Joren Lindholm's IMX Matter

Installation shots of Project Space at Harmon Art Lab (Dec/Jan 2012)

2012-01-28T15:14:00.000-08:00

Today's creative mind at war with the senses?

2012-01-03T15:46:00.000-08:00

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Ever since I first read Susan Sontag's Against Interpretation, it has been reassuring to briefly revisit it from time to time. Other than an escape from, or a protest to the standard of theoretical art, it's a refreshment - an exercise to distinguish the mind from (which is possibly domineering in relation to) the senses.

"Today is such a time, when the project of interpretation is largely reactionary, stifling. Like the fumes of the automobile and of heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities. In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art"

-- Susan Sontag (Against Interpretation, 1964)

On Installation Process (Going Verbal)

2011-12-30T09:46:00.000-08:00

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As with each artist exhibiting, Harmon Art Lab asked me to participate in a Q & A about the work and its process. My responses can be seen on the HAL website page here.

2011-12-29T20:03:00.000-08:00

Working title: Born on the Edge of Yesterday

Opening reception/continued events for Harmon Art Lab exhibit

2011-12-16T11:14:00.000-08:00

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The opening reception on Friday, December 9th had a healthy turnout. I saw lots of people I knew or knew about, and got to the chance to discuss at length my installation piece and the process involved. It was good for Peter and his work as well - the first exhibit of paintings by this prolific man since May 2010.

More is being done to my site-specific piece since the response from that event. I am committed to bringing the whole project - which covers the walls and floor of a whole room - to the point of being as distilled and clear as possible. Detailed documentation is being conducted all along the way!

New installation for Harmon Art Lab

2011-12-03T13:59:00.000-08:00

My current installation piece is opening a week from now, on December 9th. It utilizes found objects, photographic prints and the 90 sq. ft. 'project space' at HAL, which is the arts exposure platform launched recently by Peter Harper and Tom Drymon. To read more go here. Stay tuned for media that covers the project and process.

Harmon Art Lab

1716 14th St NW, second floor
Washington, DC 20009

Opening Reception: Friday, December 9, 6pm-9pm

Artist Talk: Saturday, December 16, 2pm-3pm

Featuring work by:

Peter Harper

Joren Lindholm

December Open Studios and sale

2011-12-02T14:09:00.000-08:00

We had our last open studio/sale in late October. Then we decided to have a follow-up for the holidays, which is next weekend. Come on out and have wine and fun in this old building while we are here; and you have the chance to see how we get work done (despite so much!). FB page here.

Holiday sale and Open Studios
1716 14th Street NW, second floor
Washington DC 20009
(also address for Harmon Art Lab)

December 10 & December 11 (Saturday/Sunday)

public hours: 12 to 5 both days

Featuring the studios of:

It takes a village (of Art hosts)

2011-11-29T14:28:00.000-08:00

During the month of November, I attended receptions for nine different art events in the DC area. That's more than what I can remember frequenting previously in a single month, yet it is just a fraction of what's happening. There are plenty of people who have the artist prospect here. Going to art shows on a regular basis (the people, the places, the artist's work) is fun!

Grand Haven's Fire Barn Gallery - new director

2011-11-22T14:30:00.000-08:00

My colleague and Painting in New York collaborator, Chris Protas, has officially become the director of the Fire Barn Gallery in Grand Haven, MI. For almost a year now and with the occasional assistance from his colleagues, Chris has been putting on lots of great shows of work by artists (from all over the US thus far). The exhibit of his own work, a extensive group of paintings, was a Fire Barn highlight that preceded his appointment.

Brainard Carey gets published

2011-11-20T14:33:00.000-08:00

New York-based, artist-advocate Brainard Carey is expanding his influence and contribution; he's excited about the signing of his recent book contract. The first book stemming from it, Income Strategies for Artists, is now on Kindle and will be available for physical purchase in January. The subject of the book is a no-brainer, and one of the directors at the Whitney Museum of Art called it "essential" for our times. A book tour is scheduled for 2012. I will make an endeavor to bring him to DC, because when this man speaks - I listen. As an artist & artist-coach, Brainard has some serious credentials and a way of thinking that's unbiased, fluid and smart.

