I'm curious about the "falling-up" drips/scrapes. If this is something specific to this painting, if the artists uses this selectively or routinely, if there is a theme of eerie works or if this is an isolated piece.
I admit the theatrics of these are pretty amazing. The subject is done a lot- psychedelic bourgeois seems to be a hot thing right now. I wonder- where is it coming from? Anybody have any clues as to the cultural significance of it?
Ol ross B He had the aids thing. Heavy. Rosson shoulda painted New Orleans.
You know? Is it all about the context?
Can the kids wander in the desert way past their bed times? Can I pops? Can I?
Another way you can differentiate yourself is be a rock star.
Kurt Cobain's Juvenile Artwork Sold For $21,510 Kiri Blakeley, 12.17.04, 3:56 PM ET
NEW YORK - Today at Christie's rock 'n' roll memorabilia auction in New York, two pieces of early, original artwork by rock icon Kurt Cobain sold for $9,560 and $11,950. (Click here for more on Cobain's artwork.)
those yale loans must put one in a pretty tight space. If I, in a lapse of good judgement, decided to go there I would probably want to kick start my career too. I know a guy who went there and he has been working there (NOT as a prof or anything) and not showing- maybe he doesn't have time to make art? Seems like a tricky maneuver, esp. if you are not independently wealthy.
I always think private schooling for six years is such a poor investment. What can Columbia give you for 64 grand that talent and hard work alone can't give you?
i think columbia has a curatorial program? Art historians? I went to a school without any of that - so no exposure to the critical wing - the anal ysis.
Some people think thats good - it insulates you so you can authentic volk-kunst instead of academic art references or "art for art's sake".
I dunno, I think this plurality thing is overrated, which is why im elitist.
But as a professional wandering atheist its hard finding the common thread to embroider with.
I swear by the slinkers, the runners, the sinkers, by the night swarming, by the dawn sighing...
So, when the Trumpet is blown with a single blast and the earth and the mountains are lifted up and crushed with a single blow, then, on that day, the Terror shall come to pass, and heaven shall be split, for upon that day it shall be very frail, and the angels shall stand upon its borders, and upon that day eight shall carry above them the Throne of thy Lord. On that day you shall be exposed, not one secret of yours concealed.
I liked CLue with its secret wormhole-like passage . The original board had a top down perspective, so you could see the walls.
The movie had three different endings, which kind of correspond to the different horizon lines in some paintings in a space=time kind of way. does MC escher start that? Of course not! - hardly a naive painter this - and yet its being criticized for being undeveloped.
Did Mrs Plumb do it with a candlestick or is that a red herring?
We have plenty of f-ed up buildings! America, and the rust belt, where I come from, is full of decaying vestiges of post industry. We have lost our skills as a country, so to speak.
I think Dorland's subject is prescient, I mean, these are the non-spaces that surround us: the malls, convention centers, downtowns, big boxes, that are simply meant to be passed thru on the way to the next place of consumption. The "vanishing point". As for the lurid color, I am lost on that one, I think its where the nostalgic look comes from.
The people that are really looking at these spaces in America right now are photographers.
Does anyone agree that the comparison to other artist thing is getting a little tired? Considering that it is hard to be original anyway, pretty much impossible, what does it teach us to play these matching games? Unless it is totally blatant, of course, but you could look at pretty much any artist and tell right away what their influences are- it means you see a lot of art, but not much else.
bro its totally haunted house time. get it? ancestor worship? Did you have to know them to feel em? No, and thats why kids have just as much to say as their parents. I hate that fucking argument of inexperience, BTW. I know "kids" who have more to say than some septagenerains. Mostly its semantic blockage, as dennis hopper says.
Nobody has loved and lived and lost and lived again and lost and loved and better to have never painted at all.
Thank you guys for comparing artists, the more names one hears the more one is exposed to other art. On the other subject, I dont understand why an artist's inspiration has to be from life experience;why is not anything valid?
Well like I think i might be into the Chilli Peppers around Mothers Milk, where bass driven rock started (after mingus or Jaco of course) - but then it became Limp Bizcuit. The peppers were more alterna-jock, at first where LB is sort of sub-urban jock rock.
But I know not what it means.
In any case I dont think you need to go to Germany on this one.
tpl - Like Tom Sacks never worked at McD's? Neither did I, but I did see their training video in situ though. had to go throw up. Their buzzers and bells are low budg - dodge colt rather than bently. Chilli Peppers went to amsterdam and stuff. I think that informed their more abstract work.
Re decay image: "as to the problem of originality. It's an issue the older one is. To my generation it was an article of faith, the whole ballgame if you were really great, you had to be original in some way. To a slightly younger generation it was problematical, i.e. appropriation and the whole pictures crowd. But to a much younger generation it is a non-issue for exactly the reasons you describe. I cannot help but feel that it is still important.It is what you earn by staying at it for 30 years, the work becomes so individuated it just isn't like anything els."
Yes, I agree. Then why is everyone so quick to judge young artists on originality? I find it totally counterproductive to compare myself to other artists, so I wouldn't do it with anyone else.
Tom Sachs did do Prada Deathcamp... deathcamps are buildings, and Unite thats a building also if roomer is correct the buildings in Bitches in Money are taken from the dimensions done buy students from that cute little school in the downtown D that i am a proud alumina from when he did a visiting lecture a few years back... heard he had em out with rulers. (no fact checking on my part here) Life ain't nothin but Bitches and Money indeed.
I think the painting is OK>At this stage I don't wish to comment further (into the listening mode at the moment). Though chico does bring up a valid point about cereal boxes. Why do we look at them while eating our cereal--or did so as a child? My answer is that it makes you feel good. And all that useless information on the box, not just the design, but the nutritional facts--the warm-hearted messages--have meaning when you are chomping away @ your ™ Sugar Frosties. In fact, the mind is slowed down, almost to a zen-like slow reel, where the box, in front of you, is no-more-important, or less, than-anything-else.
The box is everything!
This may help us return to the painting painter has offered up in some perhaps not new light but in the light that glowed in our childhood, of memory of behavior in front of the box, moving it around, chewing away, late for school.
no it takes fear to turn your back and "strength of character" to go forward with out bending. i have never seen this in person or heard of her before.. but this is steeped in memory, memory i can fathom recalling.
Hey I've got a problem, can somebody help me with this jar of pickles? I can. Great i'm starving for a pickle. Here you go, you were going at it the wrong way. Thanks I really appreciate it. I can do it again if you like. I said thanks, problem solved, now get the hell out of here....
Curious all this talk about yale painters. I wonder where everyone writing these comments is coming from, what qualifications they have to make judgements on grad school? Are you all working painters in NYC...? I am especially curious as an undergrad, surrounded by teachers that are themselves grads from yale, and talk like they expect us all to go into grad school ourselves.
Getting back to the subject of actually looking and talking about the painting posted-- I cannot remember ever loading this blog and actually, gasp!, seeing some real, significant, deep space. It is not a good sign that this is the only thing about this painting that intrigues me. But. This space jumped right out at me, sucked me in. I wanted to walk behind those flowers.
this blog should be called 'sour grapes nyc'... so so so unbelievably pathetic, and really tragic that it comes out of nyc...
