Modernism History According to Carol

rejection

I’ve been wasting a LOT of time working on an art history experiment on one of the art forums I belong to. Yes, the very one I quit a while back.

I don’t know why I went back. I’m an idiot I suppose. I guess it’s because I’m absolutely addicted to talking about art in every way shape, form, blah, blah, blah, and I can’t find that outlet anywhere else. I tried to create a group or two on Google+ and I have tried to make my own forums in the past, but it’s just not the same as talking to a group of strangers from all over the world that don’t necessarily want to show their art. They just want to talk  about art.

And it’s not that I won’t continue my Vision House/Google+  endeavor. I will! This other place just runs itself without me, so it’s easier to do it when I want, or when I don’t want. I guess that’s the difference. It doesn’t rely on me to keep it extremely active.

Anyway, there is this challenging thread happening there right now that takes a lot of work and I decided to make it a post on my blog. I can bore you with it here! Yaye!

It is taking me forever, however, and I’m not even close to being finished. It asks to pick out which artist and/or painting best exemplifies each decade of the the modernist/post-Modernist experiment to date.

So the original poster is asking what general characterization applies to your personal opinion/story, arc for each decade – explaining the steps along the way, from there to here.

I took this to mean to just pick the paintings, without having to explain. For each decade, I’d pick out my favorite pivotal pieces that changed art history towards Modernism – and not necessarily my favorite painting from each artist. Not even paintings by artists I even like!

That’s not easy. I had to look with a different, objective eye. Still, chose my favorite.

I picked paintings that came before other paintings I liked so much more. Many of these guys settled into styles that they later became known for, but when they painted these paintings – it was shocking and NEW. They changed the course of art history forever.

So here is the first installment from 1850 to 1920. I will do another installment of 50 years when I can.

Millet, The Gleaners, 1857

 

Monet, The Walk Woman with a Parasol, 1875

 

Degas, Stage Rehearsal, 1878-79

 

Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884-1884

 

Toulouse-Lautrec, Abandonment (The pair), 1885

 

Van Gogh, Wheat Field with Cypresses, 1889

 

Munch, The Scream, 1893

 

Gauguin, Where Do We Come From? What Are We? Where Are We Going?, 1897-1898

 

Picasso, Les Demoiselles d’Avignon, 1907

 

Klimt. Hope II, 1907-1908

 

Matisse, Harmony in Red, 1908

 

Kirchner, Marzella (Franzi), 1909-1910

 

Braque, Violin and Candlestick, 1910

 

Chagall, I and the Village, 1911

 

Kandinsky, Farbstudie — Quadrate mit konzentrischen Ringen (Color study — squares with concentric rings), 1913

 

Modigliani, Jeanne Hébuterne, 1919

 

Klee, Twittering Machine, 1922

First Catch

Hi! I’m back.

You’d know that if you’ve been reading my other blog though. Have you? Well you probably should.

It’s not totally filled with religious crap. There is LOTS of art stuff going on there too ya know. You have to understand, this is the project I am going to be working on for a year or more, so I’ll be talking a lot about this stuff, but I’m not trying to be preaching it. I’m just doing research for the back layer designs of my paintings. There’s a story there. There’s a reason.

I just do not want to become annoying with it. I’m sure I already am! I’m almost half way through it. The kabbalah stuff anyway. There’s only 22 letters. Ya gotta bear with me. I’m not trying to be “super Jew” or anything.

One of the tricky things is how to decipher what to write over here as opposed to what I post over there. Pretty tricky sis. I bet you think I have some kind of premeditated formula or something, don’t you? Ha! You’re so wrong. I don’t know what the hell I’m doing.

What I do know is that yesterday I was typing about some things on the other blog that made me want to mention some things over here. Excuse me if I recap a little bit from what I was saying yesterday, but I was talking about the paintings that are going to come (one day — soon. I mean, I’ll get to them any time now) and how excited I am about making them!

I was saying how I felt weird about posting my preliminary work.  And I really do – on either blog! It’s not like I have purposely been hiding it, but I guess it’s that I have been purposely hiding it.

