The Audacious Artist

Glenn Ligon - Post America

2012-02-14T21:45:00.007-06:00

Tuesday Night Lectures At The Modern featured a discussion with Glenn Ligon and curator Scott Rothkopf on February 7th. The talk was a great introduction to and preview of Ligon's upcoming exhibit at The Modern in Fort Worth, "AMERICA" which runs February 12 through June 3, 2012.

Viewing Ligon's paintings online is as unjust to the work as trying to understand Rothko's work in that manner. What looks like very minimal surfaces with text worked into the composition are, in fact, beautiful paintings with wonderful brushwork. But beyond the obvious truth that to understand a painting you must "stand under a painting," the takeaways for me from the discussion were as follows:

Ligon's comment about why he focused his paintings in text based work was that, "though I had a facility for painting I knew there had to be more thought involved. The work had to be more about ideas...."

For Ligon those ideas have been about politics, race relations, sexuality and looking beyond the current mindset attributed to these topics toward a point in time, if not the present, where such notions no longer produce tension or worse, violence. It should be so for all of us.

In relation to my own art this reminds me that my thoughts and themes should always be focused on ideas of what matters. That is, what really matters... for eternity. The paintings, sculptures and digital files will fade away. The reason for their creation and the impact that they make are the only lasting reality associated with them. And even those have a limited lifespan if not dedicated to the same purpose for which I was created.

As to the second takeaway from Ligon's lecture, during the Q&A a question was asked about a phrase coined by Ligon which refers to the hope of having moved passed such labels. That phrase was "post-black."

I shall nest my thoughts about his meaning in this regard with references to a book I had, until recently, long meant to read but neglected. That book by C. S. Lewis is
Mere Christianity. Within the argument concerning the existence of God and the question of evolution, Lewis sides not only on the belief in God's existence, but unlike many Christian writers on the side of evolution as a matter of fact as well. The interesting element in this is that when touching on the question of man's next evolutionary step, Lewis made his opinion quite clear. "It has already occurred. It occurred two thousand years ago." But, unlike the expected physical mutations involving bigger brains or what have you, the change was on a spiritual level and unlike any previous evolutionary jump which typically was passed on from parent to offspring is instead, purely voluntary. This change, which starts with the individuals choice to bow their will to the indwelling of The Creator God and continues into the afterlife, whatever that may be, results in creatures in this world and beyond that I would dare emulate Ligon in referring to as...
POST-HUMAN. May it be so for us all.

Thomas Versus Damien

2011-06-12T22:32:00.007-05:00

Thomas versus Damien

It seems odd that such a chasm should form in thought about two artists of such disparate styles and yet popular opinion be so similar from nearly polar opposites. Audiences love one and disdain the other, and there seem to be large camps at either end of the spectrum.

Thomas Kincaide, the self acclaimed “painter of light” is best known for his color intense, luxuriously painted cozy landscapes inhabited by houses that posses an internal glow visible through every window. Kincaide, a devout Christian, attempts to express his beliefs in an inspiring and warm style in these technically masterful paintings.

However, this attempt to impart spirituality through his art has not endeared him to many critics, and has made him the object of ridicule among many so-called “high art” circles. I will come back to this shortly.

The work of Damien Hirst leans darkly in the other direction. Diamond encrusted human skulls, sharks and calves encased in formaldehyde are the most frequently mentioned of his vast body of work based primarily on the subject of death. The overall Hirst portfolio is sculptural in nature and masterful in execution.

Hirst's works is widely acclaimed by critics and he is noted as the wealthiest of Britain's artists. Yet, his aesthetic is one that disturbs many viewers.

I admire both of these artists for their excellent execution of their individual techniques, their business savvy, and their prolific production. However, it is doubtful I would want to own work by either of them. Kincaide's work is too bucolic and, for the lack of a better word, traditional and Hirst's work is too depressing and dark. If I were to emulate either of them it would be Kincaide, but only for his outspokenness about his faith.

Critics and others within most art circles dismiss Kincaide because of his statement of faith. Yet they applaud Hirst for his statement of the obvious. Whether you are talking about animal or vegetable, death eventually occurs. Not really a news flash, Damien.

Thomas, on the other hand, speaks of another inevitability, Life. Yet, this is Life with a capital "L". That which enfuses all around it with light and that other "L" word. Love. Love which comes from knowing the creator of the universe, and understanding who He is.

The critics have made their choice. I choose Life, and if it came down to it, I would choose Kincaide over Hirst.

Return of the Ranter

2011-05-21T22:19:00.021-05:00

Okay if I am the AUDACIOUS ARTIST, I should get to talk about whatever I feel like. For all of you who were hoping I would make this strictly about art so you could monetize my blog by putting your art supply ads in here....forget it! (At least until we can negotiate the per click rate.)

If I want to talk about how the Dallas Cowboys should have done something about drafting a front line before the player union negotiation year, I will.... even though that is news to no one.

If I feel like panning a movie because I didn't like the book it was based on...well spoiler alert or not it's in here. By the way, whose lame notion was it that an art blog couldn't be about all the arts; not just visual? Hello (knock, knock) movies are visual...and so much more. I love a good story. If I liked the story I want to see the movie, if only to see how badly they mucked it up. And yes, J.K. Rowling deserves to make yet another billion dollars for creating the Potter series. Who else do you know in recent history who has inspired that many kids to read? Of course, I'd like to see Terry Pratchett get his as well for the Disc World series, but that is a whole different rant.

Here is a few topics you can expect to hear about, not that I am limiting myself to these or any others.

I told you about loving stories already and of course movies. Give yourself a gold star if you notice this paragraph is bordering on redundant already. I also enjoy TV, though some of the stories are predictable and formulaic. I will sometimes talk about my faves.

I love women, but since this is not a porno blog, I will probably describe my fondness for the female form under the thin disguise of "life drawings" or "best photographic lighting results."

I rather enjoy good food, but unless I have an unusually excellent or equally horrific dining experience I will not be talking about the mundane act of eating. And if you are interested, ask me about my "No effort diet plan." I'm not sure how well it works yet, but I haven't had to put much effort into it at all.

As I have mentioned in previous writings posted right here, I am also very fond of video games. Here is another art-form that combines visual, audio and storytelling like movies. The plus is that with video games, you get to interact and become part of the process of telling or revealing the story. I will be talking about a few of my favorites in the posts to come....if I am not too busy PLAYING.

I do love the visual arts. As much as I enjoy visiting galleries and museums to view other artists' work, I most enjoy making art. The process is exhilarating. I will talk more in depth on my own process, but will happily discuss the techniques of other artists as well. Keep a sharp eye out for my new training series "Tricks and Techniques of the Successful Self Taught Artist," out on DVD this fall.

The main thing I am passionate about, and I hope I do not sound too militant on this subject, is the value of art. I do not only mean the dollar amount attached to purchasing art, but the importance of art to our society, culture, education and ultimately our future. We are meant to be creative beings, but in our day to day struggles to scratch out our survival we sometimes forget that. Art and more specifically artists help us to remember and reconnect with that purpose. I want to encourage you (my fellow creative beings) to create, to appreciate the creative spirit within those around you and live with as many reminders of this as you can create or afford to place in your home. Much, much more on this later.

That's all for now. Tune in next time (subscribe to make sure you are here next time) for my take on the issue of Thomas vs. Damien.

-Ken-

Ken O'Toole is an abstract experimental artist represented in North Texas (DFW) by Haley Henman Gallery.

Sustaining Artists Exhibition Opens

2011-02-08T14:34:00.001-06:00

This weekend the 1st Annual Sustaining Artists and Their Environment Juried Exhibition will hold their opening reception and awards ceremony. The work of artists from across North Texas will be displayed. These artists answered a call to express their answers to these questions. "What sustains you as an artist? What renews, restores and regenerates your creative energies and keeps you making art in these trying times.

