Artist Interview: Glen Kessler

Glen Kessler's new series of paintings "Command-Shift-3," on view at the Yellow Barn Studio and Gallery March 24-25, 2012, takes a close look at technology and how it shapes the way we see, look and feel.
(This interview has been edited from its original version.)

1. How would you characterize your work from 2005 - 2010?

I graduated with my MFA from The New York Academy of Art in 2005.  The curriculum at 'The Academy' was rigorous, both technically and conceptually.  For my thesis, I conceived of a painting that explored a surprising interaction I had with my wife (then girlfriend).  We were watching a news report on the Iraq War.  Later, we discussed it only to find that we had completely different takes on it.  I knew that it was our opposing political views that caused the schism and was intrigued by how much personal biases and preconceived expectations can shape our understanding of facts.  Being a painter, I found a visual equivalent of this distortion: 

Conceptually speaking, I took a topic like politics, beauty, oddity, combat and mined art history for an image that represented that topic.  I replaced the head of the lead figure in the found image with that of an analagous contemporary figure. I distorted the hybrid image through anamorphic distortion, which distorts an image from all possible perspectives other than one specific oblique angle.  Finally, I rendered the painting in a style that combined old world painting (glazing) and modern painting (thick impastos).  The resulting image was rife with dichotomies for the viewer to explore.  See the images here: http://www.glenkessler.com/Site/2005-2010.html.

2. You are showing recent works (completed in the past year) on March 24-25 at the Yellow Barn Art Gallery in Glen Echo, MD. Does this work represent a shift from your previous paintings or is there also a continuity that it encapsulates?

My newest body of work, 'COMMAND-SHIFT-3,' completed from 2011-2012, represents a shift from the previous series because I am concerned with different issues today than I was from 2005-2010. 

These new paintings focus on the unflinching march of technology into our daily lives.  I marvel at how quickly things are changing, as the internet, GPS, and miniaturization allows computers to creep in.  I use a lot of technology in my personal life and career.  As a painter, I try to maximize the potential of technology to make my work more effective.

Also, as a teacher, I interact with hundreds of people each week. Today’s high school students do not know a world without e-mail, phones with cameras and the immediacy of social media and information at their fingertips. Their world is a one of answers, information, accessibility, ease. 

As a culture we can ask how we, our children, and our children's children will be hardwired as a result of this new way of interacting? Are we aware yet of how this new technology-driven paradigm will continue to shape our minds, our beliefs, our philosophies and psychologies?  This is what my recent work explores. 

Observing how different generations perceive technology, I feel a bit like a cultural anthropologist.  If I were a writer or a researcher, I might publish my findings in words, but as a painter I convey my observations through paint. 

I believe these new paintings have much to offer the patient viewer.  They are layered, offering a depth of meaning. 

I operate with intellectual certainty, but also with a healthy dose of instinct. Both are essential for art-making.  If the work becomes too cerebral, all the mystery and all the empathy is lost.  If it gets too instinctive, the artist loses his way.

Overall, my work remains very personal to me and focuses on my observations of the world around me.  When I began painting in the mid- 90's, I was trained as a perceptual painter.  Initially, that meant painting literally what I saw in front of me, but as time went on, I became bored with the lack of conceptual depth in that mode of working.  Philip Guston captures my thoughts when talking about his studio practice in the face of world events:

"What kind of man am I, sitting at home, reading magazines, going into a frustrated fury about everything - and then going into my studio to adjust a red to a blue." 

I sought to use my skills as a painter to convey a world beyond just the visual.  I wanted to give tangible form to my inner thoughts, with all the richness and depth of which painting is capable. 

I see my transition as a very logical progression. It would be odd to make the same work year after year as the world around me changes, and I change as a result. 

See my recent work here: http://www.glenkessler.com/Site/Recent_Work.html.

3. How does technology inform your paintings?

Technology is the backbone of the concepts in my paintings but also plays a major role in the making of the work.  A few years ago, I transitioned from printed photographs as my primary source to the computer screen.  I love the way the glowing pixels capture a luminosity closer to real life than the ink printed on paper.  I can also zoom in effortlessly and even use programs to tinker with the image in a seamless process of 'sketching.'  In my studio, I have a large monitor that I sync up to my smaller laptop screen.  This allows me to really observe details.  It is a great setup that I am sure more and more artists will employ.

Lately, I have been exploring how technology can improve my studio practice.  I 'sketch' and take notes on my laptop and iPhone.  I have not had a paper sketchbook in years. Utilizing all the tools at our disposal is where art is headed.

You might look at my work and say I am a traditional painter, but I love the way modern technology can assist in the artistic process. I am certain that if Velazquez or Picasso were alive today they would use the computer, smartphone and internet in their work.

