Opening Doors For Outdoor Artists

One venue that artists have traditionally used to sell their work is the outdoor show. No other showcase offers the number of art viewers who are able to buy directly from the artist. A prolific hard working artist could conceivably do a dozen shows a year and earn a decent living.

Over the years, show organizers, realizing they had somewhat of a captive audience, began offering more – food, alcohol, music, raffles, children’s activities, and art demonstrations. Many shows became expanded festivals and some took on the look of county fairs. Mom, dad and the kids could be entertained by art while chomping chili dogs and kettle korn.

Because of this, sidewalk shows are often criticized for having a “something for everyone” mentality. Art museums and galleries especially take a dim view of art fairs. Artists who list outdoor shows on their resumes run the risk of being considered not museum worthy.

There is, however, an exhibition at the Leepa-Rattner Museum of Art that signals a change in attitude. Rocky and Friends is a tribute to the 35th anniversary of the Palm Harbor Fine Arts and Crafts Festival and some of the artists who have shown their work there. This excellent show was organized by the Museum and artist Rocky Bridges, a long time exhibitor and favorite son, born and raised in Tarpon Springs.

Yesterday a friend and I took a walkthrough which slowed to a crawl as we took in a gallery full of magnificent and mysterious awe inspiring art. Afterward, we concluded that every piece of art hanging there was museum worthy.

Outdoor art shows offer the best of two worlds – entertainment and fine art – and the hope is that exhibitions like this will help people distinguish between the two.

Rocky and Friends runs through January 10 at Leepa-Rattner Museum of Art, 600 Klosterman Road, Tarpon Springs. (Photograph: Tribute, assemblage, 2009, Rocky Bridges, courtesy of Leepa-Rattner Museum of Art)

Are You Tired of Sappy Schmaltzy Sentimental Saccharin Animated Holiday Films?

Alma from Rodrigo Blaas on Vimeo.

Lesley Dill Exhibition at Hunter Museum of American Art

Searching For Art

A recent St. Petersburg Times story, “Seeking but never finding,” caught my attention. According to behavioral scientists, there is a biological explanation why we’ve become addicted to Google searches.

It appears this activity stimulates a region of the brain called the lateral hypothalamus, or “seeking center.” The constant arousal of this region is what compels people to sit for hours at a computer googling. Some psychologists believe that doing this over time renders us unable to perform concentrated thinking or extensive reading.

I can now disclose that I have first hand experience of this new phenomenon. Last month, after moving my art studio back home, it became necessary to rearrange my workspace. The living room has again become the matting and framing area. The dining room table now doubles as a wet- media work station.

Taking advantage of the only available north light, I placed my drawing board by the bedroom window – directly across from the computer. Bad move!

Creating for me requires an empty mind, so before beginning each day, I must first sweep out the place. Every distracting thought skulking in the corner is pushed out the door, every yapping desire temporarily chained outside. Only then in the emptiness of the present moment does inspiration show itself.

This process is difficult in the best of times. Throw in the instant gratification of one Google fix and another and another and making art gets down right impossible.

I wonder who the world’s tallest man is.
Google: “Sultan Kosen, a Kurdish shepherd living in Turkey is 8’1.5” tall.”
Kurds? Aren’t they the largest ethnic group without a country?
Google: ‘There are about 35 million Kurds today living as minority populations in Turkey, Iran, Iraq and Syria.”
What is the capital of Syria?

Hours later I look up and wonder where the time went. A blank canvas remains on the easel. Clean brushes are lined up waiting to be pressed into service. The Google home page glows from my monitor.

I wonder who the world’s shortest man is.

Inside The Fantasy Factory

The bane of us former commercial artists is for our fine art to slip back into mere illustration. The drawings could then be easily incorporated into magazine ads for time-share resorts or packaging for hot dogs.

This problem is especially tricky since my art tends to be figurative with some sort of narrative element - both ideal for advertising purposes.

Through trial and error I've learned to block all preconceived ideas from entering my mind. The Buddhists do this to achieve clarity of being. I do it to banish the commercial artist.

Today I kept them out of the studio long enough to make two drawings.

Joel Kessler, Naples Art Assoc. Dir. Interview

From The Archives: The Tar Paper Project

I learned early on that it's not wise to pass up anything that presents a surface on which to make a mark. Thus, any flat surface became fair game for wildly experimental work and over the years I've painted on screen doors, dinner plates, plywood, car hoods, tennis shoes, and tar paper.

