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Posted on 8/12/2018 5:51:47 PM
By Donald Fox
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Popularity is often a measure of something’s value. Consider, for example, the best sellers list from the New York Times or some other prominent entity. This ‘honor’ becomes a sales pitch – “30 weeks on the New York Times Best Sellers List!” This accolade doesn’t affect the quality of the work although it reflects its popularity. Some might argue here that it wouldn’t be on the list if it weren’t high quality to begin with. Well, do we compare a Margaret Atwood novel to one by J.K. Rowling or either of these to one by E L James? Popularity may create success in the marketplace, but it does not necessarily correlate to quality of product.
For several decades now, the blockbuster museum show has popularized names in the art world familiar to students of art history but not necessarily to those outside that relatively small community. Many are drawn in to these exhibits for the novelty of seeing works that they would never see in their home museums of the world given the distance and cost to travel to those locations even if some may be in the same country (in cities like Boston, Washington, New York, etc.). This popularity, however, has its downside: high ticket prices, long lines, appointed viewing times, crowded galleries, rude people stepping in front of others, groups conversing and impeding flow, and no re-entry even for restroom breaks.
Back in the seventies Armand Hammer negotiated with Russia to bring part of the state collection of Impressionist and Post-Impressionist paintings to the United States. Housed in the Hermitage in Leningrad (at that time, St. Petersburg now), these paintings had not left Russia since before the 1917 Revolution when the new Soviet state appropriated them from a private collector. I took a train from North Carolina to Washington to see these paintings exhibited at the National Gallery of Art. The works had to be displayed behind Plexiglas as part of the loan agreement, which meant crowd faces were often reflected in the middle of Cezanne landscapes, Van Gogh interiors, and Gauguin tropical scenes. Many of the paintings were also roped off limiting access to close inspection. Some of the rooms were so crowded that once in them it was nearly impossible to move. All a viewer could really claim is that he or she had been to the show and looked at the works, but better views were only available in slides or book reproductions (this was pre-computer and internet).
In the late eighties I had the opportunity to visit the Soviet Union with a group of artists and craftsmen. We went to the Hermitage as a group one day and since our Intourist guide had political clout, we were whisked past a huge crowd gathered outside and then allowed to explore on our own. Three of us headed for the twentieth century works first thing. The Hermitage is vast and holds a massive collection of Russian and European art, but the Dutch masters had to wait. I wanted to see those paintings I had barely glimpsed in Washington. Once we made it to those rooms, there was no one else except a stoic guard. We lingered for hours viewing close up and at a distance with no barriers, no Plexiglas, and no hats hindering our appreciation. The entire time we were there only two other people came in to view these paintings that were on the second or third floor (I forget which). Most people were on the lower floors where the Renaissance and Dutch works were housed.
I love museums and count myself fortunate that I live in Houston where the MFAH regularly brings art from all over the world (there’s also the Menil Collection and numerous top-notch galleries). I’ve learned to choose times when less crowded and make the most of my museum membership. I’m not at all swayed by the popular because I’m a discerning viewer, and I never wear a hat.
Posted on 10/15/2016 7:24:43 PM
By Donald Fox
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Edgar Degas died in 1917, which means he was still alive like his contemporaries Monet (1840-1926) and Renoir (1841-1919) while the Fauves were creating their modernist art and early Cubism was being developed, all prior to the First World War. Paul Cézanne is often mentioned as the father or modern art especially for his influence on Cubism, but a careful look at many of the next generation of artists, in particular Matisse and Picasso, will show strong influence of Degas from his monotone work to his brightly-colored pastels. Compare the treatment of eyes in many of Degas’ portraits and self-portraits, their very distinctive shape and outline, with those of both Matisse and Picasso in their portraits. Though considered modern artists, these two and others still worked in a traditional manner with lots of preparatory studies and often included references to admired predecessors like Degas or Cézanne (as Degas had done with Renaissance masters as well as his friend Manet who reached prominence before he did).
Currently at the Museum of Fine Arts Houston is a stunning exhibition of work by Degas that spans his artistic career. From the museum’s webpage:
“Degas: A New Vision offers the most significant international survey in nearly 30 years of the work of Hilaire-Germain-Edgar Degas (1834–1917). The reputation of this celebrated French artist has often focused on his ballet imagery, and yet Degas’s rich, complex, and abundant oeuvre spans the entire second half of the 19th century and the first years of the 20th… Not since the landmark international retrospective Degas in 1988 has the artist's career been fully assessed. That exhibition led to a revival of interest in Degas, with dozens of shows focusing on individual subjects of his work—the bathers, the dancers, the jockeys, the portraits—or his influence on other artists. Degas: A New Vision benefits from that scholarship, puts Degas back together again, and offers an opportunity to see the artist anew.”
