January 31, 2010
January 28, 2010
January 27, 2010
January 22, 2010
January 20, 2010
Despite evidence of a link between genius and madness, no one has proved that such a link exists. However, scientists at the University of Toronto have discovered that creative people possess little to no "latent inhibition," the unconscious ability to reject unimportant or irrelevant stimuli. As University of Toronto psychology professor Jordan Peterson puts it, "This means that creative individuals remain in contact with the extra information constantly streaming in from the environment. The normal person classifies an object, and then forgets about it, even though that object is much more complex and interesting than he or she thinks. The creative person, by contrast, is always open to new possibilities [source: University of Toronto]."
January 19, 2010
- Insomnia. Probably due to expecting....
- Early morning phone call with mom's doctor.
- YOGA!!!!! (20 in a row days, I'm on a streak.)
- Walked Fang before the rain started again
- Took Fang to vet for routine "senior panel." No he wasn't a guest speaker- $273 worth of tests and thyroid meds. He was such a great guy today. Mr. Mellow.
- Correspondence. By the way, anyone out there teaching Photoshop or Illustrator? I've been asked to teach a class next fall and am looking for some interesting projects to assign.
- Spent a little time on FB in a thread discussing Abstract Art in the 21st century. Good to know it's still a relevant topic since just last week I decided my pools and flowers were abstract, and not representational. Hah. Solved that issue.
- Fixed lunch. Not that it was broken.
- Started one of my inbox proposals.
- Continued work on 3 paintings.
- Mulled over titles for solo show.
- Connected dots.
- Checked in with blog.
January 17, 2010
Interestingly, there may be an actual phenomenological correlation between the experience of scale and the experience of duration. In a recent experiment conducted by the School of Architecture at The University of Tennessee, researchers had subjects observe scale model environments 1/6, 1/12, and 1/24 of full size. The environments represented lounges and included chipboard furniture as well as scale figures. The subjects were asked to move the figures through the environment, to imagine humans at that scale, and to identify activities appropriate for that space. Then they were asked to imagine themselves to be of "lounge scale" and picture themselves engaging in activities in the lounge. Finally they were asked to tell researchers when they felt like they had been engaged in such activities for 30 minutes. The experiment showed that "the experience of temporal duration is compressed relative to the clock in the same proportion as a scale-model environments being observed are compressed relative to the full scale environment." In other words, 3o minutes would be experienced in 5 minutes at 1/12 scale and 2.5 minutes at 1/24 scale.* This compressed time of interiority tends to hypostatize the interiority of the subject that consumes it in that it marks the invention of "private time." In other words, miniature time transcends the duration of everyday life in such as way as to create an interior temporality of the subject.
* there is a detailed footnote about this study, Delong, "Phenomenological Space-Time"
January 15, 2010
I enjoyed the lecture. My day thus far had been consumed with non-art things that were quite taxing. Sitting in a theater listening to a three-time Pulitzer finalist art critic talk about journalism and criticism was refreshing, comforting, even. If I had been a good journalist, I would have jotted down notes, but my purse contained my billfold, lipstick, keys, 3 pens and my iphone. No paper. And I don't tap fast. My disclaimer is that the following recap is what I gleaned from the lecture, paraphrased, with my spin and from memory. In no particular order:
Elitism in art. Say it loud, say it proud. It's a fact- some artists are better than other artists, some art is better than other art, some museums are better than other museums. It's not right to compare apples and oranges. I, too, am an elitist. Elitism is not a bad thing. According to Knight, elitism today is a democratic choice. It has nothing to do with class, wealth, race, creed etc. Anyone can be an elitist, though something about wit was implied. I'd like to add that tweed is helpful. Or elbow patches. The guy 2 rows in front of me had elbow patches on his blazer. He was sitting next to a woman dressed for the beach, but luckily she was wearing a fur and leather duster. I'm guessing everyone at the lecture would have to honestly consider themselves to be elitist to have been there in the first place.
Journalistic art criticism, academic criticism and theoretical criticism are three branches of art criticism. Knight's job as a journalist and critic is to lead the reader through his column from start to finish.
Writing for art mags can have some limitations. Art mags are funded by ads. Details weren't given, but sometime around 1996 (?) Knight quit writing for Art Forum. For years, it was rather obvious that there was a direct correlation with the number of reviews and the ads from galleries in that city. I can only imagine that say a full page ad, might warrant some kind of review at that rate. Pure speculation on my part.
Writing about art is a way of understanding art. True that.
