Thinking About Art

The End

I want to thank each and every one of you who commented on my last post.  I am thankful that so many of you have been interested in my activities here on Thinking About Art.  Your support and participation is what made this blog work for so long.  After much consideration, I have decided to stop publishing new content on TAA.  The blog will remain up because I believe the archives have value.  Even though my activity here has dwindled in the past few months, the site statistics remain constant thanks to good placement on Google and a worldwide interest in the art and artists I've written about over the years.  I am going to try to close the blog to new comments to prevent an onslaught of spam.  However, if you have any questions or need to reach me for anything, just shoot me an email.http://thinkingaboutmyart.com/

In my last post I talked about how I wondered if the blog medium was either dead as a whole or dead to me.  I came to the conclusion that the answer is no to both.  With that said, I'd like to announce that I have started a new blog that's title is just slightly different than this one: Thinking About My Art.  There are two posts there now and I plan for it to be much more active than TAA recently.  I hope that you'll visit the new site and follow it as it evolves.

Thanks again for being such a fantastic audience and I hope we can continue a slightly different dialogue at the new venue.

- J.T. Kirkland

The end of the run?

I have been away from the blog for almost 2 months now and I haven't missed it a bit.  Since the last post, my wife and I have bought a new house and begun work renovating it to be exactly what we want.  Needless to say, things have been busy.

While I've been away - and to be honest for several months prior to the last post - I've been thinking a lot about the blog medium.  For me, the blog thing has run its course.  I started this blog in 2004 because I didn't see enough honest opinions about art on the web.  I decided to be part of the solution and started Thinking About Art.  This post is number 1,199.  What has made Thinking About Art successful, I think, is that over the course of five years there have been approximately 4,600 comments left here. 

But 5 years later the blog feels more like a burden to me than anything else.  Some people (fewer and fewer every day) are able to constantly churn our worthwhile content, but I'm just not able to muster up the energy to spend the necessary time creating content for this site.  Part of that makes me feel sad, but at the same time I feel more free as well.

I'm still not 100% sure that this post is the end of the road for Thinking About Art.  There are several unfinished projects that have stalled and there is certainly more to say.  There is more to learn as well, but the thing I have found is that the blog can really put pressure on some relationships.  There are art dealers who were once friends of mine who now ignore me.  It has been suggested that some of my reviews from 5 years ago might have played a role in me not getting into some MFA programs.  I know for a fact that I've been excluded from shows and other opportunities because of the blog.  Knowing this, has the past 5 years been worth it?  Absolutely, yes.  I've learned so much writing this blog and interacting with you, the reader, that I feel I have grown astronomically as an artist.  The relationships I have formed because of this blog have been enriching and I value them immensely.

I'm out of practice writing content for this site and I apologize for the random, stream-of-consciousness style of this post.  Like I said, this isn't necessarily the end, but it might be.  I need to think on it a little more.  Even if the end is near, I will maintain this site so that the archives are available for as long as possible.  Several hundred people visit this site per day still so I think there is value in the content.

I'm considering other forms of new media to interact with a readership about art.  I may want to start something more studio-focused, or perhaps some other way of sharing thoughts about art shows, art issues, etc.  A fairly recent experiment on Facebook was exciting to me.  Twitter still irritates me to no end.  A work in progress, I guess.

I'll make another post in about a week with my decision.  In the meantime, please accept my sincerest thanks for your continued interest, support and dialogue.  It means so much to me to have had these past 5 years with you.

