Triple Apple Day

February

2012-02-17T16:23:00.001-05:00

Show's down at DUB, but some paintings will be in a group show at LIU next month. New studio is all set up and am feeling comfortable there. And only a few days till pitchers and catchers report.

4 Paintings at Dub

2012-01-22T10:18:00.001-05:00

I have some paintings at Dub Pies Art Gallery, Prospect Park West and 17th Street, Brooklyn.

Walking Woman, charcoal, 2011

2012-01-11T12:19:00.002-05:00

Untitled

2012-01-02T21:32:00.002-05:00

2012

2012-01-02T21:22:00.002-05:00

The move is done. Will take some time to set up the new studio, but that will be more fun than breaking down the old. Another beginning. Happy New Year to one and all. Spent the weekend with my son. Turned 44 on New Year's Eve; I'm calling it my Hank Aaron year, although it could just as easily be named for Kareem, or John Riggins, or Reggie Jackson. Or even Chuck Foreman. Lots of quality 44's. But Hank is the class of the 44's. Love and thanks to my sweetheart for all she does. Till the wheels fall off, kid.

Happy Holidays

2011-12-23T09:36:00.000-05:00

Holiday card, 2005, three-color linocut on card stock.

Still Crazy

2011-12-23T09:27:00.000-05:00

No end in sight. But things are coming along. Somehow that makes sense. Will start the studio move on Tuesday. New beginnings, and all that. Happy Holidays, and best wishes for the New Year!

Crazy

2011-12-05T11:05:00.001-05:00

Just a crazy month, as if this time of year needs extra crazy. Moving my studio, which is just an insane amount of work. Also, Jose Reyes is heading south. Not an insane amount of work, but it will be insane to see him in a fish uniform.mArgh.

3 Paintings in the Louisville Slugger Museum and Factory Fall Auction

2011-11-02T11:09:00.002-04:00

These three paintings are up for auction at Hunt Auctions, Inc. for Louisville Slugger's Fall Auction. They are lots 1F, 1G, and 1H and are available now for pre-bidding. Click on the title below each image to bid. Pre-bidding ends November 10th, and the live auction takes place in Louisville on Saturday, November 12th.

Left Fielder, 2006-7, oil on canvas, 28x22in.

Warm ups, 2006, oil on canvas, 26x36in.

Three fielders, 2006, oil on canvas, 26x36in.

Man with tie, 2011, charcoal, @6x12in.

2011-10-28T09:26:00.001-04:00

Untitled, 2011, charcoal, @9x9in.

2011-10-28T09:26:00.000-04:00

Saloon showgirls, 2011, charcoal, @9x9in.

2011-10-28T09:25:00.000-04:00

Untitled, 2011, charcoal, @7x10in.

2011-10-18T13:49:00.000-04:00

Front Door, 2011, oil on panel, 12x12in.

2011-10-11T10:52:00.000-04:00

Caramel Apple Day as part of the Countdown to Halloween

2011-10-07T11:08:00.001-04:00

I'm taking part in the Countdown to Halloween with my October side blog Caramel Apple Day.

(This nice Vincent Price badge is courtesy Countdown to Halloween.)

I'm posting some work there with more specific Halloweenish imagery, mostly stuff like my B movie work, but from monster and horror and sci fi movies exclusively. Kind of like my own personal Sir Graves Ghastly gallery. Also, for the first time I'm being a little less coy about my sources, so for the most part you'll know what movies I'm using. London After Midnight, and Carnival of Souls, so far, plus another film I won't name because it predates Caramel Apple Day.

The name is a play on Triple Apple Day, because caramel apples make me think of fall and Halloween.

Speaking of Carnival of Souls, it's a beautiful film, full of really strong images. Although it's in the public domain, I've never used it as a source before, because its cult status makes it more recognizable than I'd like. I like my subjects to be more obscure. But as I looked at this film to find an image to use, I also realized that it's almost too damn pretty for me to use. I like my sources sloppier, grottier. Working from Carnival is like working from an Ingres drawing, so delicate, precise and gorgeous. It gives me a hard time, but I think I may keep at it because it's so damn good looking--trying to pick an image to use is like suffering from your proverbial embarrassment of riches....

