Sunday, May 24, 2015

Sunday Pick: Munakata and Colaizzo

Shiko Munakata, Six Women - Embodiments of the Main Buddhist Sutras, 1953, Woodcut


Shiko Munakata, Bluegrass Plains, 1956, Woodcut



Shiko Munakata, Herons Over the Ricefield Path, 1960, Woodcut

I've been a small part of a project that has been so unexpectedly rewarding to me over the last two months.  My friend and former grad school classmate Matt Colaizzo is having a solo exhibition at Napoleon Gallery in June.  At Napoleon for each show they pair the artist with someone to write about the show.  It can be any format; an interview, poems, an essay etc. and so when I was asked to write for his, I hesitantly agreed.  Hesitantly because I really admire Matt's work and while I find writing about art to be something of a 'necessary evil' to accompany my studio practice, I am always wary as to whether my words can convey in a professional and real way, what I think when I really like something.  It's a bit easier to write about things I find troubling or questionable.

Anyways, that brought me to the decision to visit Matt's studio and discuss his practice and see the progress of the woodcuts firsthand to gather my thoughts.  In the course of our two visits he introduced me to a lot of new things of interest; authors, co-op chocolate and some really amazing woodcut printmakers.  The one printmaker that has stuck with me is Shiko Munakata, some examples can be seen above.  Matt showed me a picture of him where he is so close to the board you couldn't fit a pencil between his eye and the wood, he is nearly blind and still making work up until his death in 1975 (below).  He is a printmaker that Matt identifies with and so that is where my essay begins.  (I am attaching the essay to the bottom of this post...)



But first I want to stress how important it is to go see Matt's show at Napoleon if you are interested in printmaking or just good visual objects and pictures in general.  His work is positively mystical in person.  The image of the postcard below gives a hint at the work and also dates.  I don't have any other pictures but trust me, (and its better than I don't have pictures anyway) -- It's a must see in person.  Opening is June 5th 6-10pm. 


Here is my accompanying gallery essay:


"“…spread India ink on an uncarved board, lay paper on top of it and print it…Whatever I carve I compare with an uncarved print and ask myself, ‘Which has more beauty, more strength, more depth, more magnitude, more movement, and more tranquility?’ If there is anything here that is inferior to an uncarved block, then I have not created my print.  I have lost to the board.” Matt looks up from the monograph on master printer Shiko Munakata he just read from and sighs, “Isn’t that great?”  We are sitting in his studio surrounded by blocks of wood, antique tools, and well worn, handsome furniture drinking coffee made in his grandmother’s original Pyrex on the stove.  His reverence for Munakata’s sentiment explains much of how he moves through the world and makes his work.  Respect for the materials and their origin, respect for technical ability, respect for printmakers gone before, respect for imagery with strength, depth, magnitude and tranquility.

Like influential Japanese masters Munakata, Hokusai or Matsubara, Colaizzo also looks to the natural world for source material.  However, unlike his predecessors, Matt lives in our contemporary world rife with environmental degradation, development and apathetic attitudes.  Rather than harp on the destruction and tension between man-made and natural worlds, a cliché well worn out in 2015, he takes a subtler approach.  Armed with a sketchbook and camera Colaizzo simply looks to what is out in the world, nearby, without judgment or political agenda.  For this body of new work at NAPOLEON, what’s out in the world happens to be rubble piles from construction of a new I-95 on-ramp.

He returns to the studio and makes a number of detailed drawings from these sources, looking for clarity and balance in composition.  Then through a long process involving carving into multiple boards, mixing and layering multiple inks, and scrutinizing multiple proofs, he arrives at a print that satisfies that original parameter.  The investment of time and labor elevates the knotty pine from which it came.

The actual printing of a piece like Untitled(Locality 1) takes all day, from 9am to 8pm, a slow, meditative burn during which the carefully planned and executed cuts into panel meet unexpected marks in the paper, ink or wood grain.  This entwining of high technical skill and order with fortuitous chance instills the print with a balance of yin and yang, wabi-sabi, that echoes the marvel of nature. 

