JUEVES, EL NUEVE DE FEBRERO, VEINTE-DOCE
UPDATE:
UPDATE:
replay, PST is Thursday, 3.05pm/ NZT Friday, 12.05pm. Also, it will be available for download from here under 'Dishing up Art' :http://www.radiokidnappers.org.nz/search_air_db.php
Showing posts with label OVERSEAS. Show all posts
Showing posts with label OVERSEAS. Show all posts
LUNES, EL VEINTICUATRO DE OCTUBRE, VEINTE-ONCE
Hello All,
With the upcoming Dia De Los Muertos festivals here in the USA, I have work in several exhibitions around the country.
At present, I have two paintings in a group exhibition, '10,000 Skeletons' at 222 Imperial, a new art gallery in Las Vegas. My work can be seen on their Facebook Page. (until 31 October 2011)
Upcoming exhibitions with a Dia De Los Muertos theme are:
'Dia de los Muertos', El Museo Cultural De Santa Fe, 555 Camino de la Familia, Santa Fe, NM, USA 28 Oct - 2 Nov 2011
'2nd Annual Santa Muerte Music & Arts Festival', Sacred Machine, Tucson, AZ, USA, 28 Oct - 31 Dec 2011
'Life in Death', Winchester Cultural Center, 3130 McLeod Drive, Las Vegas, NV, USA 29 October - 12 November 2011
Other upcoming group exhibitions include:
HuiHui, a one-night-only group exhibition, 50a Ossian St, Napier, New Zealand 28 Oct 2011
Celebrating Existence, Blackbird Studios, 1551 S Commerce St, Las Vegas, NV, USA 3 - 26 November 2011
If you'd like any higher resolution image of the paintings in the upcoming exhibition, please let me know.
Hello All,
With the upcoming Dia De Los Muertos festivals here in the USA, I have work in several exhibitions around the country.
At present, I have two paintings in a group exhibition, '10,000 Skeletons' at 222 Imperial, a new art gallery in Las Vegas. My work can be seen on their Facebook Page. (until 31 October 2011)
Upcoming exhibitions with a Dia De Los Muertos theme are:
'Dia de los Muertos', El Museo Cultural De Santa Fe, 555 Camino de la Familia, Santa Fe, NM, USA 28 Oct - 2 Nov 2011
'2nd Annual Santa Muerte Music & Arts Festival', Sacred Machine, Tucson, AZ, USA, 28 Oct - 31 Dec 2011
'Life in Death', Winchester Cultural Center, 3130 McLeod Drive, Las Vegas, NV, USA 29 October - 12 November 2011
Other upcoming group exhibitions include:
HuiHui, a one-night-only group exhibition, 50a Ossian St, Napier, New Zealand 28 Oct 2011
Celebrating Existence, Blackbird Studios, 1551 S Commerce St, Las Vegas, NV, USA 3 - 26 November 2011
If you'd like any higher resolution image of the paintings in the upcoming exhibition, please let me know.
SABATO, EL DIECINUEVE DE MARZO, VEINTI-ONCE
The photo, top-left, is a corpus-arm of a Crucified Christ statue that used to hang in the east chapel of the San Xavier Mission in Tucson, AZ. This is all that is left. It interested me as the rough wood skeleton is covered in canvas, then gessoed and polychromed. I knew that this was part of the process of making santos, but it's hard to see on complete forms. The saggy, torn canvas brought back memories of the skin surface of one of those bodies found in the bogs in a museum in the the UK. I also remembered a sketchbook drawing and a failed sculpture that I had made in preparation for my show at the Sarjeant in Whanganui in 2007. I had tried to recreate an arm out of cardboard and hot glue, nailed to wood with an ex-voto hanging off it. It didn't work, so I moved to casting in plaster, and the bottom left photo was the outcome. With molds, you can cast and recast, so I did a few variations on the dissected hand, looking at galvanisation, the power of the symbol of the hand. All these pics besides the San Xavier arm can be seen on the MOIV website here:
http://moiv.mattcouper.com/graveyore.html
The photo, top-left, is a corpus-arm of a Crucified Christ statue that used to hang in the east chapel of the San Xavier Mission in Tucson, AZ. This is all that is left. It interested me as the rough wood skeleton is covered in canvas, then gessoed and polychromed. I knew that this was part of the process of making santos, but it's hard to see on complete forms. The saggy, torn canvas brought back memories of the skin surface of one of those bodies found in the bogs in a museum in the the UK. I also remembered a sketchbook drawing and a failed sculpture that I had made in preparation for my show at the Sarjeant in Whanganui in 2007. I had tried to recreate an arm out of cardboard and hot glue, nailed to wood with an ex-voto hanging off it. It didn't work, so I moved to casting in plaster, and the bottom left photo was the outcome. With molds, you can cast and recast, so I did a few variations on the dissected hand, looking at galvanisation, the power of the symbol of the hand. All these pics besides the San Xavier arm can be seen on the MOIV website here:
http://moiv.mattcouper.com/graveyore.html
LUNES, EL TRECE DE DICIEMBRE, VIENTE-DIEZ
me in front of Fra Angelico's 'Mocking of Christ' at San Marco, Florence, Italy in 2004. Part of a big European trip tacked on at the end of an exhibition I had in London.
