Monday, October 11, 2010
20x200 edition of work in Skateboarding Side Effects
If you have just seen the Skateboarding Side Effects Show in Rosslyn, One of the paintings is available as an archival print reproduction at 20x200, a wonderful group who invites artists to do affordable limited editions in the company of many great artists. The prints start at 20 dollars for 8 x 10 inch and increase according to size. Check it out!
Saturday, October 9, 2010
Skateboarding Side Effects
Skateboarding Side Effects is an astounding show, I am so proud to be in it. Cynthia Connolly really took the idea of looking at how skateboarders see the world differently and put together a show of exquisite, personal responses to the human experience from the point of view of skateboarders in a way that has not been seen before. Through November 28. more
Saturday, October 2, 2010
ready for the Artisphere
On Monday I am driving down to Arlington, VA with a big box on the roof of the car. I am excited to be showing 3 paintings, and 3 photo montages in a group show curated by Cynthia Connolly called Skateboarding Side Effects, a multi media show of artists who all have been influenced by their involvement in skateboarding. The nice thing about this show is that I don't think you can really call any of it "skater art". Or, it really expands what we normally think of. Reception 10/14/10. Terrace Gallery at the Artisphere.
The Artisphere is a brand new art space, that is formerly the home of the Newseum (relocated to the DC Mall). There are all sorts of events celebrating the space and the exhibitions. more
Sunday, August 22, 2010
Thursday, August 12, 2010
Friday, May 21, 2010
20 x 200 edition
check out the archival print reproduction at 20 x 200. These have a beautiful print quality, and color accuracy. The price starts at $20 for small ones(8 x 10). Be sure to browse through the other available work, they do a lot of great prints in a wide variety.
Tuesday, October 6, 2009
Tuesday, July 7, 2009
wünderarts OUT OF SIGHT
Out of Sight
18 artists from near and far selected to participate by guest curator Sean Greene
June 27 - Augut 30, 2009
Opening Reception: Saturday, June 27, 2009, 6-9 pm
wünderarts OUT OF SIGHT exhibition offers cool respite from summer heat
wünderarts is pleased to announce the OUT OF SIGHT, an exhibition of abstract art without pretension, featuring eighteen artists from near and far brought
together by guest curator and wünderartist Sean Greene.
The term abstract art has developed a certain connotation over the
years of art that is inaccessible to anyone who is not educated on the
subject. OUT OF SIGHT puts an end to that idea with works of art
accessible to anyone with open eyes and an open mind. Greene says of
the show, "If you can admire a car or a purse or the design of a cell
phone, you can find an abstract painting that you admire equally and
perhaps more. When you admire those things, you are admiring abstract
forms, lines, colors, shapes and textures; you have an emotional
response to something that represents only itself."
Referring to the artists selected for the show Greene adds,
"Essentially, this is a dream show for me, these are all artists making
work that I want my work to be hung next to, these are artists I want
to talk about making art with." The artists featured are Chris Duncan,
Heather Kasunick, Kathranne Knight, Sean Greene, Jeanette Cole, EJ
Hauser, Joseph Hart, Jodi Buonanno, Young Min Moon, Clint Jukkala, Gary
Petersen, Jack Greene, John Ortiz, Matt Phillips, Jieun Shin, Mathias
Sias, Barbara Neulinger, and Ali Osborne.
Monday, April 20, 2009
uncle Jack
My uncle Jack Greene has been making art for 55 years. He has a show up on Martha's Vineyard of work from the 70's. Check out slide show and video here.
Thursday, April 16, 2009
Tuesday, March 31, 2009
enormous champions
Jordan Provost and Jason Wong have a sneak peak feature in Design Sponge(link).
They are great folks and artists, and make stuff under the name enormous champion.
They have one of my paintings up on their walls in this feature of their beautiful home.
They are great folks and artists, and make stuff under the name enormous champion.
They have one of my paintings up on their walls in this feature of their beautiful home.
Two Paintings on view in Brooklyn
Two paintings on view at Jack the Pelican in a group show called Old School
through April 26. (link)
487 Driggs between N 9th and 10th in Williamsburg Brooklyn.
Friday through Monday 12-6pm.
through April 26. (link)
487 Driggs between N 9th and 10th in Williamsburg Brooklyn.
Friday through Monday 12-6pm.
Thursday, March 12, 2009
Thursday, December 11, 2008
Mr. Jeff Grosso illustrates the sweeper.
...................A friend asked me what a sweeper was, I think this photo defines it perfectly. (The results on Google images are very disappointing, unless you like cleaning equipment.) In the days before caring, a bad ass ripper could clear anything unwanted off the platform of their ramp with a maneuver like this. What a wonderful thing-- if you have ever stuck one, even on a two foot mini ramp, you know how good it feels. A leap of faith.
Thursday, August 14, 2008
Hampden Gallery
Four new paintings will be on view at UMass Amherst's Hampden Studio Gallery September 14 to October 19, 2008. Here is a link for a blurb and directions:
http://www.umass.edu/fac/hampden/about.html
It is a little hard to find.
In neighboring galleries will be paintings by Petula Bloomfield and sculpture by Stephen Foley. The opening will be Thursday September 18, 5-7 pm. Please come if you are around.
http://www.umass.edu/fac/hampden/about.html
It is a little hard to find.
