Time in: 1:30pm

To do:

Finish Rebecca- right side of face- extend, right eye

photograph "Surprise" 

Home Depot

keep going on Tom and Scott

update website

research

Playlist:

Murder Room by PD James (audiobook)

The Books - Lost and Safe

Air

Vienna Teng

How the critique went

Last night I participated in the Open Crit program at the Hyde Park Art Center. I posted about this particular program a couple of days ago with all the details if you want to take a look. There were four artists that were critiqued last night: Kate Friedman (mixed media artist), Alan Thomas (photographer), Renee Prisble Una (sculptor and installation artist) and myself, and the crit was well attended by a very engaged audience. 

All of the work was much higher calibre than the first critique and it was great to be in good company. I presented four of my pieces from the "I live in a duplex" series which I've been working on this past year. Basically, I started out with the idea to paint two portraits together on one panel to see how they would interact. A painting of a single person is one thing, but a painting of two people tells a different story. 

I received a wide range of feedback- it seemed either people really liked what I was doing with the pieces, or really disliked it. Each critique is facilitated by two people that are fairly well established in the art community. Last night it was the photographer Dawoud Bey and curator Nathan Mason. They really liked the way that I captured the psychological tone of each person but both thought I was unsuccessful at painting double portraits. Dawoud suggested I cut them all in half and then I would have something. 

I really tried to flesh out from them what they thought wasn't working. A big problem for both of them was that not all of the portraits are spacially correct. For example, in some of them it looks like one person is right on top of the other, and then of course each background is completely white and void of spacial reference. While this is intentional, Mason said that for him this made it so that there was no interaction between the two people in each piece. This is probably the feedback that I had the most trouble with. While I understand that the spacial ambiguity might flatten out the images, I didn't understand the leap to then saying there is no interaction between the two people when they are the only thing on the picture plane. They also said it looked "forced" which perhaps refers to the fact that not all of the portraits look natural in their placement. "Clumsy" was another way Dawoud put it.

I've thought quite a bit about whether or not I want them to be spacially "correct." I've always come to the conclusion that I want it to be ambiguous because they don't have to exist in the same physical space (in my portrayal) for them to interact. They can interact in many ways besides being physically next to each other, and this is what I wanted people to think about. They are really only connected because I painted them together. Since both Dawoud and Nathan had a pretty strong feeling on the matter, I'll have to take another look at my work with this in mind and see if I look at them differently; to re-evaluate whether or not they're working.

Part of the reason I started this series is because I'm interested in the stories that are co-created between the viewer and myself. Last night many people chimed in with what "story" they thought was being told in each piece- and they're ALWAYS different from one another. There were people that adamantly disagreed about what was going on in each scenario and I think a lot of people were fascinated by the apparent diversity of responses to one painting.

The critique gave me lots of great food for thought, challenged me to be able to explain my work and allowed me to meet some great people. I even had one woman give me her card because she wants to be included in my series. It's been a while since I had some challenging and critical dialogue about my work, and for those of you that know me well, you know I thrive on it. 

Here are some detail shots of the other artists' work: on left- Kate Friedman, on right- Renee Prisble Una.

Untitled but getting close

I'm hoping to finish up part 2 of this diptych that I've been working on. This is the piece that I recently whited out the face and started over on because sometimes you just need a blank slate to work from. Here is a picture of the two pieces together, although the color is way off in the one on the right (Rebecca) which is the one that is not quite finished. 

I've been asked whether or not how well I know a person affects how easy or hard it is to paint them. It's an interesting question, and while I'd be quick to say that it doesn't make a difference, that's not entirely true. There have been portraits that I've been working on where the person I'm painting (in real life, not the painting) has said or done something that has bothered me and put me in a foul mood. This does make it difficult as it usually makes me not want to look at their face and I'd rather slather paint all over it.  (By the way, I'm not talking about this particular portrait!)

Time in: 3:00pm

To do:

Adjust angle of right eye

Widen side of face by right eye

bangs- highlights a little too much?

varnish

think about title

Get paintings ready for tomorrow's critique

-buy bubble wrap

lips- too much shadow on left upper lip? expression

Playlist:

Bad At Sports podcast- the Stockyard Institute and the Cafeteria Sessions

The Murder Room by PD James (audio book)

The Raconteurs

Ray LaMontagne

Nick Drake

Time in 1:30pm + Open Crit @ HPAC

The Hyde Park Art Center here in Chicago has started up a new Open Crit program that I will be participating in this Thursday, August 27th. Artists can submit their work for consideration of which four are selected per critique. Each critique is facilitated by two established members of the art community: artists, curators, critics... and the public is invited to come and participate as well. This week photographer Dawoud Bey and curator Nathan Mason will be critiquing.

I am really interested in this program as I miss the critique process. In college, it was such a wonderful thing to have regular critiques and to be regularly getting feedback on your work. OK, there were a lot of times that the feedback was utter nonsense, but it's still such an important part of the process to receive critical feedback from a variety of people. 

