My friend Neil produced this image tonight while we were discussing art. I made this in college, for a class. It was lost during one of my many moves. I can’t believe he had a picture!
Thank you, Neil. You rock like no one else.
I started this last winter, before my crazy class schedule began. This isn’t really finished yet. I had bigger plans (more dead guys, for one thing) but I want to start the next one, and I’ve decided to let this be an introduction to what I’m doing in my barn.
Below is a study I did last night, before I finished making the dead Daddy-O’s. I decided to make Frida be black and white like the citizens of her town. I like how this picture turned out.
I have always loved paper-mâché, and I rediscovered while helping my daughter with a school project. I got the idea for this from a drawing I did in someone’s sketchbook for the sketchbook swap:
I am interested in seeing what happens when I try and make real world models of my drawings. When I was a kid I mixed flour and water (and maybe glue). Now, I’m using glue and water and the Baltimore City Paper.
More to come – there’s a lot going on in the Land of the Dead.
She talks about her visceral reaction with a Rothko painting at Moma in San Francisco, and asks the question:
“Have you ever had this happen to you with art? I’d love to hear about it if so.”
I want to share a story about Rothko. When I was an under grad student, I took a 20th century art class with a visiting professor. Thankfully, our regularly scheduled fusty-old-moth-ball-smelling-tenured art historian was on sabbatical. Professor Visitor was from Philadelphia (maybe Chas or someone will remember her name). She began our term with the following story.
She said that while she was working on her master’s degree, she was late for a lecture in a museum. She was hurrying through a gallery to find her group when she came face-to-face with a Rothko. It stopped in her tracks, cold. Her hair stood on end, and she had an experience where she “got” it. She described understanding color from the level of color – not intellectually, but more on a non-spoken level. And she said it was then that she began to understand (aspects) of 20th century art thinking.
That introduction made all the difference in the world for me, and I LOVED that class. I was completely engaged with each chapter – each artist – each idea. I was completely awake.
Last summer, I met the Rothko that Lisa talks about in her post. Every time I see one of his paintings, I silently acknowledge the fact I owe a lot to Rothko and his works. He knocked our visiting professor’s socks off, and she opened the doors to “modern art” for me. It was the perfect introduction to the subject and, well, to making art.
Today opened the National Arts Program at Johns Hopkins Medicine. RJ, Leezle, CoCo and I submitted pieces. The opening was packed – and bigger than I expected. The show features many talented people (kids and adults).
This is something CoCo painted for me called “Lunch with Papa.” I love the color in this. And, I love lunch.
Below is Leezle’s very timely painting called “Obama.” I wish he could see it.
Below is yours truly with “Frida’s Sitting Room,” blogged here:
And last but not least, my dear friend and colleague RJ Malacas with a portrait of his father (who is battling cancer):
I love that picture of his Dad.
I am delighted to announce that one of my pieces was accepted for the Penned exhibit for this year’s ArtScape festival!
And, what I think might just be the best part – it’s JUNK MAIL ART!
Click below for larger:
Please come see the exhibition if you are in town, and be sure to wear a monkey mask just like Trevor “Ham” Hamilton – it’ll make your life better! Good for pets, too!
Thank you, Chas, for hepping me to the exhibition.