My Artomatic "Top 10"-ish

I've spent many, many hours at Artomatic this year and I've toured the eight floors several times.  What follows is my "Top 10 8" list of sorts (in no particular):

Rachel Thern - 2nd Floor
Margaret Dowell - 2nd Floor
Pat Goslee - 6th Floor
Laura Peery - 7th Floor
Johanna Mueller - 7th Floor
Megan van Wagoner - 8th Floor
Rania Hassan - 9th Floor
Jessica Van Brackle - 9th Floor

I wanted to mention a few more artists who caught my eye:

Jennifer Bishop - 5th Floor
Claudia Minicozzi - 6th Floor
Rosina Teri Memolo - 7th Floor
Erica Riccardelli - 8th Floor
Teague Clare - 9th Floor

And then I wanted to mention an artist who demonstrated a lot of potential but needs seasoning (I look forward to seeing what she does in the future):

Victoria Vu - 2nd Floor

After I finished compiling my list I noticed something interesting.  Of the 14 artists named, 13 are women.  I'm surprised by the outcome since as I was putting the list together I had no idea that the sex of the artists was so biased.  Wonder what this means, if anything...

Note: I intentionally left out some of the more well-known artists who make obviously exceptional work (i.e. Tim Tate, Michael Janis, etc).  They don't need to be identified on Top 10 lists.

DC Art Seen's "Best of Artomatic"

A relative newcomer to the DC art blog community is DC Art Seen.  Operated by four UMD grads, the blog has been off to a terrific start.  Their stated mission is:

The DC art scene is full of contemporary artists and art shows that are profound and important. DC Art Seen aims to provide professional level articles of the contemporary art shows in the DC metropolitan area.

These articles will not promote or deprecate the reputation of an artist or gallery, rather they will explain what the artist is attempting to achieve and where they fit in current trends and art history. The objective is to make the contemporary art scene accessible for many who otherwise would feel excluded and to help readers decide which shows are imperative for them to see.

DC Art Seen has published their "Best of Artomatic" and I am thrilled to be included among the nine artists they've identified.  The chosen artists are: Jamie Wimberly, Ben Tolman, Michelle Herman, Elizabeth Crisman, Tim Tate, J.T. Kirkland, Corwin Levi, Eric Celarier, and Alexandra Zealand.

The portion devoted to my work follows:

There are very few artists who believe that less is more; even in this bare-bones economy, most contemporary artists (and definitely Artomatic artists) seem to have a Rocco ornamental sensibility. J.T. Kirkland’s instillation at Artomatic offers an elegant critique on this subject. Kirkland did not add anything to the plywood wall of his Artomatic space. Instead, he drilled shallow holes in the board, using smaller bits toward the center, focusing attention on the surface itself as opposed to anything adorning it. Kirkland’s work is also a component of a collaborative project at Artomatic called “Space Between.” The project features three artists with similar aesthetic sensibilities who are inspired by each other’s work. The project is still in its initial stages, but it will be interesting to follow as it develops.

I recommend you visit the site to check out the commentary on the other artists and read some of DC Art Seen's previous reviews.

My Artomatic Participation

For the first time in the 10 year history of Artomatic, I am a participating artist.  Actually, I am participating in the arts extravaganza two ways, one as a solo artist and one as part of the collaboration, Space Between.  Be sure to check the Space Between blog for updates on that project with John M. Adams and Matt Sargent.

The solo installation is located on the 2nd floor in space 2-3-P-4.  Here are some images:

Untitled
Construction-grade plywood
96" x 144" x 1/2"
2009

Here's the statement that I published with the piece:

When an artist participates in Art-o-Matic, installation almost always begins with the artist painting their partition wall. Sometimes the wall is painted a simple white; other times a more outlandish color. Either way, a critical decision has been made: the construction-grade plywood wall is not an adequate ground for presenting the artist’s work. The painted wall, bright colors, mounted works and other embellishments compete for the viewer’s attention. Among the hundreds of installations, artists seek to not be drowned out by the visual noise. But by doing so, are they just creating more noise?

I am interested in dealing with the environment I have been given on its own terms. For me, wood – whether it be cheap plywood or exotic hardwood – is inherently beautiful. My goal as an artist is to create a space for contemplation and appreciation. By process of negation, I remove material until I have less than when I started. The gesture of the hand-drilled holes arranged in a specific composition strives to bring the viewer’s attention inward, to the beauty of the wood. In effect, my work only serves to bring forward that which is already there. For me, the provided wall is more than enough.

