WELCOME

This will be about my views on what it takes to put a three dimensional world onto a two dimensional surface. With a lot of digressing.
Don't forget to leave a comment, or a question if you have one, below the post. Thanks.

Margery

Nov 30, 2009

DUALITY

DUALITY 40 x 48" Acrylic on Canvas (C) Margery Caggiano

I delve into the internet a lot, to see what's been auctioned, to see if links are accurate etc, and to see whats popped up as more and more info makes its way online.
I found a registry of women artists named CLARA, in case you ladies want to look.
Then my name came up on a portfolio that's in the database of the American Art Portrait Gallery Library of The Smithsonian. The entry was for a painting of mine, titled "Duality", with an approximate date of 1896 to 1975. Naturally I contacted the person of record, suggested that I was still alive, and asked why that painting?
Answer: "Peter and son Paul Juley headed the largest fine arts photography firm in NY from 1907 to 1975. Their clients included museums, galleries, schools, art dealers, private collectors, and nearly every major artist of the period. The Smithsonian American Art Museum acquired the Juley collection from Paul Juley, just prior to his death in 1975."
It seems that the (wincing here)1968 Audubon Artists Nat'l Exhibition was documented by the Juley firm, and I was one of the exhibitors, with "Duality" above, which received a Medal of Honor. Nice.
I cleared up the date with the library and sent an image for the archives. The site is SIRIS

The painting in question is of a friend and fellow artist, Edith Borax Morrison. I've used her as a model several times over the years.MRS B 16 x 18" Acrylic on Canvas c) Margery Caggiano
I was in my one-eye- Larry Rivers period.
MOI with frame
Edith and I were also antiquers, and found this top part of a cottage dresser, sans mirror.
So I painted her to fit. The (my) hand is cast plaster dipped in wax (yes, and ouch), the bird is of course faux. Both are on the shelf (arrow)
She looks a little double jointed, but you can't have everything
EDITH WITH BIRD Acrylic on Canvas (Size?)

Edith is an extremely accomplished artist, currently affiliated with the Kehler Lidell Gallery in New Haven, Conn.
http://www.kehlerliddell.com/

Nov 27, 2009

WHAT'S A HENWAY?

MUTANT CHICKEN 24 x 18 Oil on Panel (c) Janet Culbertson

This is a good time to talk turkey (sorry), but I'd rather introduce an artist and friend, who is a dedicated environmentalist who puts her money where her mouth is, art wise. Janet Culbertson in her studio on Shelter Island, NY.

When I saw the painting of the nude chicken in her studio I thought she (how clever) invented it, but learned from her that, unfortunately, they do exist ( and not pleased let me add). They're engineered for countries that are too warm for raising poultry with feathers. The eventual oven is pretty warm too, but by that time the poor things are not only nude but, hopefully, dead.

I never thought I'd want to knit a sweater for a chicken...

I first met Jan when we were two of the four women chosen in 1980 to exhibit in "FOUR" at the Heckscher Museum in Huntington, LI, NY. The other two artists were Joyce Stillman Meyers and Susan Zises.

Malcolm Preston wrote in Newsday: "Each year, with funds provided by the New York State Council on the Arts and the National Endowment for The Arts, the Creative Artists Public Service Program awards fellowships to artists working in various categories. Four of those CAPS recipients are currently showing their works at the Heckscher Museum in Huntington. it is interesting to note that all four are, to some degree, realists. all four, too, by the way, live, work and have exhibited frequently on Long Island."

And, in the part of the review that refers to her work: "There is in Janet Culbertson's work a real concern for nature, for preserving the ecological balance, for protecting endangered species. Her large, beautifully textured mixed- media drawings include several of her earlier works like "Resting Tortoise" and "Iguana." Very skillfully handled, they affect a fossilized, prehistoric look, but really they ask us to respect those early residents of our planet and not destroy them, and perhaps ourselves, through carelessness."

Her paintings, drawings, philosophy and travels can be seen and read about on her website, along with an amazing resume. http://www.janetculbertson.net/

PS If you don't know what a Henway is, ask around.

Nov 24, 2009

HARRIS

HARRIS ONISKO 10" x 8" Oil on Canvas (c)Margery Caggiano

I've come to the conclusion, like I didn't know, that painting feels better than not painting. You can walk away. You can run, but you can't hide. You can complain, you can give it up and decide that there has to be something out there that doesn't cause so much angst. I walked away from the Art World for 20 years for a lot of reasons, some personal, some I couldn't define.
In retrospect, I had become good enough to know I wasn't good enough.
But there came a time when I needed to retrieve that lost limb, there had been too many real-time losses to deal with.
So my attitude has become ****** I yam what I yam.
I'll always whine and complain, that's the New York legacy.
While I'm at it, how come, with all of the talent out there, is one of the better few seconds on TV is a talking pothole? Frustrated with TV, I took myself to the movies last week, got some popcorn that cost more than the movie, put my earplugs in, and watched the world end.
Ahhhhh, that's better.

