So many of my favorite artists, curators, directors, collectors, and all around super art people came to the opening of Hot Paint!!! at Weekend, even though Made in LA opened at the Hammer on the same night. I keep thinking the iphone takes good pictures, but no, it sucks indoors at night. Sucks, I tell you. If you want an image removed, let me know.
MAH, Mirror Painting (Leitmotif)
MAH, Mirror Painting (Obfuscation) hanging out above the bar. Perfect.
Amy Feldman
Emily Noelle Lambert
Heather Brown
Molly Larkey
Allison Miller
John Mills and Christopher Kuhn
Daniel Brodo and Kristi Engle
Emily Noelle Lambert in from NYC
Chrome polish for me, Emily's hand-painted shoes. Our feet matched our paintings. Shrewd fashion sense at work.
Alice Clements.
Pam Jorden was a delight to meet. We both did undergrad at UT and studied under Michale Brakke (d.2012), Marcia Goldenstein and Whitney LeLand.
Amazing Smile by Jay Erker
Meg and Ray and Jay
I'm in the mood for an armband. And huge thanks to Meg and Ray for hosting me.
Cole Case and John O'Brien.
Michelle Carla Handel
A bunch of people, including Suzanne Adelman and Keith Walsh
Max Presneill
***
I visited my storage unit. I was hoping to move into a smaller unit. I forgot I had this much work back in LA, and I also forgot I couldn't move the big painting in the back by myself. I spent about an hour and a half, mentally trying to consolidate this into about 3/4 of the space. I even tried to lift that painting onto a cart. I gave up. Next trip, I will have to unstretch them and roll them up or hire someone to do that. This is one area of my life that I am in denial about. There is another, of course. It is a parallelogram about 120 miles long x 440 miles wide.
I am a painter who makes work, no matter what. I don't wait until I have a show and then make X number of paintings. Not that anything is wrong with that MO, it's just not how I function. I make a lot of work, sometimes it's with a show in mind, and sometimes it just feeds the larger glom thing of getting up and making work for the greater good. I used to be somewhat embarrassed about this, as though I was the only artist who had works hanging around, but then I visited Charles Arnoldi's studio and even he had rolled up canvases in storage slots. If you're in it for the long haul, I'm guessing you're making work no matter what.
Available Works, 2001-2010
***
Recap: The opening was fantastic, but Saturday was a bit of a bust. I spent too much time in traffic. I got trapped on the 405 on the way to a panel discussion that I missed; On my way to a studio visit, I made a wrong turn and got off on the 110 instead of the 10; and my lame-O 3G map program gave out while I was on a circuitous run. I'm sure there were other travesties. That was my Saturday. I had a voracious appetite to see painting this trip. I saw 3 shows in Culver City. I had plans to see, oh, like 200 shows. I was also a bit tired after a convo about location and identity with a well-meaning friend took me down for the count.
Cars, Cars, Cars!!!
More Cars, Cars, Cars!!!
And even more Cars, Cars, Cars!!!
Onward and upward
2 comments:
Thanks for these posts. So nice to see so many people I only know from facebook here together. It's almost like I am meeting them in a different context.
About storage, the lack of it is part of why I work small and on paper a lot. Of course, it seems it is my inclination also and then there is the money (for storage and canvas), which alas is running low and will continue to be low if I don't want to go back to 'regular' life.
Like you, I just make art, whether there is a show, or a sale, or not. Can't help it, it seems. Been going on for a long time now.
I am grateful to see these folks in person periodically. Otherwise, I might think the last 25 was just cruel narrative device, like amnesia or something.
Regarding size. Don't get me started. ; )
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