Paintings on a new theme are underway

2011-11-15T13:52:00.000-08:00

Work for a new cluster of paintings on canvas has begun. They are an assortment of images sprouted from the theme of Place/Memory. They are different to my paintings from the previous 3 years in that they: (A) don't feature characters or prominent figures, just representations of various locations that build a narrative aspect, and (B) are built up exclusively by drawing and texture. One of the ambitions in the production is to combine (in layers) a medley of the techniques which I've explored newly over the past year. We'll know how they look after several of them are complete, so stay tuned.

Finding out where the new idea goes.

After the conclusion of open studio - 10/23/11

Sessions for new work - 10/2011.

Video editor & contributor for TSV

2011-11-03T13:48:00.000-07:00

I am in the process of becoming a video editor and official contributor for the non-profit online magazine The Studio Visit. Making my first contribution this fall turned out to be a fun and exciting experience; and the resulting feature has garnered many positive responses. Back in August I interviewed and filmed the artist René Treviño in his Baltimore studio. Later I edited the video and article on my MacBook Pro while I was in bed with a fever. The feature can be seen here.

"A Happy Ending" features 37 artists online

2011-10-31T11:58:00.001-07:00

I have just seen the first online visual art exhibition I like.
'Kudos' is what I'd like to say. 'High five!'

If there's going to be a countless amount of them, well then it's nice to have some favor.

D. Beasley, Curator of Marco Polo arts mag in Atlanta, has just published an exhibition for the literary arts journal. Here is the link.

Scrolling down the page, one finds a single image by each of the 37 artists. In the sore lack of plastic construction in contemporary art, it was a welcome surprise to see many images that had traces of fine visual tactility. That's aside from a bit of kinkiness in some of the subject matter. I liked the piece Untited, by Jieun Kim: a graphite and ink on Korean paper, which created lovely echos of the feelings I have for Persian miniature painting. The theme of the exhibit is connected to the genius film titan Francois Truffaut. Nice tag! (if titled-related only).

Untitled, by Jieun Kim

CAN

2011-08-01T22:09:00.000-07:00

CAN was a musical collective, which - accurately speaking - was a real 'band'. They were a configuration that, at various times, consisted of the following people from differing national origins, education and musical backgrounds: Jaki Leibezeit, Michael Karoli, Irmin Schmidt, Holger Czukay, Malcolm Mooney, Damo Suzuki, Thaiga Raj Raja Ratnam, Michael Cousins, Rosko Gee & Rebop Kwaku Baah. By their own design however, Can was always the author. They managed to have Can create music that was constantly shifting in form and style.

I've been an aficianado of Can's music ever since I first heard it, which was right at the time that I moved to New York City. I thought it would be fun to share some audio on this blog; so here are some links to a few complete selections.

***** "Peking O" (11:37)
-- recorded at Schloss Norvenich, Köln, West Germany - 1971

***** "Yoo Doo Right" (20:23)
-- recorded at Schloss Norvenich, Köln, West Germany - 1969

***** "Dizzy Dizzy" (5:40)
-- recorded at Inner Space Studio, Köln, West Germany - 1974

The above are copyrighted by Spoon/Messer music. So no disrespect to the publishers. As soon as possible, I will replace these links with some unpublished concert recordings (as soon as I figure out how I can upload them in Windows Media).

D.C. artists get Zoë Charlton

2011-07-27T08:55:00.000-07:00

Thanks to Zoë Charlton for visiting my 14th Street studio last week. At the time - we recently bumped into each other at the Hamiltonian Gallery, it had been a good few years since we last had a good talk.

We wasted no time in getting into discussion. We talked about community, teaching and the city of Baltimore, as related to artists and art worlds. I shared things about some of my work that's currently on exhibit with Harmon Arts Lab or in New York City. I also showed her my prints from this past winter. The print below struck her. It happened to be one of my juxtaposition images, in this case, combining construction machinery and sculpture. I think she liked the ambiguity of it. Nevertheless, she referred to it in an email as the 'truck print'.

Joren Lindholm
"While We Sleep"
monotype, 2010, 22" x 30"

Crit Participation

2011-07-13T11:16:00.000-07:00

CRITIQUE sponsored by The Studio Visit (#4)
July 27, 2011, WEDNESDAY, 6:30 - 8:30 p.m.
Pleasant Plains Workshop
2608 Georgia Avenue NW
Washington, DC 20001

I will be one of four DC artists who will present recent work at this event. Randall Scott of Randall Scott Projects gallery (formerly based in Brooklyn, NY) is scheduled as the guest critic.

