Studio visits

acrylic paintings, art, contemporary, contemporary art, contemporary painting, female artist, feminist art, figurative art, Figurative art on canvas, portraits of women, studio visit, watercolor

It’s always surprising who comes to visit my studio and buys one, two, or more paintings all at once. The most satisfying sales are of paintings I toiled over, off and on, through the years, adding images, rubbing out the images, piling on paint and scraping off the paint. (Paper towels and Isopropyl are a must.)

Then there are the intrepid explorers who venture out to my garden house and patiently pick through all the dozens of paintings I’ve stored there. A lot of those paintings I would call “iffy.” With numbers, scribbles, and secretive messages only a skilled detective can decipher. Thankfully, I’ve had many intrepid explorers coming this year. I’ve posted a few samples here.

And lastly, a journalist from the Daily Freeman happened by one morning, and here I am on the front page of that newspaper with my good friend Elizabeth Shafer (right). Elizabeth, a multitalented, multimedia artist extraordinaire. 

Moods and Patterns

acrylic paintings, art, contemporary, contemporary art, contemporary painting, contempory art, female artist, Figurative art on canvas, studio visit

A visitor to my studio:
“I look around at every painting of yours and don’t see a glimmer of hope.”

Ha-ha.

The joke is, I’m happy as a clam when I paint. The minute I enter my studio my spirits lift. Even in the face of a difficult painting, I’m ecstatic!

So what does an artist make of what people see in her paintings? Do people see what they want to see? Do they see what they don’t want to see?


Some of my favorite shows recently (and best of all, I was INVITED!):
Art & Words, Emerge Gallery — I wrote poems to my paintings and poets wrote poems to my paintings and then I did a painting inspired by a poet.

344 Second Street Troy — the curator and owner, Jean Tansey, herself a wonderful artist, selected a bunch of my paintings to exhibit, especially the larger ones, especially happy about that am I, since I’m painting really, really small lately. (I prefer to think I’m squeezing big ideas into small spaces.)

Albany Center — an email out of the blue invited me to exhibit in this beautiful space in the heart of downtown Albany surrounded by soaring brutalist architecture.
And… upcoming

The one and only Saugerties Open Studio Tour — visit me in my studio August 12 and13,
STUDIO #3 c’est moi ! Visit me, visit me. I love studio visits.

Samhain

2020: Roman Elegies, graffiti, and…

Figurative art on canvas

May we all enjoy 20/20 vision as we enter a new decade. During 2019 I concentrated on my Roman Elegies series (many of the paintings were sold) in response to a return trip to Rome, one of my favorite cities and surely the most magical, but also a sorely tainted kingdom haunted by silent screams. But nothing is stationary and as usual I explore the constant, energizing flux of  opposites — clarity/mystery, place/displacement.

16 x 24 Roman elegies.jpg

24 x 24 Ghosteen.jpg

24 x 16 graffiti 1.jpg

24 x 16 gra.jpg

16 x 24 rom1.jpg

36 x 12 new.jpg

Josepha 20 x 16 art.jpg

55 x 10  3 panels.jpgFIRST STRREETgutelius_josepha_3.jpg24 x 16 Angels Fall.jpg

 

Artist’s Statement, sold works, new to 2018

Figurative art on canvas

I post regularly on Instagram, so feel free to check out #josephagutelius !

FYI:   Painting for me is a constant, energizing connecting of opposites — place/displacement, certainty/mystery. As a former playwright, I tend to see the figures in my paintings as characters with an implied before and after, where “beingness” itself is relational and in flux. My primary interest is to capture layers of consciousness, the precarious balance of time/ timelessness, the overlap of memories.

I usually work in series, with different subject matter brought together under one theme, such as “School Days,” “The Shape of Water,” “Silence of Nowhere.”In my latest series, I’ve focused entirely on the narrative of masculinity — men clothed, naked, solid, disintegrating. While male painters have traditionally objectified women as sirens, muses, demons, mothers, etc. I am reaching for a holistic depiction of maleness, not as “mankind” but as a specific gender in a state of disarray and off-balance, which reflects my feelings of where I stand today as a female (feminist) artist looking at men– an anxious stance. In my series “Silence of Nowhere,” I’m capturing the sense of expectancy, of looking outward, but also searching from within. My practice often involves taking the same scene and varying it slightly in different panels, like frames of a film, to signify the passage of time. I start with ink or charcoal and add thin layers of acrylic and watch a drama unfold.

2018 I sold more drawings and paintings than I ever have in the past 4 years of switching from being a writer to being a visual artist. Much of the sold work was via ShoutOut Saugerties, the Saugerties Artists Studio Tour, and Emerge Gallery. Also, I must express my thanks to the Barbara Deming Memorial Fund for a generous grant in 2018.

Now, for a look at some new work from 2018, not at all comprehensive, but selections from several ongoing series, including a new series, Roman Elegies (certainly to be continued).

 

shape of water 4 16 x 2020 x 10

 

beers20 x 30 pil

beers20 x 30

20 x 16 roman elegy 2

queen and king 16 x 20

30 x 40 motorcycle

“Truth Out” art show and Wolf of Wall Street

contemporary, contemporary art, female artist, Figurative art on canvas

One recent work “Wolf of Wall Street”

and installation photo from “Truth Out: current controversies, historical injustices”– group show curated by Rosary Solimanto and Jean Tansey, Unframed Artists Gallery, New Paltz, NY

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Installation view, “Truth Out”

aesthetica49-x-34-wolf-of-wall-streetguteliuspg

“Wolf of Wall Street” acrylic, charcoal, pastel, 49 x 34 inches

New Paintings

acrylic paintings, contemporary art, figurative art, Figurative art on canvas

Gutelius, 26 x 19, Push to Open jpg

Push to Open, 26 x 19 inches, acrylic on canvas

Gutelius, 20 x 17, Watch

Watch, 20 x 17 inches, acrylic on canvas

Gutelius, 19 x 15, Marilyn at Walmart

Marilyn at Walmart, 19 x 15 inches, acrylic on canvas

Gutelius, 26 x 20, My Girl

My Girl, 26 x 20 inches, acrylic on canvas

Aesthetica, John Keane

Figurative art on canvas

Aesthetica is a glossy cultural magazine reminiscent of the exquisite glossies that came out of Switzerland’s connoisseur closets in the 80s. Aesthetica’s grand annual art prize is one I was considering applying for, until I saw the extraordinary prize winners of the past, including the ueber extraordinary (how can I resist super-superlatives?) John Keane.  Recently, Keane has been taking off where anti-pop Gerhard Richter started in the 60s — the richly monochrome portraits. Richter has reportedly disowned those figurative works – why oh why? Or perhaps that’s only a rumor or perhaps only a passing mood of Richter’s.  Richter’s mesmerizing portraits of family, friends, and his stark, terrifying portrait series of Baader Meinhof: does he really not appreciate…?  

For me, who’s been eagerly awaiting Richter’s return to the figurative, there is John Keane as a perfect haunting. Not as quietly outraged as the young Richter was, Keane is exploring a vast dark tunnel into global suffering — while also exploring a brilliant range of painterly techniques. Beauty and terror become sublime. Actually, I imagine Keane is not afraid of anything. 

Here’s a link:        

http://www.aestheticamagazine.com/aesthetica-art-prize-winner-and-judge-john-keane/