These images weren’t first created with apartment buildings in mind. It was after they were done that I started to see personalities and interactions, conflict and companionship, connections and structure and found the tie-in to close living. Click any image to see the slide show.
Typically when I am creating a design on my ipad I start with a line or a shape and let it tell me what the next line or shape should be. I eventually discern a pattern and will build on it until I am happy. It sounds funny but I know I am done with a piece, on paper, canvas or screen, when I feel happy. By that I mean it feels like it is what it is supposed to be. There is no time frame for this, it can take minutes or it can take years. My digital work doesn’t usually take very long but I do have drawings and paintings from the ’80s and ’90s that I have taken out of a drawer and started to work on again, finally finishing them 30 to 40 years later.
This summer I went to visit my daughter Rebekah and her family in Virginia. I was particularly excited to spend time with my 10 year old granddaughter, Vivian. The first day we went museum hopping in Washington, DC. We spent time seeing selections from the National Portrait Gallery, the National Gallery of Art and The National Archives. Vivian was a trooper, walking over 9 1/2 miles that day with nary a peep. Bribing her with Boba Tea at the end helped.
The first four shown here are from an exhibition at the National Portrait Gallery called ‘BRAVO!” which highlighted people in the entertainment industry over the decades. I was particularly taken by these paintings of women and their stories of overcoming strong obstacles to achieve their goals. The fifth, ‘Amarilla’, was elsewhere in the museum but I really liked it so I included it.
50 years ago I graduated from High School. Do you know what that means? No, not that I am old, which I am not (I know this to be true because everyone tells me I look so young I could be celebrating my 49th, not my 50th…)
It means I recently attended my 50th High School Reunion (Darien High School in Darien, Connecticut.) I moved there at the beginning of Jr. High and moved away after High School, living in the town for only 6 of my 68 years. But what a 6 year span it was. My identity was forged in those years and I left with the vision and intention to become a practicing artist, which I did. So did many others in my class. We had a strong art department in our school and many of us went on to have vocations and avocations in the arts. Many others didn’t go into art immediately but had their talent and practice come out later in life. Either way, there was and is a lot of creative activity.
The result of that was the planning committee including an art exhibition and opening as part of the weekend. There are a lot of fantastic pieces so if you are near Darien, Connecticut go check the show out at the Darien Public Library. It’s up until mid-September, 2023. I sent in a suite of 9 napkin drawings as my contribution. Here they are. They are for sale at $200.00 a piece, framed. They are approximately 6″ x 6″ so they fit perfect in small areas. Contact me at marty@martycoleman.com if you are interested.
Click on any image to see a slide show of them all.
I recently ran the Cowtown Half Marathon in Fort Worth, Texas and took the opportunity while there to visit one of my favorite museums, the Amon Carter Museum of American Art. I’ve been a number of times before while visiting my niece who attends TCU nearby but this time I made sure to take pictures of some of my favorite pieces in the collection.
The Carter is one of 3 museums in the same location. The others are the Modern Art Museum of Fort Worth and the Kimbell Art Museum, both of which are incredible in their own right, both architecturally and because of the permanent collections and temporary exhibitions.
No offense to Fort Worth’s more attention-getting cousin, but Dallas doesn’t have anything on Fort Worth when it comes to museums. Don’t get me wrong, I love the DMA, but these three museums are really special.
Chimney and Water Tower, Charles Demuth
Two Herons 1948-50, William Lester, Oil on Masonite
She was writing the letter to her father but had a hard time saying what she wanted so she had started it 7 times.
By that time she was copying bits and pieces of the earlier attempts into the letter in the hope it would finally come together.
The first letter was too harsh. The second was too mushy. The third was too mushy. The fourth was too safe. The fifth was too pretentious and the sixth was too boring.
The seventh was turning out to be all those things and she didn’t like that so she took a break to get another cup of coffee.
As she stood in line she saw a mother roughly pull her child out of the way of a customer walking with a hot cup of tea. It reminded her of something good.
She put on her headphones and got lost in her romance novel until it was her turn to order. The barista said, “Bless you.” when she paid. It gave her a warm feeling.
