It is always great to hear professional artists speak of their method of creating art.
When you take a painting out of the studio setting and hang it in a gallery, frame it, surround it with pristine white walls and a fancy label and deem it untouchable sometimes my interaction with it becomes a bit surreal. It seems as if the painting has always existed on that very wall and I find it difficult to gather that some person actually painted it. If the artwork is very famous, can be viewed in numerous textbooks, art books and on the web and if the painter is either deceased or not present this phenomenon becomes even more ridiculous to me. Tom Nozkowski speaks of Pentimenti and I think the ability to see the artist’s previous marks in the finished painting is something that truly makes a painting more ‘human’ to me. Seeing traces of the artist’s previous marks, thoughts, and ideas in the final piece gives the painting a history. As a viewer you realize that this painting did not just exist one day but instead journeyed through several stages of paint and thought before it arrived at the museum.
I also agree with Tom Nozkowski when he speaks of how important using both subtractive and additive processes in painting are. I used to be someone who would create a ‘Monday – Tuesday” drawing. With a pencil, I would draw the entire composition then focus on one area at a time and not the entire piece as a whole. I would be hesitant with my work and not leave much room for exploration. My second year at Raritan I broke that habit. I think not falling in love with your working painting and willing to explore is important when developing your painting.
Nozkowski had a lot of points in his interview that I never really thought to do in making art. When he talked about putting marks down on the canvas just to see how they would interact and what kind of emotions they would evoke, I thought was interesting because I would not do that in anything I would make, I would always have a set plan on how I want it and not venture into the realm of letting the marks control the art.
In the beginning when he quotes De Kooning about what you cant do and breaking the rules in regards to what is considered normal for painting I also thought was important. This goes back into what I said earlier about having a plan for something before starting. Im not one to do things on a whim in art. By hearing it from other people, like artists for example is making me think about letting the plans go and just paint then it will be more fun. ~Leanne~
It's really interesting to see a painter just start painting and not really sit there planning out what to do in the painting.
I know I struggle with that sometimes and am always amazed when things just come together in people's paintings who had no real intention with them to start with.
I liked Nozkowski's example of how he might go through the process of creating a response painting to that very interview. His process was very based off of laying down elements of the environment that stick out in his mind, and changing them until they created something aesthetically pleasing, as well as create an accurate depiction of the emotions associated with that moment. Also, allowing remnants of previous element to peek through. I think if I were to create a piece based on a memory of mine, my first inclination would be to literally depict the elements exactly as I remember them. More illustrative. I enjoy the idea Nozkowski proposed of allowing the process to occur more based around educated decisions and emotion. -Daniel Edward Gerlach
What Mr. Nozkowski said about an extraordinary moment is very close to my heart. I think it is to many people who see life in images . When you have passion for something you want to make others feel that moment, and maybe feel their heart drop for a split second. These moments can be any where and I think that is such an important statement to say. No matter what a person does if you truly love it you learn to experiment with it. Work with what is un-workable and make it yours. You think about it all the time and along various aspects of your day. Art is allowed to be wrong at first and evolve just like a scientists theory or a singers voice.
Having only worked with oil paints a little I am in new territory. I always enjoy looking at it up close and seeing detail on it in museums. It is so rich and just like anything that is rich, (like oil) it needs to be molded broken down and made to create images in so many ways. Just like rich dark coco which is too much alone or right from the bar - but when mixed and united with other ingredient can only be described as beautiful. I look forward to working with it more. the colors that Mr. Nozkowski created are so rich and I love they way he compartmentalizes many of the shapes in his works.
"Nozkowski says of a painting that it was what he painted that day, that when he started his last session with it, “the entire surface was open.” This is a startling idea to me. I see writing this way, the whole thing open until I say it isn’t. Maybe because I work in clay most of the time and clay doesn’t stay “open,” I haven’t regarded painting that way. If I really could, it would be liberating.
I looked at the unremarked upon things in the video: His paints in what looked like a very convenient grey metal stand on the right; what are obviously his painting shoes, leather, without the laces, coated in layers of paint spatter; the fact that his studio reverberates and I wondered why there was so much echo. Doesn’t he have a lot of canvases around to absorb some of that?
