The reason I chose this digital composite to show and discuss is because I like it. I like the visible texture in the background layer from the canvas paper nap in light pea green “sky” as well the rocky red and sienna planetary body and halo that dominates the upper left corner. Continue reading Map of the World at the Edge
A New Model Every Year is set of three images (A New Model Every Year 1955, 1992, and 2014 are all pictured below) that use a Thomas O’Halloran’s black and white photograph taken during the 1958-59 school year in Little Rock, Ar. Continue reading A New Model Every Year
I like photography with a capital P. The sweeping vistas or majestic mountains captured by a professional landscape photographer are very appealing to me. And they are to a lot of people hence the enduring popularity of Ansel Adams prints and calendars. Continue reading Amateur Hour
The complexity of the piece is due to the personal emotional significance of the elements rather than any technical feats. Continue reading Self Portrait
But oddly enough cultural appropriation is a hot topic in art right now too. In March at the Whitney Biennial Dana Schutz’s piece Open Casket (a painting of Emmitt Till based off of photographs taken at his funeral service) caused protests, letter writing, tweets, news articles, opinion pieces, and the buttonholing of several black artists for their thoughts and feelings about the work. Continue reading Cultural appropriation, go fish.
The flag imagery is straight forward – I’ve used the white bars to symbolize jail bars, institutionalized racism, and white people. The targets are to indicate that both black people and the very fabric of our nation (freedom, equality, and justice for all*) are under attack by the authoritarian and racist forces within our government. Continue reading Star, Bars, and Targets
This digital composite utilizes a background made from an abstract painting that I had abandoned, and three other images. Continue reading Under a Fractured Flag
This past weekend I participated in the 2nd annual Steamroller Print Fest in OKC. It was held at [Artspace] at Untitled in conjunction with BIG INK and featured an exhibit of large block prints as well. Continue reading Woodblock Printing
Painter’s life balanced above instead of below plastic yellow sides. Continue reading A Pyramid Haiku
An update for Robert Capa’s Mussolini photograph from the early 1940’s, Mad House features Capa’s solitary figure and sidewalk. I’ve added the silhouettes of 4 little boys running in the opposite direction and blurred them to reinforce the concept of movement but which also gives the children’s figures another point of dissimilarity to the grown man. Continue reading Mad House
Viva la Resistance uses the background and billboard frame from a Dorothea Lange photograph combined with a photograph of a female French resistance fighter from an unknown photographer with a mash-up of photographs of Russian leaders and Donald Trump placed on the face of the billboard. Continue reading Viva la Resistance
… crocus? A butterfly?
The 3 stages of an artist’s career are labeled as follows: emerging, mid-career, and established. Mid-career and established seem like pretty solid, uncontroversial categories, to me, but I’ve always been a bit confused by the first one – emerging. Continue reading Emerging like a …
But back to the image … A car and a water barrel are also photographic elements whereas the background and design motif at the horizon line are from software. The speed blur effect was added with software as well. Continue reading There Will Always Be Poor People
I don’t know – is it? Does it matter? Do you like it? Did you reach your hand out to touch it? Do you think it represents you or your ideas or ideals? Does it fit in that space? Do you like it? Does it make you happy? Excited? Does it make you feel unsure in a way that you like? Does it tell a story … Continue reading But Is It Any Good?
In New Day New Life (Ellis Island) I only used two photographs preferring to use plain, unadulterated colors to do most of the heavy lifting. The original 1913 photograph taken by Edwin Levick and accessed from the New York Public Library’s Digital Collection can be seen here and depicts a man standing and looking out over the water in New York Harbor with boats and the shore line in the distance. Continue reading New Day New Life (Ellis Island)
An artist’s statement is a continually evolving introduction to either the artist’s work in general or to a specific body of work the artist is currently working on and it, in final form, can be it’s own work of art. Continue reading I Have Prepared a Statement.
Dead End is another new Digital Composite which only uses two images but several photography software effects. The original photograph by Eli Reed, which can be seen here, contains a whole spectrum of gray tones. I wanted far fewer mid-values and the resulting higher contrast between the white and black was accomplished with software. I then printed that image and cut out the window panes … Continue reading Dead End
A few months ago I made the offhand comment that I use acrylic paint because I’m too impatient to wait for oil paints to dry. And while that is true, it is also true that I found the chemicals painters use to clean oil off their brushes so noxious that after receiving some oil paints, brushes, a canvas, and turpentine for Christmas as a young teenager I never thought much about painting again – well, not until my 20’s when I had my own place and was in charge of buying my own art supplies. Continue reading Ode to Acrylic Paint
Arbus, My Boy, Stay Alert! is a recent digital composition utilizing an old black and white photograph from Diane Arbus but I also used her last name for the composite’s haphazard protagonist as well. He just seemed like an Arby kind of kid. Continue reading Arbus, My Boy, Stay Alert!