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Exhibit: Infomatic Aesthetic at Flying Star Cafe

In: Conceptual Art, Conceptual Art Examples, Conceptual Art Theory, Exhibitions

Five very recent abstract paintings in Latex are now hanging at the Flying Star in Downtown Albuquerque, New Mexico. The artwork selected for this show fits the "Infomatic Aesthetic" my latex paintings often follow.

I’m pleased to have just returned from installing five paintings in the Downtown Albuquerque Flying Star Cafe. Not only is the location frequented by thousands of people in a month but its decor is retro-modern, complete with bright colors and high ceilings. I’ve never hung my artwork anywhere like it, but I have to say it looks fan-tabulous. The show will be up for three months, so the exposure it will bring to my aesthetic will be invaluable.

The work at Flying Star includes Diptych, Sometimes We Know Differently (we don’t forget), Untitled, and two new paintings without images on this website: Scare and Blue Day. Blue Day is a diptych of the same dimensions of Sometimes We Know Differently and Scare is a progression of the thick application technique also used in Chase. All of this work is done on Latex on Canvas and involves Pixels. I’m noticing growth in the popularity of my “infomatic aesthetic” artwork - the work in this show was picked out directly from their listings on this website, and the new ones were brought along despite having no images and were included for fitting in well with the others.

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State of the studio - October 2010

In: Conceptual Art, Conceptual Art Examples, Studio

The studio is re-located, revamped, and actually funded. Come have a look at some of the new work I have been doing.

Since my last studio update, everything has changed. I have gotten married, opened my own commercial shop, and moved the studio in with the web, effectively declaring myself a professional artist, without a single sale. Good thing I have other skills to back that up. I’ve been working for a terrific San Francisco based web shop to hold down the fort while securing wall space and painting time in the other parts of my rented retail space. Last weekend I declared my first ever “Art Bender” - meaning I hit the paints every day and even a third time on Wednesday. There were a couple of elements that made this Bender different from other painting efforts.
I purchased 9 new canvases of 3 different sizes, brush cleaners and soaps, and new brushes, and had these supplies in-hand. The new canvas sizes assisted composition impulses. The brush cleaner held down the fumes until uncapped, and provided the right texture for bristle rinsing. The soap revived 12 11-year-old brushes (some still bearing the price sticker from the Washington University bookstore) The new brushes, purchased on a hunch of what I thought I needed, ended up being the perfect bet, and alongside …

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Self as Informant

In: Artists, Conceptual Art, Conceptual Art Theory, Studio

Drawing a blank. Once you graduate from self-relecting art, what’s next? Jim Lutes and the Whitney Biennial helped me find the answer.

I am underinformed. Underexposed. Underperforming. Under a rock. No, seriously! There is so little to make art about that I just don’t. its not I don’t want to - but what about? How? If I can do anything, why do anything? But this is unacceptable. I’m a capable professional in other aspects and I can’t even coach my own painting? Ok. ok. Maybe if I start reading..

My first move is to pick up the exhibition catalog from Eye Infection, featuring artists Robert Crumb, Jim Nutt, Peter Saul, H.C. Westerman, and Mike Kelley; five men without permission or collaboration successfully deconstructing perception same as the “rules” of conceptual and fine art. Or at least now that’s what they are known for, without the whole rogue aspect: they are all monumentally celebrated now for breaking a tradition that was redefined as such along the same lineage. Its a surprise to myself that I haven’t looked at this book in years despite schlepping it around and admiring its spine whenever I enter my studio. Its also a surprise, but not entirely, that I had never read the text, only gazed at the …

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