Photos and other details are at The Studio Visit's events page. Pink Line Project published a feature on TSV's critique sessions, described as "corporate brainstorming", two months ago.

The Guest List at Your Opening

2011-07-11T11:00:00.000-07:00

A story of savvy art-biz strategy (on behalf of the exhibiting artist)

Back in the springtime, while I was being briefed by Dov and Chris on the progress with arranging and promoting our 5th Painting in New York exhibit, they shared a few stories. I heard about the results from the numerous drop-ins they made around NYC galleries and studios, having conversations with people in the art business.

One of these conversations touched on the subject of our opening reception turnout. Painting in New York were speaking with an artist who was well-seasoned with exhibiting in the New York gallery scene. Upon hearing of our plans to rent a space in Chelsea for a two-week group exhibition, the established artist asked us:

"Well, how many people do you want at the opening?"

"LOTS," we said, picturing a whole herd of visitors trailing in through the doors.

The inquisitive artist grinned and fell silent. For a moment, Chris and Dov thought about the question again.

"How many people would you want at your opening, then?"

"Eight", said the artist.

I was laughing when I heard this, and instantly imagined what it was the artist was thinking when he said "8".

An art exhibit could have twice the impact - at least - on his/her own professional prestige with an audience of 8 rather than with an audience of 800. It could be, this artist learned how to raise the distinction of his work by cutting his exhibition guest list right down to a core group of influential critics and collectors. (So is it just careering?)

As a result of our direction and promotion, the number of attendees for our opening reception in May fell somewhere in the middle of the above-mentioned. Nevertheless, collectors and a handful of critics (The New Criterion, artcritical.com) were among them.

Back Alleys, a Living Room and a Great Lake's Front

2011-07-08T19:00:00.000-07:00

(Raised in Hyde Park, Chicago)

"Barbra Streisand’s head", a recent account of my experience growing up was prepared by Studio Neptune and posted on July 5th, 2011.

From 1973 to 1987, I lived in Hyde Park, a neighborhood on Chicago's South Side. (Yes, it's where Barack Obama lived while we was senator for IL.) Above are some found photographic shots of the south side's view of Lake Michigan, and the skyline to the north, that reflect my time of frequent, provocative visits to the lakefront setting.

The interview itself with Studio Neptune was a real trip. It was an opportunity to share many tokens of my childhood experience with the proposition of a clear and sensitive listening. This felt starkly unusual. Elyse Harrison brings to the interview a new, rewarding twist on reflection - a subject that could seem mundane or commonplace to people.

Childhood's Influence on Creativity: Harrison & the Studio Neptune blog project

2011-07-08T14:23:00.000-07:00

Some artists make their own work refer to their childhood. Some artwork is all about the idea of childhood. Alas, there's academicians who sometimes outline how (great) artists automatically return to the core experience or actual place of childhood. Besides all that, there's plenty of artists who let their working life roll along with the influence imprinted from their times as a child, consciously or not.

Studio Neptune, an online resource for arts education, is maintaining a blog that features interviews reflecting child experience. Most, is not all of the entries are written by Neptune gallery and studio founder Elyse Harrison. Being an artist and educator, she has numerous artists and creative-types account for their time growing up and its influence on them.

Elyse is miles into this I believe, yet when I first heard her share about her subject I immediately resonated with it. The muse of her work seems to be in the realm of Gaston Bachelard - a French philosopher and author of certain books, The Poetics of Space and others like it, which you see romantically quoted today in the occasional artist's statement.

Regardless of how people qualify the experience of it for themselves, their early years remain their formative ones. They significantly form one's creative and interpretive response to being in the world. Awareness of this is good. When shared they are of considerable use as well to others in comparative terms.

The blog roll can be found here.

Print Sessions - Research Done in Spontaneous Mode (video)

2011-07-05T17:32:00.000-07:00

On June 2, 2011, I was filmed by photographer Tara Kocourek at the Pyramid Atlantic Art Center in Silver Spring, MD during one of my mono-type printing sessions.

