Showing posts with label drawing. Show all posts
Showing posts with label drawing. Show all posts

June 20, 2018

Gratitude for Summer solstice and dirty fingernails

I think I remember telling someone once how much I loved having dirty fingernails if it was from gardening or painting!

I'm writing this just as the summer solstice is about to circle back around to us, and I couldn't be happier. I'm starting to think the six months of cold weather we get around here is like five months too many. So, this summer I am making every effort to celebrate the weather and outdoor living.

I'm always looking for opportunities for artist residencies or fairs in places like Italy and France, but this week I realized I can create my own artist residency right here. I've been working on my pastel and charcoal drawings en plein air, aka the patio, in between dips in the pool and visits from friends. Life is good!

Every morning I go out to the yard and switch my slippers to rubber boots to water the vegetable garden. There's something about the ritual of this activity that makes me so happy. I'm not a very patient person, but I seem to be really good at watching the plants grow...

Anyway, Happy Summer. Hope we are all able to make the most of it!

















Plants and drawings: all works in progress

All images © 2018 Samantha Palmeri
Please join my mailing list at www.samanthapalmeri.com









February 9, 2018

How to Enjoy Bad TV

Watching bad TV has never been so fun. I've been working on these crumpled tracing paper drawings in the evenings with the television going. Needless to say I watch a lot of Cheers and Frasier reruns. Thinking of a better title for them.........

Samantha Palmeri Contemporary Artist
Samantha Palmeri, detail, Magic II, 2017, magic marker on tracing paper

Samantha Palmeri Contemporary Artist
Samantha Palmeri, Magic I, 2017, magic marker on tracing paper, 19 x 24 inches

Samantha Palmeri Contemporary Artist
Samantha Palmeri, Magic II, 2017, magic marker on tracing paper, 19 x 24 inches
Samantha Palmeri Contemporary Artist
Samantha Palmeri, Magic III, 2017, magic marker on tracing paper, 8.5 x 11.5 inches
Samantha Palmeri Contemporary Artist
Samantha Palmeri, Magic IV, 2018, magic marker on tracing paper, 19 x 24 inches
Samantha Palmeri Contemporary Artist
Samantha Palmeri, detail, Magic IV, 2018, magic marker on tracing paper

Samantha Palmeri Contemporary Artist
Samantha Palmeri, Magic V, 2018, magic marker on tracing paper, 19 x 24 inches
Samantha Palmeri Contemporary Artist
Samantha Palmeri, detail, Magic V, 2018, magic marker on tracing paper
Samantha Palmeri Contemporary Artist
Samantha Palmeri, view of 5 drawings


December 4, 2017

CONSUMERISM

I am obsessed with decorating magazines. I admit it. House Beautiful, Elle Decor, Architectural Digest, Domino, Lonny, Dwell, Moon to Moon, etc. etc.
It's kind of a problem because all it does is make me want to go out and buy all the things on the pages, which is the point of course. I know ultimately it's all a farce, but I do love looking at other cultures and the way other people all over the world live. I find it inspiring. Unfortunately it also leads to sweeping generalizations about America and the way we live, the way I live.


Samantha Palmeri art
magic marker on tracing paper, 19 x 24 inches
American culture... where everything has to be brand new, pristine, shiny, and big. We think of ourselves as slightly more moral and decent than the rest of the world, dare I say uncorrupted, at least up until recently, and we like our products to reflect that. When things get used we replace them. Throw out the old and bring in the new. This reinforces our entire way of thinking and living. It's one side or the other. We don't face our problems, we either toss them completely or we rebrand them, clean them up, package and ship them out. Is this really the American ideal? If we stripped away this idea of shiny newness what would that look like?

Well, certainly the answer can't be found on the pages of a glossy magazine! But just look at that old stone cottage, Italian countryside, wild nature climbing all over it, where not one shred of anything is manufactured in China, where maybe the people who live there are as real as the materials..... I really have to stop subscribing to these things.

Lately I've been searching on the internet for things like how to darn socks and dye old fabrics, and now that it is officially Christmas season this all seems relevant...? I am NOT free from American consumerism by any means. Not all the things on my Christmas list are used/vintage (FYI I just spent a ton of money on a very shiny new kitchen sink), but I also cannot bear to buy one more product from Home Depot or Target. I have no interest in living a life that looks like a sterile hotel room or an ad in a home and garden box store circular. And anyway I can't think of anything warmer and more inviting than objects, interiors, and even people that are slightly rumpled and used.

And that leads me to what I really wanted to tell you about. I know I've gone off on a tangent, but besides my Christmas list, I really have been thinking of all this in relation to my work. If I could embrace that bit of messy nature, of wild rambling vines and the familiarity of the slightly used and rumpled... I'd be very happy.


