Thinking About Art

Artists "Review" Artists: Mel Prest on Marina Reiter

The Artists "Review" Artists Project was launched on June 30, 2008.  Below is a "review" of Marina Reiter's work, The Everchanging, written by Mel Prest.  Marina also provided a second image, When We Were Young And Had No Worries, as well as a brief response to Mel's "review."

Marina currently resides in Washington, D.C., and Mel lives in San Francisco, CA.

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

                            
The Everchanging
Oil on Canvas
24" x 18"
2008

The "Review"

I am looking down at, across and through. I am drawn deep inside the painting, to the beautiful, atmospheric ground that my eye keeps returning to. The contrast of this illusionistic, deep space, and the black crossed lines that intersect the space evenly feel in conflict. These choices, as well as the portrait orientation of the canvas (rather than a horizontal or square), make the space flatten and then the black outlined shapes pop the painting back into three dimensions. I like the odd colors used—seeming a little metallic, and I have a feeling that knowing the title would really change my perception. I like the different levels of spaces happening, the shapes overlapping and affecting one another—colors changing indicating different realms. ** Okay, now I know the title!  I didn't realize it was called the Everchanging, as I saved the image elsewhere! This is a fantastic title. I was feeling what the title says—this shiftingness and undulation of the entire piece is nicely echoed throughout each quality, each element. I wasn’t sure that this was intentional at first. I like how the painting opens to me on repeated viewings (I’ve looked at this image often over the past 5 days). There are many tensions—spatial, shape, line, hue—the orb/blobs almost becoming a pattern and then coming back into specific shapes. This painting feels like it could be a living thing.

By Mel Prest

               
When We Were Young And Had No Worries
oil on canvas
24" x 36"
2008

The Response

I really enjoyed reading the review. When you are in the moment creating the work, you look at it as one piece, a complex musical composition in a way. You don't look at its separate elements, sounds, shapes. It was wonderful to look at "The Everchanging" through someone else's eyes and to see what the viewer was responding to. I am extremely happy Mel has commented on it being a "living thing", the different realms and levels of the piece. In my paintings I focus on the complexity and interconnectedness of the universe. On our learning, playful souls touching and connecting. The beauty and oddity of our human condition and our interactions. The everchanging life itself. Thank you so much Mel, I really loved what you wrote!

By Marina Reiter

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

Artists "Review" Artists: Matt Hollis on Mel Prest

The Artists "Review" Artists Project was launched on June 30, 2008.  Below is a "review" of Mel Prest's work, Chiyoda Line, written by Matt Hollis.  Mel also provided a second image, Shin-Renom, as well as a brief response to Matt's "review."

Mel currently resides in San Francisco, CA, and Matt lives in Washington, D.C.

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

                           
Chiyoda Line
gouache and pencil on Fabriano
23" x 31"
2008

The "Review"

My first thought about this piece was of the route maps that show all the cities and flights that a particular airline provides.  Researching the title only furthered this transportation feeling in that the Chiyoda Line is a one of the sections of the Tokyo subway system. Such a sense of movement dominates the work, but movement with a plan or perhaps based on some sort of unseen grid system.

In the end, the process that created it overshadows the finished work.  The frenzied amassing of lines speaks of the hand that drew them and whatever compulsion drove them to make this, perhaps calming them down from a wild state. All of these crisscrossing lines fall upon this vast purple void that almost threatens to swallow them into oblivion. Is the artist resisting this void, frantically trying to fill it? My eye wants to see past the hectic stress of colored lines and find comfort in that soft purple distance.

By Matt Hollis

              
Shin-Remon
oil on panel
24" x 24" x 2"
2008

The Response

The work is based on a grid system, charting the hiragana characters to spell out the different stations on this train line. I agree that the process dominates the final image. The un-coerced color relationships, the vibrating lines and awkward space are more in line with the intention—sort of a post-aesthetic drawing. I am glad that the emotional contrast between the line and the space are apparent. It’s also a contrast to my other painting, which is more controlled. Thanks for your thoughtful review.

By Mel Prest

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

What is this?

My Mom recently picked up these two framed photographs (together in one frame) at an auction for a small price.  I've not seen this imagery before.  I'm wondering if this is something special or if it's some sort of memorabilia item.  Here are some photos:

Do you recognize this?  Any ideas as to if it's worth anything?

