mary anne davis
art, life, and evolution
Tuesday, August 12, 2014
Embarking on the Dissertation
So, I am writing here again. Maybe you will read this, maybe you won't. If you don't that's OK. But if you do and have interest in chatting, please comment below. I will also post images of new "art" as I begin anew to produce that sort of time consuming and rarified practice. So, my criteria for calling an object of my attention art vs. commodity is that it is-
1. Experimental and exploratory
2. Not economically motivated
There may be greater categorization down the road but those are two pretty good criteria to get me started. While I create this differential in my practice, I am seeking to break down those differences in my writing. Perhaps I need to reconsider Ranciere's notion of dissensus or Derrida's differance in my impulse to 'flatten' the hierarchy between art and commodity. Ah, much more digestion and iterative work ahead. Thanks for taking the time to read. No guarantees about how often I write, but I do hope to use this forum to get me rolling in my writing, to fly ideas up the flag pole and to consider my writing in relation to my practice. It is nice to know that someone somewhere might take an interest.
Saturday, August 17, 2013
Through the Mirror: Utopia Revisited
Backyard Gaze : Tablecloth Box #1 |
Here is the text I wrote as a companion to the exhibit.
Wednesday, March 20, 2013
Works on Paper
Sketches or preparatory works can help develop a kind of rhythm in the work, which is how I use them. I create a space for the development of a back and forth, a habitual or practice of mark making. The dots and squares painted here began as these simple sketches and evolved into the more complex works I am referring to as Flora and Fauna Investigations, formerly known as Rhizomatic Foam.
Friday, March 01, 2013
Pink and Yellow Foam
Wednesday, February 20, 2013
Rhizomatic Foam Boxes
This piece, as yet untitled beyond Rhizomatic Foam Box, includes several ideas I have been working with for a long time and a few new ones. As I mentioned, I used to make boxes years ago, so that is something not entirely new, but given the time lapse between then and now, is a recycling of an old idea, and certainly new in my use of recycled cardboard and old encyclopedia pages. Cutting birds out of the pages of an encyclopedia, new. The totally novel addition to this piece is the little clamp light on top of the box. They felt a little dark, all boxy and layered so I decided to try adding a small lamp to this piece. I am somewhat happy with the affect, we'll see how that pans out in future iterations.
Tuesday, January 29, 2013
Dialectical Revival
This week has been another full week. Since the fall I have been developing a new body of work based on the idea of Rhizomatic Foam. Inspired by the idea of rhizome theory in Deleuze and Guattari's classic, A Thousand Plateaus, the image has fed me with countless lines of possible expression. As a maker, I am driven, almost obsessed with the desire to make. As a contemporary artist, I want to participate in the current dialogue and that is strongly conceptual. But, things evolve and art evolves in an amazing and most complex manner making it a very special place to call home.
Thursday, September 20, 2012
Archiving
Jacobs Ladder, 1992, 6" x 6", pencil and watercolor on paper, private collection |
Flock of Dots Skipping Rope, 1992, 6" x 6" pencil and watercolor on paper |
Form and Line Collision, 1992, 6" x 6" pencil and watercolor |
Lyrical Line Gesture #2, 1992, 6" x 6" watercolor and pencil on paper |
Lyrical Line Drawing #3, 1992, 6" x 6" watercolor and pencil on paper |
Lyrical Line Drawing, 1992, 6" x 6" watercolor and pencil on paper |
Monday, July 09, 2012
The Soul of Art
Wednesday, November 23, 2011
The Aesthetic Economy
But, if art and culture are already so entrenched, why is a career in an arts related industry considered, well, not the favorite choice of a parent of a teenager? Being the mother of a 16 year old, I am particularly sensitive to how this unfolds. My son is in no danger of such a decision, at least not at this point. His aptitude is strong in math and science and I suspect he will go after a more ‘solid’ career choice. But I am an artist! Why do I have that less than arts supportive attitude? There two streams of thought at work here. One, the most obvious in my mind is my sons aptitude and interests. His father has a Ph.D in botany and writes school curriculum in the sciences. I, on the other hand, am an artist and so he has been raised with both ends of that particular spectrum. I would never try and influence his decision making process although exposing him to possibilities certainly ranks as part of my job description. The second thought stream here is that it IS a difficult career choice and part of me is relieved he isn’t, at this point, taking that tougher road.
Pepper Sprayed Seurat |
Friday, September 30, 2011
Mineo Mizuno at Pulse, LA
Monday, September 26, 2011
Line and Color
September 17-October 30
Hours: Thursday - Monday: 11-5PM
57 Main Street
Chatham, NY
518.392.3336
Jean Feinburg, Splitsville, 2009, 16" x 10", oil on wood
Jean Feinburg's work is constructed from repurposed wood, possibly from crumbling barn structures or other scarred effigies. She constructs simple configurations that are then carefully painted with muted tones, earthy and calm. Shapes are masked, edges are crisp. There is comfort in the work in spite of the rough hewn materials. These are objects of quiet beauty, well crafted and cared for. The works date from 2002-2011 indicating commitment to a process and style. Feinburg employs very simple and specific modes of conveying a refreshing arithmetic of squares and rectangles. One piece that gives a sense of spiritual essence is "Splitsville" 2009 16" x 10" -- a cross painted on a piece of wood that has a crack down the center. The title belies the shape of the geometric figure on the wood structure. A cross. Iconic and unmistakable.