If you took out all the time wasting bitching about age and grad school it would all be frigging blank space... Thats why I left New York, too much life wasting, noting-to-do-with-art b.s., and not enough people just making work and looking at work and being eager and excited.....
If someone is selling paintings for relatively large amounts, its an issue as much as "talking about the paintings" or where the drip came from or the motivation to paint rooms. In fact the motivation to paint rooms might spring from the money issue.
So for them, poainting might be about something other than what painting is for you - and I think thats the issue.
Nothing snarky or bitter about adressing the context - its like regulating the guage and making sure the archetypal playing field can be navigated near the center, where symbols overlap rather than unfolding into infinite taxonomical hyerarchies.
God forbid painters becomes some kind of pedestal.
But painting ARISTOCRATIC rooms makes the issue doubly highlighted.
SO you peopel who complain should live in NY and see the other side of the looking glass. I see stars brah! I do! Way beyond the perimeter, Immaculate.
My point about McDonalds is the obverse of what I see as this paintings meta-thesis - what about people who paint the abject (Hamburglar anyone?) as VALUABLE fine art - but who never really lived abjectivity. Its nostalgie pour la boue - or even a phantom hand when you have no phantom arm. Its like hanging out in the green room when you want it painted black. And your rider said bowls goldfish but instead you got stacks of crack. Or hanging out on the wrong side of the tracks when you know you can go back. In toto, illusion.
As NWM was kind eough to post, arte-pauvera can extend to oils - maybe its medium-poor, but still, when you paint that way, its not exactly obsessive. I was looking at Takashi Murakami's "Little Boy" catalogue - the shows thesis is that WW2, the bomb and the subsequent colonization and so forth by the west lead to a sort of infantilization of parts of society, leading to a "kawaii" sensibility - universally i call that tone.
In the same way, this painting is a product of its environment. Dig?
so clever and beautiful, wow! really ever hear "show me don't tell me"
whom r u to be telling us how to make an "aesthetic judgment"... or how i place "value on a work" and if you think looking at factors about the life of the Artist takes away from understanding a work of Art, your missing out.
let me guess... my sweet little deary graduation time near? guess what baby! the heat is on...
i don't respond well to "dude" Brah. lick it. embarrassing indeed.
Moes supposes his toses are roses. But moses supposes erroneously.
Through the door it slithers in, Accompanied by its peers. Always groveling for attention, While no one really hears. In its mind it's full of wit And quite the social king. It plants itself among the rest, to give its deadly sting.
It's just a matter of opinion.
Further now there's a man of taste. Of talent and precision. To work and strive at his artform. Has been his life's decision. The stage is set. The perfect show Is put before the mass. Only to be ridiculed by some slimy, pompous ass.
Hey I like all the insight here, good or bad-- and just like stated above, not liking an artist's work or vision does NOT mean sour grapes.
That said-I loved this show!! The layers of glossy paint, the secret layers of paint glinting from underneath, this ain't no Richter squeegee pulls over a painted copy of a photograph, I assure you.
Some areas, the drips changed color at the edge of a color change, it was very thoughtful and was not simply using a crutch. Also, the layers of depth and transparency vs drips underneath and over that worked themselves into the composition, if you can see this show please see it!!
Also, I feel the need to clarify, this isn't mindless appropriation, as in victorian + argento movies=insta- subject matter. Her mother was an interior designer so I imagine that was a heavy influence. I don't think she could have painted these with as much conviction if it was just a "look". I think a lot of artists do that, but she is not one of them......
Also--I don't sense a fade away, artists this young who make a body of work like this only get better and better, I haven't liked a show this much since I saw the Cecily Brown /Saville show in 2000 I think.
pretty said: I admit the theatrics of these are pretty amazing. The subject is done a lot- psychedelic bourgeois seems to be a hot thing right now. I wonder- where is it coming from? Anybody have any clues as to the cultural significance of it?
In my opinion I think it has something to do with the theme of Americana, remember how the past few years it was a fascination with suburbia and the darkness underneath, I think it is a continuation of that --it's kind of connected.
random quotes from the foreword of her catalogue: the haunted look to symbolize juxtaposed historical interiors.
like a Hollywood sound stage, all is frontal and flimsy.
An exploration of how these scripted places play a role in the record of collective forgetting and collective sublimation.
Sorry I'd like to transcribe more but hope that helps?
fine i am dust in the wind.... but i still don't see jack shit from so clever and beautiful - cool - cool was bottomluss whiskey at zwirner tonight.... over strings and things... this, this is decoration for my eccentric $'ed gramdma///;;
y am i not hearing swatches of AESTHETIC REASONING???
Satanarchy can SUCK IT. Anyone who is not independently wealthy SHOULD have a vested interest in the market!!! As in, WHY does hype have so much sway over something that's ultimate objective is to be TIMELESS?
I am in my 20s and selling and this youth worship scares the shit out of me. I don't want to be "it" for five minutes, I want to be able to work until I'm dead. If an artist does not think about their legacy, they are making fucking bon bons.
And I agree that the critics are only "art writers" any more, like that NYT piece on Bryce Marden made me want to throw up, justifying his four studios because he needs the "Light" to make his wonderfoul decorators dreams. I think pretty much everyones opinions here are valid, supposing that they are really telling the truth.
and the grad school and market relationship IS out of control.
Wow. People should go and see Ms. Crow's show for themselves. The paintings may not be completely "matured" but they hold a true passion and curiosity for paint that is rare. To knock them for being green is misplaced and shortsighted. I don not understand the position taken above that the paintings are trendy as they are certainly outside of the grey flags downtown smartie ptg scene (Josh Smith, Blake Rayne, Elena Pankova ect), and do not jibe with much else I can see at the moment. I think these ptgs are thoroughly uncool and I appreciate their indulgence in phantasmagorical expressionism and bravado. All the better coming from a young woman! I believe the opponents of this show are sexist. I have never heard such rants over age for young emerging male artists, what the hell? It should be noted that canada seems to be showing primarily women artist this year. I've seen two others this season so far and the next is Carrie Moyer (who all you age freaks will probabley yhink is too old) I am grateful for this seeing how much sexism still prevails in this business.
I very much like Rosson Crow's work. Cant wait to see this show.
I like the way she is getting in to these victorian interiors with Bacon-like horror compositions and crazy, tripped out light... I see why someone earlier made a connection to Scott Taylor, in that she is mixing historical and contemporary painting techniques fluidly. The subject matter makes me think about a proposed conection of antiques to mortality.
There is something potent about antiquity which sets us off in a fetishistic craze. What is the base elemental that does it? For one, it may be the aura of our own impending death - these objects and interiors become mile-signs that quide us over the stretch of timescape that came before us, and will go on after us. Have you ever trecked downstairs in the dark of your grandmother's house at 1:56 AM to get a glass of milk? In the half light, those teetering rocking chairs and odd old lamps exhude a spookyness that is undeniable. They are a musty, varnished whisper of death till we get back under the afghan, where they may scream in our dreams.
