For Dan Carr

magikbilly

<< <i>If you show me something to look at, I can "dig" it. >>



Hello Dan,

Oh, I know you can "dig" it. And you know I meant "dig into" These were posted a while ago, but here:

First scans show something start to finish. Hangs unframed. C. 2001-06/07. Stainless steel and other metal and color shifting pigments in acrylic emulsion on Belgian linen on Obeche chassis. This just does not photograph well at all. Speckle diamond dust finish.

Second scan is in Maine - I was visiting one of the last Homers, one of the last times, Winslow's nephews wife (told the old stories again, opened up some rooms for me I hadn't seen and handed me a Homer tile from her purse!) and I did this after finding the spot Winslow did his 101 years earlier. A natural dent in the rocks at low tide provides the scene. Move 6" in any direction - gone. His take was very different of course. I am sorry to say the coastal observation tower has since been demolished ber/soda pull tabs or caps etc. are starting to be seen in the rocks. In the 90's this place was comparatively virgin.
We both work small scale This Maine image is 3" high and 9" long. Umprimed mahogany panel, lead, lapis, ochres, roasted calcined ivoryin high iodine Baltic Flax oil and a pencil over, I think 1 night, with a single #1 Mongoose round and no romantic mediums or acidic thinners which start the ball of degradation rolling. The paint is so stiff there was no need for a size. I think it would be more detrimental because of the added hygroscopic "features" of even weak hide glue.






Kosmos © Eric K. Longo/Joseph A. Spletzer Collection


High Cliff, West © Eric K. Longo/Joseph A. Spletzer Collection

Some of my digital work displayed in the NBM in Washington, NY, Chicago and now at the Ford Museum or just ended - color correction and restorations from my own Kodachrome and print collections:

Various images New York World's Fair of 1939/40 © Collection Eric Keith Longo


Best wishes,
Eric

dcarr

Nice work. Neat to see the though process (progress) of "Kosmos".
I imagine that it is quite difficult to capture an impressionistic view in such a small space ("High Cliff, West"). Well done.

In spite of my promise to "dig" it, I'm not much of an art critic.
I do dig it, but not from a critic point of view.

When I look at something, I may have a reaction that I like, or dislike, it.
But the reaction happens so fast that I can't capture the thought process I just went through to decide.
So basically it is an involuntary response, like a belief system. Either you believe in something or you don't.
You can't control your beliefs, your likes, your dislikes.
Exerting concious control over your belief system is mere pretending.
And as such, there is really no point to elaborate.
This is why I tend to ignore critics in general.

PS:
Back when I worked in larger spaces with color, I did this:

"Dream, Leopard" by Daniel Carr, 1985, colored pencil on Strathmore board, 20" x 30".

DUIGUY

DrBuster

YAY, an art thread! In before the poof! I love seeing other folks stuff.

Here's the latest thing on my easel, doing a Pollack-y series, this is #3 so far (and the ipad pic SUX):




2'x4'

magikbilly

Hi Dan (do you prefer Daniel?),

Thanks for looking and the good words. Much appreciated. I should have said "tell me where you see weakness in my composition or" "am I speaking in dead symbolism" - critics are usually sidemen - what they say is of "interest" but I prefer kids opinions and none of them swerve me as I do not play to audience. I have deliberately not shown in a museum since 1986. But, I enjoy discussion of composition and related whenever possible with another on this side of the glass/coin/painting/pen/varnish.

Best wishes,
Eric

magikbilly

<< <i>YAY, an art thread! In before the poof! I love seeing other folks stuff.

Here's the latest thing on my easel, doing a Pollack-y series, this is #3 so far (and the ipad pic SUX):




2'x4' >>



Hello DrBuster

Thanks for adding more to this thread. And to DuiGuy for the coin
Another double square guy - I love them, singles and triples too.
That is neat - on rigid support or? Primer? Reminds me of Richter more IMHO - Pollock was less directional and more organic IIRC. Mixed, all oil or acrylic or...enamels? All? I guess acrylics? What solvent if not? Hard to tell anything about saturation from your self-described pad pic. Can we see another? Are you wielding a brush or stick like Jackson or do you actually touch the substrate often?

Eric

dcarr

<< <i>Hi Dan (do you prefer Daniel?), >>



I've never really decided.



