Emma Kennedy 's painting of Orpheus, and mine on the bottom of Eurydice. To be embedded in a larger altarpiece created by Paula Pino for the Principle Gallery Charleston in November — with Seamus Martin and Sihame SB.
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 (email@example.com) 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.
Courtney Jordan, Kristin Kunc and I are organizing an arts and entertainment show called Paint Works to take place over two weekends in September at the Gowanus Ballroom in Brooklyn. The event showcases contemporary painting and includes spectacular works by young artists such as Alyssa Monks, Caitlin Hurd, and Oh Joon Kwon. Paint Works is scheduled for the weekends of September 16th-18th and September 23rd-25th and the opening receptions, which take place on Friday and Saturday nights of both weekends, will include performance and installation art as well as pyrotechnics by the renown fire artist Flambeaux.
Work above by Jennifer Presant.
More information to come... As usual, please don't comment on the blog, but rather email me at firstname.lastname@example.org if you have any questions/comments. Thanks!
We had a great time this Saturday. Thank you to everyone who made it out to my studio on Saturday! Photo credits to Sarah Song.
Visiting roman ruins, eating copious amounts of butter and croissants amandes, and buying old shoes at vides greniers is not the only thing I have been doing during this residency. I have also been painting almost every day for the last four weeks!
More than 200 people have visited the Exposition over the last two days!
My painting, "Inspiration Lies on Top", was accepted at the 79th Annual Hudson Valley Art Association Exhibition at The National Arts Club, 15 Gramercy Park South, in New York. The HVAA was founded by a group of Hudson River School painters and began meeting at Jasper Crospey's studio.
The show is up July 2nd through the 30th. If you are interested in viewing the show, please call The National Arts Club at 212-475-3424 for viewing hours because I'm not sure you can just come straight in since it is a private club. Thanks!
The show "Self-Portraits" is in its last two weeks at The Eleanor Ettinger Gallery in Soho (Spring Street between Greene and Mercer). Here is the painting, "Across the Table", which I contributed to the show.
Quick point-and-shoot of one of the late stages of the now completely finished self-portrait piece! The piece is now turned in to Eleanor Ettinger, and I will get a better image up once it is photographed, etc.
Today I worked on this small (8" x 14") compositional oil study for a larger painting. Its design incorporates still life and landscape elements which I wanted to work out, at least loosely, before tackling the final project. The landscape behind the figures is made up, but is based on sketches and memories I have of Rome and Paris. My husband posed for the two men (I changed him up for the gentleman on the left; Toby-as-Toby is the man on the right with his hand outstretched) and that's me in the middle. It was really fun painting this small little study, without too many props and without worrying too much about being slavishly faithful to a model. I didn't need Toby to sit for the actual painting part because I know his colors for memory, having studied his face over the years, and I've now painted enough Brooklyn hipsters to know what a beard is generally going to do. In the past I've made many an unsuccessful still life, so I didn't need to set up a baguette, fish or wine glasses in order to paint those things believably (though, you tell me:)). I probably will set these things up for the finished painting, not to mention copy a beard from one of my head studies, because the final painting will be a bit bigger and, oh dear, actual details will be necessary; but for today's work, it was genuinely liberating and FUN to reach into my own head and memories for the *basis* of many of the objects/people/landscape and think of those things as source materials from which to digress. If I had time I would do another oil study and probably work on the landscape a bit more since the sky can really help establish a mood, but I'm on a deadline, and it's time to get cracking. As for what the painting is to be about, or what it says, perhaps it's no deeper than the starting point for many ideas: the genesis of an idea occurs deeply inside of oneself, no matter where one happens to be. Outdoor, on a terrace, after dinner, one pulls away from a conversation taking place, withdraws into oneself, and in that moment the only landscape that matters is the landscape of the mind. So in that sense, this painting is really just a big self-portrait: of me, being introspective. That being said, I'll definitely have to work on my expression for the final painting. It's got to sell the whole piece.
I recently began working with The Eleanor Ettinger Gallery in Soho, and am in a show that opens there next week called "The Figure in American Art 2010." I think I'll have about 10-11 pieces in the show, which I'm very excited about. "Girl in a Cafe" is in the show, as well as "Inspiration Lies on Top" (the tarot card reader painting). I have some portrait sketches as well as a drawing of reclining nude. The show goes down at the end of February so there is plenty of time to see it.