Watching an interview of an artit is just as inspirational as going to an exhibition, maybe even a bit more. Nozkowski explains how his paintings can be inspired from a piece of poetry or recent event, or something more personal like a conversation with some one. I found this eye opening, for my self. As a young artist i need to embrace and take in these kinds of information. it makes creating something almost alot easier. The process of putting down these simple markes almost reminds me of creating gestures. the best result your going to get is that first gutless mark. when your mind isnt blocking you and your not worried. It goes to show that any piece you create is not bad it just needs to be worked on, almost like anything. We work untill its perfect.
its was really cool to see an painter talk about his art and really explain and get into it without it being a more formal interview that has questions that have already been asked. it was intriguing how he says that he can paint from a moment or just from seeing something interesting or eye opening to him, for example how they showed the chair as the light hit it from behind and it made just an interesting swirls or texture to it; it really opens your eye to what can inspire you or what can make a painting. it was also good to hear that even an experienced painted has to cometime go over a previous painting to fix it or make something because it brings them down to a more human level near us.
Nozkowski is further chiseling into our brains the same advice we have probably been hearing since we began studying art. Don't be afraid, try things out, it's about the "why not...?" rather than the "what if?"
Probably some of the harshest yet the best advice I've gotten through my art education is to never think that my work is "precious", especially not when you are just starting out.. When you start thinking you have made the greatest piece you could, you stop thinking about ways to challenge and improve your work.. There is nothing wrong with having confidence in your work, but one must accept that the leaning process is never-ending.
I found myself quite fascinated about his example of depicting moment, especially because "this moment" that he is referring to is so public, shared with thousands of people on YouTube.. 'This moment" can be interpreted many different ways and in that lies the artist's challenge to convey the desired meaning accurately to the public.
The bottom line is about trying things: putting colors, shapes, textures and marks together, playing around with the medium, the concept, all in an effort to discover new connections not only on the canvas but with yourself.
Christina Galera It was amazing to see a painter to talk about and see and to explain and to get into it without it being a more formal in the interview that has questions that have already been asked. I think is probably his the harshet get the best advice I ever eared before in my life.
I agree that it is always inspiring and fascintating to hear about how a successful artists works in their studio. There is much to be gained by observing how someone else begins a painting or treats a blank canvas. A blank canvas can be one of the most intimidating things, yet artist after artist says to just get something on the canvas as it can always be changed later. It is so important to be open to initial failure, opening the doors to creativity and exploration.
It is always great to hear professional artists speak of their method of creating art.
ReplyDeleteWhen you take a painting out of the studio setting and hang it in a gallery, frame it, surround it with pristine white walls and a fancy label and deem it untouchable sometimes my interaction with it becomes a bit surreal. It seems as if the painting has always existed on that very wall and I find it difficult to gather that some person actually painted it. If the artwork is very famous, can be viewed in numerous textbooks, art books and on the web and if the painter is either deceased or not present this phenomenon becomes even more ridiculous to me. Tom Nozkowski speaks of Pentimenti and I think the ability to see the artist’s previous marks in the finished painting is something that truly makes a painting more ‘human’ to me. Seeing traces of the artist’s previous marks, thoughts, and ideas in the final piece gives the painting a history. As a viewer you realize that this painting did not just exist one day but instead journeyed through several stages of paint and thought before it arrived at the museum.
I also agree with Tom Nozkowski when he speaks of how important using both subtractive and additive processes in painting are. I used to be someone who would create a ‘Monday – Tuesday” drawing. With a pencil, I would draw the entire composition then focus on one area at a time and not the entire piece as a whole. I would be hesitant with my work and not leave much room for exploration. My second year at Raritan I broke that habit. I think not falling in love with your working painting and willing to explore is important when developing your painting.
Nozkowski had a lot of points in his interview that I never really thought to do in making art. When he talked about putting marks down on the canvas just to see how they would interact and what kind of emotions they would evoke, I thought was interesting because I would not do that in anything I would make, I would always have a set plan on how I want it and not venture into the realm of letting the marks control the art.
ReplyDeleteIn the beginning when he quotes De Kooning about what you cant do and breaking the rules in regards to what is considered normal for painting I also thought was important. This goes back into what I said earlier about having a plan for something before starting. Im not one to do things on a whim in art. By hearing it from other people, like artists for example is making me think about letting the plans go and just paint then it will be more fun.
~Leanne~
It's really interesting to see a painter just start painting and not really sit there planning out what to do in the painting.
ReplyDeleteI know I struggle with that sometimes and am always amazed when things just come together in people's paintings who had no real intention with them to start with.
- Jennifer Edgerton
I liked Nozkowski's example of how he might go through the process of creating a response painting to that very interview. His process was very based off of laying down elements of the environment that stick out in his mind, and changing them until they created something aesthetically pleasing, as well as create an accurate depiction of the emotions associated with that moment. Also, allowing remnants of previous element to peek through.