4. What view of technology do your paintings express?

 When people hear about my work, they might assume I am cynical of the changes technology is ushering in. Not true.  However, I am also not simply advocating for those changes either. 

I have always thought of the artist as an eye - like Philip Guston's great cycloptic figure, a massive eye on an otherwise featureless head.

The eye's job is to observe the world around it and offer intelligent, well-crafted visual essays on what it finds.  I do not like art that hits you over the head with the artist's opinions.  It is small, and a waste of the great gifts of the history of painting. 

I am old enough to remember a time before cell phones, the Internet, VCRs, even remote controls.  I grew up as these technologies came into common use. I am also young enough to make use of them with facility and joy.  However, the incredible speed at which they make their way into every facet of our lives, makes me wonder how people adapt to think, act and believe in new ways. 

Today's high school students accept that information should be immediately accessible, that friends are always within reach, that one should never get lost and that every minute is an opportunity to accomplish some task.  I teach a lot of high school students at The Yellow Barn Studio and Gallery, and I can tell you that they have different expectations now than they did even just five years ago. 

An astonishing number show traits of ADHD. Is this biological, or are we hardwiring children to jump from task to task like apps on a phone?  Many students excel in technical exercises but have difficulty exploring concepts in greater depth.  Is this just youth, or are they being trained to expect answers quickly, without deeper investigation? These fascinating changes appear to be the initial indications of a societal shift.  The past generation tends to observe differences, even to label and treat those differences.  Ultimately, the next generation will shape our culture in its image. 

My work takes note of these seeds of change and communicates them through a beautiful and layered visual language.  I leave it to the viewer to evaluate the impact of these changes. 

My book, "COMMAND-SHIFT-3, New Paintings by Glen Kessler," which includes personal essays on art and technology, will be available for sale at my show on March 24-25.

For more information visit www.GlenKessler.com.

Artist Interview: J. Jordan Bruns

 
1. Where and how would you display your work in an ideal situation?

Image a tall stone tower.  Let's say 5-7 stories tall.  It will have a spiral staircase in the center, and at the top of the stair case, a big white cube-shaped room with tons of strategically placed sky lights and very nice track lighting that adjusts with the time of day.  White walls, very clean oak hardwood floors with comfortable benches placed around the hole in the center of the floor where the stair case emerges. Climbing the staircase would make the viewer a bit dizzy, which I think would be kind of fun.

2. If expository writing is good at elucidating and proving a point and descriptive geometry gives us the tools by which to map objects in space in relation to one another, what kind of an apparatus does art afford us? What does art do best?

Well, I'll answer this question as it applies to painting. Good painting asks questions.  It's at its best when the viewer has to work to connect the dots. This means that not everything is explained at first, and the viewer is forced to ponder, decipher and examine the painting to get the most out of it.  I get very bored when people try and paint a painting just like a photograph. It's equivalent to someone giving you $10,000 for doing nothing; the work would not be worth as much as if you had worked for the $10,000, except for the emotional worth. Good painting asks questions of/for the viewer, and when/if that happens, it is more rewarding and enjoyable.  People grow from art.

3. What can you expect from your audience/fans/viewing public? What would you like them to know about your work?

I don't expect anything, really. However, I do wish that everyone did not just see the post apocalyptic world in my work.  I don't deny that there are elements of destruction, but I still see the rebirth in it too. The themes I explore are akin to a yin and yang. I think everyone is just so depressed about the state of our economy, jobs, wars that everyone just looks for the negative in every situation.  At the same time, I don't want to be known as the guy who is "so cheerful in person, but paints such disturbing subject matter!"

4. Marcel Duchamp said - "Enough with retinal art!" What is your reaction as an artist to this statement?

I would say, "Have fun playing chess for the rest of your life!" I remember going to Philadelphia and seeing some of his work.  Duchamp painted a painting for every art movement from Impressionism to Cubism, and Philly had one of his from each - all in a row.  It looked like he mimicked the movement, got all he could out of it, and moved on.  As if all of Cubism could be explained in one painting! This is not to say I don't agree.  I think that there needs to be a balance between retinal and thought-provoking.

5. Do you think that there is still room for art movements in today's pluralistic climate?

I think it kind of depends on how artists persevere. When painting first had to deal with photography, everyone said that "painting was dead." Painting evolved, thankfully, and was more interesting, said more, and it truly was better off. Now, photographers have to deal with all the Sunday afternoon digital photographers.  Everyone is a photographer now, and the skill and craft loses some importance.  Not everyone is trained to understand what makes good pictures. I think that when everyone can do art as well as everyone else, art will cease to exist.