Tara has an interest in artists, and for some time has been one herself. I was asked to be the subject of her documentary right there and then; I accepted and 15 minutes later the filming began. What resulted is a pointed glimpse of my working methods and state, intertwined with some nice shots of the studio space and material. In this instance I was making a draft version of an image interpreting an urban space that I know.

The filming was followed up by an interview which probed the theme of overcoming artistic ruts (which is supposed to be of local interest in DC?). This is heard in the voice-over.

Many thanks to Tara for the collaboration, and for what she brought to the table; she's very dedicated. Created during Bill Gentile's Backpack Journalism Workshop. Filmed on Canon 5D Mark ii, 24-70mm.

Pressed from tarakfoto on Vimeo.

"Creative Processe: Four Artists' Expressions Through Uniquely Different Mediums"

2011-06-23T20:50:00.000-07:00

Sondra Arkin, Patrick Hughes,
Natasha Karpinskaia and Eve Stockton

Long View Gallery
1234 9th Street NW, Washington, DC 20001
June 23 - July 24, 2011: Wed-Sat 11-6; Sun 12-5; by Appnt
Opening Reception: Thursday, June 23, 6:30-8:30

Art viewers and gallery hoppers once again packed the floor space at the Long View Gallery for tonight's opening reception of Creative Processe. In terms of outlook (as well as subject and technique), the work collected for this exhibit really jumps around. That which holds it together, as suggested by the title of the show, was slow to reveal itself. Yet by the time I left (and after a number of zoom-in's), I had quite a few surprises which brought me in to the work of all four artists. Eve Stockton's woodcut prints, however, and possibly due to memetic qualities, had the most immediate impact.

Eve Stockton's woodcuts

Sondra Arkin's newest work

Acquired

2011-06-04T12:43:00.000-07:00

"Depot" by Joren Lindholm
2004, photo-collage with mixed media on wood, 6" x 4"

This collage was just acquired by Isabelle Spicer, before she relocated from Washington DC to Berlin. The piece comes from my first attempts in utilizing an approach that juxtiposes signifiers on top of an abstract grid.

Lottery Winner -- Prints!

2011-06-01T11:34:00.000-07:00

For my last Open Studio, I decided to create a lottery - a free monotype print giveaway.

"Being Swayed" was created spontaneously last fall during one of my printmaking sessions; and then months later it was given finishing touches with black gouache, while hanging in the hallway of a Chelsea building, very late at night during my stay in Manhattan for the installation of the PINY no. 5 show. The print is in an addition of five, courtesy of Supreme Digital Services in Brooklyn, NY.

The winner is Justin Orlando Fair of the Gateway Arts Center, Brentwood, MD.

We Did It! Thanks to Everyone for a successful Kickstarter fund for Painting in New York's fifth exhibit!

2011-05-15T12:48:00.000-07:00

Over the course of 6 weeks this spring many of you made pledges to our Kickstarter campagin. This is to provide financial support for Painting in New York's 5th show in the past 7 years, which is to be in a Chelsea arts district! All in all there were 54 backers. The funding reached the $6,000 goal early, and continued on to $8,050. We were ecstatic; how fun is that?!

Each and every backer has some combination of the following rewards to look forward to this summer:
signed card of thanks
a card with an original drawing on it
a medium-size original colored drawing
a medium-size watercolor painting
a catalog signed by all the artists with a drawing on inside cover
an oil painting (approx 16x16) by one artist
original cartoon for the video
a collaboration piece by two of the artists: an oil painting (approx 30x30)
(if desired) sponsor's name featured on a card at the opening reception

During the campaign, we gave a talk held for art students and answered their questions at NYSS. I would have participated as a panelist, yet it happened too fast for me to come up.

Tyler Loftis, Dov Talpaz & Chris Protas @ NYSS, March 2011

Many compliments followed the success, and inquiries as well. 'How did you do that?' Brainard Carey from www.yourartmentor.com was so impressed that he featured our project in his newsletter to artists.

Again, thank you all the support and feedback. It is wonderful to include you in our fifth exhibit.

