One off the Pisstake (Love)Letters from last year, as I catch up posting works from 2017. This has probably been the longest-running series I've been doing. Can't stop, won't stop. It's that Tower Records/Cusack shit I have going in my head
Fresh garden fickle (adoration) letters.
Creativity survives when the poison of financial pressure is removed. Artists need the freedom to think, react, and to be alone.
I know I didn't post much last year, which, I find it to be good. Social media can either be this draining thing that burns one out from the fakeries & popularity contests, or an avenue that empowers an audience by speaking with genuine honesty.
I told myself last year that I would be a lot more honest with the things I make, and truly NOT be influenced by the pressures of the art market or having to sell work. I am not against sustainability, but I truly am that stubborn ass who is restless and just wants to create something important or real. After three years of having sunk into paralyzing depression, I began to finally feel better about myself last year. I had so much self-loathing and self-doubt when I first got back into art. The early year prior to the depression and after leaving a long-running design career as a product designer and an art director in media, I was in a good place. I had managed to finance myself from my savings, and did not worry much about the financial realities of the world. For anyone who has ever had and is working in art, this is IMPORTANT.
The works that rose out of 2014-2016 were what most considered to be "dark" works. I personally had no intention to be dark about it, and neither did I ever find anything dark about it. Those works grew from the struggles I had with my personal notion and feat over the concept of having a mortal body. Having had a kidney transplant, being cut open on an operation table, and being such a sickly child, I questioned mortality an awful lot. I have a 6.5 inch scar running across my abdomen as a reminder of that. This made me question the body and life itself. Our bodies are nothing but HUSKS. It's temporal. It's here for now, and we are contained in it. Our consciousness exists within it, whatever constitutes our consciousness. The body is and will always be the evidence of our life. This is why I spent all those years rendering flesh and portraits. It is nothing but a vessel that carries our own personal stories of survival and triumph.
EXCITING NEWS from @artinckentucky... Located in the heart of Lexington's historic East End community, demolition has just begun on the building that will house our new retail #artgallery and #artistsstudios !
Follow us on IG as we renovate this dated but important building and take the first steps to create an artists' community!
Join us!! Contact @marklennjohnson, President of Art Inc. Kentucky, at 859-231-0054 ext 1023 or via email at MJohnson@cvky.org for more information and to learn how we can help you get #YourArtOutThere .
Studio of Eva Zeisel (1906-2011) in her country house in Rockland County, New York. Photographed by Leslie Williamson for her book ‘Handcrafted Modern”, Rizzoli, 2010. “My house is filled with antiques, most of which I’ve bought at auctions. I could not be held back from going to auctions. I often bought materials from buildings that were being torn down. I got old metal fire escapes from Harlem, and wood, marble, and slate, and factory windows. If I see a chair I like, I buy it. Now I guess I have too many chairs.”—Eva Zeisel, interview with Stafford Cliff, late 2005, when Eva was ninety-nine.💫#evazeisel#evazeisel#lesliewilliamson#staffordcliff#artistshomes#artistsstudios#ceramicartist
I love observing how other artists keep their spaces. The way materials may or may not be arranged and how this inspires the creative process. Oonagh's work is totally intuitive, there is nothing linear or logical about it. She reminds me that without play there is no creativity 〰 @oonagh.morning.star.artist ✨.
I ventured back into my studio today for the first time after the Christmas festivities and thought what a mess it looked, feeling a bit overwhelmed with all the piles of books, papers, artwork and “stuff” I quickly remembered something my art teacher once said to me when I visited his ramshackle pad many years ago; he said “our studios often look like a chaotic mess, but they are where the greatest creations are born” well I’ll drink to that one! 🎨🍷By the way mines not as bad as this one!@francisbaconstudio #artistsstudios#studios#interiordesignstudio#francisbacon#fineartist
I stumbled over this painting, and oh, how I wish I knew the real story behind it! According to the auction house, no one does; it sounds as if it must have been an artistic "in joke" between the painter and his friend, Gustave Courtois, who is the artist man sprawled on the sofa here in his studio, palette in hand and a smirky, side-long expression on his face. According to the auction notes: "At the other end of the sofa sits the enigmatic figure of a woman dressed completely in black. Given the setting, it would stand to reason that the two figures' relationship is as artist and model (the black costume could also suggest she is a mourning patron, commissioning a memorial portrait of a lost loved one). Yet they sit as far apart as possible, neither looking toward one another, or with any other easily identifiable connection. While it is yet to be determined if the present title of Bouderie (Sulking) was the artist's original, it does add resonance to the physical and psychological dissonance of the figures. The stiff posture of the woman suggests she may be unhappy with the artist's likeness, her demands reaching an exhausted Courtois (who wears a slight, sly smile)." Hmm. My guess was that the well-dressed woman in mourning is a patron, not a model, and that perhaps the artist made an unwelcome advance. If anyone's sulking, I don't think it's her - though I may be reading more into it in this post-Weinstein era . But who knows? What do you think is going on here? "Bouderie/Gustave Courtois in his Studio" by Pascal-Adolphe-Jean Dagnan-Bouveret, 1880, image via @sothebys #sothebys#dagnanbouveret#frenchart#frenchartist#1880s#theresastoryhere#hesaidshesaid#artistsstudios#art#arthistory#artinjoke#historyofart#heartart#artlovers
The sun tells the best joke of a day full of them, setting so spectacularly that you can almost smell the tropical paradise lazing somewhere over this rim of endless, gray socialist towers. Miles of square windows explode orange, red, and purple, like a million TV sets broadcasting the apocalypse. Clouds unspool. The sky drains of birds. •
The beautiful scene outside starts to tear into fragments, like reality electrifying the atmosphere. •
Cité Falguière, Paris. 2017
Through these doors walked some of the greatest artists of their time. Gaugin, Modigliani, Brancusi and Chaïm Soutine all called the Cité Falguière home at one point in their lives. Back in its golden years, when the Left Bank of Paris was a cultural capital of the world, artist studios like this could be found all around the Montparnasse neighborhood. And although few still exist today, if you look closely enough down some of the back streets and alleys, you still stumble on a few of these thin-walled, high-ceilinged structures.
