Portrait of the Artist as an Old Man
April 24, 2014
In the picture above, John Singer Sargent's Madam X has lost her head. I replaced it with the head of another beauty, Elizabeth Taylor. Something of a sacrilege. But don't blame me. It's Dan Pytko's fault.
Dan recently had a dream, "an interesting dream of a painting of yours ...It was a life-sized, amorphous portrait of a person (watercolor and oil, mixed media, drippy) with calligraphy. You tried explaining the meaning of the words, the connections, but it was all beyond me. For some reason I didn't like the very bottom of the portrait. It just didn't 'go' with the rest of it."
Dan let me know about the dream on facebook and as we posted back and forth he got more specific.
"Think Sargent's "Mm X" in negative; with interesting delicate black writing in what looks like verse/poetry/Asian...
Sounds like a great painting to me. I'm currently painting circles but when I get off that kick I want to be ready to plunge into Dan's vision. So I've been messing around with putting Elizabeth Taylor's head on Madame X's body. I like his original version where one jeweled strap had slipped off her shoulder. It got hoisted up to full mast after her mother and she protested that it was too shocking that way. Even with the strap in place, the painting created a sensation in cultural circles in France.
Madam X is one of my favorite paintings. It was a thrill to see the real thing - along with one of the doctor she was supposedly having an affair with - at an amazing Singer exhibition at the Clark Art Institute in Williamstown in 1997. After that I painted a version of Madam X. Unfortunately - or perhaps fortunately - I can't find a jpg. of it.
Below are some more of my working drawings, so to speak. I decided not to put her in the wedding dress, which was yellow. I can always do that later. And I still have to put the thing in negative. Then I will have a working model for the painting.
Dan, if it sells, you get a finder's fee.
April 18, 2014
In my last posts I showed you stills of Leni Smoragdova from a video she produced. I had manipulated them on the computer. They raised the issue of fair use and copyright. Today's photos are of Trisha Leydet that I took recently and then modified on the computer. They all zero in on her beautiful eyes, or in one case, a beautiful eye. There are no copyright issues here.
April 14, 2014
So here's the question. Can I claim authorship of this photo of Leni Smoragdova even though it is based on a still I took from her You Tube video Inside the Artist Studio Leni Smoragdova: "Цирк шапито." Below is the shot I kidnapped.
On the basis of a recent court case against the appropriation artist Richard Prince, I looks like my use of the photo may not violate copyright protection. Whether that's fair is another question. I'll give you more about that case a little later in this blog. But first I want to say that I love watching Ms. Smoragdova talk on her video even though I don't understand a word she's saying. Her face is very expressive.
Googling her I discovered her photos, paintings and prints on Saatchi Art . She is messing around with something I like to do - and did to her video still. That is manipulating the photo digitally. Here's an example:
Now let's talk a little about what an artist can swipe without violating the rights of the artist whose work was stolen.
On the left is the original photo taken by Patrick Cariou, whose 2000 book, Yes Rasta, featured portraits taken in Jamaica. At the right is Prince's work.
The New York TImes explained last year, "Mr. Prince used dozens of the pictures as the basis for a series of dystopian works called “Canal Zone,” which were exhibited at the Gagosian Gallery in 2008 and generated more than $10 million in sales." Cariou sued. He contended his copyright protections were violated by Prince.
The 2013 decision was a major victory for appropriation artists like Prince. A federal Court of Appeals ruled that Prince was protected by "fair use" of Cariou's work in 25 of the 30 paintings shown at the Gagosian Gallery in Manhattan. This March, before a judge came to a decision about the remaining five, Prince and Cariou settled the case.
But Prince changed the feeling of the photo by adding the guitar and paint splotches on the face. Whereas in the photo of Leni at the top I have added nothing but color and texture. So now I am starting to wonder if claiming this as my own work would meet the necessary standard of "transformative." In the photo below you'll see I've reached a conclusion.
The most jarring appropriation by Prince was his use of the great photography in Marlboro cigarette ads years ago. Prince took the iconic Marlboro Man photos used in the ads - like the one below by Jim Krantz - and used them as if he had taken them himself. The only change he made was taking the advertising copy out of the pictures as they appeared in magazines and on billboards. Krantz didn't sue but he did tell the Times it would have been nice if Prince had at least given him credit.
