Elizabeth Murray

Elizabeth Murray
visits Rochester Institute of Technology
Photo by Sue Weisler

I have been reading about the artist Elizabeth Murray ( 1940-2007 ) in newsletters and in the New York Times.  There have been some new shows of her work ( currently on view is a show of her drawings in NYC ) as well as a documentary film about her life ( Everybody Knows...Elizabeth Murray ).  So, this flurry of interest in her work brings me back ten years when I was reading about her death from cancer just prior to her 67th birthday.

Elizabeth Murray in the 1980's

Elizabeth Murray was one of the artists whose work I followed closely in the 1980's when I lived in New York City, and since I was a painter, I was interested and challenged by what she had accomplished and I tried to do the same in my own artwork.  Elizabeth Murray had children and her daughter was in the same graduating class as my nephew David Singer, so after the graduation ceremony near Lincoln Center, I walked up to Elizabeth Murray and invited her to come upstate to speak with my students at R.I.T., and she graciously accepted.

Elizabeth Murray created art for the NYC subway 59th Street

Before Elizabeth Murray came to speak about her artwork, and also look at my student's work, I arranged for her to give a talk at The Memorial Art Gallery, a fine museum here in Rochester, New York. At that stage I did not know yet that the Museum of Modern Art was planning a career survey for her that would take place in 2006 in New York City.

Elizabeth Murray print in 2000

Talking with Elizabeth on the phone to make her plane reservation, she was in the middle of jury duty, so she had some time to plan ahead.  She told me of some prints she had worked on that revolved around a hospital stay.  When I saw the print she was talking about I bought a copy ( see above ) and I have it in my office to this day.  It does reference blood vessels, and I didn't make the connection that maybe she was experiencing some questions about her own mortality.

Elizabeth Murray visits the School of Art at R.I.T.
Fall, 2002

When Elizabeth landed in Rochester, I picked her up at the airport and we spent a busy day at R.I.T. working with my students, after giving them a short talk about her own paintings.  Later, she drew a large crowd at the Memorial Art Gallery, and she told her story about her life in the art world.  The audience had the chance to see her develop as an artist and witness the energy that her artwork exudes.

Elizabeth Murray , "The Lowdown "
oil on canvas, 2001

Now, reading about the news of her shows and the films made about her life, I can reflect on that short time we spent together 15 years ago.  We took her out to dinner, and she stayed at my house - she was right at home.  When I took her back to the airport for her flight home, I gave her a big hug, and I realized at the time that she was thin and maybe a bit exhausted.

I was glad that she had the chance to plan and see her own retrospective, and to take a well deserved moment in the spotlight.  It was a time I am sure that she could take pride in all that she accomplished, and provided a marker for where she still had the urge to go with her art, even if it was within the quiet realm of her studio, alone with her paints and brushes.

Elizabeth Murray talks with my student Lila 
at R.I.T. in 2002
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Medium Media

"A Future View",  
Transfer mono print by
Alan Singer

I think I want to start our new year of 2017 with a hopeful sign against a backdrop of political turmoil.  The election cycle in this country was a big disappointment, and I was amazed that there seemed to be little in the way of substantive debate about the issues that surround us.  For me, the studio is a place I can go to do what I do best, which is communication through image making.  I know also, through practice, that once I have created prints and paintings, I have to get them out and around so people can see them.  There are a variety of media that help me do this, and here I am talking about the WEB - the internet has really given me a helping hand in this regard.

Crystal Monument
Transfer mono print by
Alan Singer

Last fall I had a print ( above - "Future View" ) in an exhibition in London,England  that I would have never been aware of had it not been for the WEB ( Thank You, Artist Marketing Services! ).  Likewise, I would not have had another work ( above - "Crystal Monument" ) circulating in Europe, had it not been for the selection process announced by the Center for Contemporary Printmaking over the internet.

Artists have ample opportunity to submit their works through the online exchange of information from prospective galleries, but all this comes with a fee attached ( for administrative purposes ).  If you don't live in a place that has a bustling art market, you can always send the work to a place that does.  This assumes that you will have the funds to send the artwork across the pond if the need arises.

Transfer mono print by Alan Singer
at JMM in Atlanta, in January

Looking forward to the new year, I have already sent out prints to a show and conference for mathematicians in Atlanta, Georgia.  My interest in breaking new ground through the visualization of mathematical functions  ( Thank you Cinderella 2 ) has opened up a new audience for my artwork, and I hope that my art will be accepted and purchased along the way by this new audience.

