Carol Vogel profiles my friend Jose Parla's new work in the New York Times:
For New Theater, BAM Commissions a Really Big Painting
A decade ago, when the Brooklyn Academy of Music restored its landmark exterior, the Brazilian photographer Vik Muniz decorated the scaffolding of the building’s second, third and fourth floors with images of a giant gingerbread house. It was a colorful confection: melted sugar outlined with giant jelly beans and slithering Gummi Worms recreated the building’s arched windows; giant M&M’s became its frieze.
Now, to enliven its newest theater – the Richard B. Fisher Building – which was unveiled in June and officially opens Sept. 5, the academy has asked the Brooklyn artist José Parlá to create its first permanent commissioned piece of public art for an interior space.
“Gesture Performing Dance, Dance Performing Gesture,’’ a painting measuring 37 feet by 7 feet, incorporates collage, acrylic, oil, ink, plaster and enamel and is slated for completion around the end of the month. The painting will cover the back wall of the lobby, which is visible from the street.
“This particular work will be informed by dance, movement and gestural communication,’’ Mr. Parlá said in a statement.
Yesterday I went up to Albany with my partner Laura to visit Phil Frost’s painting studio. We toured the massive industrial work space and got a sneak peek at the hundreds of works that he is simultaneously painting. He has made some very beautiful pieces that are very much worth checking out.
What One Artist Just Felt Like Doing One Day
by: Gary Michael Dault
I ask painter Chris Cran - whose shimmering, graphically delicate but exacting paintings deal with a myriad of subtle optical issues - if he thinks of himself as a visual satirist? I figure all that allusiveness in his pictures - to optical art, to pop art, to photography, to portraiture - pegs him not only as a virtuoso manipulator of genres, but as their gleeful analyst and demystifier.
He doesn’t deny it exactly, but points out, with a certain Cran-ish wryness, on the phone from his studio in Calgary, that “there’s the pleasure of them too.” For a painter whose work seems so elaborately planned and carefully worked up, it’s disarming to hear him stress that part of his practice “is simply asking myself what I feel like doing today.”
Here's a shot of two of our large scale drawings just prior to the opening of our exhibition at the Land of Tomorrow Gallery.
My partner Stella is painstakingly painting silver leaf on another drawing for our upcoming show.
These two images show part of the process of a drawing we are currently working on for our upcoming exhibition. The first shows a detail of the computer generated background produced in Maya and the second shows the painstaking work of hand painting each surface tesselation.
DELIVERABLES presents four large scale drawings from the New York based architecture studio Bureau V. As a response to the waning use-value of the physical drawing in contemporary architectural practice, these documents seek to establish new values for the architectural deliverable outside the functions of presentation and construction. Each drawing is an original document created through processes such as computer-generated graphic content, hand drawing, applique, painting, and collage.
Opening: Friday April 10,6-9PM
Land of Tomorrow Gallery: 527 E 3rd St. Lexington, Kentucky 40508
Some details from our new XV drawing, Chicken Twin
I love this detail.
We’re trying to wrap up the drawings we’re presenting tomorrow. Will be a late night…