March 31, 2014
Stephen Capogna of Hinsdale, a house painter by day and a fine=art painter in his spare time, is a super realist who goes to labor-intensive lengths to render his gigantic golf balls. His work is starting to win admirer's in the art world. He is being given a solo show in 2015 of all 10 of his golf paintings at the University of Massachusetts, Amherst, in its Hampden Gallery. And currently two of his works are at the Lamont Gallery at Phillips Exeter Academy in Exeter, New Hampshire. It's exhibit is right up Stephen's alley: A Whole New Game: Sports & Games in Art. It is up through May 3.
The ball on the tee above is the first of 10 golf ball paintings he has been working on for several years. It's 54" x 58". That's one big golf ball. Stephan Capogna is doing for the golf ball what Chuck Close did for the human face. The original was done in 2010. But last year Stephen repainted the tee and the grass. It is currently hanging at the Lamont Gallery.
Stephen does his work with an airbrush and precise template's he cuts. But that's just the production end. To get photos of what the ball actually does when it's hit, he grew a small fairway and green in his yard and rigged up a high-speed camera to take shots as he was hitting the ball.
This painting, 60" x 72", shows his driver smashing the ball. Originally painted in 2011, "I completely redid this piece in 2013," Stephen says. " In the original #2, I omitted a lot of information. Bonnie (his wife) saw the original photo and said why didn't you paint it like this? At first I dismissed it, but then after some careful consideration I decided to completely redo it. I still have the original #2 painting though."
If you're starting to get the idea he's a perfectionist, you're right.
This amazing painting was born in 2011 but was born again in 2014. It is 60" x 60" and like the others is of acrylic. It's one of my favorites.
"I repainted this more times than I care to remember," the painter says. "I had to re-stretch the canvas because it became too heavy with paint... As many artists experience, once you start doing a technique or particular subject matter, eventually, you get better at it. I have experienced this with my golf ball series. I have redone four of the five paintings I had in the previous blog (July 27, 2014, which can be viewed by clicking here). The good news is, I am happier with the new paintings."
Sometimes a painting survives Stephen's critical eye and doesn't undergo a remake. That was the case of this 54" x 58" beauty done in 2011. It is also in the Phillips Exeter show. It is 54" x 58".
This ball is contorted by the force of a club. Sixty by sixty inches, this painting dates from 2011 and also remains in its original state.
This one is 54" x 58" and was done in 2012. No repaint was necessary.
After earning a bachelor of fine arts degree from UMASS Amherst in 2001, Stephen started his own exterior/interior house painting business. He's a perfectionist at his job. I know because he painted our house Palace Arms red five or six years ago and we're still getting compliments on how good the place looks.
March 26, 2014
I've just finished two new circle paintings. They's about 51 inches high. I've been working on them quite a while. They went through a number of guises before they hit this point. Below is a shot of how this one started life.
The interior circle of this one came through pretty much unscathed, below, unlike that of its cell mate.
Here's the second new one and, below, the way it began. There are a lot of layers of paint on this one.
In these details you get a little better idea of the painting technique. .
I like to think they became friends - had conversations with each other on more than one occasion - as they hung side by side in my studio.
Something like this?
"Hey, what do you think of that old guy who keeps molesting us."
"I don't think he's a molester. I think he"s a painter."
"What's the difference?"
"Have you noticed? I'm better looking than you are?"
"You want to step outside and repeat that?"
"Nah. I'm just going to hang around in here an get high on fumes."
As a geometric shape, the circle on the left is a little misshapen. Its buddy comes closer to being round. It's 2:26 a.m. and I'm abandoning them and this computer and heading for the kitchen to do the dishes. Oh, the rakish life of an artist in old age.
March 24, 2014
Yesterday afternoon we took a walk in the woods. It was Babbie's birthday and that's one of the things she wanted to do. The other thing, and the one she was really looking forward to, was having her birthday party at Shannon and Paul's and eating the chocolate cake with chocolate frosting that Shannon and Riley made for her. It was delicious.
We see this splayed tree every time we walk through the woods from our house to the Beautiful Field. For years I've been calling it a wolf tree, but I looked up the definition last night and I've been wrong. A wolf tree is big and shoulders other trees in the woods out of its way, or it stands alone in a pasture after the others were cut to make way for hay.