As mentioned above, I also participated in a collaborative effort (2-15-P-4).  Here are images:

Here is the accompanying statement:

“Space Between” is a collaboration between three artists with similar artistic sensibilities who work in a diverse array of media: painting, sculpture, sound, video, performance, photography, and drawing. The title, "Space Between," hints at the conceptual framework of the project: artists trading sketches, samples, and emails, while using their individualized processes to create a series of ambitious, cross-pollinated multimedia pieces.
 
Displayed here at Art-o-Matic is a selection of teasers for our collaboration thus far: Kirkland’s photographs are suggestive of video created by a series of nature photographs that undergo subtle changes in saturation. Sargent uses analogues of Kirkland’s saturation to process a series of ambient field recordings for his sound piece.  Adams’ wall-drawing is an immediate intuitive response to Sargent’s work, previewing a larger live-performance piece that the two artists are developing.  The small diptych at center is a sample from a series of “trigger and response” pieces by Adams and Kirkland.

Finally, an early review has been publsihed by Kevin Mellema in the Falls Church News-Press.  The key bits are copied below:

On the deadly serious end of the spectrum you'll find the raw plywood panels of J. T. Kirkland. Using a rectilinear grid, Kirkland used hole saws to bore 345 regularly spaced depressions into plywood panels. Smaller sized bits were used toward the center. It's an interesting concept, thinking outside the box. Innovation is great, but then you have to push it to the next level by doing something interesting with it.

Far more visually entertaining is a small panel Kirkland is showing in a collaborative space with John M. Adams (last reviewed at Greater Reston Arts Center) and Matt Sargent, in an exhibit titled, "Space Between."

Adams has one of his typical horizontal line abstract paintings and a larger undulating abstract drawing. Here Kirkland plays off Adams' horizontal lines by painting horizontal stripes on this panel, and then drilling the board in a seemingly haphazard, overlapping fashion. The panel has the notion of musical scores about it, which appropriately is also part of this collaborative effort. More than any other, Kirkland's piece seems to tie it all together.

You have until July 5 to see the show.  Don't miss it!

246 Editions Release

Though a few days late, I am excited to share that my work was recently released on 246 Editions.  The brainchild of artist, Matthew Langley, 246 Editions aims to bring affordable art to the masses.  My work, Lifecycle, is the second release thus far, with a new artist/work coming each week.

I think this is a wonderful opportunity for folks who don't think they can afford to buy art.  $20 for an 8" x 10" (edition 100) and $50 for 11" x 14" (edition 50).

Be sure to visit the 246 Editions web site and support this venture and the artists involved.

John M. Adams Solo Show at GRACE

Speaking of John M. Adams... he has a solo show of new paintings at the Greater Reston Arts Center (GRACE) as we speak, er, type.  The reception for the show is this Saturday, May 2 from 6-8pm.  Artists talk at 7pm.  I will be there rooting my collaborator on.

John is showing approximately 27 small (8.5" x 10") to medium (17" x 20") paintings.  I've seen the installation and it's a robust show in a small space.  I highly recommend seeing it if you are in the area.

Here's a sample from the show:

 

Silence

My apologies for the silence around here lately.  Stacey and I have begun searching for a new house so we are swamped with the search and with getting our current house ready to sell.  Hopefully things pick back up here soon.

In the meantime, please take a look at a new blog called "Space Between."  This blog documents a new collaborative project I am pursuing with artist, John M. Adams, and composer/musician, Matt Sargent.  We will be mounting a teaser of the collaboration at Art-o-Matic.  This "teaser" will preview a bigger, full-scale exhibition to hopefully take place in D.C. and elsewhere later this year and next.  We're currently finalizing our plans for Art-o-Matic and thus far it's really exciting.  Be sure to check out the blog here for more details.

In other news, for the first time I am participating in Art-o-Matic as a solo artist.  My space is on the 2nd floor and I am excited about the work I will be doing.  I'll post more details here as the time nears.

I will be participating in group shows in Pennsylvania and Ohio later this year... details to come about those when the time comes.