In case anyone reading this wants to follow along, there will be another selection process for BRIDGES - a conference between math and art that will convene this summer near Toronto, and I hope to be part of that coming show - where art and math get together.  This is all part of my interest in STEAM ( Science, Technology, Engineering, Art, and Mathematics ).

9th Anniversary issue out now

I was happy to be selected for an interview in the new 9th Anniversary issue of ARTVOICES, that is published both online and in print ( visit them online: http://www.artvoicesmagazine.com ) and there I have a cover story by City Newspaper's Rebecca Rafferty, and she details the how and why of what I create in the studio.  From my perspective, I am glad that people in the media see my artwork, and have selected it for publication.  Along with ARTVOICES, my prints were featured in another new publication called: CREATE Magazine, and I am in the inaugural issue  ( visit CREATE here: https://createmagazine.net ).

CREATE Magazine, the inaugural issue
out now...

So, talking about the medium of print, I am happy to report that a book I have co-authored with my brother Paul Singer, will be published this year by RIT Press, and I will let my readers know when it  arrives.  We write an illustrated biography of our father, Arthur Singer, who as I mentioned in my last post was a wildlife artist.  We are hoping that this book finds a wide readership.

So the medium is the media.  The art part is a challenge, but so is getting your work seen by your audience.  There is so much competition for attention, but thanks to the WEB we have more opportunity than in the past, don't you think?
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Reading List

"You, Talking to Me"
Lessons from over a hundred interviews
by: Lawrence Grobel

Snuggle up with a good book this season.  Or at least open an intelligent magazine, and don't forget to read my blog!  Then, what are you going to do about the thousand or so e-mails on the desktop?  Don't get distracted by all those letters begging for some big buckaroos... and what about all those holiday cards you were supposed to write?  Do you have time for all this information overload?

Well, if you are like me, I seem to have a few good minutes before I go to sleep, and I have been reading some materials that I want to recommend.  These are books with stories to tell.  One book that has almost as many names as War and Peace comes from the interviewer's interviewer - and that is Lawrence Grobel's new work titled: "You, Talking to Me" published recently by HMH Press.

Arthur Singer
on the set of the "Today Show" on NBC

Larry Grobel has had interviews with all kinds of celebrities and has even included a few pages in his new book about my father, Arthur Singer, in a short chapter called: " Know Your Props".  Mr. Grobel was a neighbor of ours on Long Island,  I have been following his writings over many years and I guess from reading the section about my dad, it seems that Larry was introduced to the freelance life through exposure to the Singer household of artists.

You will enjoy the lessons he has learned in the process of conversations he has held with people you have heard of like Zsa Zsa Gabor ( who just passed away this week ) and Marlon Brando; people who you might enjoy talking with like Tony Bennett or Joyce Carol Oates, and the list goes on with the likes of Luciano Pavarotti and Robert DeNiro and over a hundred others.

Painter David Salle in his new book:
"How to See"

I followed reading the celebrity interviews with the writings of painter, David Salle who has recently published his new book "How to See" with W.W. Norton.  When  I was living in New York City, I would go out to David Salle's shows with Mary Boone to check out the progress he made during the art boom of the early 1980's.  Painting was having an enormous impact then, so it was interesting to read what this artist had to say about his transition from California art student to seasoned pro in Manhattan.  In this new book, he chronicles a postmodernist's career negotiating the art world by just being at the table with the trendsetters and he writes fluently about his friends and acquaintances in that uber world of Soho in boomtime.

David Salle is a little younger than I am and the people he writes about are folks whose work I have followed for years, and also some of the painters I have met in studios that I have visited.  His short chapters give the reader a definite point of view that is not too technical  by giving you a practical guide to what is being accomplished by figures such as Alex Katz, Dana Schutz and Jeff Koons.

It is really not a "how to" book but more a series of essays, and a set of insights into the mind of the artist, and we get David Salle's takeaway from all his experiences in visual art.  He doesn't write much in this book about his own progress except to stop in one place and compare his painting to that of Andy Warhol.  Salle has created a good book for people who have followed the art scene, and also for educators who may want to scan this book for clues and kernels of wisdom found to be applied to the visual arts in the 21st century.