I mean, what artist really wants another artist to see how they got from here to there, unless they have Leonardo da Vinci sketches, studies, or highly rendered layouts with grids and rulers all worked out for the proportions they are going to enlarge their perfect sketches to onto their perfectly primered canvases? There are artists like that! And sure, I’d show that shit off too! “Please, come into my studio, see my preliminary sketches? Aren’t they pleeeasing to the eye? I’ve even made some of them into etchings. Would you like some whhhite whhhine??”

Yeah, then I’d have no problem scanning up all my little sketches to show you basically what’s been in my head before I put paint to canvas. That would be easy. They just seem so, I don’t know, private.  Are they for you?

Yesterday for instance, I was talking about how I had a couple different directions where I wanted to take a new concept in my head since I’ve been out to Joshua Tree. I was explaining a little bit about how I work and how I don’t like to waste much time.

This is why I’ll go with the quickie sketch, except when I want something more rendered. Then I will “quickie” it in watercolor – because this will help me find basic lines.

And I know this does nothing to keep my actual drawing skills sharp. In fact, I admit that when I don’t sit down to draw realism – which, mind you, I am able to do (not from life though, only from 2D references) – my skill muscle gets all weak and flabby! It gets a little harder. I am a little slower. I just don’t need to do it very often. I frankly don’t want to do it unless something calls for it. A tree, a sink, a brain, an element I want to look real.

However, it’s true what they say: If you don’t use it, you lose it. 

So, I had this idea to put scaffolding in the paintings, like against the rocks. This was before I went out there. It started out as climbers, their gear, which reminded me of scaffolding, then window washers – then window washers on scaffolding washing the rocks, then maybe just in the backgrounds. Anyway, I was exploring how I want to work with them.

Like this. It’s just a little bit different in the way I wanted to go about it:

Those two are the same rough concept.

Yesterday I said, what if I want to go the route where I use the more “rendered” window washer guy? Then, I would simplify him until he had the least amount of lines so he was just recognizable as what he is without him looking “real” or illustrated. So I’d probably fill a small sketchbook until I liked him in a variety of positions.

But then I said that I wasn’t leaning that way. I was going in the other direction (like the top drawing), and I was afraid to show the rest of the sketches in this book.

Well, here goes!

5-8-14-6

5-8-14-5

5-8-14-4

5-8-14-3

5-8-14-2

5-8-14-1

These are obviously getting a lot simpler, and in some, the window washer is not even making an appearance. I think he’s on a smoke break, or he’s in the loo. Maybe I fired him. Times are tough and everybody has been out of work lately. Why should he be any different?  He should be standing in line with the rest of this country for his unemployment check.

I didn’t mean to fire him. It’s not like I’m taking a bigger paycheck now that he’s gone. I will most likely hire him on various freelance jobs. We’ll see.

In the meantime, These drawings sure suck. I know that’s what you’re probably thinking. I don’t care. Really. I like second, third and last the most. Those are my favorites. But if you ask me on another day, I might be with you and feel that they all are shit. I’m fickle like that. Some days I think I like the work and some days I know I’m a hack.

I think the trick is to keep your balance somehow. However you can do it. I do not have a problem while walking this tightrope and falling on the megalomaniac side, but if and when I do, I welcome it. I think it would be good for me. My issues are that I fall A LOT on the other side, and a fall a long way down.

But you must ask, how then do you continue? How do you continue to create art, pursue a career in art, and publicly exhibit your own work if what you say is true?

That is a good question!

I learned a long time ago, that life lesson we all know. Or maybe we all don’t know. There’s a lot of people that actually don’t know: Do or die.

Do or die might sound super dire for those of you that think art is “cute” or a “choice,” but as a child NOBODY believed in me. I am really not exaggerating when I say nobody. If I didn’t believe in myself, then who?

Think about being a kid for a minute and think about who you lived for. I can’t answer that for you, but it was most likely the person or adult that believed in you. Probably way more than you even believed in yourself. You probably didn’t even think much about who or what you were, or maybe you didn’t think much about it at all because you probably didn’t have to. You were too busy being a kid! That’s what you’re supposed to do! 🙂

Well, you had every reason in this world to live!

