April 10, 2017
Ian Ingram, Forgotten Offerings, 2010
Charcoal, pastel, beads, and string on paper, 82 1/2 x 51″
(Courtesy Barry Friedman Ltd.)
Note: A version of this post was published earlier on the blog Venetian Red.
In 2011 at the first artMKRT, renegade spin off of the SF Fine Art Fair, I was...
» Read more about: Man With A Mirror: Ian Ingram At artMRKT »January 02, 2017
A generation that had gone to school on a horse-drawn streetcar stood under the open sky, after WWI, in a countryside in which nothing remained unchanged but the clouds, and beneath these clouds, in a field of forces of destructive torrents and explosions, was the tiny, fragile human life.
—Walter Benjamin
L’Hirondelle, 2015
Oil on canvas, 72 x 72″
Through a...
» Read more about: The Pity of War »December 24, 2016
Mistakes can’t be erased but they move you from your present position. —Richard Diebenkorn, from “Notes to myself on beginning a painting”
Richard Diebenkorn, Berkeley #57, 1955
Oil on canvas
Courtesy SFMOMA
Note: A version of this review of Richard Diebenkorn: The Berkeley Years 1953-1956 (De Young Museum, June 22–September 29, 2013)...
» Read more about: Rambling Through Diebenkorn Country »December 20, 2016
» Read more about: A Painter’s Bookshelf: Bad Boy »Working toward that moment—what painters call the frozen moment—led me to a new way of narrative painting. Painting is about trying to get to that instant that is pregnant with some special kind of energy. Done right, there’s an exquisite tension in the painting that comes from a precise set of relationships—between forms on an abstract level and between people on an image level. Finding where to arrest the...
December 18, 2016
Recollect that only when habits of order are formed can we advance to really interesting fields of action—and consequently accumulate grain on grain of wilful choice like a very miser—never forgetting how one link dropped undoes indefinite number. —William James
» Read more about: A Painter’s Bookshelf: Daily Rituals »I wish I had a routine for writing. I get up in the morning and I go out to my studio and write. And then...
