Day after day I have made drawing after drawing, and no painting! Part of this portioning of activity has been my limited time in the studio because of business and social engagements. However, the recent domination of drawing has mostly occurred due to the rewards I am getting from drawing right here right now. I know the drawings are setting me up for similar impromptu problem solving in my painting. Last evening I began stretching a 38 X 50 inch canvas. I will begin a new painting today; I will begin this painting without forethought. I will approach this painting as I approach my drawings. The major problem I need to solve in my painting is a process problem. As in my drawings I wish to solve my paintings intuitively, in a manner which is simultaneously reflective and spontaneous.
In the November 29, 2010 issue of The New Yorker Peter Schjeldahl reviews the exhibit of twentieth century drawings at the Museum of Modern Art in New York City. The title of this MOMA exhibit is, "On Line: Drawing Through the Twentieth Century." Mr. Schjeldahl writes, "starting with Cubism, artists absorbed, from science, the romance of pure research and, from engineering, the spirit of problem solving." Reading this, from one of art's most important critiques and writers, makes me believe I am stuck with my education in the twentieth century. My work is just as Peter Schjeldahl describes, it is about research and problem solving. I often feel like a scientist, pulling apart my very structure, coldly analyzing it, looking for truth. Later in this essay Schjeldahl writes, "Picasso is a one man wrecking crew. The flabbergasting quality of his sculpture 'Guitar' (1912) and his collage 'Guitar' (1913) reminds us of hierarchical judgements—good, better, best—which the evangelically pluralist 'On Line' is at pains to dismiss." Reading this makes me know I am on the right track. I want to make the best possible art. Schjeldahl, a twenty-first century critique, immediately feels the emotive quality of Picasso's early twentieth century works when seen beside all the rest in this exhibit. His view of the overall exhibit is "an argosy of brainy novelties." Schjeldahl finds the late twentieth century work weak in comparison to Picasso's work.
Here are my drawings from yesterday:
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