In the afternoon after the lunch time presentation Witkin gave some grou crits. i saw a few of them as I had other things to deal with. They were insightful and to a sharp point, he didn't pull any puches and in a way reminded me of the brusk crits and manner of George Nick who visited the school serveal years ago.
Renee Foulks also gave a great talk at lunch on her work and her process--which is really intensive. She spend years sometimes on a piece doing very finished drawings and often shooting a hundred photos to work from. Her work is sensative and intricate and very deliberate. She is a awesome person and teacher and very popular amongst the students. When I had her as a critic in the undergrad she'd give examples of paintings or ratists to look at, even down to the page number in a book.
Here is the finished still life which is 11 x 14 in oil. I did quite bit of painting and repainting working over certain areas and transitions, painting through and pulling things back out. Liquin relly helps here as it helps to tack things up quickly.
In the studio I have been working on this paining for about 10 days, or about 4 sessions or so. You can see the start in the photo above and the last two sessions below. I had three crits on it as I worked, one from Denise Green, One from Michael Gallagher and today one from Scott Noel. Scott didn't like a lot of it, but my other critics all responded well to it. He made me defend my concept--which is good. Scott wanted the background realized more, which I did on my final pass. He probably still won't "love" it as its from photographic sources, and he just can't give a lot of love for stuff that isn't from pure observation. But that's OK, he and I have been having the same discussion about that since day one year one in undergrad. So many artists I like work from photographic sources. I don't have any problem with it and think its a pretty old argument now as artists have been using them for well over 100 years.