YOU DO WHAT ?

Recently I was introduced in a public forum as a “Modern Artist”, that is an artist whose work was “Modern Art”.

As this was being said and of course, knowing it was not an accurate description and there was not enough following time to establish a correct oversight of my activities I opted for the “later” clearing of facts with the presenter host.

It’s an old issue, and certainly not just in my case alone.

But in my case, I am first of all not old enough (77) to be a contemporary of Pollack,Hoffman Newman, Rothko Smith etc. much less Mondrian, Glarner, Arp, Picasso, Monet or Manet.

No, I am not going to argue the point of beginning or the demise of what’s modern in contrast to “post-modern” but I do have to say I don’t have much faith in the postmodern position; and I am aware of the contention of Pop Art along with the rise of Warhol as being it’s start, at least in the vocabulary of artmaking in Western World culture. Otherwise, it seems all about French critical theory (1980,’s) of some sort, like a fellow in a kitchen in the Amazon attempting to describe Italian spaghettis.

So, the question, where does that place me and having considered all this in prior identity encounters: ie. oh, you're one of those Light & Space guys from the West Coast, or you're a post Light & Space studio artist or an abstract illusionist, or.…even being introduced as an “artist” in semi-unfamiliar settings often produces the “well, I know all about you art guys, and so it starts in their heads all the preconceived stories, rumors, suspicions…My solution in the past has been to just ignore the ignorance, talk about the weather, movies , cars….etc.

Then one time it occurred to me, why not just play this against itself. How about giving myself an alternate self-reference. Thus I became a Visual Strategist. even had it printed on a business card.

It kills the usual nonsense and opens the door to questions instead of assumptions providing the opportunity to speak in regard to *art making” not personality explaining. and it’s a bit of fun.

whereTHEREwhere ? 081022

BEFORE first AFTER last

FIRST after LAST before

WHERE between THERE

perceptual language in the space between

what’s said and seen

floating without gravities grasp

can it mean. . . . .?

MODUS OPERANDI

L I G H T S H A D O W S P A C E T I M E M O T I O N

I L L U S I O N M A T E R I A L I N F L U X

L I G H T

S P A C E

M O T I O N N

T I M E E

I L L U S I O N

M A T E R I A L

I N F L U X

MORE THINGS AT ONCE THAN SIMPILICITY

56 YEARS

ON GOING...part of the process

.TWO YEARS AHEAD AND ONE BEHIND SEEMS THE COURSE OF MY PRODUCTION, ALONG WITH MORE AT ONCE THAN A SINGLE AREA OF FOCUS. (2-D / 3-D OR SOMEWHERE IN BETWEEN)

THAT IS, VISUAL IDEAS IN THE FORM OF NOTES & PLANS, SKETCHES, DRAWINGS AND OR MAQUETTES CAN SET ABOUT AS LONG AS A YEAR OR TWO PRIOR TO ANY ACTUAL FULL SCALE PRODUCTION BEGINNING AND EVEN THEN, TRIAL AND ERROR MAY BE MORE A CONTRIBUTING FACTOR THAN MIGHT BE EXPECTED WHICH AGAIN ADDS TO THE OVERALL TIME FRAME UNTIL COMPLETION.

EXCEPTION TO THIS PRACTICE IS NOTABLE IN THE AREA OF SPECIFIC COMMISSIONS WHERE A SPECIFIC TIME FRAME HAS BEEN ESTABLISHED (NECESSARY).

PRODUCTION IS NOT CARRIED ON IN THE FRAMEWORK OF “SERIES” OR WHAT MIGHT BE TERMED “SERIAL IMAGERY” WHICH IS MORE SPECIFICALLY A TERM OF ART CRITICAL REFERENCE VIA THE 1960’S.

A “GROUP” CONTEXT IS CLOSER TO MY VIEWPOINT…. (EVEN IN THE POSSIBILITY OF A SINGLE WORK PRODUCED MULTIPLE TIMES IN DIFFERING MATERIALS AS MIGHT BE DEMONSTRATED IN A SERIAL FORMAT).

