Chance Aesthetics

October 9, 2009

Since my mother was diagnosed with cancer I have not have much time or energy to go out and see many art exhibitions. In addition to that, there hasn’t been much time for even working in the studio. Other than the small drawings I have done I have been sort of out of the art loop.

In saying that, Monday I was able to make it over to the Mildred Lane Kemper Art Museum on the campus of Washington University. I also what to state that I like going there to see contemporary art than I like going to the Contemporary Art Museum St. Louis. I think the exhibitions at the Kemper are more varied and I like that the museum is free and being in the situation I am in, free is great. I honestly have not been too interested in the recent exhibitions at CAMSTL.

The exhibitions I saw were Chance Aesthetics and Metabolic City. I will separate the two into separate posts. I was interested in Chance Aesthetics because in my own art I have used elements of chance to develop my work. I tend to use it as a starting point such as dumping ink or paint, using drip patterns and allowing “mistakes” to happen and worked with the unexpected things that come up when making art.

Historically, art has been a skill in which an artist demands exceptional control to achieve a great work. This means works were planned endeavors obsessive perfection. In the 20th century some artists decided to work in opposition to this. The exhibition starts with the Surrealists and Dada, which makes sense to me. What I think is so great about using chance as a basis for a work is that it becomes playful and fun instead of being an intellectual and dry assignment that a lot of art has become.

Some of the works are sloppy and dirty but some are totally obsessive, clean and systematic. The latter still retain an element of surprise and engagement.

Some notable artists and works. I like Ellsworth Kelly’s gridded, cut-up and reassembled drawings.

Ellsworth Kelly

Ellsworth Kelly

There is Mimmo Rotella’s decollages of advertisements that you might see on the streets where posters are layered and ripped apart. Sort of like a defaced pop art.

Mimmo Rotella

Mimmo Rotella

Similar to Rotella’s is Jacques Villegle’s work. Something is very subversive and punk about these works. I like that.

Jacques Villegle

Jacques Villegle

I did love the simplicity of Duchamp’s readymade, “hatrack”, that was hanging from the ceiling. I think most people would see the spider-like look of this work and I think most would enjoy this one cause of its playfullness and it is non-confrontational.

Marcel Duchamp

Marcel Duchamp

I enjoyed William Anastasi’s subway drawings. I was doing stuff like this when I was in London. I am not saying I did it first but I feel a connection to this cause of my own personal experience with this mindless exercise. Fun and surprising to make.

William Anastasi's Subway Drawings

William Anastasi's Subway Drawings

There is the systematic digital looking Francois Morellet’s telephone directory works. By just looking at it, it looks like a non-objective minimalism. There is the white one that has the layer of varnish on some areas…white on white…so when you look at it at certain angles you see the differences. I think of Ryman’s white paintings. With the black one’s I think of Ad Reinhart’s black paintings. Those ones are definitely more quiet and subtile. Some of them use hot and sometimes competing color schemes that are more challenging. His work can seem like a combination of a Sol LeWit type of work and op-art. The grid seems to be a very important part of the structure of his work.

A telephone directory work by Francois Morellet

A telephone directory work by Francois Morellet

In addition to those works there is Arman’s work in which he collect Claes Oldenburg’s trash. Interesting in an invasion of privacy kind of way. There was a osmotic work by George Maciunas in which spills ink onto a canvas ans lets it spread a soak into the canvas. Marcel Jean and Andre Breton’s drawings were similar. There was Ray Johnson’s mail art and game-like works. There were some exquisite corpse drawings, John Cage compositions and a Nam June Paik’s blank films…well except dust scratches and whatever happened to interfere with the film. Plus there were Deiter Roth’s rotting works.


