Sunday, April 13, 2014

Sunday Pick: Anthony Palocci Jr.

Dishes in the Sink, 2012, oil on canvas, 60"X48"

Drain, 2013, oil on canvas, 10" X 8"

Burner, 2012, oil on canvas, 8" X 10"


Rack Shadows, 2014, oil on canvas, 30 X 40
Drawing 5
Drawing 5, 2014, charcoal on paper, 22 X 30
I've been discussing ad nauseam the idea of making a lot of work that is generated simply from looking around your life and investigating the same subject thoroughly.  Its something I think about in my own studio but mainly something I have been pushing my students to understand.  They always want their work to be about something that has never been done, but I keep telling them everything has and its a matter of them approaching looking and the world in their own way.

Anthony Palocci Jr. is a fantastic example of this type of investigation.  Moving from the things in his life like dirty dishes and refrigerators to the repetitive shadows of an oven rack he has richly complex paintings that vary in color, structure and scale.  The progression of these works is very interesting and apparent, moving organically, it seems you can almost watch him look at the work, reflect and then work again.  Looking at and questioning these few forms in his surroundings and how to represent them or use them generated a mine of questions that has years of exploration embedded in it.  Students -- take note!

Sunday, April 6, 2014

Shows to See

Neysa Grassi,  Floating Lake, 2013, oil on wood panel, 13 1/4 x 13 1/4 inches

I went to a great opening on Friday night at Locks Gallery.  Both shows, Neysa Grassi: Endless Source and Warren Rohrer: Message Bearer, were strong and I recommend catching them before the close on April 30th.  Pictures just don't do the in-person experience any justice.

Warren Rohrer, Mauve Shift, 1977, oil on linen, 72 x 72 inches

Friday, April 4, 2014

Fresh as Form on Curating Contemporary

 I am happy to share a group show I am a part of on Curating Contemporary.  It is a wonderful website run by Brian Edmonds which hosts online exhibitions each month.  Even though it is a virtual show, it provides the opportunity to see works in dialogue that otherwise might not have been possible.  Our show consists of six artists from thousands of miles apart.

Melanie Parke  (Michigan)

Derrick Quevedo (Baltimore)

Virva Hinnemo  (New York)

Lauren Garvey (Philadelphia)

Judith Farr (Spain)

The idea hatched when talking to Derrick and Lauren about the community of painters we have had great discussions with and influence from, all through online communication (email, facebook etc.)  How amazing it is that people living so physically far apart can have many similar threads in their paintings and the way they approach their work.  So it seemed fitting to have an online exhibition highlighting this.  Here is the essay the three of us wrote collaboratively:


"Fresh as Form brings together painters who are united in their approach to form. To them, it is not something forewarned, to be considered and worked around. There are no rules or compositional guidelines that must be adhered to. 

Instead, form is in constant flux, being extinguished and renewed as the painting develops. Form is sought out like a rare pearl, wading through muddled terrain, shoveling paint across the surface, uncovering old marks and redefining them anew. 

Like some sort of painter's code; brush lines carve out new contours, positive space becomes negative space, blue lines become an ocean in the distance and then settle back into their pictorial space once more. 

Change is welcome and necessary in the pursuit of forms that satisfy the painter’s own hand, mind and the painting itself. Perhaps form is not finite, but as fresh as the moment of the gaze...”

Then selected artists were invited to choose three works that they felt best represented this statement in their work.  And so the show came together and in quite a beautiful way (if I do say so myself).

Sunday, March 30, 2014

Grand Budapest Hotel






Saw Grand Budapest Hotel last night.  So. Good.  Each frame is like a painting.  You can feel the perfection  he demanded in composition, color and scale.  People in the audience laugh continually throughout the movie and there is rarely a joke that comes from dialogue, it is all in the timing and visual poignancy.  Very excellent.

Friday, March 28, 2014

In the Studio: Alberto Giacometti

Alberto Giacometti with Sculptures.  1951.  Photograph by Gordon Parks

Sunday, March 23, 2014

Sunday Pick: John McAllister

Bewitch Twilit, 2011, Oil on canvas, 58" x 49"

Damned Sparkling Pomp  ,Installation view


Darksome Almost Dawn, 2011, Oil on canvas , 58" x 49"

I've been enjoying these works by John McAllister.  These images are all courtesy of his gallery, James Fuentes, which a friend recently put me on to.  And now I can't believe I didn't know about it or McAllister's work sooner.