 |
Also please check out my second blog, The Painting Archives to see older (pre-2004) paintings for sale.
Monday, July 13, 2009
teaching
Teaching has re-entered my life after twelve years or so, and I'm happy about it--I'm enjoying it much more than I did in the past when I taught mostly in an academic setting.
I've been thinking about my workshops--specific things like where and when to schedule them, and what to include in the allotted time--but bigger questions too. Like why do I want to teach and how much of my time and focus to devote to it?
The "why" question--well, I get paid of course, and enough to make it worth my time. But it's really not about money--I want to keep things affordable, so I don't make a huge amount. Traveling to places like the San Francisco Bay Area (where I'm heading tomorrow) is a great perk, but I'm also happy with places that lack so much allure, and also to teach in my own studio. So--it's not about jet-setting (though, OK, that does thrill me a bit!)
Curiosity comes into it--a feeling of discovery. It's so interesting to watch what happens when each artist's personal vision mixes with the techniques I teach. I haven't taught very many students yet, but I believe each so far has left the workshop ready to take off in his or her own direction.
But here's the biggest reason "why" ...for years I've wondered if a life centered around painting and selling paintings might be just a wee bit self-centered. Yes the art itself contributes to the world, and apparently I have to do it or suffer extreme anguish (!) Not much choice there.
But especially since entering my 50s I've wanted to contribute something more, and to connect with other artists in a constructive manner. Teaching workshops seems to be a way to do that, to gather up a lot of things I've learned and developed and pass them along. The perk for me is to be in the presence of other artists for a few days, with everyone focused on painting, intensely in the moment and doing what they love. It's very rewarding.
As for how much time and focus to devote to teaching...I'm just feeling this out as I go along. Teaching is definitely a parallel activity, important in its own right, but I can't let it distract me away from painting. The right number seems to be about 4 or 5 outside workshops a year, and a few in my own studio, depending on the number of interested artists. I have also learned the difference between signing on with a well established art-workshop venue, and working things out with someone who wants me to come to a particular area but is starting from scratch. The former is easy, the latter more time-consuming, but in some ways more rewarding--and I remain open to all of it. I've met wonderful people in both kinds of situations. Suggestions from readers for future workshop locations are welcome, and anyone who wants to do the ground work to set things up can probably convince me to go anywhere!
Last weekend was my first in-studio one day workshop, where I took the photo above. Two of the participants were close friends, another was my former painting teacher from college (what an honor to have him in my class...) and the fourth was from Tucson, AZ. She was in the area visiting her sister--and it was her emailed request a few months ago to spend time in my studio that launched the idea of having a small workshop here. ¶ 11:09 AM 0 comments links to this post
Teaching has re-entered my life after twelve years or so, and I'm happy about it--I'm enjoying it much more than I did in the past when I taught mostly in an academic setting.
I've been thinking about my workshops--specific things like where and when to schedule them, and what to include in the allotted time--but bigger questions too. Like why do I want to teach and how much of my time and focus to devote to it?
The "why" question--well, I get paid of course, and enough to make it worth my time. But it's really not about money--I want to keep things affordable, so I don't make a huge amount. Traveling to places like the San Francisco Bay Area (where I'm heading tomorrow) is a great perk, but I'm also happy with places that lack so much allure, and also to teach in my own studio. So--it's not about jet-setting (though, OK, that does thrill me a bit!)
Curiosity comes into it--a feeling of discovery. It's so interesting to watch what happens when each artist's personal vision mixes with the techniques I teach. I haven't taught very many students yet, but I believe each so far has left the workshop ready to take off in his or her own direction.
But here's the biggest reason "why" ...for years I've wondered if a life centered around painting and selling paintings might be just a wee bit self-centered. Yes the art itself contributes to the world, and apparently I have to do it or suffer extreme anguish (!) Not much choice there.
