I think I have formulated a revisionist art history. It’s time to take our PhD’s in other hopeful directions. Enough with the “masters”, who were never more master than any other prolific creators—just richer. Either while living or posthumously, it was millionaires and billionaires (sometimes even the CIA) that made them masters through celebrity and finance. We must get off this track, derail the train if necessary. Because Picasso was a man, not a marker. And Jeff Koons is a monstrosity from a hell made by ignorant billionaires, who are so dirty it hurts my brain so to think about them. Yet both set standards for the multitude of creative geniuses practicing arts not of the celebrity mold. And these standards are anti-art for those seeking master status in a subjective medium, aka: judgemental world.
I suggest a people’s history of art. Art always made by people for people, locally (until the Internet), not for Christies® and Hyperallergic®, which are very unpeople-like, especially in the realm of art making and sharing. They are co-parasites in a “look-at-me-now!” bubble. Like Donald Trumps and Kim Kardashians, show poodles at the poodle show—nothing more, and much less…
Last Saturday I stumbled upon a local antiques shop in a residential neighborhood of my small town. My wife is the driver of such things that I usually avoid, that is, until of late, when I suspect there might be a treasure of a painting to rediscover. Since I am searching locally for paintings made by colleagues of Roy Lichtenstein, I have been frequenting garage and estate sales, and now antiques shops too. By lazy Saturday chance I found the pot of gold to art history, or what needs to become the new art history, if people of substance are to matter ever again.
The usual artifacts—vintage tools, tchotchkes, and roller skates, record albums, post cards, coins, 19th century books, costume jewelry, tables, a chair, and yes, paintings on the walls. Mostly framed prints, a few originals by who knows who—rarely art historians, of course, because they’re not searching for the obscure lessor knowns…
Up in the corner of a far wall was the treasure. I thought I recognized the style. Sure enough, a Dr. Aulus Saunders original, signed and dated, 1981. A painting of a then local restaurant long ago out of business. On the tag was written “Not for sale. For future exhibition”.
In 1937, Aulus Saunders was picked by Ralph Swetman to head the art department at the State Teacher’s College of Oswego. He was instrumental in the hiring of every art faculty member until his retirement in 1978. He hired Roy Lichtenstein in 1957.
Unfortunately, via the uber-influential cult of celebrity, Lichtenstein got fame and fortune because millionaires were conned by other millionaires to buy his trinkets, to be in the know, to have collections in their names, and be spoken of with respect at high parties—the ones just like others, with toilets and sinks, and careful conversations. And the painting practice and pedagogic genius of Dr. Saunders bound to obscurity in an antique shop. The majority of Oswego professors Saunders hired to teach art and art history abandoned the man who gave them license to perpetuate the fraud of modern celebrity art. Thousands of students loaded to confusion with facts, interpretations and style about nothing really—impressionism, expressionism, surrealism, ad nauseism… Future art historians churning out more coffee tables books than a solar system could possibly want, unless necessary for house building during the final throes of the sixth extinction.
And then Steve the proprietor came over to me while gazing at the Saunder’s painting. He bought the entire collection years ago from the professor’s son. 80 paintings, cornered and covered in Steve’s home basement. He thought maybe one day he would have an exhibition, or maybe the college would be interested in acquiring a few for its collection. 80 original paintings by a man dedicated to art practice and pedagogy. Ho boy! And local to boot. An absolute dream to any non-convoluted historian. A radical concept. Art history without art celebrity. Painters who practiced literally what they preached. That is, a dedication to art and art-making. Productivity through creativity, and then shouldering the responsibility to carry on art traditions to a younger generation.
I tried to conceal some of my excitement. I’d take a loan out to secure these 80 paintings safe passage out of Steve’s musty basement. I just think I might.
So should any art historian worth his or her salt. Roy Lichtenstein made pop art a popular name. Aulus Saunders hired Roy Lichtenstein and many other practicing teacher-artists, and himself practiced art until he died. Both have value to the future. However, I shall always argue that one is of lessor substance, even if it happened to purchase a mansion in the Hamptons, and abandon art for commodities’ sake.