Biography of dealer Richard Bellamy
by Judith E. Stein

Further down my reading list we get a biography of an art dealer - in this case a reluctant one - in the figure of Richard Bellamy, and the book is called: "Eye of the Sixties" by Judith E. Stein.  Here, I read with much enthusiasm about a person that I met years ago, and this person really had a strong handle on a portion of the New York City art world.

I regularly went up to see the shows he would present, and I always found interesting art on view whether it was the Hansa Gallery, the Green Gallery, or Oil and Steel on Chambers Street.  Richard Bellamy was also involved with the Barbara Flynn Gallery on Crosby Street, and that was one of my favorites of the early SoHo spaces I visited.

You will enjoy reading this personal story that Judith E. Stein has researched about the art dealer's perspective.  Richard Bellamy was deeply involved in the art he presented and as Judith Stein writes - he really transformed modern art in the 1960's and beyond.  Read this book and you will see - how and why... CHEERS!
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"Pose Please"
Transfer monoprint on paper, 2016 
Alan Singer, 
Rochester, New York

By now everyone has heard of STEM educational goals ( in Science, Engineering, Technology, and Math ), but I am here to advocate for STEAM.  We must add Arts to STEM programs for the good of our children, and our country.  One of my neighbors in my studio building has a sign that reads: "EARTH Without Art is just EH", and I couldn't agree more.

Artists have to be more inclusive and look down the road to include STEAM programs in their thinking too.  We have to support each other, but also the significance of the STEAM goals will prepare us for the coming years and decades which may prove to be a real test under our new administration.  All of us have to be ready to stand up for our rights as citizens, and for artists of all stripes - we want to be included in the debates to come ( in an out of the media ).  As artists, we have to sharpen our reasoning and not get trampled in the give and take that is sure to be on the menu.

Transfer monoprint on paper, 2015
Alan Singer

In my own artwork, I see the possibilities that are meant to open new avenues of conversation especially where the STEAM goals are relevant.  My new art (above) demonstrates the facts that an artist needs an open mind when it comes to the significance of science, math, and engineering - even if we don't practice these skills everyday for ourselves.

Maybe my background provides a unique window into incorporating STEAM subjects that have often been overlooked by many when it comes to creating art.  For many years in New York City I managed a livelihood creating images for publishers on assignment based on science.  I created the illustrations for textbooks on biology, on geology, and also a very popular book on growing houseplants.  Both of my parents were artists, and my brother, Paul is a graphic designer.  My family encouraged my pursuits in art and I in turn worked with each of them on projects that were eventually published.  I am doing that again by being co-author with my brother on a forthcoming book about my father, Arthur Singer, the master wildlife artist.

9th Anniversary Issue with my cover story
written by Rebecca Rafferty

I turned to paintings and prints that celebrate the possibilities that are open to an artist using software to create imagery that renders mathematical constructs in a visual way.  This story is told in a recent interview by Rebecca Rafferty published in the new, 9th Anniversary issue of ARTVOICES, published by Terrence Sanders in Los Angeles.  If you want to read the interview, check out this link:http://www.artvoicesmagazine.com

For the past ten years or so my artwork has incorporated imagery rendered in part by using programs such as Cinderella, 3D-Xplormath, and K- 3D-Surf.  What these programs do for the artists like myself is to suggest ways of constructing geometry that can be used in printmaking and painting ( and probably so much more..).  What I like about these programs ( aside from the fact that you download them for free ) is that they allow you to construct forms that you want using measurements and functions like sine and cosine, like square root and tangent and  you can provide detailed parameters to make the image that you have in your imagination.

Transfer monoprint on paper, 2016, 
Alan Singer

At this stage I have created hundreds, maybe thousands of images using mathematical functions and these forms have populated my art, and I continue to find this method very engaging.

The readers of this blog should know that there are other artists like me who incorporate mathematical concepts in their artwork.  I myself have been influenced by Sol Lewitt and I also found the exhibition that just opened here on M.C. Escher to be very relevant to my subject and plea for STREAM as an education model.

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Co-Lab thru December 18th at Gallery r
100 College Avenue
Rochester, New York

Just being an artist doesn't necessarily mean that you belong to a group.  Today, the art world is fragmented, and there is no overpowering ism to pay attention to like there was fifty years ago with abstract expressionism or a hundred and thirty years ago when there was impressionism.  Still, there are benefits today for an aggregation of artists - they can collaborate on ideas, grow into an artist's cooperative, and then blossom as a movement.