We're off to LA today to mix a bit of pleasure in with some business. Will update the blog soon.
me in front of Fra Angelico's 'Mocking of Christ' at San Marco, Florence, Italy in 2004. Part of a big European trip tacked on at the end of an exhibition I had in London.
We're off to LA today to mix a bit of pleasure in with some business. Will update the blog soon.
JUEVES, EL NUEVE DE DICIEMBRE, VIENTE-DIEZ
The link below features photographs from last night's opening of 'Away From Dios' at Galeria CMTV in Barcelona, Spain.
http://www.facebook.com/photo.php?fbid=157908817585333&set=a.121498517893030.8103.100000986481678#!/album.php?aid=2070161&id=1562634693
It's a Facebook link, so you might have 'friend' them first to see the photos.
The link below features photographs from last night's opening of 'Away From Dios' at Galeria CMTV in Barcelona, Spain.
http://www.facebook.com/photo.php?fbid=157908817585333&set=a.121498517893030.8103.100000986481678#!/album.php?aid=2070161&id=1562634693
It's a Facebook link, so you might have 'friend' them first to see the photos.
LUNES, EL SEIS DE DICIEMBRE, VIENTE-DIEZ
Sassetta's 'St Anthony the Hermit being tormented by Devils', 1423, Panel, 24 x 39 cm, Pinacoteca Nazionale in Siena, Italy. I got this image off the internet, specifically from one of those websites that advertise "quality oil reproductions" of an artwork. They've actually cleaned up this image by removing the incised graffiti that appears along the base of the image.
Sassetta's 'St Anthony the Hermit being tormented by Devils', 1423, Panel, 24 x 39 cm, Pinacoteca Nazionale in Siena, Italy. I got this image off the internet, specifically from one of those websites that advertise "quality oil reproductions" of an artwork. They've actually cleaned up this image by removing the incised graffiti that appears along the base of the image.
MIERCOLES, EL VEINTICUATRO DE NOVIEMBRE, VEINTE-DIEZ
Rene Magritte, La Gâcheuse (The Bungler), 1935, collection of the National Galleries of Scotland.
It's only a small work, about A4 size if I remember rightly. I saw in in 2003 in the Nat Gallery in Edinburgh in the Roland Penrose collection and it reached out and rang the gong in the head. I had a the postcard of it hanging on my studio for years and it influenced many paintings, including some of the large works I did in Scotland during my 2003 Royal Overseas League Residency.
Rene Magritte, La Gâcheuse (The Bungler), 1935, collection of the National Galleries of Scotland.
It's only a small work, about A4 size if I remember rightly. I saw in in 2003 in the Nat Gallery in Edinburgh in the Roland Penrose collection and it reached out and rang the gong in the head. I had a the postcard of it hanging on my studio for years and it influenced many paintings, including some of the large works I did in Scotland during my 2003 Royal Overseas League Residency.
VIERNES, EL VEINTITRES DE JULIO, VEINTE-DIEZ
Yesterday I went to the Palace of the Legion of Honor and got to revisit (again) some paintings that have been very influential on my practice. Probably the most enigmatic for me is a small oil painting on brass by Gerard ter Broch titled Portrait of A Gentleman in Black, c.1639. I painted an ex-voto of the painting in 2008, when I was last in San Francisco (scroll down to the 18th of June). I think it impressed me as it reminded me of the Dou copper painting of the Physician in the Christchurch Art Gallery.
Yesterday I went to the Palace of the Legion of Honor and got to revisit (again) some paintings that have been very influential on my practice. Probably the most enigmatic for me is a small oil painting on brass by Gerard ter Broch titled Portrait of A Gentleman in Black, c.1639. I painted an ex-voto of the painting in 2008, when I was last in San Francisco (scroll down to the 18th of June). I think it impressed me as it reminded me of the Dou copper painting of the Physician in the Christchurch Art Gallery.