Dear art historians of today and tomorrow. Kill the Buddha to see how many million Buddhas are popping up all over the place. If I can find dead collections to come alive, so can you. Start searching estate sales and in your local antique shops. A people’s art for the future, and the little rich dandys can continue their prostituting to Sotheby’s of Dubai. They are so much old news, like Picasso in his underwear and Michelangelo lounging about the Pope’s brothel.
On a Saturday in May I visited an estate sale a few doors up the road and discovered two works by David Campbell, professor of art at the State Teacher’s College at Oswego, and colleague to Roy Lichtenstein from 1957 to 1960. A signed print (48/49), titled Toledo, and a lithograph, titled Loch Ness, both from 1964. On Toledo, the owners cut the signature, date and print run and pasted it on the back to fit the frame. I am thrilled by this great luck. I shall auction Toledo off at the Lichtenstein exhibition in October. All sales from this and my paintings will go to a one time local high school senior enrolled at SUNY Oswego, and intending to major in art history or studio art. The Tyler arts building is going through its second stage of renovation and this will give something back to a place that has been a mentor house to my family for thirty years.
David Campbell is a fine painter. He has a website and prints available for those Oswego affiliations who wish to be as lucky as me. The bulk of art history is lost to the cult of celebrity. Roy was no dummy. He must have known his fame and fortune was lottery-like luck. No one passes through Oswego without humility. Van Morrison has mentioned time and again that his world recognition, and wealth stemming from it, is owed to his early departure from obscurity. He left the small town for the big city, and never looked back.
That is brave, but it isn’t art. Art is work, and like Van Morrison, Roy got recognition in a busy city and then worked very hard to keep it.
To me it always seems like unnecessary struggle, often making a circus or a brand out of a person. To please myself is a daily exercise sweating determination and will power. I cannot imagine any sanity maintained with the pressure to please an entire world.
This discovery of David Campbell work hanging on lower middle class walls next door in small town, 2019 is true art history because it touches my own story in some real way, far beyond fame and money. No one really wants to possess a painting by Lichtenstein for any other reason besides fame and money—whether that be a museum or a mountebank. No one besides members of his family, friends, descendants, subjective hobbyists and connoisseurs, and the occasional historian who feels the need to tell a story, without all the wild speculation and false promotion, should be interested in another person’s art. A museum can hold paintings if they have contributed towards the uplifting (or degeneracy) of civilizations. However, art movements are never art history if promotion was the only reason for their coming to recognition. That’s art marketing, and mostly an industrial invention.
Leo Castelli was a rich art marketer in 1962. Larry Gagosian is one today, and Christies and Sotheby’s, Inc. are the banks of lies. None of it is art like David Campbell is art, yet to express this more clearly, I’ll need another 35 pages of time.
You can buy the book at the opening on October 11th, 2019.
The American Heart Association limits sugar intake for children between 12 – 24 grams per day. The corporate leadership at Dunkin’ Donuts thinks that, at 120 grams of sucrose, this cosmic happy drink to outer space will take thoughts away from the methodic and very lazy filicide that is happening across the United States. I hate Dunkin’ Donuts, more so since its crazies have opened the gate to psychopath for parents who once cared if their children got premature diabetes. Duncan Devilnuts and his/her apologists are yucky bad.
What does this have to do with Roy Lichtenstein?
The things that “made” Roy Lichtenstein are the same things that push sugar on children.
In 1937, Dr. Saunders was hired by Ralph Swetman to help turn the Oswego Normal School into a State Teacher’s College. He retired in 1970 and was instrumental in hiring many inspired art faculty over the years.
In 1957, he chose Roy out of hundreds of applications for the job as assistant professor of art. At that time the department was being stocked with several practicing artists, all serious about their craft, and some even dedicated to teaching.