<< <i>Thanks for looking and the good words. Much appreciated. I should have said "tell me where you see weakness in my composition or" "am I speaking in dead symbolism" - critics are usually sidemen - what they say is of "interest" but I prefer kids opinions and none of them swerve me as I do not play to audience. I have deliberately not shown in a museum since 1986. But, I enjoy discussion of composition and related whenever possible with another on this side of the glass/coin/painting/pen/varnish. >>



One thing I 've noticed about some (but not all) artists is that they can be very jelous of ther artists' success.
I've participated in a few coin/medal design contests. And a couple times I've been asked to supply a specific coin for a museum exhibition.
But generally I don't bother with juried art events. I have that luxury, because my success does not depend on it.

DrBuster

<<
Hello DrBuster

Thanks for adding more to this thread. And to DuiGuy for the coin
Another double square guy - I love them, singles and triples too.
That is neat - on rigid support or? Primer? Reminds me of Richter more IMHO - Pollock was less directional and more organic IIRC. Mixed, all oil or acrylic or...enamels? All? I guess acrylics? What solvent if not? Hard to tell anything about saturation from your self-described pad pic. Can we see another? Are you wielding a brush or stick like Jackson or do you actually touch the substrate often?

Eric >>



Streched canvas, sponge brush for the background coverage, then it's straight from the tubs/tubes - poured, shot, splatters, etc. I'm burning through a bunch of paint I've accumulated, this has acrylic, metal, and latex/house enamel. I'll get some better pics when I get into the studio later and fire up the camera.

Sorry Eric/Dan, throw my hijack demerits in a pile.

DrBuster

<< <i>

<< <i>Hi Dan (do you prefer Daniel?), >>



I've never really decided.



<< <i>Thanks for looking and the good words. Much appreciated. I should have said "tell me where you see weakness in my composition or" "am I speaking in dead symbolism" - critics are usually sidemen - what they say is of "interest" but I prefer kids opinions and none of them swerve me as I do not play to audience. I have deliberately not shown in a museum since 1986. But, I enjoy discussion of composition and related whenever possible with another on this side of the glass/coin/painting/pen/varnish. >>



One thing I 've noticed about some (but not all) artists is that they can be very jelous of ther artists' success.
I've participated in a few coin/medal design contests. And a couple times I've been asked to supply a specific coin for a museum exhibition.
But generally I don't bother with juried art events. I have that luxury, because my success does not depend on it. >>




One of my art buddies, his wife just started painting to do some reverse psych on him to start selling and painting more. He's a schooled talented artist but doesn't pursue it a lot, and boy when she did her first couple quick paintings that turned out really good he got a little steamed. Was funny.

nags

"High Cliff" is absolutely beautiful. I can't stop looking at it. The look has a wonderful texture.

magikbilly

<< <i>One thing I 've noticed about some (but not all) artists is that they can be very jelous of ther artists' success.
I've participated in a few coin/medal design contests. And a couple times I've been asked to supply a specific coin for a museum exhibition.
But generally I don't bother with juried art events. I have that luxury, because my success does not depend on it. >>



Hi Daniel,

I see that dynamic too; when my first/last show brought acceptance from the majority I knew I was in trouble, but I had never shown before, I was only 16 and had four walls to myself. Not exactly calming. I never showed again, apart from digital stuff here and the disasters in DC, the UK and some in print. Juried art events - I'd much rather see local...dinner theater But what really, really drove me out of it is the "what color should I make this?" sort of question from the few pupils I have taken on. My reactions were less than shall we say "well presented", but certainly memorable, and that matters to me for the sake of the pupil.

Eric

magikbilly

<< <i>"High Cliff" is absolutely beautiful. I can't stop looking at it. The look has a wonderful texture. >>




Thank you
I should have put "right click view image" in case some might not realize it keeps going to the right - I would have made a smaller image but then you can't get in the sgraffito. You might find this neat - the warm areas, near the tree and house etc on left - that is just bare mahogany. The paint is very expensive - were I not so fond of the small size I could never afford even one pigment let alone the panel or oil for even a 20" square. I have a few tablespoons of the lapis for the rest of my life. I was very pleased with those trees but, its just the white behind them.

Thanks again,
Eric