STUDIO: Collaborative Painting with Richard and Michele-Part 2

A Collaborative Painting by Richard and Michele Bledsoe: Taking Form

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The collaboration continued. We very quickly determined the needed dynamic. We are opposites in so many ways.

Michele worked on the painting for much longer periods of time than I did. She is a meticulous, slow painter. She laid out her drawing in detail on the canvas, in raw umber, using tiny brushes.

I worked fast, laying in big areas, keeping the drawing loose and crude at first. I introduced color right away, covering over my drawing to build up new layers, using big harsh bristle brushes.

Yes, we are opposites in so many ways. We balance each other. To make this work in the form of a painting is an exciting part of this project.

 

It’s all a base coat, for now 

 

Read the series – STUDIO: Collaborative Painting with Richard and Michele-Part 1

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STUDIO: Collaborative Painting with Richard and Michele-Part 1

It Begins: A Collaborative Painting from Richard and Michele Bledsoe 

It’s surprising it’s taken us so long to do this.

My wife Michele Bledsoe and I are both painters, but very different kinds of painters.

We do share a studio in our home. We’ve spent countless hours together making art. We work back to back, with the stereo in the middle to play inspirational music.

She sits at her easel. I pace around in front of mine.

Michele uses tiny soft brushes. I use big house painting brushes for much of my work.

She discovers her imagery through stream of consciousness dreaming. I am replicating the vision I was assigned.

She likes to focus on one work at a time, and linger over it. I have multiple pieces going at once, at different stages of completion, and I compulsively push them towards resolution.

Michele doesn’t know what she is going to paint when she begins, but she applies her masterful technique to it. I know the image I need to present, but I don’t know how I’m going to paint it out.

We are both wholly committed to our art, and we show it in our own different ways. Remodernism encourages dedication to individual expression, and the pursuit of excellence.

But what would happen if we decided to share our visions together on one canvas, just like we share our studio, and our lives?

We’re going to find out.

Michele and I recently began a collaborative painting. We divided it right across the middle, but we will each contribute to a unified composition, in our own unique styles. We will follow our very different methods and seek to make them harmonize.

I started off like I always do: covering the canvas with a flat layer of color. I don’t like painting on a white surface.

Michele started like she always does: establishing the drawing, as seen in the picture above.

I then put in my crude initial layout, and gave it back to her.

Establishing the basics 

We will trade the canvas back and forth until it is done, and post updates on this blog. It’s a fascinating artistic process to interact with each other in something as complex as a painting. Stay tuned for further developments!

COMMENTARY: 1962 – The Changing of the Avant-Garde

 

Andy Warhol, 1962

“As disturbing as it was, we continued with the Pop generation, which in the meantime has made its own reputation.”

-Sidney Janis, American gallerist, 1896-1989

*Update: Richard Bledsoe will be offline for an extended period due to an unexpected medical situation. I am Richard’s wife, Michele Bledsoe – and for the interim I will act as his hands and eyes. 

The following is a section from a major work-in-progress about art and culture Richard is writing. 

1962 was the end of the Modern Art era. Much like the Salon des Refusés ushered in the Modern Era in 1863, it was another art show that gave evidence of a definitive shift in the culture.

The influences had been gathering for years, before coming together in a definitive event. In this case the tipping point was an art show located in a temporarily rented store front – a pop-up gallery, we would say these days.

The International Exhibition of the New Realists opened on October 31, organized by New York City gallerist Sidney Janis. With this show, the Postmodern era had arrived.

International Exhibition of the New Realists, 1962

We’ve come to call it Pop art, the opening gambit of the generational shift in art and culture the Janis show encapsulated. It featured future superstars Andy Warhol, Roy Lichtenstein, Claus Oldenburg, Yves Kline, Christo, and many others.

The reigning dominant critic Clement Greenberg’s grip has slipped. His preference for abstraction had dominated the 1950s art world. After the exile of representational art, it was back with a vengeance, but also with a twist.

Pop art was easy to like. On the surface it was bright and playful; instant gratification art. It aspired not to inspire, but to be ironic. The recognizable imagery depicted was coming not directly from life, but was reproduced from the filtered and stylized presentations of industrial mass media: advertising, Hollywood, newspapers, comic books and television. From its inception, The Postmodern era was informed by the illusions, distortions, and manipulations these mediums employed.  Postmodernism is very useful for those who have something to hide.

But back in 1962, it was a scary Halloween for Janis’s existing stable of abstract expressionist studs. Some of the biggest names in Modern painting quit his gallery after the audacious show. Departing artists Mark Rothko, Robert Motherwell, Philip Guston, and Adolph Gottlieb had struggled for decades in obscurity before the agendas inflicted on the art world turned in their favor. For a brief time, they were the pinnacle. But in the early 1960s a new set of ideas was rising.