ReplyDeleteI think if I were to create a piece based on a memory of mine, my first inclination would be to literally depict the elements exactly as I remember them. More illustrative. I enjoy the idea Nozkowski proposed of allowing the process to occur more based around educated decisions and emotion.
-Daniel Edward Gerlach
What Mr. Nozkowski said about an extraordinary moment is very close to my heart. I think it is to many people who see life in images . When you have passion for something you want to make others feel that moment, and maybe feel their heart drop for a split second. These moments can be any where and I think that is such an important statement to say. No matter what a person does if you truly love it you learn to experiment with it. Work with what is un-workable and make it yours. You think about it all the time and along various aspects of your day. Art is allowed to be wrong at first and evolve just like a scientists theory or a singers voice.
ReplyDeleteHaving only worked with oil paints a little I am in new territory. I always enjoy looking at it up close and seeing detail on it in museums. It is so rich and just like anything that is rich, (like oil) it needs to be molded broken down and made to create images in so many ways. Just like rich dark coco which is too much alone or right from the bar - but when mixed and united with other ingredient can only be described as beautiful. I look forward to working with it more. the colors that Mr. Nozkowski created are so rich and I love they way he compartmentalizes many of the shapes in his works.
that was me Allison Pisack --bumpkins124
ReplyDelete"Nozkowski says of a painting that it was what he painted that day, that when he started his last session with it, “the entire surface was open.” This is a startling idea to me. I see writing this way, the whole thing open until I say it isn’t. Maybe because I work in clay most of the time and clay doesn’t stay “open,” I haven’t regarded painting that way. If I really could, it would be liberating.
ReplyDeleteI looked at the unremarked upon things in the video: His paints in what looked like a very convenient grey metal stand on the right; what are obviously his painting shoes, leather, without the laces, coated in layers of paint spatter; the fact that his studio reverberates and I wondered why there was so much echo. Doesn’t he have a lot of canvases around to absorb some of that?
Barbara"
Watching an interview of an artit is just as inspirational as going to an exhibition, maybe even a bit more.
ReplyDeleteNozkowski explains how his paintings can be inspired from a piece of poetry or recent event, or something more personal like a conversation with some one. I found this eye opening, for my self. As a young artist i need to embrace and take in these kinds of information. it makes creating something almost alot easier.
The process of putting down these simple markes almost reminds me of creating gestures. the best result your going to get is that first gutless mark. when your mind isnt blocking you and your not worried. It goes to show that any piece you create is not bad it just needs to be worked on, almost like anything. We work untill its perfect.
-Bobby Zehnder
its was really cool to see an painter talk about his art and really explain and get into it without it being a more formal interview that has questions that have already been asked. it was intriguing how he says that he can paint from a moment or just from seeing something interesting or eye opening to him, for example how they showed the chair as the light hit it from behind and it made just an interesting swirls or texture to it; it really opens your eye to what can inspire you or what can make a painting. it was also good to hear that even an experienced painted has to cometime go over a previous painting to fix it or make something because it brings them down to a more human level near us.
ReplyDelete-Marino Nicastro
Nozkowski is further chiseling into our brains the same advice we have probably been hearing since we began studying art. Don't be afraid, try things out, it's about the "why not...?" rather than the "what if?"
ReplyDeleteProbably some of the harshest yet the best advice I've gotten through my art education is to never think that my work is "precious", especially not when you are just starting out.. When you start thinking you have made the greatest piece you could, you stop thinking about ways to challenge and improve your work.. There is nothing wrong with having confidence in your work, but one must accept that the leaning process is never-ending.
I found myself quite fascinated about his example of depicting moment, especially because "this moment" that he is referring to is so public, shared with thousands of people on YouTube.. 'This moment" can be interpreted many different ways and in that lies the artist's challenge to convey the desired meaning accurately to the public.
The bottom line is about trying things: putting colors, shapes, textures and marks together, playing around with the medium, the concept, all in an effort to discover new connections not only on the canvas but with yourself.
Angela Miskis
Christina Galera
ReplyDeleteIt was amazing to see a painter to talk about and see and to explain and to get into it without it being a more formal in the interview that has questions that have already been asked. I think is probably his the harshet get the best advice I ever eared before in my life.
I agree that it is always inspiring and fascintating to hear about how a successful artists works in their studio. There is much to be gained by observing how someone else begins a painting or treats a blank canvas. A blank canvas can be one of the most intimidating things, yet artist after artist says to just get something on the canvas as it can always be changed later. It is so important to be open to initial failure, opening the doors to creativity and exploration.
ReplyDeleteBrooke