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6:41 PM 9/22/2015

My work presents itself though a concept.  Individual works, and sometimes groups of work, are created around a concept.  Say…. EAT:  Link 1; Link 2.
This is difficult to do using photography as a base.  Realism automatically sets up a question that is related to literature.  Words explain the real world to us.  By extrapolation, then, realism must tell a story; explain something.  To present the concept only, without any word explanation from me, I set up an arena of contemplation; a setting where questions are asked but not always answered by the concept maker.  The viewer must now engage in contemplating the image and its structures; ask questions of their own; listen to their inner voice for possible answers.  No answer is correct.  No answer is wrong.  They are simply answers, which hopefully lead to asking more questions.
A concept is structured using images that create connections and associations that start to reveal what it might be; a glimpse; a reflection; a pointer; a place maker.

8:34 PM 9/23/2015

I like to work at manipulating digital photography of people relating to people, themselves, the artist, using different psychological states as a driving engine, and not sentimental if at all possible, or super emphasizing the sentimental as expression and documentation.  Cliche is also good.  I also like action to be static.  I like to remove all signs of lens distortion and off-horizon angle, everything nice and tightly related to sides, top and bottom.

People and things, events, relate to the picture plane.  The picture plane is the thing in  2d art.  No picture plane.  No art.

The feeling and experience of all things “isolation”;  getting away from the noise of life; solitude, comfort with ones self, being within one’s skin.

Image structure explores the event as an appearing open-ended — deliberately suspended.

The visual related to music and sound and how the abstractness of sound-like images make a statement at the level of poetry; word structure of a poem; especially a minimalist poem.

All things surrealist. Monsters.  Imaginary reality.

10:35 PM 9/24/2015

I like the drama created by artists involved with surrealism; a sense of mystery where the question is asked, “what is it?”  Most of what I have written so far needs to fit the cover concept:  surreal, mystery, —–

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9:13 AM 1/22/2016

interesting thought.

my digital fotografy/imaging = interest in grid alignment of parts… align all straight lines to be parallel to sides and top;  eliminate all extraneous elements = a grid related minimalism; this minimalism equates to a kind of isolationalism (being alone or wanting to be alone in what ever environment presented); the “aloneness” could = a form of fear = or a desire to escape from “whatever”; to disappear; as an artist (me) to step outside of the immediate experience, like a ghost mabe, and simply observe the “action”; be a voyeur.  Relating all of ths to current culture, I exist as an outsider not willing to interact locally.  This keeps me and my mind free to explore all aspects of a given cultural/political/environmental interest; or ignore it and the work becomes a fantasy which may or may not combine the past, present, and the future {however one wants to define “future”.  ….social commentary both personal and publically defined.

digital imaging:  non-fotografy related = all over the map with regard to image structure; from hyper realism to completely non-objective structure.  Also added to digital imaging = combination of fotography, found digital images from all possible sources, abstractions of all definitions, plus—— to be continued.

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Am I Protean?

9:54 AM 2/2/2016

As an artist, am I protean?
Yes!
Iowa grad faculty had a hard time with this because I kept shifting.  They considered this a negative.  Not enuff evidence to evaluate work correctly(?).  Whaaaaaa?
YesBut:  I like to explore and experiment.  Maybe a better pigeon hole would be “conceptual” artist.  This would be ok if I could express my artistic thoughts via words.  I cannot.  So the confusion continues for the audience as well as for myself.
2016:  I continue to struggle with proteanism in my work.  Art making now confined to digital images (all things digital including my take on “straight” fotografy).  I continue to search for my “center”.  I dance all around this indefinable “center”.  I get a glimpse of it once in awhile.  But never see this “center” with any clarity.  I keep searching.   I keep exploring different media to see if “this” new stuff can bring into the light my “center”.

10:10 AM 2/2/2016} In addition I am very impatient and full of high anxiety.  I feel that most art processes are too slow and can’t keep up with my mind.  I need a medium that can change to match my mind as fast as it changes.  Digital imaging, so far, seems to come as close as I can find, at this time, to achieving this goal.

9:50 AM 2/2/2016
https://www.google.com/?gws_rd=ssl#q=protean+definition

pro·te·an
‘prote?n,pro’te?n/
adjective
adjective: protean

tending or able to change frequently or easily.
“it is difficult to comprehend the whole of this protean subject”
synonyms:    ever-changing, variable, changeable, mutable, kaleidoscopic, inconstant, inconsistent, unstable, shifting, unsettled, fluctuating, fluid, wavering, vacillating, mercurial, volatile; technicallabile
“the protean nature of mental disorders”
antonyms:    constant, consistent
able to do many different things; versatile.
“Shostakovich was a remarkably protean composer, one at home in a wide range of styles”
synonyms:    versatile, adaptable, flexible, all-around, multifaceted, multitalented, many-sided
“a remarkably protean composer”

Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
protean
adjective changeable, variable, volatile, versatile, temperamental, ever-changing, mercurial, many-sided, mutable, polymorphous, multiform the protean and complex nature of his work

English-Spanish Medical Dictionary © Farlex 2012

all-around
all-round
changeable
fluid
internalization
internalize
kaleidoscopic
many-sided
multifaceted
Multiversant
Proteanly
variable
various
versatile

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2:00 AM 5/20/2010 (date written)

i turn around and see myself on the net

i have got to stop looking at art on the net. i continue to turn over websites that reveal to me new artists and their work. Some of them seem to be me. what? can anybody ever be original anymore? it seems that there are at least 10 or more artists exploring the same territory at the same time without ever knowing the existence of the other. How can anybody every be in a “first” category with their art again. too many people involved in the act(ion) now.

Kinda negates the last entry “riding this horse” doesn’t it? Or does it?

And life continues.

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riding this horse

10:07 AM 5/17/2010

riding this horse

i seem to be the only one riding this horse. it must be a horse of a different color. at the same time i seem to be invisible; even to myself at times. as an art maker i am free.

this is a nice place to be as a maker. throw caution to the winds. throw anxiety to the winds. make, make, make! however, after awhile, what does all this mean to the self if its only me that sees or feels it? dilemma? yes! i say to myself that it doesn’t matter if it is seen. busllshit! it does matter. but getting it seen today is almost impossible. i don’t network anymore— not that i ever really networked in the first place. but 20 — 30 years ago, i didn’t seem to have issues getting my makings shown in galleries and/or museums; or sold. now? forget it. like pulling hen’s teeth!

so, what do you (i) do?

dunno! i keep on making. turn over rocks to find venues interested in showing the work. don’t know what else to do. in a commodity run art world, art seems to be invisible. i seem to be invisible. as an invisible, i need to put on the suit and get on with it.

interesting!

dpn 10:15 AM 5/17/2010

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personal art making

12:22 PM 5/15/2010 (date written)
personal art making

of all the elements that point out a personal/unique view in an art work, regardless of its medium and/or style; how the individual maker organizes space is the determining factor. all artists/makers use approximately the same materials, techniques, and other whatnots of their trade. but it is how this stuff is organized in the field of action that separates one maker from another; distinguishes a deKooning from peter halley from frank stella from robert altman from spielberg from michaelangelo from john chamberlain from…………………………..

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Karl’s page

10:17 AM 1/11/2010 (date written)
Karl’s page (a feature page on my work at Karl’s web site)
Karl’s web site

Two forces are operating in my painting at this time. Both connect to my interest to establish a reductive process in my work; move away from my long history of AE structures, mostly with gesture intensive painting. So I keep on painting, these days, using structures that feel comfortable at the time of their use. Work executed in the past two years, for the most part, does incorporate reductive reasoning. If I take this reductive thinking too far toward its extreme end, my work tends to get lost. If it gets lost for me, then it has to get lost for anybody trying to connect with it. When I feel lost, I add back some modulations -gesture or color field, and I seem to get back on track. I dance around minimalism but never quite join it.

I have gone through two digital cameras since 2000. On my second camera the odometer just rollover over to its 2nd 10,000 images. As a photographer I view the world as a painter. My photographs are composed with a painter’s eye. I am also an impulsive photographer. If something out there interests me the moment I see it, I take a picture of it. This isn’t film! The only restrictions for me with regard to digital photography is the size of the hard drive. When it fills up, I get another one and keep shooting!

Four computer manipulated digital images are included in this set of images. For some reason I can’t leave an off camera image alone. I have to tinker with it. In some pieces I intentionally flattening the picture to relate more closely to the picture plane and picture edges. Some pictures require more computer manipulations than others to accomplish this task. Other images require little computer manipulation and I keep the structure close to what happened off camera. There are manipulations that are composites of several separate photographs. There are re-imaged composites that have been abstracted heavily but still retain some of the original digital image’s form. I manipulate these images in the same way I paint. Whatever the image requires of me I do the task.

I don’t evaluate any of my work according to any acceptable criteria; how it fits or doesn’t fit to arguments for or against modernism and postmodernism. I evaluate it to whether I like it or don’t like it. It = a specific work. I have no other way to look at the world. After all, it is my brain that interprets the world I live in. My art is created through this filter.

I wrote this statement before I selected the images. Eh? What I said above illustrates that painters should paint and not talk (or write)! And what I write also points up facts to how illusive a topic an artist’s statement really is. For me, I change my mind every minute of the day. And love every minute of it. And…. tomorrow I select different images to show and think of other things to say about it. How schizophrenic!
Ain’t life grand?

Here are 8 paintings and 4 fotos. Enjoy!

Also please visit Karl Maenz’s web site. He is a fine painter and photographer, and to say the least a fine friend.

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