Recovering from the opening. Yes, it took a week. It’s going to take longer if you don’t mind. It’s 2 years of working like a fiend, then there’s this one night that goes by like a blur, then the earth stops moving and time stands still and you feel like a truck ran you over. It’s weird.

I stupidly did not bring a camera. All I have are pics gathered from what a couple of other people took. Chance Press waited until everyone cleared out for the night and took a few. Coagula Art Journal took a pic of me in front of a painting for their Weekend Bender feature that they do on their blog. Other than that, I don’t have any great images of the night with crowds of people, but you’ll have to trust me that they were there. My voice got horse talking so much. Many people seemed to really like the new stuff – at least they said so. I was actually happy with how it all looked. (Now that’s not something I would usually tout!) People came in waves, but there always seemed to be enough people in the gallery to keep my gums flapping. I was happy that the work was so well received. A relief really. Everyone loved Dan. And Machine was the favorite.

I’m already getting a bit busy again. I am in a group show that opens tomorrow at Angels Gate Cultural Center called To Live and Draw in LA:

I should also mention that there is a great little article out about me in this new issue of Artillery Art Mag, a studio visit with Jack Chipman back when I still had Moppet.

I am going to be in a show called Soft that was organized/curated by Edith Abeyta at Future Studio and that opens on December 11th:

And I just got word that I will be participating in a show at the Finegood Gallery at the JCC at Milken in West Hills, California called, Jewish Ritual: Rethinking, Renewed. I will be making a few new pieces on manila pattern paper for that show.

What I am very much looking forward to is the upcoming publication of my very first book of poems from Bottle of Smoke Press in 2011. I am just now starting on the artwork for this. I have waited until I had focused time to do so. The title of this book is Monsters on Jasmine St. It’s just a few poems with accompanying artwork. The edition is limited to 50 paperback, letterpress covers and 26 lettered hardcovers.

Okay bye!

No, not the drug. I’m on something else right now – nothing quite as good as ecstasy, but… And no, not the Steely Dan album, which I wouldn’t call their best – although it’s still one of the best albums of the 70s and it does have Gold Teeth on it… No, I was referring to a few things that are coming to a head right now – like how my show is opening in 8 days (I’m installing it this Sunday and Monday) and how my book: Scribbles in a Sandstorm is practically finished. There are going to be only 5 books available at my show, and only 1 deluxe edition (which is the only one left – the rest have been sold out on pre-sales). Take a sneak peak of the book in progress on Chance Press’ site here.

I also added a group show to my schedule that opens November 7th at Angels Gate Cultural Center called, To Live and Draw in L.A.

Today (Friday) I am going to have lunch with artists Nancy Baker and Oriane Stender. They are both in town for Nancy’s show tonight at Jancar Gallery in Chinatown, which is happening from 6-9 PM. You should go!

this past week I’ve been covering all the fronts of my paintings with that foam sheeting so they will be AOK for stacking in my car and transporting to the gallery. I guess I’ve been a little more anal about these things because I’m sick of touching things up after I moved everything from the old studio to the garage. Especially the white background paintings, but I’m bringing a paint kit anyway just in case anything gets nicked after we hang it. See? Anal.

I have to say that I look forward to installation day, not reception day. Getting the work hung and the placement of everything is what’s so important to me. It’s what I have been working for these last 2 years. To me, that’s the show; that’s the personal satisfaction. being alone in the gallery and seeing it all “perfect,” or feeling good about how it is anyway… then I let it go. I hand it all over. The control. I set sail to the work, the energy, the control, the art, the relationship I had with it, and I take my hands away and totally give it up. It is no longer mine.

Reception day is usually a blur. I try to get through it best I can. It’s like driving a car with a broken steering wheel down a thin alleyway at 150 mph, where I can’t see through the wind sheild, 3 of the tires are nearly flat, and the head gasket is about to blow up, and I have to eat a hamburger with my shifting hand. Meanwhile, I have to make sure I don’t hit any pedestrians. …As long as I haven’t offended anyone the night of the reception, I feel safe. It is not easy to give every single person who comes undivided attention. I want to thank every one who actually think it’s worth coming to see my work – but I have to do this without feeling nervous. Because I am uncomfortable in social situations, I fear I come off disingenuous. In actual fact I am blown away that anyone comes at all. When there is a crowd, I’m just overwhelmed trying to play it cool. “thank you for coming out…. thank you for coming…. I appreciate you being here….” I probably just sound like an idiot.

Anyway… nice chatting with you.