Along the way to the Beautiful Field we encountered this icy spot. We had to take a slight detour around it. There are places like this on trails throughout the woods where four-wheelers have churned the earth during mud season, leaving gouges that fill with water. One of our favorite trails was trenched so deeply that neither man nor machine can use it anymore. Others are in danger of ending up that way.
Skimobiles, on the other hand, don't damage the trails. In fact they help hikers and cross country skiers by packing down the snow.
Although it is officially Spring we are still in the grip of winter in the Berkshires. When we took our walk it was 28 degrees. Overnight it is supposed to drop to 1. The ice is still thick enough to support pickups and SUVs on Pontoosuc Lake.
Part of the trail takes us through the remains of an orchard, now lost in a forest. Some of the trees still bear stunted apples, although they don't look like apple trees to me. The dark tree in the foreground is one of these, as are the dark one to the left on the edge of the path and the dark tree in the background to the right.
This is a shot of the one by the path. A birch has grown up in its embrace.
Now we're at the field. This is its north end where the bordering woods is graced by birches. And from this field, which almost miraculously is free of housing, you get a great view of the mountains to the west. Up here the sounds of North Street a half mile away are muted. There is a stillness and a magic to this field, a place that is part of our secret history, that has held us gently for almost 50 years and invited us to inhale its beauty.
March 19, 2014
If you go to MASS MoCA in North Adams you've undoubtedly seen these fantastic MoCA - themed dresses in the gift section of the lobby.
Wel, here's the 25-year-old who designs and sews them, Phyllis Criddle. Below she's modeling one of the dresses. It's made from T-shirts sold by MoCA or worn by its staff for special events. The dress of orange and yellow stripes is made of wristbands from Wilco's Solid Sound Festival staged at the museum for the last two years.
"Customers receive one after paying admission." she explains. "Staff working the festival wear another color, and performing artists wear another color, etc. I got the extra unused wristbands from the box office."
I'd don't want to give you the impression that MoCA dresses are the only ones she creates.
This hard metal knockout is made of brass mirror hangers, zip-ties, turnbuckles, d-rings, nuts and bolts. Phyllis has said it isn't comfortable. But WOW. And she sold it.
The young designer hails from London. Her family moved to the United States in 1996 and her father, Richard Criddle, has been MoCA's chief of art installation since 1998. A sculptor he has exhibited at the museum's Kids Space.
The chain mail aspect of the dress reminds me of one I painted in my Runway Series.
Below is a softer beauty from Phyllis Criddle Fashion on Facebook. She designs a lot of outfits you won't find at MoCA. As you'd expect, her hand sewn fashions aren't cheap. Going back to the photo at the top of this post, the red dress is $350 and the other two $650.
Back to MoCA, where the dress above sold. Here's hoping some fan of the museum will become buyer Number Two. She has brisker sales in MoCA cuffs and handbags like the ones in the next two photos.
Phyllis Criddle is good. Someday, maybe, models will strut her stuff at Fashion Week in New York, London and Milan.
March 11, 2014
The first time i ran pictures of Trisha Leydet was February 25. After that some of you were wondering why I don't run photos of the aspiring Pittsfield model all the time. So here are some more. And there will be another batch in the near future.
Trisha's standing in front of one of my Jeanne d'Arc paintings above and in front of my painting of Craig Walker on Silver Lake in the shot below. She's wearing some pretty wild shoes.
To contact Trisha about modeling gigs, click this link. To see some great shots of Trisha by Indian Orchard photographer Peter Fidalgo click here.
Here she's looking into mirror that used to hang in a cool downtown store that unfortunately closed.
"Surrender to what is
Let go of what was
Have faith in what will be"
March 7, 2014
Leo Mazzeo has taken a bold new approach to displaying art in The Marketplace Cafe next to the Beacon Cinema on North Street, Pittsfield. The previous shows I've seen there have featured relatively small work which could get lost in a bustling eating place. Leo's idea was to go big.
