Merry Christmas, y'all! I'm taking a few days off from the blog, will be back online just before New Year's... have a great one, drive and eat safe!
MARTES, EL VIENTIUNO DE DECIEMBRE, VEINTE-DIEZ
R.I.P. Captain Beefheart. Click here to read my friend, Simon Sweetman's obit on Blog On The Tracks.
R.I.P. Captain Beefheart. Click here to read my friend, Simon Sweetman's obit on Blog On The Tracks.
LUNES, EL VIENTE DE DECIEMBRE, VEINTE-DIEZ
I've now got our Prologue website back up and running on the internet. I had it hosted on a free server which because a spammer's pitstop, so the site couldn't be shared on forums and along with javascript issue, I couldn't put it on my website hosted site asa subdomain. So with a quick fix of the pop-ups, I'm now hosting it on my domain server.
The website was intended as a co-catalogue (we printed a very limited edition hardcopy catalogue too) for the physical exhibition at the Sarjeant Gallery, Whanganui, NZ and contained about half to 2/3rds of our present collection.
The website was intended as a co-catalogue (we printed a very limited edition hardcopy catalogue too) for the physical exhibition at the Sarjeant Gallery, Whanganui, NZ and contained about half to 2/3rds of our present collection.
DOMINGO, EL DIECINUEVE DE DECIEMBRE, VEINTE-DIEZ
My work has been featured on ShareMag, a website/blog from Portugal, promoting international artists. I was asked to submit some works from a series with text, so I put forward a few of the retablos from my series 'Thirty-Three'. Also accompanying it is part of the essay by Dr. Peter Howland, 'The Divine Self and the Church of Auto-Resurrection', which will be published in full in my upcoming publication catalogue for the touring exhibition 'Thirty - Three'. You can view my link on the blog here
My work has been featured on ShareMag, a website/blog from Portugal, promoting international artists. I was asked to submit some works from a series with text, so I put forward a few of the retablos from my series 'Thirty-Three'. Also accompanying it is part of the essay by Dr. Peter Howland, 'The Divine Self and the Church of Auto-Resurrection', which will be published in full in my upcoming publication catalogue for the touring exhibition 'Thirty - Three'. You can view my link on the blog here
JUEVES, EL DIECISEIS DE DICIEMBRE, VIENTE-DIEZ
two of three new mexican paintings I aquired in Santa Monica at Historia Antiques. The third one is another small ex-voto by the same artist that I already have an example of.
left: San Geronimo, attributed to Geonimo de Leon, Mexico, c. late 1800's, right: La Vindimia Mistica, Unknown artist, Mexico, Oil on tin, 19th century
two of three new mexican paintings I aquired in Santa Monica at Historia Antiques. The third one is another small ex-voto by the same artist that I already have an example of.
left: San Geronimo, attributed to Geonimo de Leon, Mexico, c. late 1800's, right: La Vindimia Mistica, Unknown artist, Mexico, Oil on tin, 19th century
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.
DOMINGO, EL DOCE DE DICIEMBRE, VIENTE-DIEZ
A recently completed painting, titled 'Neo-Contemporary Self Portrait', now winging it's way to a new home in Denver, Colorado.
The painting is made up of several symbols that, I believe make up me and my practice. I don't want to spell it out (I dread it when someone asks me 'what it means', I tell them something and they instantly believe it)
There's a reference to Fra Angelico's 'Mocking of Christ' fresco from San Marco, Florence, Italy; also a reference to Philip Guston's Klan figures in the hills. Beato is Italian for 'Blessed' (Fra Angelico was known as Il Beato Angelico) and my silhouette is saying 'nothing'
Now, all you have to do is the math.
A recently completed painting, titled 'Neo-Contemporary Self Portrait', now winging it's way to a new home in Denver, Colorado.
The painting is made up of several symbols that, I believe make up me and my practice. I don't want to spell it out (I dread it when someone asks me 'what it means', I tell them something and they instantly believe it)
There's a reference to Fra Angelico's 'Mocking of Christ' fresco from San Marco, Florence, Italy; also a reference to Philip Guston's Klan figures in the hills. Beato is Italian for 'Blessed' (Fra Angelico was known as Il Beato Angelico) and my silhouette is saying 'nothing'
Now, all you have to do is the math.
SABATO, EL ONCE DE DICIEMBRE, VIENTE-DIEZ
a stunning Louis Eilshemius painting, 'The Rejected Suitor', 1915, in the Phillips Collection, Washington DC. I'm hoping to see this painting when I head over to DC in February for the Philip Guston 'Roma' exhibition. I've never seen an Eilshemius painting in the flesh, so I'm looking forward to studying it.
