As the Blanton’s latest artist in residence prepared to head back home, Diego Perez Garcia gave an artist’s talk about his work and his current collaboration with Flatbed Press last week. He admitted his reluctance to work with such a different medium. And although he stated his dislike for printing in a later discussion, in this instance he carefully described his approach to printmaking. He began by explaining his work as investigations of not only visual concerns but also how he could add to the vocabulary/history of art.
Printmaking wasn’t attractive because he didn’t feel like he could add anything. He used painting to make his point. He couldn’t just start to paint because there is so much history that one has to deal with when painting. Perez Garcia said, “It would be stupid to start painting Cubism”. To which an audience member responded, “There’s a lot of stupid going on.”
Fast forward to the next day at the Viewpoint lecture. Phong Bui was talking about his own work as an artist (he was invited as a critic) and was talking about influences. While looking at Albert Ryder’s moody paintings he tried to make similarly evocative paintings that turned out “utterly absurd.” He moved on to looking at/studying Analytical Cubism and subsequent artists that allowed him to find his own voice in the vocabulary/history of art.
Funny how these things connect themselves for me.
I’ll bet you’re feeling stupid for having missed out on Jill Pangallo’s performance for the Texas Biennial’s Temporary Outdoor Project. Jeanne Claire van Ryzin can’t even fully describe how awesome the night became.
I’ll tell you ’bout what I sees.