You know, I went by Brooklyn Artists Gym this afternoon, but before I went up to my studio space, I looked at several other studios in the building and area.  Among those artists I spoke to, Regina Perlin of www.newyourkartworld.com and Ella Yang, both share a studio in the same building BAG is in.  Both artists were kinda similar, mostly landscapes, some figure paintings and one or two still lifes.

Ella Yang also got to be chosen for “100 New York Painters” by Cynthia Maris Dantzic  that will be published in November – so we talked about that a little.
Yesterday, I also spoke with Chris Weller who does detailed drawings and prints of local New York Scenes; she’s also teaching a figure drawing class in January at BAG, she’s very nice and people who looked at her work like it; she also has shared studio space, as I do, at the BAG.

Also spoke with Martha Walker who does really nice welded steel sculpture – I could feel good vibes as I entered her space – we talked for a couple of mintures.

It’s my way to connect – I’m an empath, as much as an artist and a web analyst – art is hard work.  I side with the artist, I always do.  It’s hard being an artist – no one really wants your work, no one really needs it – and almost no one can make a living on art – it’s painful to remember that I had ideas like that when I was younger.  If making a living on your art happens, it happens when you no longer seek it – that’s my belief.

There’s also something going on next month called Habitats at the Brooklyn Lyceum between November 9th – 12th (it opens on my birthday!).  I may go to it …I’m just not sure what it is exactly …..here’s the notes from the site.

“Habitats

“Habitats” is the latest effort by Eidolon Culture to strengthen the contributions that communities and neighborhoods make toward sustainable and environmental living.

To honor and celebrate the interactions among the local communities of the Gowanus Canal Cleanup, we are calling and counting on the willingness of both art and science to come visit at the Brooklyn Lyceum, on November 9th through 12th.  Despite unconfirmed differences for some time between the two disciplines of human endeavor, the fact is that art and science have much more in common with each other than we normally would think. For example, both can be opportunities for profound pleasure, a live and personal discovery, or perhaps, on a really good day, a catalyst for the experience that awakens inner resources. Both disciplines share an attitude of openness to the world that makes us think they belong together at a Habitats event. They are not closed systems.  They are open circles. Both their processes thrive on flows of energy and inspiration. Information goes in and out. And open channels create the flow of information that is essential to understanding the system, or for creating alternatives. So, all things considered, we thought it would be interesting to see these two sometimes distanced and distinct disciplines of human endeavor show themselves united to celebrate the resurgence of another living habitat: the Gowanus Canal in Brooklyn, N.Y., now making an amazing recovery from polluted and industrial backwater to source of significant enjoyment for all its area residents.

Of course, “Habitats” is not just about clean water. We are validating the fundamental conviction that local people anywhere in the world are capable of creating their own future if they have adequate methods, skills and self-confidence.  In the late 70’s residents living to the east and the west of the Gowanus Canal in Brooklyn, N.Y., began to build the partnerships among themselves to deal with the industrial pollution in the canal that was a main feature of their everyday life. Out of that experience has grown an adventure in habitat restoration and community action that is not unlike many other stories happening in other parts of the world. By refocusing instances in our communities where the local ecology has been restored to its natural cycle through the efforts of its residents, “Habitats” wants to accompany the shift of thought around the world from human identity, separate from our natural environment, to more conscious and aware participant of its natural cycles.

Suddenly, we are more aware. The earth’s seasons, the literal seasons, winds, tides, currents, their come and go and the flux of the whole system; more and more we notice how these factors have an effect on us. Sometimes, being more aware simply means another opportunity for surprise and wonder, experiencing the power of nature’s beauty, for example. Much more noticeable are the many challenges ahead. If August was Katrina month, surely this September belongs to E.coli or industrial agriculture. Almost certainly, the interaction of two pairs of hands at the farmer’s market, the hands that planted and grew the spinach leafs with care interacting with the hands that in all probability would cook them, may have helped save lives during the outbreak. Care:affectionate or concerned interestseems to be the synthesis of living in a balanced relationship with anything or anyone. First, one has to care. Consensus building meetings, the flow of collaboration inside a group action, revived cultural customs; all that comes after the initial heart tug. Relate human potential to the city’s gardens and urban corridors of flora and fauna; after. Be part of the process that empowers water and earth to interact naturally around one; not before a transformation of thought and spirit has taken place.

As cultural instigators and artists for sustainable development, we are focused on understanding the general process and values of how this shift in behavior and beliefs toward our ecology can occur. Concerned citizens are partnering with public officials, the private sector, and non-profits, to find and implement together long term solutions to human development. There are new technologies and revolutionary alternatives for living well that don’t compromise the opportunities of future generations. Thanks to the latest developments in communications, actions happening in delimited geographic locations, where residents can experience directly the benefits of their collective efforts, are relevant everywhere in the world where people are learning to see themselves as connected to each other and inseparable from the universe.

