Joe Fig January 25 – March 2, 2011 Stephen D
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Inside The Painter’s Studio | Joe Fig January 25 – March 2, 2011 Stephen D. Paine Gallery Hours: Monday-Saturday 12pm – 6pm, Wednesday 12pm – 8pm MassArt.edu | [email protected] | 617.879.7333 Introduction This information packet is designed to be an educational resource that encourages connections between Inside the Painter’s Studio and your classes. The exhibition offers a unique glimpse into contemporary artistic practice that we hope art students and faculty will find particularly engaging. Joe Fig has interviewed painters about their methods and artistic philosophies, documented their studios, and recreated their workspaces in miniature. His astonishingly detailed sculptures, which are exhibited alongside paintings, drawings, and prints by the 20 artists he interviewed, transport the viewer into the mind and space of the creative individual. The works by Fig and by both emerging and established painters, coupled with frank interviews, detail the intricacies of studio life. This packet contains biographical and stylistic overviews of Joe Fig and each artist he interviewed. By giving you background information about the artists, we hope to enrich your experience of the exhibit, provoking many interesting questions about how artists work, how they think about their art, and the opportunities and influences that artistic collaboration can create. In addition, we would love feedback about the quality and value of the information in this packet so that we can make improvements for later exhibitions. Do you have unanswered questions? Would you have liked us to add something? We want to know from students and faculty at MassArt and beyond how best to connect your studies and disciplines with our gallery exhibitions. Contact India Clark | Curator of Education [email protected] 617.879.7336 Written and designed by Allison Weigel Table of Contents: Joe Fig……………………………………………………………………...…………..3-4 Gregory Amenoff……………………………………………………....…………………5 Ross Bleckner……………………………………………………………………………..6 Chuck Close………………………………………...…………………………………….7 Will Cotton………………………………..……………………………………………...8 Inka Essenhigh……….......……………………………………………………………….9 Eric Fischl………………………………………………………………………………..10 Barnaby Furnas………………….………………………………………………………11 April Gornik……………………………..……………………………………………...12 Jane Hammond ………………………………………………………………………..13 Ryan McGinness……………………………………...…………………………………14 Julie Mehretu………………………………...………………………………………….15 Malcolm Morley …………………………………………….………………………...16 Steve Mumford………………………………………………………...………………..17 Philip Pearlstein……………………………………………………………...………….18 Matthew Ritchie………………………………………………………..……………….19 Alexis Rockman …………………………………………………………..……………20 Dana Schutz………………………………...……………………...……………………21 James Siena……………………………………………...………………………………22 Joan Snyder…………………………………………………...…………………………23 Billy Sullivan……………………………………………....…………………………….24 Meissonier Meeting Manet in the Tuileries, 2009-10 Joe Fig Self-Portrait, 2007 In 2002, as a graduate student at the School of Visual Arts, Joe Fig began his project of interviewing successful artists and building miniature sculptures of their studios. As an undergraduate at SVA, he had been most interested in sculpture and painting, and his early work reflects it—his paintings included shaped canvases, layering, and appendages protruding outside the boundaries of the canvas. After ten years of working in this style, Fig hit a wall, feeling that his work had become formulaic. That was when his interest in miniature developed and he decided to go back to graduate school. It was during this time that Fig started to notice and wonder about the relationship between an artist’s studio arrangement and the kind of artwork he or she produced. He wondered if there were patterns or direct correlations—if he set up his studio just so, would he become a successful abstract expressionist? He started a letter- writing campaign asking to visit artists’ studios. The late Michael Goldberg was the first artist who agreed to meet with Fig. Goldberg was a venerable seventy-seven years old and had been working in his studio for over forty years. Fig talked to him about everything from his creative process to the studio setup, his daily routine, and his painting table. At best he hoped to find some inspiration for a painting or sculpture, but the exercise was primarily to indulge his own curiosity, though he had photographed everything. He left the studio regretting that he had not recorded the interview. Wanting to know more about the aspects of being a successful artist that isn’t taught in art school, he immediately devised a list of questions titled, “The Painter’s Studio: An Artist Questionnaire.” His talk with Goldberg had revealed knowledge that came from years of experience. 