Post-college, it's hard to come by. I've made a point of it myself to find and join established critique groups or to start them so that I have regular feedback on my work. This gives me something to work towards as well as fresh eyes to view the work I've been staring at for so long. 

If you are in Chicago and are interested in checking out the program, here are the details:

Open Crit @ the Hyde Park Art Center

5020 S. Cornell

Chicago, IL 60615
Thursday, August 27
6pm-8pm

The Open Crit program asks what is the critical discourse surrounding your work, and how does your work relate to that discourse or not? Designed to be useful for artists who really want to progress to the next level in their career, each selected artist will have up to 30 minutes of dedicated discussion with a facilitator and the audience. The session will provide critical response to actual works brought in by the artists for the evening. At this program Photographer Dawoud Bey and Curator Nathan Mason will be providing feedback to the artists, along with our audience members, embracing the word 'open' and making the experience truly participatory. 

Time in: 10am + It Wouldn't Surprise Me

I'm just putting on the finishing touches of my latest piece: "It Wouldn't Surprise Me." I'll be varnishing it and fixing a few things today, but it's basically done. It's nice to finish this one up; it's been a challenging piece. 

To do:

clean up white on "surprise"

varnish

touch up on Eric's nose, and both lip highlights

Rebecca- 

keep going on face, refine skin tone

palette- too pink

eyes- develop

lips too high contrast, soften

Frame "No Words"

go to Home Depot and get rat traps

pick references for next piece

small portrait?

Playlist:

NPR

Murder Room by PD James (audio book)

Camera Obscura- "Let's Get Out Of This Country"

Kings of Leon- "Because of the Times"

Jesse Sykes and the Sweet Hereafter- "Oh, My Girl"

Time in 3:00pm + I like your work: art and etiquette

I've been reading a new publication just put out by Paper Monument titled "I like your work: art and etiquette" which I highly recommend. 38 contributors (artists, curators, critics and dealers) offer their thoughts on art world etiquette. It's only $8 and is worth it for the laughs and (unfortunately accurate) insight. 

Some highlights: 

Guidelines for Openings by Andrew Berardini

How Artists Must Dress by Roger White

Anchors Aweigh, Some Advice For Those About to Enter.... Show Business by Bob Nickas

and many other etiquette suggestions as well as favorite awkward moments and faux pas. (It seems the awkwardness of the "cheek kiss" greeting at art openings and other functions is fairly standard in the US.)

Getting back to the studio:

To do: 

Get some fiberglass stuff

Rebecca's face- underpainting

finish up David and Eric (title?)

adhere frame to "No Words" and "Two Ways To Think"

Playlist:

Water For Elephants by Sara Gruen

The Shins

Feist

Aimee Mann- The Forgotten Arm

Today's Special

When I was a kid, there was this show on TV called "Today's Special" which took place in a department store after hours. As soon as the store was closed and all the customers gone, the mannequins would come to life and the puppet rats would come out and they'd have lots of educational fun. I loved this show! 

Sometimes I wonder what happens in my studio (which is in the basement) after I clean-up, hit off the lights, and head upstairs after a day's work. I wonder this because when I come back in the next day, there are sometimes things that seem strange, like drips on my papers from an unknown source or missing tools. 

What's today's special? Peanut shells littering the floor. 

I'd like to think that there is a mannequin hidden in the dark part of the basement that is used for storage that comes to life and eats peanuts while contemplating my latest masterpiece when I'm not there. However, I am afraid that it is more likely that it is the rats that come to life and eat peanuts while scurrying around my art.  

Starting Over

When you've put a lot of work and hours into something, a painting for example, you would do anything to salvage it when things go wrong. You can't imagine all those hours wasted if you were to give up- you have to make it work! You keep forcing it, working at it, waiting for that moment for it to gel thinking "One of these days I'll get it right!" Sometimes it works out. 

Sometimes you just have to start over. 

Time in: 1:30pm

To do:

Work on Rebecca's face

draw out features

complete underpainting

more shading on shirt

Finish up David and Eric

varnish

Research Fiberglass

Playslist:

Bad At Sports podcast- Larry Rinder part deux

The Raconteurs

Jack Johnson

Shivaree

The Band- Music from Big Pink

Time in: 10:00am + thoughts on Sylvia Plath

I've been reading Sylvia Plath's journals recently and there's something really captivating about following her along her artistic development and thoughts on her work, not to mention

 there's something really intimate about reading someone's journals. 

I'm still in the journals from her college years when she was young and passionate and determined to find what would make her most satisfied in life. Her determination at being a successful writer along with/in competition with enjoying life's pleasures  (a good summer tan, a Friday night date... ) and her pendulum swing between the two pursuits seems such a fundamental human plight: the balance of work and pleasure. 