At Habitats we are exploring these models of collaborative and interdisciplinary actions by encouraging artists from different backgrounds and cultures to follow their inner vision while working together under a common framework of understanding. This framework materializes when the artists build together and become the dwellers of a unique and integrated environment. In this context of collaboration, the individual art pieces are not so much designed for contemplative viewing inside a neutral setting, but become elements that in the sum of its parts create a whole world, a kind of miniature cosmos where the public is invited to participate in the ongoing celebration of co- existence.

After all, sustainable communities are the creations and embodiments of a collective consciousness. Artists that build together and instigate the public to join in as fellow co-creators, can help us recognize ourselves in these initiatives and explore the questions that lead us to find a sense of integration with self, belonging with others, and harmony with the habitat and the entire planet.”

It’s a lot of information – I still don’t know what it is exactly…but it sounds like something that ArtNewYorkCity.com should cover – whatever it is.

And then, there’s a flyer I found for erotic porno photography at BAG….I’m not really sure about this but it seems some people have kinky ideas about nude couple photography – but no website.

Finally, I spoke with Amy, a new studio mate at BAG – she works for Evergreen Studios in Manhattan painting parts of building designs that get purchased for large structures – they also do Murals.  Amy just got back from Vermont Studio School (or whatever it’s called now) in Johnston, VT – where I spent a summer nearly 20 years ago.   I wonder if it’s time to go back.

First, I went to the Brooklyn Artists Gym where I spoke to some artists and looked at my work; it was not well lit and I had Peter put a spotlight on it – painting that’s not well lit won’t present itself as well.  I insist on good lighting – and hopefully, good placement.

But I also felt sad tonight – and I had to express it – so I painted another Oil Pastel Sketch.  It’s hard to explain – and it’s what led me to paint again.

 

A couple of thoughts – all my fellow artists – and other artists, in their own studios, had their work on display tonight and Sunday – and probably longer after that.  My work, each done in one sitting – using Acrylic – looks raw.  I mean….I’m wondering when I’ll be ready, or willing to commit more than one sitting to any one painting – as there’s only so far an artist can go in one sitting.   In my case, the oil pastel sketch was done in a little over an hour.   I’m so aware of my limitations – my impatience, the problems I have with detail – of not even being sure I want to paint the details.

And then, I think about the people looking at my painting and I feel the burden … do they like my work?  Suddenly I’m glad I don’t make my living as an artist, that I don’t count on people liking and buying my work….how hard that would be.

While I was depressed by something else – the matter of who was looking at my work and what they thought, what I thought, depressed still more.

It’s as if, I got over my fear of showing my work – coming this far in the last 6 months – from not having painted in over 10 years before what forced me to begin again, this spring – only to realise I’m really at the beginning – all over again.

The only thing I’ve got – is the knowledge and good sence to know who I am – and what is me and what is not me.  My work no longer looks like anyone else’s – it comes out of me, for better or worse.

Another thought – it’s easy to like paintings that look closer to a visual representation (person, still life, landscape) – the closer a painting is to common visual language – the easier time viewers have relating to it.  On the other hand, the more common the visual language, the more easy it is to dismiss the work (because it approaches a photograph).  People tend to admire the skill of representation – but the best artists hid many abstract qualities within the visual representation (ie: a portrait) – no doubt – visual representation is also limiting.

In my painting, above, I’m struggling both with my sadness – which feels profound, and the medium itself. I simply do not want to focus on details – yet I feel I should.

Also ran into 2 new friends, Matthew and Nichelle at BAG, they were taking a tour of the galleries in the building.  The two middle photos are of LemurPlex, a new Robotics, Electronics training lab in Brooklyn, a couple of blocks from BAG.

  

 

The last photo on the right is at BAG, it’s sorta a party to go along with the art opening.

And finally, what are they studying at the LemurPlex?
Saturday and Sunday, October 21st and 22nd, 12:00PM-6:00PM

Physical Computing Intensive using MidiTron:

Intro to Electronics and Interfacing Sensors, Lights and Robotics

Have you ever wondered how to play music by moving your hands or trigger video clips with the blink of an eye? In one weekend, you will learn how to do this through tutorials in basic electronics, MAX/MSP/Jitter programming, sensor building, lights, robotics, and interactive design using the Miditron (a sensor and robotic interface device). You will learn these techniques hands-on by building mini-projects and ideas of your own design. This is of interest to Artists, Musicians, Dancers, Actors, Engineers, Programmers, Lighting, Sound and Graphic Designers, and others.

