Assignment 3: PaintersNYC

Elizabeth Peyton

Some critics consider Peyton's loose brush stroke to be an excuse to avoid "mistakes" in her process. By not fully rendering accurate and photorealistic portraits of her subjects some feel she is being lazy or avoiding a time consuming process.  Another critic defends Peyton's work by saying that her paintings do not seem unskilled at all, but that sometimes less is more in a painting. I have struggled with this idea myself. I stray from highly rendering my paintings because I enjoy the freedom of spontaneous brushstrokes. Another critic mentions that sometimes exploration is what makes a successful painting. The individual goes on to explain that it is when the artist is unsatisfied with their work or surroundings that forces them to develop into a more rounded artist. This is the direction that I am going in currently and hope to continue reaching new levels. 

Assignment 2, Part 2: Painter that Resembles My Own Work....

Eric Fischl

I feel that Fischl and I share a similar imagery when it comes to portraiture. However, he uses a somewhat tighter brushstroke than I do. He tends to use dramatic lighting, which is something that I have not yet utilized as a significant part of my work, but is definitely something that I want to begin incorporating into my work. I do not want to lose my spontaneous brush stroke pattern, but I feel that using more distinctive placement and lighting will aid in my desire to evoke emotion and emphasize a certain elements of the figure. Fischl also uses more accurate flesh tones than I do, but leaves his colors chunky and brushstrokes visible. His use of layer is apparent, something that is very important to me, but within Fischl's layers, the colors are not lost. This is something that I want to emulate as well. I find that I so heavily layer my paint at times that tones get too blended and begin to look muddy. Conceptually, Fischl captures moments in time, leaving the figures slightly vulnerable. I too am interested in capturing a moment in time as well as a specific quality of my subjects.  

Assignment 2, Part 2: Painter that Resembles My Own Work....

Elizabeth Peyton

I share Peyton's interest in portraiture. Although she generally works on a small scale, Peyton is able to capture closely rendered depictions of her subjects. She makes a clear effort to make her subjects recognizable to the viewer, but does not resort to photo realism. She leaves her brush strokes visible and allows the paint to take some control with drip marks and layering as seen in her image of Kurt Cobain, 1995. I enjoy working on a larger scale, but I too am interested in depicting the figure in a such a way that they might be recognizable to the viewer in a loose and spontaneous fashion. Although Peyton does not work with mixed media she positions and crops her subjects in such a way that they emphasizes their character. Conceptually, I do not feel I have the same intentions as Peyton. Her images feel straight forward and no more than a depiction of an individual, often a celebrity who has an already established status in society. I am more interested focusing on specific aspects the individual's personality and then bringing that about through symbolism or elements of mixed media. Peyton and I share similar elements of image and process but I am not content with simply a face on the canvas. I want the viewer to understand something, negative or positive, about my subjects and then form their own opinion of that quality.

Assignment 2, Part 1: Summary of Artists

Nicole Eisenman

Many of Eisenman's images have a cartoon like quality as they depict some recognizable icons, although not existing in reality. She is focused on depicting a specific method generally in a humorous or brash manner. Her process involves a variety of techniques and mediums. Some images are very concise while others are very loosely depicted. She creates without boundaries and is able to create meaning out of seemingly inanimate materials. Eisenman works from a humorous angle, whether light or dark. Her work exhibits a childlike quality, evoking emotion in a rather sarcastic manner. She seems interested in making the viewer think about her message whether it be a feminist ideal or a childlike fantasy. 

Andrew Wyeth

Wyeth depicts very recognizable images whether it be through the use of the figure or simply a landscape. His color palate feels very solemn and nostalgic. His process involves a somewhat loose yet delicate brushstroke creating an overall sense of calm. Each image feels reminiscent of a specific time and place. Although the images are straightforward, they succeed in evoking strong emotional connections between the viewer and the image, which inevitably connects the the viewer to the artist. It would seem logical that these moments in time hold some sense of importance to Wyeth and he has allowed us to experience it with him.

Chris Ofili

Ofili's images emphasize his interest in African influence, use of color, and mixed media to focus on the black experience. He boldly uses dried elephant dung in the majority of his work as he creates a variety of patterns. His process and imagery are somewhat reminiscent of African tribal art with incorporation of a variety of craft materials. His process has a very eccentric and sometimes harsh quality. Conceptually Ofili is perhaps making reference to native African use of the land and its resources rather than manmade materials. Although some have taken offense to some of his images, I do not believe that that is Ofili's intention. 

