My daughter fell asleep at the dinner table one night, and I got a picture of it. Since I’m enjoying doing these miniature portraits on the back of business cards, I thought it would be a fun photo to try. Not such a boring photo… you know, mix it up a bit. OK, so here’s Jordan:
The next page in my Sketchbook Project is G. Roger Denson (@GRogerDenson on Twitter). Roger is a busy guy! From his Wikipedia entry:
G. Roger Denson (born 1956) is an American journalist, art critic, theoretician, novelist, and curator. A regular contributor to Huffington Post, his writings have also appeared in such international publications as Art in America, Parkett, Artscribe International, Flash Art, Cultural Politics, Bijutsu Techo, Kunstlerhaus Bethanien,Artbyte, “Art Experience”, Arts Magazine, Contemporanea, Tema Celeste, M/E/A/N/I/N/G, Trans>Arts, Culture,Media, The New York Times and Journal of Contemporary Art. He has published criticism and commentary on such international artists as Terrence Malick, Kathryn Bigelow, Hiroshi Sugimoto, Sigmar Polke,Andres Serrano, Yvonne Rainer, Sarah Charlesworth, Cindy Sherman, Jack Smith, Philip Taaffe, Pat Steir, Shirin Neshat, Marilyn Minter, Renée Green, John Miller,Robert Longo, Ashley Bickerton, Nayland Blake, Tishan Hsu, Liz Larner, Gilbert and George, Barbara Ess, Robert Ryman, Dan Flavin, General Idea, Jules Olitski, Lydia Dona, Maura Sheehan, Jimmy De Sana, Dan Graham, and Richard Artschwager.
Denson has written on the criticism of Thomas McEvilley (with republished essays by McEvilley) in Capacity: History, the World, and the Self in Contemporary Art and Criticism, currently issued by Routledge, (originally Gordon & Breach). Denson’s monographs and catalogues include Dennis Oppenheim, (Fundacao De Serralves, Portugal);Hunter Reynolds: Memento Mori, Memoriter, (Trinitatiskirche, Cologne); Michael Young: Predella of Difference, (Blum Helman, New York). And in the book by Robert Morris (artist), Continuous Project Altered Daily: The Writings of Robert Morris (October Books, MIT Press), Denson has contributed to the chapter, “Robert Morris Replies to Roger Denson (Or Is That a Mouse in My Paragon?) ”.
He’s all over the place!
I would LOVE to have a cuppa joe with this guy! Alas, NY is so far away from Atlanta, plus booking a 10-min coffee with him would probably dent his entire day. Ha!
Right. Well, I’ve tried all sorts of mediums in this sketchbook project, but haven’t broken out the conte crayons. Until now, that is. As with most other mediums, I think it would’ve worked much better on a larger scale (larger than this 5″x7″ anyhow). It was a bit rushed, and the holidays were buzzing, and we moved in the middle of all that. All excuses, I know. Time is running short on completing this sketchbook, so I’m off to the next one.
Roger, man, thanks for following me back! It was a pleasure, I’m sure, to have ME following you first! 😉
I experimented with thinner over soft pastel, and it gave a pretty smooth, yet textured look. Theres some oil pastel over top of it all. Turned out pretty good for messin’ around, don’t you think?
This came out of me after about fifteen minutes of staring at the blank sheet of blue pastel paper. Not much to say about it other than, “thar ’tis”.
I’ve been in an experimental mood lately. I had a stretched piece of watercolor paper, ready for some silly little something or another I had no ideas for. It sat in the garage with the rest of my stuff, patiently waiting for me to attempt to mess it all up. Lately, my son has been begging me to go into the garage to bang on the drums or sit on my motorcycle (the “see-sum” and “no-nose” respectively), and I’ve just been tooling around with my mess of art junk while he’s playing. I’d toyed around with oil pastels and turpentine, and found a really cool technique from that. I figured I’d try it with chalk pastels, and this is the result. No plans, as with most everything else I do, but it all fell together into this… uhm…thing? Hell, I don’t know, but I’ve seen things in galleries worse than this selling for thousands. What the heck… I’ve got no job now, maybe I should pimp it out. Anybody want it for say $5,000? I’ll even frame it for ya!
This is from a picture I took of the Castillo de San Marcos in St. Augustine, Florida. I did this with pastel, and found I really need to invest in pastel pencils. I’m using the thick chunks of pastel, and it’s like drawing with a log. Once again, I’m disappointed with what the fixative does to pastel. The color fades, and the paper starts showing through, and it’s really deflating.
I’ll always have fond memories of this trip to Florida. The whole trip, we were surrounded by family, and it was really nice. Of course, this painting looks nothing like the real thing, but I really like the energy I get from creating this way. God and man made this scene. I made it my own.
Another creative urge hit me, so I broke out the oil pastels and a 9″ x 12″ piece of watercolor paper, then commenced to sit down and stare at the empty white paper, hoping something would inspire me. Nothing came. Minutes passed. Staring at the paper, I saw the play of the shadows from my head, so I outlined them. What follows is the result of those first strokes. The piece practically drew itself.
I sat down one evening, intent on doing something abstract, and this is what happened. I love abstract art, but I don’t seem to do it well. I lack the freedom to just do whatever comes up, which is how I see abstract art. It shouldn’t be premeditated, or follow convention, but should be about feeling and flow and energy. This one started that way, but I quickly felt the need to make it all fall into neat little lines and color schemes. Overall, I was pleased with the end result until I decided to apply a fixative. Pastel is a marvelous medium, but applying fixative dulls the colors. If anyone knows of a fixative that doesn’t change the color, please let me know.