Out of the Woods......Paintings of California Logging: Moonlight ,...

Book List

A Few Books and a few comments:

Vitamin P phaidon,2002,…isbn,071484246x

Updated every few years, a must have, especially for rural painters who want a contemporary perspective.

Art Today,…Phaidon

See above comments.

Art Now,…Taschen, 2005,…isbn,3822839965

Ditto as above

The next four texts are important reading, for committed California painters.

California Art, Dustin,1998,…isbn0961462256

Made in California ,2000,…isbn,0520227654

Bay Area Figurative Art 1950-1965,…University of California

Press,1990,…isbn,0520068424

Facing Eden; 100 Years of Landscape Art in the Bay Area,…University of California Press,…1995,…isbn,0520203623

Books about painters/groups of painters:

Leading the West, One hundred contemporary painters and Sculptors,…Northland Publishing,1997,…isbn,087358600x

American Painting,…Watson Guptill,2002,…isbn,0823003310

The Pacific Northwest Landscape,…Sasquatch Books2001,…isbn,1570612846

Lucian Freud Paintings,…Thames & Hudson,1998,…isbn,0500275351

Everyone should have at least one reference on this guy.

Lisa Yuskavage, small paintings 1993-2004,…Harry N.Abrams,2004,…isbn,0810949571

John Currin,…Gagosian Gallery,2006,…isbn-10;0847828654

Probably the leading figure in contemporary figurative.

Joaquin Sorolla,…Phillip Wilson Publishers,…isbn,0856676055

Proving there were other painters during the early 20^th century

Contemporary Art, art since 1970,…Pearson/ Prentice Hall,2005,…isbn,0131181742

The Art Book,…Phaidon1994,…isbn,714836257

500 Self-portraits,…Phaidon,2000,…isbn,0714843849

The next four selections are also a must have for every California painter.

The Art of Richard Diebenkorn,…Whitney California,1998,…isbn,0520212576

The Society of Six, California Colorists,…University of California

Press,1988,…isbn,0520210557

Wayne Thiebaud, A Paintings Retrospective,… Thames & Hudsen,2000,…isbn,0500092923

The Group of Seven and Tom Thomson,…Firefly,2003,…isbn155297605x

Carl Rungius, Artists and Sportsman,…Glenbow/Warwick,2001,…isbn,189462209x

Another good reference on the grandfather of all contemporary wildlife painters.

Painting in N. California

Often a painting acquires its own image, certainly much is deliberate, but much also simply shows up on its own, and gets left as it is. We could argue that the intuitive paint stroke is accidental but once left alone then becomes the painters. Like falling timber, (and this is not a stretch), just so much can be done to control the fall with the best intention of not breaking the tree, or hitting pavement, or equipment or,... active stream,...or whatever. Once the tree starts to fall however, there are forces at work I cannot control. Non figurative painting is much like that, I make the best choices at the time, and in the end outside forces finish the work, and the viewer becomes a judge of something they cannot do, having neither the experience nor expertise to be a critic, those casual viewers all too often become a force to contend with.

Knowledgeable viewers are those who can do the work, another cutter/painter, they can see the work clearly, having experience and recognizing the intentions immediately. My decision may not have been their decision but experience is coupled with understanding, understanding accepts the difference in such a manner that having done something different is simply that.

A weakness can be easily pointed out, we all know that no special genius is required to find a fault, but the weak painting/or where a tree lays is not so clearly wrong, as I'm inclined to rest on the best intention of the work. Most of the time "good work" is what can be achieved given the experience of the worker. However outside expectations too often quash undiscovered originality. I work best with those who are smart enough to see the intention and foster that, and the expertise to point out a weak conclusion gracefully.

Been my experience that once you know someone’s story,... they make sense, doesn’t excuse actions,.... but at least their actions make sense. The same with a painting, or felled tree, both are the culmination of a best effort given the circumstance. I suppose we're talking about chasing craftsmanship and expertise knowing it will not be achieved and knowing ‘expert’ is for others to apply to us. Hopefully the others know a thing or two about what they see.

I used to wish for more.

At my age I’m well grounded in the verse “be careful what you wish for”, with that in mind I don’t fret as much as I used to about not having gallery representation. I can only suspect that I’m better off not having a gallery contract or access to a city venue. If better off means removed from expectations and able in good conscience to make my own work then yes, I am better off. But occasional conversations about “art” are rare in “rurality” and rarer still conversations with someone who knows the subject, the bane of rural painters and not a small price to pay for living in a small town. I do enjoy those who can talk with authority on the subject.

Occasional conversation on a favorite topic is better than way too much. Besides, there are lots of painters like me.

In the end painting is more important than Art, and conversation is not painting.

Out of the Woods......Paintings of California Logging

Alumni

Sunday, November 14, 2010

Moonlight ,...

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Book List

Fred Boekelman and spruce

Skid house,...1956

Great Aunt Maude Brown

innocent me

Boys and Men

Otto Richter Sr.on the left ....My grandmothers father ,..

Keel Low ,.. my great grandfather

Lawrence Panfilio Sr and Clara Richter

Chehalis, Washington @ 1943

Me in tongs, about 1957

Hunter the hound, Lucille Low, Grandpa Brown , and Lyle Low

Leonard Boekelman, cutting

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Painting in N. California