There is a magnificent show in the heart of Los Angeles on La Cienega through December 26th that will be one of the most humanist, empathetic, and beautiful exhibitions you will have experienced within the last decade. Tanya Ragir fearlessly dives into our hopes and dreams, regrets, loss, love, and even chaos. Her pieces are the answers to questions about how to handle pain, how to cope, and how to find meaning. My written review of the show here.
Paul Rego is an artist that has a great reputation in the western art world, with shows at such esteemed places as Marlborough Fine Art, the Tate, and at the eponymous museum Casa das Histórias Paula Rego in Cascais, Portugal. She was made a Dame of the British Empire, and she has several honorary degrees, including one from Oxford. Her works, many of them large, are creepy, figurative narratives with distorted proportions, often dead colors, and intellectual rather than a sensory experience of light. Her works remind us of Lucian Freud’s ugly rendering of people and of Paul McCarthy’s myriad celebration of disgust, such as his turning Disney and other cartoon characters into self-mutilating, loathsome, and sinister monsters.Continue reading “Paula Rego: Save it for the Therapist”
Effortless Complexity and Boundless Imagination
Decades ago, Melissa Hefferlin told me that growing up, whenever she did something wrong, her scientist dad would sit her down with paper and pen to make columns of pros, cons, and alternatives to her bad behavior. She dreaded these episodes (apparently they took place fairly often). But they served her artistic mind very well, especially in composition.
Challenge to Picasso and Vermeer
Art is very complex with many elements such as color, light, form, emotion, imagination, subject, etc. But composition is the granddaddy of fine art. Composition in painting and drawing is the arrangement of contours on a flat surface. Two important parts of it are groupings and the balance of the entire work. To try to create something new in composition is a daunting task and throws down a challenge to Vermeer and Picasso. It seems that Melissa is unfazed by the project.
In full disclosure, I mentored Melissa in the early 1990s, but I can’t claim any credit for her brilliance since then.
In Higher Hare, my photoshop markups below reveal the play of a triangular pattern in the cloth, table, and part of the wall. When an artist is composing they have some flexibility to accent patterns they see or sense, Melissa takes full advantage of utilizing these angles. Another artist might not see them and paint only what he/she literally sees, but that doesn’t create these almost music-like beats.Continue reading “Pushing the Composition Envelope, Melissa Hefferlin Still Lifes”
Freedom and Gravitas
For many people, the sexy, entitled lifestyle of living on the luxurious mile-long stretch of Pacific coastline in La Jolla, California in the 1960s was the height of success. For me as a kid it was exhilarating to build up a salty sunburned sweat, leap into the air, and be able to execute a brutal backhand overhead smash on the tennis court. (Later I ended up playing pro tennis to pay for my art education in Holland). Afterwards, to cool off, I’d ditch my shoes and socks and run a few hundred feet from the tennis court and plunge underneath the perfect wave crests made famous by the Beach Boys, All Over La Jolla … Surfin’ USA! The feeling of freedom was omnipresent; no rules, no school if you didn’t feel like going; no homework; and no curfew. It was as if kids had a built in automatic path, their destiny awaiting them, meanwhile they could do anything. There was also stuff you couldn’t talk about … which was way too complex for a kid to cope with. And later shushed because it involved people still alive. I lived in a world of physical fun with an ominous feeling that not all was well when you scratched the surface.Continue reading “Icarus Landing: Incorporating and Transcending Two Major Traditions in Western Civilization”
The illusionist exhibition at Studio Channel Islands in Camarillo, CA. April 6- May 21, 2019
Oh god, the exhibition is a living nightmare. I prefer the worst/best of postmodernism, at least Duchamp cleverly matched ends and means. But, with only a few exceptions, this show is about classical technique with creepy content. You can see the show online on critic Joseph Bravo’s Facebook page.
It would be horrific if we saw a woman opening her chest to let birds fly out or the dancing skeletons of a pair of baby conjoined twins! But the technique is so bland and plastic-like that it leaves us feeling nothing about Yagi’s subject matter.Continue reading “Secularization of Hell: The Illusionists, Curated by Michael Pearce at Studio Channel Islands with TRAC2019”
Jon Wos, congratulations on the portrait. The pose is thoughtful, the proportions elegant, and you make great use of “Bouguereau” silver lining lighting. I like the texture and lighting of the dress, particularly the brilliant curve of light at the hemline that merges imperceptibly into shadow. And congratulations on being a romantic, though it can be tough because romanticism can trigger bullies, especially ones who can’t do better. I think my favorite painting of yours is the self-portrait with the lamp. I love it. The lighting, colors, forms, and the mysterious story are exceptionally well-integrated. The little dog sheltered underneath the wheelchair is very touching. The lamp lighting the scene is masterful; I prefer yours to some of the famous De La Tour paintings. I can’t put my finger on the mystery of what you (in the painting) are looking for, but the optimism of the colors, the brilliant clean light, and the frank expression makes me think that you have already found it. Perhaps it was something in you all along?