My friend Peter showed me the amazing Abrams - published book of his work in the late 90's and along with Von Stuck, Kublin, De Chirico and Bocklin, he's an artist I return to when I want to see potent artworks that are heavy with symbolism and duende.
a stunning Louis Eilshemius painting, 'The Rejected Suitor', 1915, in the Phillips Collection, Washington DC. I'm hoping to see this painting when I head over to DC in February for the Philip Guston 'Roma' exhibition. I've never seen an Eilshemius painting in the flesh, so I'm looking forward to studying it.
My friend Peter showed me the amazing Abrams - published book of his work in the late 90's and along with Von Stuck, Kublin, De Chirico and Bocklin, he's an artist I return to when I want to see potent artworks that are heavy with symbolism and duende.
VIERNES, EL NUEVE DE DICIEMBRE, VIENTE-DIEZ
Tonight is the opening of JK Russ' exhibition 'American Dream' at Thermostat Art Gallery in Palmerston North, New Zealand. Although there's a time delay between New Zealand and where we are in the USA, we'll be available to Skype the gallery during the exhibition opening to say hi to those that make it to the show.
The work will be viewable on Russ' website from tomorrow at this link here.
Tonight is the opening of JK Russ' exhibition 'American Dream' at Thermostat Art Gallery in Palmerston North, New Zealand. Although there's a time delay between New Zealand and where we are in the USA, we'll be available to Skype the gallery during the exhibition opening to say hi to those that make it to the show.
The work will be viewable on Russ' website from tomorrow at this link here.
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.
MIERCOLES, EL OCHO DE DICIEMBRE, VIENTE-DIEZ
Tomorrow is the opening of 'AWAY FROM DIOS' at Galería CMTV in Barcelona, Spain. Below are links to a few of the press releases for the exhibition:
http://www.lamonodigital.net/blog/?p=32733
http://blog.taxiartmagazine.com/2010/12/cmtv-abre-away-from-dios-los-7-1-pecados-capitales/
http://www.comomevesteveras.com/awayfromdios/matthew_couper.htm
http://www.comomevesteveras.com/awayfromdios//
In the last link above, you can see the other work in the exhibition
Tomorrow is the opening of 'AWAY FROM DIOS' at Galería CMTV in Barcelona, Spain. Below are links to a few of the press releases for the exhibition:
http://www.lamonodigital.net/blog/?p=32733
http://blog.taxiartmagazine.com/2010/12/cmtv-abre-away-from-dios-los-7-1-pecados-capitales/
http://www.comomevesteveras.com/awayfromdios/matthew_couper.htm
http://www.comomevesteveras.com/awayfromdios//
In the last link above, you can see the other work in the exhibition
Bethany Marchman - PEREZA (Sloth) 90 x 90 cm, Óleo sobre tela
MARTES, EL SIETE DE DICIEMBRE, VIENTE-DIEZ
a copy of Sassetta's 'St Anthony the Hermit being tormented by Devils', the original painting being in the Pinacoteca Nazionale in Siena, Italy. I made this copy to emphasise the graffiti on the base of the original, which I adapted into in a large painting from 2006 called 'The Birth of Death (Under Black Light)', but also to try to dodge copyright, which to then,after finishing the drawing, realised that the then 583 year old painting would probably be out of copyright.
You can view the painting 'The Birth of Death...' here:
http://moiv.mattcouper.com/ascendant1.html 
a copy of Sassetta's 'St Anthony the Hermit being tormented by Devils', the original painting being in the Pinacoteca Nazionale in Siena, Italy. I made this copy to emphasise the graffiti on the base of the original, which I adapted into in a large painting from 2006 called 'The Birth of Death (Under Black Light)', but also to try to dodge copyright, which to then,after finishing the drawing, realised that the then 583 year old painting would probably be out of copyright.
You can view the painting 'The Birth of Death...' here:
http://moiv.mattcouper.com/ascendant1.ht
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.
DOMINGO, EL CINCO DE DICIEMBRE, VIENTE-DIEZ
I'm just getting ready to start a new painting. At this point, it feels like I've never painted before and I have no idea what I'm doing. I love that feeling. I have no fear of the starting of a painting though, the most painful aspect is the '3/4th finished' dilemma for me, because I expect the painting to be mostly finished, but then the anxiety sets in because I'm getting closer to completion, and often I struggle to assess whether it's finished or not. That's when I tend to find the original primer colour, remix it and scrape it over the painting with a spatula. It sort of bundles the whole painting up, then i can see a bit more clearly to what needs to be done and clarified to complete the work.
