tag:blogger.com,1999:blog-48621771858032685272023-11-16T06:48:32.909-08:00Marc BohneA Conversation About PaintingMarc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.comBlogger32125tag:blogger.com,1999:blog-4862177185803268527.post-86590387323838957632021-02-28T11:03:00.001-08:002021-02-28T11:03:55.915-08:00Marc Bohne and the Claire Short Residency from Artist Trust of Seattle<p> Since my Seattle Artist Trust Residency is so long ago now, the ditty I had to write for them has disappeared. So I am going to reprint it here. The Claire Short Residency in Kilcrohane, Co. Cork was a beautiful traditional stone cottage in the steep hillside of Sheep's Head peninsula overlooking Bantry Bay.</p><p><br /></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><b><span style="font-family: Calibri, sans-serif;">Claire Short Ireland Residency<o:p></o:p></span></b></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">by Marc Bohne, 2011 Recipient<o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">This residency was extraordinary. There is nothing quite like being SENT somewhere you love <i>just to go love it. </i><o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">My affinity for Ireland is not just because it is a beautiful place, which it is, but also because its tones and sub-sounds seem to resonate with those of my own personality. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">As a painter, I usually avoid the big and beautiful and search out the passed-over and homely, which is hard to do in Ireland if you believe even some of the postcards. Although Ireland is pretty and I am not, Ireland and I are both bent in similar places, both have dark sides, some misfortunes in love and enterprise, and growing pains that seem out of proportion to our mass. We both favor the sad ballad, and need whiskey with a chaser if to enjoy a party. I, too, am complex and fiercely loyal to the few good friends who have stuck with me. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">Technically, I am a studio painter, rather than a <i>plein air</i> painter. I tell people my paintings are a conversation with the subject, and for the same reasons I am not a good conversationalist in person, I am much more articulate later, after I have had some time to mull over things, perhaps like an Irish writer. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">I spend a lot of time outside in the landscape itself, but the visual is not the only consideration. It is as much about spending time somewhere, experiencing the bad days as well as the good, the boring light as well as the ideal. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">Finding interest in the face of someone you want to paint is harder but more potent when you can find it in the character that is stripped of the layer of self-concern that causes people to shave or put on makeup or even brush their hair. You have to have studied them. It is born of intimacy...you have to put in the hours. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">People constantly recommend places to me that I may want to paint. I almost never go. They are usually beautiful postcard-type places and I am not interested in that. I am much more interested in vastness and space, in the puniness of myself in scale, the fragility of the line between the various opposing forces we as humans struggle with every day. Most painters I know paint the escape from that, the moment when the pressure lets up. I am one of those who likes a little piece of everything in every bite... <o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">This residency was spent in southwest Ireland, in County Cork. The residency cottage clings to a steep hillside on the northwest-facing slope of Sheep’s Head Peninsula, looking out over Bantry Bay, with its boiling sky and the shifting shadows of Behr Peninsula across the way. The land is rocky and mountainous, wet, windy, and steep. Both the land and the inhabitants here remind me of something I wrote the last time I was here in “The Ireland Diary” up in Mayo. Speaking of Ireland, I wrote:<o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt 0.5in;"><i><span style="font-family: Calibri, sans-serif;">“Without her people, she is an unforgiving wet rock where Nature is relentlessly testing those who set foot, and which the sea is trying constantly to consume. Ireland's magic is in its animation, its inhabitants who breathe myth and life into every challenge, who plow and plant between the rocks, and instead of ridding themselves of the weeds, extract from them the secrets of tenacity and survival.”</span></i><span style="font-family: Calibri, sans-serif;"><o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">All of that energy is present in the rocky shores of the peninsula region of the southwest. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">Our closest neighbor was the farmer Charlie O’Donovan below us on the hillside. I stopped in at one point and met him and his wife, and we became friends for the duration of the time on Sheep’s Head. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">It was a joy to travel around with Charlie, who had spent his life getting to know the people of the area, whose ancestors’ gravestones mingle with his own in the tiny Kilcrohane cemetery, and whose dog Biddy could not bear to be without him. On one occasion he had cut a field of silage just below the cottage only to have it rain-soaked before he could get it out. So he stirred it many times to loosen the water before a dry-enough couple of days would let it be rolled. He never complained about it, but would instead smile and take a deep breath looking out over the bay...he just loves the place. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">As the evening transitions from dusk to dark and the sparse lights across the bay start to glow, Charlie’s tractor slowly makes its way back down the winding road to the O’Donovan cluster below, Biddy running ahead of it in the headlight wash like a mystical figure from some dream... <o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"><br />It is out of this that the paintings come.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">-- Afterword --<o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">I have been to Ireland three times now for extended stays, and each time gets harder to return to my life in the U.S. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">My first time was a longtime dream of riding a pack bicycle around the country in 1996 for three months, which was life changing in many ways... not the least of which was the connection that I knew would last a lifetime. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">The second time was as a Fellow with the Ballinglen Foundation in 2005, which was a tough time to be an American anywhere outside of the United States. There was a lot of political tension, which diverted a lot of energy from the work of making connections. In spite of that, my time in Mayo became a continuation of my love of Ireland and an opportunity to stay in one place for two months and live among the same people. I also met some amazing other artists at the Foundation with whom I stay in touch to this day. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">My third trip was made possible by the Claire Short Residency Award of 2011, which was a complete surprise. I had applied for support from Artist Trust like many artists trying to make a go of it in the present economy, and when I was notified of the residency award, I could not have been happier. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;"> </span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Calibri, sans-serif;">My father passed away right around that time, and I was tasked with cleaning up his affairs, which delayed our going in the award timeframe. Donors Emer Dooley and Rob Short graciously allowed us to go in May of 2012, after we were through with our obligations and free of the burdens of the family crisis. This may have amplified the joy of the trip much like the best rainbows follow the darkest storms. <o:p></o:p></span></p><p><br /></p>Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com0tag:blogger.com,1999:blog-4862177185803268527.post-46293103757111302202021-01-27T11:57:00.006-08:002021-01-27T11:59:56.735-08:00At least a sigh of relief...<p><br />I don't care what anyone thinks about politics or policies, or nationalism, or much else for that matter. But I do care about dying in an asylum. I am lost now, in the land I was born in, no longer feeling like home.</p><p>Watching neighbors, and people I know believing in and parroting completely made up nonsense and worshipping the most ridiculous characters imaginable, while expressing a piety to a "savior" that would admonish them if in their presence has been the most bizarre phenomenon of my lifetime. Up is down, in is out, bad is good. What used to be decent people in the U.S. have gone completely off the rails, and it is dumbfounding. If you are one of them, and believe that a tawdry game show host is the second coming and the Clintons are running an international pedophile ring, don't come here anymore. If you insist on stolen elections and seditious insurrection, stay away. If you honestly think Jesus would support any of this, stay far away. </p><p>I used to travel the back roads of the country all the time. I met many people in rural areas and enjoyed my time with them in the decades I did that. But the last ten to fifteen years something began to change. People I used to trust began to look at me suspiciously, and I slowly began to start backing away from them. Now I am flat out afraid of them. It is like a movie, where a virus turns people into zombies... there is a misplaced anger, and a toxic aura about them and the environment they inhabit. It is heartbreaking being unable to trust your neighbor to call the fire department if your house is burning.