But especially since entering my 50s I've wanted to contribute something more, and to connect with other artists in a constructive manner. Teaching workshops seems to be a way to do that, to gather up a lot of things I've learned and developed and pass them along. The perk for me is to be in the presence of other artists for a few days, with everyone focused on painting, intensely in the moment and doing what they love. It's very rewarding.
As for how much time and focus to devote to teaching...I'm just feeling this out as I go along. Teaching is definitely a parallel activity, important in its own right, but I can't let it distract me away from painting. The right number seems to be about 4 or 5 outside workshops a year, and a few in my own studio, depending on the number of interested artists. I have also learned the difference between signing on with a well established art-workshop venue, and working things out with someone who wants me to come to a particular area but is starting from scratch. The former is easy, the latter more time-consuming, but in some ways more rewarding--and I remain open to all of it. I've met wonderful people in both kinds of situations. Suggestions from readers for future workshop locations are welcome, and anyone who wants to do the ground work to set things up can probably convince me to go anywhere!
Last weekend was my first in-studio one day workshop, where I took the photo above. Two of the participants were close friends, another was my former painting teacher from college (what an honor to have him in my class...) and the fourth was from Tucson, AZ. She was in the area visiting her sister--and it was her emailed request a few months ago to spend time in my studio that launched the idea of having a small workshop here. ¶ 11:09 AM 0 comments links to this post
Thursday, July 09, 2009
white paintings
This photo shows some of the work I have in progress right now. The white paintings are hard to see in this kind of shot, but they all have dense texture and subtle color shifts.
There is a mystery and emotion in these white paintings that keeps me intrigued...I've been working with this idea since my time in Catalonia last fall. The first ones, which I painted in paper while in residency, were validated for me at the end of my stay when I stood in front of the huge white Tapies painting in the Museu d'Art Contemporani in Barcelona. Its spare, expansive quality felt so liberating that it brought tears to my eyes.
As I write all of that, I recognize a desire to explain or defend this work, which I know may be harder to appreciate than my more colorful paintings. Yet the white paintings in my last show were the ones that I received the strongest positive feedback about. So I do believe they are communicating in the way I intend.
As you can see in the photo, I'm not abandoning color....I actually feel drawn to bold color almost as strongly as I do to white right now. But that's another post! ¶ 8:36 AM 0 comments links to this post
This photo shows some of the work I have in progress right now. The white paintings are hard to see in this kind of shot, but they all have dense texture and subtle color shifts.
There is a mystery and emotion in these white paintings that keeps me intrigued...I've been working with this idea since my time in Catalonia last fall. The first ones, which I painted in paper while in residency, were validated for me at the end of my stay when I stood in front of the huge white Tapies painting in the Museu d'Art Contemporani in Barcelona. Its spare, expansive quality felt so liberating that it brought tears to my eyes.
As I write all of that, I recognize a desire to explain or defend this work, which I know may be harder to appreciate than my more colorful paintings. Yet the white paintings in my last show were the ones that I received the strongest positive feedback about. So I do believe they are communicating in the way I intend.
As you can see in the photo, I'm not abandoning color....I actually feel drawn to bold color almost as strongly as I do to white right now. But that's another post! ¶ 8:36 AM 0 comments links to this post
Saturday, July 04, 2009
new mexico artists
On my recent trip to New Mexico, I spent time with several other artists who live in the Santa Fe area, most of whom I knew previously only through Facebook. To meet in person was a delight.
In the top photo above are Danielle Shelley, Rachel Darnell (the photo is taken in her gallery, where I am represented) Diane McGregor (whom I have known in person for several years...thanks Diane for working out the details of this get-together) Rick Stevens and Michael Kessler.
The bottom photo was taken in the studio of Ted Larsen, where Diane and I visited later in the week. Ted's work manages to be both gorgeous and visually seductive, and ironic and matter-of fact at the same time...owing at least in part to the found objects (such as recycled car body parts) that he uses instead of usual art-making materials. His work strikes an intriguing balance between the conceptual and the visual, with 'found" surfaces and colors as hauntingly beautiful as many minimalist paintings. ¶ 10:03 AM 1 comments links to this post
On my recent trip to New Mexico, I spent time with several other artists who live in the Santa Fe area, most of whom I knew previously only through Facebook. To meet in person was a delight.