Artist Statement

Those of you who have read this site for any amount of time know how much disdain I have for artist statements.  Visual art should stand on its own visually.  The written word should not be needed.  But, as Franklin points out today on artblog.net, this just isn't going to happen.  He states:

Learn to write. The time of the artist as inspired nigh-mute naïf is probably behind us for good. I have identified the difference between lookers and readers. As lookers, we want our work to stand on its own. Professionally, we can't. As explained at the link, the values of writing, which are robust and widely agreed upon, are penetrating the porous boundaries of art. Lookers are too rare to support a career. There are readers with an inkling of an eye who can be convinced to appreciate or even purchase given a cogent explanation. The whole granting system is based on writing. Visual visual artists typically don't have a fair shot at grants, but they get a fairer shot if they can put an intelligent proposal together. The lasting arguments about art are taking place in the medium of writing, and to the extent that visual concerns don't intersect with writerly concerns, we're at a disadvantage. On the other hand, we're right. In a perfect world any number of grunting savants (no disrespect, but I'm thinking of Larry Poons here) could toil in their studios and the results would speak for themselves. In practice, we need to make a clear case for our outlook that contrasts with the piles of obscurantist and mystical verbiage out there. If you're uncomfortable writing, read Brenda Ueland's book, take a writing class, and/or hire an editor when needed.

See the entire post for links and many more great thoughts.

As I go through the process of applying to MFA programs, I have been required to write several essays.  During this exercise, I may have found an artist statement that works for me:

My work is about reduction, creating a space for contemplation and appreciation.  I take material – most often wood – and organize it into a form.  Then, by process of negation I effectively remove material until I have less than when I started.  The effect may be achieved by drilling holes or painting the wood with white house paint in order to blend in with the surroundings.  What begins as a rough, yet promising, piece of wood becomes something more by being something less.  By altering the context of the material however slightly, I am able to draw attention to its inherent beauty.  In effect, my gesture only serves to bring forward that which is already there.

In pursuit of similar aims, I have also worked in drawing, painting, photography, printmaking and video.  Art, for me, is the physical and/or implied manifestation of reductionism.  I am interested in all possible ways of exploring that concept.

I think this statement represents who I am as an artist, doesn't say too much and still plays by the rules of the game.  We'll see how it evolves.

Art Narratives

As Joseph Barbaccia mentions in the comments section of my recent Jen Stark video post, he has created what he calls an "art narrative" about a specific work of art.  Back in mid-2006, he created one for my piece, Synapse, which is now in the permanent collection at the University of Kentucky Art Museum.  Perhaps now is the time for Art Narratives to catch on?

To see the one Joseph made for my work, click here.

First Piece of 2009

Untitled
Ink on Archival Scrapbook Paper
12" x 11"
2009

Jen Stark Video

I found the following video about Jen Stark's work via the Wooster Collective web site.



Granted it is time consuming to create a video like this, I can't help but think this is a future direction for art discourse.  I haven't completely processed my thoughts on it, but I'm beginning to feel the blog thing has run its course - not for everyone, but for most, perhaps.  I think videos like those made by James Kalm are an interesting next direction.

Jen's work is in inventory locally at Civilian Art Projects.

Artists "Review" Artists: Grant Dale on Matt Hollis

The Artists "Review" Artists Project was launched on June 30, 2008.  Below is a "review" of Matt Hollis' work, last stand, written by Grant Dale.  Matt provided a second view of last stand, as well as a brief response to Grant's "review."

Matt currently resides in Washington, D.C., and Grant lives in Hobart, Tasmania, Australia.

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

                          
last stand
insulation foam, copper tubing, silk flowers
4.5' x 5' x 4'
2008

The "Review"

At first it seems that the only aspect of this work that makes it not just a wacky floral arrangement is the orange legs, three of them, its kind of insectoid. If it weren’t for the overwhelming rainbow of colour the form itself might be a little unsettling, a little menacing. Not that it isn't somewhat menacing, the pincer-like finish to the legs - no feet. But there is a definition of a calf muscle. And a hind leg shin thing. Suddenly I'm feeling a little saddened by this work. Like it’s some sort of over-effusive plea for mercy.  After a few moments my mind has locked-on a deer form. There is that kind of arrested motion, proud stance of a deer as it lifts its head, tests the air for danger. Given the title I'm seeing it now as the precise moment the hunter pulls the trigger. The colour is an explosion. Suddenly I find myself trying to see the floral multiplicity as internal organs exploding.