Artists "Review" Artists: James Bills on Donna Dodson

The Artists "Review" Artists Project was launched on June 30, 2008.  Below is a "review" of Donna Dodson's work, Golden Elephant, written by James Bills.  Donna also provided a second image of Golden Elephant, as well as a brief response to James' "review."

Donna currently resides in Boston, MA, and James lives in Brooklyn, NY.

If you would like to participate in this project, please email me at jtkirkland [at] gmail [dot] com.

 
Golden Elephant
polychrome osage orange
36" tall
2008

The "Review"

Yikes.  That is what I said when I first viewed this piece.  I am afraid I won't be able to say much that is positive about this piece.  I hope my honesty will not come across as hurtful.  I will try to be as constructive as I can be.
 
Carved wood is a very traditional material, and it is hard to make it seem fresh and interesting.  The carving here, to me, comes across as static and timid.  The artist seems to be going for a simplification of form, an elegance you might find in Egyptian art or other ancient statues, but it falls short.  The lines of the ears seem tentative.  The tusks and the arms are too similar.  The columnar body reads like a stiff dress.  The trunk blends into the body.  I've seen so many wooden sculptures where the carving is truly astounding.  I feel like I'm getting the short sell here, where I am supposed to see simple forms as more important than they actually are.
 
The scale and painting are problematic for me as well.  At 36 inches, you are in the range of either a large doll or a piece of furniture.  If this was 6 feet, you would be talking monumental statue, which is where I think this artist wants this piece to be.  As for the painting, the black arms versus the white tusks are too simple, the contrast too apparent.  Wood is such a beautiful material and painting over different parts seems like a shame.  I would have left the entire thing unpainted.
 
It has crossed my mind that maybe the artist is trying to be funny, that maybe this is a figure in a dress with long sleeves and an elephant head.  Sort of a Nutcracker Ganesh in evening wear.  If so, push that more, because that is not coming across clearly.  If this was not the intent, push it the other way.  Right now this piece is too tentative, stuck in between for me.

By James Bills

                   
Golden Elephant
polychrome osage orange
36" tall
2008

The Response

No response provided by the artist.

By Donna Dodson

Previous "Reviews":
Pam Farrell on Ken Weathersby
Paula McCullough on Aric Calfee
Lee Gainer on Leigh Waldron-Taylor
Aric Calfee on Paula McCullough
Matthew Ballou on Heather Levy
Giovanni Garcia-Fenech on TJ Norris
TJ Norris on Giovanni Garcia-Fenech
Susan Tolbert on Mary Klein
Heather Levy on Gail Vollrath
Sharon Butler on Matthew Ballou
Mark L. Power on Steven Alexander
Steven Alexander on Mark L. Power
Molly Norris on M. Trigos
Ken Weathersby on Joseph Barbaccia
Sondra Arkin on Susan Tolbert
John M. Adams on Sharon Butler
Michael Paul Oman-Reagan on Brent Hallard
Daniel Mafe on Pam Farrell
Joanna Knox on John M. Adams
John Lucien Grillo on Joanna Knox
Brent Hallard on Lisa Klow
Joseph Barbaccia on John Lucien Grillo
M. Trigos on Michael Paul Oman-Reagan
Mary Klein on Imants Ozers
Richard Schemmerer on Michael Konrad
Michael Konrad on Richard Schemmerer
Jennifer Mawby on Lee Gainer
Lisa Klow on Molly Norris
Bob Barbera on Jenn Figg
Tom Wagner on Kimberley L. Lindsley
Michelle Hunter on Aaron McMasters
Gail Vollrath on Daniel Mafe
Aaron McMasters on Michelle Hunter
Demetrius Romanos on Chris Rywalt
Chris Rywalt on Demetrius Romanos
Imants Ozers on Sondra Arkin
Timothy Buckwalter on Rob Hitzig
Rob Hitzig on Susan Constanse
Carolina Mayorga on Timothy Buckwalter
Leila Holtsman on Carolina Mayorga
Grant Dale on Matt Hollis
Matt Hollis on Mel Prest
Mel Prest on Marina Reiter
Susan Contanse on Alexandra Silverthorne
Ryan Burkhart on James Bills
Donna Dodson on Ryan Burkhart

New to the Collection: Lisa McCarty

I recently had the great fortune to acquire a painting by Lisa McCarty, an artist living in Arlington, VA.  Take a look:

A history, no history
Mixed-media, photo transfer on canvas
43" x 53"

Lisa will be opening a solo show next month at the Arlington Art Center where she is a resident artist.