A critic's role is not to promote artists, they write about what they like, or want to understand. See above. Their role is not to pick winners.
Other artists are the best indicators of artists to watch. Not curators, not dealers, not collectors, not critics. Look to see who everyone is stealing from. Good artists steal from good artists.
The Internet and the future of journalism was brought up at the end of the lecture. The future of newspapers-pfft, but the future of journalism is a concern. I would add that the future of everything is a concern, but I would spin off into a tirade on hype and pop culture. I believe I got it right when I say he compared the online arts community to a small village, as opposed to a large city, and that he felt the risk of online journalism could lead to a homogenized view of art. Diversity and eclecticism are needed for art to thrive. I'm butchering this last concept. My apologies. I'll try and clarify later. (Feel free to jump in if you went to the lecture. I'm getting tired now.)
Baudelaire, The Painter of Modern Life, Manet, Guy, and Edgar Allen Poe.
Picasso, Matisse and Dali.
Dave Hickey's name came up and for the life of me I can't remember why. Doesn't matter. I remember being pleased when I heard Hickey's name. I like Hickey. I like Knight. Currently my dream cup of coffee would involve sitting around listening to those two discuss art. In Vegas, over brunch.
Rebecca Taylor (http://twitter.com/RebeccaTaylorLA) posted more of an accurate recap on Twitter.
I perceived a subtle subtext throughout the lecture– personal integrity. Not only integrity in journalism, but a certain, certain sort of commitment to the task at hand. A kind of "do the right thing, be true to yourself" code, whether it be writing about art or working for a someone with a different set of business ethics than your own.
I'm still wrapping my head around the subtleties within the Picasso, Matisse, Steve Wynn, Le Reve, Bill Clinton and Monica Lewinksy narrative, but it was good.
January 14, 2010
I made it to Allison Schulnik’s show at Mark Moore gallery. So good. I tried to get a pic of the canvases from a side angle to show the 2-inch depth of sometimes straight from the tube paint, or the swirls of thick paint making up some mass. It smelled like paint and I’m certain if I had poked my finger here or there, fresh paint would have oozed out from underneath a coiled mound.
Thick impasto is possibly the only technique that I catch myself shying away from. Commitment issues. My work involves so much scraping down, reconfiguring and evolving, that laying down a blob of thick paint, only to decide a few days later, it’s no longer useful, presents major construction problems for me. It’s like a speed bump, or speed humps as they are now called. Still, whenever I look at a painting where impasto serves a purpose for the greater good of the painting, I am excited and motivated to get a little thicker in my own work.
My studio: January's floral arrangement
I need to craft an updated statement rather soon. Without writing a novel, I’m trying to figure out how to weave narratives of the miniature, abstraction and gesture, empty swimming pools, nature and decay, memory, and garden club calendar floral design arrangements into a cohesive paragraph without talking directly about loss or appearing overly melancholic. Tricky.
I’ve had a couple of productive studio days, but then again, studio days are always productive. Still working on the flowers and pools. Still working small-scale. It will be interesting to see how Deitch's arrival in LA affects how contemporary art in LA in defined, produced and received. UPDATE: I just realized how totally out of context the Deitch sentence was next to my previous sentence. I left out the part where I'm feeling hopelessly nostalgic for just paint and hopelessly intimate for just paintings. Did that help bridge the gap?
Yoga is going well. I’ve had a daily practice once again for two weeks now. My body is remembering the postures and I’m getting my strength and flexibility back. I’ve noticed inversions, back bends and twists are where I like spending the most time.
Tonight I’ll be going to hear Christopher Knight lecture at SMC Performing Arts Center.
The Santa Monica College Art Department, in conjunction with Otis College of Art and Design in Los Angeles, is pleased to present Pulitzer prize finalist Christopher Knight. Free. Call (310) 665-6827.
Location: The Broad Stage at Santa Monica College
January 11, 2010
And for something refreshing, check the Q&A with Suzanne Muchnik I copped from Christopher Knight's feed on FB.
Today was a studio day. Stretched and primed three canvases (14" x 11") and continued work on three of the 7" x 5" paintings. Fairly productive. No disasters out of the ordinary, just the usual can't leave well enough aloneness happening. At a certain point it's like the thickness of the paint, not so much impasto, but the layers and layers of the trying to get it rightness of the paint is what makes it a painting.
Syllabus is done.
Yoga going well. I used to keep a yoga journal and still have the one I started in January of 2001...2003... 2005...2007, and now, 2010. Going to aim for long-term consistency this time. At least it's all in one journal.