Arms folded, 2011, charcoal, @6x10in.

2011-10-05T12:29:00.000-04:00

Caramel Apple Day

2011-09-28T17:59:00.004-04:00

Going to post some Halloween related stuff on a side project blog called Caramel Apple Day all October. Because I like Halloween. There will be a lot of B Movie series type imagery, but from monster movies only, and most will be drawings created for Caramel Apple Day. Enjoy.

Two cowboys, 2011, charcoal, @9x9in.

2011-09-27T14:53:00.000-04:00

Woman smiling in sunshine, 2011, oil on canvas, 14x16in.

2011-09-26T10:04:00.000-04:00

Red Chair, 2011, oil on canvas, 20x24in.

2011-09-22T09:44:00.000-04:00

Tilted head of a woman, 2011, charcoal, @10x10in.

2011-09-20T15:11:00.000-04:00

House, 2011, oil on paper, 20.5x14in.

2011-09-20T15:08:00.000-04:00

Hand on Hip, 2011, oil on paper, 20x16.5in.

2011-09-20T15:07:00.001-04:00

Bikini, 2011, oil on paper, 13.5x14.5in.

2011-09-20T15:07:00.000-04:00

Blue Nude, 2011, oil on canvas, 16x14in.

2011-09-20T15:06:00.000-04:00

Football player (ghost print with charcoal), 2011, monotype, 8x6in.

2011-09-16T10:25:00.000-04:00

In the car, 2011, gouache on paper, @8x10in.

2011-09-15T13:16:00.000-04:00

Boa swish, 2011, gouache on paper, 9x12in.

2011-09-14T13:40:00.000-04:00

Boa swish 2, 2011, gouache on paper, 9x12in.

2011-09-14T13:33:00.000-04:00

Woman, Man and Door, 2011, charcoal, 9x9in.

2011-09-12T10:55:00.000-04:00

Voices

2011-09-12T10:31:00.002-04:00

This is a short documentary with four stories about people who lost loved ones on 9/11 and how they have coped in the ten years since. 35 Candles is seen at about the 9:40 mark.

And this is, I hope, my last post about the whole ten year thing. It is always good to get to September 12th.

Detail: Woman sitting in front of Flowers, 2011, oil on paper, 17x18in.

2011-09-12T09:19:00.000-04:00

Man in doorway, 2011, gouache on paper, 6x8in.

2011-09-09T11:14:00.000-04:00

Black Vest, (2001), oil on canvas, 20x18in.

2011-09-09T11:08:00.000-04:00

35 Candles, detail, 2002-3, oil on 35 12x9in. panels

2011-09-09T11:06:00.001-04:00

Ten Years

2011-09-09T10:57:00.000-04:00

With ten years passed since 9/11, the memorial I painted andinstalled for the Alger company, who had offices in the North Tower and lost 35people that day, has been featured in a few news articles about the company(see previous posts). I feel a mix ofpride and humility when I think about 35 Candles – it is only paint and wood inthe face of that horrible day, but it is my own small contribution to honoringthe memory of all those who were lost on 9/11, and those lost in the years since, because of their selfless work at the site.

I was approached by a couple friends involved with Alger inthe late summer of 2002, and they wondered if I’d be interested in helping withsome kind of memorial project for the company. It was a formidable proposition, less than a year after the terrible day. The company was rebuilding, and had moved to new offices a littlefurther uptown. They were unsure whatthey wanted, but they had felt it was time to do something in memory of theirlost colleagues. Feelings of New Yorkers everywhere were stillvery very raw as we approached the first anniversary of the attack, and we,understandably, weren’t given a lot of direction, but were told that they didn’twant anything too “in your face” or literal about the day.