Now, I’m not saying “you” like it’s everybody besides me. You may be in the same boat as I am/was – or much, much worse. I am not alone, and this is not a contest. I am just saying it is how I learned: Do or die.

So, it never matters to me if I like my stuff or if I think it’s a pile of dung. Those days come and they go. What matters is that I believe in myself even when I don’t believe in myself.

It’s my job.

Power is “ON”

Alright, so should I get this out of my system? Should I tell the story of why I’ve had a big “film block?”

It’s a really, really heavy story. I warn you. And why would – how could – a Handicam  bring about such an uproar?

Well it did.

In 2007, I had a very good year in terms of sales. I was finally able to purchase a good DV cam so that I could finally experiment with video production. I had BIG plans. I researched cameras and got a lot of advice from people in the know about how I could make an actual motion picture. I got me a Sony TRV 900. If you don’t know about this camera, it is the first of the Sony DV, hand-held cams that were decent enough to make a movie with. They are basically equivalent to buying a $5000 camera today, but I got one on eBay for $500.

It worked great, but the body of it looked like it had been dragged behind a car or something. I didn’t mind because it worked and I knew what it was really worth.

The reason I was interested in video at all whatsoever was because I was ULTRA inspired by a film called Tarnation. This film gave me amazing energy to put together my own autobiography as a documentary art film, complete with animation, footage of my parents, personal diaries, and the like. It would be very similar to what director, Jonathan Caouette did in Tarnation, but without the billions of hours of footage he had. He was documenting his family since he was a very young child! Kind of amazing. Not kind of, totally.

Anyway, people had always told me that I should write a book about my life, but I never felt I was a very good writer. I really thought that once I got this camera, it would bring out some big, talented filmmaker in me that was dormant or something.

That didn’t happen.

Nonetheless, I still very much wanted to pursue my documentary and I had ideas to begin getting footage of my parents in their weird little habitat in Las Vegas. And I realized that I would probably have to go out there quite a number of times before they would be used to having a camera in their face and start to act natural with me filming them.

So I began driving out to Las Vegas to visit them.

I think I’m going to have to tell this story in parts.

Sorry.

Part Two to come soon. 🙂

Transition

I often have dreams about places I’ve lived, studios I’ve had. They are mixed up in my head and sort of blended together, and I’m usually moving in the dream. Sometimes I am in the middle of the two places, a lot of times Michael and I are splitting up. I suppose we dream about what we fear the most. Sometimes we are just separated because someone has to stay in one of the houses while in transition. Somebody has to stay and paint the new place, spackle the holes in the old place — something like that.

Anyway, all this cleaning out the studio, and thinking about how to fit everything in some future home had me thinking I guess – had me dreaming, and worrying – about transitions.

I am getting ready for my big trip and it is going to be all about transition.  It’s actually starting to scare me a little. Sometimes when I’m scared of something, I look it up in the dictionary. Defining it usually takes the “heavy” significance out of it for me. It gives me a sense of control or something, but this time it more or less scared the shit out of me more!

tran·si·tion

[tran-zishuh n, –sish-]
noun
1. movement, passage, or change from one position, state, stage, subject, concept, etc., to another;change: the transition from adolescence to adulthood.

Yup! That about sums it up! That’s what the plan is. That’s exactly what I was setting out to do.

So why would I get cold feet?

Okay, it’s not cold feet. Believe me, I am excited and I am so looking forward to it. I’m just a little scared. Mostly… curious.

I think I love that the word “passage” is in the definition. Yeah. I like it. Passage… Like I will come out of this a new artist, a new person. Hopefully, an improved one. But we’ll see. You know, that’s all about confidence? It really is. Because there’s no such thing as being a “good” artist. Not really.

In other news, I have a few pictures of how Monographie is looking. See?

They are not the greatest photos on Earth, but it’s a little peek for you. At least I’m giving you something! Jeez, stop complaining.

Here’s the front:

front

And the back. (Clever, eh?)

back

spine

spineflat2

standing
I think it’s looking pretty, pretty, pretty, pretty lovely. Don’t you think? Don’t you want one?

The inside is even better! (Horn tootin’!)