This August I hosted an open studio. Met some great people and made some sales. Here’s my goodbye to my babies…(I’m trying to remember them all!) Alas, there are two I don’t have photos of.
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:
Getting down to the raw canvas
for raw texture
Abstract art was revolutionary a century ago… but what about now?
Sorry, but I see it this way: abstract art = designers’ showcase. Easy on the eyes, easy on the color scheme of the room. I flunked out as an art major in college because I refused to do any abstract. I’m sure my professors meant well. (I dropped painting and became a writer instead.)
Now that I’ve started painting again, I keep some store-bought canvases (I usually stretch my own) as my garbage bins. Whenever I have some excess paint on my brush, I smear the garbage bin canvas with it.
Some results: (One is inadvertently figurative, eh?)