Like many unusual surfaces, the tar paper came to me by accident, leftover from a next door roofing job. A roll of the thick black paper lay abandoned in the weeds and after a month I grabbed it. With no clue for its use, the roll stood in my studio corner for another month.

One uninspired day, irritated because images would not come out of hiding, I cut off a piece of tar paper, took some pastels and began to draw. My first stiff-armed attempts ended up in the trash can, but, as I got used to the paper's odd spongy nature, some decent gestural images began to appear.

I stayed with tar paper long enough to complete a series of birds. Above are two that survived.

Visages d'Art

Dunedin Art Harvest

The challenge and ultimate satisfaction of an artist is the willingness to simply let things happen. Give up control for awhile. Let go of preconceived ideas. Get out of the way and just paint.

For the upcoming Art Harvest show, I allowed myself to paint on black masonite squares. I dared myself to use water based oil paint, and wondered what would happen if the surface was sprayed with glue.

The wonderful Japanese sculptor, Jun Kaneko, said his art comes from intuitive ideas based on a lifetime of experiences. Perhaps the experience provides a comfort zone that prevents us from falling off the edge into chaos. Within that shelter the artist is free to try something new, to be bold.

Fu Lions And 15 Minute Art

Over the years, I’ve collected snippets of conversation overheard at outdoor art shows. The open nature and family entertainment atmosphere of this type of show encourage sidewalk critics emboldened by cups of brew and funnel cake.

A book I’ve always wanted to write would be full of these funny and sarcastic comments that have little to do with art appreciation. Several remarks were repeated enough to make me wonder why I work a certain way. In this respect, even cynical asides can be of some use.

1. How long did it take you to paint this, 15 minutes?
To most people, something is worthy of value only if it took a long time to create. There is no room in this way of thinking for gesture and spontaneity born from a lifetime of experience. Neither do people think much about process. They only see that an artwork had a beginning and after a lot of work was finished. They fail to appreciate the many stops and starts, self doubts and anxieties along the way until an artist felt sufficient confidence to exhibit a 15 minute piece of art.

2. My grand-daughter can paint better than this.
I have seen children’s art that is quite remarkable, fun pieces full of color, energy, and joy. But when asked to repeat their effort, the children often struggle, becoming restless and distracted. They are eager to move on to the next thing that catches their eye. An experienced artist arrives at a mature style after many years work. Such an artist intends to repeat their efforts. They eagerly make one painting and another and another because they must. They cannot not do it. No six year old grand-daughter would put up with that.

3. Why don’t you paint pretty pictures?
The easy answer would be that I can not improve on the beauty of Nature. Nature is perfect just as it is and my art is not. That does not, however, stop artists from trying over and over to transcend Nature’s beauty. For my own art, I am often reminded of the fierceness of Fu Lions. Great snarling stone sculptures were often placed in front of Indian and Chinese temples for protection. A cute bunny or beautiful maiden would be of no use when faced with evil spirits intent on mischief. No one messes with an ugly guardian creature that can bite your face off. Lately, I’ve come to the conclusion I don’t paint pretty pictures because they don’t give me enough protection.

Pay Per View Art

The humidity just dropped ten percentage points in Central Florida, which means Fall must be on its way. It is still 90 degrees outside but people are reappearing on the streets, eager to shake off four months of air conditioned hibernation. Businesses here in Tampa Bay hold "come on in" sales and art galleries advertise their roster of fall exhibitions.

I recognize some of the well known artists but notice a number of newcomers to the local art scene, all eager to make a name for themselves and perhaps a few sales. If they stick around long enought, it is possible they might make a name and even sell some art. Making a living from their art will prove much more difficult.

Artist's expenses continue to rise and the cost for a substantial one person show can run to thousands of dollars. In spite of a slew of advance publicity, great galleries, and exciting art, the promise of art sales might never materialize. Most call-for-entry art exhibitions now charge a hefty entry fee, which is non-refundable. For those accepted, up front expenses must then be regained before any profit can be earned. People wonder why artists look so glum at outdoor shows. An artist can not survive for long when the trickle-down of cash flow never reaches them.