Fred Tomaselli

Tomaselli's imagery consists of mixed media formatting. He uses a variety of materials to create psychedelic compositions of landscapes, animals, people, as well as unrecognizable kaleidoscope-like pieces. He is well known for using drugs/pills, leaves, and photos as collage mediums which then often exist on  a stark black background. His process involves placing these materials in such a strategic way so that they appear organized on the chosen surface. Some pieces serve as well rendered landscapes, where the viewer can not always figure out what medium Tomaselli used. Whether or not the viewer can determine the exact materials used is not bothersome. Conceptually, Tomaselli creates a place for the viewer to step into and explore what feels like a limitless realm. The time and effort that Tomaselli puts into his pieces is visible to the viewer due to the delicacy and placement of his materials. 

Chuck Close

Close is most defined by his portraiture both in painting and printmaking. His images are generally HIGHLY rendered portraits, photo-realist pieces, involving a grid oriented planning method, which separates the image from close range but creates harmony from a distance. His images are on a rather large scale, dominating the space in which they are shown. Close's process is both time consuming and labor intensive. In order to achieve such well rendered and effective portrayals of his subjects he must pay extremely close attention to detail and mark making (or lack there of). Conceptually, Close seems most interest in the detailed process of creating recognizable and accurate portraits. His ability to render such pieces is what make them so powerful.

Frans Hals

Hals is perhaps one of the most influential portraiture artists in the fine art world. His images depict a distinct light source and natural flesh tones. Hals being one of the leading artists of the Western art world, was able to capture accurate depictions of his subjects as he redefined the qualifications of a traditional style of portraiture. Hals' process has a somewhat playful quality, as he puts forth a quirkiness in each of his subjects. Hals' was breaking the boundaries of the master artists who came before him as he depicts married couples, women, and men in a humble light often leaving his flowing brushstrokes gently visible to the viewer. He reveals emotion in his subjects rather than a sense of power. 

Kippenberger

Kippenberger worked with a variety of materials creating a variety of forms, images, and structures. He produced painting, drawings, photographs, prints, posters... It is difficult to classify a specific style or outcome of his work, each having its own spontaneous result. His process is focused on creating something out of anything. Kippenberger appears to have been a busybody, as he produced such a massive quantity and variety of work. Each piece feels like a production or chaotic self-expression that somehow comes together through a great deal of multi and mixed media. Conceptually, Kippenberger strives to bring meaning out of objects and imagery that already exists. 

Elizabeth Peyton

Peyton, known for her portraiture, generally works on a small scale, yet still captures closely rendered depictions of her subjects. She paints many celebrities as well as close friends. Although here portraits are specific, she leaves her process visible. Her often loose brushstroke and layering as well as the use of the drip are identifiable. Peyton crops her images in such a way, sometimes heavily outlining her figures, focusing all attention the individual. Although a background is sometimes incorporated it is generally not informative or significant. Conceptually, Peyton seems to be focusing on simply painting individuals who are either a significant part of her life or who someone she perhaps idolizes. The viewer does not feel the need to look to deep into the paintings, although sometimes gestural, they are straight forward and have a flat non-emotive quality. 

Eric Fischl

Fischl is extremely focused on the figure as it naturally exists. Who the person is in his paintings is not the focus, but rather how the body moves amid certain circumstances. The figures are often portrayed in sexualized moments where one would not imagine anyone to be observing the situation, which gives many of the pieces an erotic, moody quality. Ficshl process is rather gestural and generally allows the viewer to create some sort of narrative. The paintings do not appear to be extremely concerned with a deep conceptual meaning, but rather human interest in natural interactions between beings.

Courbet

Courbet is among the realist category as he works with portraiture and landscapes, emotively, traditionally, and erotically. His pieces depict movement, foreshortening, and lighting in a very accurate manner. He paintings feel soft, even when portraying a solemn or unfortunate event. his process does not seem as important as his desire to portray aspects of life as they truly exist, straying from previous romanticized portrayals of reality. The viewer is able to assess the hardships of a specific period in history and can relate to the raw human emotion.