At present, I have Sassetta flying around in my head, so I'll be tapping back into his influence that I strongly felt while painting some of the big works in 2006/7
I'm just getting ready to start a new painting. At this point, it feels like I've never painted before and I have no idea what I'm doing. I love that feeling. I have no fear of the starting of a painting though, the most painful aspect is the '3/4th finished' dilemma for me, because I expect the painting to be mostly finished, but then the anxiety sets in because I'm getting closer to completion, and often I struggle to assess whether it's finished or not. That's when I tend to find the original primer colour, remix it and scrape it over the painting with a spatula. It sort of bundles the whole painting up, then i can see a bit more clearly to what needs to be done and clarified to complete the work.
At present, I have Sassetta flying around in my head, so I'll be tapping back into his influence that I strongly felt while painting some of the big works in 2006/7
SABATO, EL CUATRO DE DICIEMBRE, VIENTE-DIEZ
I received this book in the mail today, along with a rare Guston catalogue from a Skidmore College exhibition from the mid 80's titled 'Early And Late Works"
The book I'm holding in the photo is excellent and I'm really enjoying it as it shows Guston's dedication to the process, act and execution of painting. It features many writings, lectures and artist interviews - some I've read previously and some I haven't but it's great to have them in a collected volume. I believe it to be essential reading for any painter, wither to further your knowledge or to just get warm fuzzies from the mulitude of clever analogies and quotes used by Guston to illustrate what it is to paint.
I received this book in the mail today, along with a rare Guston catalogue from a Skidmore College exhibition from the mid 80's titled 'Early And Late Works"
The book I'm holding in the photo is excellent and I'm really enjoying it as it shows Guston's dedication to the process, act and execution of painting. It features many writings, lectures and artist interviews - some I've read previously and some I haven't but it's great to have them in a collected volume. I believe it to be essential reading for any painter, wither to further your knowledge or to just get warm fuzzies from the mulitude of clever analogies and quotes used by Guston to illustrate what it is to paint.
VIERNES, EL TRES DE DICIEMBRE, VIENTE-DIEZ
Last night I went out to an opening at Brett Wesley Gallery in Las Vegas, a three-person show titled 'Wild at Heart'. I particularly like the work of Sri Whipple because of it's smart art-historical referencing and knowledge and freedom of subject matter. Unfortunately, the better paintings, which had a plethora of penis and vagina-type forms, were squirreled out the back of the gallery, obviously in a fashion to NOT offend the regular buyers to the gallery ( the painting is also NOT featured on the gallery website). I got to talk to Sri and we talked non-stop for a good 20 mins (it could have been longer, but it was his opening and I thought it best not to take up his time).
Anyway, in thinking of his work, I can up with this idea, which I recently posted on Facebook:
"an exhibition I'd really like to see, preferably curated by Robert Storr, possibly titled 'F**k Paintings', showing the work of Barry Reigate (UK), Robert McLeod (NZ) and Sri Whipple (USA)"
The responses were excellent, with other folk suggesting who else could be in the exhibition and where I could possible get hold of Robert Storr.
To this I answered:
"My idea here is it look at pattern recognition in trends of painting that have a core notion but their work pushes out from that point. Also by grouping three geographically disparate artists, it shows a social conscienceness towards paint and the body, you know -pickin up on that de Kooning statement of how oil paint was invented to depict flesh."
Last night I went out to an opening at Brett Wesley Gallery in Las Vegas, a three-person show titled 'Wild at Heart'. I particularly like the work of Sri Whipple because of it's smart art-historical referencing and knowledge and freedom of subject matter. Unfortunately, the better paintings, which had a plethora of penis and vagina-type forms, were squirreled out the back of the gallery, obviously in a fashion to NOT offend the regular buyers to the gallery ( the painting is also NOT featured on the gallery website). I got to talk to Sri and we talked non-stop for a good 20 mins (it could have been longer, but it was his opening and I thought it best not to take up his time).
Anyway, in thinking of his work, I can up with this idea, which I recently posted on Facebook:
"an exhibition I'd really like to see, preferably curated by Robert Storr, possibly titled 'F**k Paintings', showing the work of Barry Reigate (UK), Robert McLeod (NZ) and Sri Whipple (USA)"
The responses were excellent, with other folk suggesting who else could be in the exhibition and where I could possible get hold of Robert Storr.
To this I answered:
"My idea here is it look at pattern recognition in trends of painting that have a core notion but their work pushes out from that point. Also by grouping three geographically disparate artists, it shows a social conscienceness towards paint and the body, you know -pickin up on that de Kooning statement of how oil paint was invented to depict flesh."
JUEVES, EL DOS DE DICIEMBRE, VIENTE-DIEZ
I've got a few artworks on show in Wellington at Mark Hutchins Gallery, as part of his Maquette exhibition. Here's a link to the works in the show.
I've got a few artworks on show in Wellington at Mark Hutchins Gallery, as part of his Maquette exhibition. Here's a link to the works in the show.
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