MARTES, EL TRECE DE JULIO, VEINTE-DIEZ
Two pets that we've been looking after over the past few weeks. On the left is Tiny, who we looked after in Putiki in Whanganui, New Zealand. She's a feisty number but happy to chat after you get to know her. Now we're looking after Senor O, a brilliant dog, originally from Barcelona, Spain, now residing in Oakland, California. Belly scratches mandatory.
Two pets that we've been looking after over the past few weeks. On the left is Tiny, who we looked after in Putiki in Whanganui, New Zealand. She's a feisty number but happy to chat after you get to know her. Now we're looking after Senor O, a brilliant dog, originally from Barcelona, Spain, now residing in Oakland, California. Belly scratches mandatory.
JUEVES, EL OCHO DE JULIO, VEINTE-DIEZ
Meta-redux/revisit to San Marco Convent in Florence.
I'm holding up my catalogue from my exhibition, The Museum of Inherent Vice from 2007. In the catalogue is a photo I took during my first visit to San Marco in 2004, featuring a conservator painting a fresco in one of the exterior apses in the courtyard. I returned in 2008 and decided to re-photograph the same scene but with the finished fresco. I also did this at the Brancacci Chapel in Santa Del Carmine with Masaccio's Tribute Money fresco cycle (I'd used the disciples from the fresco in a painting of mine) and also in the Vatican with Raphael's School of Athens, of which I'd used the swastika-decorated arch that frames the fresco.
Meta-redux/revisit to San Marco Convent in Florence.
I'm holding up my catalogue from my exhibition, The Museum of Inherent Vice from 2007. In the catalogue is a photo I took during my first visit to San Marco in 2004, featuring a conservator painting a fresco in one of the exterior apses in the courtyard. I returned in 2008 and decided to re-photograph the same scene but with the finished fresco. I also did this at the Brancacci Chapel in Santa Del Carmine with Masaccio's Tribute Money fresco cycle (I'd used the disciples from the fresco in a painting of mine) and also in the Vatican with Raphael's School of Athens, of which I'd used the swastika-decorated arch that frames the fresco.
EL SEIS DE JULIO, VEINTE-DIEZ
Philip Guston paintings at MOMA from the Edward R. Broida bequest, 2008. (Click on the image to enlarge it)
Philip Guston paintings at MOMA from the Edward R. Broida bequest, 2008. (Click on the image to enlarge it)
FELIZ CUATRO DE JULIO!
Bath Salts, (recto) 2005, oil on two canvases, 480mm x 330mm
(John Trumbull vs. Marcus King)
Bath Salts, (recto) 2005, oil on two canvases, 480mm x 330mm
(John Trumbull vs. Marcus King)
SABATO, EL VEINTISEIS DE JUNIO, VEINTE-DIEZ
Just a reminder that the Creative Hawke's Bay Invitational Exhibition is finishing this Sunday at the Hastings City Art Gallery. Below is a detail on one of the works I have in the exhibition, Rectángulo De Tiempos Del Final (2009, Oil on wood and a leaf; scrimshaw and nails, 325mm x 770mm x 90mm).
The half head/half skull is a classic I've been using a lot recently, a pertinent symbol of mortality, copied from a very small German bone carving I saw at the Met in NYC. Since then, I've found many images of the half and half kind, some of the best are 19th century Italian wax sculptures, used as medical guide, I believe. The dodo is also a great symbol for mortality, first used at artschool in a set of drawings in 1997. I started reusing the dodo in my paintings in 2003. He's holding a bank note in his beak and is standing on Charlemagne's chalice.
Just a reminder that the Creative Hawke's Bay Invitational Exhibition is finishing this Sunday at the Hastings City Art Gallery. Below is a detail on one of the works I have in the exhibition, Rectángulo De Tiempos Del Final (2009, Oil on wood and a leaf; scrimshaw and nails, 325mm x 770mm x 90mm).
The half head/half skull is a classic I've been using a lot recently, a pertinent symbol of mortality, copied from a very small German bone carving I saw at the Met in NYC. Since then, I've found many images of the half and half kind, some of the best are 19th century Italian wax sculptures, used as medical guide, I believe. The dodo is also a great symbol for mortality, first used at artschool in a set of drawings in 1997. I started reusing the dodo in my paintings in 2003. He's holding a bank note in his beak and is standing on Charlemagne's chalice.