So if you go to First Fridays Artswalk from 5 to 8 tonight, try to wend your way to this cafe. The exhibiting artists besides Leo and me are Nick DeCandia, Susan Geller and Judith Lerner. All the work features food. High on the wall, from left to right in the photo, is my new painting The Goldfinch on Tart; Nick's delicious eating shot, Untitled; Leo's high-impact Grazin'Fondly, a tribute to a memorable meal with his late partner, Aimee Thayer, at the Grazin Diner; and, out of sight to the right, Susan's mouth-watering Raspberry Hamentaschen. Below these works are a half dozen fine photos by Judith from her Berkshire food paradox series. Her shot behind the seated customer is of a sign that says "Free Lunch Today." But patrons shouldn't take it literally.
When Leo drafted me to participate, I had no idea what food to paint. Then I saw a red berry tart in the Marketplace's goodies display. I bought it, photographed it, ate it and eventually put it in the painting. But I wanted more than a tart. I found the more in Donna Tartt's great new novel The Goldfinch, which featured Carel Fabritius' extraordinary painting (below) which played a major role in her book as well as supplying its title. So the painting is a pun with it's play on the words tart and Tartt, as well as an homage to the painter and the novelist whose books I love.
At the time Fabritius did the painting, goldfinches were popular house pets. Some were taught tricks such as lowering a thimble into a glass to draw their own drinking water. As you can see, this little bird is attached to its perch by a chain. It was my first painting in oil in a long time. Trying to copy Fabritius' bird, I realized I have no career as a forger. But in the process I learned tremendous respect for this artist.
Fabritius was killed in the He painted it in 1654, shortly before he died in the explosion of the Delft powder magazine – a disaster which destroyed a large part of the city. He was only 32 and had finished The Goldfinch shortly before the explosion. The painting survived that catastrophe as well as a fictional terrorist bombing at the Met in the book.
Tonight I'm going to be anchored to the Marketplace for some time, but am going to get over to Forty Shades of Green at the Lichtenstein. I think one of my paintings is included in this tribute to Ireland.
March 1, 2014
This is one of my favorite paintings. I painted it in 1999 in acrylic when I was taking a painting class with Lisa Griffith at Berkshire Community College. And then I painted over the original in 2005 in oil. It's a take-off on Damien Hirst's famous shark in formaldehyde. I call it Anita and the Polar Bears. Anita was my model for the woman with the great what's-this-all-about gesture.
This is not the first time I've shown it on Portrait of the Artist as an Old Man. I never get tired of it. I hope you don't either. Anita lived at Cripple, the Yoga center and retreat in Stockbridge.
Kripalu was founded in Pennsylvaia in 1972 by Yorgi Amrit Desai. Ten years later the ashram purchased Shadowbrook, a former Jesuit monestary in Stockbridge. By 1989 it had 350 full-time residents. Five years later Desai was forced out after he was accused of sexual misconduct and abuse of power. Within years Kripalu reinvented itself as a secular non-profit Yoga center, a role it still plays.
In 1994, Desai was accused of sexual misconduct and abuse of power. The ashram was shut down by the scandal. But Kripalu continued to welcome visitors, and in 1999, it formally changed its status from a religious organization to a secular nonprofit.
February 25, 2014
These are shots of Trisha Leydet, a model I worked with Sunday. We took 900 shots. She's great and we had a good shoot. But frustratingly, because I have a new camera, I've only been able to import a few into my photo processing system so far. I called both Nikon and Apple for help yesterday and I thought the problem was solved but it turned out it isn't.
I'll be showing you more photos of the 23-year-old in another blog once this is cleared up.
The photo at the top is the image of her face in a mirror. I like the soft focus the mirror provided. The face behind her is from a print of Red Cloud.
Below she is in front of one of my paintings. It hangs from the wall by pushpins inserted through grommets. It weighs a lot less that way than if it had a wooden stretcher. Last week I shipped an unstretched piece larger than this one to Boston for just $30.99 cents. A stretched piece would have cost a lot more.
Going from beauty to the beast, I'm stitting here at my computer huddled in a blanket because the room is 57. It's not that we're trying to save money on heat, it's that the furnace is on the fritz. Fortunately this house has two furnaces, one steam that heats the old part of the house and one hot water for the addition where I'm working. So the rest of the house is nice and warm.
Red Cloud, by the way, was a warrior and a statesman. Here's a thumbnail sketch by NPR of his long life. He lived until he was 88.