The exhibition runs through January 16, 2017.
https://www.mfah.org/exhibitions/degas-new-vision/
Posted on 3/19/2016 7:57:25 PM
By Donald Fox
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Typically, a painting (or other work of art) is made for an audience, but in the process of making, the artist probably is not thinking about the audience. A lot is said or written about the artist communicating with his or her audience, but for me, at least, I don’t care about the audience until the work is presented publicly. The painting is for me – it is my experience in the moment with no thought or feeling for whoever may or may not like it.
This mindset is different for writers of certain types of works where an audience needs to be informed, instructed, or persuaded of something. It is different for the commercial artist whose purpose is to sell an idea, product, or the work itself. I know this goes against what many today say when advising artists how to sell, to focus on a market need or to carve out a niche market and cater to that. In my mind, though, the work that is produced is strictly commercial.
Many artists think more or less as I do and struggle in some way to stay true to their artistic concerns, values, or aesthetic (however they may think about these) while also working to market the finished products. There are so many different views about this, and every artist has to decide for him or herself how to play the art game. Ultimately, art is a product and artists desire to make a living to be able to keep making art.
I went to a gallery today to see a show of paintings by some so-called ‘early’ abstract painters from Houston: Jack Boynton, Dorothy Hood, Dick Wray, Charles Schorre, and a few others. Some of these artists taught in various settings during the seventies and eighties. Some showed widely around the country and even internationally. Others were known regionally. Most of the galleries that showed their works are now gone. All these artists, though, were exploring abstraction and helping in their way to establish Houston as an art center. Their individual successes varied.
Most of them did strong work – it was interesting, unique, and related in some ways to abstract painting done elsewhere whether color field, expressionist, or just intensely personal. They created a Houston art scene but not a particular Houston style. They were too individualistic. Most of the work, however, if compared to that of bigger names, holds its own, for all these painters mastered their craft. They held true to their principles and personal visions. Isn’t this what most artists want to be said of them?
Posted on 1/30/2016 7:42:31 PM
By Donald Fox
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Ancient Portal
My exhibit Portals and Pathways at the Jung Center in Houston came down today. My wife and I spent about four hours packing and transporting the works, forty-two paintings and six drawings, excluding those that sold, back to my studio. I’d like to use this space today to express gratitude and appreciation to the Jung Center for hosting my work and for so graciously including my painting Gateway on the cover of their beautiful 2016 catalog. I feel especially honored to have presented the first art exhibit of this year in that gorgeous space. Many thanks to the staff and volunteers for their courtesy and assistance throughout the run of the exhibit. I’d also like to thank the many family, friends, colleagues, and others who supported me by attending and encouraging others to attend. The delightful and wonderful comments left by so many of you are also greatly appreciated. It is important for an artist to know that his or her work is seen, understood, and respected by others.
In particular, I’d like to thank specific people beginning with my wife Frieda who worked tirelessly her magical networking skills. Quite a few of the pieces in the show have as much her energy in them as mine – she is a great and continuous inspiration. Several friends are also strong social networkers including Maureen Brunetti and Allen Lewis who reposted almost everything I posted on Facebook, Maureen to her extensive community of dancers and friends and Allen to all his friends and our NHHS school classmates. Cheryl and Dave Bowman reached out to GBV residents and the world at large. Thanks to Warren and Mary Nelson who just couldn’t leave Houston to go back to Austin before seeing the show. Thanks to Susan Bradley and Heather Jackson, Cheryl Robinson and Debbie Adams, Allayne Kahan, Danny and Gene Feigelson, Dr. Rigoni and All Cats, Deni Davis, Lewis Garvin, Debbie Hoelscher, Martha and Joe Rhea, Jacqueline Hamilton Taylor, Marilyn King, Paul Nielsen and Denise McCoy, Linda Starr, Wendy Young, Shirley Cato, Marian Bell, Mary Ann and Ralph Bullard, Carol, Sean and Joseph Nolan, Steve Parker, Terri Barnes, Donna Perkins, Norlene Wolfe and David Taylor, Linda Posey, Charlie Buck, Auriel Bortolussi, Linda Sonier, Jo Ann Vincent, Robin Weil, Elaine Davenport, Sylvia and Wylie Maxfield, David Cheng, Vincent Newlin, and many, many more. To all those separated by many miles who otherwise would have been here: Art Latham, Lucy Spencer, Darryl Abraham, Bobbie Jo Woolbright, Chesca and Danny, Keith Jardim, John Marshall, Harry Batuyios, Julie Memory, Ira Horvitz, Carolina Sievers, Janis Sundquist, Chaka and Robert, Stan and Patricia Tyler, Lori Bankey, Hank Blaustein, Ron and Sally, Paul and Kelli, Deb Hull, Ted and Meg, Elsha, Yvonne Schick, Jim and Janet, and so many more. Till next time. Love you guys.
