Who does she think she is?

"Who Does She Think She is?" directed by Pamela Tanner Boll.







The Arts Council of the Morris Area in partnership with St. Elizabeth's College will host a screening of the entire film followed by a panel discussion at St. Elizabeth's College, Madison NJ on October 5 beginning at 6:00.

I am looking forward to seeing this film and then participating as one of the panel members that night.

John Tallman's art influences

So What 24" x 24", pigment and resin


I try to keep my commentary to a minimum(if you hadn't noticed) but with Tennessee artist John Tallman's work I just have to say-I like it. I like the reductive quality, the lushness,the thingness and his sense of humor. The pieces always remind me of something......that I just can't put a name on. But this piece above reminds me of the candy-Dots. Also, if you are not familiar with his blog Color Chunks, check it out.




picture 6: acrylic on plaster, 7"x3.5", 2008.

My art now seems to be in one of those transitions. Maybe that is actually always the case and now I’m just more aware of it. A very good friend of mine(a painter) said in his statement he wanted to de-mystify painting. I thought about that and I decided I wanted to do was to re-mystify painting. There are certain dualities that painting can examine excellently because of its limited format. “The picture” can frame particular contradictions in a way that no other medium can.

Arcadian Landscape: acrylic on wood, 4"x7", 2009.

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Top Ten Current and Past Influences(in no particular order):

Robert Ryman(for method).

Eva Hesse(for making).

Richard Tuttle(for romance).

Thomas Demand(for (dis)placement).

Gunther Forg(for economy).

Philip Guston(for drawing).

Marcel Duchamp(for humor).

Bill DeKooning(for lusciousness).

Blinky Palermo(for engagement).

Herman Melville(for the whiteness).

Chzfb pigment and resin, 24"x24", 2009

Chelsea 9/10

Gabriel Phipps Gunslinger oil on canvas 70 x94 2009

Paul Behnke and his art influences

Moon White Strip, 2009, acrylic on canvas, 42 x 44 inches

Paul Behnke's work was included in this summer's exhibition, New Talent at the Rosenfeld Gallery. He also participated in ColorEvolution at SAGE Projects in Philadelphia. His work was also included in Art of the State at the State Museum in Harrisburg, PA, in the Woodmere Museum's annual Contemporary Voices survey and featured in New American Paintings, Number 81, the mid-Atlantic edition this year. In October, he will be heading to the The Vermont Studio Center in Johnson, Vermont to participate in a four week residency courtesy of a fellowship provided by the Dedalus Foundation.


Personal Statement:

I begin my paintings with the intention that they will be soundly connected to an exact location and time. However as the images progress from notebook jottings of experience, environment, and memory to more complete pieces, their meanings begin a steady shift from specific reactions to broad allusions. The finished works signify the faulty concepts of security, place, and distance and give form to the rituals and obsessions that sprout from these notions.

Silver Ray, 2009, acrylic on canvas, 44 x 42 inches

Influences:
Giorgio Morandi had the greatest influence on my early abstractions. Making an abstract work seemed daunting. Too many choices of form, color and vocabulary. By looking at Morandi I discovered economy. His work showed that it's possible to have freedom within restraint and an infinite variety can come from sameness. Following his example, I pared down my colors to blacks and whites and restricted myself to compositions incorporating the grid and a single form repeated as the painting dictated. In this way I was able to make the process manageable and put my work at the beginning of its current path.


British abstract painters working in London in the early 1960's have long been a source of influence and continue to inform my work and hold my imagination. Artists such as Gillian Ayres, John Hoyland, Patrick Heron, and Albert Irvin put forward deeply personal takes on the work coming from the New York School. English abstraction is literary, personal and conveys a tremendous impact to the viewer and this is what I hope for my work.

The Argonauts, 2009, acrylic on canvas, 42 x 44 inches