Not Roy. He was ambitious in ways disconnected from pedagogy. I guess he would have stagnated in Cleveland, carrying on with barbeque and agonizing repetition if the good doctor hadn’t “plucked” him out of suburbia.
In this painting Aulus draws an autumn night at East Park in Oswego the first year he arrived. He was a great inspiration to men and women seeking self-improvement through art and teaching. He must have wanted to punch his new hire in the eye when Roy handed in his resignation.
From a letter sent to students dated October 30, 1957:
“Tomorrow is the Day of the Dead and the streets are filled with candy skulls—little candies, big candies, candies of all shapes and colors, candy animals, skeletons, dolls, and baskets. They are the most lovely candies I have seen. But they all taste like plain sugar.
We went to one cemetery this afternoon and preparations were already being made for the celebration. A cemetery here is a very grim place. The people do not buy the lots:they just rent them, so that when the rent is not paid, the bodies are dug up. As we walked around we saw lots of skulls and human bones. Some of the skulls still have hair on them.
The Indian will have picnics at the graves of the recently deceased on Saturday, and that seems to be the reason for all the elaborate candy for which San Miguel is famous.”
If David Campbell showed this painting alongside Roy’s piece that year in the faculty exhibition, he would have outclassed his struggling colleague. Roy was confusing himself and others by abandoning his “feel” while making a leap in style from figurative to abstract impressionism. We only know this because Roy went Evel Knievel a couple years later to land somewhere completely new. And new can win in New York if you have the support and backing of a millionaire who knows many millionaires who have nothing better to do than buy a work of art for the price of a house. So Roy got paid a fortune copying comics, and David Campbell got close to zilcho making beautiful paintings.
No one said that life is fair. Certainly not Leo Castelli then, nor Larry Gagosian today.
David Campbell has a website where prints are available. Give his genius a try! Lord knows we could use something new for the rest of us.
Recent business news informs the lowly that it’s wrong to compound tariffs on China because it will hurt business and the economy. Some articles on the Internet begin with an image of a cargo ship loaded with colorful shipping containers, docked at port with no place to go. The oceans are rapidly acidifying and I am still being propagandized to think that shipping containers filled with fidget spinners and plastic paper clips will bring contentment to my loved ones—if only those ships are free to cross the sea and filth up our lives and ecology. Personally, I believe 2,000% trade tariffs should be charged on all international goods, except for illicit Chinese items (street heroin) which must be outlawed with brute force. I painted this image on a tablecloth made in China that was flimsy like wet Shanghai kelp, even after after being gessoed and dried twice. China makes crap. And the United States buys the crap. The crappiest kind of people get rich in the process, and buy more crap like yachts. Economically, both China and the U.S. are just crappy states of peasant people terrified of their own governments.
Good people feel guilty for making a carbon footprint in a musty basement painting pictures.
Bad people talk, write, and think about trade while spitting in the hot wind of their own making.
Though I understand that in order to survive socially sane and dignified in the modern age, a marketplace needs to remain open, and all people (good and bad) will partake on some level. When good people make a transaction for slight profit, it should feel like getting a strong urge to stool on a very hot day in an open marketplace without a single toilet nearby.
A good person will take the money, put her head down in shame, and run.
Established New York City galleries have placed enormous 1% tariffs on paintings they acquire and sell. Meaning that only the 1% could ever afford them, and also be the type of loathsome people to even want to.
In my painting, the New York City art market is always the pissant, and back in 1961, Roy was just another painter. The day he dropped off his six pop pieces to Leo Castelli was a great day. He left without a deal, taking a stroll to a nearby coffeehouse to dream. A few weeks later he returned and was offered representation and a path to fame and fortune. Most likely, Roy, like every peasant painter who came before him, got the pressing urge to stool. Unlike the majority of peasant painters, however, a great embarrassment overwhelmed Roy on the spot. He didn’t put his head down in shame and run.