I'm reminded of a character in a Princess Mononoke (Studio Ghibli anime) - the forest spirit, how it steps and flowers sprout and bloom and as its hoof leaves the ground they wilt and die. This deer spirit/creature in Princess Mononoke had a human face - there are many ways to construe eyes and features from the flowers in the head area of this work.

Back to the absurdity - this silliness I think is particularly set off by the fanfare of green leaves at the top like an ostentatious hat. Also, those two orange flowers that jut out from the sides, awkwardly symmetrical contrary to the asymmetrical rules of traditional flower arrangements. The attitude to decoration has that unplanned, arbitrary feel perhaps like decorative offerings piling up around some sort of effigy in some tribal cultural ceremony. It’s like a piñata. The overall aesthetic of this work is the kitsch decor of a suburban home - little woodland animal knickknacks covered in peeling flock felt stuff and overly hue-saturated plastic flowers collecting dust.

So I feel this work's kitsch, excessive, frivolous aesthetic creates an effective counterpoint to an unlikely gravitas. Something to do with our alienation from the natural world? Not to over-analyse it though, I'm sure in the flesh it is also simply an exciting abundance of colour.

By Grant Dale

             
last stand
insulation foam, copper tubing, silk flowers
4.5' x 5' x 4'
2008

The Response

last stand was created for the "End of Nature" show which considered a future without nature.  If Nature was going down, it wouldn't be without a fight. I wanted to create a monument celebrating nature's resistance, capturing its last staggering moments, still proudly in full bloom, leaves erect. Dale's Mononoke reference was spot on, this creature represented the condensed essence of nature in all its showy, colorful, and absurd glory. While the review played up the humor and tacky excess, I was pleased he caught the underlying menace always lingering on the periphery of the playful innocence of my work.

By Matt Hollis

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

Why must it be this way?

First, read about the Terry Teachout Taste Transfer Tax here.

Next, read Tyler's post about the recently deceased Betty Freeman here.

Now, explain to me why it always seems that those with lots of money have bad taste and those who have good taste have little money.  Living in northern Virginia and seeing an abundance of completely tacky McMansions drives home the point that you can't buy taste with any amount of money.

I'm hoping Pres O will consider the TTTTT for his near-term agenda.

Artists "Review" Artists: Leila Holtsman on Carolina Mayorga

The Artists "Review" Artists Project was launched on June 30, 2008.  Below is a "review" of Carolina Mayorga's work, Love Me 2, written by Leila Holtsman.  Carolina provided the second jpeg, an image of Beautiful Smile for Life, as well as a brief response to Leila's "review."

Carolina currently resides in Washington, D.C., and Leila lives in Washington, D.C.

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

                       
Love Me 2
Digital print
11" x 14"
2008

The "Review"

Love Me 2 uses a potentially interesting subject, but leaves the narrative out. There's little emotion coming through the piece. With the inclusion of background or eyes, the images might be fascinating.
For eg., if this were a man, one might wonder why he's applying and removing lipstick.  If this were a person crying, one might be very curious to know why the lipstick is so important at that moment in the person's life.

The topics of interest are placed in the middle of three images and so the asymmetrically-positioned lips in the top left image are note-worthy.  That's a good technique to attract the viewer's attention.

The lighting is inconsistent from image to image.  The lower right image is overexposed compared to the rest.  There might be a reason for have various lighting, but that isn't clear.

The artist might decide what it is he/she is trying to do with this piece and then might add one more images which presents the context of the series or might retake them.

By Leila Holtsman

            
Beautiful Smile for Life
Digital photography
11" x 14"
2008

The Response

Leila, thanks for your comments on my work. I am primarily a 3-d/installation artist and the piece submitted for review is part of my recent interest in photography, a medium that I’ve used more as experimentation or in a larger multimedia work. Lighting is definitely something that I’m still learning about. As far as the subject, I’m very pleased with your comment on the lack of narrative as I want the viewer to focus on the action and wonder, as you did, why and who might be applying and removing lipstick. Thanks again for your valuable feedback on my work.

By Carolina Mayorga

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