To view images of these works we have provided a video, and links to the works online at artworksdfw.com.

UnderWorks

2010-08-08T14:52:00.006-05:00

I am interested in how perception is affected, translated, expressed and how that result becomes the basis for most experience. We rely so much on what we can see even with the knowledge that techniques of illusion cause two dimensional paintings to fool the senses and appear three dimensional. I am also interested in how these same techniques, whether it be layering, foreshortening, perspective or color temperature affect perception when applied to three dimensional objects.

I challenge the notion that something has to be difficult to create in order to be ambiguous or interesting. Photo shoots do not have to involve travel to exotic locations to arouse our imagination and sensualities. So, I look at playful, simple ways to express this.

Starting with a large stack of old magazines that I planned to harvest images from for collage and digital creations, I quickly progressed to the idea of making a room full of origami figures from these pages. However, I was arrested by the fact that the remnants of the pages were just as beautifully colored as the origami squares themselves. So, I worked to find a fold for these leftovers that would produce a useable shape.

I formed a Zen garden from some and twisted others into what resembled a sculpture exhibit. I even used the sliver size trimmings to assemble what reminded me of the gunpowder paintings of Cai Gou-Qiang. However, I was most enamored with a simple compound "M" fold that stood readily on its own. Soon, I had hundreds of these sturdy shapes covering my desk and countertop. I had my unique photo-op.

As interesting and whimsical as the emerging images were, I felt they needed a more static format to give them their own place in reality. So, I began fixing them to various supports to archive the effects. This flowed very naturally into the idea of using specific palettes for additional 3-D collages.

As an abstract expressionist, much of my work involves creating a visual vocabulary to express what cannot always be communicated verbally or in a traditionally recognized narrative, specifically spiritual experience. So as I began to cut and fold some of my drip and pour paintings on paper into more "M's", it was exciting to see how the numerous resulting surfaces resembled character sets. These "language modules," as it were, soon created extended abstract texts.

Additionally, when these sturdy shapes are linked together they form a viable foundation. This makes these under-works a wonderful metaphor as they also support and extend my use of action painting techniques.

Finally, as the paper constructs are painted with the same palette and gestures as the underlying canvas or wood support, the combination creates an illusion of the painting extending itself. This challenges one's perception as it blurs the line between what is a two dimensional and a 3-D object.

Breathing Life

2010-07-21T18:45:00.002-05:00

Okay, so how can artists breathe life into their creations? It would seem impossible to share or give something you do not posses. Saving the discussion of what constitutes life for another time, let’s consider two ways that life is imparted.

While it may seem I am banging you over the head with my core beliefs, I want to simply state the first, which will lead naturally to the second. Whether you believe in the Creator God or not, if you have ever created anything worthwhile or of permanence, you have had a “GOD MOMENT.” Some refer to divine inspiration, while others give credit to a muse, and most are unable to function productively without either. My favorite reference for this is “Unless The Lord builds the house, they labor in vain who build it,” (Psalms 127:1.) You may well perform all the acts associated with giving birth, artistically or literally, yet unless the source of all life is participating, no life is possible.

So the argument that many non-believer artists perform and produce living art would seem to negate the first assumption. However, consider how in Genesis, God made a sculpture of a man and then breathed His own life into the form to make it a living creature. God put part of Himself into His creation. Therefore, I also assert that if you have ever created anything worthwhile or of permanence; a living thing, you have given a part of yourself to that creation, regardless of your beliefs.

What Makes Something Art?

2010-07-12T14:18:00.006-05:00

I refuse to make a promise about cranking out these blog entries, when you and I both know that I will inevitably get distracted by an idea and spend months in the studio following where the inspiration leads me. It is not that I do not want to write these blog entries, it is just that the studio work tends to be more exciting. That said, I do have at least three short posts I can share. We will just have to see where this goes after this first one.

My meditations lately have been about the nature of art and creativity. This is in part due to a couple of discussion groups I have attended, some lectures my wife was wise enough to drag me to and some reading I have done on the nature of intellect as it pertains to art.

So, I began wondering what really makes someone an artist, and what makes their work art. Some say, like Warhol, it is anything you call art or "can get away with." If you say you are an artist you are. That doesn't really define it for me, so I asked these questions.

Is art simply technical mastery and the ability to faithfully render an image of a subject?
If that were the case you would have to call a camera or a photocopier an artist. These are fine artistic tools but do not guarantee the creation of art.

Is art the concept or thought process that someone conceives?
Unfortunately the expression of concept is done much too often in the name of art, but totally devoid of aesthetic merit.

Is art innovation or invention of new and different methods and techniques?
Although this lends interest and novelty to artwork, the argument could be made that many of the grandmasters merely followed long traditions when completing their masterworks.

Perhaps art is all and none of these things. I humbly submit that at the most basic level, art and true creativity is the ability to impart life (truth, beauty and goodness) into image, form, thing, etc. Without this element the work is merely craft and the production of soulless objects.

Regenerate, Renew & Restore

2010-04-26T18:54:00.005-05:00

As I was going through my inventory of flat files, I came across a monotype whose divider sheet was missing. The seeming tragedy of this careless mistake was that the medium had adhered to the back of its neighboring monotype. I removed the piece as tenderly as possible, but heard the sickening tear of paper as part of the paint remained on the back of the other monotype and pulled away a thin layer of paper with it. I felt my temper flare as I turned the piece over and saw three white fibrous craters where paint had been.

To calm myself I returned to the chair I draw in and picked up where I had left off earlier. I had been exploring a design element I had seen employed by the master chef and autodidact Hiroyuki Doi. Hiroyuki had begun his drawings 20 years ago to help him deal with the death of his younger brother. Although my drawing was nowhere near the magnitude of Hiroyuki Doi's work, the repetitive drawing of circles was soothing and pleasing to the eye. Once I had returned to a calm state of mind, I picked up the ruined monotype again. The answer was now clear. I began to employ this design element in the void left by the missing paint and then continued it in the white space across the entire monotype.

This crystallized a notion I had been meditating on all week. As I mentioned last time I have been asked to act as director and host for a new exhibit using art to raise awareness about environmental issues. Certainly not a new idea, but one I believe in. I had begun with the concept of "Limitations," but immediately ran into the same territory everyone else crosses in exhibits like this. "Do you limit the entries to only environmentally safe materials? Do all the supports have to come out of a recycle bin to qualify?" I also played with the notion that the theme should be "Regenerated Art." This would have required the entrants to provide an original artwork (or print of the original) next to the piece that had been reconstructed from parts of the original. But, one thought prevailed as I sought different ways I might interest a wide range of artists in a project like this. The resource we must consider sustaining above all others is the artists themselves.

Last weekend I was honored to be invited back to the Affinity artists meeting at The Haley-Henman Gallery in Dallas. While others were getting coffee and water, I was waiting for the meeting to start near the front of the building. At that moment a young man came through the door, who at first I thought might have made a mistake about the address. The assumption was a natural mistake on my part. It was an art gallery and the meeting was for artists and this young man was being assisted by his guide dog. However the young man was much more at home than I was. He found a seat where both he and his guide were most comfortable and when I finally did enter the meeting room, he greeted me most cordially. I cannot say enough nice things about this writer and artist who introduced himself as John Bramblitt. I found him to be very engaging, gentle and generous. After the meeting, I hurried home to look up his work online, since his exhibit has not officially started at Haley-Henman. I think if you follow the links I have provided to John's website you will be as impressed as I was. Whether John Bramblitt is sighted or not this is beautiful work you really have to see to appreciate, although ironically John does not. However, the take away that makes this relevant to our topic is a statement that John made in his video. Basically as anyone would, John had a lot of anger over losing his sight. It was in the act of creating art that he was able to come to terms with and dissipate that anger. So, here is one more example of art sustaining and nourishing the artist.