As with other membership organizations there are dues to pay, and that can mean many years in the trenches keeping up your practice, and if you can afford it - finding ways to pay for all those art materials and a studio rent.  Sometimes artists may form a group to make a statement and maybe that group can take off and have broad impact like Wall Therapy does - here in Rochester.

"Nothing is Something" includes work by
Leena Sonbuol
Xinhao Yang
Fatma Bamashmous
Reema Aldossari

We can see the start of something like this in the show at Gallery r called: " Co-Lab" where students from the College of Imaging Arts & Sciences at R.I.T. gather their forces to make interesting imagery.  In the main room we have installations including "Nothing is Something" and its various parts reiterate the title in funny ways.  How often do you go into a gallery and see an empty picture frame, or a chair with the seat part taken out, and a book with the center of its pages cut away?

Co-Lab at Gallery r

In the next darkened room are dramatic projections on the wall and some real three dimensional forms that stop me in my tracks.  The projectors cast images that are part animation, part computer art, seen in conjunction with real sculptural aspects  ( an axe in a tree-trunk for example ).  Across the room there is a projection on an form that looks like a sharp tooth powered by a computer with a little keyboard that allows the visitor to change the imagery - very user friendly.

"Projecto Concerto"
Andrea Montealere
Sabrina Nichols

Staying engaged as a larger group, through membership - is part of what keeps alive the arts organizations and it is necessary to support institutions like Rochester Contemporary Art Center, Visual Studies Workshop and The Memorial Art Gallery.  This weekend, RoCo celebrated this partnership with local artists with the opening of its 26th Annual Members Exhibition, and I was there and the place was  PACKED!

Opening  night for the 26th Annual Members Exhibition 
Rochester Contemporary Art Center
137 East Avenue
Rochester, New York

It is great to see the community come out to support the arts, visitors to this big show can choose their favorite work on view and give it a yellow dot.  Discoveries are made, and sometimes a sale can be made on the spot.  This is the kind of show that you have to go back and see when the crowd has thinned out - so you can actually look at the artwork ( although I do love the social aspect of the opening ).

A dialog with visual art

"Driver and Mechanic"
at RoCo

Considering the craft traditions in western New York - I am surprised to not see much in this present gathering.  Sculptural works are often relegated to a table top, and they don't always work well together.  I did see a couple of funny vehicles parked inside the new show - is this a trend?  If you want to hear more about the art from the artists and makers there is a series of back-to-back artist talks at the gallery, so for more information call them at (585) 461-2222.

Painting by Tarrant Clements

The walls at RoCo are jammed with art of all kinds and styles.  Facing me as I walked in was a fine little painting by Tarrant Clements with her usual inventive abstraction whose characters talk a kind of sign language.  There are other funny pieces in the show including a droll photographic statement about toilet paper.  Whatever floats your boat - go see the show and enjoy!

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After A Feast

Light Show by Leo Villareal
The Herbert F. Johnson Museum of Art
Cornell University
Ithaca, New York

Push yourself away from the table after Thanksgiving and look for the right time to take the family up a hill in Ithaca, New York, to the Herbert F. Johnson Museum on the campus of Cornell University.  Out the window of the museum - I can see my old studio space when I was a grad student earning my MFA in Fine Art.  Even though that was ages ago the building looks the same on the outside and the physical environment around it is much the same as before.  There is a new building by Rem Koolhaas, but it doesn't face the quad, and it is really his interior space that matters most.  Outside the museum there is a light show going on day and night by Leo Villareal on the ceiling of the sculpture court and you can see it from the street below.

"Guanyin of the Southern Seas"
Chinese carved and painted wood , Yuan Dynasty

Inside the museum - up in the Asian Art collections we found some new selections including wood carvings from China, and Vietnam, and paintings from Tibet.  The selection on this floor does not overwhelm you, but rather has a focus on select works that can come to mean a lot to a viewer.  I saw ancient cuneiform tablets from nearly 4000 years ago which contain intricate lists inscribed in clay that is then baked in.  There are wonderful pieces like the Korean carved wood portrait of a "Mountain Spirit" who holds onto a tiger.