Part of the answer could be pay per view art. Art galleries and outdoor art shows would charge an entry fee to view the art. This is not a new idea. Most museums already charge entry fees as do some high-end galleries and cash-strapped outdoor shows. It could be pay at the door or in a contribution box, but the main difference would be that the artist has a share in the proceeds.

This kind of arrangement would guarantee better quality art works and more visitors willing to spend a few dollars to see great art. Art galleries have become expensive consignment shops and outdoor shows promise all kinds of entertainment for the family. None of that is promising for the artist. Pay per view art could make a difference.

Amedeo Modigliani

I knew nothing of the personal life of Amedeo Modigliani when first introduced to his art in college. Only later, after reading his biography, did I learn about the man and a life of sickness, poverty, and addiction. Dead of tuberculosis before the age of thirty-six, Modigliani had only one solo exhibition in his lifetime, and gave away many of his paintings for food.

No introduction to his art was needed. The pain, sorrow and dark beauty of his life were present full force in his paintings, making an immediate and profound impression. Yet there is another element of Modigliani's work that I find particularly appealing. I cannot look at his sublime portraits of women without also feeling a sense of allure, a hint of danger, and, above all, mystery. And isn't that, after all, what we look for in women.

The Watery Heart of Florida

My friend and I made another and this time slower trip down to West Palm Beach. I'm happy to say that the Atlantic Ocean continues to surge ashore in Palm Beach County. The Gulf of Mexico still flows under the magnificent Sunshine Skyway bridge into Tampa Bay.

Lake Okeechobee I'm not so sure about. In two trips, we have yet to glimpse the full expanse of the 730 square mile lake. Surrounded by a 30 foot dike after a devastating 1928 hurricane, the Lake lies hidden from view for most of its circumference.

We stopped at the Clewiston boat launch and climbed to the levee's top, expecting to see miles and miles of big water. No luck, the view was blocked by huge grassy islands dredged up by the Army Corps of Engineers.

Driving home Sunday, we passed through the town of Okeechobee on the Lake's north shore. Friends said the Lake's vastness could be enjoyed from the town fishing pier. Lake Okeechobee is a natural wonder of Florida and headwaters for the mysterious River of Grass, the Everglades. The only mystery we found was a total lack of directions or advertisements for the Lake.

After driving up and down country roads, we gave up and continued west into the flat belly of Florida. Once home, Google Maps informed me that we were only two turns away from the road to the Lake. The big watery heart of the state lies contained, waiting for our return or perhaps a Catagory 5 visitor.

Take Me To The Water

The idea sounded simple enough and fun - deliver a bunch of artwork to the Armory Art Center in West Palm Beach and return in time to watch the sun set while crossing the Sunshine Skyway. My friend Melissa and I had hopes of success, but rain, photo opps, and detours in Belle Glade conspired against us.

Landscapes along the way more than made up for the missed sunset. Seeing the Gulf of Mexico, Lake Okeechobee, and the Atlantic Ocean in one day became the icing on my journey. In between, massive thunderstorms rolled over endless fields of sugar cane. And the stark contrasts of Palm Beach County - rows of migrant worker shacks in sugar cane towns and thirty minutes further on, the million dollar mansions of Palm Beach.

As a lifelong Cracker Boy, I thought I had seen most of this fascinating state, but drive away from the crowded coasts and bits of Audubon's Florida still exist. The Fakahatchee Strand lies in wait.

Object Lesson

In 2004 the Museum of Fine Art in St. Petersburg held a major exhibition of renowned glass artist Dale Chihuly. In what would become a prelude to a permanent Chihuly presence in St. Petersburg, the Museum filled its first floor galleries with the maestro’s art.

My friend Rima persuaded me to go, with the promise of lunch and a quick ride in her sleek BMW. I was not disappointed - by lunch, Bavarian cars, or Chihuly. At the Museum we wandered from gallery to gallery, astonished by the sheer exuberance and versatility of Chihuly and company. His swirling sculptural creations have become for many the epitome of the beautiful object.

On the way out, we passed through a room with a small collection of Pre-Columbian Art. My senses had been primed by Chihuly’s flashy glass, but they were pounded by the sight of Meso-American pottery pieces – clay statues of gods and goddesses, warriors, priests, and effigy animals. These works, from before the time of Christ to the 15th Century and all artisan made, radiated primal energy, earthiness, and mystery.