</p><p>So don't come back here. Dont write comments, don't admonish. Just leave. Go be nuts somewhere else. If I lose a couple friends, I am ok with that. My hourglass worth of sand is on the wane, and I do not have time left to spend on things that do not matter, or people that have lost their minds. </p><p>The cancer of Trumpism is here now, and will continue to erode the fiber of whatever was good about America, but for a while now we get to sit on the curb, be exhausted, wipe the brow and take a breath. </p><p>What does this have to do with art or painting? Everything. The spark of creativity is fanned best by quiet, not fear and apprehension. And for four years now, each and every day saw the dismantling of every pillar of reality I trusted by a band of pirates... my first out and out mentally-ill grifter president. And the following... the con man relies on participation of his marks to succeed. I thought we were better than that. The level of wrong I was has been incapacitating at times. The painting mind was full of smoke and ashes. </p><p>Though I know there are fires still burning everywhere, watching the exit of this band of pirates has brought the first glimmer of quiet... the first feelings of rest. </p><p>I hope it continues. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSkHicWWw_vsrDqySeFp5gFh3_FUg0c1W9YW1IGAqhOH1AKvJsEuIhJ4je1GW2_LYI7f56Svf0IGMZwUJgsbAY5K5szG8kS0jvj61q-AgJjvfxsyCNMz7ZCNgvtKj6olEGRTXR0EqXwE4w//" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="960" data-original-width="791" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSkHicWWw_vsrDqySeFp5gFh3_FUg0c1W9YW1IGAqhOH1AKvJsEuIhJ4je1GW2_LYI7f56Svf0IGMZwUJgsbAY5K5szG8kS0jvj61q-AgJjvfxsyCNMz7ZCNgvtKj6olEGRTXR0EqXwE4w//" width="198" /></a></div><p></p>Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com4tag:blogger.com,1999:blog-4862177185803268527.post-28691260827371472972020-10-17T11:54:00.000-07:002020-10-17T11:54:15.557-07:00November Thoughts, on the new home and upcoming upheaval of an election.<div class="kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="caret-color: rgb(5, 5, 5); color: #050505; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0px; white-space: pre-wrap; word-wrap: break-word;"><div dir="auto" style="font-family: inherit;">Went onto Google Maps and did a walkabout through our old neighborhood in Seattle of 30+ years and felt the tugs... some things have changed, some have not. But the familiar is what i miss. </div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="caret-color: rgb(5, 5, 5); color: #050505; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; white-space: pre-wrap; word-wrap: break-word;"><div dir="auto" style="font-family: inherit;">I know every crack in the sidewalk of the old neighborhood, the occupants of every house. As much as I bitched and moaned about the things there that were making me nuts, ie: seaplanes right overhead, cut through traffic down our narrow street, houses 16 feet away fron each other, windstorms year round, and incessant grey skies in winter and the smell of burning forests in summer... there was the unaccounted-for familiar. The faces of friends, the feeling of connectedness, the sheer education of the population. I didnt weigh them appropriately. </div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="caret-color: rgb(5, 5, 5); color: #050505; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; white-space: pre-wrap; word-wrap: break-word;"><div dir="auto" style="font-family: inherit;">The pandemic has interrupted the healing that needs to take place when you rip old roots up and move your tree of life. I am reminded of an old favorite Harry Chapin song: “ and now she’s acting happy, inside her handsome home, and me.. im flyin’ in my taxi, takin’ tips and getting stoned..”</div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="caret-color: rgb(5, 5, 5); color: #050505; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; white-space: pre-wrap; word-wrap: break-word;"><div dir="auto" style="font-family: inherit;">It is not a perfect soliloquy (right word?) I love many things about the new life here. But the pandemic and its extension into the forseeable future by deniers and those who do not take it seriously means the healing of the roots and their nourishment are delayed, and unnecessarily delayed indefinitely so that the roots bleed longer than is healthy, and maybe longer than is recoverable. </div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="caret-color: rgb(5, 5, 5); color: #050505; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; white-space: pre-wrap; word-wrap: break-word;"><div dir="auto" style="font-family: inherit;">We knew the change would mean a time of re-rooting would be necessary, and all was anticipated. Everything would be interrupted while new roots would be introduced. All helped by old friends and family visits each bringing thier own style of fertilizer. But I find myself staring up into the grey sky today and longing for that familiar... any familiar beyond the lawn. The growth was stopped. New connections and friends retreated (mea culpa) and time stopped having any meaning. The problem is at this stage of life, is that time is no longer kind.</div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="caret-color: rgb(5, 5, 5); color: #050505; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; white-space: pre-wrap; word-wrap: break-word;"><div dir="auto" style="font-family: inherit;">The oaks at the top of the rise on 29th Ave NE are still there, the house looks the same and i imagine the new occupants are doing well. A glance at the Bryant Cafe on 65th is still the hub of the neighborhood, even if the patrons have changed some, and I hope Sarah has new favorites. </div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="caret-color: rgb(5, 5, 5); color: #050505; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; white-space: pre-wrap; word-wrap: break-word;"><div dir="auto" style="font-family: inherit;">I am happy to have great horned owls speaking to each other at dusk here, and the profound quiet in the evening. I enjoy biking to the Rail Trail, and walking on the beach. But I miss the connections. I miss people. And when I look at who we are and what we are embracing I am hungry for hope... hope in this shifting cultural landscape that is so unwelcoming to roots of any kind. </div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="caret-color: rgb(5, 5, 5); color: #050505; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 15px; margin: 0.5em 0px 0px; white-space: pre-wrap; word-wrap: break-word;"><div dir="auto" style="font-family: inherit;">Please vote. If you do nothing else this year, vote.</div></div>Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com0tag:blogger.com,1999:blog-4862177185803268527.post-83985260882257902792020-06-04T09:53:00.002-07:002020-06-04T09:55:11.402-07:00Notes on Gesso and Panels<span style="background-color: white;"><span style="caret-color: rgb(28, 30, 33); font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif;">Q: </span><span style="background-color: #f2f3f5; caret-color: rgb(28, 30, 33); font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif;">What is your process for panel preparation...Do you treat first with PVA and then Gesso? You paint with oils...do you use a Gamblin oil primer or a acrylic gesso...how many coats...both sides? Curious. Thanks</span></span><br />
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<span style="background-color: #f2f3f5; caret-color: rgb(28, 30, 33); font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif;">A: S</span><span style="background-color: #f2f3f5; caret-color: rgb(28, 30, 33); font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif;">ort of depends. When I built the large panels, had to do pinhole fills so when all was sanded, used commercial primer sealer which was sanded smooth. Usually just gesso direct. Paint with oil and alkyd, alkyd medium. All my gessos are acrylic. Usually do a clear sealer on back sides, not always. Baltic panels are very stable. Larger panels get 7-8 sanded coats, smaller 4-5.</span></span><br />
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<span style="caret-color: rgb(28, 30, 33); font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif;">Q: </span><span style="background-color: #f2f3f5; caret-color: rgb(28, 30, 33); font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif;">What kind of panels do you use?</span></span><br />