It is so easy to be an artist when it comes to pretending to occupy head space. Just draw a picture and let people guess at your profundity. As a 16 year old boy, often flabbergasted by the insensitivity and hypocrisy of man, I had no outlet other than a spoken word “why” to react to interplay with myself and a world gone wrong. A friend gave me the nickname “Philosopher Ron,” which I didn’t know what to do with other than add more “whys” to a lengthening list on the sins of friends and family. I was working class, poorly educated, and limited to wonder that never took me too far outside my caste. I had no mentor, no teacher, no guru. So, why did the chef at the restaurant where I worked my first job as dishwasher serve late arrivals spaghetti that he scooped out of the garbage? Was his life that interesting after punching out to save time on the clock washing garbage can pasta and reheating it, rather than boiling another pound? That week on my night off I watched “The Day After”, a made for TV nuclear holocaust movie that was all the rage among adults pretending to give a crap about their own government’s trespass on the rights of all life on earth. What was a moral dishwasher with the intellectual capacity of a stone, yet the sensitivity of a butterfly wing, to do with that information?
Naturally, for me in my station, as inquisitive young dope and novice dishwasher, I just asked “why”, and then went to bed.
I am sure Roy Lichtenstein either watched or at least heard about the movie, for adults everywhere always talk about things the TV wants them to. He was rich and well cared for in 1983, and although he had the eyes of many thousands of thinking peoples, he thought best to remain humble in his art and let Ronald Reagan be master of the weapons that would melt his loved ones. Roy made one political painting that year, a framed “abstract” entitled “Against Apartheid”, which was very safe and popular and showed that the millionaire artist cared very much about oppression in South Africa. The rest of his output for 1983 is more brushstrokes, more frames, and some apples. And he probably took Dorothy out for spaghetti late one night, at the hour when chefs get very bitter and angry over their station in life.
Today, Philosopher Ron can’t help but to think that all popular visual artists are lazy jerks to the survival needs of mankind. I think the same of priests of religion, pop musicians, and writers with best selling books. Each has a huge following, yet uses expression to maintain the means that keep them grounded to the same spot on the spectrum of goodness and badness. They reside where the money comes and popularity is maintained. Popular artists, like infamous presidents (all presidents), gain the world and lose their souls. It’s just a matter of fact.
Fear of insignificance keeps the ambitious producing nothing to prevent the race to our own extinction. Whether it be pretty pop paintings or the B83 thermonuclear bomb.
I paint too fast to accept oils as a medium in my process. Still, no matter how awful and unnecessary, oils have provided a challenge to struggle with. After several months tripping over turpentine, smearing wet paint, covering pigment to mix it more drab, and torturing my muscles from tip to toe, I will have earned my masters in Painting Futility. No one will be able to claim to my understanding that oils are superior to fine acrylics. Where I already practice a weak rendering sensibility, oils just exacerbate the handicap and would force me into a meaningless and vacuous abstraction for the impossibility to render and color an eye without resting the hand on the canvas, and smearing the hand, and wiping the hand on the shirt, over the eye, in the mouth, cursing once, twice and finally kicking over the turpentine with my clumsy reaction.
If the hole needs to be dug today, (and I always dig my holes in a day), then I shall use a shovel (acrylics), instead of a dinner fork (oils).
The following painting was done in acrylics in 2017 with a different toy subject. To me the differences are night and day. I am not fooling anyone with oil. After the Lichtenstein exhibition I will take my degree and paint over it in acrylics.
I have made a request to the SUNY Oswego powers that be for wall space anywhere on old campus where Roy might have passed en route to class or glass of milk in the student union.
I have 152 hours of labor into the project, yet only a quarter of the way to its finish. This is a good time to post several pieces of my grant proposal, so those interested in acquiring funds can see for themselves that any boob is capable of winning.
Feel free to copy for yourselves. Just change out the names, and see where it can take you. I estimate a wage of $.17/hour.
The world wants artists to shut up, cease art, and work retail for millionaires. I say if you must, then get a job and somewhere to live, and then undermine the millionaires with as much art as you can pop out. Flood the market to destroy the market!