I worked with an old friend in the initial stages, and wedecided that a grid of small paintings made sense, alluding in the classicModernist way to the grid of Manhattan streets and New York School painting. There would be 35 panels, one for each lifelost from Alger. Following that, I cameup with a few ideas and sketches to show Alger. One idea was a grid of different blue paintings, as an allusion to thebrilliant, clear blue sky of that morning, which has always been a potentmemory of that day for me. Another ideawas a different bird on each panel, which was inspired by the beautiful littlegoldfinch painted by the Dutch painter Carel Fabritius in the SeventeenthCentury. A third idea was a small stilllife of a single flower for each panel, which was inspired by the lastpaintings of Manet. I also prepared asketch of candles, since it is such a traditional image of memorials, but I didnot expect Alger to pick that one. Ithought perhaps it would be too much an image of mourning for them, too literalan image to use in their offices, with perhaps connotations that would be toointense. There had been candles burning all over the city at makeshift memorials on the streets.

But Alger did want the candle idea. I took some Polaroids of candles in mystudio, and worked from them to do a half dozen or so oil sketches on paper tofurther develop an idea that I did not expect them to like, and after that I wasgiven the green light to begin work. From the beginning I had to think about materials and installation. I had to work out those basic issuesbeforehand – I chose wood panels for their durability and stability, and I preparedthe surfaces myself, sanding, sizing with an acrylic emulsion, and priming witha white acrylic emulsion ground. I tookmany more photographs and chose the 35 I would work from. I looked at Chardin, Richter, de la Tour,Vermeer, Caravaggio, Morandi, Velazquez, and others, looking at artists with strong visualconnections to the subject or great spiritual power.

It was daunting to begin work. This was my chance to respond to the horrorsof 9/11 and of course I felt a great responsibility to do the work justice. So, I started to paint. Time was an issue so I could not waste it bythinking too much; I just needed to work. So I didn't think about mucking it up--I simply resolved to make each panel as beautiful as I possiblycould.

Fortunately, I was in a good place in my artisticdevelopment when this job came along. Ihad worked through many different kinds of painting, spent several years in thenineties working at traditional observational painting through still life andlandscape and some portraiture. In theearly nineties I’d spent two and a half years as a guard at the Met, looking atgreat art from all cultures and times. Inthe late nineties I’d moved to a studio with no natural light and as a responseto that, I’d begun, tentatively at first, to use photographic sources as models(as I still do today), which was both a sea change in my practice and a completereconfiguration of my ideas and commitments about the nature and value ofpainting. It had been, for lack of abetter phrase, a crisis of faith in my work. But by 2002, I had, in short, developed some pretty good chops in a range oftechniques and with a solid understanding of my craft.

The work went well. Betterthan I’d hoped. I saw it taking shape,panel by panel, and I believed in my heart that it was good. I started each panel, then worked on them alltogether, rearranging them on the grid as they would hang at Alger, working allover as if it were one painting. Somewherealong the line, I thought of changing from a 7x5 grid to a 6x6 grid that wouldleave one section empty as a sign of loss and incompleteness.

It took two days to install in the Alger offices, a weekendin early February of 2003. It took a lot of measuring to align the paintings, and each is hung solidly with two drywall screws. Also, the wall is painted grey on the area directly behind the panels, to soften the light. From start tofinish, the work was conceived, executed and installed in what I think was apretty quick time frame, but no short cuts were taken, and I am both proud ofand humbled by this work.

It is, and always will be, very hard to think about 9/11 andthe immediate months that followed. I thoughtabout writing about that here as well, but I don’t think I want to do that justyet. The immense sorrow comes backunbidden all on its own, with the slightest of triggers, and the mostunexpected times. I do remember the workI was doing at the time of the attacks, photobased paintings taken fromsnapshots of pedestrians as I looked down from my second floor studio window inDUMBO, and when I finally came back to my studio, the stench still strong at mystudio on Jay Street, a block from the water, my work on the walls looked alien to me, andI wondered about those blurred, faceless people in my paintings and photos, wonderedwhich ones were still alive, and of those, who were mourning loved ones.

I hate when people say don’t forget. We won’t forget. I love New York.

35 Candles in WNYC slideshow about the Recovery of the Financial District

2011-09-08T12:27:00.001-04:00

A really good detail photo here.

