Showing posts with label original paintings. Show all posts
Showing posts with label original paintings. Show all posts

February 4, 2018

"Byron Kim's painting ritual" by Two Coats of Paint

Byron Kim’s painting ritual

Byron Kim, Sunday Painting 1:20:09, 2009, acrylic and pencil on canvas mounted on panel, 14 x 14 inches

Every Sunday, Byron Kim makes a painting of the sky. One hundred of these purposefully unremarkable small canvases are on view at James Cohan through February 17. What makes them unremarkable are their size and the undramatic skies they depict – not the complex, sublime sky paintings made by, say, great Dutch painters like Aelbert Cuyp and Jacob van Ruisdael. Instead, they are simple renderings with a limited palette of blue and white, and a bit of light grey for the odd cloudy day. Rather than offering an expansive view or capturing the subtle color ranges in cloud forms, these paintings convey a dainty sense of claustrophobia and ennui but no real sense of joy or wonder. It is as if the monotonous ritual of making a painting a week were more important to Kim than the painted image itself.
Byron Kim, Sunday Painting 6:19:01, 2001, acrylic and pencil on panel, 14 x 14 inches
Thus, in Kim’s exhibition, quantity, habit, and process seem to trump the quality of the individual paintings. Reinforcing this point, Kim has handwritten a prosaic note about the day on each painting, perhaps as an indication that Kim’s ambition and concentration have gone missing in the mire of family life and all the yawn-inducing tasks that a successful artist must perform. Kim may be living the dream, but it doesn’t seem very transporting.
Byron Kim, Sunday Painting 3:26:08, 2008, acrylic and pencil on canvas mounted on panel, 14 x 14 inches
Byron Kim, Sunday Painting 4:20:10, 2010, acrylic and pen on canvas mounted on panel, 14 x 14 inches.
Byron Kim, Sunday Painting 1:22:17, acrylic and pencil on canvas mounted on panel, 14 x 14 inches
Byron Kim, Sunday Painting 8:20:17, 2017, acrylic and pencil on canvas mounted on panel, 14 x 14 inches
Byron Kim, installation view.
The project reminds me of On Kawara’s Date Paintings. Each day Kawara crafted a painting of the date in the ubiquitous sans serif typeface Helvetica. In the box where he stored the painting, he also included a page of the newspaper from the city where he was working. Like Kawara, Kim is interested in the idea of maintaining a serial approach rather than engaging with the materiality of paint. But Kim’s project also conjures a link to more painterly perceptual artists, such as Lois Dodd and Giorgio Morandi. Morandi spent his life painting easel-sized still-lifes that depicted small cups, bowls, and other tabletop vessels in tertiary colors, even as World War II raged around him. Lois Dodd has painted the landscape around her familiar Maine homestead for decades, and the resulting body of work is a moving record of a quiet and dedicated life.
Both Morandi and Dodd focus narrowly on translating their immediate surroundings with great painterly nuance onto canvas to convey the emotional timbre of their lives. In this distracted age, especially as the big picture becomes increasingly daunting, it’s undeniably tempting for artists to employ this kind of approach as a kind of refuge. Kim presents an alternative escape, whereby grim routine isolates the artist and decontextualizes the personal content of his work. It’s rather dispirited, and perhaps a sign of the times.
Byron Kim: Sunday Paintings,” James Cohan Gallery, Chelsea, New York, NY. through February 17, 2018.
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January 19, 2018

How to stress over grant applications

So far my grant application is looking like this. 

Today I watched NYFA's live seminar to get more info. You could comment online and they would read the comments out loud and answer the questions. Just as she started to answer my question the live feed got disconnected,.... which I took as irony. They came back on in a short bit to answer me fully which was great, but just as I was jotting down the answer, probably on the last sentence she was saying, my computer died..... More irony. 

It's been a crazy week and it can best be summarized by outrageous technical difficulties and customer service from hell. I will not weary you with the details. 

Typing this on my husband's laptop isn't the worst thing in the world, and when January is over, this application will be submitted, along with another one due on the 28th, I will have finished and photographed four new paintings, dropped off work for an upcoming show, the Roaring Twenties Fundraiser I'm hosting will be over, and the early setting up stages for my job as Director of Beacon Open Studios will be fully in place. That is one long sentence. Wish me luck!