And in fact, the work’s deepest power pulls from the very modest place of its origin too.  Rendering slag, a rejected, often dismayed material with such care and poetics as Hokusai renders Mt. Fuji states more eloquently what it means to uproot nature than any more forthright attempt.  Colaizzo lets us first see nature as the powerful, unmovable mountain so frequently depicted in eras gone by.  But then, the subject matter shifts into focus.  Like the sad beauty of a giant beast rolled over in its last breath, and then, just a carcass, this second wave of understanding hits in the gut; beauty, strength, depth and magnitude expanding through your stomach. 

The installation of the work adds to this sensation, with four panels facing inward, one must fully turn their body in the space to take in the panorama.  It is simultaneously sacred, the way four walls envelope the viewer, and expansive, as the space in the work seems to be vast and limitless.  The viewer is in the center and as Colaizzo explains, they are not the center in much the way humans think they are at the epicenter of everything, but they are in the center due to of the roundness of the earth which dictates that there is no center, there is no beginning and there is no end."

Tuesday, May 19, 2015

NYC Gallery Trip

Marjolijn de Wit @ Asya Geisberg

Joan Brown @ George Adams

Chantal Joffe @ Cheim & Read

June Leaf @ Edward Thorp


Hope Gangloff @ Susan Inglett

Giordanne Salley @ SHFAP

Charles Burchfield @ DC Moore


Andrew Lord @ Gladstone Gallery

Jessica Dickinson @ James Fuentes



I went for a day of gallery hopping last week.  I always seem to do a really intense survey of Chelsea and LES right after the teaching semester ends.  Its sort of like my send off from being enclosed in this mental space of other people's art and issues (read: students) to my own studio time and schedule in the summer.  I like to go up and get a read on what I keep referring to (to myself) as 'the good, the bad and the ugly'.  

This visit I felt like most things were as expected.  In a mostly good way -- there were a lot of things I wanted to see and while they didn't bowl me over, they stood up to in person looking.  Most of those are pictured above.  

The surprises of the day were Jessica Dickinson and Andrew Lord.  Both were artists I knew little of and was really excited by.  Dickinson's surfaces were so contradicting -- solid and heavy in object form but airy and atmospheric from a distance -- they were beautiful.  Andrew Lord's work was raw and playful and well considered.  The ugly of the day for me was for sure Lisa Yuskavage.  I don't understand -- her color and compositional choices are as banal as the subject matter.  I'm sorry, these suck.  

Another thing I noticed was a lot of mixed media.  The places I thought it worked best were in Hope Gangloff's work, she uses elements of paper collage which added to the painted surfaces and de Wit's smaller pieces that hung on the wall at Asya Geisberg.  They were like relief sculpture paintings and I thought they were pretty nice.  

I probably saw 30-40 shows and the weather was beautiful and I was in a great mood looking forward to the studio days stretching ahead.  All in all a good day.

Monday, May 11, 2015

Privacy Made Public at NHAC





I am thrilled to be included in this upcoming survey put together by a very talented painter himself, Alex Cohen.  I feel like he reached into my brain and picked out so many of my favorite painters working today.  

The theme of privacy, too, is one that is right-on for me, as a painter who is constantly mining my own life for subject matter.  I grapple a lot with the idea of what to share every time I write a post here or upload a painting.  There is a certain power in a painting that comes from a private space but also an added vulnerability in it -- when it hits a viewer right, it can blow your hair back, but if it misses it feels like seeing a puppy being kissed by a baby on a soft blanket.

Take a look at painters who do intimate painting right at links below and then see their work in person at New Hope Arts Center May 30th from 6-9pm through June 21st.


Mariel Capanna
Miriam Carpenter
Peter Haarz
 Marissa Halderman

Sunday, May 3, 2015

Art Binge on WGA

1141AD, Mosaic, Santi Maria e Donato, Murano
Quick note to say if you haven't seen it, this is a good website for an art binge: WGA.  Its actually not a good looking website, feels a little dated, but it has a solid image database to get lost in.  

I initially directed students to it for a place to browse for work they found interesting (rather than the terrifying things they find on google images) and I found a lot of weird and good images myself. 