While she was waiting at the end of the counter she saw an old man grab a pile of napkins as he picked up his drink with both hands. He smiled at her and said, “You can never be too careful, right?”. “Don’t I know it.” she said back with a smile.
As she settled back in her chair she heard the man behind her explain in great, minute detail the process of brewing a perfect cup of coffee to whoever he was with. She quietly chuckled and rolled her eyes.
She felt confident now of what she wanted to tell her father. She smiled as she wrote the five words and signed her given name.
One of the most frustrating things for many artists is when someone is so sucked in by technical virtuosity that they pay no attention to anything else. They don’t care if it’s a lame, derivative and unimaginative image of a B list celebrity, all they see is that ‘it looks so real, isn’t that amazing!’. It becomes the end all and be all of artistic value.
But for me, it is first off, a technical feat that isn’t as hard as people think it is. It looks impressive but having done photo-realism myself back in graduate school days, I know it can be done with repeated practice and not much else. It doesn’t, in and of itself, take a lot of imagination or creativity, it just takes technical practice. Don’t get me wrong, it can include those things, it’s just that often times it does not.
Secondly, admiring that over all else shows a simplistic understanding of art and what it can be and do in society. If the only art that is great or worthy is art that is a direct copy of a photograph or of a real scene, then it cuts off the value of the creative impulse in art that goes beyond realism, like expressionism, abstraction, impressionism, conceptual art, etc.
Thirdly, we already have the photo. What is the value of making something look like a photo when you already have the photo? It becomes just a way to prove virtuosity, which means it becomes a gimmick. Gimmicks in art fall flat after a while.
Fourth, it creates a group of artists who feel like the only valid work is realistic work, that they have to stay in that realm or they are discarded as being not very good. This is especially damaging to beginning artists in their teenage years where they are often pushed to make things look ‘realistic’. But art doesn’t need to be realistic to be valuable and good. But these teens, frustrated with their inability to make something look real, which might be being taught by their teacher and expected from their parents, give up on art never knowing they were perfectly ok just working in whatever vein they were working in.
My teaching philosophy is to teach creativity development and imagination building alongside technical expertise. If one does that then the artist will be able to create technical masterpieces but will have something unique and original within them that make them more than just dead copies of something else.
This month (Aug, 2018) we had the 45th year reunion of our Darien (Connecticut) High School class of 1973. One of the things we have all been amazed at over the years is how many of us ended up being artists of one sort or another. Some ended up being full-time professional artists, some part-time, but there were many more than you would figure from a class our size (about 300).
Jim Hett talking to a crowd in front of his artwork.
One of our alumnus (and artist), Jim Hett, also has had years of experience in museum work, installing, curating, organizing exhibitions. He took the initiative to organize an exhibition of many of the artists’ work and installed it at the Darien Public Library earlier this month. Even though I wasn’t able to attend I wanted to send some work. I had a small space to work with and I wanted something that would be thought-provoking in a library setting so I chose from my ‘I draw in church’ series. I sent a suite of 9 small framed pieces.
Here are pictures from the exhibition. Following those are the individual images.
Exhibition at the Darien Public Library
‘I Draw in Church’
‘I Draw in Church – Jan the Baptist’ | Ink on Paper | 2017
‘I Draw in Church – The Divine Calculator’ | Ink on Paper | 2018
‘I Draw in Church – Mary Magdalena’ | Ink on Paper | 2017
The following three drawings were done in an actual bible. It was given to me in 1997 and I stopped using it to draw in around 2001. I don’t know the specific dates I drew each of these images but I added color to all of them in 2018.
‘I Draw in Church – I Am Not Who I Appear To Be’ | Ink on Bible | 1997 – 2018
This drawing includes a poem I wrote.
I am not who
I appear to be.
You see beauty,
I see me.
I see me as
Far and away.
Helpless, hopeless,
Nowhere to stay.
I see me with
Aching bones,
Sagging skin and
Spiritual groans.
I see me as
Selfish and mean,
Trite and hateful,
Enviously green.
If you see me,
Truly you will know
My beauty proves
I don’t reap what I sow.