In the colors Rosson has mixed so brilliantly, we hear them screaming. They are calling us from the other side of time, pointing to us to say "here you live, but here, also, you will die one day."
I also find the negative reaction to this work somewhat bewildering, though on some level I understand and agree with the points made in criticism towards this artist. Her subjects can be percieved as contrived, but when I saw this painting I did immediately recognize an honest enjoyment of the tactility of her medium, and that combined with a fair amount of talent lead me to respect the work on some level. I have yet to see them in person, and the other works held up less, but I do have hope for her progression, and have no distaste for her success. In regards to the many crticisms chicomacho made against this work, some of which I found somewhat valid, I would say that chico in his criticism often expresses disdain for what can be viewed as trendy "devices", many of which can be seen here, via conceptual considerations (many of which are not very original) as well as formal devices such as the upsidedown drips, garish color, and specific use of photography and perspective. These types of methodologies are utilized by other artists singled out by Chico who may also be seen as trendy, such as many in the Feuer stable like Schutz and Balincourt. Though I do recognize the downsides that can be present in work like this, I am reluctant to rule out someone's work simply becaue it is trendy, and believe someone can be engaged in an honest and inquisitive process while still being involved with trendy subject matter and technique. That being said, the only artist I recall who chico commented positively on (by saying it was superior to Schutz's work) was Jason Sleurs. Thus if his work, which I find quite stale and tame, and perhaps work like it, is being presented as a counterpoint, then I will have to agree to disagree on the basis of taste. I have asked Chico numerous times to name contemporary artists who he feels are doing good work that could be seen as a counterpoint to the fashionable scene in Chelsea, but have never been given any examples, which makes it very hard to understand Chico's perspective. Thank you all for the interesting thread.
Hi everyone- Rosson here. I am a huge fan (and lurker) of painter's blog...even if it is full of complainers!! I am very interested and greatful for everyones opinions. I'll gladly answer any questions anyone might have about my work....of course in no way attempting to change people's strong opinions of my work!! Thanks- Rosson
damn - if that is rocrow up in this, then all yall haters are gonna be feeling like suckas --- throwing venom with your face covered is h e l l a weeeeaaaak!!
I went to the show. Psyched for CANADA that they get some $$$$ - they deserve it. As for a twenty-something that is successful? Why not. Let them eat man.
The work - its like doing slappies at Astor in 1995. they're decently sized. the palette is rouge a lot, and has this lanky neon-ness to it. The paint is slippery, its flying, its dripping. Its not anal. Its not taped up. I can't read it as being a conceptualized effort. Its more like, hell painting is fuking rad, and I like victorian furnitures and scary movies. but thats about as objective I can be about it.
do i see a lot of this around - not really. again, im more psyched that they're not the mainstream conceptual bent hanging onto to make it seem smarter than it actually is. Im sorry but the show at a kreps is sweating that tip h a r d
I think it's great that she cracked 100 comments here (only a few people do) and that this very talented and promising person has an opportunity to develop her work instead of suffering or being distracted with a day job. I can think of plenty of artists who really shouldn't have shown out of grad school like Casey Cook and many others who are already good at 24. I'm looking forward to her future work.
I hope no Zack Smith type discussion will take place- I'm not hear to argue with people. Everyone's intitles to their opinions-- I have very strong ones on other people's work, too.
Lets see....Thousand points of light: as for the living inp It did not take me moving to paris to realize I love las vegas or los angeles, as someone commented before. It DID however heighten my awareness of what I thought was only an aspect of my work. I thought I was just as concerned with ACTUAL historic spaces (as evidence by my long time obbession with france and french history)but I came to realization that I wasn't concerned with this at all, an was much more interested by the fake american appropriation of historial styles. Im not saying this is a new idea, I mean baudrillard said it all 40 years ago. Just because I love making paintings doesnt mean Im inventing everything Im interested in. I don't know any painters that do, ie work in a complete vaccume of other painters and other ideas. Not that the idea of "this isnt original" isn't valid, but I don't see the point. I dont think that anything is wholly origninal. the idea of originality sounds very cliche and outdated to me. but hey, what do i know?? would love to discuss it. maybe my sense of space is borrowed, i dunno. i take a lot of ideas from cinema, theater and interior design. as someone mentioned before, my mother was an interior designer, she designed the interiors of private jets in the 1970s for the sultan of brunei, and others. the images of them are so amazing that i cant bring myself to paint them!! they are too perfect.
I am not sure what you mean about "contemporary space". Being away from america for an extended period of time really heighten my sense of "american space". I'm from dallas texas, where everything is big and fake. I dont thinak that i had completely owned up to my feelings about this in my work until it was taken out of my life. there's nothing like that in france, well, maybe versailles. you really take the fake italian decoration in olive garden for granted!! mostly, I am interested in decadence, and how this is reflected in our society, esp the manifestations of this decadence in our space. not just interiors, i have done many outdoor garden and pool paintings as well. I will be the first to admit that i dont have everything figured out in my painting, but i thtink that is the fun part. If I had the answer to everything, why bother keep making work?? each time i make a painting, i learn something new. and yes, i am young. does that make me a bad painter? i hope not. All I can hope for is to be able to keep making paintings, keep getting better, and learning more. Thanks! rosson ps- thanks kelli!
Hi Rosson, If you're still here-I was blown away by your show, so much so that I can't even describe as you may tell from my blathering on above ! my questions are a bit pedestrian- but I'm curious-
And I was wondering if you could share your method of how you put the image on canvas-do you draw/project it and then paint or do you go in more freehand wet on wet and then start the shapes? Also do you paint from collaged images?
3)Do you organically add and make changes as you go along? Or do you have a clear idea of what you want the painting to look like and execute it accordingly?
I ask because it was not a straightforward painting by any means, and it reached the next state beyond the technical-
You really created such a sublime space and mood, I consider you a true artist, and thanks!!
oh and do you consciously think about the mood you want to project?
Or would you say it happens on it's own?
For Instance, a few of them had a heavy ominous feel, all foreboding like--
and others felt a bit like a swinging party where everyone left abruptly, and you're left standing there with an empty drink and an awkward fading smile.
thousand points of light- vidler is one of my favorites! i found 'warped space' very influential on my work, not to mention 'architectural uncanny'. I also LOVED 'vatican to vegas', an amazing book! Harbison has written great books on the perception of space as well. OK heidilolatheayatollah, As for how I start the image, I make many drawings, all pretty shitty and sketchy, mostly just for compositional reasons. Then I draw onto the canvas with canvas, usally freehand, but sometimes I use a projector for certain pieces of furniture. Then I just go at with paint, working pretty fast and letting things develop as they may. The paintings never turn out as I planned, which for me, is kind of exciting. The actual painting of an image doesn’t take me that long. I hate fussy and over worked paintings. For me, the process of making a painting is one of exploration and fun. Do I think of the mood I want to project? Sometimes I do, and other times it just happens on its own. Ultimately, I think that whatever ive been reading or thinking about lately comes out in the work, i.e. vidler and poe means spookier, ‘learning form las vegas’ chintzier or jane austen subtler. Does that make any sense?