Their self-assured presence reminded me of Archaic Greek statuary, but with more power and scariness. I was so transfixed, my friend had to pull me away from the glass cases. I saw my own art in there, or what I wanted my art to be.

Two exhibitions – one of beautiful objects and the other of mysterious objects. Both are legitimate modes of expression and both have their respective advocate groups. Which am I?

Several years later, Chihuly made a personal appearance at the Arts Center in St. Petersburg. Rima surprised me with the gift of his splashy coffee-table book and we stood in line for an hour to get his signature in it. The book now sits on my shelf, lost among others of African, Mexican, Indian and Oceanic art.

brainiac

everything that is possible to be remembered will one day work its way up from the cranial folds and synapses and present itself whole and you wonder where in the world did that come from having for these many years completely forgotten for instance who was in the cast of tv’s Our Miss Brooks or what pt in pt boat stands for or how did the word sidekick come about but there they are tumbling about in your conscious until it suddenly hits like a remote against the wall Google Did It and of course now it makes perfect sense because the searching engine that can has turned into our super duper uber brain and the more answers it serves up only opens our temporal floodgates more and everything that was once forgotten surges out into the realm of possibility

Action Jackson

I first learned about Jackson Pollock in Art History 101, courtesy of H. W. Janson's textbook classic, History of Art. Still in the thrall of van Gogh and Matisse, I paid scant attention to the small color reproduction of Pollock's One, Number 31. It was small and messy looking, much like the accidental spin-art pieces I had seen at the Florida State Fair. Even seeing his work projected large in lecture class did little to convince me of greatness.

Several years after graduation, I made my requisite pilgrimage to New York and The Museum of Modern Art. Wandering from gallery to gallery, I recognized, with increasing awe, masterpieces I had first studied in college. Finally, rounding a corner, I found myself confronted by all 9' x 18' of One, Number 31. The effect was immediate and mesmerizing. Stunned by the painting's immensity and power, I could only stand and stare.

And as I stood there taking it all in, something strange happened. The painting began to vibrate. Juxtaposed layers of colors began a dance of kinetic opposition - blobs of blue receded in deference to stringy runs of red, white comets streaked overhead and anchoring everything, webs of glossy black. The vision of that humming mass passed through my eyes and seemed to resonate inside.

I won't soon forget the experience and came away convinced of the error of my former judgement. Jackson Pollock is one of the greatest of 20th Century painters.

A Wild Beast In Tampa

The Tampa Museum of Art's classy new home is not even complete, yet has already landed a big one - the original Fauve himself, Henri Matisse. A Celebration of Henri Matisse will be the inagural exhibition of the Museum's instant landmark building on the Hillsborough River.

The exhibition will feature an extensive collection of Matisse's prints, paintings and sculptures and will be the first comprehensive showing of his work in the Tampa Bay area.

Parisian art critics first called Matisse a "Wild Beast" for his bold expressive colors and non-Academic style. He eventually won them over to become arguably the greatest artist of the 20th Century.

Read St. Petersburg Times Art Critic Lennie Bennett's story.

Under The Bed

Later this month I will shut down yet another temporary studio and move into brand new digs, the Stirling Hall Studios in downtown Dunedin.

The grunt work of packing now begins and I am rediscovering art pieces squirreled away nine months ago. It is good to see old friends emerge from closets and crannies, dusty, but no worse for the wear.

This pastel painting titled Ol' King Cole was pulled from beneath the bed, and may explain some of the regal dreams I have lately experienced. The piece also makes me wonder if an art work can truly be called finished if no one ever sees it.

Henri Matisse

One of my college art classes was a studio course called Methods and Materials of the Artist. After an introduction to the various media, we were given the assignment of reproducing a work by a 20th Century master. The catch was that we must stick to a 9" x 12" format and use a medium other than the one used by the artist.

I chose to reproduce in gouache one of the many still-lives of Henri Matisse. After laboring for a long and frustrating week, I finished the piece just before the deadline. Not much more is known, except that I somehow passed the course. The still-life ended up in my portfolio and after graduation became a gift to my parents.

Placed in an antique frame, the piece held a place of honor in their home for years. One day, a visitor to my mother's antique shop stopped to admire her painting collection. Standing in front of my class project, she leaned in close to read the signature and her mouth fell open.

