Just got back from a trip to Dallas/Fort Worth to visit the Diebenkorn Ocean Park retrospective at the Modern Art Museum of Fort Worth. It was stunning, and I’ll be writing my reflections on the show soon. But before we even got inside, we experienced one of the best Richard Serra sculpture I’ve ever seen. Below are some shots from my visit – I’m with one of my best students and friends, Marcus Miers.
Marcus at the base.
A shot of the cor-ten behemoth against the sky.
A spire of light wedging into the interior of the piece.
Gazing upward from within.
And here I am against the space and light.
Serra’s piece at MMA in Fort Worth is spectacularly aural in its manifestation. There is the quintessential feeling of massive heaviness, the sense of the density of the steel, the way the work shapes the space and the sky and the light within its parameters – but the sense of sound is truly unique. In most of Serra’s semi-enclosed works there is a kind of stillness to the air and the sound, a weightiness similar to the feeling of walking through a forest heavy with new-fallen snow. In this piece, however, the sound is fast and expansive, and every slight movement or sound is magnified and compressed within the interior space. What happens inside is heightened for those within, but people outside have their sense of the interior sound scape dampened. This inside and outside duality of sound is integral to the piece and makes the normally ominous quality of Serra’s steel more whimsical and lightly-felt.
Quintessence #10, multiple monotype and woodblock prints, with acrylic, graphite and gouache on paper, 2009. Click to enlarge.
I’ve been included in a small group show at Antelope Valley College, which was organized and curated by AVC Professor Christine Mugnolo. I’m honored and excited by my fellow exhibitors: J. Jordan Bruns, David Eddington, and Lisa C. Soto. Click here for the AVC Gallery page describing the show!
Full disclosure: I went to grad school with Christine and she was the subject of one of the shows I worked with Gillock Gallery to organize back in 2006. I wrote an essay about Christine’s drawings and Gillock published a small catalog for the exhibition containing the text and a selection of her work. I’m really proud of that entire project and hope you’ll take a look here.
Here’s one of the drawings from the show – Self Portrait on Olive Ground, Pastel on toned paper, 24 by 18 inches. Click to enlarge.
Finished this painting… click the image to see it up close.
First off, I received my new Diebenkorn book this week. Richard Diebenkorn: The Ocean Park Series is lush (in design), expansive (it contains many reproductions), and – best of all – it’s full of never before seen (in broadly-published form) paintings, prints and drawings. I’m doubly charged up by this book since I (and one of my students, Marcus Miers) are heading down to Fort Worth to see the Diebenkorn show next week!
Also, my own slim tome – 62 pages, 9 essays – just came out, published by Neoteric Art in Chicago.
It’s available in standard paperback version and in an ereader version. It should be up on Amazon in a few weeks as well.
Check out the fantastic lectures by Marilynne Robinson from the Dwight H Terry Lectureship at Yale. These talks, which took place in 2009, are full of valuable information and perspectives. Any thoughtful, engaged person will be both encouraged and exhorted to press deeper into understanding by Ms Robinson’s words.
You can buy the book that sprung from these lectures here.
Above: Untitled gouache sketch from 2008, 18 by 10 inches. Click for enlargement. I was thinking of Hanneline Rogeberg’s images of the body in tension, but also trying to find images that translated bodily discomfiture into a key to internal dialogue, questioning, and machination. How do you turn a sphere inside out? A mind inside out? The self inside out? Listen to Marilynne Robinson’s lectures for some answers…
One of my newest paintings – still on the easel – in progress here. Below are a few detail shots. Click for enlargement. Oil on panel, 24 inches in diameter.