Work at Sapere Gallery, Chicago

[caption id="attachment_134" align="alignleft" width="217" caption="Cri de Coeur, 18 x 24 x 2in., watercolor, prismacolor pencil, graphite pencil on birchwood panels. 2010"][/caption]

With the help of Scott Simons, this painting, one of six, delivered to Gary Marr, gallerist of Sapere Gallery, 1579 N. Milwaukee, Chicago, last week.

I've been working with watercolor lately, for about a year (view recent work here). I find an immediacy and a brilliance that excite me in these pieces. To get the intense color I have been mixing the pigments myself and just flooding the surface with it. The substrate is just a birchwood panel, totally unprepared, no gesso, no ground, nothing between the paint and the wood.

The panels are hand made by Joel Fromer of Art Services.

There will be more pieces, I just obtained 35 additional panels for my next year's anticipated production.

Juried into the Art Loop Open--Counting Down

Counting down to Friday, October 15th at 5:00 pm. Today the Art Loop Open Facebook page sent out a video which literally displays all 191 of the pieces in the show in 1 minute 41 seconds.

Juried into Chicago Art Loop Open

This is going to be an interesting set of experiences coming up in the next couple of weeks. My piece, "Rainbow's End," has been selected by the jurors of the Chicago Art Loop Open. The opening is Friday, October 15 at 5:00 pm. simultaneously at ten venues around the Chicago loop. My piece, "Rainbow's End," will be at Block 37.
The organizers have set up a system of voting via cellphone texting or an app downloaded to a smartphone. Visitors can vote for as many artists as they wish, but only once for each artist. The organizers clearly wish to avoid the likelihood that us artists would have encouraged all of our friends to vote over the internet, art-work sight unseen. The organizers want the public to come and see the art, to look at it all in person and make informed decisions and ultimately to show off good art.

Another part of what makes this interesting is that I personally know of a large number of very good artists who were not juried in; and yet, when I look at the list of acceptances, I'm delighted to be in such good company,Jason Messinger (at Palmer House), Renee McGinnis (at Merchandise Mart), Sandy Holubow (at Block 37), Jesse Howard (at Block 37), Pamela Johnson (at theWit Hotel), Beth Kamhi (at Hard Rock Hotel). My scan of the art pieces submitted via the artists list on the website signals the possibility that the jurors worked to select a wide range of art across the Chicago art-making spectrum. I'll know better about this as I work my way through all ten venues.

Shown: Rainbow's End, 44x30in., pencil, prismacolor, charcoal, oil stick, oil wash on 90# white Stonehenge, 2009

Caffeine IV at Murphy-Hill Gallery Chicago

I attended the opening of the Caffeine IV group exhibit at Murphy-Hill Gallery last night. A stellar line-up of who's who in Chicago art exhibited as many as three pieces of work each in this huge, spectacular space seemingly designed for museum work, in the old main Sears-Roebuck building in Garfield Park.

[gallery link="file" columns="4" orderby="rand"]

Photographing Artwork in the Museum Good or Bad?

Today’s New York Times has an article entitled “When It’s Illegal to Photograph Artwork,” by Jennifer Saranow Schultz. The topical conclusion is framed as the answer to this question asked of lawyers. The lawyerly answer, of course, totally parrots copyright law, 70 years. Ms. Schultz failed to ask museums why they forbid photography.

I think this is a topic worth pursuing and questioning. My operative philosophy as a working artist is that I look at the art of other artists, both my contemporaries and from history, with great intensity. I say directly in my personal artist’s statement without any hesitation that I stand on the shoulders of my artist predecessors.

The Art Institute of Chicago’s recent Matisse exhibit not only forbad photography, but sketching. When queried as to why, their answer was that they were concerned about dangers posed by messy sketching materials.

Given that museums are desperate for money, and given how blockbuster exhibits relentlessly push viewers into the gift shops, I think that the stronger reason for banning reproduction is obvious.

Ownership Isn't Everything

This is an interesting quote from an article in The Art Newspaper by Maxwell Anderson, entitled “Ownership Isn’t Everything,” concerning the utility of moving art from venue to venue in and out of circulation, so that more of us can be exposed to more art, with less static reliance on standing collections.

“If we gather art for research and display, we don’t have to own it. We can commission it, or we can borrow and return it. Stewardship is the new normal—ownership matters less and less in the increasingly restless worlds of both bits and atoms, as ebooks and timeshares have proved. Museums have to devote the largest part of their budgets to caring for the permanent collection, but the public is increasingly demanding impermanent experiences, such as loan exhibitions, and tires of seeing the same works in the same context year after year. While as museum curators and directors we shake our heads at this dismaying phenomenon, and make pilgrimages to see familiar works in familiar places, that covetousness is becoming quaint. In an era of jet travel, careful packing and shipping, high-quality digital reproductions, and licensing versus buying, the enjoyment of static collections is less important to most people than the enjoyment of works not before seen, or not before seen in combination with other works.”

Repetition, Bad Habit or Not?

From one of my favorite bloggers: Ancient Artist: Developing an Art Career After 50, in a post labeled Repetition How Do You Know It Isn't a Bad Habit? (Drawing, "I Found It Just Like Anything Else, I Stopped Looking," by Nancy Charak, 44"x30", oil wash, oil stick, prismacolor, graphite on 90# Stonehenge.)

Key quotes:

• How do you know if what you are doing is part of your creative process or a habit you need to break?


• Do I feel passionate about this or is it just fun to play with pretty colors?


• Am I mimicking or exploring?

Mimicking is making duplicates of the same thing, "If you copy - you have two of same thing, who needs it?" Exploring is looking for depth.