You see-- I really respond to painters who use the paint in conjunction with their idea, I can really feel the paint setting up the artifice of the scene, but on your own terms. Quite like a stage set builder but in paint--and using your painterly instincts--stroke by stroke, drip by drip.
Paint as a metaphor upholding the fascination with the idea itself. I hope that makes sense?
thx for the AESTHETIC REASONING. i am a fan of decadence, Vegas and New Money. - but really who's paintings are "figured out" that seems like something one would want to avoid having happen.
On VH1's "40 Dumbest Celebrity Quotes" they sited whitney houston as the source of the "crack is wack" quote... i was like has no one involved been to the Harlem River Park? It really should read "Crack is Back"
Well, people look and people stare Well, I don't think that I even care You work your life away and what do they give? You're only killing yourself to live. Killing yourself to live. Killing yourself to live.
Just take a look around you what do you see? Pain, suffering and misery. It's not the way that the world was (planned/meant). It's a pity you don't understand. Killing yourself to live. Killing yourself to live.
I'm telling you believe in me, Nobody else will tell you Open your eyes and see the lies, oh yeah
Smoke it - get high!
You think that I'm crazy and baby I know that it's true Before that you know it I think that you'll go crazy too
I don't know if I'm up or down, Whether black is white or blue is brown, The colors of my life are all different somehow Little boy blue's a big (gun/girl) now
So you think it's me who's strange, But you've never had to make the (chain/change) Never give your trust away, You'll end up paying 'till your dying day
They told you in school about freedom But when you try to be free they never let ya They said "it's easy , nothing to it" And now the army's out to get ya Sixty nine America in terminal stasis The air's so thick it's like drowning in molasses I'm sick and tired of paying these dues And i'm finally getting hip to the American ruse
I learned to say the pledge of allegiance Before they beat me bloody down at the station They haven't got a word out of me since I got a billion years probation
Sixty nine America in terminal stasis The air's so thick it's like drowning in molasses I'm sick and tired of paying these dues And i'm sick to my guts of the American ruse Phony stars, oh no! crummy cars, oh no! Cheap guitars, oh no! Joe's primitive bar... nah!
Rock'em back, Sonic ! The way they pull you over it's suspicious Yeah, for something that just ain't your fault If you complain they're gonna get vicious Kick in the teeth and charge you with assault Yeah, but i can see the chickens coming home to roost Young people everywhere are gonna cook their goose Lots of kids are working to get rid of these blues cause everybody's sick of the American ruse
Well well well , take a look around ! Well well well , take a look around ! Well well well , take a look around ! Well well well , take a look around ! Well well well , take a look around !
Wanna give it up, wanna beef it up, wanna make it beg for more Gotta keep it clean, you little meat-machine, cause it's the only only thing you got gotta make it last, sign an autograph, get it ready to get it on you gotta wipe it clean get that magic sheen
[Chorus:]
So wipe it till it bleeds yeah yeah yeah wipe it till it bleeds whoo whoo whoo
[Verse 2:]
It's your golden toy make it make some noise you gotta make it cream such a shiny dream you gotta check the seam got my Scandinavian leather on never let it dry or it'll fucking die you gotta let it breathe gotta stretch it out gotta flex(?) it out work the baby all night long, work the baby all night long all night long see the young lord looking so very good he rode down to the village just like i knew he would such a lusty little hipster he takes what he wants subcultural greed. he's a boy of many needs and now right now
[Chorus]
Wipe it till it bleeds, you gotta keep it clean (till end)
No. Mamam anderson is more anal. Less improved. Sure the subject matter is the same, women experiencing space for the very first time, but its different.
But maybe I have the wrong Mamma Andersson - how many are there? Sweden. Yeah. I know their feelums well.
So this thread continues... (even kelli phones in).
As for how I start the image, I make many drawings, all pretty shitty and sketchy, mostly just for compositional reasons. Then I draw onto the canvas with canvas, usually freehand, but sometimes I use a projector for certain pieces of furniture. Then I just go at with paint, working pretty fast and letting things develop as they may. The paintings never turn out as I planned, which for me, is kind of exciting.
Thanks for that info Rosson. I had thought the plumes and fumes were overlays, braids of different armatures, stuff like that. That they are part of the intuitive journey greatly adds to the paintings' voracity. It's hard to tell these days how an artist pulls a painting together, except with what you see (for me often only as a jpeg). I think it still pretty true that whatever it takes is the important element. That is takes little more than getting in there with the work, fresh, working visually instead of over theorizing and over conceptualizing is as exciting as ever for painting.
I doubt if anyone is bitter more putting out some humor and a personal climate rain-dropping in an effort to communicate. That's why it's fun coming by.
88 comments:
Rosson Crow @
CANADA
55 Chrystie St
between Hester & Canal),
NYC NY 10002
I like the intuitive translation of space.
I'm curious about the "falling-up" drips/scrapes. If this is something specific to this painting, if the artists uses this selectively or routinely, if there is a theme of eerie works or if this is an isolated piece.
kinda reminds me of Scott Taylor via the shining
I admit the theatrics of these are pretty amazing.
The subject is done a lot- psychedelic bourgeois seems to be a hot thing right now. I wonder- where is it coming from? Anybody have any clues as to the cultural significance of it?
redrum
you disitinguish yourself by going to yale(depends on the year), skowhegan(look whos on board that year), Columbia(hot), UCLA(not so hot).
That cuts it down 50%
Work your way to 5% and its all WORD OF GOD.
How did Jim Morrison distinguish himself? I mean.
Really.
THese paintings arent bad, I mean after the washed out palette of the last two, its a deluge.
Renminds me of the parlour tricks of the WInchester mansion video wassisname.
Or Melancholy blurred hummingbird chandelier dude.
RIght now I could go for a fried Isamu Nagutchi donut.
Park your synapse player by the Black hole sun.
Mind like a steel seive.
the yayoi kusama show was doooope
Ol ross B
He had the aids thing.
Heavy.
Rosson shoulda painted New Orleans.
You know? Is it all about the context?
Can the kids wander in the desert way past their bed times? Can I pops? Can I?
Another way you can differentiate yourself is be a rock star.
Kurt Cobain's Juvenile Artwork Sold For $21,510
Kiri Blakeley, 12.17.04, 3:56 PM ET
NEW YORK - Today at Christie's rock 'n' roll memorabilia auction in New York, two pieces of early, original artwork by rock icon Kurt Cobain sold for $9,560 and $11,950. (Click here for more on Cobain's artwork.)
www.forbes.com/business/2004/12/17/cz_kb_1217collectorsslideshow.html
Mad Magazine MArginalia makes for modest mental moment.
Vanitas!
those yale loans must put one in a pretty tight space. If I, in a lapse of good judgement, decided to go there I would probably want to kick start my career too. I know a guy who went there and he has been working there (NOT as a prof or anything) and not showing- maybe he doesn't have time to make art? Seems like a tricky maneuver, esp. if you are not independently wealthy.
I always think private schooling for six years is such a poor investment. What can Columbia give you for 64 grand that talent and hard work alone can't give you?
i think columbia has a curatorial program? Art historians? I went to a school without any of that - so no exposure to the critical wing - the anal ysis.