"Much of Red Cloud's early life was spent at war, first and most often against the neighboring Pawnee and Crow, at times against other Oglala. Beginning in 1866, Red Cloud orchestrated the most successful war against the United States ever fought by an
Indian nation. The army had begun to construct forts along the Bozeman Trail, which ran through the heart of Lakota territory in present-day Wyoming to the Montana gold fields from Colorado's South Platte River. As caravans of miners and settlers began to cross the Lakota's land, Red Cloud was haunted by the vision of Minnesota's expulsion of the Eastern Lakota in 1862 and 1863. So he launched a series of assaults on the forts, most notably the crushing defeat of Lieutenant Colonel William Fetterman's column of eighty men just outside Fort Phil Kearny, Wyoming, in December of 1866. The garrisons were kept in a state of exhausting fear of further attacks through the rest of the winter.
"Red Cloud's strategies were so successful that by 1868 the United States government had agreed to the Fort Laramie Treaty. The treaty's remarkable provisions mandated that the United States abandon its forts along the Bozeman Trail and guarantee the Lakota their possession of what is now the Western half of South Dakota, including the Black Hills, along with much of Montana and Wyoming.
February 18, 2014
In 2011 Leo Mazzeo lived in a strange art world, one where the people were naked but not sexy, where they could fly in a flock (as below), where they persevered (above) but not one, as far as I can see, where they could catch a break or even smile in their harsh, regimented society a dystopia if I ever saw one.
The paintings are arresting and disturbing and force you to try to figure out what's going on. I thought they represented life after Armageddon. But Leo says that's not the case. The year was a transitional one for him, difficult and troubling, and this work was "both cathartic and draining."
Those paintings are on display through March 1 at the at The Whitney Center for the Arts, 42 Wendell Avenue, Pittsfield, during regular gallery hours: Wednesday, Thursday and Friday from 4 to 7 and Saturday from 12-5PM.
This series was a major departure from his previous work which included the truck below and he has not continued the series. his ambitious arts indie blog and His new curatorial role at the Colt Gallery - the smaller of two art exhibition spaces at the Whitney - haven't left much time for putting oil down on canvas.
" I've been kind of ruminating about what I really want to do (in art)," Leo said, assuming he can make time for it.
The painting of the man above, "Frustration/Why," one of Mazzeo's best, has been sold.
This is Leo Mazzeo, who is also a photographer, with Sue Geller, another local photographer. The picture was taken by Karen Schiltz, whose webpage is being built by Leo. Below is Blue Dancers Too. The opening, by the way, was last Saturday, which was Leo's 51st birthday.
Commenting about the series, Leo says, "I kept the landscapes simple to emphasize what was thematically happening in each tableau. The figures are nude, bald, and relatively generic/androgynous to enhance universal identification with the subject matter. The texture appears on the highlights of the bodies because, well, we all look a little gritty in the light…"
How would you like to be getting your marching orders from the men sitting on the wall in the painting above - Censorship-Hypocrisy.
In To Dance, above, with its hinged panel on he left, life isn't a picnic. Looking at it I think about how joyless the dance lessons were in gym in 7th grade - at least for me. The girls' gym teacher would line up the boys at one end of the gym and the girls at the other. When she blew her whistle the boys were supposed to race to pick a dance partner. I lagged behind. There were a couple girls I would like to ask to dance, but I was too shy. If you didn't make a choice, you were assigned someone to dance with. I'm sure it was an agony of embarrassment for some of the girls, too. I'm afraid this remembrance could be seen as trivializing Leo's painting. It is not meant that way. This series is not trivial.
February 13, 2014
Renoir, my movie, continues. We left off last time when Jean Renoir had stomped off to go "to the Louvre," leaving his grumpy father to rearrange the way his two nude models were posed himself.
Why the machine gunners? Because the Gilles Bourdos movie took place during World War I. Jean, played by Vincent Rottiers, had been wounded and while convalescing at home fell for Andree Heuchling, Renoirs spirited last model. She is played by Christa Theret, who appears in the photo collage. Jean decides he must return to his battalion - much to the consternation of Renoir and Andree.
When Jean returned from the war he married Andree and fulfilled his promise to make her a star in the movies. She took the film name of Catherine Hessling.
Below is a photo of her from those days.
Jean Renoir when on to become one of the great directors in movie history. The following is taken from the Turner Classic Movies website, tmc.com.