She frequently considers the idea of experiencing life's offerings as a requirement of being a successful writer. I know for myself, I believe I will be a better artist if I am out experiencing life and the world around me but there is also a guilt that I experience when I am not being productive. Maybe it's the tug of the two desires that is important and keeps you going: the pull into the studio, and the pull into the world. 

To do:

Finish David & Eric

Eric:

• furrow brow more  
  
• lips too shiny, bottom lip -underlip-chin needs less contrast

• varnish
  
• Title? 
  

 Tom  and Scott-

Tom

• left lip/cheek highlight too bright
  
• left upper lip shadow placement off a little
  

Scott- 

• skin tone
  
• jawline, cheek lines
• eyes? 
  

Rebecca-

Start over on face. White it out and start over!

Playlist: 

Wait, wait, don't tell me (NPR)

This American Life (NPR)

Aimee Mann- Bachelor No. 2

Ry Cooder- Mambo Sinuendo

Beth Gibbons & Rustin Man- Out of Season

Tegan & Sara - The Con

Time in: 2pm

I feel like I made some progress on the David/Eric piece yesterday. Still needs some more work, but it's getting close. I need to start thinking about the title. I also did a quick piece on paper of Perry. Just a touch up or two and I think it'll be done. 

To Do:

David and Eric:

 

David: 

• Lips? Chin
  
• Hair on left side- finalize
  

Eric:

• finish shirt
  
• shading on cheeks- balance cheeks
  
• Right eye- too much contract on upper lid? 
• Right eyebrow- good shape but too dark

Perry (Mint One):

• Eyes- do they need more work? Review in mirror.

Pick out references for next double.

Gesso board- prep for next piece. 

Playlist:

Grace Potter and the Nocturnals- Nothing But the Water

WATER FOR ELEPHANTS  by Sara Gruen (Audio book)

The Books- The Lemon of Pink

Ray LaMontagne- Till the Sun Turns Black

Time in: 3:00pm

I've been working on the same 3 pieces for the past couple of months with minimal steps forward, it seems. In that time I've started and completed one double portrait, one large single portrait and one study on paper and those came along very fast. I don't know what the magic formula is- why some seem to come together in no time and others struggle into existence. Maybe it's my playlist. 

Here's what I'll be working on today:

David and Eric:

To do:

• Work on David's chin and lips
  
• Eric's eyes? need to pop a little more
  
• Eric's chin and lips need some touch up
  
• Eric's nose: something is off about the right nostril
  
• Eric's shirt- decide on the color and finish it up
• Mint sketch of Perry

Playlist:

WATER FOR ELEPHANTS by Sara Gruen- audio book

Air- Walkie Talkie (or is it Talkie Walkie?)

Tom Waits

Beth Orton- Comfort of Strangers

The Great Poor Farm Experiment

This weekend I attended the inaugural weekend of the Great Poor Farm Experiment-  The Suburban's new project way up in Wisconsin.  The Bad at Sports blog has a posting describing the project as well so I won't go into too much detail here. I camped out, attended the saddle fitting demo, checked out the art being installed in the building's many rooms and braved the first night's downpour and the second night's electrical storm in my little tent. 

I'm eager to get in my studio and get some work done. I've only been gone this weekend, but already spiders have made their homes suspended across my walkway. I know because I'm still picking web off my legs. 

 Here are some pictures that I snapped this weekend:

Time in: 2:30pm

Currently I have work on display at Wicker Park Grace which is located at 1741 N. Western Ave, Chicago, IL 60647. The pieces that are exhibited are all portraits, mostly from my series titled "I live in a duplex."

The series, when completed, will be made up of 12 double portraits. This series is developed around a simple idea: housing two portraits on one surface to tell a story. The idea of a duplex references two-in-one, parallel lives and a location for stories and interactions.

The information in these paintings is intentionally limited, allowing the viewers to create their own narrative. The series is about interactions- both real and fiction, ambiguous and evocative.

The series is still in progress, and being documented here on this blog but you can see the pieces that are finished (so far) here.

To do:

Update website

work on Tom and Scott piece:

Scott-

• develop skin tone
• neck
• eyes?

Tom-

• refine skin ton
• finalize eyes

Playlist:

The Books

Jesse Sykes and the Sweet Hereafter

The More Shallows

Time in: 12:00pm

I'm hoping to make some good progress on some of these pieces that are moving slowly today. I've taken a break from them so I can come back with a fresh eye. Sometimes the paintings come together really quickly, and sometimes they really struggle to not look like people with unfortunate plastic surgery results. 

To do:

Keep going on Rebecca

pick a reference for Yellow study. 

emails

photo reference for sleeping painting

photograph installation at WPG

Playlist:

This American Life

Marieanne Faithful-Broken English and Strange Weather

The Shins

Lizzie West- Holy Road

2:15pm-competed yellow sketch