I met Thodoris in the Fall of 1994 in Rhodes, Greece. Incredibly smart, both an archaeologist and an art historian with a perfectionist integrity for styles, dates, and research in art. It was a huge honor that he made a presentation and wrote the review for my 1996 show at To Dentro, in Rhodes, Greece. The review was published in the Greek newspaper the Rodiaki. The show was about the creative process for large definitive works that were then works in progress. A few years later, the same show but with the completed definitive works became an international traveling exhibition “Visions” 1998 November-Athens College, Athens, Greece; August-Ministry of Greek Culture, Rhodes, Greece; July-institute for Objectivist Studies, Summer Seminar, Boulder, Colorado.Continue reading “Thodoris Archontopoulos, Byzantine Archaeologist and Art Historian”
Poets and Artists published this on September 2nd, 2018.
Romanticist in a Postmodern Art World
In 1998, the year of the above self-portrait, I was living in my rented two-story Turkish house/studio in the Old Town of Rhodes, Greece, which overlooked the Mediterranean and the town’s minarets and domes. Two decades before, as a 20-year-old American, I had started my focused art journey in The Hague, Holland. Between Holland and Greece I moved every few years seeking inspiration from a different culture, a beautiful place, or from a big city’s energy. Everywhere I lived I produced my own pop-up shows, selling enough to keep painting. I tried both New York and Los Angeles a few times, knocking on their art scene doors, but my aesthetic was incompatible with contemporary art institutions. I was a romanticist aiming for my definitive works to have the feeling of a Puccini opera. Meanwhile postmodernists were rejecting art’s evolutionary developments and seriously trying to create from a preoperational cognitive state of mind like Louise Bourgeois. Others like Duchamp, Creed, and Christo sought to be radically original by using shocking, unlikely, and unrepeatable mediums for visual art. Continue reading “Facing the Postmodern Art World”
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.