Showing posts with label arts. Show all posts
Showing posts with label arts. Show all posts

May 25, 2018

Artist of the week: Leon Golub

Finally made it to the MET Breuer to see the Leon Golub show just before it closes on May 27th. So amazing to see this work close up, and experience the enormity of both the materials and subject matter. Golub's work is so much about power struggle, and it is expressed so perfectly through his materials. The violent torn and raw canvases, and the dry dragging of paint look almost as painful as the atrocities they depict. If I had to describe Golub's work with one word, it would be Monstrous. 

Excerpt taken from the MET's statement:
His devotion to the figure, his embrace of expressionism, his fusion of modern and classical sources, and his commitment to social justice distinguish his practice as an artist.
Alongside the monumental, terrifying Gigantomachy IILeon Golub: Raw Nerve features paintings from the artist's most important series....  that represent subjects of longstanding interest to the artist, from mercenaries, interrogators, and the victims of violence to political figures, nudes, and animals, all of them rendered in the raw, visceral style for which he is justly celebrated.
Together, these paintings attest to Golub's incisive perspective on the catastrophes that afflict human civilization and his critique of brutality and belligerent masculinity. The artist's work has much to teach us in the twenty-first century, as does his belief in the ethical responsibility of artists.
detail, Two Black Women and a White Man, 1986, acrylic on linen, 120 x 163 inches






detail, Two Black Women and a White Man, 1986, acrylic on linen, 120 x 163 inches

Two Black Women and a White Man, 1986, acrylic on linen, 120 x 163 inches

Installation view at the MET

The Conversation, 1990, acrylic on linen, 92 x 170 inches


Colossal Torso III, 1960, lacquer on canvas, 82 x 96 inches

Tete de Chevall II, 1963, acrylic on canvas, 81 x 81 inches

Combat I, 1970, offset lithograph



detail, Gigantomachy II, 1966, acrylic on linen, 9 x 24 feet


detail, Gigantomachy II, 1966, acrylic on linen, 9 x 24 feet


detail, Gigantomachy II, to show scale


Gigantomachy II, 1966, acrylic on linen, 9 x 24 feet


Leon Golub (1922-2004) was married to artist Nancy Spero (1926-2009)

Further looking and reading:
The Canvas takes Shape, on Youtube
The Paris Review
Leon Golub: Raw Nerve




Champ de Bataille, 1965, oil on canvas, 91 x 66 inches



Leon Golub in his studio


detail, Vietnam II, 1973, acrylic on canvas, 9 x 37 feet


Riot I, Lithograph

The Go-ahead, 1986, acrylic on canvas, 120 x 192 inches



March 22, 2018

the problem with deadlines

An  artist  without  a  deadline  is  like . . . . . . . . . . . . .....                        

I  am  good  with  deadlines.  I  have  actually  said  those  words.  What  does  that  even  mean?  It  does  not  mean  that  I  don't  freak  out,  get  mean,  anxious,  impatient,  frustrated  and  generally  riddled  with  nerves  and  self  doubt,  because  I  do.  I  need  deadlines  to  make  me  insane  is  the  more  accurate  thing  to  say.  Maybe  I  should  replace  it  altogether  with,  I'm  not  good  at  deadlines  at  all,  I'm  good  with  the  outcome  of  deadlines.  I'm  good  with  good  results,  and  the  enormous  feeling  of  relief  and  accomplishment.  Deadlines,  if  you  make  them  and  keep  them,  will  give  you  the  confidence  to  keep  making  and  keeping  them.  Deadlines  keep  you  in  check.  They  keep  you,  even  if  you  are  simultaneously  a  frazzled  mess,  focused.

Deadlines  Are  The  Great  Motivator.  So,  yeah,  I'm  good  with  deadlines.

Of  course  the  real  problem  with  deadlines  is  that  once  they're  over,  then  what.  You're  admittedly  a  little  high  on  yourself,  but  you're  exhausted  from  working  your  ass  off,  everything  is  a  wreck  around  you  because  you've  neglected  absolutely  everything,  and  you're  literally  slumped  over  the  studio  couch  wondering,  now  what  am  I  supposed  to  do..  Am  I  right?

Anyway,  that's  kind  of  where  I'm  at  at  the  present  moment.


January 3, 2018

TIPS FOR THE NEW YEAR


For some reason writing 2018 seems totally natural, like it's been a long time coming. This year I'm not making resolutions. I mean what's to say a resolution at the beginning of the calendar is any more special than at the end of it, or the middle. I do have plans however... yup, plans are good. I'll have some work included in a few exhibitions coming up:



  • January 12-21, "Member Exhibition" at Garrison Art Center, Garrison, NY. Opening reception: January 12, 5-7pm
  • February 2-25, "Conversations" a group show at Buster Levi Gallery in Cold Spring, NY. Opening reception: February 2, 6-8pm
  • June 2018, Three person show at Hudson Beach Glass Gallery in Beacon, NY. (exact dates tba)


with artists Jackie Skrzynski


Jackie Skrzynski, Studio view of Clapper2016, charcoal on paper, 50 x 80"

and Tanya Chaly

Tanya Chaly, Unravel, Installation View March, 2017, The Cluster Gallery, Brooklyn, New York


I'm also planning to apply for that good ol' NYFA Fellowship grant again this year, and more surprises, a couple of people have shown interest in purchasing a painting here and there. So... things are feeling pretty good. At the moment I have a few small pieces in the Small Works show at the Catalyst Gallery in Beacon. The show closes with a reception this Sunday on January 7th. 


