A friend of mine recently asked me to hang some pieces in the lobby gallery at the FP3 building in Fort Point. The room is beautiful and, in the back opens up into a large space with 20 foot ceilings, which makes it the perfect place to hang some of my larger paintings. I am always surprised at how nice the paintings look when they get out of the studio and into a proper environment and this is no exception. The space really gives the paintings some room to breath and, its great to see the new 5’x7′ large piece in a space that makes its scale work.
In any case, they are holding a little opening reception this Thursday from 6-8 (I hear there may be tasty snacks). So, if you are around Boston, come on out, say hello and check it out.
It has been an exciting summer at my studio, which has taken its toll on my artwork. I got married, did some traveling, enjoyed the small window of warm weather that Boston offers and now, I am refreshed, ready to hit the ground running in the lead up to Fall. With that in mind, its time for a summertime wrap-up post.
First things first, crucial thanks to a few people that helped make the wedding great. Nathan Fried-Lipski took amazing photographs of the event. Not only did he risk life and limb by laying down in the middle of Atlantic Ave (a very busy three lane road for those of you not familiar with Boston) to get the shot he wanted, he also went above and beyond the call of duty by helping keep Margaux sane and happy during the days stressful moments. I can not recommend him enough, everyone should head straight to his blog to take a look at a few photos from the day, and then go ahead and like his page on Facebook. Seriously, he is a great guy and a talented photographer.
Next up, Eli at Alabaster and Chess. He does custom tailored suits for a good price and had me looking better than I probably ever will again. Beyond that, he was also just a really great guy and super easy to do business with, which counts for a lot in my book.
If you want to live vicariously, you can check out some photos from my travels by following me on Instagram.
Okay. On to some art related news. I know I have been talking a lot about the Street Diamonds show but, that’s because it is good. Silva Naci pulled together a nice mix of artists and it really is worth seeing. You’ve already missed the closing party but there is still time to see the show. It will be up through September 7th so, head out to Fourth Wall Project and have a look.
Speaking of the Just Platinum Rings and Street Diamonds closing party, I am told ALLDAYEVERYDAY was there shooting video for an upcoming Cheryl Dunn documentary. It should come as no surprise that I happily ride the coattails of those above me so, I am interested to see what they do with the video they took Saturday night. Keep your eyes open for that and, maybe I will be in the background of some shots, lurking awkwardly behind people, trying to gauge their interest in my paintings.
On to some paintings. I have done a little editing on this piece and plan on dropping it off at Sloane Merrill Gallery tomorrow (there is a good change that a couple new pieces will follow closely behind). I really loved the idea of consistent using four panels for this entire series of paintings but, I have just never thought it worked right for this particular piece. So I have dropped one. It is now a triptych and, since Sloane Merrill is interested in selling paintings, they have convinced me to allow them to split up the series. I still hope to keep all three together but, if you have had your heart set on a single panel from this painting (I know there are some of you out there), this is your chance. Head over to the gallery before I change my mind…
And finally, here is a quick update on my latest, large scale, piece. I lost my way a little bit with this one but, the solution has finally come to me. There will be some moderate editing done on this piece—don’t get used to her red hair—but, it is still turning out to be a pretty good looking painting. Stay tuned for the completed image and, enjoy the final days of summer.
A few days ago I dropped by Fourth Wall Project to take a sneak peak of the Street Diamonds show. The gallery was still awaiting the arrival of Faring Purth to install one of her large paintings in front but, the show was already looking great. I don’t want to give too much away but, there is one piece that I just can’t keep under my hat.
The piece is Silas Finch’s fifteen foot tall sculpture of a gown created from a discarded vintage parachute. The piece is so simple that I am having a hard time finding the right words to describe it but the visual effect is amazing. The piece as a sculpture alone is wonderful. Then he fits the dress to an actual living breathing (not 15′ tall) model and Heather McGrath uses it as the basis for a sensational series of photographs. Again, I don’t want to give away too much but, since Liz at Flux-Boston already posted this image, I will share it as well:
In any case, as much as it pains me to be the least famous artist in the room–showing pieces that are not even the biggest, brightest, or shiniest things there–this show is not to be missed.
I briefly mentioned in the last post that I am participating in the next show at Fourth Wall Project which is curated by my friend Silvi Naci. Fourth Wall is always putting on good shows and making waves in the calm pool that is the Boston art scene so, I am pretty excited to be a part of this. The show will be up from August 10th through September 7th with a closing reception on August 24th.
