See more of George Tooker’s work.
Class notes, SAIC, 1991.
See more work by Nicholas Africano
Notes from Oxbow, 1991:
Make a list of verbs and adjectives about your own work.
When struggling with a work, isolate parts of it and do lots of sketches to come up with a better composition.
Check into film theory (time).
Iconology and iconography.
“The Banquet Years” – Roger Shattuck – mix of art and ideas.
“I no longer know how to live with everyday objects.” Braque to Shattuck, 1951.
1947 – book by Braque – quotes:
“The artist is not misunderstood, he’s barely recognized. People exploit him without knowing who he is.”
“I cherish the rule that corrects emotion.”
“Limited means engender new forms, invite creation.”
Progress – not extending one’s limits, but working within them.
Visual space separates objects from one another. Tactile space separates us from objects.
A painting is finished when one has effaced the idea. The idea is the launching cradle of the painting.
Dover edition of Braque’s book – $6.00.
Turner and Impressionism – “I paint what I see, not what I know.”
Cubists paint not what they see, but what they know. Mind + eye.
G. B. – “Art is a mode of representation.” (?)
Do not imitate what you want to create. CREATE.
The painter does not try to reconstitute an anecdote, but to constitute a pictorial event.
Hershel Chip’s “Theories of Art.”
I am more concerned with being in tune (unison) with nature than copying nature.
Writing is not describing. Painting is not depicting. Likeness is merely an illusion. Something cannot be both true and a likeness – you have to choose.
You cannot have a thing both in mind and before your eyes. Forget about things; consider only relations.
The present – the context (circumstances).
Combination of some likeness; some convention (language). Book of meditations reflecting some doubt.
“You cannot always have your hat in your hand. That’s why the hatrack was invented. Painting a nail on which to hang my ideas – that allows me to change them.”
Valerie Taglieri – Cloud paintings. Artemesia – 700 N. Carpenter, through Nov. 30th.
Distortion of the image through reproduction gives art a new meaning – 80’s.
Puryear – opposite – craftsmanship, process, diversity of materials.
(Artswager and Deacon) Minimalism led into the ’80s.
Difficult, but direct art – not easy to read. More self-contained than M. More additive, a fusion of smaller things into a whole. They all contain a space. Enclosures.
M – forbidding, couldn’t be possessed, intentionally difficult to read – challenge to viewer. Threatening, non-yielding.
Puryear – work that slows down the process of art making and art viewing. An invitation to viewer. Reserve and discretion.
More artists to look at:
Figuration and abstraction.
How ideas are developed.
Comes from nature.
Look at source periodically.
Can you not go back and be very particular after moving fast, getting abstract?
Diebenkorn (Diebenkorn’s missing works) – colors on cigar box top – beautiful: Yellow, lavendar, green, pink, peach, white – very pale with strip of red, brown. Archeological presence of landscape – strata, layers.
Giorgio Morandi – simplicity of shapes. The less there is to look at, the more you look at it (a specific edge). Drawing aspect vs. painting aspect – how to find out from different material.
At a dinner party, Dore Ashton on Degas – complaining about working on a sonnet – he had lots of ideas, but…
Paul Valerie – “Poems are made, not of ideas, but of words.”
Look at these artists:
Gaylen Hansen — all in Ryerson Library
Cheryl Lemli (?)
Phillip Guston (content inherent to painting as well as line, form, etc.)
ask Laurel Bradley, AH teacher.
Gradual accumulation of paint on surface until you get to center of interest.
All of Francis Bacon’s paintings are covered with glass – they reflect the viewer & architecture of the room. Change as you change position to it.
Strive for awareness of movement from:
The image must communicate something special which appeals to the senses through the way they are presented.
Abstract concepts help to provide visual meaning (aside from subject matter).
The subject supplies literal meaning.
The essence of a work lies in its visual meaning.