I was also privileged to attend the PCPC kickoff for their yearly art festival this week. The speaker was the juror from last year, Makoto Fujimura. If you are not familiar, Fujimura's accomplishments are numerous, including being a writer and master of Nihonga painting (the traditional Japanese art form which he has fused quite successfully with his own abstract expressionist style,) being appointed to the National Council on the Arts in 2003, winning the Chairman's Medal for contributions to art advocacy, founding the International Arts Movement (IAM), and most notably being commissioned to illuminate the 400th Anniversary edition of The King James Bible.

At first I was a little taken back with Fujimura's statement about using the best of materials possible, especially in light of my own recent struggles with trying to find ways to limit use of non-renewable materials. Here is a man who uses gold, platinum, azurite, malachite and other semi-precious stones and minerals in his Nihonga paintings. I almost found it impossible to reconcile that fact with his gentle words of hope for the arts community, recognition that most artists are marginalized and the idea I have long believed, that all men are creators painting with the fabric of their lives. It was only after I had time to read some of the blog entries Makoto calls Refractions that I realized how much he had struggled with that very issue, but had resolved the inner debate with the knowledge that his art (as well as all art) is meant to reveal those mysteries of the divine, speak peace and harmony into a world that brought destruction so close to his New York home near ground zero, and encourage creativity by sustaining artists. Much of Makoto's work and ministry has been to the arts community in New York where he strives to help artists "restore their humanity."
So, here's a novel idea for a sustainability awareness exhibit. I would like to see submissions of how art sustains you, the artist. I am interested in works that convey a sense of peace, harmony, truth, joy, beauty and goodness. Personally, I believe these are the ideals that comfort and strengthen our souls. These notions restore us, renew us and regenerate us as humans, and in doing so, encourage us to be better stewards of our home. These themes and the artists who present them should be what we endeavor to sustain.

Limitations and Lounge Acts

2010-04-11T21:21:00.007-05:00

The experts say that as a marketing tool the enterprising artists should blog at least every week, if not every other day. That just proves either how terrible I am at blogging or how busy I have been. Consider the later and disregard the former.

Since last I posted I have been running a pop-up gallery at 2501 Parkview Dr in Fort Worth under the name ARTworks DFW. Pop-up is the term art marketers and hip artists use for a temporary space for exhibition negotiated with the realtor in exchange for beautifying their space and making it more appealing. Some of the artists whose work I have the pleasure of showing along side mine include Robert Berry, James Haddock, Anita McConnell, Michael D. Smith, Eddie Phillips, Linda Little, Sheri Jones, Danny Owens, Nancy Dekolb, and Sleepy Gomez. The property owners liked what I did with space so much that they have purchased several of my pieces, and have improved the space to my specifications while expanding the area in which we can exhibit. So, if the space has not rented, look for a call for additional artists from me shortly.

I managed to squeeze in a couple of lectures at The Modern, most notably Liam Gillick. Gillick, a minimalist, writer, sculptor, artist, composed a public art project (one of his many) in Japan with uncomfortable seats and a joke about God limiting Himself to the idiosyncrasies of a popular director. The joke actually works better with God and a famous golfer. (Write or call. I will tell you both versions and you can decide for yourself.)

I have also attended an Affinity meeting at the Haley-Henman Gallery in Dallas. Dr. John Marcucci, the director of the gallery, honored me with his invitation to this meeting at which all the other artists attending had exhibited in that gallery. The speaker at this particular gathering was David Rodriguez (LEED accredited professional and Former Chairman of the board of Directors for the North Texas US Green Building Council.) Dave spoke about his own paradigm shift and considering limitations as a response to the challenges of preserving our planet. He also inspired me to check the VOC (volatile organic compound) numbers associated with the paints I use.

So, there is all this talk about the challenge of limiting ourselves in the creation process, and vast amounts of discussion on creating an exhibit to raise awareness. Now, God is not a minimalist, and since I am trying to be more like Him than Liam Gillick, I am not a minimalist either. However, I know that God does limit Himself in dealing with us, so I suppose that is why I have come up with a new project and a proposal for an exhibit. Instead of limiting the material that artists use, which only stifles creativity, I propose that each artist interested in participating take one of their pieces already created and regenerated it into something else. I do not mean to chop up one of your paintings and use the pieces, although I did something like this. The original image can also be manipulated digitally into something fresh (something else I frequently do.) The bottom line is that we limit the use of new materials by repurposing artwork.

The new project I have undertaken to accomplish this exact concept is something I call "Underworks." I have found several photo prints of digital collages I have made, sliced them into strips and folded those. I will give you a sneak peek at what I mean.

In addition to everything else I have been working on a non-fiction work concerning the limitations (there is that word again) on creativity imposed by the artist or by other external authorities such as culture, religion, economy etc. Since most of my material is derived from my own experience I have decided to title it (get ready for this biblically inspired doozie) First & Second Kenneth.

Keeping with the Bible motif, I considered the fifth book of the New Testament which we all know as Acts, short for The Acts of The Apostles. In my own case I do more lounging than acting so as I tried to fit that notion into my new book it turned into The Lounge Acts of The Apostles. In the performance piece, Paul would be played by Paul Anka singing "Having My Savior...what totally immaculate way to say you love me."
The standup routine would include the topics of environment. Peter would be talking about how despite the oil situation cars get bigger and bigger. The Hummer, Hummer II, III, the Hummer limo as big as a city block, and the new Hummer Condo. It's six stories, seven counting the wheels and tires with a racquetball court and a laundry room. On the other end of the spectrum, Ford announced its new Mini-Nan. That is not a van. With the help of nano-technology, Ford has developed a totally functional vehicle smaller than the head of a pin. Of course, it has no real market potential, but was commissioned by the Vatican since it can seat six angels comfortably.

Just Clothes?

2010-01-14T23:42:00.005-06:00

It seems most appropriate that after almost a month since last posting that I should start out this new year with a post about some other artist beside myself. Don't worry, I'll be back to me before we're finished here.

I was impressed by an article I recently read in the January 2010 issue of ARTnews.
Barbara Pollack wrote about Baltimore artist Shinique Smith whose work includes calligraphy based paintings incorporating second-hand clothing and sculptures which also use clothing as the primary material. Ms. Smith, a once-upon-a-time graffiti artist, pursued a formal art education at the Maryland Institute College of Art, where in addition to calligraphy, she studied anatomy and assemblage then became involved in creating performance pieces and videos. The artwork is exquisite and the article is very complimentary (I don't think I've seen ARTnews articles that aren't complimentary. It must be a rule not to review work you don't like.) This review addresses the materials and the influences on Smith's work and peers into the connections of clothing to each of us and the rest of the world. Perhaps, that is all that needs to be said. Good article. Great artwork. And yet, there seems to be a more visceral, raw and emotional story that goes untold.

This is where I inject myself into the topic and make this all about me again. Told you not to worry.

Most of my work (as well as the work of every other thinking artist I've ever met) depends on vision and perception. Personally, that vision keys on the whole left brain / right brain question, on the order of seeing specific shapes and figures in a bank of clouds or in the patterns running through a slab of marble. When I first started creating abstract paintings, my inclination was to finish a piece by painting darker lines on the images within the image to bring them forward so everyone else could see them as well. I have often pondered the possibility that my subconscious guides my hand to create these images for my meditative mind to find upon nearing the completion of the work.
Likewise, as I view Shinique Smith's work the same thought occurs. When I look at "Twilight's Compendium," her installation piece in multiple blues in both paint and clothing created for the EMBRACE exhibit at the Denver Art Museum, I see the strong profile of a black male built into the central core of the piece which hangs from the ceiling. The lines of the face etched out in the way she has tied the bundle of clothing together could be the victim of a lynching. Of course, this may not be some subconscious rage over injustice gone unpunished. It may simply be what I see in the beautifully executed sculpture/painting. It could just as easily be an angel.