Fourth Wall & Silver Oris Present STREET DIAMONDS II
Curated by Silvi Naci, Street Diamonds II reflects on areas of street culture in relationship to personal triumphs and battles according to Diamond and Diamond. Utilizing various techniques from cut-out paper, murals, painting, photography and sculpture, each artists provides a different entry way into their progression to make an impact in the world as a whole.
Featuring Artists:
Faring Purth
Heather McGrath
Jacob Bannon
Silas Finch
Nick Ward
Nineta
Randal Thurston
Kenji Nakajama
Robert Maloney
Lego
Fourth Wall Project is located at 132 Brookline Ave in Boston (near Fenway). It is open from 1-6PM on Wednesday through Friday and 1-5PM on Sundays.
I will be participating in this event on Saturday. Read below for the official press release.
Image borrowed from Flux-boston.com who probably borrowed it from someone else.
On Saturday, June 22nd Cambridge’s historic Foundry building (101 Rogers Street) will host “The Foundry Equation,” an art initiative and open house. Presented by local art advocates FLUX. Boston, Opus Affair, Voltage Coffee & Art, and Yes.Oui.Si., this unique event will feature both contemporary and children’s art, live music and improv performances while showcasing the potential of a neighborhood landmark.
“Art plus community equals renewal that’s The Foundry Equation. In this building lays an opportunity to unite Cambridge, Kendall Square and East Cambridge, industrial and residential, kids and adults, art and music, past and future… ” said Ilan Levy, East Cambridge resident, host of Cambridge Community Television’s “The Foundry,” and one of the event’s organizers.
In addition to residents, area businesses are excited about the possibility of a vibrant community arts space, “There’s been interest in using this space to support local artists for some time. This event is a one day solution to the Foundry Equation,” said Lucy Valena, proprietress of Voltage Coffee and Art. “It’s a chance to show all the cool stuff that could be happening in this neighborhood. People could be making really great art, regularly, in Kendall Square.” Anna Schindelar, Art Director at Voltage Coffee and Art as well as curator of the event, added: “This is our vision, our take: an art initiative with the hope of engaging the community, residents, and kids in a dialogue about what they want to see happen to this space. We’re just providing an option, a suggestion to the Foundry Equation.”
Enthusiasm among community partners underscores the strength of this option: “Having access to such a large arts space in the city opens up a world of possibilities. It would create an environment that promotes collaboration, skill sharing, and the exchange of ideas. The Foundry would be an invaluable resource for the Cambridge community,” said Liz Devlin, independent curator and founder of FLUX. Boston.
The Foundry Equation is free and open to residents, arts enthusiasts, and the community at large from 11am – 3pm on Saturday, June 22nd. For updates, information, and a full list of collaborators please visit www.thefoundryequation.org and join the conversation on Twitter with hashtag #thefoundryequation.
Open Studios time at The Distillery is always a lot of fun. Unlike regular gallery openings, it really is a great time to meet other artists and talk about art. My studio will, as always, be open for visitors. Art will be hung, floors will be mopped and the beer will be flowing. To add to the fun, I have invited two of my most talented friends, Cassandra Long and Cai Veil, to hang out in the studio for the day and share their work so, there will be A LOT to see and do in studio 405. Keep reading for the official information and don’t forget to join the event on Facebook (and invite your friends!):
Every spring, the artists and craftspeople of South Boston open their doors to share their work and their studios with the community. The Distillery is a beautiful mid-nineteenth century converted rum distillery where artists have been setting up shop for more than twenty years. As a hub of creativity and the arts, The Distillery has housed some of Boston’s most talented artists and artisans. Located in the heart of South Boston, it includes two galleries, dozens of artists’ studios and live/work lofts, as well as creative small businesses. As you tour the building, you will notice that it comes alive with all of the creative energy and even the corridors serve as remarkable display spaces. As you explore the various studios, you’ll notice that each one is unique, reflecting each artist’s creative personality.
Come meet the artists and check out what’s new in the local arts scene during South Boston Open Studios on Sunday, June 2nd from noon to 6pm.
I just completed a new piece for a show at Sloane Merrill Gallery. The show opens next Friday, April 12th and there will be an opening reception at the gallery from 6:30-9:00pm. Check out the new piece and then see the official announcement below for more details on the show.
