now and then

Self Portrait with Medusa Sunflower
mixed media on two birch panels

Selections from Walk the Walk!

"Walk the Walk" on view at Plant Zero until Dec 23, 2007

Langdon Graves @ ADA

An overview of Langdon Grave's current installation at ADA.

I've been following Langdon's work for a number of years. She has a provocative installation of sculpture and drawings on Broad Street at the moment. Roy Proctor wrote a feature on her work which can be read here. The show closes on November 11 - so check it out!

Nathan Tersteeg and Charles Yuen each have solo shows up that are a great counter to Langdon's new work.

Stephen Westfall opens at Solvent Space on Oct 12

from right to left: Liz Clark, Jessica Langley and Erik Gonzalez install Stephen Westfall's mural designs at Solvent Space.

Stephen Westfall will premiere new murals at Solvent Space this Friday, October 12. “Stephen Westfall’s Grand Opening: Mural Project.” The New York Times describes his murals as abstract twists on the classic grid and “delicately calibrated destabilizations.”

Opening reception 6pm - 8pm On display through December 1. in the Plant Zero parking lot, 0 East 4th St. 869.6051. Hours: 12 - 4 on most Tuesdays, Thursdays and Saturdays.

bottom left and right: installation shots of Westfall's murals in progress













Also on view @ Plant Zero on FRIDAY evening, October 12-
Walk the Walk, my show of "portraits, sunflowers and stormy weather" and Michael Pierce at Artspace from 6 to 8pm.

I also received an invitation from Lab 307. They are having an Open House that night from 6-10pm at 307 N.26th Street.

Lab 307 houses studios for a number of recent VCU Alumni: Danielle Riede, Thomas Condon, Sarah Mizer, Jeff Vick, Sayaka Suzuki, Erica, Dyen, Kiara Pelissier, and Debbie Quick. It looks like it will be a wonderful way to start the evening before we head over to the Folk Fest. Another cool thing about attending openings at the Plant Zero complex is that many of the artists with studios on site open their spaces for guests and interested parties. Just look for the open studio invitation on their doors.

Opening in a gallery near you...

I haven't had time to look at a lot of other art, much less write about it, for the past month or so. I've been focusing on the completion of a new body of work! If you are in Richmond this autumn please take time to visit "Walk the Walk" at Plant Zero, Richmond, VA. As soon as this show is up I feel like I'll have the leisure of looking at other people's work with undivided attention. One show I will take time to see prior to my opening is the collection of new paintings by Sally Bowring at Reynolds Gallery. It opens Friday, Sept 14.

My show, "Walk the Walk" opens on September 28 from 7-10pm and is part of the Fourth Friday Artwalk, located at 0 E. 4th Street in Manchester. It is free and open to the public. The works on the wall will be underscored by a performance/reading on Friday, Oct 26 at 7:30pm and then on on Nov 2 the premiere of video work I've completed since the Praxis Project earlier this year. Although I've maintained a studio in Richmond since 1988 I've been diligent in arranging my life where I have been able to teach, study or work in artist residencies in Paris, Bavaria, Germany, S. Korea, Virginia and Vermont.

I like to think of "Walk the Walk" as an exhibition in three acts. Paintings, drawings and bookworks created during 2006 and 2007 will be on view in the Project Space Gallery at Plant Zero from September 28 to December 23 with a progression of acitivities occuring during the run of the show. The inspiration for this body of work originated in France in 2006 during a four month residency at the Cite Internationale des Arts in Paris and was followed by a one month residency at Moulin a Nef in Auvillar, France. It was in the small village near the Pyrannes that I discovered a parallel between my interest in the human figure and the French landscape.

If you would like to request high resolution jpgs of the paintings in "Walk the Walk" please request them through the comments option below.

work in progress

Study for Portrait of Di
mixed media on panel
24" x 18" 2007

This piece is part of a new series for a show that I was planning to title "Present Tense." Many people think of me as a classicist since there are often references to classicism in my work. I'd like to emphasize more topical themes referenced in my work but now that I've learned that "Present Tense" is included in the title of the Whitney Biennale this year I am reconsidering the title.

Present Tense

The byline "pondering art and its possibilities" has been particularly relevant of late since I am preparing for a show that will open in October. There are several bodies of work I haven't shown here so I am in in the process of "framing" the show conceptually and literally - and thinking about what to include and what will need to be made to pull the show together.

Everyday my journal work is scanned in my "lab" so I can see the pages in digital sequence. It's difficult to balance it all... time in the studio, lab, garden, classroom, etc, etc... in the meantime it is compelling for me to see how the work changes after very "natural" looking watercolor, gouache and collage on mulberry paper is viewed on a backlit computer screen. It's a different medium, different aesthetic, etc.

