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.

I covered the introduction to Peter Saul in Part 1 of PETER SAUL @ Leo Koening Inc.  Recent Works - see the post in conjunction with this one.

Peter Saul’s work draws on Politics and Art History (among other things)….I asked Peter Saul if he thought his paintings were “political”.  Peter answered…”Yes” he things art should be political - should make a statement (maybe those are my words - I don’t remember his exact words to me..but that was the gist of it …stir things up….that’s part of what Art is for).

The Political Part …. hmm .. I guess you can say this painting about George Bush at Abu Ghraib does make a political statement….. 

“Bush at Abu Gharib” needs no explanation, according to Peter Saul.  I might add that George W. Bush has his hand up what looks to be a camal’s shot up face is a clear statement, by the artist, that George Bush is personally responsible for the mess in Iraq - it’s his hand up the shot up nose and the exposed brains - it’s Bush’s fault - the whole thing.  Bush even put the noose on the person/camel’s neck ….. want to know why the war is a mess - just look at the picture - who’s face is there.  Interesting, the eyes don’t look at you - they look at the camel, kinda.

It’s a large painting - just like the rest in the show.

Sardanapalus, painting in 2005, is a statement calling back to Delacroix’s painting “Death of Sardanaplaus”, painted in 1827.  I know all about Delacroix, let’s leave it at that.

Delacroix - Death of Sardanaplaus - 1827

“The tangle of bodies and vivid colors combine sensuality with violent death. The painting was based on a play by English romantic poet Lord Byron.”

Ok, and now here’s Peter Saul’s version….20 minutes later - after the deed was done.

Sardanapalus, 2005, 78 x 86 inches, Peter Saul - care of Leo Koening Inc.

According to Peter Saul “Sardanapalus pays homage to Delacroix imagined, but 20 minutes later; the great bed is n fire and the king’s dead body has been decapitated by his former guards, the better to remove his personal jewelry”.

So….all the “servents” were just interested in the King’s Jewelry, which Saul puts great detail into painting.  In my third post I’ll put in my photos and personal thoughts…but I want to cover the rest of the works in this post, post #2 of the series.  BTW, Peter Saul stays himself, just the way it should be…he may admire Delacroix - but out of his brush - comes Peter Saul, 100% - just as it should be.

The Execution of Jesus, 2006, is another one of Saul’s paintings that is very “political”.

While Peter Saul did not comment directly on this painting in his “To the Viewer” introduction, in the catelog of his work - he did address the overall question he’s trying to answer in his work.

 ”Politics, Propaganda and Pornography are the 3 other things my pictures need if I’m going to have any hope of connecting with a vibrant, healthy art world that craves thrills and chills.  Of course there’s the “other art world” (much more intelligent) I never think about  except to make fun of.  I have this intellectual theory that it’s only fair play.  If most artists paint the good stuff, I need to paint the bad stuff, to help create balance. Like with armies, if one side ahs all the takes and places, it’s not fair”.

I’m thinking of the Star Trek episode where Kirk arms the population of a peaceful planet with shotguns because the Romulans are doing the same thing. 

In fact, the whole thrust of Peter Saul’s paintings orginate in arguement that’s already been won - in favor of Art.  No one argues about Politics, Propaganda or Pornography are part of Art, or his right to include them…. these were concerns of Saul’s generation but the tide has turned - Saul is now an established master of American Art - not a renegade - as he likes to refer to himself.

In terms of what you can learn from Peter Saul’s painting today …. he’s a master artist - with a powerful command of his own technique - vision.  That’s why he’ll be remembered and how he’ll be remembered.

In the last post, I’ll give my ideas about Peter Saul’s technique and pictures of the Opening @ Leo Koening Inc.