Paintings from Tibet

"Mountain Spirit holds a tiger"
19th century Korean carved and painted wood

I was surprised by a wall full of carvings from Vietnam.  A delightful small piece has a musician strumming a string instrument who looks like he is enjoying the moment - which is part of the point of getting out and going to the museum - learn something about another culture, and get carried away for the moment.

Wood carving from Vietnam

On the lower floor of the Johnson Museum there are study cases filled with the world's cultural artifacts.  I found challenging shields from Oceania, and face masks that look somewhat evil too.
I think of all the play acting that goes on in cultures and contrast that with our opera and our cinema - not too different in the long run.

Shields from Oceania

Study center in the Herbert F. Johnson Museum
Cornell University, Ithaca, NY

After we packed and drove away I stopped in to see how Brad Butler was doing as the Director of Main Street Arts in Clifton Springs.  This is one of the most beautiful gallery spaces in the area, and now they have a section on the second floor for artist residencies.  There are two studio spaces and you can apply for a spot on their schedule - this allows one some public exposure as well as a work space and I took a look to see what they are doing.

Painting and ceramics at Main Street Arts, Clifton Springs

Apply for an Artist-in-Residence
Main Street Arts
Clifton Springs, New York

So, support the arts in your area, even if you are "only looking".  I think it is an uplifting experience, and who knows, you might just want to engage at a higher level - think of all that is out there to see.
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Escher in Rochester

M.C. Escher: " Reality and Illusions"
The Memorial Art Gallery
November - January 29, 2017

M.C. Escher, a Dutch artist of the 20th Century, is being given a large retrospective at The Memorial Art Gallery thru January called: "Reality and Illusions".  Many of the most recognizable images from Escher are on view along with descriptive panels that inform the viewing public of some of the mathematical paths that this artist took during his productive career.  Even the casual viewer will recognize the iconic images that Escher created including the endless staircase, the metamorphosis of birds and lizards, and the hands that draw themselves.

"Drawing Hands", 1948
by M. C. Escher

In an informative public lecture that I attended given by Doris Schattschneider, she described the youth of Maurits Cornelis ( M.C. ) Escher and how he decided upon studying the visual arts with a concentration on printmaking and drawing.  Escher later found an affinity with mathematical theory and application in a lifelong pursuit of visual paradox.  M. C. Escher gets you to think about what you are looking at in an active manner.  In some ways his artwork is an illustration of various forms of symmetry ( isometry ) and his art could be seen as the visual equivalent of mathematical principles.

M.C. Escher ( 1898 - 1972 )

There are 100 or so examples of the art of M.C. Escher on view at the Memorial Art Gallery and they range through his printmaking career in terms of process:  woodcuts, lithographs, and mezzotints.  Some of his earlier works are realist interpretations of landscape and town in graphic black and white. He also gets into minutiae - like the drop of water on a leaf seen below.

Dew Drop, 1948  ( mezzotint )

No doubt about it, Escher was an obsessive human being trying to touch the infinite through his insight into potential and transformation.  As an artist he developed a fascination with tiling the plane and how tiles fit together especially after visiting the Alhambra and looking at all the great tessellations one finds there.

Metamorphosis ll, 1948  ( woodcut )

I get involved with M.C. Escher's art and I am torn between wanting to see where all this artwork leads one to, and then wishing that he would break out of the grid and free himself from the lock and key he has for his obsessions.  Some of the remarks that the mathematician Doris Schattschneider made during her talk sounded very familiar to me in that M.C. Escher had no real natural aptitude for mathematics ( he was not a great student ) but something about the way things visually fit together represented for him a door that opened onto a new world and he just walked through and explored.

Escher's Flying fish

Doris Schattschneider produced a volume on Escher's artwork that details his experiments with 17 forms of symmetry, including reflections and translations of various sorts.  There are Escher's drawings that spell this out in a visual way - so that even if you don't understand the mathematical theory, you can begin to understand it through a visual metaphor.

Convex and Concave, 1955

As I have said and written before, the teaching of mathematics could be made richer for people like me, if teachers would open up the visual correlations that exist.  Escher is a good example to use.  Not that many people have the insight that M.C. Escher had, and then  to follow that path wherever it may lead, thankfully,  with conviction and  persistence.