The sunflower drawings were inspired by an August 2006 residency at Moulin a Nef in Auvillar, located in southwestern France. If you are curious to see a few more scans just click on the title of this post. Translating the interior world of a journal into work that is meant to be seen in a more public realm is as challenging now as it was when I was an art student. Believe it or not it took many years for me to feel comfortable inviting people into my studio on the hill...

Drawing on the wall

If all things were possible I would jump on the Chinatown bus tomorrow morning and head to NYC to see the William Kentridge directed version of Mozart's "The Magic Flute" being performed at the Brooklyn Academy of Music this weekend. Kentridge is one of my artistic heroes. His drawings and animated film transcend medium and nationality. His work is timeless, timely, poetic, kinetic and as simple and pure as a mark on the wall. I would sacrifice comfort, sleep and other many good meals to see his production of this great opera. We'll see. It isn't likely but I haven't given up. Tax weekend. Too many things and not enough clock. I've already emailed the opera's production company to determine its US tour schedule (not promising.) Perhaps there will be a DVD? The Philadephia Museum of Art had its act together
and reserved an evening for Mr. Kentridge to speak at their museum on Friday, April 13.

later: I've added a link to the title of this post. It will take you to Roberta and Libbie's Phillie Blog. They attended the lecture and posted images of William Kentridge's presentation.

Born Lost?

I met Gareth Morris Jones last week at his exhibition at 1708 Gallery. His maps and drawings revealed his journeys back and forth across the globe from studio to studio. Most recently he's been working at the VCCA.

He makes his living teaching English in Osaka, Japan but grew up in Wales. I find his work interesting because if I didn't know his name I might find it nearly impossible to determine a point of origin from its maker. He studied in Dundee, Scotland which I count as another mark of distinction in an interesting life. We made an attempt to determine if he knew Moira Scott (Payne) when he was there. She's another very fine artist whose work transcends place. I couldn't remember if she was teaching there when he was an art student but its a place known for its independent spirit and location to the North Sea. Lost? It doesn't seem so to me. More like wanderlust than road burn. It's definitely a show worth a second visit.

Praxis, Snowbunnies and Birthdays in NYC

"Message in a Bottle" (Journal Series)
1999 - present graphite on paper - Amie Oliver

I've been pounding the pavement in the big apple for several days now... dodging puddles, slush and snow damns in search of good art. It was a hit or miss selection of exhibitions but well worth the effort. Favorite evening this far: viewing the Picasso to El Greco show with Harry and Carole at the Guggenheim for a second time and then walking down to the Met to catch the Barcelona Art and Design show. Wow!

Harry came up on the CT bus this afternoon, we stopped by the Whitney at Altria to participate in the Praxis Project and then made our way up to the upper east side to meet Carole at the Gug. Afterwards we landed near Soho at the Noho Star, had dinner and then were fortunate to spend some time with her client in his Noho studio. His new tapestries are amazing!


above: Bill Viola installation at MOMA

Mister Man and Moon Face

There will be a panel discussion on Jerry Donato's artwork at Reynold's Gallery on March 5th at 7pm. Howard Risatti and Myron Helfgott will be asking questions and making informed observations. It should be fun. Donato's show has been extended which is great. I missed the opening and when given some gallery time I chose to spend the afternoon at the Anderson Gallery. It is presenting a retrospective of Donato's drawings, prints and paintings though the studio installation on the third floor is the place I spent the most time. It closes on March 4... tomorrow is the deadline for VMFA Fellowship applications... Feb is over and the business of March is already at hand. Tune in the second week in May when we hope to be toasting the winners.

The Prado

I was very, very lucky to find a hostel so close to the Prado, train station and the Ritz. This place is private, quiet, cheap (30E.) and sparkling clean. I'd stay here again. I left my bags with the staff this morning so I could embark on a day at the Prado. I know C. and entourage are expected around noon but I also know that delays are common so I took that as an opportunity to spend the day close to home and with my muse. I've wanted to see this collection for many years. Velasquez, Goya, Murillo, Rembrandt.... they are all here and more. Today I paid my respects.

I normally try to scan each room in a casual manner - always ISO inspiration or a lesson to learn. Not this collection. I took a map and actually marked it up...checking off each room as I made my way through this temple of art. The black Goyas were the paintings that held me the longest... seemed the most relevant and telling. There was also a lovely drawing show on the bottom floor that contained pages of Goya's sketchbooks. I haven't exhausted myself so thoroughly in a long time and took only one break for a cafe con leche and tostillo this afternoon. The cafe was my only disappointment at the Prado. It seemed one step up from the cafe at the Greyhound station in Richmond. The food was better but it was dark and institutional... a lot like the cafe at the airport. Its surprising since the bookstore has all this expensive loot (postcards are one euro, etc) and the ammenities at these world class institutions are devoid of much consideration. Of course most of my attention was spent on protecting my assets since these are the kind of places where tourists lose their credit cards, cash, etc.

