hotel.

If you’re in the Miami area or know someone who is and might be interested, stop by!

Vincent Romaniello at Aqua10 MIami

2010-11-23T09:40:00.002-05:00

Vincent Romaiello, "The Last Straw"

(photos: Vincent Romaniello)

Vincent Romaniello will be showing a new piece titled, “The Last Straw” (above) at Aqua 10 in Miami. Vincent wrote in his blog post that he’s been workiing with Trong Nguyen, from “Work of Art” fame and that Nguyen is “…totally professional” and “a really nice guy”.

Brice Marden at Matthew Marks (video)

2010-11-23T09:09:00.001-05:00

A virtual walk-through of the Brice Marden exhibitions at Matthew Marks in New York City. Both "Brice Marden: Letters" and "Brice Marden: Paintings 1961-1964" continue through December 23rd, 2010.

I just saw these shows last Friday and enjoyed both. The newer work in "Letters" is interesting because Marden has chosen to compress his linear imagery with two bands of muted colors on both sides of the canvases, creating a tension not usually seen with his now iconic mark-making.

Autumnal Mixture

2010-11-16T00:14:00.001-05:00

Detail shot of two paintings in progress

Jeffrey Collins - Autumn Mixture by jeffreycollins

I had a pretty short session in the studio this morning before having to leave for work. Lucky for me, the "Autumn Mixture" by Jeffrey Collins (above) made up for that bummed feeling of having to leave when I wasn't quite ready to.

Studio Visit: Mauro Zamora 10.30.10

2010-11-12T00:25:00.003-05:00

It took a couple of months for Mauro Zamora and myself to nail down a day to swap studio visits, all due to our schedules not synching up for a few weeks. Things finally came together on a Saturday at the end of October. Both of us are in transitional phases with our work at the moment, (jumping off of cliffs is probably more like it) so the timing made the feedback between us that much more important, in my view.

The questioning and doubt that come along with living a creative life is heightened with painters because of our usually solitary work habits. Not only that, but one of my hard-core personality traits is a propensity to be alone. I can go a long time without being social. That alone makes it a good practice to get out of my space every now and then and experience someone else's, along with getting some feedback on my own work.

Being able see other artist's work spaces has always been a thrill for me. It is always good to see how other people deal with things like storage, how they organize their spaces and to see how they inhabit their work space. One of the best things about doing studio visits is being given the privilege to see work(s) that the outside world may or may not experience.

Mauro is currently preparing work for a solo exhibition at Rebekah Templeton here in Philadelphia in January, 2011

Show dates: January 13-February 26, 2011

Opening Reception: January 13, 2011, 6-9pm

259

2010-11-10T22:18:00.000-05:00

259

Studio visit: Brenna K. Murphy 10.02.10

2010-11-08T00:12:00.001-05:00

On the same day that I visited Tremain Smith's studio, the last artist I had time to visit was Brenna K. Murphy. Brenna's work consists of integrating hair into photographs and other objects like the envelopes in the photos above.

According to her artist statement, Murphy says, "I am interested in the relationship between the ideal of Home and the body. In our culture we tend to think of our 'hometown' or the house we grew up in when we think of what Home means. Growing up without the presence of these things, I turned to the more personal and immediate to create my sense of Home: nuclear family, relationships with friends, and my own body. The development of my repetitive 'hair ritual' is indicative of how I have come to view my body as a surrogate Home, a way to connect these ideals with something physical and tangible."

Because of the delicate nature of her work, it's somewhat diffictult to photograph, hence the few shots here. Brenna K. Murphy's work is best seen in person and there are a couple of chances to do so right now:

"Between the Studio and Facebook"Main Line Art Center (746 Panmure Rd. Haverford, PA)
October 15th - November 13th

"Post (nomad)," is comprised of hair-embroidered images on post-marked envelopes.

"Vestiges"Center for Emerging Visual Artists (1521 Locust St., Lower Level)
October 20th - November 12th

Found photographs into which she has incorporated her hair using a variety of techniques.

New works on paper

2010-11-05T08:50:00.000-04:00

Kinetic Bliss, 2010, acrylic on paper, 22 x 22 inches

Blink, 2010, acrylic on paper, 22 x 22 inches

Supakitch and Koralie wall painting

2010-11-01T09:49:00.000-04:00

SUPAKITCH & KORALIE - VÄRLDSKULTUR MUSEET GÖTEBORG from elr°y on Vimeo.

Video of a wall painting by Supakitch and Koralie.

Studio visit: Tremain Smith 10.02.10

2010-10-31T23:07:00.001-04:00

Back at the beginning of October, I had the chance to visit a few artists' studios that were a part of the Philadelphia Open Studio Tours (POST). Most years, I don't have the chance because of work, but this year the stars aligned just so and I spent a Saturday afternoon seeing art out in West Philly.

My first stop was the studio of Tremain Smith, out on 59th Street. Tremain is a painter whose primary medium is encaustics. I've known Tremaine for a number of years and this was the first time that I got to see her work space. The great thing about it is that Tremaine's studio occupies an entire two-story house. Every nook and cranny has the touch and residue of a creative life in it.

View more of Tremain's work here: Tremain Smith images

From here to there

2010-10-30T01:45:00.000-04:00

How did I spend my Friday, you ask? Why, I moved something, thought for a while, and moved something else until I got tired and had no choice but to go home for the night. The idea was to free up some wall space to do more work. It took a lot of mental, and later, physical, gymnastics to figure out where to move what, but by the time I left, the new configuration was taking shape.