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<span style="background-color: #f2f3f5; caret-color: rgb(28, 30, 33); font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif;">Baltic birch, or double tempered masonite only... </span><span style="caret-color: rgb(28, 30, 33); font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif;">Favorite small panels are double tempered masonite, with edges smoothed and well grounded makes the best panel for up to about 10x12". It is extremely stable, and I love it. Have used it for decades. Anything beyond that size I go to 5mm baltic birch. I bought a lifetime supply</span><span style="caret-color: rgb(28, 30, 33); font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif;"> of it in Seattle, and use smaller paintings un supported, and larger ones supported ("cradled"). Some of the large ones were done with 3mm supported for weight loss, and I wish I had picked up more of it.</span></span><br />
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<span style="caret-color: rgb(28, 30, 33); font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif;">Q: Gesso?</span></span><br />
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<span style="caret-color: rgb(28, 30, 33); font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif;">A: T</span><span style="background-color: white; caret-color: rgb(28, 30, 33); font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif;">he large 48x60" panel in the pictures has 5 coats of white Liquitex gesso. Finished with</span><span style="background-color: white; caret-color: rgb(28, 30, 33); font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif;">two coats of grey tinted Speedball gesso, sanded between. </span><span style="background-color: #f2f3f5; caret-color: rgb(28, 30, 33); font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif;">My first few coats are Liquitex, which is heavy and a bit more plastic. Final coats are neutral grey Speedball gesso, which is thinner but sands better. It is much harder.</span></span><br />
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<br />Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com0tag:blogger.com,1999:blog-4862177185803268527.post-7171998064417375252020-04-12T19:05:00.001-07:002020-04-13T05:29:50.288-07:00So long Maestro Mort DruckerI corresponded with Mort years ago. Told him he was responsible for my artistic life, which he was, and I wanted him to know while he was still around that I knew that and he should as well. I enclosed a couple books, and he wrote back a long letter with some drawings of his, and some signed stuff.<br />
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He taught me how to draw. Countless hours in the desert sun of Fort Bliss and El Paso where we were stationed I studied and then copied his parodies on used copy paper my father brought home in boxes from the base, wearing down many a pencil. There could have been national secrets on the one side, but I was only interested in the blank sides. I was a weird lonely kid with thick glasses and I found my voice in his drawings.<br />
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He was a master of caricature and nuance, anatomy and physicality, line and shade, humor and satire. I soaked it all up, and made it my way of dealing with the outside world. Pencil, pen and wash, a myriad of line shading tricks with hatches, swirls, textures. My BFA belonged to Mort.<br />
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I remember being excited for the new comic books to appear, but I lived for the new Mad Magazines. They came with new Drucker parodies. More drawing... hot women, men with machine guns, vehicles, and an endless assortment of background characters he carefully penned to life. And those hands... his knowledge of anatomy was no less than extraordinary. And always, always somewhere there was Alfred lurking in the scenes. A very deep well to draw from... literally.<br />
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Mort Drucker was my teacher and invisible friend. I am grateful for the chance to connect with him, and sadly bid him adieu.... the world is a duller place without him.<br />
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Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com0tag:blogger.com,1999:blog-4862177185803268527.post-27313204615523244862020-01-24T14:36:00.001-08:002020-01-24T14:44:34.755-08:00A Solution To The Failed Paint Tube CapsIt has been a constant battle for me, trying to keep older tubes of paint from being unusable. Once the caps crap up, and don't fit anymore, the tubes start to end-dry, and then harden. Especially the alkyds, which cure when exposed to air. I have wasted too many hours of what is left of my life digging out caps, cleaning off threads on tubes, and digging out tubes to get to the wet usable paint, only to have to do it again next day. For oils this is not as big a deal. Oil is cleanable, and usually takes so long to cure only a skin forms on the tube that does not penetrate into the tube. Hardly any need for caps in oils as a result. Acrylics and alkyds are a different story.<br />
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So, I was looking at bolt end covers after looking at a wire shelf end cap in my hardware cabinet, and a light bulb went off. It appears that the vinyl bold caps come in many sizes and depths. My tubes are mostly 3/8th inch (or 10mm) and there is an end cap that size. They come in a variety of depths as well, as they are designed to protect bolt ends from injuring others, or from paint when a bolted product is painted. Protects the threads.<br />
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I also found a 3/8 inch silicone end cap in the auto world, as vacuum line caps, so I ordered some of those as well. I am currently using both and will see which is better. I suspect the silicone will work better, as it it stretchier and more pliable, making a better seal. If one buys them in bulk, they are cheap. The green ones in the photos were 50 for 10$. If you get the 3/8 x 1/2" length vinyl caps from the hardware store, they are over 50c apiece. I suspect the silicone will be more resistant to paint adhesion as well, since I use silicone pans to mix gesso, and just squish the pan when the remnant is dry, and it just falls out or easily peels out. Nothing sticks to it....<br />
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Stay tuned, and I will see how they do.<br />
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<br />Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com1tag:blogger.com,1999:blog-4862177185803268527.post-5150955503175161932019-12-07T06:42:00.000-08:002020-03-02T09:10:23.083-08:00An Artist's Voice<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">
A painter’s voice<o:p></o:p></div>
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A while back I posted some thoughts on the passing of Russell Chatham where I mentioned the dilemma of being compared to others while trying to develop one’s own “voice”. I was asked to expand on that and thought it might be worth doing. <o:p></o:p></div>
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It is true that we are each an amalgam of our lifetime of exposure to others influence, and all those contributions help create the language we as painters use to both observe and respond to our world. And it does not matter what ‘style’ one paints, from abstract expressionism to cubism to realism or any of the other “isms” that get thrown around in the world of pigeonholing fine art. All painting is representational, and all is an attempt by the painter to observe and respond to the inner or outer (or both) world we find ourselves in a way that gives us deeper meaning. I think that when an artist is successful, that meaning becomes shareable. <o:p></o:p></div>
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There is a long tradition in the apprentice model of learning where any artist learns things from others before them (or alongside them) who are seemingly doing a better job of it than the apprentice, and emulation is a common reaction. <o:p></o:p></div>
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It can also be a trap.<o:p></o:p></div>
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When I was in art school, Andrew Wyeth was a big deal. Many of us “realists” (as opposed to “representational” which is all encompassing) studied Andrew Wyeth’s voice in detail, and painted paintings that mimicked his work to the best of our abilities. This is an old technique in art schools everywhere, not unique to mine. But I realized at some point that I was not speaking with my voice, but with Wyeth’s, so I began to pay more attention to his (and others) PRINCIPLES rather than style. That change kicked me off onto my own path and for better or worse I have tried to keep to the trail.<o:p></o:p></div>
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There are many Wyeth “clones” out there, people who stayed with the Wyeth style, painters who felt most comfortable speaking with his voice than their own and I have met plenty of them. Mind you, I was on that path too so this is not a judgement, just an observation. Most of the ones I know are phenomenal painters who have successfully tweaked Wyeth’s voice to work for them, but I admit that I feel a little estranged from them. Kind of like meeting Elvis impersonators, some of whom are extraordinarily talented individuals, but without a voice of their own. I am often confused by what I am looking at, because I knew what Wyeth was doing, the underpinnings of his conversation with the world, which were unique to him. Those underpinnings were what gave Andrew Wyeth’s paintings so much depth. Wyeth’s paintings are not about his paint, they are about what he FELT. I don’t see the same depth in those who mimic him because his paintings were the perfect union of knowing what he wanted to say and saying it with his own unique voice.<o:p></o:p></div>