I also spent a lot of time looking for a payphone so I could call the hotel ISO of C and Co. I was finally able to charge my French mobile last night but haven't had the time or clarity to figure out how to recharge the SIM card with prepaid minutes. This could be a problem since C. can't reach me otherwise.

I don't remember what time I finally received confirmation C. had checked in but I called room #604 and then left the Prado in order to "check in" at the Ritz. C had taken care of everything, had my bag taken up from storage and was basically at the door, glowing in a plush white robe, when the doorman delivered me to the sixth floor. Wow... it felt so good to be stationed in one place... particularly a place noted for its five stars! I left C in short order to pick up my other bags from the hostal. We toasted our great luck... for uno momento we are living the live we want to live!*

Even better, was an invitation for drinks from C's employer in the lounge downstairs. It was time to wake up and smell the roses. Our conversation came easy... art and politics**, history and culture***.... the only thing that would have made it better would have been the presence of the Harryman. Tonite I'll be counting my blessings as I fall to sleep.

*With shots of Bushmills from a fifth I'd picked up at dutyfree in Phillie. That was a committment... hauling that thing up to Bilbao and back, though it came in handy on the night train back into Madrid.

**C's employer is a long time New Yorker, democrat and occassional fundraiser when duty calls. He listed all the reasons Guliani would be a terrible prez.

***I heard a great story about day they opened the Lewis Wing at the VMFA... the Lewis's flew a plane full of NY artists to Richmond to have lunch with the govenor and wife...

The Norman Rockwellization of Porn

Harry and I attended John Currin's vernissage at Gagosian Gallery on November 11. Currin's technique gets better and better - but his subject matter swings from one cliche to another. There are mountains of irony and kitch - all painted to masterful effect. My first impression was that Currin is taking on the Musee D' Orsay's painting L'Origine du monde (1866) by Corbet as part of his goal of assuming the mantle as America's Lucien Freud or Bacon. History repeats itself here with Rockwellesque scenarios and suburban vanitas. Other work addresses art historical and cultural references... from early American portrature to porn.

Eric Fischl spoke at VCU last week. I asked him what he thought of Currin's show. His comments are posted here. If you love figuration you'll probably find things of interest in this show but there isn't a lot of heart in the work. That's Currin's general failing in my book. Ambition over heart - it's his mojo and its a winning one in Chelsea and most every other art market or art school. His paintings are novel but could they ever stand up to a Rembrandt?

The opening was quite a scene... its a shame we had to rush back downtown my friend Goxwa's opening but that's the way it is - everything happens at once.

Paper Viewpoints

Harry Kollatz contributed to this exhibition by helping us put together an introduction for Paper View(s).


Gregg Carbo, Don Crow and Amie Oliver maintain their practice as "makers" regardless of where they are working or whatever else is going on in their lives.

This exhibition reveals ideas in progress, in process and in between. It's a little like looking backward and forward between their various solo exhibitions. No manifestos here- but a glimpse into the process of making and thinking about where their work is going and why.

All three artists use paper as part of their creative process regardless of the materials used in the completion of a work. Don's collage "pictures" likely grew from his habit of making small
postcard-sized pieces that were the seed of Crow's larger oil paintings. Gregg's work, whether on or off paper or utilizing other materials synthesizes an austere beauty with the an unlikely response to found objects, textures and surfaces that is often worked out on paper prior.

Amie finds her inspiration from timeless icons of art history that she visits in museums then takes into her studio as welcomed friends. They create a resonance in her life that is always open to new materials, periods or styles. She may work on linen, styrofoam or panel, but paper is always part of her process of discovery.

Amie arrived in Richmond a few days prior to Paper View(s) scheduled opening and remarked: "Everyone associated with this exhibition did a beautiful job. I think the resulting show is an interesting exploration of how we three approach the materiality of paper and even though I have known Gregg and Don's work for more years than I am willing to put in print, I am still discovering similarities and differences in our approach that I did not know before. I guess that's what keeps me interested."

The artists would like to thank Plant Zero and its staff for their effort in creating a beautiful installation in the face of Tropical Depression Ernesto. Gregg Carbo, Tom Adair and Mil Norman-Risch created a beautiful, balanced installation while Amie and Don were far
away dealing with the world's new security measures and investigating the safest way to get between here and there with art in hand.

The Whitney Biennial: DAY for NIGHT

ANGELA STRASSHEIM
Untitled, 2004 C-print
40 "x 30 "
courtesy Marvelli Gallery, NYC

I wish I could say that this Biennial did half as much for me as Angelina's, the tea room described in the Night and Day post made earlier this year. Valerie, a New York artist I've followed since her student days told us, "Well, you 've got to see it to hate it..."