No Art For Rush

2009-10-25T18:35:00.004-06:00

Recently the National Football League determined that Rush Limbaugh would not advance to the next round of bids to be considered as the owner of the Saint Louis Rams. The League cited that Mr. Limbaugh while obviously wealthy enough to make the purchase would pose too great a distraction to the league's efforts to maintain its image.

Of course, Rush immediately tried to make this snub into an issue about his conservative stance and the overall liberal leanings of the league, it's owners and players. I thought about this and decided that even with all the NFL players
(and coaches) that have been arrested for DUI, drug and weapons charges, I have to agree with the league. Limbaugh is way more distracting and presents a much less desirable image to those that might someday want to be affiliated with football.

I continued this thought into the arena of art, because that is where I work and play. Should Rush Limbaugh be allowed to buy art, in particular my art? One must be mindful that there are a couple of preliminary questions to hurdle in order to even get that main query. The first ,naturally, is would Limbaugh know art if he saw it? This is of course a rhetorical question, because we all know that Rush has been exposed to the wonder and beauty of all the best the world has to offer, and is barely able to manage an extremely narrow view of life, other people or God's majestic creation. So, no to the first question. Secondly, can he grasp abstract concepts and be inspired and motivated by them? Well seeing that he has navigated the competitive world of Talk Radio and survived, this should be a given. He's learned how to manipulate plain truths into twisted macabre shadows of reality. So, even though he stumbled on it by accident, yes to the second. The third is about me. Given the state of the economy which Rush and other conservatives fostered, would I refuse to sell if he made an offer? The paintings are my creations, children of my soul if not my body. If I were to allow someone to adopt one of my children, I would want that child to go into a loving nurturing environment where they would be celebrated and accepted for who they are. I would not send any child, much less one of my own into a place where they would be ridiculed or mistreated. So, yes to the third, I could refuse sale regardless of my financial situation. Final answer. No art for Rush. Not from me, anyway. He can apply at the starving artist sale (see my blog archive).

Now there are a few other celebrity types that I applied this same question to, and here are the results.

No art for former vice president Dick Cheney. My concerns ranged from him shooting the artwork with his wayward shotgun to the possibility that if he bought one of my oil paintings he would find a way to start a war to artificially raise the price of oil and oil paintings.

I would be willing to sell art to former president George W. Bush, but only if he agreed to pay eight times the market value to compensate for eight years of tanking our economy and giving all Americans (and Texans) a bad name.

My ability to create artwork is a gift from Almighty God, creator of the universe. Ricky Gervais or Richard Dawkins do not believe in God; any god except for themselves. So no art for either of them. I don't feel like I am being too cruel on this point, because they probably wouldn't be able to see the artwork even if it was right in front of them.

The list could go on and on in this vein, but I will wrap it up with one last example. Louisiana justice of the peace, Keith Bardwell, refuses to marry biracial couples on the grounds that "neither black or white society accepts children born in such marriages." Well, no art for you, Keith. Instead, I will be holding the artwork you might have purchased for President Barack Obama, who not only appreciates contemporary art, but oddly enough is biracial himself and seemed to be accepted by both black and white society when he won his last election. Something we hope you, Keith, won't be able to accomplish.

If you would like to see if you qualify to purchase my art, you can apply through my email, ken@otoolestudio.com. Here's wishing you good fortune on your application.

Starving The Artists

2009-08-10T17:43:00.005-05:00

It has been a short while since one of these groups has graced the Dallas/Fort Worth area, so brace yourselves for their next media onslaught. I’m referring to the charlatans that call themselves the “Starving Artists”. You’ve probably seen their commercials advertising the event at a hotel in your area. The ad promises a great selection of hand-painted canvases at amazingly low prices. This is actually a deception in more ways than one.

First, you will not find anything in their stacks of canvases other than prints. Granted some of these have been “embellished” by hand with small strategically placed dabs of paint. Still, these are all still technically mass-produced prints.

Secondly, the only starving artists involved are either the poor artists that produced the original painting and sold their image along with their rights to some publishing house, or an aspiring student artist hired at below minimum wage to daub those dabs onto prints.

The damage these merchants do to artists and subsequently to our culture is a devaluation of art and the artist. Their tactics deceive the public into thinking that art should be cheap and that artists should be poor. The only good thing coming from this is that people with a love for art but no budget for art can obtain some art. That is certainly understandable given the current state of the economy. But, I must add that saving your pennies for one genuine original piece of art is much more rewarding than filling your walls with cheap knock-offs.

Artists deserve to make as good a living as anyone else. They are the teachers, guides, and prophets of our culture. Their expressions should be honored.

It is true. A genuine artist will produce fine art regardless of whether he or she ever sees a dime for their efforts, and sadly many do starve or otherwise suffer for this passion. That does not excuse those who perpetuate a cut-rate mentality towards art by making a commodity of their beautiful work.

If you would indeed like to acquire exquisite artwork, but not pay what some galleries feel they must charge, I would like to suggest a couple of alternatives to putting money into the pockets of yet another faceless corporation instead of actually feeding the artists.

Many new and emerging artists find opportunities to exhibit their work as well as draw support (if you will forgive the play on words) from their community art center. These exhibits are generally open to the public and well publicized in your local media. These exhibits not only provide the artists much needed exposure, but also afford the public the chance to meet and get to know the artists. This is a very real and meaningful way to grow in understanding and appreciation for the art, and generally speaking since these artist are in the early stages of their careers the prices for their work is much more affordable. However, if it does not sink to the level of starving the artist, keep in mind that these will tend to be original paintings as opposed to mass produced prints.

Another alternative way to purchase original artwork at reasonable prices is to become acquainted with local charity functions. Many local charities put on art auctions as fund raisers for their causes. These charities often call upon artists to donate their work for these auctions. Artists generally donate their work because they believe in the cause, they are usually very generous, and because it is a way to share their work with the world. However, this is yet another way to starve the artist. The artist gets no remuneration for their valuable work, despite the excellent value afforded to the buyer and the benefit to the charity. The artist, under current tax code, cannot even write off the donation for its full value, but must only cite material costs as a deduction. Consequently, many artists get to a point where they can simply not afford to donate to a charity regardless of how much they believe in the cause.

The solution that I would like to propose to charities, artists and art collectors alike is a collaboration for whatever the cause might be. Charities should be willing to host exhibits where artist are invited to showcase their work, but also share in the revenue. The events could still be held as an auction with the individual artists setting a minimum limit on their work.

If you really love art, or maybe even an artist the next time you receive notice of a charity art auction, contact the chairperson and ask, "What are you doing for the artists involved?" Then if the answer sounds like someone has forgotten to feed the artist, make a suggestion similar to the one above. Remind them that no one wants to starve.

Ken O'Toole is a abstract expressionist painter working in the Dallas Fort Worth area.

Delivered From Delusion

2009-08-04T19:27:00.008-05:00

Realizing that some of you might have a hard time telling when I am being serious or not, I thought it might be appropriate to place a big smiley face along side the articles that are meant for fun and entertainment.
This article, in particular, would NOT have such an emoticon present.

This subject is so important that I have wrestled with the proper way to present it for some time. I know it to be important, not merely by its nature, but by the obstacles and distractions that have been laid in my path to dissuade and delay me writing this.

