Monday, January 26, 2009

Jan Pecarka

Jan is a Slovakian artist whose work examines a scalar confusion of figure and landscape. At first they appeared separately, vast, smooth-seeming pieces of bodies and surfacey land. His best work places bodies on vast geographical scale: a woman waist deep in a planet her own size, a man hovering above a city, a figure either blue or in atmospheric perspective, toes on islands.

about 5'x7', 2008, I think. I just went to his studio and took these pictures because it's not up on his site yet.

He's having a solo show January 29th through February 11th at the Bohemian Benevolent & Literary Association at 321 E. 73rd St (between 1st and 2nd), 3rd Floor, NYC. (212) 988 1733
Reception 6:30 on the 29th. WON'T YOU

Saturday, January 17, 2009

Teaching Philosophy

I feel that theory and practice can be the same, and especially that theory derives from practice. People often become too isolated in their own fields and exclusive about their influences, and don’t realize how much bodily and mental activities create knowledge. Many people shrug off not knowing how to see, as many feel about math. But learning how to represent should be requisite in learning how to think.

The way people think when they've always been about symbol manipulation, and don't think so much about the visual foundation of text, excludes a whole system of thought that may undermine so many biases. The more everyone knows the process of coordination and self-examination involved in visual art, the better – and the more about anything and everything that artists know, the better.

I am continuously learning something new, and part of what I want to teach is that everything artists find interesting is relevant to their thinking and their art: music, culture, the material everyday. Each person is their own universe and I want to encourage my students to keep their universes as open as possible. An ability to communicate and persuade is more critical in society and it’s important to connect it to visual rhetoric, although one of the major changes occurring is a proliferation and acceptance of non-verbal media.

When you've seen how differently everyone in a class depicts something you get a much more explicit illustration of how differently people process sense-input. That is something I aim to have my students recognize.

Janet's Statement

A bit of my own stuff while I work out who's up next and try to persuade people that free advertising isn't going to destroy them.

How is this? Does it match/describe the work well?

My figurative oil painting seeks to allegorize the autonomy of the inanimate object. I celebrate a female multiplicity by arbitrarily ordering disparate and similar images. Sensory overload and interplay between smooth and striated space incite affect. Imagery intuitively derived from science fiction and comic art maintains an amused contrarianism to categorization. Eclecticism induces a decentralized, eccentric perspective out of a mainstream and traditional medium. In search of levity, here is no automatic orientation; everything is both figure and background. The humanoid body, its agency compromised through merging with others, is nevertheless skillfully embraced through a fluid observational style, combining invention and self-representation through a democratic objectivity. Bodies shift colors, reflect and are reflected, both fully permeable and closed. Extremities and contradictions are sought through a hybrid middle ground.

Thursday, January 01, 2009

Cecilia Roberts

is in the class of 2009 and has a website up, although it was last updated in summer 2008, so I'll put up some more recent paintings of hers soon.

Portrait of Mallory, oil on canvas, 2008. Anyone else reminded of Magritte's "Pleasure"?

Portrait of Antonia, oil on canvas, 2008. Antonia is a Greek printmaker and artist from the class of 2008, now working for Jeff Koons.

Self Portrait with Candy and Babies, etching?, 2008.

Cecilia paints intimate portraits that capture the idiosyncracies of personality. They develop out of a process of looking an interacting with her subject and their things, with a kind of improvisational feminist space structured by interest. Both her oil paintings and her prints show a quirky line by a quirky observer.