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Words for Abstraction

"Niagara Variations and the Movement of Water"
Chas. Davis
The Geisel Gallery

This month there is a wealth of exhibitions in the Rochester area that feature abstract art and I have written about two shows in this vein a few weeks ago, and now we have new contributions to the category to discuss.  At the Geisel Gallery we have a dozen large paintings by Chas. Davis that can open your eyes to color in an almost geological manner.  I use this analogy because many of the elements in these paintings have an opacity and form not unlike features you might find in Bryce Canyon - hot colors and towering forms.  But it came as a surprise to me that Chas. Davis writes that these paintings are based on  flowing waters and the geological aspect he was considering was that of the Niagara - even though there is nothing so specific or realistic in these large scale paintings.

"Improbable Landscape"
The Geisel Gallery

In some respects, I have a memory of paintings by the artist Friedel Dzubas who I knew at Cornell University when I was earning my MFA.  His abstractions were also informed by a landscape space and his art made a strong impression on me when I was a student ( see below ).  I think a large swath of color could be a hallmark of painters like Morris Louis and Friedel Dzubas and the paintings that Chas. Davis has on exhibition this month show a family resemblance to these earlier more formal abstractionists.

Friedel Dzubas

Speaking of formalists, the other new show in our area just opened in the Bevier Gallery and The Vignelli Design Center at R.I.T. - and it is one for a much more restrained sensibility.  Gone is the landscape space, and in its place are compositions in paintings and prints by Norman Ives that focus on letters - bits of typography - that are cut up and collaged together, like a new form of cubism.  One can sense the underlying grid in many of the works on display.

Norman Ives
The Vignelli Design Center and Bevier Gallery
Rochester Institute of Technology

Norman Ives was a multifaceted artist - creating paintings and prints, mostly based on the fragments of letters that he favored for their form and optical effects.  Norman Ives also published portfolios of prints by other important artists like Romare Bearden, Piet Mondrian, Willem DeKooning, and Jacob Lawrence.  During the mid 1950's Ives worked with designer Herbert Matter and together they created logos and branding for companies like the New Haven Railroad, and Knoll International.

Norman Ives ( 1923- 1978 )

Norman Ives' art creates complex positive and negative shapes - sometimes in black and white and other times in a rainbow of colors.  Every edge is sharp and decisive.  It almost goes without saying that he studied design with Josef Albers when he was a student at Yale University - and that had such a strong effect on him.  You will have new found respect for the strength of letter forms and how they can be combined to make powerful statements in visual art that can stand the test of time.

Norman Ives
Rochester Institute of Technology

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Writing On The Wall

"Wall Writers" a movie by Roger Gastman ( in the red hat ) at
The Memorial Art Gallery

At the Memorial Art Gallery last Friday night people were unwinding from the elections and there was a premier of a new film that is touring the world right now, devoted to the early history of graffiti in the 20th Century.  Actually, the film starts out in the late 1960's and tells the story about tagging, and how this grew into a trend that circled the globe,  emanating from the neighborhoods of Washington Heights in New York City and the west side of Philadelphia.

I was there in New York City when I first noticed it, and maybe that was back in 1966-67.  I was around the age of the kids that were going all over Manhattan with magic markers, putting their names surreptitiously on public property - mostly lamp posts, subway signs and the like.  This was way before the jazzy full color jobs that were done on the sides of subway cars, or the rolling freight trains that look like a colorful mural passing by.

An article from the early 1970's in The New York Times

Maybe I was sixteen, and thinking " Who was this Taki 183 - and why did he need to put his name and street number all over the place"..?

Once the film got rolling on Friday at The Memorial Art Gallery, I began to understand how and why this art form began.  Kids, - boys and girls got into the act - putting their names on almost anything you could think of and this really grows out of a long tradition of people involved in transgressive behavior doing the one thing that could get them some extra attention and some recognition that they even exist.  Marking your territory probably dates back a few hundred million years, so why not?

Narrated by John Waters
"Wall Writers" tracks down the early graffiti artists
to tell their story

"Wall Writers" is a brief history lesson from 1967 to 1973 of a certain urban lifestyle and how it became a huge art movement.  On stage, Roger Gastman reminded me of the curator and writer Carlo McCormick who wrote a big book five years ago called "Trespass" - A History of Un-comissioned Urban Art, that I have in my library.  So, Roger isn't the only one who has noticed that this is a big deal, but he is certainly avid about going out to interview key players in the growth of this phenomenon - and he brought some of them along for a Q & A after the movie.  That the artists were tagging everyday things like the subway walls, post office boxes, and railroad cars didn't hide the fact that this was an illegal act of defacing property, and many were arrested.  Graffiti became a group activity - maybe for safety sake - someone had to be on the lookout for those wielding the spray cans.