Some people think thats good - it insulates you so you can authentic volk-kunst instead of academic art references or "art for art's sake".
I dunno, I think this plurality thing is overrated, which is why im elitist.
But as a professional wandering atheist its hard finding the common thread to embroider with.
In conclusion:
DOnt spill the rose.
Drink the pink!
I swear by the slinkers, the runners, the sinkers,
by the night swarming,
by the dawn sighing...
So, when the Trumpet is blown with a single blast
and the earth and the mountains are lifted up and
crushed with a single blow,
then, on that day, the Terror shall come to pass,
and heaven shall be split, for upon that day it
shall be very frail,
and the angels shall stand upon its borders, and
upon that day eight shall carry above them the
Throne of thy Lord.
On that day you shall be exposed, not one secret
of yours concealed.
I liked CLue with its secret wormhole-like passage . The original board had a top down perspective, so you could see the walls.
The movie had three different endings, which kind of correspond to the different horizon lines in some paintings in a space=time kind of way. does MC escher start that? Of course not! - hardly a naive painter this - and yet its being criticized for being undeveloped.
Did Mrs Plumb do it with a candlestick or is that a red herring?
The sea positively boils!
my my mauve.
I think of golden girls.
TPofL:
We have plenty of f-ed up buildings! America, and the rust belt, where I come from, is full of decaying vestiges of post industry. We have lost our skills as a country, so to speak.
I think Dorland's subject is prescient, I mean, these are the non-spaces that surround us: the malls, convention centers, downtowns, big boxes, that are simply meant to be passed thru on the way to the next place of consumption. The "vanishing point". As for the lurid color, I am lost on that one, I think its where the nostalgic look comes from.
The people that are really looking at these spaces in America right now are photographers.
Does anyone agree that the comparison to other artist thing is getting a little tired? Considering that it is hard to be original anyway, pretty much impossible, what does it teach us to play these matching games? Unless it is totally blatant, of course, but you could look at pretty much any artist and tell right away what their influences are- it means you see a lot of art, but not much else.
stale prettiness feels so stale-still,give this person some time-
bro its totally haunted house time. get it? ancestor worship? Did you have to know them to feel em? No, and thats why kids have just as much to say as their parents. I hate that fucking argument of inexperience, BTW. I know "kids" who have more to say than some septagenerains. Mostly its semantic blockage, as dennis hopper says.
Nobody has loved and lived and lost and lived again and lost and loved and better to have never painted at all.
The truth is in the Rock.
Proof enough.
the magic age is 35,6-in the art world-
Thank you guys for comparing artists, the more names one hears the more one is exposed to other art. On the other subject, I dont understand why an artist's inspiration has to be from life experience;why is not anything valid?
Well like I think i might be into the Chilli Peppers around Mothers Milk, where bass driven rock started (after mingus or Jaco of course) - but then it became Limp Bizcuit. The peppers were more alterna-jock, at first where LB is sort of sub-urban jock rock.
But I know not what it means.
In any case I dont think you need to go to Germany on this one.
these paintings make me feel ill.
Yale huh?
Oh well she needs to pay those loans.
These are like Gerhard Richter's only he can paint better and did this smear thing over 30 years ago.
Smells like gothic candy and torn stockings. Dripping up is so early 90s.
i worked as a archivist i a house that looked just like this.
cultural signifigance = looks like old money to new money
tpl - Like Tom Sacks never worked at McD's? Neither did I, but I did see their training video in situ though. had to go throw up. Their buzzers and bells are low budg - dodge colt rather than bently. Chilli Peppers went to amsterdam and stuff. I think that informed their more abstract work.
Primus.
Re decay image:
"as to the problem of originality. It's an issue the older one is. To my generation it was an article of faith, the whole ballgame if you were really great, you had to be original in some way. To a slightly younger generation it was problematical, i.e. appropriation and the whole pictures crowd. But to a much younger generation it is a non-issue for exactly the reasons you describe. I cannot help but feel that it is still important.It is what you earn by staying at it for 30 years, the work becomes so individuated it just isn't like anything els."
Yes, I agree. Then why is everyone so quick to judge young artists on originality? I find it totally counterproductive to compare myself to other artists, so I wouldn't do it with anyone else.
even though I do think this subject matter is totally contrived but thats beside the point.
Tom Sachs did do Prada Deathcamp... deathcamps are buildings, and Unite thats a building also if roomer is correct the buildings in Bitches in Money are taken from the dimensions done buy students from that cute little school in the downtown D that i am a proud alumina from when he did a visiting lecture a few years back... heard he had em out with rulers. (no fact checking on my part here) Life ain't nothin but Bitches and Money indeed.
or a voice that alot of people that listened in Grad school have... white noise.
I think the painting is OK>At this stage I don't wish to comment further (into the listening mode at the moment).
Though chico does bring up a valid point about cereal boxes. Why do we look at them while eating our cereal--or did so as a child?
My answer is that it makes you feel good. And all that useless information on the box, not just the design, but the nutritional facts--the warm-hearted messages--have meaning when you are chomping away @ your ™ Sugar Frosties. In fact, the mind is slowed down, almost to a zen-like slow reel, where the box, in front of you, is no-more-important, or less, than-anything-else.
The box is everything!
This may help us return to the painting painter has offered up in some perhaps not new light but in the light that glowed in our childhood, of memory of behavior in front of the box, moving it around, chewing away, late for school.
well said.
no it takes fear to turn your back and "strength of character" to go forward with out bending. i have never seen this in person or heard of her before.. but this is steeped in memory, memory i can fathom recalling.
What is a great idea once its understood? Just a painting? A memory of a great idea? I guess too many people understand this.
or think they do...
Hey I've got a problem, can somebody help me with this jar of pickles?
I can. Great i'm starving for a pickle.
Here you go, you were going at it the wrong way. Thanks I really appreciate it. I can do it again if you like. I said thanks, problem solved, now get the hell out of here....
Curious all this talk about yale painters. I wonder where everyone writing these comments is coming from, what qualifications they have to make judgements on grad school? Are you all working painters in NYC...?
I am especially curious as an undergrad, surrounded by teachers that are themselves grads from yale, and talk like they expect us all to go into grad school ourselves.
Getting back to the subject of actually looking and talking about the painting posted--
I cannot remember ever loading this blog and actually, gasp!, seeing some real, significant, deep space.
It is not a good sign that this is the only thing about this painting that intrigues me. But. This space jumped right out at me, sucked me in. I wanted to walk behind those flowers.
ghost dont allways want to come back
remember when gothic was big? Man that was a rush.
Now its all post-gothic and shit.
Dario, man you can be my fan if you want. aznd threough strange currency you will get beer.
... loading layers in Photoshop skewing them, will get you there, tumble, if you are interested, if you want to go there:)
Decay, you are are gentle person.
I still see promise!
http://www.artnet.com/Artists/LotDetailPage.aspx?lot_id=8B3052BA220057E0DC1895EB2B6A26BF
this blog should be called 'sour grapes nyc'... so so so unbelievably pathetic, and really tragic that it comes out of nyc...