How to build a lightbox?

Does anyone out there have any experience building lightoxes for the illumination of transparencies?  I'm wondering if there are any guidelines for the best way to build one, or things to keep in mind when building one.  Any advice you have would be appreciated!

Reminder: "Pay What You Wish" - 2 Paintings Left

I'm imposing a deadline of Sunday at midnight EST for claiming one of the two remaining "pay what you wish" paintings.  Untitled 3 and Untitled 4 are still available.  Please email me if you would like one of them.

Artists "Review" Artists: Donna Dodson on Ryan Burkhart

The Artists "Review" Artists Project was launched on June 30, 2008.  Below is a "review" of Ryan Burkhart's work, Untitled, written by Donna Dodson.  Ryan also provided a second image, Untitled, as well as a brief response to Donna's "review."

Ryan currently resides in Charlotte, NC, and Donna lives in Boston, MA.

If you would like to participate in this project, please email me at jtkirkland [at] gmail [dot] com.

 
Untitled
India Ink, watercolor and colored pencil
11" x 15"
2008

The "Review"

At first glance, when I saw this piece, I thought about flags flapping in the wind like the famous Childe Hassam painting in New York City and my second thought was on the Gates in Central Park that Christo and Jeanne Claude installed a few years ago.  The piece looks layered as if the water color was laid down and the ink applied on top of it however I am not sure what the center region adds to the piece, i.e. the colored pencil section, but the energy and movement of the piece is very wavelike and effective.  There seems to be a kind of schism between the almost pastel washes and bright colors of the water color sections and the dark, imposing, shadowy figures in the foreground.  However these two elements work together seamlessly, disguising the process of making the piece.  These elements work together to give the impression of kites playing in the wind.  Do they have a meaning or are they just playful, whimsical and full of movement?

By Donna Dodson

                  
Untitled
Acrylic, Watercolor, Pumice, and India Ink on Canvas on Panel
14" x 18"
2008

The Response

I have been thinking metaphorically about volume levels lately and attempting to use a variety of disparate media in one piece while achieving an adjusted "visual EQ level," so Donna's formal breakdown is apropos. Equating music and visual art is an old, but worthy problem to pursue, as is playful improvisation. My aim is to playfully balance and manipulate very different materials within the same image. If I can do this while simultaneously creating a static image that still looks fresh and improvisational, not overworked or labored, I feel like I am successful.

By Ryan Burkhart

Previous "Reviews":
Pam Farrell on Ken Weathersby
Paula McCullough on Aric Calfee
Lee Gainer on Leigh Waldron-Taylor
Aric Calfee on Paula McCullough
Matthew Ballou on Heather Levy
Giovanni Garcia-Fenech on TJ Norris
TJ Norris on Giovanni Garcia-Fenech
Susan Tolbert on Mary Klein
Heather Levy on Gail Vollrath
Sharon Butler on Matthew Ballou
Mark L. Power on Steven Alexander
Steven Alexander on Mark L. Power
Molly Norris on M. Trigos
Ken Weathersby on Joseph Barbaccia
Sondra Arkin on Susan Tolbert
John M. Adams on Sharon Butler
Michael Paul Oman-Reagan on Brent Hallard
Daniel Mafe on Pam Farrell
Joanna Knox on John M. Adams
John Lucien Grillo on Joanna Knox
Brent Hallard on Lisa Klow
Joseph Barbaccia on John Lucien Grillo
M. Trigos on Michael Paul Oman-Reagan
Mary Klein on Imants Ozers
Richard Schemmerer on Michael Konrad
Michael Konrad on Richard Schemmerer
Jennifer Mawby on Lee Gainer
Lisa Klow on Molly Norris
Bob Barbera on Jenn Figg
Tom Wagner on Kimberley L. Lindsley
Michelle Hunter on Aaron McMasters
Gail Vollrath on Daniel Mafe
Aaron McMasters on Michelle Hunter
Demetrius Romanos on Chris Rywalt
Chris Rywalt on Demetrius Romanos
Imants Ozers on Sondra Arkin
Timothy Buckwalter on Rob Hitzig
Rob Hitzig on Susan Constanse
Carolina Mayorga on Timothy Buckwalter
Leila Holtsman on Carolina Mayorga
Grant Dale on Matt Hollis
Matt Hollis on Mel Prest
Mel Prest on Marina Reiter
Susan Contanse on Alexandra Silverthorne
Ryan Burkhart on James Bills