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Just to be clear here… I am in no way making any comparison of myself to the great Andy Wyeth. His influence on me is just the scaffold on which to make the point. <o:p></o:p></div>
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Part of the process of finding my own voice has been looking at others work over the years from a principle of painting or drawing standpoint, or not looking at others work at all. For many years I stopped going to galleries and museums to look at other’s work and worked in my own isolation struggling through the processes of tweaking my own painting to do what I wanted it to. It is important to note that there is a significant underpinning to my journey of study and experience that equipped me to do so. This does not mean I don’t look at other’s work, but I don’t study it. I just let it impact me as viscerally as possible. It also does not mean that I am any model of success with my own beliefs. It is a process that is never perfected.<o:p></o:p></div>
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Eventually, I think every painter has to do two things: One, have a point. Have something you need to express, something you can articulate. And two, spend the time finding your best unique voice to express that point. Every painter has to give him or herself permission to do both.<o:p></o:p></div>
Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com2tag:blogger.com,1999:blog-4862177185803268527.post-29089012758693850622019-11-12T09:37:00.013-08:002022-02-07T07:22:14.556-08:00So long, Russell Chatham. <span style="font-family: inherit;">On Sunday, November 10, American landscape painter Russell Chatham passed away. </span><br />
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<span style="font-family: inherit;"><span style="font-family: inherit; font-size: 16px; text-align: center;"><i>"Bare Trees and Hayfields in November" Russell Chatham</i></span></span></div>
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<span style="font-family: inherit;">Many years ago when I was fairly unknown, those who did see my paintings mentioned that it reminded them of a painter named Russell Chatham. This is back before the internet days and I had no idea who this guy was, or why anyone thought to compare us. I spent my early years trying NOT to paint like Andrew Wyeth, to find my own voice, only to be told I sounded like this other guy. </span><br />
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<span style="font-family: inherit;">Someone told me he had a book out, and after failing to find it at the library I went down to Elliot Bay Book Store in Seattle since they had a reputation for having or finding any book. The fellow at Elliot’s told me they had no books by or of Russell’s work, but he was represented just downtown at a gallery called Kimzey Miller. He thought they might know more. </span></div>
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<span style="font-family: inherit;">So I walked uptown from Elliot’s and found Kimzey Miller Gallery, which happened to be having a showing of Russell’s work, and they had a few of the books “One Hundred Paintings”. While I was there I walked around and looked at Chatham’s paintings and did not see the connection, but you do not get to control others impressions and the comparisons, whether warranted or not, and they kept coming… including a reference in a large article done about my work in Southwest Art Magazine later. </span></div>
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<span style="font-family: inherit;">Russell was by then a seasoned and well loved tonalist, and his paintings were far beyond my abilities and skillset. They simply glowed… Over time, the best explanation of this comparison came from another painter and friend, Kent Lovelace, a lifelong friend of Russell’s and instrumental in the production of his early lithographs. Kent thought that we “looked at the same things”. I can agree with that, and later realized that Kent belonged in that same assessment. We were all painting the same places, responding to the same things. California, Washington, western mountain states. </span></div>
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<span style="font-family: inherit;">As I purchased a copy I was chatting with them about why I was looking for the book, and Terry Miller found that interesting enough to ask for a studio visit. That visit led to my representation by the gallery, my first one-man major show, and a several year relationship with them. So now my paintings were hanging next to Chatham’s at KMG and there was, to my eye, no viable comparison to be made. Not that it is necessarily a bad thing, just not what you want when you are trying to develop your own voice.</span></div>
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<span style="font-family: inherit;">Though not directly influenced by Russell’s work (at least consciously), his impact on my life and career turned out to be weighty. I was later represented by three other galleries that also represented Chatham’s work, in Wyoming, Montana, and New Mexico. Although I still see no resemblance, I cannot help but feel grateful for the association. </span></div>
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<span style="font-family: inherit;">The last time I saw or spoke to Russell Chatham was 2002 when I shared billing with him and Kent in the last show Geoff Sutton did at his gallery Sutton West in Missoula, Montana. Russell was out of sorts that night and went home early after the post-show dinner. He was entering a phase of his career that was upended by financial and personal misfortunes that we were not aware of at the time. I did try to contact him (a best regards) later through a mutual writer friend who was going to meet him in California, but she was not successful locating him. He had returned to his early origins on the West Coast and was staying out of sight. Even Kent could not get ahold of him. (It is true that if you were female, you had a better chance…)</span></div>
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<span style="font-family: inherit;">So, in the 2002 show card I am posting here, I find myself standing with two phenomenal painters, two of which have left us for the Orion Belt, and I must say, it feels sort of lonely to be the only survivor on the card. </span></div>
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<span style="font-family: inherit;">Travel well, Russell Chatham.</span></div>
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color: #1d2228; margin: 0in 0in 0.0001pt;"><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiSRyu91LyUzPaNaHAQEXpGfDgRrXRV_PgseYOfjs219iTdYCTHAifKVh4mVRkSIJCPXXTSlde00l7aje05GKpdQPo6iucE6g-HR7nlsYuOU4UxPzLHKcMigvrZjx8B27YdKAHtOfqRQmaH8D4NOI6RAxeOtBlhiJC4IXT1vjMXdfJVsKqh5DSKphw6Sg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1247" data-original-width="2048" height="195" src="https://blogger.googleusercontent.com/img/a/AVvXsEiSRyu91LyUzPaNaHAQEXpGfDgRrXRV_PgseYOfjs219iTdYCTHAifKVh4mVRkSIJCPXXTSlde00l7aje05GKpdQPo6iucE6g-HR7nlsYuOU4UxPzLHKcMigvrZjx8B27YdKAHtOfqRQmaH8D4NOI6RAxeOtBlhiJC4IXT1vjMXdfJVsKqh5DSKphw6Sg" width="320" /></a></div><br /><br /></div>
Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com1tag:blogger.com,1999:blog-4862177185803268527.post-33497588508076624952019-05-31T13:22:00.001-07:002019-05-31T13:22:44.990-07:00Scaffold EaselOk... the amazing scaffold-rolling studio-easel system is done. I decided to move all of that to this place, as I dont want to clutter the page up too much with this sort of thing.<br />
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So, here is the description. It is a standard inexpensive 'bakers' scaffold. I needed one for my storage in hatfield, and to use on the high work in the new studio and show space here in Harwich. By attaching some wood attachment points with the scaffold pins and bolts with wing nuts, there is nothing on the scaffold that is not easily removed if the scaffold needs to be a scaffold.<br />
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after the attachment points were made (simple chop saw carpentry) I made a tray and angling system for the largest panels along the 6' side. On the ends, I made two smaller adjustable easels, one a standard shouldered easel, and the other a table easel for paper paintings and small things. The entire system rolls with fingertip ease on the 6" casters. It's home is in the north end of my painting area, but can easily roll out into the show area if I need more space around me. The back side is also a work space, for doing shipping or other tasks that need a flat area.<br />
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<br />Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com1tag:blogger.com,1999:blog-4862177185803268527.post-21356153149067894992018-11-25T07:47:00.001-08:002018-11-25T07:47:46.899-08:00Changes 2I suppose it is time to put something here.. an update to the changes post.<br />
