Assignment 2: Autopoeisis

For our second assignment, we are using Barry Schwabsky's essay in Dana Schutz's monograph titled "Autopoesis in Action" as a theoretical basis for our painting. Autopoesis refers to a system capable of reproducing and maintaining itself. Schwabsky relates this phenomenon to Schutz's paintings (specifically the Self-Eaters series); figures inhabiting the space of the painting who consume, destroy, and recycle themselves. I like this idea and it is a poignant commentary on the state of painting today. Representational and abstract painting combine to create an image that goes beyond a picture, but also it an idea of what painting is: like a self-critique. The painting exists to criticize itself.
What about:
1. a portrait that couldn't exist in real space? or a portrait that could only exist in a painting?
2. a portrait that creates itself? what would that depict?
3. what would a painting paint?

Self Eater 3, Dana Schutz

Eye Eater, Dana Schutz

Face Eater, Dana Schutz

Also I <3 comment-3--="" dana="" schutz=""> . . . and I don't own the copyright to any of these images.

Mental map results

My Life in Books, 48" by 36", oil on canvas, 2016

Here's the results of my first assignment with Sandra Meigs. The comments from the other students were mostly based on how they liked my use of grey and red/orange for the palette. The other thing was hearing the ambiguous reading of the figure sleeping on a pillow of books. I didn't get  a lot else which was kind of disappointing aside from perhaps adding a third colour and maybe the reading of the painting shows a potential book cover in itself. The literary theme certainly was pointed out. I'm wondering what it is I'm expecting to hear from my peers and prof?

I guess I'm thinking back to when I had a painting class with Thomas Chisholm and it seemed like every class I was learning something new and fascinating. I definately think I have loads to learn, but how do I access that? I kind of wish my painter friends from Thomas's class were there with me now. We had some good dialogue and back and forth.

Questions I wished we had time to talk about are: what's not working in the painting? What could be made clearer/more resolved? Is the feeling conveyed right for my intent? Is there anything I've overlooked in terms of technique and craft?

Where can I go to get these kinds of questions answered? Or at least discussed?

Good start

Self Critique

For class, we are to look at the paintings we did last term and answer the following questions:
What are 5 strengths in my painting:
1. loose brushwork
2. interesting play of layers
3. vibrant colour
4. ambiguity of form
5. dynamic composition

What are 5 weaknesses in my painting:
1. shoddy stretcher preparation
2. shallow space
3. self indulgent mark making
4. predictable subject matter
5. rushed, clumsy drawing

Assignment 01: Mental map

For my first assignment for painting class with Sandra Meigs, "Routine Pleasures: What makes you so fanciful? Paint a mental map of the many intersections between your daily routines, free-time pleasures, and current painting practice."
A few samples she showed us in class were paintings by Manny Farber.

Manny Farber, Birthplace Douglas Arizona (1978)

Manny Farber, Thinking About 'History Lessons' (1979)

There are very literal in their reading as mind maps, but I like the connection with model trains and Americana to the artist's past and history.
For this assignment, we are to think about what pleasurable activities outside of painting do we devote our free time to. We not just talking about a hobby here, but something more heartfelt. We are also to examine our daily routines and rituals and see how these things work their way into our painting practices. These intersections are the jumping off point for our painting.

The Goldfinch

The Goldfinch, 60" by 36", oil on canvas 2016