Please join Sloane Merrill Gallery in collaboration with the Boston Figurative Art Center on Friday, April 12th from 6:30-9pm for the opening of Back to Back!
The collaborative exhibition highlights the figure as an important subject in our modern world — one that is both beautiful and a struggle to capture. The theme of the show marries the often sacred and sensual use of the human back to represent form with the more abstract concept of what it means to be “back to back”. The participating figurative artists explored this theme in oils and their visual experiences will be shared at the exhibition opening.
Two of my favorites from the show: Tom Grady, ‘Spine’ and Damon Lehrer’s keekaroo high chair reviews, ‘Green Chair Nude’
Back to Back has two distinct components — one half is an invitational and the other is juried. Invitational artists include: Damon Lehrer, Jon Nix, Leo Mancini-Hresko, Nick Ward, Rick Berry, Tony Apesos, Gene Dorgan, Paul Goodnight, Brett Gamache, Jim Burke, Freda Nemirovsky, Britt Snyder, Ann Hirsch, Tom Grady, Janet Monafo, Paul Rahilly, & Kelly Carmody.
It has been a busy winter in my studio, I have been working on a new piece to send out to the From Motion To Stillness show in Chicago, I have a few secret projects in the works and coming up first, a solo show at The Distillery Gallery.
The show will feature all my new paintings and, a few of my favorite older pieces. Opening on Thursday, January 24th so, come on out to the party, enjoy a cold Narragansett Beer and see the paintings.
The Distillery Gallery is pleased to announce a solo exhibition of works by figurative oil painter, Nick Ward.
Originally from a small town near Portland, Oregon, Ward has been a resident of The Distillery since 2007. The artist was awarded an Elizabeth Greenshields Foundation grant for painting in 2012, allowing him more time to focus on a growing body of work featuring portraits of everyday people from his life as models. Although quite realistic from afar, Ward’s paintings deliberately avoid being traditional “realism”. By allowing unfinished abstraction to exist in areas needing less attention while intentionally highlighting natural human flaws, especially in skin tone, the often large-format pieces offer a counterpoint to the retouched beauty we are offered everyday in our media consumption.
Open studios time is almost here again and it looks like it will be bigger and better than ever. There are plenty of new artists in the Distillery building and more of them are opening their doors than ever. There are also even more great artists right down the street at King Terminal.
So, come on out to South Boston on November 3rd or 4th and say hello. Check out some freaky studios, drink some free beers and maybe even look at a painting or two. The event is free to the public, rain or shine, noon to 6pm each day.
Head over to the official website for a full list of participating artists and locations. southbostonopenstudios.org
As usual, still refining this painting, but good enough for 1080 pixels. I feel like this composition is finally working with this attempt, third times the charm, I guess. Visually, it feels the most interesting and refined I have managed. Beyond that, the glitchieness is really starting to play an integral role in the piece, which feels important. Source image is just what it sounds like – I cut in some audio of the model saying the word “no” – as if it was another piece of video. That unexpected piece of information confuses the video player and gives us this moment of destructive chaos.
Anyways, let me know what you think, even if (especially if) you think this whole idea is garbage. It feels good to make one of these work, feels even better to finally make an interesting painting while devoting most of my mental energy to organizing a five-year old’s Zoom meeting schedule… More thoughts to come on this painting and the direction of this series as a whole.
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Around Boston
In order for artists to thrive in any particular place, they need three elements. They need to be near institutions on higher learning and culture – museums, universities, theaters – places where they can develop a foundation of history, expand their knowledge, and enjoy the great work that already exists. They need people interested in supporting the arts – collectors, patrons and others that can support the work financially, but also an audience. Finally, they need space to live and do their work. This includes work spaces, but also space to support the sales, performances, and community engagement that is crucial to creation. Small galleries, Artist run collectives, project spaces, performance halls – places that can support and nurture entire networks of artists.
At this point, my city is clearly lacking one of these elements, and it was uplifting to see the Boston City Council stepping up and calling a hearing to discuss affordable housing and work spaces for artists.
You can watch the hearing on YouTube here:
Like a lot of people, I was unable to make it to the hearing but, for reasons that I will assume are obvious, I care about this stuff. Since I couldn’t stand up and speak in the room, I wanted to write my thoughts about these issues here, in hopes that it would encourage some more of you to do the same.