You will have the opportunity to design sensor-based projects using MidiTron. You will learn basic electronics, MIDI, and programming in order to implement your projects. You will learn how to incorporate basic circuits into your projects and art. Subjects covered will include electronic components, symbols and schematics, electricity flow, making connections, testing, and troubleshooting. Programming using MAX/MSP/Jitter will also be taught so that you can control sound and visuals through the computer. Through guided tutorials and critiques, we will explore technical and aesthetic issues regarding their projects. In addition, prior art will be discussed for inspiration and analysis. No previous knowledge of electronics, sensors, or programming is assumed.

Sounds really interesting …. I’m not sure it’s the couse I’d take now – yet there are ideas that I could execute better on a computer/electronics medium – like showing my life as a web page (ie: like the home page of a big corporation – but it’s all about me – did a sketch of that a couple of weeks ago – but I’m not sure how I’ll execute yet – all these ideas require more than one sitting and I’m not sure I’m ready for this yet – we’ll see).

Time to go to be, or try to.

Peter Saul’s opening was covered in part 1 and part 2, his technique and my photos are my last post on this series covering PETER SAUL @ Leo Koening Inc.

I tried to get a good picture of Peter Saul – but failed to get one to my liking – about the best picture I did get was the artist, center – with his back to me.  That’s OK, maybe that’s the way it’s meant to be.

 

 This is a part of Saul’s painting of “Still Life with Warhols” 2006, which there was no picture on the gallery website for, but it was in the show.  Looking at the artist’s technique – he maps out broad areas of flat shapes, colors them and then builds up his lighting, from imagination, maintaining the hard edge – which he needs for defination.  He’s evolved his own way of doing it.  You’d never mistake a Peter Saul painting for anyone else’s.  Nor does he Airbrush – amazing.  Here’s what Peter Saul has to say about his technique.

“Several people have asked if I use spray gun or masking tape. No, never.  The way it’s done is I hold a piece of paper towel in my left hand while I paint and wipe the brush on it till just the right amount of paint remains on the bristles.  Then I carefully feather the paint onto the canvas.  It can look sprayed, or not.  It takes a certain skill, but it’s a lot of fun to have that skill.  I listen to the mellow music of the old folks radio station while I work; I can paint the whole picture, from streching the canvas to signing my name in just one month, working alone.”

Peter Saul answers a few questions above.

1. Peter Saul works alone, most of the time, streching his own canvas – at his age he can still get by without assistants (though he might have assistance from time to time).
2. He skeches out his ideas first – works out the main details and shapes and then transfers the design onto canvas, probably with the help of a projector – just to get the overall layout as he wants it.
3. From that point – he’s filling in the areas of the painting with solid colors and then working the texture and lighting up.
4. After about a month per painting ….he’s done..said all he had to say and signs it – and sells them for 60K-100K each.  Not bad.

And the paintings are worth it – every cent.  I’m sure Peter Saul is collected by every major museum in the world – and they should collect it – he’s a master artist.

Here’s more on what inspireds Peter Saul from this “To the Viewer” introduction for the catelog of this show:

“I like to walk around N.Y. to see the art shows, particulary pictures of something dramatic or exciting.  That’s my art taste.  Even though I love viewing the stuff, the ideas that prop up Modern Art are the dumbest in the world.  Especially the notion that a painting is about itself and the way it’s made.  Sure, try reading a book about itself, or going to a movie about itself, not a lot of fun.

But what upsets me more is the way the word “sentimental” got trashed, defined as something bad.  I’m a very sentimental person.  I like to browse in my volumes of Orientalist and Victorian anecdotal art while I listen to Christmas carols and drink good, medium-priced champainge.  That’s the real “me.”  So, I reserve the right to paint sentimentally, anytime.  I painted “Basket of Kittens” in the early nineties but I could do it better today.”

Someone I spoke to last night asked me if Peter Saul has an “oral” fixation – since most of the imagry of his work revolves around the mouth.  Perhaps. I had not really looked at it that way..but why not?  Also, “sentimental” is a term that Joe Coleman used to describe his painting – he had the same concern that people labeled Coleman’s work “sentimental” – read the interviews here.

I commented only on paintings that are in the current show.  Peter Saul had so much work – he had another show at the David Nolan Gallery that opened the day before.  Since I did not go to that show yet - I don’t wish to comment on those paintings yet – but I am aware of the show at David Nolan and will go to it sometime over the next week or two.  There are not many pictures, just a PDF document.

Here’s a larger shot of “Still Life with Warhols” to end this post.   Go see both shows and hope the Peter Saul grants me an interview – hopefully in person, which will be more interactive.