The problem with the Biennial this year is that most of it was so forgettable I can't remember it well enough to muster up the emotion of hatred. I do remember one piece that was so bad I know it would have received an automatic F if it were turned in from any of my art or design students.

The most memorable piece was the WRONG GALLERY installtion which many museum goers missed since it could only be accessed from the permanent collection on the fifth floor of the Whitney. I loved wandering through Calder's "Circus" on the way and then also discovered an amazing Milton Avery painting of the Seine which I'd never seen before.

The Wrong Gallery consisted of an installation of art depicting evil doers and angels; titled DOWN BY LAW, something I can relate to in my own work. It includes painting, sculure, assemblage, conceptual work, etc by more than forty artists and included several artworks from the Whitney's permanent collection.

I pleasantly surprised to discover Angela Strassheim's work included in the mostly forgettable Biennial. She had a studio in the 23rd St. loft with Susann and I. I knew she was very talented, she was working on very interesting projects and then when I learned she was headed to Yale it was obvious she would have a real career. Her work was a highlight of this hodge podge collection.

London as a Work in Progress

Leonardo's "The Virgin and Child with Saint Anne and Saint John the Baptist'

Harry and I spent my birthday in London. I really didn't know what to expect from this city I was once in love with. It was a completely different experience this time with Harry by my side. His knowledge of 19th and 20th C history creates a richer context in which to experience art. The great thing about visiting the parks and museums in London is that entrance to the permanent collection is always free.

My only disappointment (other than Easy Jet's inept attempt to get us back to Paris) was the
change of locale of my favorite drawing in the world, shown above. I once visited it on a regular basis when I was teaching in Glasgow every other summer. It was in a room all by itself - like a shrine, really. It was illuminated beautifully behind a wall of glass and a little hard to find so there weren't so many distractions when looking at it. This cartoon is bigger than two doors.
It has given me so much over the years and I was so looking forward to seeing it after four years away... and they've moved it! Its lit horribly and in the gallery with the rest of the Italian art. Its across from Leonardo's painting "Virgin of the Rocks." Sounds almost like a drink which is what I needed after seeing it in its new, sterile, academic locale. Bleh.

That wasn't a difficult request since outside the National Gallery Trafalgar Square was FILLED with Irish and Guiness loving Anglos celebrating St. Patrick's Day a few days early. London was putting on a giant FREE party for its citizens with "Hot House Flowers" and numerous other Irish bands on a giant stage with large screens on either side. I've never seen Trafalgar Square full of people, much less CHEERFUL drunk people. Harry and were both kissed on the lips by one happy young man... it was a little like Mardi Gras without the beads and the exposed boobery. A little too cold for that here... it was snowing in Scotland we learned from one of the young security men who was down from Paisley.

Trafalgar Square is surrounded by hidden pleasures. Gaby's deli in one direction, the cafe below St. Martin's in the Field on one corner, the beautiful carvings in a government building along one side (pictured below)... it was a good time to be in the city. The only thing we really missed that we wanted to experience was Ben Ellis' play. We didn't anticipate the early St. Patrick's Day activities and everything was running late. Trains, our shuttle in from Luton, etc, etc. We just didn't have enough time to get to the theatre without arriving late which is VERBOTEN in the theatre. Tardiness can be overlooked in many activities but not in the theatre. Sigh. We hated missing it but we loved drinking Guiness in Trafalgar Square surrounded by great beauty and cheer.

Open Studio on 23rd St

Susann Whittier, Theodora Merry, Langdon Graves and I presented an Open Studio this weekend in our 23rd St Space in preparation for the moving and transition that will be occurring soon. Susann and Langdon are in grad school limbo studio wise and Theodora and I are on the lookout for another space since the development of this block is inevitable with the Market now open and the parking lot gleaming beneath my windows.

I loved the thirteen years I spent working on Fulton Hill but I can't move into another space owned by developer or a space within the path of a developer. Moving a studio is exhausting, expensive and disruptive to my creative process. Picasso managed to avoid this issue by putting a padlock on his door when he moved into another atelier. He left whatever inventory may be left there for his estate and the French Goverment to squabble over after he was long gone.

The image above depicts Harry with a wall of my work from the past few years on display. The images below show Theodora's installation in the large studio downstairs. She's been focusing on materials that relate to 20th C domesticity: tupperware, upholstery fabric, etc. I think her work looks great in the natural light.

I enjoyed seeing everyone's work on the walls and hearing people's comments. My time there was limited due to a teaching conflict I had but I enjoyed every minute that I could be present.