I hope you will read this to the end. I know some will and some will not. Regardless of how this affects my reputation, I must make it clear for you all what I believe and why I believe it.

It would be easy to simply keep silent in a time when the most popular voices in our culture belittle and ridicule those of us with faith. I cannot keep silent. My silence would be a disservice to you, and a dishonor to the subject and author of my belief. There are those that would call me deluded and dangerous for my beliefs. I could argue that I am far from either. But, I really don't have to argue my case, because my beliefs are based on more than something I read, heard or saw. They are more than the culmination of the teachings I was exposed to throughout my life. In fact, they are in spite of a large portion of those teachings. My beliefs are based on experience and relationship.

I believe in the Bible as the Word of The Living God, who is the Creator Spirit. God created everything that exists and He spoke all of creation into existence. He created man as another speaking spirit (in His image) and gave man authority over the earth.

I believe because man chose to doubt the Word of God and His goodness, that man became broken in his relationship to the Creator who loved him. I also believe that God loved His creation despite the rejection, because He is LOVE. He and His love are so complete that He spoke from eternity into time and continued speaking to His creation until His Word found purchase and became human.

I believe that human to have been Jesus of Nazareth, who was both man as he was originally created, obedient to the will of God, and God incarnate. He sacrificed Himself as the only acceptable and perfect atonement for the broken relationship between Himself and His creation. As obedient man He died, but as man created as God intended with God's Holy Spirit within him, death could not hold Him. God raised Jesus from the grave and after bearing witness to His disciples ascended to His place in the eternal Godhead.

Because this atonement was made perfectly, any person who chooses to believe in God's Word and His goodness can enter into relationship with Him and as a token of that relationship, He imparts His spirit to live within.

I have not always been able to claim these beliefs, because for many years I misunderstood the dynamic of the relationship. I was taught that a relationship with God looked a certain way. When my relationship didn't match up to that standard I felt like I had been rejected by God, so I began to look for other answers. Answers that caused me to question God's existence, my purpose and the meaning of such a pitiful group of beings called humanity. Frankly, I was at a loss. I studied other world religions, but none made sense or resonated in my inner man like Christianity. So, was there something unforgivable in my past?

I asked, and hoped for forgiveness. God answered that question. Into my spirit He spoke these words. "I HAVE NEVER TURNED MY BACK ON YOU. I HAVE ALWAYS BEEN HERE, BECAUSE I LOVE YOU."

I have not been perfect since then, but His perfect Holy Spirit has been faithful to stay in close relationship with me. Not because of my deeds, but in spite of them, because He loves me.

I am better than I used to be. I am more creative, and my art is my prayer language. I paint to glorify God. I write to honor Him.

If you have ever longed for a relationship that will never end, all you need do is pray this prayer. "Lord Jesus, I believe that You died so that I could have a relationship with God. Please, forgive all the ways that I have missed the mark because of my unbelief and doubt. Please, come into relationship with me."

That's it. If you believe and you call on Jesus, you will be saved from a life without relationship with God.

I am sure that there are those that will never read this blog again, because of this writing. God still loves you. So, do I.

There are those that will say that I am deluded in believing as I do. Delusion according to the dictionary is a persistent false psychotic belief regarding self or something or someone outside of self, which is maintained despite indisputable evidence to the contrary. Looking at nature and all of creation, I can honestly say that one must be deluded not to recognize the handiwork of God.

Those popular atheistic voices might scoff and say, "There is no proof of God. You cannot see Him. Man is merely a bio-mechanical organism and all these thoughts and emotions you are talking about are just so many neural-chemical reactions. Love is only a random firing of your synapses." To those, I only say that you have eyes, but you choose not to see. You have limited your vision to what is in front of you. Love is not a chemical; He is the creator. The only proof I need of God is what I already have; His spirit within me. And He wants you to know that as limited as you are, He knows no limits. That is how He loves you even though you doubt and reject Him.

Ken O'Toole is a published author and abstract expressionist artist living in the Dallas / Fort Worth area.

Creative Competition

2009-07-28T20:00:00.005-05:00

Artists are tough by nature. We have to be. Whether we paint, write, sing or dance, we put ourselves out there. Not just because we have something bigger than ourselves inside that has to come out, but also because that something is for others more than for us. So, we not only tough out the rejection when it comes, we seem to seek it out when it does not. We send our work to by-and-large faceless jurors or editors who merely skim over the work, not from lack of interest in their duties, but from being overwhelmed by the sheer numbers of other artists applying in kind. Unlike the weekend hobbyist, the response of the true artist is to brush off the ego and apply to yet another gallery or publisher.

Musicians, comedians, actors, singers and dancers go one better in that they make their submissions in person, and generally hear an immediate, if not crueler, rejection face to face. That is really tough, by Ringo's left boot. Excuse the profanity.

My advice as to whether or not to continue such bravery in the face of humiliation and defeat is based simply on the old Don Henley song, HOW BAD DO YOU WANT IT? For the gifts that we have been given we have no choice but to persist.

Beyond tough, brave or persistent and bordering on fanatical devotion is the plight of artists entering competitive juried exhibitions where we not only apply for the opportunity to exhibit or be rejected, we pay for the privilege. My advice in this area is one of practicality. Apply for the ones without a fee first. They are few and far between, but they are out there. ArtNews and Art in America always post opportunities in the back pages of their magazines. Once you have culled through the free ones, and it won't take long, concentrate on exhibitions that center the exhibition theme around your strengths. Watercolorists look for watercolor competitions. Figure painters seek out figurative exhibits. etc. Next look for the exhibitions with either the most prestigious juror or the biggest purse. Whether or not you win the prize, I can tell you from experience that being in such exhibits could possibly net you additional exhibition opportunities.
Another logical consideration is to start local and expand outward. Shipping artwork is not cheap, but is well worth the expense if you score an exhibition in an area where your work otherwise might not be seen.
As artists, it is our desire to create not compete. But until our society comes to understand that we are the prophets of our time and not simply another commodity to be traded, competition is necessary but not necessarily evil. Competitions are important in testing the resolve and proving the character of true artists, as well as elevating the quality of the art itself.

Ken O'Toole is an abstract expressionst and published author living and working in the DFW area.

New Texas Talent

2009-07-21T17:20:00.004-05:00

I really appreciate your patience. You've read my articles about hate mail, a side comment on the economy and the underlying greed that fuels it, and even my little tongue and cheek advice about mood music.

"What exactly does all this have to do with art," you're asking. "With the exception of blabbing on and on about your studio, and a snippet on monotypes back in 2007 you really haven't talked much about art itself."

Sheesh, and here I was complimenting you on your patience. Well, fair enough. I'll get to the business of writing something that has to do with art.

This coming Saturday, July 25th, the Craighead Green Gallery in Dallas will open its 2009 edition of New Texas Talent. This is a juried exhibition that Craighead Green began back in 1994, just a couple of years after they first opened. The competition for this exhibition is extremely high caliber. I would like to say I was chosen for this year's exhibit, but perhaps it would be better to wait until next year. At that point it may actually be true. Every juror is different. This particular juror, Dr. Charissa N. Terranova is Assistant Professor of Aesthetic Studies at the University of Texas at Dallas and Director of Centraltrak: The UT Dallas Artists Residency. Since arriving in Dallas from Boston in 2004, Dr. Terranova has been deeply engaged in the arts culture and urban history of Dallas-Fort Worth. She has written art criticism for the Dallas Observer, Dallas Morning News, THE Magazine, Art News, etc.

