Monday, February 14, 2011

peter doig



(All Images via Tate Britain)

Peter Doig
Hitch Hiker 1989–90
Oil on postal bags
© courtesy the Artist and Victoria Miro Gallery, London
Photo: J. Littkeman

Peter Doig
Concrete Cabin II 1992
Oil on canvas
© courtesy the Artist and Victoria Miro Gallery, London

Peter Doig
Jetty 1994
Oil on canvas
Mima and César Reyes Collection, Puerto Rico © courtesy the Artist and Victoria Miro Gallery, Londo
n
Peter Doig
Black Curtain (Towards Monkey Island) 2004
Oil on linen
Mima and César Reyes Collection, Puerto Rico © The artist Photo Courtesy Michael Werner Gallery, New York and Cologne

Peter Doig
Milky Way 1989–90
Oil on canvas
© courtesy the Artist and Victoria Miro Gallery, London

Thursday, January 27, 2011

Haven for Abstraction

Jeffry Simmons

Victoria Haven (above and below)



For the love of painting, dear painting students, please don't miss the current show (Jeffery Simmons and Victoria Haven) at Greg Kucera here in Seattle. A quote from Victoria Haven via Jen Graves' article in The Stranger:
"I always think that abstraction is slipping away, that people just aren't looking," Haven says. She begins to sound almost political. Almost. "Abstraction, to me, is that fuzzy place, that place between things, where a lot of conflict happens, where a lot of connection happens. Just looking at that building over there and going, okay, this line is in front of that one, but what if it weren't? Those are really basic observations, but I would like to believe that they could help you open yourself up to ways of thinking that are not so black and white."
Psst: the abstraction in the triangle piece above is based on the TDK logo...

Tuesday, January 18, 2011

impassioned manifestoes

Giacomo Balla "Speed of a Motorcycle" 1913

"We are on the extreme promontory of the centuries! What is the use of looking behind at the moment when we must open the mysterious shutters of the impossible? Time and Space died yesterday. We are already living in the absolute, since we have already created eternal, omnipresent speed."
Futurist Manifesto (1909 F. T. Marinetti)




"I am for an art that comes out of a chimney like black hair and scatters in the sky.
I am for an art that spills out of an old man's purse when he is bounced off a passing fender.
I am for the art out of a doggy's mouth, falling five stories from the roof.
I am for the art that a kid licks, after peeling away the wrapper.
I am for an art that joggles like everyones knees, when the bus traverses an excavation.
I am for art that is smoked, like a cigarette, smells, like a pair of shoes.
I am for art that flaps like a flag or helps blow noses, like a handkerchief."
I am For An Art (1970 Claes Oldenburg)

Tuesday, January 4, 2011

old and new and borrowed and blue

A Big Family: Zhang Xiaogang
Painting is an old old way of thinking.

Each time you come to it, however, the coordinates are new, and you are always starting from scratch, with your muscle memory intact, and all your intentions and inspirations behind you. You are always starting with a blank space, just as millions of other painters have, and do.

Because of this, you are in good company. There are guides along the path of painting-- people who have written and spoken and painted about painting. Films have been made and books have been printed. Blogs and message boards help answer questions and share information.

But to learn to paint, you simply have to paint and paint. You have to make bad paintings. Lots of them. You have to wrestle with minerals and resins-- pieces of the earth and trees and inanimate animal fluids-- hoping to enliven them again. If you're in an art class, you probably already know the addictive spark of recognition-- when mute materials begin to speak-- and when you are allowed to discover something in the ridiculous practice of pushing powdered rock around. Somehow, human beings can't seem to shake painting.

Communion: Robert Hardgrave