6. What is one question you wished we had asked you about your art? Please feel free to answer it.

How about the age old battle between form and content.  Which is more important?

Artist Interview: Gavin Glakas

Demeter - Gavin is preparing for a museum show at the Ratner Museum in Bethesda.

1. Where and how would you display your work in an ideal situation?
A bartender would be slinging martinis and the Beatles would have gotten back together while my work was on display at The Louvre, Met, Great Wall, Buckingham Palace, Mount Rushmore and the Moon.

2. If expository writing is good at elucidating and proving a point and descriptive geometry gives us the tools by which to map objects in space in relation to one another, what kind of an apparatus does art afford us? What does art do best?
Once we get to the point where we've stopped worrying about our immediate survival, we are able to start enjoying ourselves, and art is the enjoyment of life. Once cavemen stopped worrying about saber-toothed tigers, they started drawing. Once people have enough money left over to spend on something, they start buying paintings and going to concerts. Art is fantasy and reality all rolled into one.

3. What can you expect from your audience/fans/viewing public? What would you like them to know about your work?
I can't really expect anything or ask them to know anything. The work really does have to speak for itself. I've fallen in love with songs that I've heard in airports and paintings that I've seen on calendars. I just hope that what I create grabs people - I can't really ask for it to work the other way around. People aren't going to seek it out. They're too busy.

4. Marcel Duchamp said - "Enough with retinal art!" What is your reaction as an artist to this statement?
I would submit to Monsieur Duchamp that if all of the art in the world were for sale for $100, under the proviso that it would not go up in value, the abstract-expressionist junk would be left on the floor when the sale was over and everything else would be up on people's walls. I think that most people are tired of having to be told why they should like something or why it is "good." The moment that someone walked into an art gallery and said, "That stinks," and someone else said, "No, it's good. Let me tell you why," was the moment that visual art deviated from music, literature, cinema and whatever other forms of art, and became stigmatized as pretentious. Also, I think those who were told in graduate school that art that resembles things is worthless and have spent their careers justifying their jobs, are almost ready to retire.

5. Do you think that there is still room for art movements in today's pluralistic climate?
Totally. Art is just someone trying to make a statement. Why could you do it in one medium and not in another?

6. What is one question you wished we had asked you about your art? Please feel free to answer it.
Can I buy a piece? The answer is "yes."

Artist Interview: Walt Bartman

1. Where and how would you display your work in an ideal situation?
I would show my work in the light it was painted. Taking a painting from it's source, the painting changes in the light, so color is the most fleeting element. Like a sculpture in the making, the shadows are always changing, and so then is the sculpture. It is frustrating to say the least, but reality is such that everything changes, and your paintings are ideas - thoughts of the moment. I do not concern myself with where. It is the how. The challenge to make is central for me. Where they end up is not. That is why I do not paint as some others do.

2. If expository writing is good at elucidating and proving a point and descriptive geometry gives us the tools by which to map objects in space in relation to one another, what kind of an apparatus does art afford us? What does art do best?
Painting expresses color, poetry love, dance/music, movement, film, violence. All the art forms have their specialty. I paint for the sake of color. It energizes me. Art expresses human emotion, and it can make you cry, feel hungry or sad, etc. Geometry does not. Artists - futuristic thinkers - usually come up with an idea, and science works toward it. Jules Vern is a perfect example of a visionary. Artists give us vision, or as in science and cloning and mythology, the centaur - the hybrid.

4. Marcel Duchamp said - "Enough with retinal art!" What is your reaction as an artist to this statement?
We don't see with our eyes. We see with our minds. It is our challenge to get our brains to see more.

5. Do you think that there is still room for art movements in today's pluralistic climate?
Art movements usually come about when humans think collaboratively. Art is about personal interpretation, memory, and awareness. It is not about information. It takes futuristic thinkers to make great art. Unfortunately, culture (CNN) defines art. What we see in the great art movements is that they usually set a new standard. The impressionists were the ones to use all the color, because they were the first group to have it. There were definitely other artists who were painting good paintings, but they did not take up the new movement, so they were not deemed important. For painters to be important, they need to be and use the materials of their time. Remember, artists bring value to things we do not value.

6. What is one question you wished we had asked you about your art? Please feel free to answer it.
For me, my art is about Walter Bartman's vision of the world, and what I feel is important to express, like a cold sun or a square sun or the difference between land and sea. Art has always been the bridge to understanding for me. It is the visible that is the clue to the invisible. I am about finding the invisible and making it visible, as I teach in my own understanding of color, which is dessert to my eyes!

Why do I paint? - Because it helps me see what's in my head.