If you took out all the time wasting bitching about age and grad school it would all be frigging blank space... Thats why I left New York, too much life wasting, noting-to-do-with-art b.s., and not enough people just making work and looking at work and being eager and excited.....
have fun...
If someone is selling paintings for relatively large amounts, its an issue as much as "talking about the paintings" or where the drip came from or the motivation to paint rooms. In fact the motivation to paint rooms might spring from the money issue.
So for them, poainting might be about something other than what painting is for you - and I think thats the issue.
Nothing snarky or bitter about adressing the context - its like regulating the guage and making sure the archetypal playing field can be navigated near the center, where symbols overlap rather than unfolding into infinite taxonomical hyerarchies.
God forbid painters becomes some kind of pedestal.
But painting ARISTOCRATIC rooms makes the issue doubly highlighted.
SO you peopel who complain should live in NY and see the other side of the looking glass. I see stars brah! I do! Way beyond the perimeter, Immaculate.
My point about McDonalds is the obverse of what I see as this paintings meta-thesis - what about people who paint the abject (Hamburglar anyone?) as VALUABLE fine art - but who never really lived abjectivity. Its nostalgie pour la boue - or even a phantom hand when you have no phantom arm.
Its like hanging out in the green room when you want it painted black. And your rider said bowls goldfish but instead you got stacks of crack. Or hanging out on the wrong side of the tracks when you know you can go back. In toto, illusion.
As NWM was kind eough to post, arte-pauvera can extend to oils - maybe its medium-poor, but still, when you paint that way, its not exactly obsessive. I was looking at Takashi Murakami's "Little Boy" catalogue - the shows thesis is that WW2, the bomb and the subsequent colonization and so forth by the west lead to a sort of infantilization of parts of society, leading to a "kawaii" sensibility - universally i call that tone.
In the same way, this painting is a product of its environment. Dig?
WORD!
I meant TOm Sucks Foam Kore(TM) constructions. Not exacty a cheap material to use, actually.
oh but feel free to actually go back to your pedantic Kantian formalism.
so clever and beautiful, wow! really ever hear "show me don't tell me"
whom r u to be telling us how to make an "aesthetic judgment"... or how i place "value on a work" and if you think looking at factors about the life of the Artist takes away from understanding a work of Art, your missing out.
let me guess... my sweet little deary graduation time near? guess what baby! the heat is on...
i don't respond well to "dude" Brah. lick it. embarrassing indeed.
Moes supposes his toses are roses. But moses supposes erroneously.
Through the door it slithers in,
Accompanied by its peers.
Always groveling for attention,
While no one really hears.
In its mind it's full of wit
And quite the social king.
It plants itself among the rest,
to give its deadly sting.
It's just a matter of opinion.
Further now there's a man of taste.
Of talent and precision.
To work and strive at his artform.
Has been his life's decision.
The stage is set. The perfect show
Is put before the mass.
Only to be ridiculed
by some slimy, pompous ass.
It's just a matter of opinion.
el paso!
get a rope!
Is it hot in here or is it hot? I like Kant and I like cant.ilevered arcs.
Hey I like all the insight here, good or bad-- and just like stated above, not liking an artist's work or vision does NOT mean sour grapes.
That said-I loved this show!! The layers of glossy paint, the secret layers of paint glinting from underneath, this ain't no Richter squeegee pulls over a painted copy of a photograph, I assure you.
Some areas, the drips changed color at the edge of a color change, it was very thoughtful and was not simply using a crutch. Also, the layers of depth and transparency vs drips underneath and over that worked themselves into the composition, if you can see this show please see it!!
Also, I feel the need to clarify, this isn't mindless appropriation, as in victorian + argento movies=insta- subject matter. Her mother was an interior designer so I imagine that was a heavy influence. I don't think she could have painted these with as much conviction if it was just a "look". I think a lot of artists do that, but she is not one of them......
Also--I don't sense a fade away, artists this young who make a body of work like this only get better and better, I haven't liked a show this much since I saw the Cecily Brown /Saville show in 2000 I think.
pretty said:
I admit the theatrics of these are pretty amazing.
The subject is done a lot- psychedelic bourgeois seems to be a hot thing right now. I wonder- where is it coming from? Anybody have any clues as to the cultural significance of it?
In my opinion I think it has something to do with the theme of Americana, remember how the past few years it was a fascination with suburbia and the darkness underneath, I think it is a continuation of that --it's kind of connected.
random quotes from the foreword of her catalogue:
the haunted look to symbolize juxtaposed historical interiors.
like a Hollywood sound stage, all is frontal and flimsy.
An exploration of how these scripted places play a role in the record of collective forgetting and collective sublimation.
Sorry I'd like to transcribe more but hope that helps?
"cool" a little more is required of you to pull yourself out of the muck on this one my dear. Lets hear some AESTHETIC REASONING!!
fine i am dust in the wind.... but i still don't see jack shit from so clever and beautiful - cool - cool was bottomluss whiskey at zwirner tonight....
over strings and things... this, this is decoration for my eccentric $'ed gramdma///;;
y am i not hearing swatches of AESTHETIC REASONING???
back your shit up.
Satanarchy can SUCK IT.
Anyone who is not independently wealthy SHOULD have a vested interest in the market!!! As in, WHY does hype have so much sway over something that's ultimate objective is to be TIMELESS?
I am in my 20s and selling and this youth worship scares the shit out of me. I don't want to be "it" for five minutes, I want to be able to work until I'm dead. If an artist does not think about their legacy, they are making fucking bon bons.
And I agree that the critics are only "art writers" any more, like that NYT piece on Bryce Marden made me want to throw up, justifying his four studios because he needs the "Light" to make his wonderfoul decorators dreams. I think pretty much everyones opinions here are valid, supposing that they are really telling the truth.
and the grad school and market relationship IS out of control.
Wow. People should go and see Ms. Crow's show for themselves. The paintings may not be completely "matured" but they hold a true passion and curiosity for paint that is rare. To knock them for being green is misplaced and shortsighted. I don not understand the position taken above that the paintings are trendy as they are certainly outside of the grey flags downtown smartie ptg scene (Josh Smith, Blake Rayne, Elena Pankova ect), and do not jibe with much else I can see at the moment. I think these ptgs are thoroughly uncool and I appreciate their indulgence in phantasmagorical expressionism and bravado. All the better coming from a young woman! I believe the opponents of this show are sexist. I have never heard such rants over age for young emerging male artists, what the hell? It should be noted that canada seems to be showing primarily women artist this year. I've seen two others this season so far and the next is Carrie Moyer (who all you age freaks will probabley yhink is too old) I am grateful for this seeing how much sexism still prevails in this business.
I very much like Rosson Crow's work. Cant wait to see this show.
I like the way she is getting in to these victorian interiors with Bacon-like horror compositions and crazy, tripped out light... I see why someone earlier made a connection to Scott Taylor, in that she is mixing historical and contemporary painting techniques fluidly. The subject matter makes me think about a proposed conection of antiques to mortality.
