From the Studio

Category

  • The Election of 2016

    It is now November, 2016, post-election and there isn't much to say that hasn't been written in the media frenzy. This election cost many artists their sleep, sanity, friendships and work not made but I found myself in the studio in the middle of the night. It was the only place where my brain depended on connecting with my eyes and hands, allowing images to emerge so I can hear my analysis and live with it, whatever it turned out to be.

    The red shoes had to happen, have been showing up for a year or more. I watched a film, "Tallulah," on Amazon and was struck by a woman of a certain age in the film who, when wanting to "go on the prowl" for a lover took out a pair of red heels from a box under her bed. I understood her, I understood the obsession of the heels. Maybe when I grow up I'll get a pair.

  • When the World...

    ...feels like nothing good is happening, and when war, climate change, racism, atrocities and religious fanatics get to me I know it is time to retreat into the studio and make work about another time and place. Make work that plays with the idea of soaring above, of having some control over the uncontrollable, indulge in magical thinking.

  • The state of the art world, part one

    I make the art, I don't explain it and I don't always understand it. It troubles me to go to museums and galleries with friends who have been immensely successful in their own work, are highly intelligent yet start shaking in their boots when asked to discuss what they're looking at.

    "I didn't major in art history," said one. "But I know what I like. Horses and boats. And I like landscapes and old portraits." 

    "I don't understand contemporary art," said another. "I don't want to appear stupid but I don't understand why it is art. And why is it OK to sit across from an old woman with a facelift in a long dress who just stares at you? And there was a long line of people waiting to do this? At the Museum of Modern Art?"

    With all the immense amount of web information and updates about the artworld, the buying frenzy, the art fairs and search for either very new or very old talent we seem to have forgotten that intimidation of the average museum goer is bound to happen and  the disconnect between artist and viewer is most definitely taking  a hit.

    Those of us who are making the art and are given to the highs and lows that it entails should be concerned about how loud we need to shout in order to be heard.  In the past it was enough to trot out some skill and whisper,  hope that someone, anyone, understood. Problem now is that we have intimidated people so much that they require proof of their own validity to even begin the conversation. 

  • Creative Process

    1. This is awesome

    2. This is tricky

    3. This is shit

    4. I am shit

    5. This might be OK

    6. This is awesome

  • Art maker par excellence

    Art maker par excellence

    This is one of three espresso options on any given day. The reason it is still freshly wrapped is because I haven't dropped it yet. But when I did, wow...big noise, lots of shards. Scared the hell out of the dog.

  • Provincetown

    Provincetown

    What Provincetown, when rocking and rolling, looks like to me.... on a 3' x 6' big ass piece on paper

  • Philip Seymour Hoffman

    I was deeply saddened by Philip Seymour Hoffman’s death. Useless, tragic and way too soon. I was in the NY studio on 39th street and was making sad drawings. 

  • Spellcheck

    How do you spell “accumulate?” This was a mixed media piece, 24" x 36" on paper