In neighboring galleries will be paintings by Petula Bloomfield and sculpture by Stephen Foley. The opening will be Thursday September 18, 5-7 pm. Please come if you are around.
Thursday, July 31, 2008
Lines
The purpose of this blog is to pursue some thoughts and ideas about skateboarding and its influence on my paintings. The paintings are not about skateboarding, but the connection has appeared in my work, and I am enjoying the impact immensely. It affords me a measure of play in the studio, as if I have found a way to skate while working on a serious endeavor.
In its essence, skateboarding is not a sport, but an art for individuals and collectives. It transforms walls, handrails, curbs and empty swimming pools into possibilities. These seemingly mundane objects are describers and delineators of space- skateable terrains that provide skaters with opportunities for finding lines – graceful, expressive ways through the built environment.
Creativity is essential in finding a good line. A skater must imagine what is possible, and then charge, follow impulses, respond, adjust and flow. A good line is fluid and allows a skater to maintain or accumulate speed, giving opportunities to use the elements of a space, missing as few of the objects as possible. In the end, a good line expresses the skater’s personality, style, attitude and unique energy. Watching skate videos, without interviews, one can identify different attitudes and personalities of skaters through their expression of lines. A classic comparison is Duane Peters’ aggressive, unplanned, impulsive runs to Tony Hawk’s controlled, technical runs. One emphasizes expression, the other technique. Both are amazing in their own ways, and both accurately depict these skaters personalities. Painters, also express their values through what they are doing and not doing on a canvas. Who they are comes through the work, they are showing you what is important to them.
Through a process of exploring color and light and spatial illusion, I have developed forms that carve through an unknown space and lead the eye around the flat surface of a canvas. The canvas is the terrain and space that I am finding lines on and through. As I carve these forms into ambiguous space, I am after fluidity and a dynamic that grabs viewers and pulls them in. I am trying to find the possibilities and limits of the canvas and its interior. While painting the forms, I am constantly asking myself where to go, whether to curve or angle, advance or recede and when to stop a form. Every form has a unique quality with varying degrees and combinations of speed, grace and agression. The canvas is the bowl or the street scene. The forms are the actions and the ways through the space.
Allowing skateboardings' influence into my work has given my studio activities new life and energy, much like it began to do for my life as a kid in 1985 when I got my first proper skateboard. Growing older and perhaps less daring, my approach toward skateboarding is more or less being minimized to essences: gliding, turning, and accumulating speed. Having been raised on backyard mini ramps and curbs, I feel so lucky to now have a concrete bowl just three miles from home. It is the perfect way to explore these essences and then head to the studio with loads of adrenaline. In the bowl or studio, I seek my limits-- limits of ability, knowledge, stamina and fear. When I can identify those limits, I push beyond them, while trying to maintain a degree of control. The trick is staying on the board.
In its essence, skateboarding is not a sport, but an art for individuals and collectives. It transforms walls, handrails, curbs and empty swimming pools into possibilities. These seemingly mundane objects are describers and delineators of space- skateable terrains that provide skaters with opportunities for finding lines – graceful, expressive ways through the built environment.
Creativity is essential in finding a good line. A skater must imagine what is possible, and then charge, follow impulses, respond, adjust and flow. A good line is fluid and allows a skater to maintain or accumulate speed, giving opportunities to use the elements of a space, missing as few of the objects as possible. In the end, a good line expresses the skater’s personality, style, attitude and unique energy. Watching skate videos, without interviews, one can identify different attitudes and personalities of skaters through their expression of lines. A classic comparison is Duane Peters’ aggressive, unplanned, impulsive runs to Tony Hawk’s controlled, technical runs. One emphasizes expression, the other technique. Both are amazing in their own ways, and both accurately depict these skaters personalities. Painters, also express their values through what they are doing and not doing on a canvas. Who they are comes through the work, they are showing you what is important to them.
Through a process of exploring color and light and spatial illusion, I have developed forms that carve through an unknown space and lead the eye around the flat surface of a canvas. The canvas is the terrain and space that I am finding lines on and through. As I carve these forms into ambiguous space, I am after fluidity and a dynamic that grabs viewers and pulls them in. I am trying to find the possibilities and limits of the canvas and its interior. While painting the forms, I am constantly asking myself where to go, whether to curve or angle, advance or recede and when to stop a form. Every form has a unique quality with varying degrees and combinations of speed, grace and agression. The canvas is the bowl or the street scene. The forms are the actions and the ways through the space.
Allowing skateboardings' influence into my work has given my studio activities new life and energy, much like it began to do for my life as a kid in 1985 when I got my first proper skateboard. Growing older and perhaps less daring, my approach toward skateboarding is more or less being minimized to essences: gliding, turning, and accumulating speed. Having been raised on backyard mini ramps and curbs, I feel so lucky to now have a concrete bowl just three miles from home. It is the perfect way to explore these essences and then head to the studio with loads of adrenaline. In the bowl or studio, I seek my limits-- limits of ability, knowledge, stamina and fear. When I can identify those limits, I push beyond them, while trying to maintain a degree of control. The trick is staying on the board.
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