You can check out Jon’s work and poignant story here.
Archaeologist Thodoris Archontopoulos takes us on a journey through Newberry’s works in progress. Originally published in the Greek newspaper the Rodiaki, 1996.
The Pond, wip, oil on linen, 54 x 48″. Destroyed.
Michael Newberry exhibits his works in Rhodes at the salon-like gallery To Dentro (the Tree), June 15th through July 13th 1996.
Newberry has lived in Rhodes since 1995. Previously, he studied art in Los Angeles and in Holland and exhibited in The Hague, Brussels, New York, and frequently in Los Angeles, where he taught drawing and composition for four years at Otis/Parsons College of Art and Design.
In 1995 he exhibited in the Bastion of Saint George, sponsored by Rhodes Cultural Affairs and the Archaeological Service of the Dodecanese.
This year’s exhibition is of large canvases and their preparatory studies in pastel and pencil on paper. This exhibition represents a profound confession to all of us as Newberry takes an absolutely transparent look into the communication between the audience and the artist. Newberry shows us, in an uncommon way, how and even perhaps why he paints.
The character of this exhibition reveals the genesis of painting, but it also allows us to grasp how these expressive studies are united by a common vision, an unusual concept for an exhibition. In three large, unfinished paintings and many preparatory studies (45), we get a special look into the construction of the paintings through their relation to the studies. While the studies are made with different techniques in the mediums of pastel, pencil, and oil, they relate to one another, are connected by a common cause: form and light. Out of form and light the basic idea and the message combine with the color to create a personal aesthetic.
Pastel Color Study for the Pond
Atmosphere Graphite Study for the Pond
Graphite Landscape and Water Study for the Pond
By observing these two elements, the paintings and their studies, we can locate the common rudiments of form, composition, light, and atmosphere. The studies’ differences of details, atmospheric light, and colors reveal the time involved in the conception of a large painting, and they contribute to the elevation of the aesthetic of the paintings.
Note: Ted Keer pass away last month, he had a wonderful curious mind, and it was an honor that he wrote something about a few of my works including the review below:
Michael Newberry’s “Ascension Day” is one of my favorite of his non-traditional paintings. I believe that the essence of my enjoyment is the fully worked out form which simultaneously presents both symmetry and asymmetry, beauty and tension, action and self-centeredness.
When I visited his studio, Michael and I discussed his axiomatic concepts of figurative painting which he designates as form, space and light. I don’t wish to comment at length on his theory, but those who wish to know what he has to say should visit his website and read his statements. I did not discuss this specific painting with Michael, and have intentionally not sought his remarks on it, so that I might comment without bias.
“In the broad valley, far below him, in the first sunlight of early morning, he saw a town. Only it was not a town. Towns did not look like that. He had to suspend the possible for a while longer, to seek no questions or explanations, only to look.”
The above was Ayn Rand’s description of Howard Roark’s Monadnock Valley development in The Fountainhead. Rand is revered — and reviled — as a philosopher and novelist, but to me she was also an artist. She defined art as a recreation of reality according to an artist’s values, and in her work, she recreated an inspirational world of heroes, light, and flourishing.
That is why The Atlas Society chose art as an arena for intellectual and spiritual engagement with Ayn Rand’s ideas. The 25-year-old philosophical organization capped 2016 with winners of first annual Atlas Art Contest. Over 400 entries were narrowed down to 21 artists by a panel of four judges: Sabin Howard, sculptor; Judd Weiss, photographer; Agnieszka Pilat, painter: and myself. The public was then invited to vote, further spreading the engagement with the outstanding work of our finalists.
The winners were, from first to third place, Abiodun Olaku, Eric Armusik, and Danielle Dalechek. Given Ayn Rand’s aesthetics, it is rather fitting that Olaku won first prize with his clean style, perspective, and nuanced light.
Erotic Symbolism in Visual Art by Michael Newberry
Representational painting, such as landscapes, people, and furniture, is normally viewed at face value. A flower is just a flower; a chair a chair. But the manner in which an artist uses shapes can convey more than the literal content of the painting.
Once you grasp how an artist plays with shapes to convey another layer of meaning it can open up a universe of deeper insight and, sometimes, powerfully erotic subtexts. You may never see art again in the same way.