In order for a city to thrive, everyone needs to have an affordable place to live, and the city leadership should really be doing everything they can to make that happen. That means building more houses, as well as developing programs that ensure current residents are able to remain in the places they call home. This city really needs to find ways to encourage both of those things to happen so that everyone that wants to call this city home – including artists – has a place to live. However, allowing private developers to chose to dedicate subsidized housing units to artists, while excluding other people who would otherwise be qualified, creates a system that is ripe for abuse. All that is to say, I am going to focus this on advocating for the other spaces that artists need. While it is not as fundamental as having a place to live, it is the area of this issue that is more intertwined with supporting the arts.
Based on the testimonies at the hearing, it would appear that this issue was brought to the attention of the city council by the artists that have recently received eviction notices from the Boston Center for the Arts. Before I go any further, I think its important to say that my initial reaction was to side with the BCA here. We know that there is a very limited number studio spaces available in this city. At the BCA there is apparently a group of established artists that have testified that they have the resources to pay market rate for work space, and they have instead stayed in highly subsidized spaces for decades. In my view, the BCA’s decision to restructure their studio program to force higher turnover in highly subsidized work spaces is fair in that situation. However, the real issue here is that we should not have to chose between supporting established artists in a way that helps sustain their work, or supporting less established artists in a way that helps them get their career started. There should be opportunities within this city for both to thrive.
There are more galleries in Boston now, than there have been at any other time in the last decade – but fewer project spaces, artist run galleries, spaces dedicated to experimental or difficult to sell work.
This is not a uniquely Boston problem, as cities have boomed, real estate prices have gone up, traditional galleries have struggled. They are able to take less risks, the work they support has become more conservative and easier to sell. We have seen most of the traditional galleries that attempted to support younger and more innovative artists – Samson Projects, Anthony Greaney Gallery, Carroll & Sons – dramatically downsize their efforts, or give up their spaces all together. At the same time, the artist run efforts that support those working even further out on the fringes have all but disappeared (for now, we know that artists always find a way).
I don’t have the solution to this problem, but I do know that without this support network, artists will leave.
I personally do not want to live in a city where there is no space for experimental and innovative art. I want to see new media installations that take on the internet. I want to stumble into performances that make me uncomfortable. I want to listen to local musicians without risking life and limb in some sketchy Allston basement. Obviously, I also want to have space to find some interesting paintings (and maybe even show my own). In short, I want this city to start supporting the sort of artistic conversations that lead to work that will one day find its way into museums, even if it is not quite ready yet. Right now, the kinds of spaces that support this kind of work, and give community to these artists, can not sustain themselves in this city.
Quite frankly, the current plan of giving some zoning relief to developers willing to maybe include some space dedicated for cultural use (that can also be rented by a tech startup) is just not going to cut it.
I am tempted to dig deeper into this but, ultimately I think the best approach is to encourage everyone to weigh in on this and speak up for the kind of art you make and the kinds of spaces you need. There was not a very wide demographic of artists represented at the hearing (and honestly nobody seemed to be pushing for the kind of work that I will miss seeing in this city) so, hopefully I can convince a few more people to join the conversation. Artists need space to work. We need space to come together and see what our peers are working on. We need places to get our work out for larger audiences to see. How to we make sure that Boston has a network of those spaces?
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Not the greatest picture but, full composition of a new one that is nearing completion.
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I intended this to be a quick portrait study but, I got a little carried away. Instead, I am just going to try as hard as I can on this one. Not that I don’t always try as hard as I can when I am painting. Even when a painting turns out looking like utter garbage, I am still working as hard as I can manage to make it right. I am just not always overly concerned with actually making the painting look super realistic. So, for this one I am going all in on the realism. Whenever this is done, it is going to be about as realistic as I can manage (without totally abandoning the way I like to paint). Not sure where this is going to take me but, it seems important to occasionally reset to some kind of baseline, if only to keep from getting too lost when you start off again in a new direction from there. In any case, don’t let me act like I know how to paint any better – in terms of realism – than this one. It actually feels pretty good to just make a nice portrait without worrying too much about some greater artistic mission. Maybe I will try to find some demand for these portraits. Potentially portraits priced on a sliding scale. I spend about 2 weeks making the best portrait I can, charge about what you make in 2 weeks. We will see. I am 4 days in, with a fair amount of painting left to do here. There is still time for this one to get weird.