The Myth of Escape. 2018. February.
"We are wolves, which are wild dogs, and this is our place in the city. We are small and our house is small on our small urban street. We can see the city and the train line and it's beautiful in its own dangerous way. Dangerous because it's shared and taken and fought for.
That's the best way I can put it, and thinking about it, when I walk past the tiny houses on our street, I wonder about the stories inside them. I wonder hard, because houses must have walls and rooftops for a reason. My only query is the windows. Why do they have windows? Is it to let a glimpse of the world in? Or for us to see out?"
- #MarkusZusak , Fighting Ruben Wolfe (Wolfe Brothers, #2 )
Delivering my @GCNForum Plan Consultation Survey to all my neighbouring studio artists on my street. Feeling like a bit like desperate, anti-gentrification secret Santa 🎅🕵🏗🔚I wrote them a (perhaps a bit too long) letter: "Dear Artist - I trust this letter finds you well. I'm a studio holder in 14B, 1 Rowse Close and I'm writing to ask you if you have a spare moment to complete this very short but very important survey called the Draft Greater Carpenters Neighbourhood Plan (see attached) which has been drafted by the Greater Carpenters Neighbourhood Forum (GCNF), of whom I am a member of, and we are a group of local residents and stakeholders who want more control over development that takes place in our area. Informed by local views, it proposes a vision for how our neighbourhood will develop over the next 10 years. We believe it will help to achieve a secure, healthy and active future for us all – both residents and those of us who work and regularly visit the neighbourhood, such as ACME studio artists like ourselves. I'm sure you're very aware of the rapid regeneration and construction work happening along Stratford High Street that is quickly curtaining off the Carpenters Neighbourhood. ACME have been very fortunate to continue to occupy these buildings from Newham Council, and I for one can say how privileged it is to have a studio in this neighbourhood, however, we are always under threat of redevelopment and losing our studios, and thus I want to try everything I can to keep it and delay the process of gentrification as long as possible so we can all continue to have a studio and make the art that we make here. By completing this short survey, we too as local stakeholders in the Greater Carpenters community, can have our say about how important these studios are to both our respective artistic livelihoods and our wider community as local artists and members of this strong, resilient neighbourhood." #gentrification#regeneration#regenerationgames#artwashing#resistance#resilience#communityaction#neighbourhood#neighbours#goodneighbours#artistsstudios#eastlondon#urbanrenewal#socialcleansing#complicity#agency#priviledge#consultation
So honored to have a video of my studio included in @buzzfeed list of 100 artist studios! Congrats to all the the amazing artists on the list. A special thanks to the amazing Didi Menendez @poetsartists for making all these amazing things possible!😊 https://www.buzzfeed.com/didimenendez/100-artists-studios-1tyzr?utm_term=.vwljQrYbm&ref=mobile_share#.ruGx2ogQY
Been doing my own stretcher bars and panels. That being said, there were a lot of learnings; mainly-- get some powertools, otherwise, it'll take time and experience to get things done with precision. Can't have done em without O's help. Everything was trad AF carpentry shizzle. Getting 45-degree angles with a DIY mitre box was wonky, but it did the work, along with some hefty caution; but a circular saw would mosdef be holistically better (along with a proper table with apt riggings). I get more excited being in a home depot or builders warehouse/shop than I do with clothes shops. Hey, I'm a dweebster. I like making useful/functional shit. 🤓
Will coat them with some paint, dry, then stretch, size, and prime with some proper gesso. By that, I mean, not fucking acrylic. 👾
Thomas Osorio creates work that is both familiar and disorienting to the viewer. There are certain aspects that are recognizable, the crosswalk and buildings, but it’s hard to pinpoint exactly where you are. @thomasaosorio