Get Involved, help fund our NYC show

2011-04-08T09:31:00.000-07:00

We are looking for financial backers to help us in funding our fifth Painting in New York event, with five times the publicity - for later this spring. There's been lots of correspondence between all of us, and we have been busy chipping into the plans. Even Dov, who is currently at home in Israel, compiled the catalog for everyone's work. Painting in New York is a grass-roots idea to share our paintings in the best context we can. We are a group of seven artists (plus guests) who have been self-producing our own exhibits since 2004, always in New York City.

Here's where to go: Kickstarter/Painting in New York.
The Target: $6,000 by 5/8/2011 - to realize the following:
The Catalog: a traditionally printed 24 page book
The Curator: Lori Bookstein and Lauren Bakoian!
The Writer: art critic Jennifer Samet, Ph.D
The Forum: We are giving a panel discussion at NYSS.
The Location: a rental in New York City, to be announced
The Promotion: a campaign of drawing postcards, as well as media advertisements

Jennifer Samet's essay, which gives our collective some historical context while contrasting it with the normal ins & outs of the art scene, will be included in the catalog.
Please consider getting involved by making a donation, starting at $5.00!
We are eagerly awaiting this exhibit's reception.

"Washington Square, facing north" by Joren Lindholm
pencil on paper, 2011

This is The Life, Treat it Like it's Special

2011-04-08T08:41:00.000-07:00

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'Life is Art; Art is life'.

Yes, Art is anything but mundane.

So what do we do with the mundane experience of life? Are we to actively curb it from our lives? Or do we forget about lifestyle and simply put emphasis on the unique experience that's flowing through each of our own lives? I choose the latter, yet sometimes get horrified by domesticity. (Remember: I am a stationary single person who loves adventure)

I happen to be a homeowner, and for the last seven months have been conducting a total renovation project. The project has been very consumptive of patience, attention and financial/emotional investment. Positively, it's been an occasion to utilize a mindset of relativity, and to practice gratitude. Nevertheless, Zen, and an experience of insignificance and the mundane is, very decidedly, a predominant influence on me now.

Peter Bonner & his work, "At Service..."

2011-03-31T14:21:00.000-07:00

Visit to Peter Bonner's studio - Brooklyn, N.Y.

The last time I had been to Peter's ("PB", for short) studio was New Year's Day, 2008. Last week I stopped by again for what must have been my third visit (and the first since PB got a fine arts Masters degree through the University of Melbourne, which is very near to where he's from).

For this post I wanted to show some pictures of his recent, plentiful work. The above oil on canvas is a portrait of one of his friends that he said took him a few years to resolve. It's stunning. He mentioned to me at least once, as I strolled about and took photographs, that for the past two years his process of creating and finishing paintings has found its connection to their raison d'etre. In the case of PB, their reason for being is usually the resolution of actual experiences via memory, many of them from the desert in Australia. I heard him say this about the new stage of his work: "at service to something" (that sounds a bit like a golden award for painters). What each piece is specifying (in terms of the experiences that PB is getting at) may not be instantly evident upon first view. They take some good looking. I hope we get to see them in person sometime soon.

PB creates enough space in his life to lead a sizable amount of inter-disciplinary activities, let alone managing to be a full-time painter. He has a choir to sing in. He meditates. He's a new daddy.

By the way, it's possible for people like you and I to be written about on Wikipedia.
See the wiki page on Peter.

Some Contemporary Discourse

2011-03-25T10:25:00.000-07:00

My friend and colleague Jay Noble just finished an article that he will present this spring at the FATE education conference in St. Louis, entitled "What Contemporary Art Means Today". After reading a draft that he sent to me, I emailed a response. This is an excerpt of what I wrote to him.

I was reading Arthur Danto, and I continue to site his thesis. His view is that the 'narrative' of Art ended in the 60's (and that narrative consistently got more and more aware of itself, culminating in Pop Art - which was the philosophical crown placed on top of the achievement of Modernism). Danto sees liberation in the 'post-narrative of Art' aftermath.

The point you make in your essay, as I see it, kind of ties in with Danto's view. Trends have lost their power. Anyone is free in creative terms, with plenty of physical space and seemingly no more chance for the 'theoretical King of the Hill' game to be impacting the reception of their work to any significant degree.

