I just received my copy of this great independent art magazine. There’s a nice four page spread on my sculpture, along with excellent work by 12 other artists. It’s Issue # 3, Winter 2108 of Creative Bloch Art Magazine. Order your own copy here.
There are only a few days to see RIPE, the Annual Faculty Exhibition at Palomar College in San Marcos, California.
My installation/wall piece, Duende, will be on view until next Tuesday. I’ll be there Monday,December 12th at 11:30AM. Join me for a guided tour of the exhibition.
I’ve donated a couple of sculptures to the silent auction that supports the art department’s visiting artist program, including this small work (below).
I am please to be represented at ART SAN DIEGO 2016 again this year. Booth 401 is a joint project by some of San Diego’s most interesting arts organizations; the Mesa College Museum Studies Program, The San Diego Art Prize, San Diego Art Institute, and San Diego Visual Arts Network. The collaboration between these organizations is rooted in a mutual interest to promote artists, exhibit their work, and network with the San Diego community.
The booth features artwork by San Diego Art Institute members who have been past years’ nominees for the San Diego Art Prize, and highlights the artists that have made the transition from their studios to solid representation in the San Diego art scene. My work was nominated for the Art Prize in 2011.
There is a range of affordable artwork available, including drawing, painting, sculpture, textiles and ceramics. Other participating artists include Claudia Cano, Andrea Chung, Beliz Iristay, Bhavna Mehta, Margaret Noble, PANCA, Sasha Koozel Reibstein, Aren Skalman, Anna Stump and Joe Yorty.
It a pleasure to be in such good company. Joe Yorty and Sasha Koozel Reibstein were two of my favorites from the group.
I took the theme of Eyes literally for the exhibition, Through the Eyes of an Artist, on view at The Studio Door Gallery until June 29th, 2016. As it happens, my most recent sculpture and painting feature an abundance of oddly placed human eyes. The human eye, in absence of the face and body, appears throughout art history in a variety movements and traditions. Here are a few.
The eye is ubiquitous in Surrealism, an art movement of the 20th century that concerns itself with depicting dream states, desire, nightmares, and the bizarre world of the human imagination and subconscious. False Mirror (1928),above, one of the most famous paintings by Rene Magritte, seems to imply that human vision is limited, a mirror of our subconscious and a symbol of selective and subjective personal view. The eye in this painting has multiple functions, looking, looked at, looked through.
Contemporary Lowbrow or Pop-Surrealist painter Mark Ryden’s The Apology (2006) features a human eye in the center of a cut tree trunk. With themes borrowed from surrealism and painted in old masters style, Ryden’s paintings both defy and define the categorization of lowbrow art.
Eye imagery proliferates in the work of contemporary international art star Tony Oursler. Here in Obscura, a multimedia installation 2014, video of human eyes are projected onto sculptural orbs suspended in the darkened gallery. Eerily subverting the art experience of looking at art in a gallery, Oursler’s installation is looking at you.
The human eye is a common feature of folk art, mysticism, and psychedelic art as a symbol of higher power and consciousness. In Alex Grey’s Tears of Joy, the eye image is repeated until it becomes a pattern.
There are artists, especially young artists, who tend to focus on originality. These artists try to do things that “haven’t been done before” or something “entirely new”. This is a waste of time. I’d like to say that originality doesn’t exist, that it is a notion based on a failure of research, which I do believe to be true, but with technology moving so quickly I have to allow that there will be new, utterly original ideas, tools and objects.
So I guess my argument is, so what? SO you were the first to use a material or technique? Who cares? Other people will do it; some will even do it better than you. After a while it won’t matter who did it first. Quality works of art that resonate will stand the test of time and be examples of their form and style.
Young students, especially those who have not had much exposure to art and design history, often think that because they have never seen something like what they have just made, that it is something entirely new.
I tell them newness is irrelevant. Not good or bad, just not relevant. The more research we do, the more real looking, the more we are able to recognize elements of other artworks in our own. This is a good thing. Acknowledging these influences and investigating them is deepens our engagement to the work and the rest of humanity.
Humans have been around for a long time. All along we have been making things. We are all connected by those objects and images.
Originality doesn’t matter, quality does. For an original object there has to be no other before it, the only one of its kind, never been done before. As soon as something is invented in the world, artists begin to adopt the new material, style, equipment or technique to use in their own way.
The point is to do what you do in your own way. Do not be too concerned about whether or not is has been done before. If you are working on making your most authentic work, you will be creating a unique artwork, even if it may share some qualities with an existing artwork.
Tomorrow, May 21st is the North Park Festival of Arts. During the festival, the Art Produce Gallery will be open with the Looking Back/Forward; An Art Produce Retrospective on display. Here’s some information about the exhibition:
Join Art Produce for a 2-month celebration of the past 15 years of exhibits and the launch of new cultural activities and engagement opportunities for the neighborhood of North Park in San Diego, CA. Looking Back/Forward is a retrospective group exhibition of 25 artists who have previously had solo exhibits at Art Produce. This rotating exhibit will include site-specifici nstallations, and performance based/participatory interactive pieces in the Art Produce Gallery, the Community Room and the Art Produce Garden. Additional weekend activities in May and June include all ages art workshops, artist talks/salons, pop-up dinners, social dance in the beer garden, and the community wide North Park Festival of Arts on Saturday, May21 st 10am-10pm.
The Exhibition is open to the public from May 14th through July 3, 2016
Opening Reception: Saturday, June 11 th 6-9pm
Gallery Hours: 11am-6pm, daily. Entry through Tostadas and by appointment. Art Produce 3139 University Ave. 619.584.4448 San Diego, CA 92104 www.artproduce.org
This summer I have the pleasure of leading a two-week Ceramics handbuilding intensive for artists of all levels in the beautiful mountain retreat center, Idyllwild Arts Center.
Plans for the workshop include working from the live model and 24 hour studio access.
Class sizes are small so register now! I can’t wait to see you this summer in Idyllwild.
www.idyllwildarts.org/ceramics for more information and to register.
Do not avoid conversations about your artwork. When you are asked to explain your work to others it helps you to clarify and distill your ideas. you benefit from these interactions, especially when the people asking are truly interested in the work. When you are asked to defend your ideas, you define them, hone them, and invest in them. You may state your thoughts and opinions, but you wont truly know where you stand until you are asked to defend your position. This is why presidential debates, and debates in general are important. It’s great exercise to defend oneself. It makes you stronger. In art you will be asked to explain your choices, be it material, subject matter, or style. Embrace the opportunity to have conversations where you are asked to defend your position, or to justify your choices. See this not as criticism or evidence that your choices are wrong or invalid, but as an opportunity to be pushed further into your certainty.