Samantha Palmeri art
magic marker on tracing paper, 19 x 24 inches
At night while I watch TV I've been making drawings with magic marker on crumpled tracing paper. It feels very liberating. When I started to paint on paper instead of canvas last spring I had this need to not take my materials so seriously. I was feeling pressured with the responsibility of costly canvases and I wanted to not be precious with anything. I want to be free and unencumbered with my materials but also I want to make work that is more natural, less laborious and ultimately more accessible for the viewer. Although I've been going back and forth between canvas and paper, I'm approaching it differently. Less preciousness, less earnestness, less pressure, more natural, more immediate, more personal, more accessible. Nature is a wild beautiful miry mess and I'd like to embrace that, at least in my work if I can.

... off on a tangent or not, I'm planning to give everyone jarred peaches for Christmas this year, tied with a used ribbon and a handmade paper card... we'll see how well that goes over.


Happy Season to you all!
Happy Making, and thinking, and being!


January 26, 2017

Hot Selling Copy

This January it feels more like a brand new year than almost any other year I can remember.

Major shifts in thinking are taking place at every level; individually, nationally, globally.  
Change isn't coming, it's here. And for anyone who's ever wished or rallied for change, be prepared, because it's never easy or quick or painless. My father used to say "struggle is good" with the conviction that nothing earned easily was worth earning, and that without the struggle, it could never be truly cherished or appreciated (whatever the it in your life might be). With that thought in mind I feel somewhat optimistic, in spite of the challenges that artists, women and the general American population are about to face.

This has been a January of change for me as well. A newer new year than usual!

I was pleased to participate in a Small Works show at the Catalyst Gallery here in Beacon, and even more pleased to have sold several drawings and a watercolor.

Samantha Palmeri Contemporary Artist
sold pastel drawing, 11 x 14 inches

This Saturday I'll be participating in another group show in Newburgh, and there is a possibility for a solo show of my paintings coming up this June, which I'll keep you posted on.

soon to be my new art studio

I've made the tough decision to move my art studio out of the studio building I've been in for the past two and a half years back to my home. I've gone back and forth about it for a while, but finally bit the bullet as they say. Change is good, right??   . . .  C h a n g e   i s   g o o d . . .   C h a n g e   i s   g o o d . . .   S t r u g g l e   i s   g o o d . . .   S t r u g g l e   i s   g o o d . . .




Last but not least, I'm super excited to have just become the new Director of Beacon Open Studios, a yearly event where Beacon artists open up their studios to the public. It's a huge weekend long, city-wide celebration sponsored by the artists and community members of Beacon, and enjoyed by thousands of visitors from all over. I'm thrilled to have volunteered, but it really is a huge job organizing it all. The irony is that I'm giving up my studio right before this event and will have to look for a temporary space to show my work!

Did I mention struggle is good!

My hope (and I am hopeful), is that you all are able to not just endure the new changes in your own lives, but relish them, because the reward for your perseverance is great!

My Facebook post this morning was this:

Think Big! because from one fallen dying leaf a whole brand new plant can grow



Happy 2017!



October 26, 2016

Ida Applebroog: Artist of the Week


Ida Applebroog artistMarginalia (Crawling Man), 1996, oil on canvas, 32 x 72 inches

Ida Applebroog: One of my favorite artists from what seems like a lifetime ago, when I was all about psychological performative painting. A fascinating artist who got a later start in the artworld, but has managed to successfully sustain it even up until now at age 86, Ida Applebroog is a huge inspiration. This was one of the most difficult artists of the week to post because she has so much work, I couldn't decide which were my favorites!


Ida Applebroog artist
  Modern Olympia (after Manet), 1997-2001, Oil on gampi on canvas, 4 panels, 73 x 148 inches

Ida Applebroog artist   Marginalia (goggles/black face), 1996, Oil on canvas, diptych: 16 x 14 inches and 14 x 18 inches


Ida Applebroog artist

         Marginalia (hand on forehead/squatting), 1996, oil on canvas, each 16 x 16 inches


Ida Applebroog artist

I'm rubber, you're glue, 1993, oil on canvas, 99 x 65 inches

Ida Applebroog artist
Winnie's Pooh, 1993, oil on canvas, 86 x 84 inches


Ida Applebroog artist
K-Mart village I, 1989, oil on canvas, 5 panels, 48 x 32 inches


Ida Applebroog artist
         Emetic Fields, 1989, oil on canvas, 108 x 202 inches


Ida Applebroog artist
Sure I'm sure, 1979, ink and rhoplex on vellum, six panels, 12 x 9 ½ inches each