I believe that the stuff that happened in the 70s, 80s and 90s now looks like it was just the effects of market forces striving for domination - which I guess was causing people to be overtly prejudiced about the work being done at the time. It seems that there is less backlash today against the aims artists take in working through any tradition of their choice, than there was 20 or even 10 years ago. There's no veto power anymore in a situation where everybody can (and is) doing anything.

I'm left pondering. In the future, what are the challenges facing the higher institutions of art education? What is relevant to teach? What will end up being taught? What will constitute a 'complete' education in Art? (There's plenty of room for more essays on that in my opinion).

A big question remains: what is the importance of understanding art traditions (or an intuitive understanding of art history) to making art? Isn't everything becoming its own tradition? This gets into 'what is Art'? Arthur Danto believes that Pop Art successfully gave answers to that conundrum, yet I'm not so sure. I guess that if I do some work in the Philosophy of Art, I would understand Pop Art's answer much better from the inside out.

Meanwhile, there's always tactility to be found.

Installation at D.C. Arts Center group show

2011-03-18T19:14:00.001-07:00

Below are shots of each wall installation. The works of each contributing artist were interspersed consistently across each wall.

Exhibition of DC/VA painting begins with "slippery boundaries"

2011-01-26T10:59:00.000-08:00

The paintings from 2009-2010 that I have recently finished will get their premier gallery exposure in this exhibit: "Paint Mix: Five DC/VA Painters" coming soon....

D.C. Arts Center
2438 18th St NW
Washington, DC 20009

Paint Mix: Five DC/VA Painters

February 11 - March 13 , 2011

Opening Reception: February 11, 7-9 pm
Artist talk: March 13, 5 pm

Gallery hours:
Wed - Sun, 2 - 7 pm

Featuring work by:

Emily Do

Christopher Dolan

Mike Dowley

Brian Kelley

Joren Lindholm (one of my inclusions is shown below)

Curated by Rebecca Kallem

"Paint Mix: Four DC/VA Painters" highligts the work of four emerging painters who live and work in Virginia and Washington, DC. Curator Rebecca Kallem invites Emily Do, Christopher Dolan, Mike Dowley, Brian Kelley, and Joren Lindholm to show their work. As a group, the paintings play with the slippery boundaries between abstraction, representation, and non-objective art. Whether showing us a recognizable landscape or a cluster of shapes, each artist makes a beautiful mix of colors, marks, feelings, and ideas."

'Vertical Latitude', 2010
Joren Lindholm
oil on canvas, 16 x 20

Criticism

2011-01-17T14:11:00.000-08:00

'Criticism'
essay by Joren A. Lindholm, 2011
link fed at: Bourgeon - Arts and Events in Washington DC

When Twyla Tharp was interviewed by Diane Rehm on NPR in 2003, Twyla said about artists who are met with negative criticism: 'face it, grapple with it, and by no means allow it to put you on the defensive'. She herself is a dancer/choreographer, and in that interview gave an example of a time when one of her Broadway shows was mauled from the start by performing arts critics. In that instance, she took some valid points from what they were saying and used them to make changes during the show's run.

Her having done that could be an expression of creativity, spontaneity and inclusiveness. I'm not so sure it is exemplary of the common artist-critic exchange however. That's because her example implies that the critics were addressing the work, and any coherent standards by which work is made.

As graduate students, I remember quite a few of us were heavily criticized in the American University MFA program. This often led to silent intellectual torment, which myself and some other students would occasionally complain about. 'Why is he getting blasted for that?' Or, 'why is she getting criticized, and not her?' Occasionally it seemed like the direction, or even the nature of my own work was leading certain professors to relate to me like a bully would during school recess. I would get baffled, and think to myself 'upon what ground is that particular teacher basing his/her viewpoint with regard to my work?' Talk about defensiveness!

Looking back, some of the student attitudes were worthy of criticism, including my own. So perhaps, in scenarios where criticism has an important function in discerning and appreciating the arts, it makes more sense to directly critique someone's paradigm for being a professional creator, rather than the actual work that's yielded from that paradigm. Regarding work, I love objectivity. It seems, however, that the least problematic arena for objectivity is now a private one. Across the wide variety of art institutions that I've encountered, I've been able to interpret very little agreement between them around what could be called firm criteria for the actual work.