Nov 22, 2009

MIKE

MIKE ONISKO.... 10" x 8" .... Oil on Canvas .... (c) Margery Caggiano

I'm calling this series of 8x10 portraits "oil sketches"....Trying to get the essence of a person without doing a highly finished painting. This was done from a photo sent via email, on gallery wrapped canvas. I'm currently accepting commissions for this size, unframed, from your photo. Cost is $195, for this size only. The photo can be black and white, and even somewhat out of focus. Obviously, the higher the resolution, the better. Some candids "get" a person, whether alone or in a crowd.
But teeth, however sweet the smile, don't make a good painting. Nor will I, or should I, use a professional photographers studio portrait.

If I don't think I can do a good job I'll tell you. No charge.


CECILY (Gallery Opening)....Original 1.2 MB photo .....(c) Margery Caggiano

CECILY... Oil on Canvas ...10" x 8"..(c)Margery Caggiano

The painting can be seen in her gallery on Love Lane, in Mattituck LI

Nov 20, 2009

OPEN LETTER TO HELEN TUCKER

This was in the Letters section of the Artists Magazine last month. I read it for the first time yesterday, and am repeating it here in its entirety in case anyone else missed it, or doesn't subscribe.

ARTISTS OVER 60
"I'm very disappointed that The Artists Magazine is once again featuring a contest for the over-60 crowd. Here's my question:Why give extra points for the artist who's not able to compete with 20-year-olds? I find it distasteful. Art should be celebrated for art itself, not for the age of the artist. Why not keep contests open for all to enter? If the winner is then found to be half senile, to have partial vision and to create art while leaning on a cane-then you can celebrate the artist! Until then, please stop with the categories (both young and old)."
Helen Tucker
Via e-mail


An Open Letter To Helen Tucker
Dearest Helen,
I figured you for a sulky artist of course, and googled your name but could only come up with a bikini model on YouTube. (true) One Who Paints?
Which pretty much explains your attitude, if you're one and the same.
But you're right, I can't compete with any 20 year old in a bikini contest.
I'm also completely senile and proud of it.
Yours truly,
Margery
detail from 21 ARTISTS OVER 60, The Artists Magazine, March 2008

PS This blog insures that the brain of Helen Tucker will show up on a search or two for a long time. So sue me. I'm senile.

Nov 19, 2009

DUALITY


I was checking my links on Google, as I do occasionally; it confirms my existence, which I sometimes question.
I paint therefore I am.Lo and behold there's a link that's new to me, a connection that caused me to say huh? It seems that the Smithsonian Institution has a research information system, the acronym is SIRUS. Narrowed down, in my case, to the American Art Portrait Gallery. Since you rarely know where your paintings will end up, I was at the wow stage. But it was a catalog in their “vertical files”-a photo of a painting, with the title “Duality”, and my name.
Oh well. I emailed the registrar and inquired.
“Peter A. Juley (1862-1937) and his son Paul P. Juley (1890-1975) headed the largest and most respected fine arts photography firm in New York from 1907 to 1975. Their clients included museums, galleries, schools, art dealers, private collectors, and nearly every major artist of the period. The Smithsonian American Art Museum acquired the Juley Collection from Paul Juley, just prior to his death in 1975.”
One of his clients was the Audubon Artists Society, and he photographed the paintings in their Annual Juried National Exhibition, which is still held every year in NYC.
”Duality”, the painting in question, was a (sort of) portrait of fellow artist Edith Borax Morrison. It was acrylic, and was 40 x 48”.

I entered it in the 24th Audubon Artists Juried National Exhibition in -gulp-1966. It received a Medal of Honor.

Nov 18, 2009

HOW TO RECOGNIZE AN ARTIST FROM FAR FAR AWAY

ARTIST 1
My last blog was about a painting I did (Cecily), using as a reference one of the photos I took last year at the Love Lane Gallery. There is no wasted film with a digital camera, so for me there is rarely pre-planning. It's useful for recording an event, a landscape, a seagull, paintable people.
I left the camera on auto and flash,-it was evening.
Anyhow, a few days ago I took a closer look at my photo files from that opening. (Technically, it was an auction). I enlarged the photo above, saw something interesting, lightened the photo, and got a little extra. Well well well.
ARTIST 2
I also saw that she had been wearing sunglasses.
In case she wanted to attend incognito?