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The traveling circus that is our lives has moved on to Cape Cod from Western Mass. The house in Seattle bought a house out here, 30 miles out into the Atlantic on a windy sandbar. Technically, the location is Harwich, MA, but we are closer to Dennis and Brewster. The back property line is the Harwich/Brewster line. It is beautiful, but remote.<br />
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So, we have been here since July, and there is a lot of deferred maintenance on the place that has taken a lot of my time. Trying to get it ready for winter, routing water away from foundations, plugging mouse holes and heat loss gaps. Testing mechanicals, generator, heating system, hvac, etc. Lots to do. The place has a finished barn in back, which I have high hopes will be studio when all the scut is done. It is larger than I need, and will cost some money to adequately refigure. It is currently a shop space and warehouse for 'stuff' that eventually needs to go away.<br />
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I have my days... days when I miss Seattle. Mostly the people that took 30 years to get to know. It is isolated here, and the starting over seems overwhelming and our new neighbors seem uninterested in newcomers. It is hard for me to be actively social, so going out and meeting people is an unpracticed skill. I keep in touch with Seattle peeps as much as possible but it is not the same as being around them. Just knowing that friends are a stones throw away was a comfort that I took for granted.<br />
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As a painter, my paintings all come out of some intimacy with the subject, and intimacy takes interaction and time. It takes time to know what moves you about something or someone. But you have to spend the time observing, living in the presence.. and I have to start spending time doing that here, and less time doing handyman stuff.<br />
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Hopefully in the next couple weeks I can carve out a space in the barn to build an easel.Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com1tag:blogger.com,1999:blog-4862177185803268527.post-11931437595310127402018-02-11T09:34:00.000-08:002018-02-11T09:34:01.961-08:00ChangesHow things change...<br />
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It is February, and there is new thinking on the grill. There has been precious little to look at for sale here that would work for Saltmine. So we are retooling the search to look at Cape Cod. It seems to have more of what I need, and at more competitive prices, oddly enough. Plus, we know people there. The climate is milder, as well. Spent the last two weekends in the area, and I really like it.<br />
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I dont regret this time here. You have to experience a place to see if it wants you, and if you still want it. Test drive. Western Mass was picked on a whim. On stats and buildings and potentials based on things that needed to be verified. Nothing puts things into perspective like presence.<br />
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Right now it is gray out and raining. Temps here in Hatfield are just up in upper 30's, and all the snow on the ground is turning into flood by the rain. the neighbor's large yard to the west of us is completely under around 6 inches of water. It is coming through the basement walls of this building, which is hurting for some landscaping to make water go away from the foundation instead of toward it like it is now. From the second floor here (which is more like third floor in a house) I can see most of the fields and yards in the area, and all are lakes. Our parking lot here is more of a moat. If we leave this, I wont miss this stuff.<br />
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So, this next week will be spent on and around the Cape, looking at things...Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com4tag:blogger.com,1999:blog-4862177185803268527.post-18991587615170989702017-10-14T08:04:00.001-07:002017-10-14T08:04:20.284-07:00Western Mass ContinuedWell, lost the bid on the place in Hatfield. But, as fate would have it, we will be renting the apartment in that building for 6 months to put us in the area to look. Too hard to do it from Boston south shore area... almost as bad as from Seattle. We move in next week, and a trip to Ikea is in order.<br />
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The apartment includes an 800 sq ft. open area that will serve as a temporary studio area. Small things for now.<br />
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Starting to feel some of the intimacy with this area that needs to happen. Looking forward to being in the area and on my bike.Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com0tag:blogger.com,1999:blog-4862177185803268527.post-49376218227777850242017-09-26T14:09:00.000-07:002017-10-14T07:59:58.846-07:00Back In Western MassNot exactly an art post, but insofar as everything is connected this is appropriate.<br />
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We left the home and studio in Seattle in August, after a horrendous several months of preparation and packing and shedding, and then loading trucks and moving it all to the Pioneer Valley in Western Mass., where it sits in a storage facility. Still sitting there. </div>
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We have looked at many things, and bid and vied, and discussed... but the main objective was to buy a place that would be a permanent, self owned, studio space with some show potential. Not easy to find. A house or living place would also need to be in the picture.</div>
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We may have succeeded. I don't want to jinx it, but after several rounds of getting close then walking away we may, MAY be back to close again. Lots of money, lots of needs, old buildings can be problematic. I just have to make sure we don't buy anything with problems that are bigger than I am...</div>
Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com0tag:blogger.com,1999:blog-4862177185803268527.post-20146152311362341932017-05-31T07:33:00.001-07:002022-02-07T07:35:28.587-08:00Goodbye Kent Lovelace<p> This was written in May of 2017, and published on my website, but not here. I thought I would put it in now to remind me. <span style="color: #050505; font-family: Calibri, sans-serif; font-size: 11.5pt;"></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgHfCdrcTSJZ8HwEQRZWPvfeAVoNuCiBirgV32nchIpG5IUzHA7wiFj-yHvaxNVvVyJvDH7K6NQg5Lhy7RQ_kaITJlyqbXtleB7tTFLIGRycRULihzkq_u86yAONxb-tFEmelfS_WzMCA9Ck2PPDNs96U47IwoBsFijyRRupLCQiaaFEZRssCyAcCL1sw" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="415" data-original-width="532" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgHfCdrcTSJZ8HwEQRZWPvfeAVoNuCiBirgV32nchIpG5IUzHA7wiFj-yHvaxNVvVyJvDH7K6NQg5Lhy7RQ_kaITJlyqbXtleB7tTFLIGRycRULihzkq_u86yAONxb-tFEmelfS_WzMCA9Ck2PPDNs96U47IwoBsFijyRRupLCQiaaFEZRssCyAcCL1sw" width="308" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjPnkVRWfL7EeaT0ZgpHky7yKyVzX0wxilriFW44tfFi5Ob34gYSZxNKZFEuZ3heQ2Yik9qPSclQpTkSNSm1Msm7wpIqKIeqflGCXCyo8Pw-fdFVTbtiPE8R1FcHYpBcbMFcNdhfXwUGz-WIcL8c8qJKKtVwUhqHbH289Tm9g5MTRw-kWdrZ4RWPDcQmA" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1512" data-original-width="2092" height="231" src="https://blogger.googleusercontent.com/img/a/AVvXsEjPnkVRWfL7EeaT0ZgpHky7yKyVzX0wxilriFW44tfFi5Ob34gYSZxNKZFEuZ3heQ2Yik9qPSclQpTkSNSm1Msm7wpIqKIeqflGCXCyo8Pw-fdFVTbtiPE8R1FcHYpBcbMFcNdhfXwUGz-WIcL8c8qJKKtVwUhqHbH289Tm9g5MTRw-kWdrZ4RWPDcQmA" width="320" /></a></div><br /></div><br /><br /><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;">Please excuse my indulgence, as I try to grapple with today's events. Still trying to absorb and process this. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;">Today, Friday, May 12, 2017 we watched the telemetry display describe the end of Kent Lovelace's earthly life, after he was disconnected from the life support that was contraindicated by his most recent EEG from earlier in the morning. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;">What was the creative and loving mind of our smiling and energetic friend was now a swarm of seizure activity barely contained by horrific doses of medication to mitigate the physical chaos that that electrical storm translates to. Then, ironically, the heart that was so unforgiving earlier in the week was now soldiering on without breath for over fifteen minutes and more, refusing to dole even a severe mercy to those who attended. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;">Then it stopped. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;">And although the reality was present and undeniable, I deny it all the same. There is no proof that would be adequate to convince this jury. At least not now. Not while I am looking at the face of Superman who can only be sleeping. I remind my denial that this cannot be real.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;">Reality is, Kent actually left us for the Orion Belt last Tuesday and all this recent drama is but the formality of seeing the corporal body off after the fact. It allows the space to express the human need to plead in the face of the infinite for a stay of our pain. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;">When I say "we" I hijack the liberty to speak for all those present today.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;">So we spent the day courting Hope and Her powers of last minute reprises, miracles, and everlasting bliss, but she is the Homecoming Queen, and we are the Math Club... and she says no. She saves her favor for the captain of the football team, and though we are crushed we sorta knew it would turn out this way. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;">When it finally hits me I will say my internal goodbye, but for now I must nurse my disbelief...<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><span style="color: #050505; font-family: inherit, serif; font-size: 11.5pt;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjlLWR4fZQA_LpCToJE5zi1ryMt2Mtbz-VBlQs2IIVSEImsXnyhT03LHAhGfc9A5P3Z6rGk7qlU6i32d1qI6Wr8X7jsOU2Lg8EufgNul-455pBDIQ4vyJk3xD3aQhSt993bPvecMjxZif_nevvIzjrWMmz1LCFtlldFmJ4209VniuoCs1uyhmzvri2lhg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1530" data-original-width="2040" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjlLWR4fZQA_LpCToJE5zi1ryMt2Mtbz-VBlQs2IIVSEImsXnyhT03LHAhGfc9A5P3Z6rGk7qlU6i32d1qI6Wr8X7jsOU2Lg8EufgNul-455pBDIQ4vyJk3xD3aQhSt993bPvecMjxZif_nevvIzjrWMmz1LCFtlldFmJ4209VniuoCs1uyhmzvri2lhg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="background-color: white; caret-color: rgb(5, 5, 5); color: #050505; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 15px; text-align: left; white-space: pre-wrap;">Kent Lovelace, from our last trip to Montana together... driving around with </span><span style="caret-color: rgb(5, 5, 5); color: #050505; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 15px; text-align: left; white-space: pre-wrap;"><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 q66pz984 b1v8xokw" href="https://www.facebook.com/geoffrey.sutton.5?__cft__[0]=AZWSAPoZq3wu_8B-jl7TvhxcK2HYFK9bpDsJbOk2PZfaERLtUTGWtFt2B3f_unBA043Y8btg5_tu2e909xNB9iP7e6whtasuUsTtheRlGgLZtg&__tn__=-]K-R" role="link" style="border: 0px; box-sizing: border-box; color: var(--accent); cursor: pointer; display: inline; font-family: inherit; list-style: none; margin: 0px; outline: none; padding: 0px; text-align: inherit; text-decoration: none; touch-action: manipulation;" tabindex="0"><span class="nc684nl6" style="display: inline; font-family: inherit;">Geoffrey Sutton</span></a></span><span style="background-color: white; caret-color: rgb(5, 5, 5); color: #050505; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 15px; text-align: left; white-space: pre-wrap;">.</span></div><br /><p></p>Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com0tag:blogger.com,1999:blog-4862177185803268527.post-48148947343084967412017-04-19T17:22:00.002-07:002017-04-19T17:23:06.390-07:00Moving notesBought a group of Clydesdale road cases, also called flight cases. Will use them after gutting the custom insides for moving paintings from Seattle to Mass. Lots of work...Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com1tag:blogger.com,1999:blog-4862177185803268527.post-65925313679565642492017-04-05T13:03:00.002-07:002017-04-05T13:04:14.018-07:00Month of April FoolishnessWe are packing up to move the studio to Massachusetts as of this writing. The house goes on the market in May and I suspect we will need to be mobile by the end of the month.<br />
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Still looking into actual moving options. What we need is a storage option in central Mass., and eventually a place to rent while looking when we get there. We need a plan soon for loading into something here, that can go to there. Pods are an idea, but it is amazing how difficult it is to get a straight answer out of movers to even get an estimate. Such a game...<br />
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Been combing the area for shipping containers etc. Anvil cases, pelican cases, etc. Big things.<br />
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The last couple months have been very good. I did the Paintings of Ireland show in my studio building, and it was very good. The followup after the show closed has been even better. I am very thankful for all those who purchased paintings, the whole process of meeting people and collectors new and old has been a rich experience, one that the painter is often not a part of. The good people who came in after the show have made this move possible.<br />
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That said, I have fielded a lot of questions from collectors and collector-painters about my process and a few things come up over and over. I cannot stress enough the 'commandments of painting' from an earlier post. The tendency to overshoot is ever present, and is a trap. Have a point... have a reason for doing this, have something to say. Then say it simply. When you go outside into the landscape, try not painting. Try seeing. Then writing and sketching. Use a camera to just frame what you are looking at. You cant paint what you see without knowing something about what it is.<br />
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Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com4tag:blogger.com,1999:blog-4862177185803268527.post-29170878897119974102016-12-03T12:09:00.000-08:002020-03-02T09:09:29.963-08:00Painting CommandmentsI found this in my google docs, from awhile back. I called it my commandments of painting.<br />
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<span style="font-family: "arial"; font-size: 14.6667px; white-space: pre-wrap;">Keep it simple</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 14.6667px;">Know your skill level. Pick a subject or model that you can paint.</span></span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 14.6667px;"><br /></span></span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 14.6667px;">Stay humble. Then practice practice practice.</span></span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Don’t get too involved personally in the outcome.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Don’t get caught up in materials fetishes.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Paint what you care about. Have an articulated reason why you do it.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Don’t labor a point. Simple description, then move on.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Watch for crutches.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Mix it up. Do different subjects. </span></div>
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<span style="font-family: "arial"; font-size: 14.6667px; white-space: pre-wrap;">Don’t expect professional growth with a hobby commitment. Decide which it will be and be happy with that.</span></div>
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Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com6tag:blogger.com,1999:blog-4862177185803268527.post-18147241372519839052016-10-21T16:38:00.001-07:002016-10-21T18:21:29.270-07:00Seeing Paintings In PersonI am having an exhibition this coming Sunday, of paintings done of Ireland over the last ten years or so. I held most of them back from being seen even, because I wanted them to be seen together. A few got away, but most of them are here and the show looks nice.<br />
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I would like to say that this is the only time they will be together, and we are having fun trying to get people to come have a look. I hope those who do like my painting will come and see them in the Magnuson Park Gallery. It has been a long time since I have done a solo show, and this small public exhibition space is just perfect for this.<br />
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This is not a show to sell, but a show to see. They are for sale, but that is not the primary aim of this show. I hope people come to see it just to see painting, just to enjoy paint. It is also the grouping of my conversations with Ireland, and I think they work as that. They have been out there on the web in recent months, and lots of positive feedback, but seeing them in this space is quite a different thing. Paintings on the web and paintings in front of you are very different. I wish for everyone the chance to see paintings they like in the flesh, so to speak, instead of on a screen.<br />
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So come on in and say hello. If you cannot make it Sunday, the show is up until mid-December, and I have keys to the space for personal tours at any time. I think I will be in there Saturday afternoons as well, sitting the show.<br />
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After December, I will start the process of packing the studio up for the move to the East Coast and the next chapter, so it would be nice to see some of the local collectors and supporters before we go. This is a great opportunity to do that.Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com0tag:blogger.com,1999:blog-4862177185803268527.post-50948750561394296152016-08-31T08:49:00.001-07:002016-08-31T08:49:53.039-07:00VarnishVarnish is a tough topic. Some do, some dont. But if you want your work to last, and colors to not fade, and dirt not to be part of your legacy, you better varnish.<br />
