I recently read an article on Hyperallergic by William Powhida that asked “What good can political art do?” He discussed, briefly, the outward spewing of artists’ personal frustration and anger onto their medium of choice but also the buying and selling of high-end art for political and/or social benefit. He touched on the lack of funding for the arts as well, all in all, a lot of topics for a 5 paragraph article. Continue reading Politics and Art/Art and Politics
We, my wife and I, have started a 31-day sugar detox. We are on day 1 and as it is a blog day I should be blogging but right at this moment my only real thought is I’m kinda hungry and it’s still a long time until bedtime. Continue reading Sugar Detox Blues
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
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
The background is photograph taken with my phone of pieces of painted paper bisected by a strip of masking tape running across each one. The paper rectangles were arranged, more or less haphazardly, on top of the over painted surface of a work table. I used Photoshop to soften and blur the background and picked up a green shade from the paint on the table to use for the 3 lines of color that run behind the human figures. Continue reading Dividing Green
So … I don’t generally refer to myself as old because I don’t think of myself as old … but just remember I’m old. I listen to music a lot – virtually all day – seven to eight hours a day but I refuse to pay to listen to music. That does not mean I don’t buy music – I do. I will buy music … Continue reading What’s the Radio Frequency, Kenneth?
I recently read an article on Atlas Obscura about the Merry Cemetery in Romania. What makes this cemetery unique, and merry, are the elaborate and colorful gravestones created by Stan Ioan Patras. Patras, a wood carver and epitaph poet, used colors to represent everything from fertility to freedom, black birds to symbolize suspicious or tragic deaths, and white doves to depict an individual’s soul. He carved approximately 600 markers in his 50+ year career. Continue reading Symbolism in Art
In the introduction to Robert Capa/Photographs Richard Whelan writes, “Soldiers are able to use their terrible weapons of mass destruction only because they have been trained to conceptualize their victims not as individuals but as a category – the enemy.” Whelan makes the claim that Capa, who wielded a camera instead of an assault rifle, had no enemy and saw all of his subjects as individuals. Continue reading Enemies or collateral damage
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?
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.
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!
This digital composite was originally intended for the project Target Resistance: The First 100 Days and utilizes a retro “bad guy” target of a thick-set 1940’s or 1950’s criminal aiming a gun. Continue reading Hero or Villain
Some Prisons are Soft is a recent digital composite that touches on the idea that figurative prisons exist and are largely self-imposed. Continue reading Some Prisons are Soft
My initial feelings of shock and awe were likely due to …
Continue reading You Never Forget The First
One’s art goes as far and as deep as one’s love goes – Andrew Wyeth Wyeth, Andrew. The Granary (1961). Continue reading On Valentine’s Day
The idea behind the philosophical concept of the sublime is that some events are so large, or so fascinating and fear inspiring, that they cause us to feel extreme feelings beyond our normal everyday feelings. It is a greatness that cannot be calculated by our humble little minds or hearts. A vastness we can never conquer. We are awed by what we see and feel … Continue reading Some Examples of the Sublime in Art