Samantha Palmeri Contemporary Artist
Samantha Palmeri, Untitled, 2016, oil on canvas, 30 x 36 inches
This morning I had a lovely studio visit, which I hope is the first of many this year. I get stuck in my own world of time management and obligation and studio work etc. I forget how important it is to stay connected with other artists. Studio visits are awesome! A win-win for everyone. So, maybe that's some kind of a resolution after all, to stay connected. Send me a message if you want to have a studio date... Oh, and happy new year!













September 26, 2017

WHY DO WE FOLLOW RULES?

I make up a lot of rules for myself. Rules that may or may not actually exist, that I may or may not have invented all for myself. And I follow them, maybe out of tradition or convention or fear or doubt or bad habit or laziness, or maybe because it's what I see other people doing so I think this must be how things are done. Rules that seem perfectly logical and reasonable.

But it's like WHY?? Why am I following all these rules that I may or may not have had anything to do with and that maybe have nothing to do with me.

Painting is a very traditional medium. It's been around for thousands of years now and has accumulated a VERY long list of rules. So many rules that even breaking traditional painting rules has become a rule.

I think I've been very conventional in my thinking about my work. For the most part I'm a stretched canvas, paint brush and palette of oil paint and medium kind of painter. And that's been fine except that all of a sudden it's not!

Samantha Palmeri Contemporary Artist
Hangover painting, 2017, acrylic and oil on cardboard


I've been very precious with these things and it's holding me back. Following these painting rules whether self imposed or not, is holding me back. It's created four walls around me that I keep banging up against. I want to feel free, like there are no rules at all, like I've just discovered painting for the first time, like a child. I especially want to feel like if something's not working I'm not forcing myself to try to gloss over it to make it better. Working through painting issues and the problems we create on canvas is all very well, sometimes even the whole point, but trying to make it work just because it's already there and because I've already spent so much time on it will never work! The only rule really should be, if you know in your gut it's not working destroy it and start over. But I also have a rule about time... I think I consider some paintings finished when they're definitely not because I feel like I've spent ample time with them. Or the opposite, where I keep working on something that may already be finished, because I feel like I've invested so much money and energy in the materials and preparation it can't possibly be done after a few hours of work. These are ridiculous self imposed rules that are clouding my judgement.

Being precious with your work gets you nowhere. I need to get rid of this way of thinking and be free to get at the thing I'm supposed to be getting at! I have no idea exactly how to do that, but recognizing the problem is a good first step!




July 7, 2017

What it means to be an artist and a vegan

40aprons.com
My first homemade vegan blueberry pie! 

A little less than six months ago I became a vegan. It's just occurred to me how being a vegan is sort of on par with being an artist... People tend to react in very similar ways.

When you tell people you're an artist, right away they put you into a stereotypical category that may or may not have anything to do with you. Temporarily they may start using words like artsy, crafty, eccentric and even weird, all the while recounting every family member or friend's relative or neighbor they know of who is also an artist. They will insist on giving you advice you didn't ask for and don't want, about making more money and getting more exposure, and will often exclaim how little they personally know about it and how they "can't even draw a stick figure", indicating in some degrading passive/aggressive way that being an artist is way too special* for them and thank goodness they don't have to have anything to do with it. 

*a.k.a abnormal


I think it would shock and bewilder people even more if they knew anything about what being an artist is really like. Let me get all defensive for a minute and say that artists just happen to have the hardest working, most conscientious, community minded, concerned, empathetic, risk taking will power and nerves of steel you'll ever encounter in your life! One day I would like to respond to the question what do you do with the answer; I stand in a quiet empty room by myself for 5 hours a day contemplating my existence. I build frames and staple fabric to them so I can paint pictures and argue with myself over how to properly express my ideas visually. I spend hours, days and months working on things that I end up destroying. I obsessively examine my purpose, my inner voice, and how to make even a tiny ripple in the overall world around me. I attempt to define and redefine an imaginary dialogue with artists who've lived two hundred years ago, artists who are here now, and artists who aren't even alive yet. And then I hang it all up for strangers to ogle and critique. What do you do? 

Hmmmm... Maybe this is proving that artists really are weird, but I think it's the other way around. Maybe everyone else is the weirdo in this scenario. 

Anyway, when you tell certain people you are a vegan, and it definitely depends on who it is, as "the times they are a changin'"... some people are immediately suspicious and put off, even annoyed, like oh, you're one of those* people. There are a lot of questions asked that require proper justification. And then there is, again, lots of advice that you didn't ask for and don't want. 
Humans crave the familiar, and fear the unknown, and there's just no way around it.

*a.k.a special*

*a.k.a abnormal



I became a vegan for one simple reason, to be healthier. It just made sense to me. 

I may not decide to be a vegan my whole life, but in the end, it's not all that complicated, and really, neither is being an artist.



P.S Get the recipe for vegan blueberry pie here at 40aprons.com