35 Candles in Crain's New York Business Special Issue: 9/11 Ten Years Later

2011-09-07T17:05:00.002-04:00

A photo of a commissioned work I made for a company that had offices in the World Trade Center appears in the latest Crains' as part of an article on Alger CEO Dan Chung. The image of my work is not available online, but after a good deal of legwork I was able to find some hardcopies of the issue in Manhattan. You can find more information about this artwork here. Just scroll down for more images and information about the commission.

Hands folded, 2011, charcoal, 12x9.5in.

2011-09-07T11:48:00.000-04:00

Folded arms, 2011, acrylics on paper, @6x10in.

2011-09-07T11:47:00.000-04:00

Artist's model and man on couch, 2011, oil on paper, 14.5x17.5

2011-09-01T09:35:00.000-04:00

Adjustment, 2011, acrylics on paper, 11x14in.

2011-08-30T14:58:00.000-04:00

Cowboys on horseback, 2011, charcoal and gouache, @8x10in.

2011-08-25T11:04:00.002-04:00

Hatless cowboy, 2011, charcoal, @8x10in.

2011-08-25T11:04:00.001-04:00

Cowboy, 2011, charcoal, @9x9in.

2011-08-25T11:04:00.000-04:00

Horseback, 2011, charcoal, 12x9.5in.

2011-08-25T11:03:00.000-04:00

Two cowboys, 2011, oil on paper, 6x7.5in.

2011-08-22T15:26:00.000-04:00

Cowboy, 2011, gouache, @6x6in.

2011-08-22T15:25:00.000-04:00

Two Cowboys on Horses, 2011, oil on paper, 18x22in.

2011-08-22T15:24:00.000-04:00

Man opening Door, 2011, oil on paper, 6x7in.

2011-08-18T11:37:00.000-04:00

Four new monotypes at MondoBlue shop

2011-08-18T11:36:00.003-04:00

MondoBlue.

Woman and Man with Door, 2011, oil on canvas, 14x16in.

2011-08-16T09:50:00.001-04:00

Kiss (striped shirt), 2011, oil on canvas, 14x16in.

2011-08-16T09:50:00.000-04:00

In the car, 2011, oil on paper, 12x16in.

2011-08-16T09:49:00.000-04:00

Woman in bed, 2011, oil on paper, 10x11in.

2011-08-15T11:22:00.001-04:00

Woman sitting in front of Flowers, 2011, oil on paper, 17x18in.

2011-08-15T11:21:00.000-04:00

Man Meeting Woman in Fog, 2011, oil on paper, 18x19in.

2011-08-15T10:45:00.000-04:00

I Like Jazz

2011-08-10T12:28:00.000-04:00

This is an old 45 EP from my parents' house. I remember being fascinated by this cover as a kid. I recently saw it and snapped a pic when I was in Toledo.

Road Trip

2011-08-08T09:38:00.001-04:00

Just back from a terrific weeklong road trip to the midwest with my son, the last week of a three week vacation. Spent the first week in the studio, the second with my girlfriend, and the last driving out to Ohia with my son via rte 80. Spent a couple days in Toledo and a few more at a lakeErieside cottage in Vermilion, courtesy of my sister. Took my son to Cedar Point for the first time ever, which was my first visit in at least 20 years. We loved the Iron Dragon and the Gemini. And Cedar Downs. He got plenty of quality cousin time both with Wii and on the beach, and we also visited the always fantastic Toledo Zoo. Just a great time all week. Driving rte 80 always makes me think of my father as I made the drive with him a few times to go get one of my brothers in college out east, and one time we made the drive I had only just gotten my learner's permit and he was teaching me a few rules of the road, especially in regards to all those trucks you have to deal with on that route. Thanks to my family and especially my mom and sister for a great, great trip. And to my son, who is a great traveler.

Teen Couple (2007), oil on canvas, 20x14in.

2011-07-14T13:21:00.000-04:00

House with driveway (2010), acrylic on paper, 19x26in.

2011-07-14T13:19:00.001-04:00

Scooter (2002), pastel, 6x10in.

2011-07-14T13:16:00.001-04:00

Three, 2009-11, work in progress, oil on panel, 20x24in.