The art on display in The New Realists show was not just another variation on Modernist priorities, another facet of Modernism’s typical fragmentation. The new way was basically a repudiation of everything the aging Modernists thought they stood for.

I select this Janis show as the Postmodern starting point because of its consequences. The changing of the guard was plain for all to see in the tempest in a teapot scale of the art world. The Action painters were driven to take action, but it was already too late.

Displaced: Philip Guston, Jimmy Ernst, Seymour H. Knox, Jr., Franz Kline, Robert Motherwell, and Mark Rothko

THIS IS WHAT HAPPENED: Vintage Music Reviews-Rudimentary Peni “Cacophony”

*Update: Richard Bledsoe will be offline for an extended period due to an unexpected medical situation. I am Richard’s wife, Michele Bledsoe – and for the interim I will act as his hands and eyes. 

A few years ago, Richard used to write for the punk ‘zine AZKAOS. This was one of the vintage music reviews he contributed from 2010.

Rudimentary Peni “Cacophony” Album Cover Art by Nick Blinko

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Rudimentary PeniCacophony

1989

Outer Himalayan Records

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And then the matter of that phonograph record…It must mean something; whether animal noises deceptively like human speech, or the speech of some hidden, night-haunting human being decayed to a state not much above that of lower animals.

  -H. P. Lovecraft   

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Does genius lead to madness, or is the other way around? Mental illness in reality is usually a drab and frustrating situation. The romantic cliché of the brilliant lunatic persists though, supported by the occasional rise and fall of some inspired martyr; there is some truth to the template. When an inventive mind gets caught up in a wave of mania, astonishing creations can occur.

The Rudimentary Peni album Cacophony feels maniacal, as if it were recorded at the height of some delusional frenzy. A rare hardcore punk concept album, an obsessive riff on horror pulp author H.P. Lovecraft, it captures that writer’s atmosphere of melodramatic creepiness. The recording seems like an organic whole; songs blend into one another, connected by snippets of dialogue and sound effects, racing along at breakneck speed. It is one of those records to be played in its entirety, to better appreciate the story arc.

Rudimentary Peni (named for a biology class definition of clitorises) grew out of the busy London anarcho-punk scene nurtured by the musical collective Crass. RP’s front man Nick Blinko is the songwriter, guitarist and singer; he also produces the horror vacui outsider art that illustrates the albums-teeming landscapes of grimacing faces, skulls and religious icons. Blinko could be a character out of a Lovecraft work-a talented outsider whose mind was broken by the pursuit of arcane knowledge. Diagnosed with schizoaffective disorder, Blinko has spent some time institutionalized for his condition.

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Nick Blinko Artwork 

 

Despite the burdens of Blinko’s mental state, and all the growling death rock themes explored, Cacophony is a rollicking, playful album, bursting with excitement at its own inventiveness. The lyrics echo Lovecraft’s quaint verbose style in a manner that is both tribute and satire. The content veers between Lovecraft’s biography, his works, and more oblique rants. The original vinyl fortunately came with a 6 page lyric sheet, because the elaborate, articulate poetry Blinko wrote is often buried in layers of distortion and noise, or is barely intelligible. Blinko produces literally dozens of accents in his vocals-he chants, mutters, shrieks, hisses, croons and babbles; it’s an amazing theatrical performance. “Things have learnt to walk that ought to crawl,” he croaks in one interlude. Some pieces are nothing but sounds-chattering teeth, rude squishy noises, wheezing or screaming; others are little collages of tombstone inscriptions or buzzing alien voices.

The music swings between tight little punk gems and ominous droning soundscapes. The catchy hardcore passages throughout the album suggest Zen Arcade vintage Husker Du. In “The Only Child, ” about a bad seed murderous little girl, the delivery is a snarling Exploited style stomp; “Arkham Hearse” swings with a Sex Pistols sneer. “Dream City” warbles like the Buzzcocks: “The weedy old spires like veins in marble/The old gold domes/were just ancestral homes/The citadels of yore with their broken bronze bells/ tottering towers/shadowy staircases/spiral like ammonites…”

Rudimentary Peni, despite some hiatuses, continue to release albums, though nothing has ever topped this perfect storm of cult influences. Cacophony works on many levels-it ranges from being sinister and aggressive to being literate and tongue in cheek. It presents horror with mighty impact but doesn’t take itself too seriously. This highly personal and entertaining experimental album is a neglected masterpiece.

More Nick Blinko Artwork 

 

 

 

 

 

EXHIBITIONS: International Stuckism-Quintus Gallery, Watkins Glen, New York

Richard Bledsoe “Petrified Forest” acrylic on canvas 20″ x 24″ 

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International Stuckism

October 13, 2017 – November 12, 2017, opening reception Friday October 13 

Quintus Gallery 65 Salt Point Rd. Watkins Glen, NY

Featuring artists from the UK, Spain, Greece, Russia, Iran, France, the Czech Republic, Australia, and the United States 

New York artist Ron Throop continues to make things happen. His latest project has been coordinating over thirty artists from around the world to share their visions in the latest display of the global art phenomenon of Stuckism.

