Wed 28 Apr, 2004 01:04 am
This last year was a little wretched, re my painting, as I had some vision problems roil out of control and for my last show at our own gallery - which in contrast to what is generally thought, is not so easy, as you had damn well better be good if you deign to choose others - I had trouble with both the mediums and the varnish, and the whole matter of finishing up in time for my appointed show. And yet I like some work from those paintings.
I have been in a rest phase. Although I did take the last place in our projected shows ever (a year from June), it is fitting that it would be my show, among the about sixty solo shows we will have shown. Pride of ownership, or some such. Generally our gallery has not at all been about me, has been all about featuring the artists and, finally, entertaining the town once a month.
Today's news re me is that a painting from that sort of sad batch of this last year got accepted for a juried show in our local museum (no, it didn't win, but even I don't envision it as any kind of epiphanic painting. I am happy enough to have it there.)
that was Sunday, and today, Tuesday, I have been asked to provide a painting for auction for a political fundraiser that I agree with. Well, sure, I have a few....
I am first to say community acknowledgement doesn't matter in the long run, because it doesn't. I know very well the reasons some things get chosen, they are the best paintings! (perhaps.)
not least that they work with another set of paintings.
Often judges have a developed eye: they pick a coherent show from among various types of work... the show being the key word. It is an orchestration. OK, not always.
I have some more good news - a good writer on art in our local rag has had all her columns put on line. I have been pushing for this so we could discuss some of them. Will give links within the next few days.
You aren't "resting", you're gestating.
Sounds like lots of wonderful news, Osso. Lucky jjorge. Will we be so honored anytime soon? (Forgive me if I have overlooked anything... have been wanting to see a painting of yours for a long time.)
Well done Osso - sounds as though things are on the up
Sozobe, there's one photo of an old painting of mine (done in the mid eighties) in the Members original art section of the gallery.
I plan to put some in here, if only with links in a thread like I did some San Fracisco photos, but we are now having trouble at work re a barrage of viruses and our attachments seem to be unsafe so I am not sure I can scan there, and I am in a state of present puzzlement about my scanner at home.
So, soon, soon.
Oh! Good grief! J'adore!
Van Gogh meets Grant Wood. :-D (I'm kidding.)
Love the cypresses (cypresses? The long skinny trees. Just like those across the way when I lived in Pasadena. Spent a lot of time looking at them -- they have an alluring sway.)
Found it here, for others who may not have seen it:
Beautiful painting, osso.
Thanks, sozobe, for the link.
Good Going, dear.
I expect to see some real blossoming this year.
(Without the stress of your having to live up to anyone's expectations.)
PDid, did you check out the SF thread lately? (Some pictures of pdiddies in the new batch of links about ten or fifteen posts back of the end..)
Let me go do that right now...
That painting, Osso, has a beautiful harmony of tone. (Is that the right word, tone?).
Tone, value, hue, chroma, on and on. I knew 'em once but don't care anymore. Tone may have been amount of black and value might have been amount of white, or ... uh oh, remember 'key'? I just use my eye now. No explaino.
Ok, there is a rather similar amount of color saturation (?) except not entirely, there are, heh, weak spots. I don't mind weak spots (foreground) - I am more uncomfortable with total even-ness. This was not a labored painting. At the time I painted it, I took a photo of the painting in process. If I ever get myself in scanner gear, I'll post the two (or was it three?) together. I used to take pictures as a painting diary, but also to teach myself when the hell to stop already.
That's a great idea, the when the hell to stop already education. I'm bad at that, have ruined a thing or fourteen.
I liked how the light colored bush (bush?) stood out against the cypresses, and how that on the left balanced with the foresty stuff on the right. Nice composition, not too DONE, felt organic, but also balanced.
Well, virtually none of that thought about, or mostly not - what you are saying is how you compose as you compose and thought happens in flits. At least in the way I paint. I am really not interested in a how-to set of steps, eeeeeek!!
But maybe I am somewhat attention deficited and exhibit avoidance...
oh, no, maybe all my paintings are avoidance behaviors...
Great work Osso you just keep keepin on and we will enjoy. I was so sorry I could not make the SF trip I was really wanting to spend time with you.
Osso, my comment about "harmony of tone" pertained to your landscape. Your still life has other virtues. It's really beautiful, with its fluidity and rhythm. Don't tell me you have a hang-up about fluidity and rhythm. :wink:
So, the show opened, I wasn't there... since we had our own gallery opening to deal with. I did see the painting in place that morning, and was quite happy about it, not only that I still like the painting I did though I would fix some things, and that it looked quite fine in the space, but also that the whole show worked as a whole, a matter I think I addressed somewhere else, maybe within this thread. This show hung together exceptionally well, and I would guess that the judge is good at that. He found how works sang in tune, given his choices of things to pick from.
There is more art to art, as in making a show work
In this case the room, or atrium, coalesced. I'll try to take and post some pics.
I have a pal, a woman who showed up a bunch of months ago at our gallery. She was clearly older, a little fragile. More fragile than me, who is not fragile in the daytime, but fold into needing help at after the sun shuts down..
I can't remember the sequence now. If Jane's comments on what we were showing was astute, or she showed us her work from a local drawing class. (I think both). We encouraged her, which could be taken as usual, but she got a big push, we can see her work holding a room. given natural development, as in more work to come.
And she did get a piece in this latest museum show, a very small drawing of birds after cat attack...not about complete decimation, but still, decimation. I have taken such photos, her drawing got it.
This show painting linked around the room, the room being a kind of upper story - I lack the word, but a balcony that hovers from above over the lower space -
Well, this museum, the Morris Graves, has been open for just a little while. In fact it opened officially, I think, on New Year's 2000. I was there but I didn't know anybody at all, and after I wandered around, and started to cry (post divorce and with family leaving and not knowing anybody) I walked down the steps and drove home. My ex bro in law and niece had just left a few hours before for southern california, and my one friend here had gone to visit family in Alaska.
What a start for a century. Hard to move to a new place, and the art museum opening only underlined it.
Still, I get more comfortable here, realizing as many newcomers feel everywhere, after a time, that I could open up myself.
the exhibition sounds great, what you say about the skill involved in hanging an exhibition is so true, good paintings can be killed by bad hanging and juxtaposition with works that overwhelm them or make them appear overbright. Good hanging enhances all the work,
Good luck with the show and i enjoyed seeing your work - it was great. I'd love to see more
Really wonderful. Thanks for sharing.