All the work at the ACA Gallery was in Egg Tempera - and I have to say, order Metoprolol no prescription, Buy Metoprolol online cod, Doug Safranek's paintings were fantastic.  I spoke briefly with the artist.  For one thing, his show was well attended; many people came, buy Metoprolol without a prescription, Metoprolol from international pharmacy, many friends of his, but also people like me who know nothing about Doug Safranek, Metoprolol medication. Purchase Metoprolol online no prescription, I spent about 30-40 minutes looking at the entire collection - there was so much detail in each painting - l don't know that it's possible to get any more detail in a painting than what Doug Safranek puts in ...it must take him close to a year to do one painting - and he does, maybe, where can i order Metoprolol without prescription, Buy Metoprolol without prescription, 3 or 4 a year, similar to what Joe Coleman puts out, Metoprolol in usa. Metoprolol prices,

 

At this level, Metoprolol price, coupon, Metoprolol overseas, a photo would have done just as well - if it was just about detail. Again, buying Metoprolol online over the counter, Metoprolol in india, the reason the paintings work for me - it's the feelings he put in - while he worked on the details - the love of the craft, the love of the image - that's what I get out Doug Safranek's work.

I tried to understand why someone would spend this long on one painting.  I can understand Joe Coleman doing it - because he's painting his ideas and memories - but why paint something go to such detail when a photo would do just as well?

But then I look at each detail and the feelings that this artist felt, Metoprolol trusted pharmacy reviews, Where to buy Metoprolol,  unfolds to me - and I'm totally fine - it's great work. 

And then I looked at some of the other work in the gallery that was not his and I saw that less detail would have worked just as well.  The Egg Tempera technique is hard enough - takes very long time and a lot of extra effort to produce these kinds of results.  In 100 years, these paintings won't even look like they aged, online buying Metoprolol hcl, Next day Metoprolol, Egg Tempera holds up very well over time.

So, I'd suggest going to see Doug Safranek at the ACA Gallery. 

I can't say that if I owned a Safranek ....I'd look at it over and over ...that's usually what I look for in work I think is good.  I think I looked at each of the paintings for a couple of minutes each - and I found detail after detail facinating...but I don't know how his work holds up over time - would I still like it as much if it was handing on my wall for a month or two.  I'm not sure.   I think he could have dropped much of the ultra detailing he seems to delight in and still held everyone's interest - but that's just my opinion.

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When I arrived at the Tilton Gallery and went to the second floor it was packed with about 150 people who came before me.  Here's what I recall and when I make a comment, I'll indent.

Joe Coleman does not plan what he's going to paint ahead of time - he finds the center of each painting and works out, inch by inch.  What he paints is what comes to him, what appears in his mind.  In fact, he sees what he paints as "ideas fighting for his attention".  Everything that's in his painting fights to arrive in his consciousness, and then he'll paint it.  His process is "passive" - he views himself as an instrument, a channel for these ideas and feelings to work themselves out though his painting - including those ideas that come to him about his subject as he paints.

Comment: I believe artists of my generation, born in the 1950's (I'm roughly the same age as Joe) have the ability to "tune in", or "channel" levels of reality (it sounds kinda mystical - and that's what it is).  About the same time Television arrived in every household - people began to "tune in", zone out, space out, and receive input - both to TV and to their feelings.  The "input" comes from all levels of being including the spiritual realm, the ego and from repressed feelings.

There's a natural inclination to let the spirit and ego forces "tell us" what to paint and "how to paint it", the artist becomes a passive medium for those feelings.

I feel Joe Coleman approaches his work in this way based on what I heard.  

Coleman mentioned he does what he does because he has to - people can call it all kinds of things, he does not care, he still feels he does what he has to, and he has mentioned he did some crazy things as he had feelings he had to express.  One of those "crazy" thing in was working on a corpse in Budapest, under the supervision of a doctor, to look for the soul in the corpse.  He did not find the soul.  Joe also talked about his movies and performances as being outreach work (and having done some crazy things on screen as well) while his paintings are more private, something you must enter into.

Joe Coleman is proud of being in a exhibition with Peter Bruegel, Hieronymus Bosch, James Ensor (all were artistic influences).  From his Timeline Link: (in 1987 Exhibition at Chronocide sells out. Victoria and Albert Museum curator David Owsley buys a piece and hangs it next to a Breughel in his collection. Other shows at New York Academy of Art, NY Center on Contemporary Art, Seattle).

Anaphylactic shock is a  health problem that Joe Coleman has experienced a number of times and one of his paintings (I also wrote about this painting the other day, "I am Joe's Fear of Disease, painted in 2001) is all about an experience he had with Anaphylactic Shock that sent him to a Brooklyn Hospital a couple of years ago.  Whitney, Joe's wife, told me how Joe was on the way to the hospital, begining to go into anaphylactic shock, which can be fatal, yet wanting to focus on some detail, an orange light, something for his painting.   No one seems to know for sure what causes Anaphylactic shock, and they are of the opinion it may be an allergic reaction. 