I was quite relieved of defensiveness when, in my thoughts I reviewed that lesson..... These are post-Warhol times..... and applied it from a new angle. Basically, ever since Andy Warhol (and the philosophical advent of Pop Art), sure, there have been sets of specific criteria to make use of in Fine Art; yet the widest shared grip that artists have on any one set is about the length of half a city block; thus the conversation of Art today can carry literally anything.

The trick is: the person being critical will usually talk about the work, yet at the core it may simply be cloaked criticism of the artist's performance. At large, the artist's job today, no matter how involved he or she is with specialized criteria, is to take anything as a creation and make it believable as Art, and thus by extension - him or herself believable as an artist. As a result of the criticism I encountered in graduate school I found the results more favorable when I changed the artist in me than when I changed the artwork coming out of me.

When the fruits of someone's creative pursuit are met with criticism, the best and most constructive way to 'face and grapple with' it might be the artists checking in with themselves that they are prepared and really playing their own game. Do you have a pipeline of ideas or idea variation to try out? Are the things getting done that garner credibility? We can always try and do what Twyla Tharp did, yet these days we are expected to be Andy Warhol first.

The Sutdio Visit & Studio Activity

2011-01-08T07:32:00.000-08:00

Lately it seems that the walls to peoples' art studios have been metaphorically dissolving. The studio - the haven for creating, which can typically be counted-on for being a source of focus and undisturbed muse for artists to work out their projects and problems, is to a degree, going public. I've noticed people are gaining access to trace evidence of how artists are at, and get to work, thanks to our technology. Technology that gives us a sense of being pretty close to the center of what we call the artist's studio.

Artists should be able to have it both ways.

Of particular note is Isabel Manalo's web magazine The Studio Visit, and its rapid growth. In a few short years it morphed from Isabel's D.C. based side-line thing into an established internet artist studio database, whose coverage, both local and nation-wide, seems to be full-throttle and viral.

D.C. photographers Robert Heimplaetzer and Darren Santos had each stopped by a few times during the latter half of 2010 to visit my current studio and take pictures. When each were here we got along as mates, and I worked on paintings while the camera constantly clicked away. Here are some of the resulting shots:

all photos above by Robert Heimplaetzer

About a year ago, The Studio Visit paid me a visit. Isabel came to my then-current space, at a time when I was working on about seven oil paintings on canvas, all at once. Most of them were newly begun and about 30% complete. I haven't even finished them all to this day. That was an ugly time. The resulting page had lots of photos of what those unfinished canvases looked like, and my Color-Aid thumbs, plus a video interview of me about my work. Looking at the posts of other artist visits, I find The Studio Visit's standard to be very consistent, yet the nature of the coverage to be quite incidental - which is a good thing.

What can I say for artist-studio access (open studio events, photos, videos, etc.)? They display personality of the artist(s) working in them that's connected, yet unattached to the objectivity of the stuff that comes out. In journals like Art in America, established art galleries sometimes use photos of an artist studio (sometimes with, sometimes without the artist's presence) for advertising their exhibits of the work that was made in it. The appearances of the studio and the artist at work in it hook interest for sure. Perhaps the studio will remain a charming, personal entity. Yet I suppose it could turn into a 'product' someday.

'Painting in New York'

2010-10-14T20:53:00.000-07:00

It started somewhere around 2005. I remember hearing the conversation around then, about the idea of an exhibiting group of painters. I was talking to Tyler from from my apartment in Washington DC. He said that the first showing had taken place a year before. Subsequently the name was christened. I was invited to join along with a few others. Three exhibits, tagged Painting in New York, followed. An article in the New York Times, the gutting of an old catering kitchen space, along with visitor counts into the hundreds - these were among the things it yielded in the same Tribeca section of Manhattan. The work of more or less the same seven painters has been the nucleus of it.

The collective features the following artists: Chris Protas, Jason Williamson, Jason Eisner, Tyler Loftis, Mariangela Fremura, Dov Talpaz, Joren Lindholm. Just about all of us met when we were enrolled at The New York Studio School, some ice-age ago. Our intention is to be ourselves, and be seen.

There have been four shows in NYC between 2004 and 2007. The fifth exhibition is intended to feature twice the amount of works from each artist, and be backed by a friendly patron. Conversations are underway to have it organized for winter/spring 2011.

More images by Painting in New York can be seen at their website #1 and website #2.

