J. Gordon Anderson - Contemporary Art

Here is an interesting article about Elizabeth Peyton , a very successful contemporary portrait painter. I like the simplicity of her work and the vast fields of color. It is reminiscent of Richard Diebenkorn and Milton Avery in that respect, but in terms of the expressiveness of the faces and the eyes it evokes Shahn, though in perhaps more of a refined way. The best art is pure simplicity - like God. The article is also interesting because it traces the history of portraiture in the 20th century.

The guy who created the "iconic" portrait of President Obama is being sued by AP because his image is based on a photo taken by an AP photographer which AP "owns". The artist's lawyer argues that this qualifies as "fair use" of the image. In my opinion this is nothing but greed on the part of AP. They obviously would not be doing this had the image not become so successful. It also raises interesting questions about who owns images. Say an architect designs an iconic building, and a few years later an artist paints a picture of it as artists often do. Say that painting later becomes famous in its own right - can that artist be sued? Can the Picasso estate be sued by Bass Ale because some Picasso's paintings contain pictures of Bass Ale bottles? The artist who made this portrait of the president created his own unique work of art. What about musicians who use the same guitar riff? It is just too fantastic what the AP is trying to claim. Yes, the Ob...

Andrew Wyeth died the other day. He was a big influence on me, partly because of his style, partly because of his technique, partly because of his attitude, and partly because he was so derided by much of the art establishment. They considered him more of an illustrator rather than a fine artist. But I thought him a modern master. He painted frequently in egg tempera, a medium used in iconography. In reading his biography a few years ago, and some of his interviews and other writings, I thought he had an amazing grasp on the medium and its possibilities. His watercolors were also stunning. That is the hardest medium to paint in, and he - in just a few strokes - could create an iconic piece of art. Only a true master could do that. I appreciated the way he spent his entire life exploring the Chadd's Ford countryside and the areas in Maine where he painted. To dedicate yourself to something so "ordinary" (mid-Atlantic American countryside) - and to really squeeze the "...

I think it looks cool, but if it is scaring young children, and everyone in the church hates then maybe it is best to move it to off the premises and to a museum. http://news.bbc.co.uk/2/hi/uk_news/england/sussex/7816941.stm

Being an artist is just as intense and demanding a vocation as being a priest. Like the priesthood, the artistic life has its highs and lows, and ups and downs. But the rewards of both vocations are immeasurable. I have been very blessed to touch many lives through my art - from people around the world. Recently I was sent this note about an icon that I did: (I gave it to a client who passed it on as a gift, and the client sent me the comment that follows.) " The crucifixion painting you gave me has already been a treasure. As you may know, I suffer from phases of deep depression and take medication for that depression, but as with all things, there is a very spiritual dimension to my depression. When I am able to look at something like a painting of the crucifixion, it both makes the crucifixion real and brings me great comfort. I am going through such a time right now and this afternoon I propped the painting up by my bed so that I could look at it as I tried to rest. So I thank...

One of the major difficulties in being an artist is the problem of being "typecast". Successful contemporary artists, and the artists that are famous in art history, have a particular style (e.g. Monet), or always paint a particular theme (e.g. Morandi). This is problematic for artists who want to flit around and do a little of this, and a little of that; or paint this way one day, and that way the next. You feel like you are not free to change, and just paint what you want. You have to paint what your public wants, or what they expect you to paint. Believe it or not, this is a problem for even us ultra-small time artists.

"Broken and Bent" Oil on Canvas, 2006 Life in the city. Conveying flatness and depth at the same time. Overlapping. Integrated. Confusion - but making sense. Mystery in the ordinary. Ordinary mystery.