 I like the way it suggests genres and artists, and the image quality is pretty high...you can also browse around in different cathedrals and palaces which is cool.  I never thought I would miss seeing the inside of a church while I was studying abroad and practically felt like I was living in them, but now its been a while and it scratches the itch for finding obscure, weird, beautiful, forgotten things...

Mirror in the form of a mask
1590s
Turquoise, diamomds, and gilt and enameled silver
Museo degli Argenti, Palazzo Pitti, Florence

Tuesday, April 21, 2015

Henry Taylor and the Studio Visit

Henry Taylor, The Sweet William Rorex, Jr., 2010

Henry Taylor, Diana Sofia, is this you? Feeling brown is not blue, 2012, Acrylic on Canvas, 20 x 16
I've admired the work of LA based painter Henry Taylor for quite a while now.  He is able to capture an intimate narrative in his portraiture in a way few can.  So a recent video interview in his studio was a nice thing to see, as I haven't seen or read much directly from him before.  

I also really appreciate the honest way he moves through his space and makes funny anecdotal remarks about certain projects or pieces.  It is generous to allow a glimpse of such a private space,  I sort of can't help but enjoy the voyeuristic thrill of looking at his paints sitting with cologne bottles, paintings hiding behind chairs -- things he may be so used to that they seem the only way it could be but as the viewer they are hints at a unique process and practice.

 Here is the link: Henry Taylor Studio Visit


I've been thinking about the 'studio visit' a bit myself recently, having had a couple of different visits in the last month or so.  The studio is usually so private that it feels really weird to suddenly be performing social interactions within the space. 

 Most of the time, being in the studio it is a place I am barely aware of my human needs, I just do what I want.  I eat when I'm hungry, drink coffee when I'm tired, get up when I need to look from a distance, go on the computer when a painting is sucking, sigh when I feel like it, rinse, repeat. 

 There is something about other people being introduced into the space that makes me painfully aware of myself and this implied thing of seeing the artist in their 'natural habitat' that puts me into neutral mode --  I feel myself purposefully not doing anything strange, playing host and trying to appease a guest which makes the space even more foreign to both of us.  

A lot of times studio visits end up being a positive thing-- good conversation develops, a general ease back into painting mind and a new way to look at my own work.  But anyway, all that to say, this video is great and I love being on the other side of a studio visit interaction.

Monday, April 6, 2015

Philly Shows Not to be Missed...

Neysa Grassi, Untitled (Florence), 2003, gouache on paper, 9 x 7 1/2 inches 

There are so many shows up right now in Philly that I really want to see or saw and really liked.  It doesn't hurt that they are all really good people in addition to being great painters/photographers.  Sometimes that feels like a rare combo but this list proves otherwise.  

Above is Neysa Grassi, who is having a solo show at Locks Gallery titled Foreign Language.  It is works on paper done while traveling and looks to be really beautiful.  There is also a show of Jane Irish's work at Locks which closes mid-April.

Bettina Nelson, "As far as I can tell she's happy" - Mac Demarco, mixed media, 11.5 x 16.5 inches
Leigh Werrell, Bus Stop, gouache and graphite on paper, 10.5 x 11 inches

Opening Friday the 10th at Gross McCleaf is the two person exhibition, A Likely Story, of Leigh Werrell and Bettina Nelson.  Somewhere between color and shape, familiar narratives of city living are woven into both these artists' work.


Bill Scott, Car Windows, oil on canvas, 12" x 16"
 At Cerulean Gallery, Fictitious Pleasures just opened.  A two person exhibition of well known Philadelphia painters Bill Scott and Alex Kanevsky.  It is a nice, edited pairing which considers the space.  Each piece held its own and felt like a world in itself, but it was not overwhelming to take in the whole show slowly.  Harmonious color and good, solid painting make for a sort of restrained but chaotic joy.   There is an artist talk on Sunday April 19th at 2pm.



Eileen Neff, Talamanca Ridge, 2015, Archival Pigment on Dibond, 13 x 13 3/4 inches
Another show I need to see is Eileen Neff at Bridgette Mayer Gallery.  I have been hearing great things and believe it because Eileen (a former graduate critic of mine) never seems to do anything without intention and complete awareness of her work.  Traveling into View is a show of photographs taken while on a residency in Costa Rica.