1991-statement

If you want to be part of the conversation , you must know the language…

inspirational encounters are few, but significant when they occur…

continue to look:

HOW DO YOU KNOW WHAT YOU SEE ? ? ? ? ? ? ?

HOW DO YOU SEE WHAT YOU KNOW ? ? ? ? ? ? ?

some of the few:

GEORGES BRAQUE / PABLO PICASSO for “ Cubism” (1907) & their collaborative technique of “papier colle’ “(1913) in defiance of painting…the cardboard & metal “guitars”, personal photo’s of no longer existing works and the later free-standing painted sheet metal cutouts.

FRANK STELLA for the enamel “black paintings” (1958-1960), the shaped canvas (1963), and later the re-dimensionalized pictorial support surface for the space of painting (1972).

DONALD JUDD for “knowing” what he wanted to do, sculpture with a fearless use of common materials and “color”…Cad Red Light spoke loudly in defining the “specific object”, his writing stated the rest including why there are so few masterpieces.

KENNETH HOWARD aka VONDUTCH for his precise craftsmanship & radical inventive thought; which produced “modern pinstriping” and laid the foundation for postwar Custom Car Painting (Kustom Kulture) which in turn helped define American Car Culture imagery which prevails to this day.

Anything is always part of the definition of something else, nothing is so unique that it has no relationship to anything else. Invention is always the result of combined thought; even if that thought dictates the eventual absence of one or more of the elements of the inventive formula.

Collage came to exist as a viable media as much by the subtraction of the drawn or painted image, as by its replacement with “printed” wallpaper or newsprint and steel sewing pins to hold it in place.

Picasso’s visual equations became a variant of Braque’s & vice versa; this mutual influence resulted in a visual language which in turn was paragraphical in the forth coming definition of Modernism. Stella’s re-dimensionalized pictorial support reinvented the subject matter of contemporary abstraction by objectifying it and re-establishing visual links to the the earlier Russian Constructivist painting (Malevich-1920 & Liubov Popova-1917) and eventually the addition of railroad, French and ships curves in the form of 3-D planes to the visual dynamics in later works of Kandinsky.

and so it continues. . . . .

edited 2020

NOTICE-error correction

As a past visitor you may have seen a note in the URL indicating that this site was unprotected and not safe for viewing or conducting commerce transactions.

That information was INCORRECT,

upon investigation it was determined to be nothing more than a SETTINGS ERROR which has been corrected.

This site, since its inception has NEVER been without valid SSL or HSTS security.

I apologize for any confusion this may have caused.

now , ITS NEXT TIME +

AS THE LAST TIME WAS 1,310 DAYS AGO,

THATS AWHILE,

ALOT OF SEEING=THINKING TIME >>>>NO SCHEDULE INTENDED, IT JUST HAPPENED >>>

THATS HOW TIME IS, IT JUST HAPPENS……ALWAYS COMING, ALWAYS GOING A BIT WINDY LIKE AND SOMETIMES ITS SOONER OR LATER……NEXT WILL BE SOONER +

someT I M E(sum>

TIME IS AS + MULTI-DIMENSIONAL CURVE = NEVER THE SAME TIME OR SAME PLACE = GETTING THERE FROM HERE + WHATS PLACED IN TIME = REMAINS IN THAT TIME + TIME GOES ON = EVIDENCE (OBJECTS) AGE = EXPERIENCE IN DIFFERENT TIME(S) = WHAT TIME IS IT ? +WHAT'S TOO EARLY ? + WHAT'S TOO LATE + TO GO + HOW CAN IT BE RIGHT ON (JUST IN ) TIME -  FRAMED ? ONCE MORE -  IS IT ALWAYS OTHER THAN SCHEDULED = HOW LONG WILL IT BE ?  LAPSED + WARPED = LESS + MORE    S          P          A          C          E    

&                    T          I          M          E          T          R          A          V          E          L       

TIMES UP TILL NEXT   +  X=