There is something potent about antiquity which sets us off in a fetishistic craze. What is the base elemental that does it? For one, it may be the aura of our own impending death - these objects and interiors become mile-signs that quide us over the stretch of timescape that came before us, and will go on after us. Have you ever trecked downstairs in the dark of your grandmother's house at 1:56 AM to get a glass of milk? In the half light, those teetering rocking chairs and odd old lamps exhude a spookyness that is undeniable. They are a musty, varnished whisper of death till we get back under the afghan, where they may scream in our dreams.
In the colors Rosson has mixed so brilliantly, we hear them screaming. They are calling us from the other side of time, pointing to us to say "here you live, but here, also, you will die one day."
I also find the negative reaction to this work somewhat bewildering, though on some level I understand and agree with the points made in criticism towards this artist. Her subjects can be percieved as contrived, but when I saw this painting I did immediately recognize an honest enjoyment of the tactility of her medium, and that combined with a fair amount of talent lead me to respect the work on some level. I have yet to see them in person, and the other works held up less, but I do have hope for her progression, and have no distaste for her success. In regards to the many crticisms chicomacho made against this work, some of which I found somewhat valid, I would say that chico in his criticism often expresses disdain for what can be viewed as trendy "devices", many of which can be seen here, via conceptual considerations (many of which are not very original) as well as formal devices such as the upsidedown drips, garish color, and specific use of photography and perspective. These types of methodologies are utilized by other artists singled out by Chico who may also be seen as trendy, such as many in the Feuer stable like Schutz and Balincourt. Though I do recognize the downsides that can be present in work like this, I am reluctant to rule out someone's work simply becaue it is trendy, and believe someone can be engaged in an honest and inquisitive process while still being involved with trendy subject matter and technique. That being said, the only artist I recall who chico commented positively on (by saying it was superior to Schutz's work) was Jason Sleurs. Thus if his work, which I find quite stale and tame, and perhaps work like it, is being presented as a counterpoint, then I will have to agree to disagree on the basis of taste. I have asked Chico numerous times to name contemporary artists who he feels are doing good work that could be seen as a counterpoint to the fashionable scene in Chelsea, but have never been given any examples, which makes it very hard to understand Chico's perspective. Thank you all for the interesting thread.
i don't think the amount of posts on here have as much to do with the work as - bizzare attacks on people on this board.
Hi everyone- Rosson here. I am a huge fan (and lurker) of painter's blog...even if it is full of complainers!! I am very interested and greatful for everyones opinions. I'll gladly answer any questions anyone might have about my work....of course in no way attempting to change people's strong opinions of my work!! Thanks-
Rosson
bout to have a zak smith type free for all up in here
damn - if that is rocrow up in this, then all yall haters are gonna be feeling like suckas --- throwing venom with your face covered is h e l l a weeeeaaaak!!
I went to the show. Psyched for CANADA that they get some $$$$ - they deserve it. As for a twenty-something that is successful? Why not. Let them eat man.
The work - its like doing slappies at Astor in 1995. they're decently sized. the palette is rouge a lot, and has this lanky neon-ness to it. The paint is slippery, its flying, its dripping. Its not anal. Its not taped up. I can't read it as being a conceptualized effort. Its more like, hell painting is fuking rad, and I like victorian furnitures and scary movies. but thats about as objective I can be about it.
do i see a lot of this around - not really. again, im more psyched that they're not the mainstream conceptual bent hanging onto to make it seem smarter than it actually is. Im sorry but the show at a kreps is sweating that tip h a r d
I think it's great that she cracked 100 comments here (only a few people do) and that this very talented and promising person has an opportunity to develop her work instead of suffering or being distracted with a day job. I can think of plenty of artists who really shouldn't have shown out of grad school like Casey Cook and many others who are already good at 24. I'm looking forward to her future work.
I hope no Zack Smith type discussion will take place- I'm not hear to argue with people. Everyone's intitles to their opinions-- I have very strong ones on other people's work, too.
Lets see....Thousand points of light: as for the living inp It did not take me moving to paris to realize I love las vegas or los angeles, as someone commented before. It DID however heighten my awareness of what I thought was only an aspect of my work. I thought I was just as concerned with ACTUAL historic spaces (as evidence by my long time obbession with france and french history)but I came to realization that I wasn't concerned with this at all, an was much more interested by the fake american appropriation of historial styles. Im not saying this is a new idea, I mean baudrillard said it all 40 years ago. Just because I love making paintings doesnt mean Im inventing everything Im interested in. I don't know any painters that do, ie work in a complete vaccume of other painters and other ideas. Not that the idea of "this isnt original" isn't valid, but I don't see the point. I dont think that anything is wholly origninal. the idea of originality sounds very cliche and outdated to me. but hey, what do i know?? would love to discuss it.
maybe my sense of space is borrowed, i dunno. i take a lot of ideas from cinema, theater and interior design. as someone mentioned before, my mother was an interior designer, she designed the interiors of private jets in the 1970s for the sultan of brunei, and others. the images of them are so amazing that i cant bring myself to paint them!! they are too perfect.
I am not sure what you mean about "contemporary space". Being away from america for an extended period of time really heighten my sense of "american space". I'm from dallas texas, where everything is big and fake. I dont thinak that i had completely owned up to my feelings about this in my work until it was taken out of my life. there's nothing like that in france, well, maybe versailles. you really take the fake italian decoration in olive garden for granted!!
mostly, I am interested in decadence, and how this is reflected in our society, esp the manifestations of this decadence in our space. not just interiors, i have done many outdoor garden and pool paintings as well.
I will be the first to admit that i dont have everything figured out in my painting, but i thtink that is the fun part. If I had the answer to everything, why bother keep making work?? each time i make a painting, i learn something new. and yes, i am young. does that make me a bad painter? i hope not. All I can hope for is to be able to keep making paintings, keep getting better, and learning more.
Thanks!
rosson
ps- thanks kelli!
ps- sorry for retarded spelling mistakes!!
ps @ rosson, if it wasnt clear I do like this painting, thanks for coming on
ad3pt, i like your spirit, painitng is rad!!
no-where-man, you are real funny...
Hi Rosson,
If you're still here-I was blown away by your show, so much so that I can't even describe as you may tell from my blathering on above !
my questions are a bit pedestrian- but I'm curious-
And I was wondering if you could share your method of how you put the image on canvas-do you draw/project it and then paint or do you go in more freehand wet on wet and then start the shapes?
Also do you paint from collaged images?
3)Do you organically add and make changes as you go along? Or do you have a clear idea of what you want the painting to look like and execute it accordingly?
I ask because it was not a straightforward painting by any means, and it reached the next state beyond the technical-
You really created such a sublime space and mood, I consider you a true artist, and thanks!!
Oops meant to put in the 1 and 2.....
oh and do you consciously think about the mood you want to project?
Or would you say it happens on it's own?
For Instance, a few of them had a heavy ominous feel, all foreboding like--
and others felt a bit like a swinging party where everyone left abruptly, and you're left standing there with an empty drink and an awkward fading smile.
thanks again!
thousand points of light- vidler is one of my favorites! i found 'warped space' very influential on my work, not to mention 'architectural uncanny'. I also LOVED 'vatican to vegas', an amazing book! Harbison has written great books on the perception of space as well.