2011-07-14T09:51:00.001-04:00

Stride (2004), pastel and charcoal, 22x15in.

2011-07-06T13:10:00.000-04:00

Bicycle (2005), acrylic on paper, 22x30in.

2011-06-30T15:17:00.001-04:00

Ohio Turnpike (2002), oil on canvas, 40x48in.

2011-06-30T10:39:00.001-04:00

Night Club Table (2007), oil on canvas, 22x28in.

2011-06-23T09:45:00.001-04:00

Night Highway (2005), oil on canvas, 18x20in.

2011-06-14T10:56:00.001-04:00

Scooter couple (2001), oil on paper, 17x15in.

2011-06-09T11:24:00.000-04:00

Driver's side (2002), oil on canvas, 12x12in.

2011-06-08T17:49:00.000-04:00

Go Go (2003), pastel, 14x15in.

2011-06-07T10:13:00.001-04:00

Two dancers, 2009, oil on panel, 12x12in.

2011-06-06T11:37:00.001-04:00

Cowboy, @1998, oil on book cover

2011-06-06T11:30:00.000-04:00

White boa (2010), acrylic on paper, 30x22in.

2011-06-06T10:58:00.003-04:00

Backstage with Skeleton (2010), acrylic on paper, 24z22in.

2011-06-06T10:58:00.001-04:00

Burlesque (back) (2010), acrylic on paper, 22x22in.

2011-06-06T10:57:00.001-04:00

Backseat (2002), oil on paper, 15x22in.

2011-06-01T18:39:00.001-04:00

Pool (2000), oil on paper, 22x30in.

2011-06-01T18:35:00.001-04:00

Swimming pool (2000), oil on canvas, 36x26in.

2011-06-01T18:34:00.000-04:00

Studio: caryatid

2011-05-25T12:56:00.001-04:00

Studio: skull and coffee cup

2011-05-25T12:55:00.001-04:00

Magic act rehearsal (2008) oil on canvas, 22x28in.

2011-05-16T15:28:00.001-04:00

Hostess, 2011, monotype on grey laid paper, 8x6in.

2011-05-11T16:05:00.000-04:00

Head of a woman (2009), pastel @ 16x12in.

2011-05-10T16:30:00.000-04:00

Doorway (2006), oil on canvas, 26x36in.

2011-05-09T13:06:00.001-04:00

Swimsuits, 2011, monotype, on grey laid paper, 6x8in.

2011-05-06T11:37:00.001-04:00

Girl with soda (after Jack Kirby), 2011, pastel, @5x5in.

2011-05-05T15:48:00.002-04:00

Woman looking to the side, 2011, charcoal on canvas, 28x22in.

2011-05-04T18:34:00.001-04:00

Candle (2002-3), oil on panel, 12x9in.

2011-05-02T10:04:00.002-04:00

New stuff on Etsy and the FAAN

2011-04-29T16:17:00.000-04:00

Three recent new monotypes at Mondoblue on Etsy.

Four monotypes at the Fine Art Adoption Network. Not to be confused with WFAN.

House, 2011, monotype, 6x8in.

2011-04-28T11:32:00.001-04:00

Woman in doorway, 2010, charcoal, wash and pastel, @23x27in.

2011-04-27T18:33:00.001-04:00

House and front yard, 2009, oil on panel, 24x20in.

2011-04-27T12:34:00.000-04:00

Startled woman, 2009-10, oil on panel, 20x24in.

2011-04-27T12:33:00.002-04:00

Burlesque, 2009-10, oil on panel, 20x24in.

2011-04-27T12:32:00.002-04:00

Man with tie, 2011, oil on panel, @24x12in.

2011-04-26T11:35:00.000-04:00

Car, 2011, oil on panel, @12x24in.

2011-04-18T10:08:00.001-04:00

Swimsuits, 2010, oil on panel, 12x18in.

2011-04-15T11:23:00.001-04:00

Woman, 2011, monotype, 8x6in.

2011-04-13T17:21:00.000-04:00

Go-Go Dancer, 2011, charcoal on canvas, 28x22in.

2011-04-13T13:17:00.000-04:00