As stated by Dr. Terranova: "The works in this exhibition engage three-dimensional space in unique ways. Some represent space in two dimensions while others forthrightly extend outward into the environment of the gallery. By intervening in and showing space inventively - in ways that are sculptural, urban, and architectural - the works in this exhibition collectively make a statement on materiality and materialism. That it to say, this work is in no way metaphysical. It is boldly manmade and with us in the here and now. It does not intend to catalyze spiritual feelings of transcendence. Rather, this form probes the ground - zones of standing and walking - and interacts with roving bodies, making the galleries of Craighead Green so many everyday spaces." (source http://www.artandseek.org/event.php?id=11393)

With the exception of Gregory Zeorlin's Time Segment 44, I have not seen the other pieces that Dr. Terranova selected for the show. In order to talk intelligently, I researched as many of the artist she juried in as I could find data on. From what I found about the juried artist her statement is dead on. Except for a smattering of photographs and paintings most of the show is in the 3rd dimension. I was fortunate enough to find many of the juried candidates online.

Let me highlight a few of my favorites for you. As always I have embedded links so you can visit these sites for yourself.

Glen Comtois studied art and design at North Texas, and architecture at Texas A&M. Glenn states, “The intent of my art is to break the flat plane of a painting. The culmination of finishes, elevation of materials and the texture of materials create movement and activity across the entire artwork, possibly such as ones journey through life. Glen's work consist of beautifully crafted woodcuts painted or "washed" in acrylic. However, most inspiring to me is the glimpse he gives of his sketchbook, which details several projects.

David Chapman Lindsay is an associate professor of foundations and drawings at Texas Tech. His work stems from figurative painting, minimalist forms, church spaces, and an intense interest in space as a metaphor for community and individual psychologies. His canvases are exquisitely painted, but that is not the end of it. The canvases twist, bend and it one case (Four Cardinal Directions) seem to come out of the wall.

Joel Kiser studied sculpture at Texas Tech and did his graduate work here at TCU. He is one of my favorites, because he has such a great sense of humor. (You got that about me in the last couple of posts I hope.) The only thing I could find online of Joel's was a video called Falcon Cam #2, where Joel mounted a model of the Millennium Falcon (Yes that falcon from Star Wars) and a camera to a vehicle so that all you can see is the Falcon and the road in front of it. The tag line for this work is "Even the fastest ship in the galaxy is at the mercy of loop 820 traffic in Fort Worth TX."

Of course I have always admired the quality of work I have seen at The Craighead Green Gallery. It does not seem that this show will be any less stunning.

Ken O'Toole is an abstract expressionist painter and published author, living and working in Fort Worth, Texas.

OToole Studio Origin

2009-07-13T15:34:00.004-05:00

I have many questions that fans, family and friends ask me about my work, my process and my philosophy.
Questions like:
Where is this awesome atelier that goes by the name of O'Toole Studio?
How is it different from any other studio?
How will my life be changed once I visit? and
How much is the guided tour?

O'Toole Studio started in my computer. The first works I exhibited in local galleries were created with PhotoShop. These digital creations were highly colorful abstract expressionist paintings which were rendered in extremely high resolution and printed on canvas. As limited archival editions of my images they were well received but costly to produce. On mentioning this cost factor I remember my then gallery representative asking me, "So, why don't you pick up a paintbrush for crying out loud?!"

I had pondered this same notion for some time, and with the money from sales of my digitals I proceeded down to the local art supply to buy all the necessary items needed to begin painting. It was at that point that I officially added to the name I had always called myself. Prior to visiting the art supply I had always confidently called myself a writer. I had been writing poetry since grade school, and fiction since middle school. I had been fortunate enough to publish both types of writing since early adulthood. But on that day as I walked down the aisles of the art supply, I knew I was also an artist. I had not dared to call myself this before even though I had sold numerous pieces at two Dallas / Fort Worth art galleries. Still, in that place I acknowledged the depth of another facet of my creativity because I felt like I was home. I could have stayed in that store indefinitely. But, at closing time they politely asked me to leave.

So, I carried back to my actual home all the materials I could afford. O'Toole Studio expanded from my computer to a wee small corner of a room we rarely used in our housel; the front living/dining room. I meticulously laid tarps and cloth over the carpet and furniture to protect the area. Eventually, I added a drafting table and work tables but still managed to keep the area looking pretty much like it was originally purposed. Then, on one dark day as my mother must imagine, the spirit of abstract expressionism fell upon me and that room has never been the same. Except for the china cabinet which remains covered, the rest is a beautiful mess. The carpet though mostly covered has been through it and may soon be removed. My wife, Barbara insist that she loves my studio being in our home, but my mom keeps asking when I am going to give Barb her living room back. Gotta love my mom.

So, that answers the first couple of questions. As to the last two questions listed here, let me answer simply that the cost of the tour ranges from less than $100 to several thousand dollars. The catch is that you are guaranteed to leave with a beautiful piece of art. That in itself will change your life forever.

Staying Motivated

2009-07-06T12:21:00.001-05:00

Now, I know what some of you are saying. Yes, that's my secret agent listening device you found under the lamp your auntie gave you, and not her long lost hearing-aid. You're saying, "Ken, if you are concentrating on production of assets (as mentioned in your last article) won't you be sacrificing the quality and ultimate beauty of your work?" The short answer is an emphatic "NO." After all the work wouldn't be much of an asset if the aesthetics were not of the highest possible caliber. I wasn't talking about going into "factory" mode and just cranking out the crap. I am a Dallas/ Fort Worth contemporary abstract artist, not a machine. What I was trying to convey was the concept of producing work of high quality at a steady or increased rate.

Don't say it. I know only too well the difficulty in accomplishing this, and in my observations there are two primary hindrances to maintaining high quality fine art at a constant or elevated rate. The first problem lies in the ability to stay motivated. So, the question changes from how do you maintain aesthetic integrity to how do you keep your drive alive. The other issue is staying focused on the priorities of an artistic profession.

First, let me say that the work itself is generally of sufficient interest to keep me working. It is its own reward. I thoroughly love painting, drawing, working with various design elements, writing, reading, and to a lesser degree editing. In fact I enjoy all of these aspects of my work so much, that lack of time and energy rather than diminished desire pulls me away from creating. Each of these activities requires immense amounts of physical and emotional stamina to sustain meaningful productivity. Also, the culprit of divided focus compounds this energy loss issue because it increases emotional burden by luring thoughts toward the unattended activities.

You're saying, "By George Foreman's Grill, that's the same problem I've been having. What is the solution, Ken?"

Well, if you've read all the motivational books (or at least listened to all the audio books) like I have, you know that as tempting as it seems; the reward model does not always work. Granted, goals and rewards have their place and individual thresholds for extended success by utilizing them vary. Still, unless the rewards can be exponentially increased, eventually their power to generate effort wanes. All the models ultimately point to the fact that motivation must come from within the individual to be permanent.

Now you're tapping your fingers impatiently and there's even a little stress growl in your voice, "We know that, KEN. So, what's the bloody solution!?"

The answer is simpler than you might have imagined. Allow me one more minor digression in order to explain.

Long before I began painting abstract art, I endeavored to have good music piped in wherever I was working. It alleviated stress and made the day go by faster. Basically, this is the "whistle while you work" principle, and it has been widely proven effective. Wait, wait...don't roll your eyes just yet.

Naturally, I found that various music styles affected the rhythms in my paint applications, especially jazz and electronica on my action paintings. However, when I began listening to movie soundtracks, amazing things began to happen.

While listening to film scores every aspect of my day takes on a more intensive meaning. The most mundane tasks seem to be vitally important. I round corners gingerly, acutely aware of my surroundings. I am much more agile, and with the right pair of sneakers (or kicks if you must) I can run faster and jump higher.
What's more, since I've added 007 scores to the mix, my wife has enjoyed the benefits of being a "Bond Girl."

