Drawing update

There are a few things happening soon that seem to be an organic outgrowth of the act of drawing; of working with limited resources to great effect.

The first, perhaps works on a metaphoric level:

“Next Things Next” the February show at OPAQ gallery. But before I speak too highly of this show, the reader should know that I am not an entirely objective source: two of my new works will be included in the show.

However, if one cares to overlook the self serving nature of the post, I was intrigued after chatting with Matt and Katie about the the works to be included in the show…Katie said that many of the works have been executed with “a delicate hand.” That phrase, somehow so old-fashioned, yet evocative piqued my interest.

Matt and I also talked about the suite of drawings he’ll be installing at the show; he said that the images he’s creating have their roots in technical drawings…but that he doesn’t really have experience in executing them.

Further in line with the drawing theme, MOCA is examining drawing as a process in a series of exhibitions which open in mid-April 2008. The featured show is works by LA artist Chris Natrop (pictured top). Also on exhibit will be drawing by John Bailly (second image), a Miami based artist who teaches at FIU.

Natrop’s work has similarities to Swoon’s installations and to Tord Boontje’s gorgeous work, especially the uber-popular lamp-shades (final image) and wall panels. The Miami-based Bailly’s work recalls Phillip Guston and, to a lesser extent, Anslem Kiefer…pieces with a “lexicon of spattered gestural marks and weblike textures.”

Also, the 3rd floor will host an exhibition entitled “Making Marks: A Survey of Jacksonville Drawings.”

Exciting no?

Good v. Great

Zarina Bhimji’s “Your Sadness is Drunk,” 2001-2006

I love to read “The Guardian.” Not least because I never fail to imagine that the articles are being read to me in clipped British tones that are simultaneously measured and pugnacious. The British, or at least their writers, seem to have better, smarter, slang than we Americans do, and a knack for putting it together seamlessly.

So, today, while perusing the online version of the august institution, an article by Jonathan Jones discussing the upcoming Turner Prize and those artists who are ‘also-rans’ posed a really great question: the distinction between good and great art.

The crux was society’s capability to recognize good art, while often overlooking that which would/will later be considered great. It’s an interesting—if not wholly original premise—but nonetheless makes for interesting pondering.

It’s also a good article since it provides a link to this year’s 4 finalists, and images of their works. Hoo-ray for artistic voyeurism.