The great analyst Carl Jung understood what art does. He stated, “All art intuitively apprehends coming changes in the collective unconsciousness.” Before the rejection of elitist presumption and incompetence became the consuming political topic it is now, in 1999 a group of UK artists started waging the same fight against the corrupt and out of touch establishment art world. The Stuckists were a harbinger of the dynamic which is remaking society. They are the first art movement of the Remodern era.

I’ve had the privilege of hosting a Stuckist exhibit here in Phoenix, with 2014’s International Stuckism: Explorers and Inventors. I’ve also participated in other international shows, like 2015’s Stuckism: Remodernising the Mainstream, University of Kent, Canterbury England.It’s an honor to show with these committed creatives. Stuckist free expression brings connectivity and joy back into a contemporary art world too often stifled by alienation and a sense of unjustified superiority.

Ron Throop sees art as a means for bringing people together. As he explains, “Communion has been one of my artistic goals for as long as I can remember. Expressive painting is a very powerful connector to people. We are an image and story-loving species.” To spread the word he has also assembled a book about the show, “International Stuckist Invitational at Watkins Glen,” available on both Createspace and Amazon.

Michele Bledsoe and I have both contributed to this show. It’s an exciting time, being involved in the renewal of the fundamental human activity of art making. We are very grateful to Ron Throop for his diligence and vision in creating this opportunity that demonstrates the grassroots are global, and growing. 

Michele Bledsoe “Assemblage” acrylic on canvas 7″ x 5″ 

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Richard Bledsoe “In the Trenches” acrylic on canvas 12″ x 16″ 

 

STUDIO: A New Painting in Progress, Part 4 (Why Painters Go Mad)

Work in Progress: “The War You Will Always Have With You” starts to stare back

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I have a saying that is only partially in jest: “Insanity is an occupational hazard  for painters.” Look at art history, especially during the Modern era, and the trend is pretty evident.

Now I happen to be a very sane and stable individual myself. At least I think I am. But I can understand why going through the process of creating art opens the psyche up for derangement.

The smallest dab or gesture on a painting can make it or break it. My wife Michele Bledsoe  and I are intuitive artists. We work it out on the canvas, trying to convey the contents of our minds without relying on preparatory sketches or source material. When it works, there is the thrill of discovery.

The problem is we never know in advance what the smallest dab or gesture might do to the entire composition. Until I see it myself, I don’t know if that little adjustment will make the canvas sing, or drag it into the abyss.

Fortunately painting is a very flexible, forgiving medium. Mistakes can be fixed. Lots of my painting process consists of reworking elements that just didn’t work well enough.

I had been working on my latest major painting, “The War You will Always Have With You,” for about 2 months before I had that eureka moment. I gave my lion pupils, simple little circles of white, and it was like suddenly there was another presence in the room.

The art was looking at me even as I was looking at it.

Since I took the photo above, I have completed this painting; it took about another month.  My next post on the subject will show the finished piece. But even after 25 years of painting, I am still amazed how a little change takes the art abruptly from raw to finishing touches.

I don’t buy into the romantic myth of the crazy genius. Real mental illness is a drab and frustrating experience, an obstacle to where great art really comes from. That’s why I’m glad to be a Remodernist artist. It’s a much more integrated and healthy philosophy than the fragmentation of Modernism, or the deceptions of Postmodernism.

“The Remodernist’s job is to bring God back into art but not as God was before. Remodernism is not a religion, but we uphold that it is essential to regain enthusiasm (from the Greek, en theos to be possessed by God).”

The Remodernist Manifesto

Earlier Installments:

A New Painting in Progress, Part 1

A New Painting in Progress, Part 2

A New Painting in Progress, Part 3

STUDIO: A New Painting in Progress, Part 3

“The War You Will Always Have With You” starts to darken

One of the mottoes Michele Bledsoe and I share in the studio is “Darker than you think.” It’s a reminder to push the painting further, to increase the intensity of contrast. The highlights are brighter when interacting with a truly rich darkness which takes a long time to build up.

Here I have begun leading my newest painting into the darkness. First the background, then the body. The initial colors laid down are just a base coat, a foundation to work off of as I create multiple layers of interacting colors.

“Painting is the medium of self-discovery. It engages the person fully with a process of action, emotion, thought and vision, revealing all of these with intimate and unforgiving breadth and detail.”

The Stuckism Manifesto

Earlier Installments:

A New Painting in Progress, Part 1

A New Painting in Progress, Part 2

Starting the Mane