<br />
A good varnish protects the surface from dirt and grime. It also protects the paint pigments from the destructive power of ultraviolet light. Both these forces are entropic, and do their job over time.<br />
<br />
Varnish also brings dull paint out and brings the color to life. It unifies various surfaces, and clarifies.<br />
<br />
Another thing varnish does is protect the surface from various mishaps, like scratches.<br />
<br />
There are many, I personally use two, Golden's and Utrecht spray. Both are UV blockers, both are gloss. Gloss is preferred because the stuff used to make things non-gloss tend to fog the surface, and dull the paint. Gloss is also easy to clean. Both are also removable and repairable. All varnishes age and yellow, and being able to remove them and redo them over time is a big deal. It is also handy when a repair is needed. Do this long enough and you will need both. The varnishes I use can be removed and the paint underneath undisturbed.<br />
<br />
The Golden is fairly thick, and I dilute it with clean non-oderless mineral spirits to a workable finish. Varnish requires that a painting surface be completely dry or cured before application. Otherwise, you may simply preserve the undry state underneath the varnish indefinitely. Varnish needs to be applied in a clean space as well, no chance of settling dust or particulate falling from an old ceiling as application is best done on a flat surface face up. Until a varnish 'sets' it may sag if the painting surface is vertical. Until it sets, it needs to be protected.<br />
<br />
My observation with paintings is they go through a couple three stages of finishing. There is that point when they tell you they are finished, and that is a satisfying moment. They they get cleaned and varnished, and become a new thing. Then they get lit and viewed, which may include frame or not. That is when they come to life, if they are going to.<br />
<br />
A quick note about framing. I think of it as a tool, the primary purpose of which is to cause the viewer to consider what is inside the frame more seriously. It separates the conversation from the surrounding noise, and causes you to see it separately. It intensifies concentration. I like them simple, unadorned, and neutral.Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com0tag:blogger.com,1999:blog-4862177185803268527.post-74572222153024034742016-08-15T10:03:00.001-07:002016-08-15T10:17:45.210-07:00So Long E.F. Norwood...I am going to side track for one episode, slightly into the personal. It relates to my painting insofar as it is part of the observe and comment part of daily life that good painting is all about.<br />
<br />
Our friend and neighbor E.F. Norwood passed away last week, after a several year decline. Didn't quite get to 90. I got to know him maybe 10 years ago, and had kept up with him since. He was an interesting character, a real gentleman. Impeccable taste, low tolerance for idiocy and mean people, and had at least a couple rabid hobbies; film and Dahlias. He had an incredible Dahlia garden and was revered throughout our area. He had books on film, and could talk for hours on movies. He retired after many years teaching high school, and MANY of his old students became friends for life. He was an incredibly private and thoughtful person. And he loved martinis.<br />
<br />
He was also a gay man who never spoke of it or felt it was anyone's business, which it was not. I got to go through his personal things when we moved him out of his home into a senior center place, and realized that he had lived his life in a world of incredible hostility to who he was and still managed to come into old age with a great spirit, and community sensibility. He was born and raised in Arkansas, went to a Christian college in Missouri, and did a tour in the Navy, all at a time when there were few things worse than being gay, a fact that could get you arrested, beaten, or killed at the first sign of any expression of it or knowledge. His scrap books were mixed photos and clippings of his friends, his Navy days, and newspaper clippings of some of the horrible things people did to gay men when they found out. So I get it. He was private, but maybe a bit terrified. The risk was always there. From losing friends, to even losing your life.<br />
<br />
I am a white straight man. I have been given a pass on the privilege front. I do not know what it feels like to be in danger simply because of who I am. I am also fortunate to have been around artists all my life, and have never thought of gay people as any different than anyone else. But I am being forced to see it affecting the lives of those who live under the constant suppression of their human rights by both the LGBTQ and BLM communities pushing themselves into the discussion and larger cultural stage. And it is astonishing. I even see my own biases in subtle ways now that I did not fully own before. And that, I think, is where it has to start.<br />
<br />
E.F. was embarrassed by his full name. Never told anyone. I know it, but will not tell. He was religious only in the way that how you behave everyday is your true religion. He did not believe in any god that taught hate. I miss the martinis, and the Dahlias, the Sunday get togethers, our steak and potatoes dinners, and his booming voice. He has joined Einstein and Churchill, Ghandi and Freddie Mercury, and all of his favorite movie stars wherever they all went, and his little dog. He was ready. As I write this I think that I was not.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFoEt8vXuovSnS3VexJ1LhpvcsG2Ovi_kRwrKk59By3El4nsjqzhM3kuTgptr0h4Vz7UyOhL4fQY5UTX-F6sv9P3fMJW4BVe5iQRfGXekjor2QQsux7YpOt01FO78AEe-HKIDQeeeUfGJs/s1600/ef_01.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFoEt8vXuovSnS3VexJ1LhpvcsG2Ovi_kRwrKk59By3El4nsjqzhM3kuTgptr0h4Vz7UyOhL4fQY5UTX-F6sv9P3fMJW4BVe5iQRfGXekjor2QQsux7YpOt01FO78AEe-HKIDQeeeUfGJs/s1600/ef_01.jpg" /></a><br />
<br />
This little watercolor was done by his friend David Oliver. It is not a portrait of E.F., it IS E.F.Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com6tag:blogger.com,1999:blog-4862177185803268527.post-91893044728930944062016-07-03T09:29:00.000-07:002016-07-03T09:30:40.592-07:00SummerAhhh... it is summertime. Hard to think much less write. Much better to sit out back in the gazebo with a G&T next to the cat half sleeping, and half monitoring the bird feeder activity. Clouds of little bugs whirring in the air, bits of sun making it through the Sycamore canopy overhead...<br />
<br />
Scanning ebay on my ipad, biddin' on some shoes...Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com1tag:blogger.com,1999:blog-4862177185803268527.post-39666698825966066612016-06-08T07:00:00.003-07:002016-08-31T08:50:21.836-07:00DrivelDid some cleaning up in the studio. Needed... This space is small, tiny compared to the old Artwood. Not enough space to breathe.<br />
<br />
I will try to have some new things in a week or so. This is winter aspens, Colorado.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCaRRyP3Lltsqh2kkjQC3bn501oGY2zb6IP0Nn2C6eFy02P1cBB0O9QVqf0_xxtmq2Vn8jrqC5jGD0g1m3vWj6ZbH_tJonKVcC3yxLPIOu3xfRjSLV6VViwQfvbiMVWB1LkK9auCc08SSS/s1600/lg2003_004.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCaRRyP3Lltsqh2kkjQC3bn501oGY2zb6IP0Nn2C6eFy02P1cBB0O9QVqf0_xxtmq2Vn8jrqC5jGD0g1m3vWj6ZbH_tJonKVcC3yxLPIOu3xfRjSLV6VViwQfvbiMVWB1LkK9auCc08SSS/s320/lg2003_004.jpg" width="320" /></a></div>
<br />Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com0tag:blogger.com,1999:blog-4862177185803268527.post-19488798395198349392016-06-01T08:34:00.000-07:002016-06-01T08:35:02.951-07:00Galleries 2<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black; font-size: 12.0pt;">It is very important to make some distinction between galleries
selling work, and gallery exhibition. In the United States, the two are fairly
separate, which is unfortunate. Here, museums, universities, and arts
organizations are largely the venues for exhibition shows, and galleries are
stores for selling work. Exhibition shows have greater weight, because of the
absence of the commercial primary goal. <o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
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<span style="color: black; font-size: 12.0pt;">Being seen is the beginning of any fine artist’s career. There is
nothing worse than being invisible, especially if an artist deserves to be
seen. This value is usually provided by sales history. Fine artists who manage
to get shown, and appreciated, but do not sell work get to die just as broke as
those who are never seen. They all compete for the same service and
construction jobs, the same teaching positions, etc. <o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black; font-size: 12.0pt;"><br /></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black; font-size: 12.0pt;">----------------</span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black; font-size: 13.5pt;"><br /></span></div>
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<span style="mso-spacerun: yes;"> </span>There are several
layers of consideration when trying to make comparisons in the “arts”. One
problem is “performance” getting lumped up into the same discussion as “solid”
artwork.<span style="mso-spacerun: yes;"> </span>Performance and solid are two