MIERCOLES, EL VEINTITRES DE JUNIO, VEINTE-DIEZ
In an effort to make our move a bit more seamless, I've painted a couple of smaller versions of paintings I really like (that I've painted) to take over with me. They are tending to be direct scaled copies at present (as below: a copy of 'Half & Half, in stock at Mark Hutchins Gallery, Wellington), but of course things change subtly when scaled either up or down, so I've had to assess them, not only on their own merits as autonomous works, but also whether they have something of what the first work had, which of course is a dilemma as then you have to work out what it was about the original painting that you really liked.
I think this one is OK and I like it on a smaller scale, but I might make a few minor adjustments for my own sanity. I've given this one a different title though - between learning and reading up recently on the US constitution and assessing this painting compositionally, I thought the title 'Checks and Balances' would suit it. The scales are a good 'in' to the symbolism, but I couldn't bring myself to painting a blind-fold on the figure's face.
In an effort to make our move a bit more seamless, I've painted a couple of smaller versions of paintings I really like (that I've painted) to take over with me. They are tending to be direct scaled copies at present (as below: a copy of 'Half & Half, in stock at Mark Hutchins Gallery, Wellington), but of course things change subtly when scaled either up or down, so I've had to assess them, not only on their own merits as autonomous works, but also whether they have something of what the first work had, which of course is a dilemma as then you have to work out what it was about the original painting that you really liked.
I think this one is OK and I like it on a smaller scale, but I might make a few minor adjustments for my own sanity. I've given this one a different title though - between learning and reading up recently on the US constitution and assessing this painting compositionally, I thought the title 'Checks and Balances' would suit it. The scales are a good 'in' to the symbolism, but I couldn't bring myself to painting a blind-fold on the figure's face.
DOMINGO, EL VEINTE DE JUNIO, VEINTE-DIEZ
Here's Matthew in front of Caravaggio's The Inspiration' and 'Marytrdom of St Matthew' at the San Luigi dei Francesi in Rome, 2008. I got into the habit of walking into whatever looked like a church, to see what treasures it held. This one was one of the best surprises.
The paintings are lit by a simple lighting system that is activated by depositing a euro coin. I kind of prefered it in the dark as it probably gave a more of the impression of the figure coming out of the darkness / cavity deep in the picture plane. Frank Stella loves these paintings and uses them to illustrate his ideas of Working Space in his lecture series available in book format now.
It was, of course, hats off in the sacred space.
Here's Matthew in front of Caravaggio's The Inspiration' and 'Marytrdom of St Matthew' at the San Luigi dei Francesi in Rome, 2008. I got into the habit of walking into whatever looked like a church, to see what treasures it held. This one was one of the best surprises.
The paintings are lit by a simple lighting system that is activated by depositing a euro coin. I kind of prefered it in the dark as it probably gave a more of the impression of the figure coming out of the darkness / cavity deep in the picture plane. Frank Stella loves these paintings and uses them to illustrate his ideas of Working Space in his lecture series available in book format now.
It was, of course, hats off in the sacred space.
SABATO, EL DIECINUEVE DE JUNIO, VEINTE-DIEZ
CARAVAGGIO WAS FILLED FULL OF LEAD: Scientists discover Caravaggio's bones. Info here.
CARAVAGGIO WAS FILLED FULL OF LEAD: Scientists discover Caravaggio's bones. Info here.
MIERCOLES, EL DIESEIS DE JUNIO, VEINTE
GETTING GASSED- Thomas Kinkade, who I've posted on before here has been arrested on an alleged DUI felony. Here's the brilliant 'Endorized' image I posted earlier.
GETTING GASSED- Thomas Kinkade, who I've posted on before here has been arrested on an alleged DUI felony. Here's the brilliant 'Endorized' image I posted earlier.
LUNES, EL CATORCE DE JUNIO, VEINTE-DIEZ
I've just discovered that there's a copy of El Cristo Negro de Esquipulas at St Elizabeth Parish in Oakland, California; about a half an hour BART ride from where we'll be living when we arrive in the USA. It will be great to see this copy until we get to travel to Guatemala to see El Cristo Negro in the Basilica de Esquipulas.
BELOW: Parishioners reverently lift the Black Christ, shrouded in
incense, into its permanent setting at St. Elizabeth Church
(photo by Jose Luis Aguirre)
I've just discovered that there's a copy of El Cristo Negro de Esquipulas at St Elizabeth Parish in Oakland, California; about a half an hour BART ride from where we'll be living when we arrive in the USA. It will be great to see this copy until we get to travel to Guatemala to see El Cristo Negro in the Basilica de Esquipulas.
BELOW: Parishioners reverently lift the Black Christ, shrouded in
incense, into its permanent setting at St. Elizabeth Church
(photo by Jose Luis Aguirre)
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