She slowly turned to my mother and with mounting excitement said, "I'm not positive, but I think you might have an Henri Matisse painting."

In that moment, my mom made the decision to have some fun and play along with her visitor. "Oh goodness, do you really think so?"

The lady did think so and nothing would do except for her to take the piece to a friend for authentication. Her friend turned out to be one of the curators at the Ringling Museum of Art in Sarasota.

My mischevious mom resisted the urge to halt the ruse and handed over the still-life. Weeks passed until one day the visitor called with promising news. The Ringling curator had thoroughly examined the piece and agreed it might indeed be a Matisse.

"The only way to know for sure," he said, "is to show it to Matisse's son Pierre in New York."

At that point, my mother thought it best to end the charade. She had the art returned and continued to enjoy her 'masterpiece' for many more years.

Art For Artist's Sake

There is a belief held by many people, including artists, that art museums are about artists.
And by extension, local art museums are or should be about local artists- their art, their concerns and their careers.

A recent article in the St. Petersburg Times brought this belief into sharp focus. Museum Innovators Stay True To The Mission is an interview by Times art critic Lennie Bennett with six Tampa Bay museum directors. In an extensive double-spread story, the directors discuss their missions, creativity, and working through tough economic times.

After reading the interviews, it occurred to me to reread the story and with a yellow marker underline the word “artist” each time it appeared. I was surprised to find “artist” mentioned only one time in the entire story. Three internationally known painters were discussed, but only in the context of upcoming exhibitions. In closing, one of the directors stated that the key ingredients for a successful museum are exhibitions, collectors, critical writers and patrons. None of the six directors said part of their mission is to exhibit, promote, or support local artists.

However, all of the area museum directors I’ve known do support the local art scene. At various times there have been outstanding exhibitions of local artists as well as student and very special arts exhibitions. Museums have also, in the past, helped sponsor art related events. Sadly, these kinds of shows have succumbed to economic demands.

The Times article brought home one crucial factor in understanding how art museums function. Museums are in the business of art and consequently greatly concerned with
meeting payroll, insurance, taxes, building maintenance and myriad other problems that arise. These all take money of course, and I’ve come to believe that the main job of museum directors is fundraising.

Suffice to say, every museum exhibition must be considered in terms of how much buzz will be created and how many paying customers will come in the door. In that formula, exhibitions of local artists are not a high priority.

Arbiters of Good Taste Ride Into Clearwater

Rest safely citizens of Clearwater. No longer must you tolerate wicked or satanic art in your fair city. Your City Council, atop white steeds of moral indignation, has ridden to the rescue.

Several years ago, Clearwater, like hundreds of cites across the country, formed a Public Art Project. One of the Project’s goals would be placement of outstanding artworks throughout the city - in city buildings as well as select commercial settings.

Longtime city employee, teacher and artist Margo Walbolt headed up the Project until her recent retirement. Under Margo’s excellent guidance, and with the assistance of an arts committee, many wonderful examples of art began to grace the city. Clearwater’s mayor and City Council applauded. Everyone was happy.

Last year the Downtown Development Board (The City) and the Clearwater Downtown Partnership (local businesses) began placing temporary sculptures in the median of Cleveland Street. These public art pieces went through a rigorous selection process by a panel of experts and are fine examples of art created by national artists.

One piece titled Sorcerer’s Gate soon brought an outcry of protest from some in the community. The title and part of the piece they interpreted as a tail were found objectionable on religious grounds. The sculpture was called “wicked” and “a message from hell.”

The Clearwater City Council caved under the complaints. It has now changed a city law ensuring that they, the Council, have final approval over public art. In so doing, the City Council has compromised the Public Art Project and decided they know more about art than their own art committee experts.

The Council has acceded to the beliefs of a small and vocal part of the community, and denied Clearwater’s citizens and visitors the opportunity to experience a wide variety of art.

This is unfortunate in the short-term, but creativity springs eternal and public art will continue to enrich our lives for years to come. Municipal governments, on the other hand, come and go.

Allen Leepa Retrospective at Leepa-Rattner

I first met Allen Leepa in the late 1990s when he and his wife Isabelle dropped by my Dunedin art studio. Dressed casually and wearing his trademark suspenders, Mr. Leepa gave the appearance of a rumpled academician. I was not surprised to learn he had retired as art professor from Michigan State University.