A long-established writer, Ron Throop relatively recently began exhibiting his paintings. They are direct visual counterparts to his writings that ask us to reconsider mankind’s current wayward course, and simultaneously promote the simple pleasure found in creativity, nature, family and friends. With color, straightforward drawing and scrawled inscriptions, Throop’s style initially suggests the work of a naïve artist detached from mainstream 21st century concerns. Upon further consideration, we discover they offer no quaint story or escapist pleasure. As in a children’s story, both the people and animals of the land communicate their complex thoughts which are of the utmost seriousness.
Briefly explain how you estimated/calculated these numbers:
I am an avid promoter of Stuckist painters and have ample outreach through social media and community contacts. I shall create a blog documenting my process with original paintings, articles, and inspired essays. I use Facebook, Twitter, Instagram, and my website to interact with the public on social media. Since this project involves a history of a famous artist who taught at SUNY Oswego, I intend to involve the college to the best of my ability. I have worked with M., director of Tyler Art Galley, on a previous project and hope to garner his expertise through advice and direction. Likewise, I shall seek direction from the Oswego County Historical Society and Special Collections of SUNY Oswego to fashion a 1950’s, early 1960’s backdrop to the Lichtenstein story. I hope to liason with ARTSwego and the Art Association of Oswego in some manner to help with outreach to the community. Finally, the published book will reach audiences of the present and future, as I will seek circulation in SUNY Oswego Penfield Library and local retail outlets.
I actually believe these numbers to be rather conservative estimates. With success, it could attract many more, but no less.
This is a creative local art history project to add color and pride to a region limited in art scope. I shall complete 25 or more original oil paintings inspired by a late 1950’s and early 1960’s Oswego that Lichtenstein might have experienced—thoughts on a lakeside walk, sights while driving throughout the town and countryside, or taking the family out for a movie downtown. I will show these paintings in the autumn in either Tyler or Park Hall/Wilbur Hall on the SUNY Campus. Preferably the latter. Few know that Lichtenstein was hired by SUNY Oswego to teach Industrial Design, not painting. Park Hall is the Industrial Arts building where he would have taught his classes in the late 1950’s.
I will conduct ample research and compile my illustrations and essays in a book specifically for this show, and donate all profits from sales to a chosen SUNY Oswego college scholarship fund that helps fund Oswego County applicants.
While painting and conducting research I will maintain a blog with social media connection to specific Instagram, Twitter, and Facebook accounts.
Lichtenstein taught Industrial Design at Oswego from 1958 to 1960, and although his tenure was brief, there is a wealth of historical fact and fiction that can be expressed, through both visual art and historical research. My next door neighbor Helen, age 89, knew the Lichtensteins, and related a story to me that Isabel Lichtenstein (Roy’s wife), once caused a stir at the Oswego faculty wives’ dinner when she came dressed in red stockings!
Well, as any painter or writer will tell you, that is a story that needs to be told!
Word has it that Roy and family rented a house on West Sixth Street Street in the city of Oswego, and while living here and teaching at the college, he changed his style of painting from figurative to abstract, where he would apply broad swaths of color onto the canvas, wrap a rag around his arm, and drag it to get the desired results. He was also sketching comics during this time, so a feel of this style would be most appropriate for new work that I introduce.
I paint with acrylics on any substrate I feel most suitable. For this body of work I think I would like to mirror Lichtenstein’s choices—closer to the bone, the better. For instance, if Roy painted on canvas, I would seek mid-twentieth century linens, canvas, sheets, etc. and stretch them as Lichtenstein would have. Likewise, and this truly would be a monumental change for me—Like Roy, I would use oils, a medium I have little to no experience with, which will make me feel how Lichtenstein must have felt between artistic realizations. That is, to say the least, uneasy.