very different things. It used to be that performers of all stripes were called
that. Musicians, singers, actors, dancers, all went by those names. Now, anyone
who makes anything of any type is called an “artist” and anything made,
conjured up, written, interpreted, or otherwise generated by a person is called
“art”. <span style="mso-spacerun: yes;"> </span>In fact, that has completely
overtaken the meaning of the word.<o:p></o:p></div>
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<br /></div>
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Conversely, those who went to “art” schools, got “art”
degrees, bought supplies at “art” stores, showed work in “art” galleries were
called “artists”. These people made “solid” art, one off, one of a kind, things
that stood in space, and were regarded visually and tactilely, and had a
relative permanence. You got a BFA or MFA with the qualifier of ‘Fine’ to
indicate solid. Fine art has been all but left behind, and galleries have been
more culprit than savior.<o:p></o:p></div>
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<br /></div>
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Performance “art” is intended to be repeated, and selling
the copied sounds or performances is how those entities eke out a living
(hopefully).<span style="mso-spacerun: yes;"> </span>This is a way bigger group,
and the assuming the mantle of “artist” has come to mean more as a performance
descriptor than fine art one. Oh well…<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
However, it is not ok to make copies of fine art, and since
the value of fine or ‘solid’ artwork is in it’s uniqueness, it needs a place to
be seen and experienced first hand. This has been (up until now) largely the
stage created by galleries. The web does not address this, or provide any
assistance. The web only gives some poor clues as to how something looks, and
the rest of the experience of solid art is lost. Seeing solid art in the
“flesh” (so to speak) is the only true way to experience it because just seeing
something in an image does not allow one to experience the other equally
valuable aspects of a work, such as surface, or visual weight, or size, or it’s
affect on the space it occupies, it’s emotional or architectural weight. None
of that is possible in a web image. The hand of the “fine” artist is not
present. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
A couple of examples:<o:p></o:p></div>
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<br /></div>
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Cris Bruch is a sculptor I know who does drawings and
installations, etc. that mean almost nothing in images on the web. You have to
walk around them, be with them, experience their mass, and size, and presence.
You have to relate to them physically. His drawings are large and linear and
live in a space larger than the frame and glass that contains them. <o:p></o:p></div>
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<br /></div>
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When I open a show of my own work, it is not uncommon to see
people up nose to paintings or looking at them from several angles, because the
surface is important. They are paint, and up close that becomes very obvious.
The further back you get the image becomes more center stage. Like Cris’s work,
any solid artist’s work will occupy space larger than the image when viewed in
person. This experience can only happen in the work’s presence, and the web
cannot begin to supply this. <o:p></o:p></div>
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<br /></div>
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Often, when a painting (or any other ‘solid’ artwork) is
shown, it is accompanied by additional information, which when supplied within
the bubble of a work’s presence, has weight that does not happen on a screen.
It can be a placard with some description or additional or helpful insight, or
it can be an informed person willing to speak about the work or the maker.<span style="mso-spacerun: yes;"> </span>These elements give weight to a viewers
consideration as well, especially if the person who creates the placard or
speaks of the artist has some intimacy with the artist, the kind that comes
from knowing them. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
-----------------<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Having work in a gallery because it is popular and sells is
a sad commentary on the evolution of the gallery and it’s relationship to fine
art and to the public at large. Monkeys smoking cigars and bronze children
flying kites may sell and pay bills, but this type of weak gate-keeping erodes
the mortar that is the part of the foundation of a culture that powerful art
can harden.<o:p></o:p></div>
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<br /></div>
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<br /></div>
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So, is the web the culprit? Is the Web killing galleries?
Are galleries and the “art market” killing art?<span style="mso-spacerun: yes;">
</span>Are we all backing off of our responsibilities to improve our culture by
ignoring the discussion? Are we collectively at fault?<o:p></o:p></div>
Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com1tag:blogger.com,1999:blog-4862177185803268527.post-39698637090587780532016-05-31T07:45:00.003-07:002016-06-01T08:36:01.421-07:00Galleries 1<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black; font-size: 13.5pt;">I recently overheard a conversation about a prominent gallery
owner that I know saying that the end of galleries is near. I have also
suspected that may be true, but that there needs to be some discussion about it
as a process. So this may be a two parter... or three.<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black; font-size: 13.5pt;">The overheard conversation was mourning the changing of the art
market, and the traditional gallery no longer serving whatever the market was
asking for, if it was asking for anything anymore. A finger was pointed at the
Web as a major player in this when I don’t think it is fair to say that. The
gallery and those who feed it have been incompatible for a long time, participants
in an unhealthy dance that left many an unhappy partner. Rather than learn from
each other, both gallery and artist have changed in ways that reinforce that
tension. The Web has just highlighted it, making the changes hard to ignore
now. <o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black; font-size: 13.5pt;">Obviously the WWW has had a tremendous impact, but it is not what
is doing in the current gallery model… not alone anyway.<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black; font-size: 13.5pt;">The American gallery model has not been particularly well suited
to artists or art itself, being the primary gate-keeper, primary beneficiary, and
often the only source of what revenue artists do see at the same time. And with
most galleries, this is the goal. It is like Ebay. The primary thing that
happens is the company is funded. Everything else is a distant second.<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black; font-size: 13.5pt;">There is nothing wrong with this from a business standpoint. But
from that standpoint artists are only suppliers, wholesalers, whose performance
and ultimately value is based on sales. It is hard to rise above that when the
system has no intention of letting it happen. <o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black; font-size: 13.5pt;">The music ‘industry’ is undergoing some similar re-tooling. It is a weak comparison, however, </span><span style="font-size: 13.5pt;">since that industry is a print industry… they sell prints of
originals and that is a fat no-no in the fine art world. The FAW courted that
idea back in the ‘70s but has since largely abandoned it, and the print in the
FAW is still quite expensive compared to the .99c download. But they (music)
are on the forefront of changing and adapting to new models.</span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
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<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black; font-size: 13.5pt;">So, I would agree that the current gallery model is starting to
weaken, but we need to start talking about what replaces it.<o:p></o:p></span></div>
<br />Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com1tag:blogger.com,1999:blog-4862177185803268527.post-78009634223926018112016-05-19T08:16:00.000-07:002016-05-19T08:16:06.300-07:00Ireland PaintingsI was invited to do a show in the SPACE Gallery in Magnuson Park in Seattle, for the month of October. So far, it is a confirmed go.<br />
<br />
I will use this opportunity to do a unified show of just the Ireland paintings. I have kept most of them back because I really wanted them to be shown together, and this is a great opportunity to do that. Plus, it is just upstairs from my studio in the Building 30 Studios. I am working with the board on redoing the lighting in the gallery, and will have that all taken care of by then so it should be all set.<br />
<br />
I am working on a catalogue of the Irish Paintings as well, and hope to have that available by then.Marc Bohnehttp://www.blogger.com/profile/04301848234515093586noreply@blogger.com0