Monday, September 16, 2019
A new favorite drink around our house is La Croix and bitters which turns out to be a great-tasting, not-sweet, non-alcoholic, very pretty beverage. Here we have a drawing of: Pamplemousse and Angostura Bitters on the left, Tangerine and Peychaud Bitters on the right.
Friday, September 13, 2019
I had seen and admired these painted heads by Vivienne Flesher online, so imagine my delight at stumbling upon them in person at Jack Fisher Gallery, right here in town. The paintings themselves, with their wide brushstroke shadows, delight me. And I'm also quite drawn to the fact that they're done on paper and hung unframed with binder clips so that the paper is allowed to curve and warp along the bottom edge. I'm not sure why that look pleases me so much, but it always does.
Thursday, September 12, 2019
Wednesday, September 11, 2019
A text exchange with my BFF:
Her: [something something] The Goldfinch
Me: I'm kind of off literary fiction
Me: It frequently bores me
Her: Everyone must do what is right for them. What do you read now?
Me: Mostly memoir, essays, mysteries, fantasy, comics, YA
And there it is, the truth of the matter. I've known this for sometime but never baldly stated it to anyone before. Goodness gracious. I feel like an aberration.
Tuesday, September 10, 2019
We've got three exciting workshops coming up at Open Studio this month:
Wholesaling for Creatives with Giselle Gyalzen on the 18th
Let's Make Tunnel Books! with e. bond on the 21st
Work / Life Balance with Allison Kenny on the 28th
Monday, September 9, 2019
before how, at the Georgia Aquarium in Atlanta there is apparently a huge tank housing four whale sharks and how you can watch it on a live webcam on their website -- an activity I highly recommended as it is extremely soothing. And so I drew it.
Friday, September 6, 2019
I didn't realize how badly I wanted to see more women artists in SFMOMA until the museum took it upon themselves to put them there. I went to see the Warhol show in July, and the JR opening in May, but I don't think I've properly wandered the various floors of the museum since maybe late last winter. And man oh man have they done a lot to it since then -- honestly, it almost feels like a whole new museum. Part of this has to do with the Rothko they deaccessioned (in my personal opinion it wasn't a very compelling Rothko, as Rothkos go -- not to mention, they hardly ever hung and showed it -- not to mention they have one of the great Rothkos of the universe, plus three others including one very interesting and unusual one as well) with the explicit purpose of using the funds from its sale to buy art by women and artists of color. They promptly bought and hung eleven artworks (including the astonishing huge Mickalene Thomas above) and I went to the museum the other day to go see them. But what I saw regarding works by women (and, to a sadly lesser but still noticeable degree, artists of color) went way beyond just those eleven things. In a room dedicated to Surrealism, fully half the artworks were by women. In a gallery about sculpture in the 70s, all the art -- 100% of it -- was by women (and no comment was made about this fact in any of the wall text, this was not a show of "1970s women sculptors" it was a show of "1970s sculptors using new materials" Bam!). Several small one-and-two person shows featured women, too, and there were loads of things just tucked here and there -- a Barbara Kruger, a Jenny Holzer, many more -- that I'd never seen before. And then of course there were still old favorites, like the several Joan Mitchels, the Alice Neel, the Helen Frankenthaler, the Ruth Asawa and what I always think of as the Agnes Martin Chapel. Ready to see? Here we go!
Above: Mickalene Thomas
Carrie Mae Weems
Gego (Gertrud Goldschmidt)
Charline Von Heyl
Agnes Martin (detail)
Agnes Martin (detail)
Njideka Akunyili Crosby
Thursday, September 5, 2019
probably practically the whole point
of Yves Klein blue could be that it utterly
completely defies description refuses words
a concert between this one man’s intention
and pigment and your eyes and your brain
the hue glowing straight into your head
on a direct conduit of pure vision
as close as we’ll all ever get to