Monday, September 15, 2008

As most people are experiencing it during the past couple of weeks, September reveals the fruits of summer's incubation period for the new mutations of colds and flu. Instantly infected this weekend, I went to an artist talk by Janice Kerbel, wherein I mainly took notes on the structure of 'a good artist's talk' and 'symptoms of exaggeratedly distant work'. Feeling sick beyond mere fatigue weighs on the brain and fills it with damp fog while at the same time, concentration has never been more clear (upon, say, a middle-aged business woman on the bus watching '13 Going on 30' on her I-Pod). The sickly, fixated and foggy brain is not unlike Janice Kerbel's laundrette gardens where plants love the moisture but hate the vibrations from the machines, and the plants themselves are like "messy balls of laundry". The two pieces which seemed to exist beyond being containers for Kerbel's interest in "obsolescence, invisibility, deception" and "developing characters out of specific conditions" were the audio sample of her radio play for the love stories of insomniacs as nocturnal plants, and the freak-show-text poster for "The Shyest Person Alive" who would be "masterfully eclipsing your glance" if ever you saw fit to visit her. I can relate to a fascination for describing the conditions of an event to the detriment of allowing anything to ever be realized in real-time.

Monday, September 08, 2008

After this past weekend's Open Studio and a re-familiarization with how difficult it is to talk about my work on the fly, I went in search of (again):

What are the best questions about painting to answer and introduce during a studio visit?

From a podcast of the 2006 exhibition 'Painting In Tongues' at MOCA, curator Michael Darling talks about several pieces in the show, and the available audio samples give him about 2-3 minutes for each painting. This might be a great example of how to talk about painting while on the spot.

How do painters often talk about their work?

Here are some found talks and interviews (some of these artists aren’t technically painters, but what they say speaks to painting), wherein I particularly wanted to hear the way that these artists were talking about their work:

Daniel Richter:
(Do painters describe what is ‘happening’ in the painting, as phenomena, as a scene, as something that is alive?)

Dana Schutz:
(Do stories generate paintings, which are like stills from a film? Do painting titles generate ideas for the paintings?)

Aurel Schmidt
(Do the paintings operate as reassurance to personal fears?)

Ed Pien
(Are paintings about in-between spaces and interrelatedness in the world? To ‘soften the blow’? Are they places where ‘you can’t be numb’, where you can ‘negotiate new situations’?)