Artists "Review" Artists: Ryan Burkhart on James Bills

The Artists "Review" Artists Project was launched on June 30, 2008.  Below is a "review" of James Bills' work, Kaleidoscope Cylinder, written by Ryan Burkhart.  James also provided a second image, 1d100 (Precious Metals), as well as a brief response to Ryan's "review."

James currently resides in Brooklyn, NY, and Ryan lives in Charlotte, NC.

If you would like to participate in this project, please email me at jtkirkland [at] gmail [dot] com.

Kaleidoscope Cylinder
Pencil and silver leaf on paper
19" x 24"
2008

The "Review"

At first, Kaleidoscope Cylinder seems to adopt the mechanical conventions of drafting more than it does the facture of traditional drawing. Initially, the image presents the viewer with a horizontally stacked series of segmented cross sections, centered on the page, which change in color from cool to warm as eye moves from the outer edges of the graph toward the center, radiating line. There is a subdued playfulness at work here, which aims to balance the work between implied form and some sort of graph. That playfulness is compelling too, forcing the viewer back and forth between two possibilities: Am I looking at an object rendered transparent or at some sort of diagram of a process yet to be named?

I opened the file and zoomed in as far as I could to examine the texture of the work as closely possible, a technique I would most certainly employ with my eyes if I could see the real thing. Even in the digital file, the contrast between colored pencil and the surface quality of silver leaf is apparent and inviting. I feel confident in saying that by contrasting the drafting approach with the hand applied silver leaf, the artist is asking us to look deeper into the work, but as to what I am searching for I cannot say.

The piece has placed me in an arena of process art, drafting, and materials but is there more?  At this point, it seems appropriate to look toward the title for a clue. Kaleidoscopes are wonderful toys, designed for visual pleasure and surprise, but this piece has no reference to the symmetrical Rorschach designs the object creates. In fact, the drawing seems to have no concern with the type of visual movement or frivolity the actual kaleidoscope provides.

It’s that damn silver appliqué…I know there must be something deeper here.

Perhaps the artist is making an allusion to Hyperbolic Geometry, a concept that grafts Euclidian geometry to curved space and allows parallel lines to intersect.  Is this another case of artist using math as a launch pad for creativity? Is it headed towards more esoteric territory?  Is it pseudo drafting plus alchemy?

There’s a pleasurable frustration at work here -Perhaps Art History might lend a hand. I see a possible affinity to the works of Duchamp and Picabia, who had a knack for blending machines, alchemy, and sexuality with graphic approaches, but I would need to see much more work to even begin to understand what is informing and guiding this particular piece and if those precedents have anything whatsoever to do with this artist’s concerns.  

I am left wondering where this drawing leads the artist next– is it a source for sculptural objects or even Rube Goldberg like contraptions that have fun with math, alchemy, materials, function, and form? For me, it’s all of these projections and possibilities that make Kaleidoscope Cylinder as successful as it can be in the Artist Review format … my curiosity has been sincerely stirred.