Emiliy Cheng, Canopy, 2002, 50" x 48"
Emily Cheng is an artist who has embraced the beautiful without apology. Her paintings "Spin" and "Flutter" both from 2005, resemble lengths of fabric tied into a knot and fluttering in the breeze. Their red border serves to differentiate the edge in a striking separation between the object and the ground of the painting. "Canopy" takes the shape of an umbrella and turns it into a mandala, rotating around a ground of arabesques with detailed surprises around the edges of the canvas. Paint drips dry in different directions, suggesting the canvas was worked on in rotation . The texture of the paint is left as evidence of the making. "Protecting Three Graces" is an earlier work, a monotype of layered imagery -- Botticelli's "Primavera" and eastern thangka images with Cheng's own shapes. A curious juxtaposition of Asian and European art history.
David Paulson, Homage to Masson, 2010, 25" x 42", oil on board
David Paulson's painting has the heroic quality of a demonic nature. The visceral work is thickly painted in oils or acrylic and pays homage to modernist artists such as Andre Masson and early Jackson Pollock. Paulson uses paint to build up a surface that emboldens his graphic abstractions and layers color in ways that repel while drawing the viewer in. Painting with such physical quality is difficult to fathom in its purely formal elements. "Startled Figure" 2009 is an emotive, anxious response of the startled figure. A nervous agitation beckons the viewer to reflect on her own irritable volatility. Black scumbling and raw oozing acrylic, hardened and caked on the surface exhibit an organic, primitive quality. Brutish and dark. "Homage to Masson" 2010 is expressive, emoting the pure joy of laying paint down on a surface. An homage to the early surrealist Masson suggests Paulson uses automatic drawing in his work and the composition certainly supports this assumption. Automatic mark making creates a completely non-objective picture in a manner used by the surrealists, but in the hands of Paulson, renders a romantic possibility of immediacy.
Tom Hope, Down to the Waters Edge, 1996, 66" x 46", oil on canvas
Tom Hope's one picture in the show, "Down to the Waters Edge" 1996 is the most narrative piece in the exhibit. Mythic in scope and large, 66" high x 46" wide, the painting seems to evoke a dream. Fishermen surround nets of fish laying in a boat that becomes a stairway leading up to a door where a nude woman floats above them all. Watching men stand a bit back from the fisher men, taking stock, perhaps to bid on the fish or take their cut. The entire picture is floating in the night sky with stars in the background. Much more illustrative than the other works on the show, Hope's work has a surrealistic quality. The dream evokes a mystery and captivates the viewer in its puzzling allure.
Michael Tong, Ben Franklin, 2003, 20" x 14", welded bronze on steel
Michael Tong has several different types of pieces in the show. His works on paper are reminiscent of Chinese landscape painting. "The Big Pink" 2007, 60" x 82" is a watercolor/guache on paper. To begin with, the color itself is a surprise. Pink monochrome sets the stage for the rest of the picture which includes tiny humorous tableau in the distance. Trucks and unexpected figures clamor up the hillside in a quietly anomalous mise en scene amidst the grandeur of this pink mountain scape. "Lakeside" 2007 also calls to mind Chinese landscapes, but again, the quirky inclusion of a modern home on stilts in the water and a two story american cabin complete with brick chimney and motor boats harboring next to their fantasy domiciles leaves one smiling if not outright laughing. Humor is clearly an aspect of this artists intention. His jewelry is also pretty funny. In particular "Ben Franklin" 2003, welded bronze on steel is an impossible golden chain with the symbol of an American hundred dollar bill on it. A wry wink at the golden chain culture.
Sunday, May 01, 2011
Laura Sharp Wilson
Yelling at Strangers, 2010
Acrylic and graphite on Unryu paper mounted on wood, 12 x 12 inches
511 West 25th St. NYC
I was fortunate to see this show before it closed on April 30th. Working on a small scale, Wilson's work is very dense and intricate. She applies rice paper to the surface of prepared wooden panels and creates these fantastic worlds of densely patterned string like meanderings. Binding and fencing are recurring themes. There is a beautiful prison stuck here. These are precious works of art with a tortured and meticulously rendered surface that synthesizes multiple decorative elements. These compositions are fascinating to look at. They hold the eye and do not disappoint. Botanical references are insinuated, all of the linear elements seem to bind themselves up in a carefully contained composition just this side of chaos. These little lovelies are obsessive and lyrical in their layered and nearly cacophonous resolve.