3 Fig’s interests in miniature and studios quickly came together in a series of sculptures that investigate how to be a successful painter. Having spent between twenty minutes and an hour talking with each artist, and around two hours taking photos and measurements of the studio, Fig was prepared to painstakingly reproduce each studio to scale. All of his sculptures are painfully exact—down to the tone and placement of the paint splatters on the floor. Most of the individual pieces in the sculpture are hand sculpted from polymer clay and painted. Other pieces, like tiny screwdrivers and roof shingles, Fig bought at a dollhouse supply store and adapted, scanning and printing tiny labels for water bottles and paint tubes. To reproduce the artists’ actual artworks, Fig painted tiny versions of the more abstract ones freehand; for the more realistic ones, he painted over the top of a miniature print. To make the figures of the artists themselves, he began with the face, trying to catch the character of the person before going on to sculpt the body. Some of Fig’s simpler pieces of solitary painting tables took around a week to sculpt and build, whereas some of the larger pieces that include an entire studio building took up to four months to create. Self-Portrait, 2007 Fig’s work brings to mind other artists—constructive photographers like James Casebere, Thomas Demand, Laurie Simmons, and Oliver Boberg, who build and photograph miniature models to explore the idea of truth in pictures. Appropriation artists like Richard Pettibone, known for copying and borrowing pieces of art to create new art that recontextualize the images, also share a common idea. However, Fig is the first to use these techniques to specifically scrutinize the artists and their spaces, offering a unique insight into the work and business of successful artists. Fig intends his sculptures and interviews to be a useful and interesting tool for young artists. His questions to artists such as Chuck Close, Eric Fischl, and Julie Mehretu, range from, “How did you decide to set up your painting table?” and “How do you come up with titles?” to “What advice would you give a young artist that is just starting out?” For example, one thing that surprised Fig was that the most successful artists were those who faithfully worked a nine-to-five day. In his interview with Chuck Close, Close expressed just this, saying, “Inspiration is for amateurs—the rest of us just show up and get to work.” The exhibition includes all of the artist interviews in audio and in print form. For More Info: •His website provides a comprehensive view of his work along with press links and biographical info. [www.joefig.com/] 4 Gregory Amenoff Semi-abstracted landscapes with jagged geological forms and spiky cosmological explosions are the regular subject of Gregory Amenoff’s paintings. They belong in the tradition of Marsden Hartley, Georgia O’Keeffe, Arthur Dove, and Albert Pinkham Ryder. But Amenoff’s personal artistic mystique comes from his knack for “crystalline forms that Arch III, 2006 nestle between the geometric and the organic.”1 While Amenoff’s paintings can definitely be referred to as landscapes, he has very little interest in the genre, but instead is much more interested in art derived from landscape painting as an idea. Working between abstraction and figuration, Amenoff’s paintings represent a tension between the physical territories of imagination and those of reality, creating a bridge from the known to the unknown. He explains, “Landscape painting is particularly powerful to me because of the implied sense of a figure longing for some sort of union with that which is pictured.”2 According to Amenoff, art should offer a subversion of the status quo through beauty. He strives to create paintings that evoke the ferociously beautiful instead of the simply tasteful. “Art should knock the viewer off-center. If it is only reassuring, then art becomes the same as a television program, a sit-com… I want an excess that walks a line between the vulgar and the beautiful.”3 Gregory Amenoff: 3/28/06, 2006 For More Info: 1. In this interview with Debra Bricker Balken, Amenoff explains the recurring thematic meanings and subjects common to his work. [http://www.gregoryamenoff.com/essays/01.html] 2. ibid. 3. ibid. •Available at the MassArt library: Letters to a Young Artist; Gregory Amenoff: Works on Paper 1975-1992 •Amenoff’s website includes samples of his work and a list of links to critical articles and reviews. [http://www. gregoryamenoff.com/] 5 Not One, Not Two, 2007 Ross Bleckner Ross Bleckner, 2007 Over Ross Bleckner’s nearly 35-year career, a tug of war between abstraction and representation has marked his work. He uses themes like the transience of beauty, the fragility of life, and the loss