In the top photo above are Danielle Shelley, Rachel Darnell (the photo is taken in her gallery, where I am represented) Diane McGregor (whom I have known in person for several years...thanks Diane for working out the details of this get-together) Rick Stevens and Michael Kessler.
The bottom photo was taken in the studio of Ted Larsen, where Diane and I visited later in the week. Ted's work manages to be both gorgeous and visually seductive, and ironic and matter-of fact at the same time...owing at least in part to the found objects (such as recycled car body parts) that he uses instead of usual art-making materials. His work strikes an intriguing balance between the conceptual and the visual, with 'found" surfaces and colors as hauntingly beautiful as many minimalist paintings. ¶ 10:03 AM 1 comments links to this post
Tuesday, June 30, 2009
back home
My friend Patricia and I listened to a lot of Talking Heads in the car on our way to and from New Mexico, and yesterday in the studio David Byrne was stuck in my head singing "I'm painting, I'm painting again..." As much as I enjoyed the trip, I was happy to be back at work. Ten days without painting when I have four shows coming up this fall and winter (and a busy summer of travels and visitors) made me nervous. It's going well though, and new ideas are coming as a result of my travels West.
The title for my show in October at Darnell Fine Art is Old Walls and Lost Paths, and on this trip I collected many images (mostly in my mind and some in photos) of old adobes and other weather-worn surfaces in New Mexico. My original idea for the title and theme of the show arose from my residency last fall in Catalonia; one of my interests there was the way in which the stone buildings and ancient walls seemed such an integral part of the landscape, and embodied a sense of time. In New Mexico, I saw the same thing in the ancient adobe buildings in the pueblos we visited, and in other old buildings scattered around the desert--they are made of the natural materials of the landscape, and seem to grow organically out of the earth. ¶ 8:37 AM 1 comments links to this post
My friend Patricia and I listened to a lot of Talking Heads in the car on our way to and from New Mexico, and yesterday in the studio David Byrne was stuck in my head singing "I'm painting, I'm painting again..." As much as I enjoyed the trip, I was happy to be back at work. Ten days without painting when I have four shows coming up this fall and winter (and a busy summer of travels and visitors) made me nervous. It's going well though, and new ideas are coming as a result of my travels West.
The title for my show in October at Darnell Fine Art is Old Walls and Lost Paths, and on this trip I collected many images (mostly in my mind and some in photos) of old adobes and other weather-worn surfaces in New Mexico. My original idea for the title and theme of the show arose from my residency last fall in Catalonia; one of my interests there was the way in which the stone buildings and ancient walls seemed such an integral part of the landscape, and embodied a sense of time. In New Mexico, I saw the same thing in the ancient adobe buildings in the pueblos we visited, and in other old buildings scattered around the desert--they are made of the natural materials of the landscape, and seem to grow organically out of the earth. ¶ 8:37 AM 1 comments links to this post
Thursday, June 25, 2009
new mexico
The sun is coming up over the mountains where I'm staying near Los Alamos...early for me to be up, but worth it for the view. My friend Patricia and I have just a few days left out here. It's been a great trip...we're making it up as we go along, other than a few appointments and meetings, and yesterday's trip to Ohkay Owingeh Pueblo for Feast Day (where we were invited to the home of one of her colleagues to eat.) We saw dancing there, including the Buffalo Dance. Later on we headed for Taos, which was one big traffic jam on that hot afternoon. We kept going and found ourselves in Taos Pueblo, which was beautifully serene, remote, and spectacular. It is the oldest continually inhabited village in the country. There was dancing there too, and just a few visitors...an unforgettable experience.