Keith Haring's Radiance

All this happened way before Keith Haring arrived on the scene from Kutztown to make the subway art his own.  I used to work for a publisher right next door to Keith Haring's studio in the Cable Building on Broadway, and his studio was always open so I could see what he had going on and we could exchange a few words.  While the graffiti writers were getting up on the walls all over the five boroughs, I was studying art at The Cooper Union, and I could see what was happening on the street.  
It was only a bit later that the art world opened their doors to some of the writers who became big name artists like Haring and Jean Michel Basquiat aka SAMO.

SAMO was all over SoHo
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"More Than" , acrylic on paper on plywood, by
Paul Garland at
Axom Gallery

In Axom Gallery's Exhibition Space we now have paintings by Paul Garland in the new show titled: "Approaching Fifty" which describes the many years he has been in the business of showing and selling his art in gallery settings.  In these modestly sized paintings we can see the attributes of a seasoned artist in full bloom, and there are familiar aspects like the compositional device of the divided plane - left and right.  Between the panels on some of these paintings there might be a bright red that appears to dramatize spatial relations in these mostly abstract works of art.  

The first painting I saw upon entering the gallery is called "More Than", an acrylic on paper, which employs a central veil like a curtain in a window and on either side of a central divide there are planes that move you from the foreground to the middle and then to a texture in the background.

"Approaching Fifty" by Paul Garland at Axom Gallery

Paul Garland's paintings sometimes resemble a board game designed in India full of lush color and geometric forms.  In a few new works he has created flower portraits to mix with the abstraction found in the majority of his work.  Paul Garland has been painting for many years and this is his third solo outing at Axom Gallery, so if you care about contemporary art, don't miss seeing this show.

510 State Street - "Made on State"
opens to the public

Near the High Falls district is a new set of studios at 510 State Street that had a public opening on Saturday, and there was a good turnout to speak with the variety of artisans who have recently set up shop.  The building has a large central public space for workshops, it has a communal kitchen, and this development will attract creative people from all over the area.  I stopped to speak to Kelly Cheatle in the new spacious studio of Arigami as she worked on a foil balloon frame for a customer.

At "Made on State"
watching a video in the studios of Airigami

Two of my students from R.I.T. who graduated in the mid 1990's have gone on to illustrate books and they were also marketing a product they call: "Fairy Doors" - which are handcrafted in their new studio space.  I spoke with Chris Pallace, and Kevin Serwacki about the process they use to make this art form that combines their inspiration for illustration with sculptural carving to a make a unique product that acts like a good luck charm.

Artist, Chris Pallace

Artist, Kevin Serwacki
demonstrates the process behind "Fairy Doors"

Later that same day, my wife Anna, and I walk downstairs for the reception at The Oxford Gallery to view the show of new artwork from Kristine Bouyoucos and William ( Bill ) Keyser.  "Points of View" is the title of this show and it is a wonderful selection of recent art by two of Rochester's most interesting practitioners in printmaking, painting and sculpture.  As you walk into the gallery, take a look at the various elements in a trio of prints by Kristine Bouyoucos after the symphonic work by Claude Debussy called "La Mer".  In her prints,  waves crash, the sun rises, and there is a vibration giving the viewer a poem in the form of a print to savor.

Kristine Bouyoucos' trio of prints based on Claude Debussy's La Mer

Bill Keyser at the opening of "Points of View"
The Oxford Gallery

That he taught fine wood working should come as no surprise as Bill Keyser brings his fine sense of craftsmanship to his sculpture and painting in this new show that features a wide variety of constructions that can be joyful, yet solid in their presence.  The articulation of wood and glass becomes part of the experience of "Down Dog" which has an illustrative moment that catches the eye. Movement is not one of the things one first associates with the stability of sculpture but Keyser's "Walk Before Running" really wants to get up and go.

"Down Dog" by Bill Keyser

"Walk Before Running" by
Bill Keyser
The Oxford Gallery
Rochester, New York

Kristine Bouyoucos in
"Points of View"
at The Oxford Gallery,
Rochester New York
thru December 3, 2016
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