While painting and researching Lichtenstein’s life in Oswego, I will connect to the public via a professionally designed blog with links to social media such as Instagram, Twitter and Facebook. I will contact the Lichtenstein Foundation to seek reference and consul, and as mentioned before, work with college and community art and historical interests to learn and also promote the exhibition and book.
Finally, the book will be a work of original art in itself—the story of Roy Lichtenstein in Oswego, and the color added to it with my original paintings commemorating his experience and mine.
Since I will display the work in a prominent building at the college, preferably in a busy thoroughfare, I would suspect the primary audience for the duration of the exhibition to be students, faculty, administration and staff of the college. However, an opening will welcome and push for a large community attendance, especially seniors who will benefit from the memory of an Oswego many share together. I would spend time promoting the event to administrators and residents of local senior housing, but also middle and high school art and industrial arts teachers, with hopes that their interest is sparked and students are encouraged to attend. For a time, Oswego housed and fed a future world renown painter. What a positive story for local youth to see that greatness can be achieved, or at least nourished, in underrepresented geographic locations! Again, connection with the Oswego Historical Society, ARTswego, the Art Association of Oswego, Tyler Art Gallery, etc. will boost an interest outside my reach and hopefully encourage even more to attend. The book, of course, will provide historical documentation, and be accessible for future interest.
Why do this for the community?
It’s just a great local art story that needs to be told.
I am excited about meeting with the Oswego Historical Society, Special Collections at SUNY Oswego, and the several art institutions previously mentioned. Local history is a prime interest here among many, (as I’m sure it is everywhere where people feel deeply connected to a region). Roy Lichtensteins’s Oswego story is good local history, and an artistic embellishment will add a modern, living component that is not often achievable with historic storytelling. I am, as Lichtenstein was for several years during his life, a struggling artist with connections to both the city and college at Oswego. I graduated from the college, yet unlike Roy, made Oswego my permanent residence. A good comparison might be a local resident and wealthy social activist recounting a time in the life of Gerrit Smith, a prominent landowner/businessperson and committed reformer of the mid 19th century.
Also, I intend to interview several living persons who at best know the story of Lichtenstein, or at least are very knowledgeable about Oswego during Roy’s tenure here. For instance, my neighbor Helen may know others who were friends with the Lichtensteins, and can liason an interview(s) for me. I am curious to discover what the local historical society might know, and also Special Collections at SUNY Oswego. I will connect with M., the Director of the Tyler Art Gallery at SUNY who oversees the entire art archive of the college, to find out what he knows about Lichtenstein’s only public exhibition in Oswego—a group faculty show at the college in 1958.
Roy lived at two residences in Oswego. He once hosted art students to display their work in his house on West Sixth Street. I often show the work of other painters in my house. Roy didn’t know it at the time, but he was a burgeoning Stuckist painter, however, the movement hadn’t been invented yet!
My own friends and acquaintances who attend regular home shows, will share their experience and perhaps expand this exhibition’s audience. I’m friends with firemen, administrators, retirees, bankers, professors, air conditioning repairmen, as well as visual artists and musicians. I have no one social circle. Art doesn’t allow for it.
Once again, I will document this process with blog and social media to culminate in a 5 week long exhibition of original paintings and published book.
Outreach and promotion:
Immediately after notification of grant in January, I will purchase a blog with domain name “Lichtenstein in Oswego, 1957 – 1960”, and site specific accounts with Facebook, Twitter, and Instagram. Then I will get to work, posting regularly paintings and process, but also accounts (visual and written) of trips locally where I shall document the ongoing historical research, and discoveries about Oswego in the 1950’s and 60’s, with particular emphasis on Roy Lichtenstein and his connections with the people and places of the time period.
Toward end of research, book creation and completed paintings, I shall begin marketing and advertising the project and exhibition. I will create and send a press release to Oswego County news organizations and pray for free press. I will use some grant funding on postcard and poster promotion, and much of my time networking on social media and taking time to visit elder care facilities, educators, and art historians to pitch the opening event and ensuing exhibition.