Today and tomorrow I am hoping to get back to Santa Fe and see some art...we were there just briefly on Tuesday, when I dropped off paintings at my gallery, Darnell Fine Art, and then met up with four Santa Fe artists--only one of whom I already knew personally--the others were Facebook friends. I'll post pictures and talk about that and a few other artists I'm hoping to meet when I get home. It was social networking of the most rewarding kind.
More later... ¶ 7:19 AM 2 comments links to this post
Today and tomorrow I am hoping to get back to Santa Fe and see some art...we were there just briefly on Tuesday, when I dropped off paintings at my gallery, Darnell Fine Art, and then met up with four Santa Fe artists--only one of whom I already knew personally--the others were Facebook friends. I'll post pictures and talk about that and a few other artists I'm hoping to meet when I get home. It was social networking of the most rewarding kind.
More later... ¶ 7:19 AM 2 comments links to this post
Thursday, June 18, 2009
studio garden
A parting shot of my cool, shady studio garden before I travel towards NM tomorrow. I started this large garden four years ago on the steep bank that rises up just outside my studio door. Because of the slope, it is a secret garden hidden from view in the yard, until you start down the steps that lead to my door.
Early on I planted mostly perennial flowers and various kinds of ground cover, and have added more plants, interesting stones, broken pottery, and driftwood over the years. The plants have matured, each year more lush, and have spread in both directions along the bank. The whole thing has always felt like a collaboration with nature rather than something I'm in charge of...the plants ramble, intertwine, and form a complex carpet of textures and colors--resonating with the more organic aspects of my painting. ¶ 10:19 PM 0 comments links to this post
A parting shot of my cool, shady studio garden before I travel towards NM tomorrow. I started this large garden four years ago on the steep bank that rises up just outside my studio door. Because of the slope, it is a secret garden hidden from view in the yard, until you start down the steps that lead to my door.
Early on I planted mostly perennial flowers and various kinds of ground cover, and have added more plants, interesting stones, broken pottery, and driftwood over the years. The plants have matured, each year more lush, and have spread in both directions along the bank. The whole thing has always felt like a collaboration with nature rather than something I'm in charge of...the plants ramble, intertwine, and form a complex carpet of textures and colors--resonating with the more organic aspects of my painting. ¶ 10:19 PM 0 comments links to this post
Monday, June 15, 2009
new painting and NM plans
My friend Patricia and I are taking a road trip to the Albuquerque/Santa Fe area through next week. This painting is a new one in the Strata series, 62"x24." The texture is especially developed in the white panel. It will be in the back of the car to be delivered to Darnell Fine Art in Santa Fe--I'm stockpiling for my show in October.
We leave on Friday, and this Monday morning I sit with a long to-do list titled "before NM." A lot of it will get done, and what's left will probably seem less important as we pack up and hit the road. Patricia has never driven out West and I am looking forward to sharing this now-familiar experience with her. She's going out to do research for her doctoral thesis in Native American Studies, and has a really interesting agenda. I'll be in on some of it, including the Feast Day and Corn Dance at Ohkay Owingeh Pueblo. I'm also planning to see plenty of art, visit some art friends and of course, spend time with my two sons in Albuquerque. ¶ 11:33 AM 1 comments links to this post
My friend Patricia and I are taking a road trip to the Albuquerque/Santa Fe area through next week. This painting is a new one in the Strata series, 62"x24." The texture is especially developed in the white panel. It will be in the back of the car to be delivered to Darnell Fine Art in Santa Fe--I'm stockpiling for my show in October. We leave on Friday, and this Monday morning I sit with a long to-do list titled "before NM." A lot of it will get done, and what's left will probably seem less important as we pack up and hit the road. Patricia has never driven out West and I am looking forward to sharing this now-familiar experience with her. She's going out to do research for her doctoral thesis in Native American Studies, and has a really interesting agenda. I'll be in on some of it, including the Feast Day and Corn Dance at Ohkay Owingeh Pueblo. I'm also planning to see plenty of art, visit some art friends and of course, spend time with my two sons in Albuquerque. ¶ 11:33 AM 1 comments links to this post