The painting (Joe's Fear of Disease) is mounted to a hospital gown he wore when he was being admitted/treated at the hospital.  This relates to his need/love for totems. Some of his or Whitney's blood is also contained in the painting (I'm not sure if it's his or hers) as is his wrist band identifier and hospital card.  The online link to a detailed imagemap of this painting is available at http://www.joecoleman.com/gallery/fear/fear.html

For the rest of Joe Coleman's talk, see part 2.

In the Realms of the Unreal (Henry Darger), 1998  Acrylic and Mixed Media on panel, 24 5/16" x 30 5/15"

I took pictures, or had Adam take pictures for me, but the room was so dark, nothing much came out.  It was clear that Joe Coleman has "arrived" - and no doubt will be collected by every major museum - if he hasn't already been.   Before I talk about Joe

Coleman's work (I also wrote about Joe Coleman a couple of days ago in Joe Coleman Gets a Retrospective at the Tilton Gallery in Manhattan), here's a couple more pictures.

   

I had my son take a picture of me against a couple of Coleman's paintings that were suggestive of themes I can relate to like The Dream of Sigmund Freud (1993) and the Victory of Hell (1995) (above right photo); I believe that's also the painting I am standing in next to, but it's not that clear in the photo.

I also spotted Rebecca Lieb of ClickZ at Joe Coleman's opening but did not get to speak to her - writing for ClickZ is by invitation only ....and I did not get my invite (yet).  I run into Rebecca at various Search Engine Strategies and also at the first Online Video Conference last June (where I also recorded a Podcast - for anyone who cares to listen - it's here - you need iTunes to listen to it though). Maybe everyone can send Rebecca Lieb a note and tell her they'd read ClickZ if I wrote a column on Web Metrics for them...oh well, it's ok to imagine.

Getting back to Joe Coleman's opening - there were a lot of interesting people - the type of people that you might not see at an upper east side exclusive art gala opening...biker types, people with a lot of tattoos, a lot of attractive woman (that's normal) in low cut dresses (maybe that's normal too)!

The paintings were ....... like a cross between comic books and Van Eyck paintings - every bit of every painting had detail, upon detail, upon detail ...almost like a fractal - that expanded onto itself.  

Composition ....that takes care of itself - Coleman is painting a Mandala - it's the same Mandala but the subjects change.  I found the Dream of Sigmund Freud, for example, very successful in doing something I'm trying to do - segmenting life into the various syndromes that Freud wrote about and, to some extent, invented the vocabulary for.

Then there's paintings where the artist is painting himself, or himself and his wife, such as "Love Song, (1999). I understand that Joe Coleman got married in 2000, maybe the Love Song is part of the courtship...just guessing here.  Almost every painting has a lot of sex - let's face it - we all think that way ..... Coleman paints it - in grueling detail a morphs it into a morbid dance - but one you can't stop looking at....and that's the Art of it...you can't stop looking at them.   In fact, if you were to stop and really look at a Joe Coleman painting - it would take you hours to read ever little bit of text and image on any one painting - and since he spends a year working on one (he does several at one time - but it takes about a year to complete each one from start to finish) a couple of hours is not too much to ask.

In another painting, "I am Joe's Fear of Disease", painted in 2001, Coleman sticks his hospital admission pass to Brooklyn Medical Center and the IV he was given fluids with onto the frame of the painting.

The basis - the need to illustrate every significant thought, idea, event, feeling that's connected with the subject - and stick them all onto one painting - is not a new idea.  When you get close to Joe Coleman's work - it seems a combination of illustration and painting - the color pops out (the more so against darkened walls in a darkened room) and every part of the painting is executed in exacting detail.

There's no question that Joe Coleman is a great artist; who will be well collected.  I think, if I were ever to interview Joe Coleman, I'd try to find out what makes him tick.....what is he trying to say....

Another amusing detail ...in Public Enemy Number One (John Dillinger), painted in 1999, Dillinger's dick is painted, cut off, at the bottom of the painting - Coleman writes that Dilllinger's dick was collected, as was the rest of his disected body....by collectors.   I enjoyed seeing Joe Coleman's sense of humor - perverted, not doubt, but what's not perverted?  Maybe that's the whole of point of this.  Some people were looking at the images and writings on the paintings and taking them literally - and those people might be offended.

But I was not offended, I had fun looking and reading what was on each painting - and if were not for the crowd and my son Adam, tugging at me, I'd have spent a bit more time at Tilton Gallery looking at Joe Coleman's paintings.