Ingenuity and Surprise in Art

University of Iowa Museum of Art, Gift of Peggy Guggenheim 1959.6
 © 2009 Pollock-Krasner Foundation / ARS, NY

As an artist, it is always a challenge to figure out a way to do something unique, to find that "something" that no one else has ever done before.  It is also a challenge to surprise the art world.  Jackson Pollock was able to do this more than once.  While I know traditionalists revile surprise and change, exploration or experimentation (yet they must recall that even their most favorite forms of art came about as a result of all of these!), I personally find that I tend to gravitate to those artists who are more inventive and interested in exploring.

While his early studies were with Thomas Hart Benton, Pollock's main body of work is a far stretch from the type of technique and style he learned under Benton.  His "drips" were the first surprise.  His method of painting was a second surprise--he worked with a canvas on a floor, using non-traditional tools which included a cooking baster and sticks.

The third surprise may very well have been discovered earlier--but if it was, there is no discussion of it prior to 2009.

The third surprise is...his name embedded within the painting.  Can you see it?  Look at the black lines.  If you start in the upper right, you might be able to decipher "son."  Working back from there, you can find the Jackson.  Then look below.  It is an extremely stylized font, but you can discern the Pollock, hidden in the paint.  Read the article about this discovery.

Marianne Berardi, wife of art writer Henry Adams, author of Tom and Jack: the Intertwined Lives of Thomas Hart Benton and Jackson Pollock, was the first person on record to identify the letters.  Some critics deny that the name is actually part of the painting.  The most likely (to me) theory is that Jackson Pollock painted his name on the canvas and then painted around that work.  I have used a similar method to hide text within a painting.  I have also painted words AFTER I painted the background but the effect is different and the words are much more plain to the eye.  Of course, in the painting below, for example, I wasn't intending to "hide" the words, as I believe Pollock meant to do. This is the reason I believe he put the name first and painted around it.

(c) 2005, SZing. All rights reserved!! "Characteristics of God," Egg tempera on Bristol.

I have admired Jackson Pollock's work for years, before I ever knew anything about him.  What always attracted me was the energy and the colors.  Now, knowing more about him and his methodology, I still consider him a genius.  What I love most is this quote by him:

My painting does not come from the easel. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.

I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass or other foreign matter added.

When I am in my painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fear of making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.--Jackson Pollock, My Painting, 1956

His approach was a definite departure from the accepted methods of his time.  It is a shame that his alcoholism and perhaps, as some suggest, bipolar disease, caused this unparalleled art talent to die at the young age of 44.  I cannot help but wonder what else he might have done and how else he might have impacted abstract expressionism and the modern art world. Learn the basics about Jackson Pollock to increase your appreciation for his works and ingenuity.

P.S.  Don't forget to submit your entry for the give-a-way which ends on the 15th!!

(c) SZing. All Rights Reserved.

Is a Consistently Red Color Field High Art?

In reviewing some more magazines that I'm going through, once again I have to wonder if the art critics and "experts" are on drugs or just get a good laugh from what they claim is "art" and the masses blindly follow along collectively 'oohing' and 'ahhhing' over.  Sometimes, I just think "they" (including, perhaps, the artists) are just playing with "us" (the unsuspecting masses of hysterics.) 

(c) SZing "Pathways" Abstract Expressionism and Color Field work in fused glass

by Stephanie Zing, used by permission of the artist

Now, I like to be as open minded as I possibly can and I truly do not want to diss any artists or their creativity. That said, there are some artworks that garner high praise and I think to myself, 'maybe I just don't get it."  One such piece that flummoxes me is Barnett Newman's "Onement II" from 1948.  He is seen as one of the major figures in abstract expressionism and one of the foremost of the color field painters. 

Personally, Joan Miro, Richard Diebenkorn, Henri Matisse, Mark Rothko, and Paul Klee are all some of my favorite abstract expressionist artists who worked as color field painters.  I, myself, at times, work as a color field painter and prefer abstract expressionism both in painting and glasswork (see photos in this posting). 

Perhaps it is simply a matter of personal subjective taste because Mr. Newman's works seem to be highly regarded--although personally, more than one of them simply reminds me of a "flag" and I wonder whether these works if presented today would be as well-received.  I get that the consistency of the red color field is a part of the "color field" painters goal. 

This particular painting apparently belongs to or is shown at the Contemporary Jewish Museum of San Francisco and perhaps I should a) visit the museum and see the piece in person, or b) read up to see if there is additional information about this piece.  It is a 60" x 36" canvas painted with a reddish/orange oil paint over the entirety of the panel with what appears to be some barely distinguishable dark lines behind the red paint.  That's the entire painting. 

Maybe there is a third option.  c)  the painting does not photograph or translate well in a glossy paged magazine when the image is shrunk down to a 4" x 2 1/2" picture.  Maybe, in fact there are more options.  Like my own open mindedness and willingness to embrace all artworks. 

I am hoping that all three of these scenarios are the case because frankly, when I read the magazine praising this piece of artwork, I scratch my head and say, "really??!!"  If time and resources were no obstacle, I most certainly would hoof my butt out there to San Fran and decide for myself.  That not currently being an option, I have to take what I get in the magazine (and online) and decide for myself. Maybe I'm just having artist envy and wondering how to get my stuff seen and praised better.

(c) SZing "Exploring Spaces" Abstract Expressionism and Color Field work in fused glass

by Stephanie Zing, used by permission of the artist

Since I do not have permission to post the pictures of Mr. Newman's works, I instead refer you to the Internet image searches of his art.  Decide for yourself.  I'm interested in opinions on the subject of critics and experts, as well as abstract expressionism and color field paintings.  What do you think??

Frustrated Quilter Gains Inspiration

As a frustrated quilter, I have always loved looking at quilts.  My fused glass artwork frequently is evocative of the textures and sometimes the patterns of art quilts.  So I recently have been reading a book, Twelve by Twelve The International Art Quilt Challenge. 

Cover art used by permission of

Brenda Gael Smith for

Twelve by Twelve: The International Art Quilt Challenge

 These twelve amazing artists chose twelve themes and each one created a 12" x 12" art quilt for each theme. The artistry is spectacular.  I love reading about each artist's techniques and story, as well as seeing the photos of their creative spaces.  Since my art studio is not currently, um, shall we say, up and running (i.e., in boxes waiting to be unpacked) this is a nice jolt of creativity to inspire me.  You can view these works at http://www.twelveby12.org/.  Truly Paducah Quilt Museum worthy!  I believe I can call them inspirational--quite a number of them caused me to intake breathe in amazement and wonder at the exquisite colors and textures.  Who knew a sewing machine could elicit such beauty!

This is "Dandelion" by Art Quilter Diane Perin Hock. (c) Diane Perin Hock,

USED BY WRITTEN PERMISSION OF THE ARTIST

see her blog at www.goingtopieces.blogspot.com

I think there is crossover between all mediums if the artist is willing to look for the connections.  I often use photographs of quilts as an inspirational cue when beginning a new art glass piece.  I also draw upon abstract expressionism and even Henri Matisse' collage cutouts to help me design my work.  It seems to me that human creativity really has no end.  Though I've often heard people say that everything that's been written has already been written, I don't believe that is true.  Each story, each piece of glass, each poem, each painting, each quilt, et cetera, is uniquely its own, even if it draws upon similar themes as other works or even borrows heavily from other works.  The end result is a unique creation.  We seem to have a strong drive toward creating and our creativity pushes the limits of what we've done previously...if we will allow creativity free reign.