Nov 15, 2009

LOVE LANE GALLERY

CECILY 8" x 10" Oil on Canvas (c) Margery Caggiano

I had previously invested in a bunch of 8 x 10 x 1.5 " pre-primed canvases that are a nice change from doing my own stretching, priming etc, but I'm not entirely happy with what is called "the mechanical look" (weave) of the surface, so I've been giving them another two coats of gesso, using a foam brush, then sanding. Not perfect, but it helps.
I've also been experimenting with closeups, using (sometimes) unposed, candid photos. The challenge I've set for myself is dealing with flat or overhead lighting, and trying to do them in a day. Sometimes it works out.
This particular photo was taken at the Love Lane Gallery in Mattituck LI, and Cecily, being the owner, was behind the counter at the time, pouring wine. Living dangerously, because some idiot decided that it was illegal to serve wine without a liquor licence. State? County?or local law. Strange that it only became an issue when the Long Island wineries took root, so to speak. At any rate, the media being the only message these days, I figure getting raided would be a good thing. Just think of that delicious headline "Love Lane Establishment Raided !"
I still remember (see?) an East Hampton artist (Robert Gwathmey I think, father of the architect), getting a lot of Coverage with a capital C for using the US flag in a work of art.

Nov 10, 2009

SHE DOESN"T KNOW MUCH ABOUT ART BUT..

yes, she knows what she likes

THE INNOCENT EYE Mark Tansey 1981
I think the original of this painting is at the Met. Since I've been blogging about cows, I remembered it.

Actually one of the first paintings I saw and loved, was on a high school trip to the Metropolitan. It was a landscape by John Constable, with you guessed it, cows.

John Constable: ”Wivenhoe Park, Essex” (1816)
I found this image on Google, thankyou.

The bad news is that it was used as an illustration for a german treatise on "foot and mouth disease". We all know that it's Hoof and Mouth disease, don't we?

My Back Yard, Oct. Photo (c) Margery Caggiano


The landscape I currently live in is much like this, except that they're Black Angus.
Beeves.
And then there are the traffic cops

GREENPORT LI Photo (c) Margery Caggiano

All together now, "mammeries, all alone in the moonlight........


Nov 7, 2009

THE LADIES OF LUMBER LANE

LUMBER LANE Oil on Canvas 20 x 26 (C) Margery Caggiano

COWS ARE NOT FOOD .......continued

Lumber Lane, in Bridgehampton LI, was close enough to where we lived that I sometimes used it as a shortcut to avoid the traffic. Even then, thirty years ago, traffic was bad enough to want to blow up the bridge over the Shinnecock Canal. If you've ever been on an interstate that was funneled down to one lane for 25 miles, that's what Montauk Highway became.
The curse of the Hamptons.
This particular painting was shown only once I think, and later destroyed. I do that occasionally.Sometimes its the right thing to do, sometimes it's not. The ladies on the beach, "Holiday" in my last post, resulted in a little flak at the gallery. oh yuk, cows on the beach.
Some people just don't get it.

Nov 3, 2009

COWS ARE NOT FOOD

Cows Are Not Food, Cows Are My Friends

HOLIDAY 9 x 12 Giclee Edition of 50 (c) Margery Caggiano


Once upon a time, my husband and I took the old Chevy pickup cross country, following back country roads . He fell in love with Nebraska and their shotgun surveying. Square and straight. Nothing much, that we saw, but miles of corn, and miles of sunflowers.

Heaven for a claustrophobe.

When we returned to Long Island, we bought an acre of farmland in Watermill. At the time it too was wide open, nothing there but potato fields, hayfields, and dairy farms, with the town comprised of a post office and a candy store, and an estate that housed retired nuns. The land was cheap at the time, and we could, and did, build a small house with studio space.
Heaven for a studio deprived painter.
Like still waters, still villages run deep. Turns out our farmer liked to ride naked on his motorcycle, our other neighbors were gender challenged, and a few doors down lived Carl Yastremskis' parents. (My husband was unimpressed, being a Cardinal fan.)
The neighbors to the north, being dairy cows, were naked but their gender was obvious. Meanwhile, our son had applied to join the Secret Service, and the Men in Black were required to interview our neighbors.
He got the job regardless.
The dairy farm was on the corner of Scuttlehole Road and Strongs Lane. The cows in the prints above were from photos I took at the farm. There was a milk machine on Montauk Highway which came in handy as you can see. The ocean was also nearby, and that also came in handy.

MILK MACHINES 8x12 Giclee Edition of 50 (c) Margery Caggiano

Milk Machines was never a painting as such, so technically doesn't qualify as a Giclee. It started out as a watercolor, unsuccessful as usual (I try) then pastels over, then acrylics over that. (I get stubborn about some images.) The mountains were added later, when we moved to Virginia.

So there.