What's wrong? Cat got your tongue? Well, go ahead if you don't believe me. Try it for yourself. You will see a "dramatic" improvement in your "performance", especially when the fate of the world hangs in the balance. Or are you just going to say, Dr. No? I hope not.

Ken O'Toole is a Dallas / Fort Worth contemporary abstract artist, specializing in abstract expressionism and action paintings.

Try To Do Better

2009-06-29T21:26:00.004-05:00

Who would have thought that there are those of you out there that are actually reading these articles. I know you do because out of the blue, someone I don't really know wrote and told me how much they liked the last article I wrote about dirty trick emails during the presidential campaign. I took this as the literary equivalent of a cattle prod. Good Grief! Has it actually been over six months since I posted anything. Sad but true. I will try to do better.

However, as I mentioned during one of my earlier post there is much to do in the studio besides writing and I am only one person. Still, I WILL TRY to do better.

It's not like I have run out of things to rant about. Political foolishness on both sides of the aisle not withstanding. I really want no part of that insanity. The economy is a tired and truly blue bit of worn out news. The only thing I can really say about money is that it is nice to have it. Wow! Wasn't that a revelation worth waiting six months for?

I guess I should have put more emphasis on making money during the decades I've been tooling around this fair world. Shoot! I could have been another Bernie Madoff if I'd just focused on that scene a little more.

Seriously, I have been cracking the non-fiction books about finances in order to better understand the options before us. It's a little late in the game, but I've always heard that late is better than never, and as I stated a few sentences ago, I AM TRYING TO DO BETTER.

I think I have a handle on the basics. I'm pretty sure I can now tell the difference between an asset and a liability. But, just between me and whoever you are, all those market reports and the whole trading game, well... wait for it...BIG YAWN.

So, the advice I'm getting for someone who doesn't have a lot of experience or attention span where the market is concerned is to continue to produce assets.

That means I will be headed back into the studio. But I'll be back sooner than later, because I really am TRYING 2 dO BEtTEr.

Insidious Email Campaigns

2008-10-21T14:41:00.003-05:00

I have to say how grieved I am to receive not once but on two separate occasions the same hate email concerning one of our candidates for President. First, let me say that I appreciate the concern of those who sent me this email. I know that they both had the best intentions, and that neither of you have hate in your heart towards anyone. I just think you should know how you are being used when you forward fear-based fiction that carries someone else’s agenda.

“Regardless of who you plan to vote for” is the innocuous preamble to this insidious message. Then it goes on to show disturbing photos of Islamic protestors demonstrating their hatred of all things and people non-Muslim. The email goes on to suggest the complicity of Senator Obama with terrorists on the strength of a badly contextualized and misquoted excerpt from the senator’s writings.

This is the same groundless accusation and fear mongering that some members of the GOP have been trying to embed in the general voter consciousness from the beginning of this campaign. It is a desperate ploy to misinform and prejudice voters by demonizing this candidate. Despite an extremely unfortunate name, Senator Obama is a homegrown U.S.A. citizen (or he couldn’t run) who is a documented member of the Christian faith. Now, before you question the strength of his faith, consider the email I am talking about. You know the one with the obvious hate message.

All I want to get across, if I can, is that whomever you decide to vote for, do it in response to faith that this is the greatest country on the planet: A country that is strong because of the prayers of the faithful and the love of an Almighty God we serve.

If instead we are voting against someone out of fear, we vote in vain, because we are saying that we no longer trust in our redeemer.

Just so you know, if you haven’t guessed by now, I cannot support a party that would pander fear in hopes of retaining power they have misused for eight years. I cannot support policies that continue to ship jobs along with our prosperity overseas. I can no longer support robbing from the poor to pay for golden parachutes. I have decided to vote in faith that we can change this country for the better. I will vote Obama for President.

Regardless of how you decide to vote, know that I love you and am praying for you.

Peace and Many Blessings

Ken

1 John 4:18 There is no fear in love. But perfect love drives out fear, because fear has to do with punishment. The one who fears is not made perfect in love.

Rio Brazos & PCPC

2008-07-29T12:16:00.002-05:00

I would like to praise two institutions for their wonderful and tireless efforts on behalf of art and artists. The two organizations I am referring to are Tarleton University and Park Cities Presbyterian Church in Dallas.

This past year has been the first time I have had the extreme pleasure to be associated with either organization, and I cannot express adequately with words how much I was impressed with both groups.

Park Cities Presbyterian Church recently concluded their second annual PCPC arts festival. Their festival’s theme, based on biblical creation, was entitled “Beginnings – Genesis.”

The opportunity to participate in a faith based art festival was one that I looked forward to for reasons I will delve into at some later point. I was; however, pleasantly surprised to find not only the quality of the art very high, but also the treatment of the art and the artists was impeccable.

The Cross Timbers Art Council and Tarleton State University sponsor the Rio Brazos Juried Art Exhibition. The exhibit is held each year at Tarleton’s Langdon Center in Granbury. These gracious hosts go above and beyond, not only in their efforts to expose the public to the highest quality art, but also to revere and honor the artists.

There is still time for you to enter artwork in this year’s juried exhibit. The deadline is August 18th 2008. You can see the prospectus at
http://www.tarleton.edu/~langdoncenter/RBAE/RBAEindex.html

The Dark Knight Redemption

2008-07-28T10:20:00.002-05:00

I do not plan to give anything away. Spoilers, as they call them are not my goal. I may even be a trifle late with this to qualify as a substantive review, but I believe that I am suppose to add my unique perspective to the voices already singing the praises of Christopher Nolan’s new Batman movie “The Dark Knight”. I know you may be saying, “isn’t this particular column supposed to be generally directed at art and the artistic process?” The simple answer is unequivocally YES, and that is why I need to say the following.

I have not always been on board the “Batman as best hero” train. In my younger days I preferred to dream of having super strength, speed, etc. The Batman TV series did nothing to elevate my esteem of the, what I considered rather second-rate comic, character. In fact it was not until I read the Frank Miller’s series “Batman, The Dark Night Returns” that I developed an appreciation for the Batman. Tim Burton’s movies crept up to the edge of the darkness that Miller portrayed in his graphic novel, but ultimately fell back into the campy pablum of the TV series.
Christopher Nolan has properly embraced the darkness that makes the Batman/ Bruce Wayne personas so intriguing. I found myself watching “Batman Begins” over and over without tiring of any scene. This same embrace is apparent and runs the whole length of his new movie, “The Dark Night” with one minor exception. This exception might possibly serve as the underlying theme of this movie, though I do not pretend to know the mind of Nolan. “The Dark Knight” portrays a microcosm of the world in the guise of Gotham that is abjectly dark, overrun with evil, violence and terrorism. And yet, it is peppered with people throughout who remain hopeful, and in their hope they reach out to help others. There is so much violence (non-graphic to obtain PG-13 status, but still prevalent) and so much going on that it could almost slip by unnoticed. There almost toward the end of the movie a bright and shining example of the potential goodness of all men blazed into my awareness. A convict, played by Tommy (Tiny) Lister, makes the ultimate in sacrificial decisions. It is this and actions like it that define true heroism. That is what I went to see and Nolan did not disappoint.

Abstract Expressionistic Monoprints

2007-10-06T14:46:00.001-05:00

As I said last time, the purpose of this time away from my studio (other than shameless self-promotion) is to encourage you to create. Now, that doesn’t mean you need to create a painting, an opera, or the great American novel. Your passion may lie in what is widely considered a non-artistic field such as math and science. Whatever forms your bliss takes, follow it. You will find your creativity almost always shares the face of what you love. The best way to tell if you are on the right track is if you have joy about what you are doing even when encountering the, what most would call, difficulties associated with the task involved.