By Ryan Burkhart

                 
1d100 (Precious Metals)
white gold, gold, silver and copper leafing on cast aquaresin
36" x 43" x 42"
2006

The Response

Thank you for your thoughtful review.  A lot of your comments are accurate.  With this drawing I was fusing together architectural drafting with some ideas about graphs and randomness.  Each cross section’s shape is determined by dice rolls (the random element) and the color gradient maps out the overlapping depth of the stacked discs.  The silver leafing was to demarcate the edges of the discs, as well as add some glamour into the whole process.  The intent was to create something visually opulent as well as systematically pre-determined.

By James Bills

Previous "Reviews":
Pam Farrell on Ken Weathersby
Paula McCullough on Aric Calfee
Lee Gainer on Leigh Waldron-Taylor
Aric Calfee on Paula McCullough
Matthew Ballou on Heather Levy
Giovanni Garcia-Fenech on TJ Norris
TJ Norris on Giovanni Garcia-Fenech
Susan Tolbert on Mary Klein
Heather Levy on Gail Vollrath
Sharon Butler on Matthew Ballou
Mark L. Power on Steven Alexander
Steven Alexander on Mark L. Power
Molly Norris on M. Trigos
Ken Weathersby on Joseph Barbaccia
Sondra Arkin on Susan Tolbert
John M. Adams on Sharon Butler
Michael Paul Oman-Reagan on Brent Hallard
Daniel Mafe on Pam Farrell
Joanna Knox on John M. Adams
John Lucien Grillo on Joanna Knox
Brent Hallard on Lisa Klow
Joseph Barbaccia on John Lucien Grillo
M. Trigos on Michael Paul Oman-Reagan
Mary Klein on Imants Ozers
Richard Schemmerer on Michael Konrad
Michael Konrad on Richard Schemmerer
Jennifer Mawby on Lee Gainer
Lisa Klow on Molly Norris
Bob Barbera on Jenn Figg
Tom Wagner on Kimberley L. Lindsley
Michelle Hunter on Aaron McMasters
Gail Vollrath on Daniel Mafe
Aaron McMasters on Michelle Hunter
Demetrius Romanos on Chris Rywalt
Chris Rywalt on Demetrius Romanos
Imants Ozers on Sondra Arkin
Timothy Buckwalter on Rob Hitzig
Rob Hitzig on Susan Constanse
Carolina Mayorga on Timothy Buckwalter
Leila Holtsman on Carolina Mayorga
Grant Dale on Matt Hollis
Matt Hollis on Mel Prest
Mel Prest on Marina Reiter
Susan Contanse on Alexandra Silverthorne

"Pay What You Wish" - 5 Paintings

I've recently been inspired by an artist friend to consider the idea of artwork as a gift.  That is, the enjoyment/inspiration that comes with experiencing a work of art is a free gift passed from artist to viewer/owner.  The actual object you pay for.  But that something extra that comes with art, that's free.

Additionally, there's been a lot of talk about a gift society, and to put that idea in motion, artists in NYC have opened the "Free Store."  The Seattle Art Museum is advertising the fact that you can pay what you wish to visit the museum.

It is in this spirit of gift giving that I offer up the following five paintings for whatever you wish to pay (nothing, perhaps?).  I've been busy cleaning and organizing my studio and I have found that these paintings don't exactly fit in my body of work.  However, I'd hate to just dispose of these and thus I am looking for some good homes for the paintings.  If you'd like to have one, please email me at jtkirkland [at] gmail [dot] com.  If you do not live in the D.C. area, I will ask that you help with shipping costs.

Thanks so much for looking and please let me know if you'd like one.

Untitled 1 (TAKEN)
Enamel on canvas
20" x 20"
2007

Untitled 2 (TAKEN)
Acrylic on canvas
20" x 20"
2007

Untitled 3
Enamel, masking tape on canvas
20" x 20"
2007

Untitled 4
Enamel on canvas
12" x 24"
2007

Untitled 5 (TAKEN)
Spray paint on canvas
12" x 12"
2007