For almost an hour, we talked about art, the life of an artist and my paintings. Many people who look at art speak in glowing terms about pieces they like and remain silent about the rest. Mr. Leepa studied each piece hanging in the room and even looked at works stacked in the back. All the while, he gave a running commentary of pieces he liked and why he liked them.

But more than that, he proceeded to talk about painting that, in his mind, were less successful and why they seemed unresolved. All throughout our discussion, Mr. Leepa asked questions that made me rethink why I painted a certain way.

Artists often paint themselves into corners, redoing the same tired images until they become stuck to the studio floor. We need to ask ourselves the questions Mr. Leepa asked – “Why did you put that blue color on the left?” “Why is that head floating in space?"

I knew when Allen Leepa left my studio that I had just met an extraordinary teacher.

ALLEN LEEPA (1919-2009) A Life In Paint at Leepa-Rattner Museum of Art

Confession of a Clown, (picured above) 1950, pastel and oil on canvas, courtesy Leepa-Rattner Museum of Art

Local Artist Runs Off At The Mouth

In conjunction with the exhibition In a New Light, Selections from the Gulf Coast Museum of Art Collection, Florida International Museum at St. Petersburg College is beginning a Saturday Artist Series.

Curator Christine Renc-Carter has asked me to kick off the Series with her on Saturday, August 8th, 11am – 12 noon. Our point of departure will be a discussion of A Close Shave, my piece in the exhibition. After that, any and all art subjects will be fair game.

Please join us for an hour of casual conversation in the intimate setting of the Florida International Museum galleries. RSVP (727) 341-7918. Coffee and pastries will be provided by Panera Bread.

Florida International Museum is located at 244 2nd Avenue North in St. Petersburg, (727) 341-7900. www.spcollege.edu/FIMuseum

This event is complimentary with price of museum admission.

Nighthawk by Edward Hopper

Edward Hopper and Tom Waits - two American masters.

Late Night Tasty Bites

All work and no Saturday sit-down dinners makes this writer a cranky chap, so recently I gladly accepted friends' invitation to a dinner based on the cookbook Nigella Bites. Nigella Lawson is a British best selling author and host of Nigella Feasts and Nigella Express.

Our hosts, David and Carol Cortright, opened their wonderfully eclectic home and provided an assortment of creative cuisine. Carol Cortright, accomplished chef and writer herself, started the evening with watermelon daiquiris and Elvis Presley Sandwiches - great little appetizers of peanut butter and sliced bananas on white bread, all fried to a golden turn.

Kicking caution into the humid night, I promptly overindulged, leaving just enough room for the main course - eggplant ratatouille, a sublime mix of vegetables, herbs and garlic. A double helping and plump strawberry trifle for dessert sent this gourmand home sated and ready for the sack.

Pictures At An Exhibition

Here are a few of the artists who made Cool Art Show 2009 a rousing success. A record number of visitors came, saw and bought outstanding art from 80 talented artists. St. Petersburg's fabulous Coliseum became the perfect backdrop for a weekend that Florida thunderstorms could not even dampen.

Thanks to all who made it possible.

Artists from top: Lisa Glaser, Lee Jones, James Michaels, Jack Bond, Candace Ripoli, Barbara Hanson

In Honor Of Three Alive Artists

This weekend a simultaneous art experience will happen for three renowned artists/pava members. Jack Breit, Denis Gaston and James Michaels will have their current work on display at the Cool Art Show and also have their collected work on display at the “In a new Light “ exhibition at the Florida International Museum at St. Petersburg College. This will give the public the rare opportunity to meet celebrated artists in the community and purchase their latest creations.

In honor of the artists and the concurrent show at the Florida International Museum (FIM) patrons visiting the Cool Art Show will receive discounted passes to view the “In a new Light” exhibition.

The Cool Art Show runs Saturday and Sunday, 10a.m. to 5p.m. inside the Coliseum, 535 4th Avenue North in downtown St. Petersburg. Admission and parking for the show is free.

Hot Town, Cool Art

The 21st annual Cool Art Show returns to the historic Coliseum in St. Petersburg, July 18, 19, 10am-5pm. Featuring 75 statewide artists working in all media, Cool Art will please the eyes and engage the mind. Check art writer Megan Voeller's Creative Loafing story for more information.