Drawing For A Donation Portfolio (Part 5)

October 6, 2009
Ben's Feet

Ben's Feet

Sock Monkey Head

Sock Monkey Head

Sock Monkey Torso

Sock Monkey Torso

Fire Hydrant

Fire Hydrant

Grain Storage Facility

Grain Storage Facility


Drawing For A Donation Portfolio Part 4

September 29, 2009

 

A Mess On Top Of A Mess

A Mess On Top Of A Mess

 

 

 

 

 

 

 

 

 

 

 

 

 

Carpet Feet

Carpet Feet

 

 

 

 

 

 

 

 

 

 

 

 

 

Layers Beneath

Layers Beneath

 

 

 

 

 

 

 

 

 

Library Table

Library Table

 

 

 

 

 

 

 

 

 

 

 

 

 

Monks Plague

Monks Plague


Drawing For A Donation Portfolio (Part 3)

September 18, 2009

 

English Book Artifact

English Book Artifact

 

 

 

 

 

 

 

 

 

 

 

 

 

Carrots For A Roast

Carrots For A Roast

 

 

 

 

 

 

 

 

 

 

 

 

 

Somali Goat Sneaks Into England

Somali Goat Sneaks Into England

 

 

 

 

 

 

 

 

 

 

 

 

 

Boiling Water Before Bed

Boiling Water Before Bed

 

 

 

 

 

 

 

 

 

 

Mother Sleeping

Mother Sleeping

 

 

 

 

 

 

 

 

 

 

 

 

 

Shirt on a Hanger

Shirt on a Hanger

 

 

 

 

 

 

 

 

 

 

 

 

 

Stacked Memories

Stacked Memories

 

 

 

 

 

 

 

 

 

 

 

 

 

Topped With A Happy Flower

Topped With A Happy Flower


Drawing For A Donation Portfolio Pt. 2

September 13, 2009

Holy-Emergency

 

 

 

 

 

 

 

 

 

 

Holy Emergency

 

Money-is-Magnified
 

 

 

 

 

 

 

 

 

 

Money Is Magnified

 

Overgrown-and-Empty

 

 

 

 

 

 

 

Overgrown and Empty

 

Promotional-Display

 

 

 

 

 

 

 

 

Promotional Displays

 

Rotting-Apple-in-the-Shadow

 

 

 

 

 

 

 

 

Rotten Apple in the Shadow


Drawing for a Donation

September 10, 2009

Make a donation of 10 dollars or more,  I will make a 4″ x 6″ postcard size drawing and send it to you in the mail. The drawing will be a surprise and I will send the drawing within 2 weeks of the donation. The procedes of the money donated with go to assisting my mother with her rent, utilities and food. To find out why I am doing this please visit www.rebeccaeilering.com/artassistance.htm

As I make the drawings, I will post them on here.

Ways to Donate:

1.  You may either pay by credit card or through your checking account.

2. I will accept checks through the mail. Please contact me at reileri@yahoo.com so I can give you my mailing address.

So….Put me to WORK!!

To donate:

www.rebeccaeilering.com/artassistanceDonate.htm

For more information about Artassistance:

www.rebeccaeilering.com/artassistance.htm


New Work With “Webs/Maps” and Oil Bars

April 11, 2009

I am going to make this very short today. I got some new work coming along. Feeling good about the progress being made. Soon I hope to have some pictures of some of the new work. 

I started doing these drawings (mostly for fun so I could get out of the rut I feel like I was in) at first on paper. They were of just random objects I could think of  that related to the day’s events. Then I would wrap or connect them through this “web” made up of little squares. I started to notice the squares and their borders started to look like city plans; sort of like the following map you will see. The pattern that is formed is similar but less “regular” and is not derived from any particular place. It is from my mind. Totally intuitive and layered. 

 

Section of an old map of Vienna, Austria

Section of an old map of Vienna, Austria

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The use of the map is nothing new with my work. I just started a new way to go about it. I then decided I didn’t really need the objects and just started drawing the “web”. I started letting the edges overlap. This formed new “webs”.  Making them is repetitive and meditative. 

Now I have started painting these with oil bars on canvas. I’ll see how those go. I like the oil bars because they are oil paint but applied through drawing. It is immediate and have a raw aesthetic that I like. I work rather fast. It is like being a kid and drawing with the thick crayons. 

So right now it is a combination of these intricate pen drawings that I described in earlier paragraphs and the oil bar drawings derived from the same idea but they look so different. 

So through the elimination of everything except for one element, I have found some inspiration and motivation. So hopefully this is a move forward after about a year of struggling with my work. 

Once I get to a point of being finished with some, I will be sure to show.