Of course if you think you’d like to try painting, or writing, or playing music, or any of the other arts, please by all means let this be the impetus to get you started. Regardless of what anyone has told you there will never be too many artists in the world. Beauty, truth and free expression are sadly in short supply.

If the visual art interests you, let me briefly describe a process that has given me excellent results. Perhaps it can open the world of painting up to you. One little disclaimer here: I am an abstract expressionist for the most part. So, if you want a finished product that everyone immediately recognizes, you may want to explore other techniques. Drawing will eventually give you those results if you practice long enough. Yes it’s true. Anyone can draw given enough practice training the hand to capture what the eye sees.

"Cracked Prism"

My work and the process described here are geared towards non-objective or non-representational images. I seek to express my emotions and the energy within and around me rather than reproducing images of, say, apples on a table. If I need one, I generally take a photograph of said apple.

Early on I worked primarily with geometric shapes, but eventually tired of them. In frustration with one such piece I laid it down and began slinging white and black paint over the primary spheres I had painstakingly painted. I know this is not a new technique. It was not even a new technique when Jackson Pollock made it famous in the 1950’s. That is not the point. The point is that I fell in love with it. It looked great; it was an excellent contrast to the obvious geometrics and I enjoyed the release of frustration in applying the paint in that way. I felt invigorated rather than tired when I left the studio that day.

"Big Idea Bypass"

This is another clue to whether you’re heading the right direction. There should be an influx or energy that matches or exceeds any expenditure. It is almost as if there is an exchange of energy when you are doing something you enjoy. Case in point: It could be said, and more than once has been, that any monkey can sling paint like Pollock did. This is simply untrue. Pollock’s masterful work looks like it does because of the emotional energy and purpose he expressed in a seemingly random way. And of course he didn’t keep or like everyone he painted. You should also be pleased in some way with the results you get from this method. Note I did not say satisfied. In fact your creative bliss should also drive you with some of that energy to improve to as close to perfection as possible.

That’s why when I first tried these methods, I did so sparingly; partly because I fell victim to the common misconception many suffer from about drip/pour painting being somehow akin to finger painting; a child’s method. Any monkey, or elephant, or dog with a brush tied to his tail gets the same results. Right? WRONG!!!

"Sister Systems"

So, I went back to other methods of abstraction, but was steadily drawn back to the drip and pour method. I even disguised it to some degree by using palette knives, paste spreaders, and even spatulas to smooth and blend the poured paints. This technique rendered various results, which had more of an impressionistic rather than expressionistic feel. I was pleased with them, especially when I took the time to meditate on them, really SEE them, and allowed my right brain to find images within the clouds of paint.
I left some of these found images alone, but some I began to bring out with various drawing methods.

"No Mo Lilies"

Still I was drawn back and continuously invigorated by the pour and drip method. I photograph my own work, not only for the purpose of recording my progress, but also as a step in the process of digitally manipulating the work into something else entirely. I told myself that action painting, or drip painting was merely a step in this process.

"Sandman"

When my father fell ill, I had a huge amount of internal struggle to deal with. At the same time I was reading extensively about Pollock. I believed that I understood what Pollock meant about “not worrying about destroying a painting.” I took this to mean that you can’t throw too much at the canvas. The painting is finished when it’s finished, but don’t be afraid to push the envelope beyond numerous layers.

"Between Tremors"

The resulting canvases were spectacular if I do say so myself, but another benefit / process step emerged from this realization. Before I had either allowed raw canvas to show through or had spread bottom layers of paint to cover. Now in trying to maintain the heavy bottom layers of paint, I first covered by pressing a cut up cardboard box into the canvas and then adding layers over the smashed paint on the canvas. The cardboard was unusable again, but the pattern of the paint picked up by the cardboard was amazing. This monoprint process produced a much more desirable effect when using a stable support such as Masonite, canvas boards, paper or Plexiglas.

"Exiting Depression"

Lay down a hard surface, such as a large sheet of plywood, or if you’re of a mind the floor itself will do. Start a drip / pour painting on this surface. Once you have several layers of the colors you choose, or at least some pattern or configuration that is pleasing to you take one of the supports mentioned above and press it into the paint. If you want more action in your monoprint, slide it gently in one direction or another. Then pull the support off the painted surface. If the result doesn’t have as much action as you would like, tilt it to allow the paint to run slightly. When you have the image effect you desire, place the monoprint on a flat surface, paint up and allow it to dry.

On Plexiglas the effect is closer to what you actually see when you lay the paint down. This is important to remember because normally painting on Plexiglas is done backwards. These monoprints normally print backwards. That is the paint you lay down last will normally be viewed on bottom, but with Plexiglas, which is viewed backwards anyway the last paint is on top as it in a standard painting technique.

"Floater"
Monoprint on Mat Board

I know for most artists these sound like very primitive printing methods, but they are extremely enjoyable, especially if you want to try painting without first attending lengthy classes or incurring great expense.

"Sibling Rivalry"

Monoprint on Plexiglas

I hope you will try these methods and create many beautiful images.

How Dare I?

2007-09-19T21:21:00.001-05:00

Now hold on a minute!

Isn’t an artist supposed to say everything he/she has to say visually rather than verbally? Why am I taking precious time away from my studio to pound out a posting about what happens (or doesn’t) in my studio? What even qualifies me to make this posting?

Well, saddle up or strap in folks, because these and other questions you may be asking will find some semblance of solution in this and future posts. If you have any interest in the arts, any small or great longing for things that could potentially inspire you, entertain you, or simply provoke you, read on. Check back. Comment, or send your questions. I can’t promise they’ll all be addressed, but I will try. The main goal here is simply: TO ENCOURAGE YOU TO CREATE.

Now back to that questionnaire.

Isn’t an artist supposed to say everything he/she has to say visually rather than verbally?
Well, I really believe that an artist’s duties are to create, to guide, to teach, to inspire and to encourage others to do likewise. As a multi-disciplined artist in an era of multi-media my responsibilities in these areas are not confined to doing so visually. Even if I were simply an abstract expressionist, a number of my predecessors in this particular discipline, such as Wassily Kandinsky, Mark Rothko and Barnett Newman, wrote extensively. So, I’m on fairly solid ground from that standpoint. And quite frankly, these blogs by artists are becoming so commonplace you shouldn’t be surprised by yet another.

The real question is the one about why I would take precious time from my studio to post “yet another artist blog.” That is one that makes me scratch my head, because I’d much rather be in the studio. Well, they say the key to success in Real Estate is, “location, location, location.” In the art world the key is “How much do I really know about this artist?” So, in hopes of letting you know more about me and showing you some of the best of my work while we’re at it, I’m in front of my computer instead of my easel. I can’t promise you’ll like everything you come to know about me, but what you get will be all me.

Now about that last question. What qualifies me? One word – PASSION.
I love what I do. If you can get me to talk about what I do, that becomes evident very quickly. So, what say we get started.

Here are samples of various styles and disciplines I employ.

This first piece is from a series of digital paintings I completed called "Fragile." This work, entitled "Heart of the Matter" as well as the rest of the images in the series were developed from photos of stained glass.

My photography has found favor with a number of jurors. This piece, called "The Flying Dutchman" is from my "Cultural Ghosts" series.

This next piece, entitled "Gaia", has recently juried into a national competition.

Finally, the style I work in quite often is abstract expressionism. This example of my work in this discipline is called "Emotional Rollercoaster."

That’s all for now. I’m heading into the studio, but I’ll be back soon. If you like any of what you've seen here and want to see more, visit my website at http://www.otoolestudio.com/