‘I Draw in Church – Thought in the Back of Her Mind’ | Ink on Bible | 1997 – 2018
‘ I Draw in Church – Prayers of a Pursed-Lipped Person’ | Ink on Bible | 1997 – 2018
These three drawings (one, ‘The Violinist’, is not pictured individually but you can see the image in the group picture above) do not include any words though one does still have thought bubbles. It’s just that there are images in the bubbles instead of words.
I Draw in Church – The Bible Reader | Ink on Paper | 2014
‘I Draw in Church – What They Thought’ | ink on paper | 2016-2018
(One piece is missing, ‘The Violinist’. I thought I had scanned it and had it in digital form but I haven’t been able to find it so I suspect I didn’t actually scan it.)
I’ve drawn in church since about 1980, probably because I started using sketchbooks small enough to carry into the building. When I tell people I do this often times I get the question, do people in church think that is rude? And here is the funny thing, while I have no doubt some do indeed think it is rude, not one time in close to 40 years has anyone ever said that to me directly. As a matter of fact most people who do talk to me about it are enthusiastic to see what I have drawn and want to know more about why I drew what I drew. This includes pastors, past and present, who sometimes are aware that I draw. The pastor at the church I currently attend will, on occasion, want to see my sketchbook, curious about what’s drawn my attention and how I may have interpreted a sermon or message. At least he knows when my head is facing down I am not asleep, just looking at my sketchbook!
I was raised in a family with art on the walls and art history all around me. I studied art and art history all through undergraduate and graduate school. As a result there are many artists whom I have known about and seen their work over many decades. This is especially true of the work of the early and mid-twentieth century American artists, some that my Grandfather and Grandmother collected. One artist among this group was Stuart Davis. I saw many of his pieces during my studies and some in person. I always liked his work but had never really seen the entire breadth of his accomplishments until I went to the ‘Stuart Davis – In Full Swing’ exhibition at the Crystal Bridges Museum of American Art in Bentonville, Arkansas.
What did I find? I found an innovative abstractionist before there was such a thing, an insightful pop artist before pop art existed and, most surprisingly, a musician who whose instrument was paint. Here are a few pieces that illustrate how the thread of these three ideas weave seamlessly together throughout his career.
POP BEFORE POP
Starting in the late 50s and blossoming in the 1960s, pop art became all the rage. It was a communal reaction from many younger artists to the abstract expressionism then prevalent in the art world. The pop artist was intent on engaging with popular culture instead of withdrawing from it. The 60s were a time of great social upheaval and for many artists trying to be a part of that while painting something that had no visual relationship to it was impossible. So, they took ideas and images from their environment, especially in the area of advertising and mass media (what social media was called before it was social). They then transformed these images in size, material, intent and location to have the image be more than just a soup can or comic strip or American flag. They became commentary and critique at one level and formal visual statements at another.
They were thought of as wholly original and American in their creative use of the world around them and had much acclaim and fame as a result. Only, it really wasn’t as original as we supposed. Stuart Davis had thought of the idea and painted many canvases exploiting the idea in the late 20s, 30 years before.
Here is a popular mouthwash of the day and a typical print advertisement promoting it.
Davis took the product image and created still lives based on them, using it as a starting point for a formal exploration of shape, color, form etc. and at the same time introducing social commentary about popular culture of the time.
Odol, 1924, Oil in canvasOdol, 1924, Oil in canvasLucky Strike, 1924 – oil on paperboard
As you can see, Davis was exploiting the commercial world around him for artistic and social expression well before the pop artists came around. This is evidence that no matter how original a movement seems to be you can usually find roots and reasons behind its development that show an incremental development from work that has come before.
ABSTRACTION
Once Davis started down the road of using objects from day-to-day life for his subjects he quickly moved beyond mere representation. He did this by adding another element that would gain great traction later in American life and that is abstraction. This was not a concept he came up with, it had been germinating in Europe for at least a decade or two. Malevich, LIssitzky, Kandinsky and Mondrian were all moving decisively in that direction in the first two decades of the twentieth century.
As a matter of fact, Davis was very attuned to this European movement from the time he attended the famous Armory Show of 1913 in New York City. While pure abstraction wasn’t highly visible at that show, it was hinted at in many of the works. In subsequent years the European abstract artists work continued to be known about and seen in America on occasion. But, here is what is interesting. The majority of collectors and artists purposely rejected the European idea of abstraction in favor or what became known as American Regionalism. In an effort to delineate boundaries between the two continents and forge their own identity, American artists went in the opposite direction, towards a social realism and narrative story telling.