Posted on 1/22/2016 9:49:21 PM
By Donald Fox
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Prehistoric Shell Engraving
Several friends have come to see my current exhibit, and I have arranged to meet them. I had planned to give them a tour of the show, but when they came in, each immediately went to particular paintings and were completely absorbed in their own experiences. I love to see people totally involved with art work, whether mine of someone else’s doesn’t matter – it’s the engagement that is remarkable to observe. While waiting for them initially and now as they move through the exhibit at their own pace, I am able to focus on the work myself.
Revisiting paintings is enormously pleasurable especially when they are located within proximity of each other and visible more or less all at once as in a gallery show. Since hanging my exhibit at the Jung Center – it’s been up three weeks now – I’ve continued working on the series of which all the paintings are a part. Technology lends a hand to this perusal. I have good photos of the new work on my cell phone and can walk around with the image of new works and see how they compare with those on display.
Works do play off each other; frequently in the studio I look at other paintings while working on one or two. I find correspondences that suggest directions to follow or color combinations to explore further. It’s also interesting to see works done months apart without the influence of the earliest resonating strongly as the continuation of a theme with variation. Isn’t this the way of life, though? Aren’t we as individuals variations on a theme (thematic expressions of humanity), but also we grow and evolve day by day within the thematic unity of our lives.
I am the same person I’ve always been with cumulative experiences and memories. I’m recognizable as the person of my youth though quite different as an adult. In many ways I’ve followed the pattern of all human life, and like most others, consider myself self-directed, personally motivated, and in pursuit of specific goals. I’ve moved through phases that have either pushed or pulled or led me this way or that. Frequently, I’ve returned to some experience or idea for reconsideration, and I learn from this always positively or negatively and sometimes a bit of both. With painting I can readily explore and re-explore, and I know that this is part of what draws me back again and again to the canvas. It is a place where there is always the opportunity to do something similar but somehow also make it new. This is immensely gratifying.
Posted on 1/20/2016 7:31:29 PM
By Donald Fox
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DONALD FOX EXHIBIT PORTALS AND PATHWAYS – JANUARY 6-29, 2016
Mon-Thurs 9-7:30; Fri 9-4; Sat 10-4
The Jung Center, 5200 Montrose Blvd, Houston TX 77006
Donald Fox utilizes oil paint to create portals for the viewer into a visual realm of colors, shapes, and interwoven marks that stand as literal testaments of the physicality of paint. Simultaneously these images can transform into pathways for imaginative exploration of internal landscapes enriched by the viewer’s perception and sensibility.
In the more than 40 new works shown for the first time in Portals and Pathways, brush and knife strokes, color and light create an abstracted window effect – or at times a doorway or portal – near the center of the composition. The viewer may discover various levels of depth, space and motion created by color contrast, paint layering, and textural contrasts. A few of the works are colored pencil drawings that explore similar themes.
Each work is a window or doorway into itself, into the visual world as it exists on, or seemingly beyond, the surface. Then within each work, one will notice the appearance of portals through which to move or see. These physical passageways are, ironically, at least partially insubstantial voids. The void is defined by the surrounding frame, sill or appearance of outlining structure, and we may forget it is made from paint applied to a surface. The void is represented by something physical.
Suggested space in these paintings is ambiguous. It may seem to open up in some areas and close down in others. It may even shift between open and closed in the viewer’s perception. This suggests the quality of portals to either invite one in or close one off. They limit movement, invite movement, or open to possibility.
One intriguing work in the show, “Self Portrait Painting,” shows the artist both creating and peering out from a “portal” painting … much as the viewer may sense being both outside the work studying or enjoying it and inside the work experiencing and exploring it.
Fox has an MFA in Studio Arts from the University of North Carolina, Greensboro. He teaches and creates art in Houston, Texas. His previous solo exhibits have included shows at Brazosport Art Center, Montgomery College, The Dominion, Yosemite Art Center at Yosemite National Park, Houston Community College Fine Arts Center, North Harris Community College Art Center, Sam Houston State University, O’Kane Gallery and more. His work has been featured in numerous group and juried exhibitions including at Williams Tower Gallery, Yosemite Arts Center, Post Gallery, Saks Fifth Avenue in Houston TX, Lawndale Annex, Friendship House in Moscow, Jewish Community Center and others.
His honors have included Outstanding Abstract Award in the Boldbrush Painting Competition; Finalist for the Hunting Art Prize; and inclusion in Traveling Exhibition, Yosemite Renaissance XXIII. His work is in numerous collections including Transco Energy Company, Chaé International, Texaco, Inc., Saks Fifth Avenue, The Center for Health and Healing, Duke University Hospital, Methodist Hospital, Starr/CTC, McGraw Hill, Natureworks Inc. and more.
Fox’s artistic emphasis for the past two years has been on the “portals and pathways” or “windows and doors” theme. His previous work has included landscapes, commissions, and cityscapes including “readers” and “urban dwellers.” For more information and to view his work visit www.DonaldFoxFineArt.com. You will also find there Fox’s blog featuring thoughts and observations about art and life which has been published continuously for more than three years.