January—Purchase and set up blog and social media accounts. Purchase oil paints, gather (sometimes purchase) unique, age-appropriate substrate, and begin painting.
Design and create template for book to be published print-on-demand, and profits to be donated to a SUNY Oswego scholarship fund for Oswego County High School students.
Begin research on Roy Lichtenstein, read biographies, use resources online, set up future meetings with Oswego Historical Society, Special Collections at SUNY Oswego, etc, and form a narrative for book while posting progress online in aforementioned sites.
Write/call the Roy Lichtenstein Foundation in New York City to inquire about photo rights and reproductions. Also get the know on what they know about Roy in Oswego. January – March—Schedule meeting(s) with heads of art and industrial arts departments to inquire and acquire wall space for exhibition. Set exact dates for the exhibition and its opening. January – August—Continue painting, compiling research, setting narrative and typesetting book with prose and several illustrations.
By end of August complete book and send to publisher. August – September—Have artwork ready to hang and begin implementing marketing/advertising plan.
Send out press release to local news organizations.
Create and print postcards and 11 x 17″ posters to distribute throughout Oswego County.
Connect with elder care facilities, research and art institutions, librarians, teachers city leaders and politicians, SUNY Oswego community, SUNY alumni, overall begin the invitation process to all and sundry.
Qualifications and experience:
I have been a full time practicing fine art painter and writer for over 20 years, and have exhibited for 10 years. I have written and self-published 16 books with subjects on art, society, culture, politics and self-liberation. I am proficient in book design, proofreading and typesetting, with knowledge of the self-publishing industry.
I have a heightened sense of work ethic. Since 2016, I have curated three international group exhibitions, and two international solo exhibitions, as well as several of my own. The first of the former I hosted the work of 4 Russian painters and myself and exhibited to the Oswego community in a truly inspirational endeavor (thank you CNYArts!). The second group show was more daunting with work sent from 37 Stuckist painters around the world which I exhibited at beautiful Quintus Gallery in Watkins Glen. Both huge successes, and literally life-changing. The third was an international show representing 12 artists exhibited in my home. Last year I curated the work of Spanish painter, Lupo Sol, exhibited in Hamilton, N.Y. Presently I am curating the work of Lena Ulanova, a Saint Petersburg, Russian painter. I took one of her paintings to New York City and filmed it outside of famous museums and art galleries while asking random people to pose with the piece. These recent exhibitions, as well as several solo shows of my own, have been at my expense, except for the first mentioned. I feel a strong communion with other artists and am glad to help.
Since the project is multidisciplinary I will provide recent work that pays homage to other painters, or provides an example of a non-traditional substrate. For example, the first image will be of painters I promoted in 2016, Alexey Stepanov and Andrew Makarov. I try to capture the unique cultural differences and similarities shared internationally by all artists while they await a train to take them and their paintings to Saint Petersburg. Included will be images of a baby seal and one of a parakeet to provide examples of using substrate to build a concept: a bed sheet and parakeet cover respectively. Also a sample of writing from a book I published for an international exhibition. Lastly, a promotional video (one of 4) I made while curating “Yellow Life Scenes” by Lupo Sol. I wrote and performed the original song. Widely shared across social media.
Please note, the work for this exhibition will be entirely new. Remember, I have never painted with oils! Also, the book will be vibrant, alive and colorful with history and rich illustration. Impossible to replicate for panel with these limitations of past work, however imagine paintings in a similar style to Lichtenstein during this period of internal peace and tumult. History tends to distort the day to day life of any past person, especially the celebrity type. I intend to include the mundane of a painter’s world, expressed in paint and in prose.
Although I will use the bulk of the grant to pay for my time, I will also use funds for oil paints, custom substrate, blog creation and promotional marketing costs. As is probably very common among past awardees, the $2,500 is a huge benefit to any artistic labor of love that sees a majority of time invested pro bono. Basically I see no need to secure additional funding. I plan to donate my time to the project.