All except Stuart Davis. Instead of reacting against abstraction he decided to investigate it and find it’s expressive value. And so he embarked on a great journey of combining abstraction with visualization of external subject matter in a completely unique way.
Salt Shaker, 1931, oil on canvasEgg Beater #4, 1928, oil on canvasEgg Beater, 1928, oil on canvas
Above are just three examples of this idea in action.
VISUAL MUSIC
As much as I like narrative stories, representation and messages in art, the number one thing I must have for me to be satisfied with a piece is compositional harmony. It has to be composed well and be balanced. That isn’t as easy or pat as it sounds. It takes meticulous seeing and it takes a courageous willingness to destroy part or all of an image to make it work right.
One of the most amazing things I discovered as I walked through this exhibition at Crystal Bridges was how much I was taken in by the composition of almost every single piece. I saw a genius-level use of color, rhythm, pattern and tone to develop the compositional flow. It was incredibly impressive to me at a root level.
One thing I always tell people when disparage abstract art and wonder why it has any value is for them to think about music. Do they demand lyrics be added to a symphony for it to be worthy of attention? Do they demand a beautiful Spanish guitar solo be punctuated with a story-teller standing next to the player explaining what each passage is supposed to mean and how it all fits in to a specific story? No, they don’t. Why? Because they know sounds can be beautiful, profound and meaningful without a verbal element to them.
The same is true in Abstract art. It can be seen the same way a symphony or guitar solo is heard. It can have its own visual beauty without having to be a representation of something outside itself. And Davis was deeply enmeshed in that idea. He was immersed in the world of Jazz in New York and beyond and he worked profoundly hard to bring that jazz sensibility to his visual art.
But it goes beyond just one canvas having jazz rhythms. It’s the whole idea of improvisation that Davis embraces. Just as a Jazz artist plays the same tune each night at the club, but improvises it differently each time, Davis did the same from canvas to canvas. As a matter of fact, much of his later work was variations on a theme he had developed earlier in his career.
Here are a few examples of that improvisation on a theme over the years.
Town Square, 1929, watercolor, gouache, ink, and pencil on paper
Check out the transformation of the scene from the image above to the one below. ‘See’ it as you would listen to music and let your eye travel around the two images the way you would listen to two different parts of a symphony. There is echos and hints of each in each other but they are both completely unique.
Report from Rockport, 1940, oil on canvasFrom top left clockwise – Landscape, 1932-35; Shapes of Landscape Space, 1939; Memo, 1956; Tournos, 1954
Let your eyes bring about the different feelings you get by looking at each piece the same way you would let your ears take you to places in your mind while listening to music.
Little Giant Still Life, 1950, oil on canvasSwitchskis-Syntax, 1950, Casein on canvas
Let the colors guide you the way different instruments guide you through a musical composition. The horn brings up something different in you than the violin. Green and black bring up something different from blue and pink.
American Painting, 1932, 1942-1954 – oil on canvasTropes De Teens, 1956, oil on canvas
AND MORE
It’s not enough to limit Davis to just 2 or 3 Art Appreciations lessons. The joy isn’t in always categorizing an artist’s work into little bite size pieces. Sometimes you just sit back and not worry about the label, you just enjoy the visual music.
Here are some examples of his work I think is amazing. It gives me pleasure to investigate and discover. And that is always enough for me in art.
Summer Landscape, 1930, oil on canvasLandscape with Garage Lights, 1932 – oil on canvasArboretum By Flashbulb, 1942, oil on canvasCliche, 1955, oil on canvasThe Paris Bit, 1959, oil on canvas
CONCLUSION
This is just a small sampling of his work and a micro look at a few of his career phases. I recommend you spend some time reading up on him and looking at more of his work. You won’t be disappointed. The catalog from the show pictured at the top of this post is an excellent source for artistic and social information about his life and times. It includes a wide array of images, 2 long and interesting essays and an in depth chronology. I highly recommend getting it if you like his work.
