My Elements of Visual Thinking Course showed their final projects over at City Arts Gallery in the Station North neighborhood in Baltimore last night. Despite the rain, the show was a success and looked beautiful. Here are some pictures.
The name of the show
DURING SET-UP: Daphne Hung eating the largest burrito ever made.
Antonius dances like a beautiful butterfly during set-up, proving that people are having WAAAY too much fun.
Jia Wei is found on the streets of Baltimore and is transported to the gallery to put together her magical piece
People love Morgan so much that they'll help scrub her tub.
Sarah Bolton is VERY present.
Lisa decided to turn her painting upside down from the first time she'd shown it in class. The Fetal Pig is now flying.
Sarah Bolton and her flowers....Becky Basner and her dandelion weeds...
THE RECEPTION BEGINS: Ladies in LBDs.
Friends of the artists arrive.
A man, in Lotus-Land.
Frankie and I are very sad.
And Cole Quinlan enters delta-sleep.
Morgan's sister Kim and the Incomparable Hannah Brancato at the opening reception.
Diana describing her artwork.
Claudia Heitner talks about her process with a visitor.
The Koreans being, you know, Korean.....Sanskruta wow-ing the visitors.
Darling Devinator and Beautiful Bomin....
Morgan's Mermaid Tank....
Yena discussing her work with a physicist.
Diana Lin as she sings Cole to sleep.
Adrienne and her work, and a visitor.
Antonius' spiritual work makes everyone who sees it dance like a butterfly.
I haven't posted anything in a few months here but thank you for your comments and emails. After the Figure in American Art show, I was teaching a lot at MICA and having a great time. During that time, two very nice articles came out on my work, one in the Daily Single and another in the Baltimore Fishbowl. Also, I worked on this commission:
It is a wedding portrait based on the Jan Van Eyck Arnolfini masterpiece. It was a lot of fun to do!
In the not-so-distant future, I expect my work to be included in Works and Days Quarterly as well as have an interview in The Eagle's Nest design blog; both of these ventures are headed up by Princetonians.
As for my work in the studio, I'm between projects, but am working on a lot of different studies for my next big painting. Toby and I go sailing next week, and the following week I start teaching at the MICA Pre-College program for a month.
I'm taking my students to New York next month and I'm at a loss as to what to show them. I think the MOMA is too expensive for them, and MICA is not subsidizing, so I'm taking them to the Met instead (and telling them they can pay a dollar for entrance; sorry, Metmuseum). In planning the trip, I realized that I only really visit the same three galleries every time I'm there (the Velazquez room, the Sargent room, the Rembrandt room). I am such a fuddy-duddy! If anyone has any thoughts about not-to-be-missed paintings, preferably after the 1900s, that are at the Met, please email me (firstname.lastname@example.org) or comment here (trying to be better about my comments:)). I'm super jazzed about the new Islamic art galleries. The New York Times was really prostituting itself over them this morning in the paper.
I sat in front of my computer yesterday just counting down the hours before I had to go and teach. I am sort of in-between things in the studio at the moment, and I have models coming next week, but things are a bit slow and lethargic here right now. The good thing is that I did figure out what I'm going to do for my holiday cards (every year I try to do a holiday card....I've never actually succeeded in doing it though; I am determined to change that this year). Class last night was really fun. Here are some of my students. They are real clowns.
One thing that is difficult if you go to Mica is that you never really get to see teachers actually do their own work. That was so different from Water Street, where you could go and see Jacob work whenever he was painting in the next room or right next to you. I decided to do a quick figure sketch in class so that people could see how I work. Here's what I did:
It wasn't the most beautiful angle, but I guess that's probably why I was able to squeeze in where I did (the room configuration is not that fortunate for us). Lots of the students came by to take a look and asked me whether I had ever painted non-representationally before. I actually painted abstractly before I went to Water Street and enjoyed it a great deal. One of my students asked if I ever got tired of painting realistically. I was really surprised to be asked that, because I never tire of it. It's like asking if I ever get tired of reading books, or listening to music or eating (well, may be not eating). I understood from the student's perspective though: she was looking at the arts landscape and seeing that realism is just one little slice of it all-- and what a boring slice it is! May be more later about why I don't find it boring. For now, it's time to do some painting.