Sunday, December 25, 2011
Saturday, December 24, 2011
Sunday, December 18, 2011
Friday, December 16, 2011
Ricardo Villagran and Eduardo Barreto from the san Diego Con a few years back
Wednesday, December 14, 2011
This lonely painting, discarded by some art student from PAFA at the trashcan near the former Occupy Philly spot at City Hall seems to pretty much sum up the fact that the semester is over and life rolls on.
The fall semester of my senior year has come to an end at PAFA, and with it also has come the end of my undergrad classes in the Certificate program at the school. I still have one more semester, Spring, which starts in January, but I will have no classes, just studio time and my three critics since I have completed all of my requirements for my drawing, painting and liberal arts classes. So in a big way "Schools out!" like the song. So from now until I graduate next May I will just be painting my arse off in the studio!
As thr room heated up my fellow students drung themselves in, one-by-one to set uo their work done during the semester in class
My last class was last Friday in Life painting with Peter van Dyck and my last studio crit was yesterday with Celia Riesman. After my class on Friday I sat in on the last round of MFA crits at school on the 8th floor. Since I am planning on applying to the Masters Program I thought it would be good to see more of the work and the critique process and comments.
I thought there was some very nice work and frankly just some aweful work as well, but that seems to be grad school in my search around looking at schools. in fact I'd say there was 99% crap when I look at most grad schools, scribble and drips seems to pass for most when it comes to any form of drawing and painting, at least at the Academy we still have some real painters in the masters program.
Sunday, December 11, 2011
Thursday, December 08, 2011
Sunday, December 04, 2011
Saturday, December 03, 2011
The show also opened as the same night as the annual Student Print Show opened. Ihat show was packed and very well attended and I heard that sales were good. Yester
Now all that awaits next week is the last three crits with my critics and then the winter break begins!
Monday, November 28, 2011
However, I do know that dramatic light events interest me very much as a painter. I love light raking across a zone, and area, be it a city block, grove of trees or still life, what have you. That morning I drove into the city on the way to school the light was so great that I just had to whip out my camera while driving and started snapping a zillion shots on the way down Market Street. I also feel strongly the better the photo the easier it is to work with the photo as a source for a painting. If you start with a photo with a great composition that starts you on the good path no matter what you do later or how much you use or discard from the photo. I should also go on record here as saying I have no issue with working from photos, some artists do, but I don't. My thinking and my way is to use the photo as the start but not the end and I draw from it as I would from life, I also work from multiple pictures when I can. All my years in comics and commercial art have given me plenty of experience working with photos so I think I can avoid the pitfalls the can bring. I am working for what works as a painting.
Later I went through the pictures and selected the ones that I thought worked best for making a good composition and painting. The ones I shot at the corner of 52nd street and Market came out great and I thought the light event outside vs the underworld of the EL and the stores was great. Cool vs warm, light vs shadow and the riot of detail was seducing and would be a challenge. I also looked at the big shapes, the abstract shapes of the picture to see the strength of the composition and to see if I could push it, play with it and make it stronger, to not be a slave to the photo ref, but to use it as a reference but not an empirical source to slavishly copy. I had been studying artist like Rackshaw Downes and Richard Diebenkorn. Both men are great painters and have aspects to their work I admire, I admire Diebencorn's sense of design and composition and the fact he makes every corner and space vital and well considered. I enjoy his landscapes and the earlier the better, the later more abstract works don't interest me.
One of the weaknesses of a lot of painters is the bottom or edges of their paintings,sometimes they are just rushed off or not as considered-- they just trail off or suffer because the artist is so in love with just the center of interest that the outer realm of the paintings just doesn't get the love--- but a great painter makes every corner or edge as great or as considered as the primary interest of figure, etc., there is no lessening of the charge of a great painting from corner to corner.This is one of the things my critics and I have discussed more this year as this is such an important part of painting. To consider everything. Everything is important. So I spent many hours in the past year studying my favorite painters and looking at the way they dealt with the corners and edges of their paintings. It did cause me to think about landscape painting in very different ways. Two of these artists were Richard Diebenkorn and Rackshaw Downes. The RD boys as I call them. Now I much more of a narrative realist than Diebenkorn, but maybe not as literal as Downes. I am searching and think I'd like some place in between where I can nail some things down and then allow some things to become more abstract and allow the viewer to participate, this of course is all a big flow, a big process that goes from one painting to the next as I explore these ideas in each work I do. I have learned one thing about myself as a painter--I have no desire to spend months on a single image like he does or years like Lopez Garcia or Downes. I think that would drive me bonkers and I'd just lose all interest.