"The sale of some of his father's paintings (Auguste Renoir had died in 1919) allowed him to begin production on "Catherine/Une Vie sans joie" in 1924. Renoir provided the screenplay and Albert Dieudonne the direction; Renoir's young wife Andree Madeleine Heuchling, a former model of his father's, was the star, with her name changed to Catherine Hessling for billing purposes. Renoir's first film as director, "La Fille de l'eau," was shot in 1924, with Renoir also functioning as producer and art director and Catherine Hessling again starring. Anticipating Jean Vigo's "L'Atalante" (1934), the film's plot centered on a young woman who lives and works on a river boat. It's modest success led Renoir to plunge, somewhat impulsively, into the direction of "Nana" (1926), an adaptation from the Zola novel which now looks uncharacteristically stagebound.
"Nearly bankrupt, Renoir had to take out a loan to finance his next film, "Charleston" (1927), a 24-minute fantasy that featured Hessling teaching the popular title dance in costumes that were as brief as possible. After it attained only limited success, Renoir accepted a straight commercial directing job on "Marquitta" (1927).
"Renoir's next significant film was "Tire-au-Flanc" (1928), a military comedy that Francois Truffaut would later call a visual "tour de force" and which marked the director's first collaboration with actor Michel Simon. The working relationship between Renoir and Hessling, meanwhile, had taken its toll; the couple separated in 1930, though Hessling continued to appear in Renoir's films through "Crime et chatiment/" "Crime and Punishment" (1935)."
It's almost 3 a.m. and I have to go to bed. If I get time I'll see what else I can find out about Renoir and Hessling.
February 9, 2014
I decided yesterday to do a remake of the movie Renoir, which is very lush and sensuous. It was released last year. Directed by Gilles Bourdos and shot by cinematographer Mark Ping Bing Lee, each frame is sumptuous. It stars Christa Theret as Renoir's last model. Like the movie, she is also lush and sensuous. She'll star in my version too.
That's her back above and me shooting the thing. Renoir is telling his son Jean, who's recovering from a war wound and preparing to return to the front, to add some white to the pallet. Both Renoir and his son, who went on to become a great film maker, fall for the model.
Here's Christa Theret in black and white - which is my choice for the coloring of this shot.
Here Christa, foreground, poses with another member of the family circle. Renoir has told Jean that if he doesn't understand what the artist is trying to do with this painting he should go to the Louvre and study the masters. Jean starts walking away. "Where are you going?" Renoir calls after him. "To the Louvre!", Jean says.
In another scene Renoir tells his son that the most important thing in painting and in life is "Flesh!" Below she asks Renoir if he is always like this. "Like what?" he asks. "Grumpy," she says.
In another scene Christa eats a pear. I'll tell you more about my movie another time.
February 5, 2014
This would be one of my best paintings. But it isn't a painting. It's a photo I took on January 1, 2000. I'd forgotten all about it and just stumbled on it last night in my Aperture files, tucked away in Our House, where the other shots in this post also come from.
I'm not sure what the first photo was a picture of. But I love it. The one below is another wonderful painting, only it is a photo of a glass.
Now this one with the white light and the blue light I think was a shot I took of one of our night lights.
What this was a shot of escapes me.
February 2, 2014
I was up on the fifth floor of the Big Mac the other day and took the shots above and below as the fast-sinking sun painted this chimney and the facades of the Charles Street buildings an intense white.
I had seen a nuerologist who said there was nothing wrong with me. I wish I had told him, "No, there is something wrong with me but the doctors I've seen aren't sharp enough to figure out what it is."
Whatever it is It's not life threatening: but for 1 1/2 years I've been getting spells that leave me weak, confused, unable to think, feeling starved and sometimes shaking. They last a couple hours and go away. I go through periods where they occur almost every day. But they've come only once a month or so lately. Anyway I've had all sorts of tests that show I'm in perfect health. So I can understand why the neurologist tells me I'm fine, even though I'm not.
In any case the cubbyhole in which I was waiting had windows so I took photos. I can't remember why some personnel at Berkshire Medical Center call it the Big Mac. But its a cool name for the large centralized collection of doctors' offices and other medical facilities.
This picture of the late afternoon sun casting long shadows was taken on another day from my house.
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