Little Boxes

It is not necessary to work eight hours a day seven days a week to create a body of art. All that is required is a willingness to somehow get the job done. Painting sixty minutes a day over a year's time will give many hours in the studio.

The writer Elmore Leonard got up at 5:00 am and wrote for two hours before going to work at an ad agency. He did it for ten years and turned out five books and 30 short stories.

My ad agency days are thankfully behind me and I've found arising in the dark unappealing. The best I can muster is staring out the window at daybreak, nursing a cup of darjeeling.

But working here and there over time, I've amassed a sizeable body of new paintings and drawings. Above is a mixed-media painting on masonite called Little Boxes.

Zen Of The Pen

There is a method of making art called automatic drawing in which a mark is placed on the paper and then another and another and with no apparent conscious intent a series of abrupt beginnings and endings continues until something like a finality is reached or perhaps the hand refuses to work anymore.

Mixing Up Some Media

While waiting for new studio space to open, I labor in the confines of a small apartment turned atelier. My dining table doubles as a drawing board, the tea table a framing station. As my focus narrowed, large works got shoved under the bed and I once more made friends with #0 brushes.

For the Cool Art Show in St. Petersburg next month, I will have many five by seven inch drawings. Nine inches by nine inches is now a large work and that is the size of Bell-Hop at the Sands Hotel (above) - an example of mixing some media on masonite.

From The Image Vault

Rummaging through my image folder the other day, I came across this small sculpture completed a few years back, and now hopefully hanging in someone's home.

It's an example of a blocked painter with time on his hands, a bunch of wooden dowels and a French Savoyard whittling knife.
I'm not keen on the idea of Art Therapy, but here was a project perfectly suited for my predicament.

I worked straight through on the piece, finished it with some satisfaction and retired the whittling knife, never to sculpt another. I did, however, begin painting again with renewed vigor.

In A New Light

This past January, the Gulf Coast Museum of Art in Largo closed it doors for good, victim of a bad economy, poor attendance, and perhaps a bit of public apathy.

The fate of the Museum's 450 piece permanent collection became a big concern, and most feared it would be sold off piece by piece to other institutions.

Quite the opposite happened. In a gutsy and hopeful move, St. Petersburg College brokered a deal with the Museum in which the College received the complete collection. All the works of art will stay in the area and be housed in various College buildings.

A big chunk of the collection is being showcased in an exhibition at Florida International Museum in St. Petersburg. The exhibition, "In A New Light," will feature one of my works I called A Close Shave, and that title now seems appropriate for the entire collection. Read more about the exhibition here.

The exhibition is at the Florida International Museum at St. Petersburg College, 244 Second Ave. N, St. Petersburg, through Oct. 4. Hours are 10 a.m. to 5 p.m. Tuesday through Saturday and noon to 5 p.m. Sunday. Admission is $8 adults, $6 seniors and military, $5 students and free for children 6 and under. (727) 341-7904.

Good Things, Small Packages

In my extended gig as a health food store "vitamologist," word got out that I also dabbled in the Arts. Before long, I was asked to exhibit work in the store cafe, next to the "all you can eat" salad bar and across from the "grab 'n go" deli.

It occurred to me one day, while noshing on an organic radish, that in a restaurant setting a different kind of art exhibit would be better appreciated. Thus was born the Grab 'n Go Art Show, featuring scores of original 3"x 5" drawings covering the deli walls. Customers simply pulled off the drawing they liked and left $5.00. I made enough money from that exhibition to buy more art supplies.

The Grab 'n Go Art Show will make a reappearance at the July Cool Art Show in The Cloiseum in St. Petersburg. Above are samples of many new works that will be available.

Rain Changes Everything

Night of the Driving Deluge

Last night it rained like fifty-five years ago. It rained like when I was a kid in New Port Richey, Florida summer thunderstorms, bucketfulls coming down and I couldn't wait to get my swimsuit
on and get out in it. Racing around the yard like a space ranger, soggy grass squishing my toes and the glow of my dad's cigarette on the dark front porch. Then the exit, sitting, out of breath, wrapped in a thick towel with a cup of hot chocolate.

Last night, when it rained the first wet drop, I went inside and watched.