Samantha Palmeri Contemporary Artist
Samantha Palmeri, Ladyfingers, 2017, oil on canvas, 40 x 40 inches

Samantha Palmeri Contemporary Artist
Samantha Palmeri, Avoirdupois, 2018, oil on canvas, 40 x 40 inches

Samantha Palmeri Contemporary Artist
Samantha Palmeri, Mattress, 2017, oil on canvas, 60 x 60 inches

Samantha Palmeri Contemporary Artist
Samantha Palmeri, Meadow, 2018, oil on canvas, 36 x 36 inches

Samantha Palmeri Contemporary Artist
Samantha Palmeri, Winter painting I, 2016, oil on canvas, 50 x 54 inches

Samantha Palmeri Contemporary Artist
Samantha Palmeri, Winter painting II, 2016, oil on canvas, 50 x 50 inches

Samantha Palmeri Contemporary Artist
Samantha Palmeri, Invitation, 2017, oil on canvas, 30 x 36 inches

Samantha Palmeri Contemporary Artist
Samantha Palmeri, Winter painting III, 2016, oil on canvas, 50 x 50 inches

Samantha Palmeri Contemporary Artist
Samantha Palmeri, Winter painting IV, 2016, oil on canvas, 50 x 50 inches

Samantha Palmeri Contemporary Artist
Samantha Palmeri, Save me from my desires, 2015, oil on canvas, 58 x 58 inches











December 14, 2017

How Much Of The Audience Should I Be Concerned With?

This is a repost of something I wrote back in 2014. It's crazy that I just stumbled across it and it's like I could've written it yesterday! 

Thankfully I feel like the new series of paintings I'm working on is resolving this very issue. I guess we'll just have to wait another 3 years to see if it still applies!

.................................................................................................




laundry meat after a funeral, 2011, 44X44", oil on canvas
caress, 2009, oil on canvas, 54X56"

March 2014

I've always been interested in the figure, but not necessarily in figure painting. I prefer a blurry line between the figurative and abstract. I'd much rather offer a question to the viewer than a declaration. 

Although it's been a while since I made the more definitive transition to pure abstraction, lately I've been looking at some of my older figurative work with a discerning eye.

I notice a big difference in the way people respond to the recognizable versus the unrecognizable. And now that I'm thinking about it, I notice a big difference in the way I'm responding myself. It's like there was more to look at before, more of an essence. 

Most viewers had a much stronger reaction to the work that was more recognizable. I thought it was just that figures and faces were more familiar. It's also hard to experience abstract work when you're spending the whole time trying to 'figure it out' instead of actually looking, which is what people tend to do.
ugly head, 2009, oil on canvas, 54X54"

detail, in like a lion, 2011, oil on canvas, 50X76"
These paintings have a lot in common, but I do feel that there is something almost tangible in the figures that is missing in the abstractions. If I could just get that thing into the abstract paintings...

It's that human connection I've been searching for in all my work, but perhaps it was clearer to a broader audience before. 

I wonder, how much of the audience should I be concerned with? 

What do you think?

the new swimmer, 2009, triptych, 178X50", oil on canvas
skinny, 2012, oil on canvas, 30X50"



































girl with pearl earring, 2008, oil on canvas, 54X56"



snowy november, 2012, oil on canvas, 56X56"


























this side now, 2012, oil on canvas, 72X84"



baby, 2009, oil on canvas, 50X84"

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!




March 10, 2014

How Much Of The Audience Should I Be Concerned With?

This is a repost of something I wrote back in 2014. It's crazy that I just stumbled across it and it's like I could've just written it yesterday! 

Thankfully I feel like the new series of paintings I'm working on is resolving this very issue. I guess we'll just have to wait another 3 years to see if it still applies!

.................................................................................................




laundry meat after a funeral, 2011, 44X44", oil on canvas
caress, 2009, oil on canvas, 54X56"

March 2014

I've always been interested in the figure, but not necessarily in figure painting. I prefer a blurry line between the figurative and abstract. I'd much rather offer a question to the viewer than a declaration. 

Although it's been a while since I made the more definitive transition to pure abstraction, lately I've been looking at some of my older figurative work with a discerning eye.

I notice a big difference in the way people respond to the recognizable versus the unrecognizable. And now that I'm thinking about it, I notice a big difference in the way I'm responding myself. It's like there was more to look at before, more of an essence. 

Most viewers had a much stronger reaction to the work that was more recognizable. I thought it was just that figures and faces were more familiar. It's also hard to experience abstract work when you're spending the whole time trying to 'figure it out' instead of actually looking, which is what people tend to do.
ugly head, 2009, oil on canvas, 54X54"

detail, in like a lion, 2011, oil on canvas, 50X76"
These paintings have a lot in common, but I do feel that there is something almost tangible in the figures that is missing in the abstractions. If I could just get that thing into the abstract paintings...

It's that human connection I've been searching for in all my work, but perhaps it was clearer to a broader audience before. 

I wonder, how much of the audience should I be concerned with? 

What do you think?

the new swimmer, 2009, triptych, 178X50", oil on canvas
skinny, 2012, oil on canvas, 30X50"



































girl with pearl earring, 2008, oil on canvas, 54X56"



snowy november, 2012, oil on canvas, 56X56"


























this side now, 2012, oil on canvas, 72X84"



baby, 2009, oil on canvas, 50X84"