OK heidilolatheayatollah,
As for how I start the image, I make many drawings, all pretty shitty and sketchy, mostly just for compositional reasons. Then I draw onto the canvas with canvas, usally freehand, but sometimes I use a projector for certain pieces of furniture. Then I just go at with paint, working pretty fast and letting things develop as they may. The paintings never turn out as I planned, which for me, is kind of exciting. The actual painting of an image doesn’t take me that long. I hate fussy and over worked paintings. For me, the process of making a painting is one of exploration and fun.
Do I think of the mood I want to project? Sometimes I do, and other times it just happens on its own. Ultimately, I think that whatever ive been reading or thinking about lately comes out in the work, i.e. vidler and poe means spookier, ‘learning form las vegas’ chintzier or jane austen subtler. Does that make any sense?
*draw on canvas with pencil* silly
Oh yes, that makes sense.
You see-- I really respond to painters who use the paint in conjunction with their idea, I can really feel the paint setting up the artifice of the scene, but on your own terms. Quite like a stage set builder but in paint--and using your painterly instincts--stroke by stroke, drip by drip.
Paint as a metaphor upholding the fascination with the idea itself. I hope that makes sense?
I look forward to your future work!
Hi Rosson Crow,
Thanks so much for coming on. I really appreciate it. Congratulations on your show.
goodnight moon
Goodnight room.
no prob painter- thanks for puttin' up my work!
best
rosson
just noticed this is still going
thx for the AESTHETIC REASONING. i am a fan of decadence, Vegas and New Money. - but really who's paintings are "figured out" that seems like something one would want to avoid having happen.
On VH1's "40 Dumbest Celebrity Quotes" they sited whitney houston as the source of the "crack is wack" quote... i was like has no one involved been to the Harlem River Park? It really should read "Crack is Back"
best of luck with the vampires.
on that we agree KJ!
I thought keith haring invented crack.
Well, people look and people stare
Well, I don't think that I even care
You work your life away and what do they give?
You're only killing yourself to live.
Killing yourself to live.
Killing yourself to live.
Just take a look around you what do you see?
Pain, suffering and misery.
It's not the way that the world was (planned/meant).
It's a pity you don't understand.
Killing yourself to live.
Killing yourself to live.
I'm telling you believe in me,
Nobody else will tell you
Open your eyes and see the lies, oh yeah
Smoke it - get high!
You think that I'm crazy and baby I know that it's true
Before that you know it I think that you'll go crazy too
I don't know if I'm up or down,
Whether black is white or blue is brown,
The colors of my life are all different somehow
Little boy blue's a big (gun/girl) now
So you think it's me who's strange,
But you've never had to make the (chain/change)
Never give your trust away,
You'll end up paying 'till your dying day
bitterness rules!!!
I don't need a seance
I don't read grey lines
I signed it away
way long
I hate, slow songs
whoa yeah,
I don't even care
whoa yeah,
I go over there
my hair is,
real long
no brains
or braun
no shoes
just thongs,
I hate, slow songs
whoa yeah,
you cry like I care
whoa yeah,
buck naked and there...
hooray, hooray for you
hooray, hooray for you
hooray, hooray for you
hooray, hooray for you
hooray, hooray for you
hooray, hooray for you
- no bitter from me i love decadence(and live in a disco), Vegas (go at least once a year) and New Money (when i get it thats what i will be)
and crack is back.
They told you in school about freedom
But when you try to be free they never let ya
They said "it's easy , nothing to it"
And now the army's out to get ya
Sixty nine America in terminal stasis
The air's so thick it's like drowning in molasses
I'm sick and tired of paying these dues
And i'm finally getting hip to the American ruse
I learned to say the pledge of allegiance
Before they beat me bloody down at the station
They haven't got a word out of me since
I got a billion years probation
Sixty nine America in terminal stasis
The air's so thick it's like drowning in molasses
I'm sick and tired of paying these dues
And i'm sick to my guts of the American ruse
Phony stars, oh no! crummy cars, oh no!
Cheap guitars, oh no! Joe's primitive bar... nah!
Rock'em back, Sonic !
The way they pull you over it's suspicious
Yeah, for something that just ain't your fault
If you complain they're gonna get vicious
Kick in the teeth and charge you with assault
Yeah, but i can see the chickens coming home to roost
Young people everywhere are gonna cook their goose
Lots of kids are working to get rid of these blues
cause everybody's sick of the American ruse
Well well well , take a look around !
Well well well , take a look around !
Well well well , take a look around !
Well well well , take a look around !
Well well well , take a look around !
Alright
yeah yeah yeah
whoo whoo whoo
yeah yeah yeah
whoo whoo whoo
[Verse 1:]
Wanna give it up, wanna beef it up, wanna make it beg for more
Gotta keep it clean, you little meat-machine,
cause it's the only only thing you got
gotta make it last, sign an autograph, get it ready to get it on
you gotta wipe it clean get that magic sheen
[Chorus:]
So wipe it till it bleeds
yeah yeah yeah
wipe it till it bleeds
whoo whoo whoo
[Verse 2:]
It's your golden toy make it make some noise
you gotta make it cream
such a shiny dream you gotta check the seam
got my Scandinavian leather on
never let it dry or it'll fucking die
you gotta let it breathe
gotta stretch it out gotta flex(?) it out
work the baby all night long, work the baby all night long
all night long
see the young lord looking so very good
he rode down to the village just like i knew he would
such a lusty little hipster he takes what he wants
subcultural greed. he's a boy of many needs
and now right now
[Chorus]
Wipe it till it bleeds, you gotta keep it clean (till end)
No. Mamam anderson is more anal. Less improved. Sure the subject matter is the same, women experiencing space for the very first time, but its different.
But maybe I have the wrong Mamma Andersson - how many are there? Sweden. Yeah. I know their feelums well.
Max ernst huh? Its a long trek maybe ill go stag.
checkers!
So this thread continues... (even kelli phones in).
As for how I start the image, I make many drawings, all pretty shitty and sketchy, mostly just for compositional reasons. Then I draw onto the canvas with canvas, usually freehand, but sometimes I use a projector for certain pieces of furniture. Then I just go at with paint, working pretty fast and letting things develop as they may. The paintings never turn out as I planned, which for me, is kind of exciting.
Thanks for that info Rosson. I had thought the plumes and fumes were overlays, braids of different armatures, stuff like that. That they are part of the intuitive journey greatly adds to the paintings' voracity. It's hard to tell these days how an artist pulls a painting together, except with what you see (for me often only as a jpeg).
I think it still pretty true that whatever it takes is the important element. That is takes little more than getting in there with the work, fresh, working visually instead of over theorizing and over conceptualizing is as exciting as ever for painting.
I doubt if anyone is bitter more putting out some humor and a personal climate rain-dropping in an effort to communicate. That's why it's fun coming by.
stageing interventions into the social structure.
shark oil
"personal climate rain-dropping in an effort to communicate"
haha, its all good... i like it.
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