Orientation?

My most recent completed work is an oil painting, 48 inches in diameter, titled Certainty. Because of the nature of the ideas involved in this piece, it was constructed in a manner that did not allow for an “up” orientation. I actually never painted it from the same picture-plane position twice. I frequently moved my model and altered my position of observation with each session.

The work has any number of “correct” reading orientations, but I’d like to settle on one or find a way to spin the work slowly so that many possible positions are presented to different viewers. Click the image below to see a large GIF of the piece. The GIF shows 14 different “stations” of the painting (give it a few minutes to load fully). What’s the best way to view it?

Francis Bacon

“How are you gonna remake that in another art?” – Francis Bacon, 1985.

“What modern man wants is sensation without the boredom of its conveyance.” – Bacon, quoting Valery, 1985.

“I’m optimistic about nothing. Absolutely nothing.” – Bacon, 1985.

“CHEEERIO!” – Bacon, to Melvyn Bragg, 1985.

The South Bank Show profile of Francis Bacon, filmed in 1985, is a classic document of 20th century art.

You should watch it right now.

Some Interesting Sculpture

Michael Johansson

Vincent Fecteau

Didier Vermeiren and here…

Barry Le Va

I think this (and some other stuff) has been influencing me in various ways…

In the forms I make for students to work from (drawing above, painting below)…

…and in the forms that make their way into my own work. Below, an experimental brick-based sculpture and a mezzotint featuring an invented pentagonally-based structure.

Current Shows, Catalogs, Essays

A lot going on these days.

The show I’m in at MANIFEST in Cincinnati has just released the catalog (cover below, click it to order one – it’s volume 43, bottom of the page).

Also, I’m included in a show at McNeese State University. Click here for more info. If you’re near Lake Charles, LA, go check it out!

I’ve got an article in the Columbia Daily Tribune up as well (and keep on the lookout over at Neoteric Art for my upcoming essay on Art and Subjectivity!). Click here to check out the Tribune piece. Below is one of the pieces I talk about (click it to see more about the image at the Brooklyn Museum):

Beginning Painters, Spring 2010

I have a pretty good crew of beginning painters this semester at the University of Missouri. I’ve been teaching the course a little differently this year, jumping into making stretchers and stretching canvases, working directly with color from the start, and assigning many, many more preparatory works than I usually do. I’ve been showing them Diebenkorn, Tim Kennedy, Sangram Majumdar, Catherine Murphy, and Uglow. The students seem to be responding.

We’ve been talking a lot about the color and direction of light, focusing intensely on how value shifts over forms and through spaces. I’m enjoying a lot of what they’ve done. Here are a few of the current project (all are oil on canvas, each approximately 14 by 14 inches):

Sarah Burch

Arin Hennessey

Dannah Moore

Jesus Roman

Katie Westhusing

Alyssandra Wilkey