Ida Applebroog artist
Sure I'm sure and the following two images are part of the provocative series of 10 offset books published and distributed by Applebroog from 1977-1981. She called them "performances" and titled them Dyspepsia Works
"Applebroog produced editions of 400 copies cheaply, and mailed them off to friends or acquaintances, or to artists whose work she admired. Eleanor Antin's postcards, graffiti by Jean-Michel Basquiat or Keith Haring, or Jenny Holzer's sheets of "truisms," pasted on bus stops, alongside notices of yoga lessons, kittens, or second-hand furniture for sale, are other examples of not-for-profit artworks, ingeniously and anonymously distributed, through which, without that having been precisely their intention, the artists all became famous."*
*from Art And Moral Dyspepsia by Arthur C. Danto found in Ida Applebroog: Nothing Personal, Paintings 1987-1997

Ida Applebroog artist

Ida Applebroog artist
  Thank You Very Much, 1982 (detail) ink and rhoplex on vellum, 7 panels, 10 ½ x 9 ½ inches each

Ida Applebroog artist
Tobias, 2005, unique digital photograph with mixed media on gampi paper

Ida Applebroog artist
Good Women (Bettie), digital outtake, 2005
Unique digital photograph with mixed media on gampi paper, 35 x 47 inches

Ida Applebroog artist
Monalisa, 2009, mixed media on canvas, 3 panels, 104 x 77 inches


Here's the article and image that inspired this post. Thanks Hyperallergic!
http://hyperallergic.com/329998/drawing-became-ida-applebroogs-means-communicate-outside-world/
Ida Applebroog artist
Mercy Hospital, 1969/70, drawing on paper


The exhibit Ida Applebroog: Mercy Hospital continues at the Institute of Contemporary Art (ICA) Miami through October 30. Call Her Applebroog, a documentary on the artist by her daughter Beth B, will screen at O Cinema on October 29.



Ida Applebroog, Installation view of Past Events, 1982

Creative Time's Projects at the Chamber, Manhattan 1982, was inspired by the dramatic environment of the Chamber of Commerce’s Great Hall, which is decorated with portraits of the great financiers from American history, all of them white. In Applebroog's installation, the artist made the walls “speak,” telling an unpleasant story of patriarchy. She placed a small bronze sculpture of a woman in the midst of the portraits and inserted a speech bubble into her lips that warned: “Gentlemen, America is in Trouble,” to which the portraits replied: “Isn’t Capitalism Working?” or “It’s a Jewish Plot.” The show proved controversial: it was removed twice in one month and eventually moved to a gallery. The artist’s response: “What did they think a woman was going to do in that space?”


Further looking and reading:
http://www.nytimes.com/2016/06/19/arts/design/shes-her-own-artist-and-a-daughters-muse.html?_r=0http://www.nytimes.com/2016/06/19/arts/design/shes-her-own-artist-and-a-daughters-muse.html?_r=0

http://idaapplebroog.com/

http://bombmagazine.org/article/2235/ida-applebroog








January 11, 2016

The Journey

untitled drawing, 2015, charcoal on paper, 22X30"



isn't everything and everyone a journey?
     every cell, every atom
moving from one place to another

my eyes follow
     follow
the tiles in the bathroom
outlined in grey
     cement lines that take me
from one little square to another
and another
and another
like an eternal question
     why am I never satisfied

because I'm always following
        a line
that never ends


perhaps this is why I don't paint trees

trees have a trunk, roots, and branches that end
their lines break off and turn into sky and grass
     too finite
     too decisive
they're an answer, not a question

where will I go today?
what will I do?

do the lines in my paintings have answers?
they circle one another, over and under
I want to spend more time with them
     listening
but I'm too impatient
        too restless
they say to me, look what you've done
you've taken us where we didn't want to go
and I say
I didn't know where the hell else to put you

"Save me from my desires", 2015, oil on canvas, 60X60"

viewers see all of this
they know things without knowing they know
    
because we all do
we're all connected this way
        this knowing without knowing
we're all connected by this journey
whether it's a line in a painting or cement lines between bathroom tiles
I see this everywhere, in everything
     this is me

a journey by definition
never ends
once you arrive it becomes something else
     it becomes
a destination

I set goals like destinations but I could be more grateful
for the journey I guess

I would like to paint trees
I keep trying
I would like to be the tree
     with a clear beginning and end
        bending and changing with the seasons
           but always
always the same


 
[This excerpt was written during a wonderful writing workshop given by Maya Gottfried at the Shambhala Yoga Center in Beacon. Thanks Maya and Shannon for putting this together!]