It took a bit to get past the mental part of changing a long-time studio set-up, but it's something that I should have done a long time ago, at least three years or so. Moving things around also made me realize how much I can probably let go of. A bit of purging is in order. There are things hanging around the studio that I thought I'd be using "one day" but that day has not come, so it's time to let stuff go again.

It's amazing how much mental space things take up in your head, even when they are small and seemingly insignificant. The moment I've chosen to let them go, I feel lighter and the space they occupy seems so much larger than it really is. Just like at home, the accumulation of things in the studio can be more paralyzing than we realize sometimes.

Walk With Me

2010-10-27T23:54:00.000-04:00

Live version of Neil Young's "Walt With Me"

I've been listening to Neil Young's new album, "Le Noise" at least once every time I've been in the studio over the past week or so. It's just Neil Young, guitar and some nice producing work by Daniel Lanois. It's a really powerful, revealing, sonic blast.

I've liked some of Young's music in the past-mostly what I heard on the radio-and while I have only been a passive fan, at best, the stripped-down force of Young's voice and guitar on "Le Noise" really resonates with me.

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Work is coming along pretty well in the studio. I'm having some great adventures with new works on paper. I'm in love with the 38" x 50" Stonehenge paper. It seems to be a perfect size for what I'm doing at the moment. There's also some interesting cross-pollination going on between the paper work and the paintings. I'm moving into hunkering-down mode for the winter in the studio. I hope that this productive ferver lasts for the season.

Studio: 10.15.10

2010-10-20T23:47:00.000-04:00

Untitled, 2010, acrylic on paper, 50 x 38 inches

There are no others, There is only us

2010-10-16T00:31:00.000-04:00

A short film about the power of crowds by Marc Silver

post POST 2010

2010-10-14T23:51:00.001-04:00

The open studio event this weekend was a success. Over the two days I had 69 visitors, most of them new to my studio. I even met a couple of people who have been following this blog, as well as a couple of others I've previously known only as Facebook connections. It's always good meeting the people behind the images and words on the screen.

I have to say, this year was probably the first where I did not have the "post-POST" blues. Most other years, after putting so much energy into working towards thsoe two days and suddenly, all of that energy that the space had from people coming in and looking around would be gone. I've usually experienced some kind of come-down, but not this year. I was glad that POST was done and was ready to get back to work. I actually got the studio pretty much back to working condition Sunday night in under an hour. I was back in there yesterday to take the paintings down from the walls and was back to work today.

POST 2010-day 1

2010-10-09T23:59:00.001-04:00

Today was the first day of open studios this year and it went really well. I had about 31 visitors for the 6 hours and a lot of them were new to my studio. There was a lot of good feedback about the new work (everything I have out was completed in the last 8 months, with the exception of a couple of small paintings). The weather was great outside...sunny, warm but with a little breeze, the perfect fall day that anyone taking part in POST will like. The only problem with this time of year is that there are always a ton of other events taking place around the same time, so you can never count on always having a constant number of studio visitors each year.

I arrived at about 11:20am, enough time to get my posters, balloons and other promotional items up on the front door downstairs. No matter how much I"ve gotten done in the space, I never feel comfortable until I have my promotional stuff up and visible for passers-by.

Tomorrow will be great because I won't have to worry about any last-minute things that I might have to take care of. I can sleep in and even take my time getting there.

POST prep

2010-10-09T00:31:00.000-04:00

All set up for open studios this weekend. I'm pretty tired and still have a little to do in the morning but at least the big part is done with. I was good this year with getting a lot more done ahead of time than in the past. Being ahead of the curve has made the prep period a lot easier. It was also nice to have time to finish a couple of paintings before the weekend.

There's more that I want to do in terms of new work, but it will have to wait until after the weekend is over.

Once again, if you're in the Old City section of Philly this weekend and want to stop by, my studio is at 16-A North 3rd Street, 4th Floor.

Open Studios this weekend!

2010-10-05T09:53:00.003-04:00

If you are in Philadelphia this weekend, Saturday, October 9th and Sunday, October 10th, you are invited to visit my studio as part of the Philadelphia Open Studio Tours. I will have some new and recent paintings and works on paper on display.

Philadelphia Open Studio Tours 2010
(East of Broad Street)

Dates:
Saturday, October 9th
Sunday, October 10th

Time:
12pm-6pm each day

Studio address:
16-A North 3rd Street, 4th Floor (just a few doors north of Market Street on the west side of 3rd)
Philadelphia, PA 19106

While you're in the Old City area, stop by and visit some of the other participating artists and POST partners:

The Clay Studio
137-139 N. 2nd Street

Pete Checchia
122 Arch Street, 2nd Floor

Caroline Furr
110 Church Street

Heavy Bubble
110 Church Street

110 Church (Gallery)
110 Church Street

Mami Kato
16 South 3rd Street

Muse Gallery
52 North 2nd Street

For more information and a map of the Old City POST participants, click here

How ink is made

2010-10-02T11:38:00.000-04:00

This is a surprisingly interesting video about how ink is made. The beautiful soundtrack is part of the attraction, but the main thing for me is just watching the colors being mixed. One of my favorite parts about the painting process is mixing colors. I especially enjoy seeing the variations in tones in the phase before the final color is arrived at. I really enjoyed working inks when I took printmaking courses back in school. There's a delicious pleasure derived from taking relatively stiff (depending on the density of the pigment and vehicle) inks from the can and making them become softer and more pliable with a painting knife or scraper.