Here are some photos of the group from the summer, 2010, when Chris Protas and Tyler Loftis joined Dov Talpaz in Italy for Mariangela Fremura's wedding.

Chris Protas and Mariangela Fremura

Dov Talpaz, Tyler Loftis and guest

Chris Protas and Tyler Loftis

Chris Protas and Dov Talpaz

Contact:
Facebook: 'Painting Innewyork'
paintinginnewyork@walla.com; paintinginnewyork@gmail.com

Review of Carlos Muñoz-Jimenez

2010-08-27T16:38:00.000-07:00

'Abstractions'
by Carlos Muñoz-Jimenez
"Q" Street Gallery (2015 Q Street NW #2, Washington, D.C. zip: 20009)

It is right here that I make an exception to one of the rules of blogging: avoid writing on past-based events. Alas, I will recommit to that.........after I write about Carlos Muñoz-Jimenez' opening of artworks entitled Abstractions, about which - as I just discovered - nothing has been previously written. Carlos Muñoz-Jimenez, currently based in Washington DC, is having a series of openings in the same location in throughout 2010, of which Abstractions is a highlight. For more info go to: www.carloscreatesart.com

For an artist proclaimed to be proficient in the culinary arts, Carlos Muñoz-Jimenez also knows the ingredients of visual art quite well. The selections (all works on paper) were presented in a private home/gallery located in Dupont Circle; they were available for viewing by appointment and at the reception for the public, which was in June. Nearly one half of them were gouache paintings that were beautiful and dynamic (mostly done in red, purple, blue & black like the one above); the other half were drawings done in black & white media, a wide variety of scale (two of them taking up most of the wall) and in the style of the two works below. The function of Muñoz-Jimenez's work, as cited by the exhibit's press release, is to 'represent the imagination at its most creative and abstract form, inviting the viewer to an in depth conversation'.

An online event announcement mentioned about the public reception that 'the artist will be present for engaging and thoughtful conversation'. That turned out to be accurate, at least the unqualified conversation part. The artist was there making conversation and answering questions. Amidst a dialog with him, a young budding political artist (who also paints) was asking Muñoz-Jimenez lots of questions. This person seemed committed to uncover an agenda/intent, by way of the artist, that could be evidently relayed through information displayed in the work. I think the searcher left unsatisfied. Maybe all the probing had missed an explanation that lies on the surface: abstraction exists by itself with little to no output tailored to our world, yet can resonate with any input we bring to it - from pure tactile sensation to didactic and political reverie.

Exhibits by Carlos Muñoz-Jimenez being held now as well as later in 2010, at Q Street Gallery, include 'Illuminated Concepts' and 'Botanical Illustrations'.

Retrospective of Mercedes Matter

2010-08-05T15:24:00.000-07:00

I just did some writing for Mercedes Matter: A Retrospective Exhibition at the Figge Art Museum in Davenport, IA (September 4, 2010 through January 2, 2011). This first major museum exhibition devoted to the Abstract Expressionist artist Mercedes Matter (1913-2001) spans her career from 1922 through 2000.

There will be two of my oil paintings (from 2002 & 2010) on loan; and I will be sending the following statement: "The things I learned from Mercedes Matter's teaching remain acutely specialized. Because of them I'm sure, I've been referred to as a cubist. No matter how many mutations I take my work through since then, the ways I arrange the structure and color remain steadfast. It is very satisfying to pay attention in making those choices so specific. In composing images today, I feel I can endow the illusion of space with many different (art historically retroactive) possibilities to enhance the portrayal of subject and meaning. Mercedes also relayed big lessons to her pupils, such as 'the greatest discipline as an artist is getting what you want'."

Mercedes' retrospective. The artist website has been around for at least 10 years. It's quite neat. Mercedes Matter

Nicolas Caroni dies

2010-07-16T14:45:00.000-07:00

(Post fed as reference to wikipedia.org page on Nicolas Carone)

Lohin Geduld Gallery in Chelsea made the following statement today:

"Nicolas Carone, 1917 - 2010. It is with sadness that we tell you of the death of Nicolas Carone. Nick died at his home in Hudson, NY on July 15. Nick touched many lives as an inspiring teacher and brilliant artist."

According to wikipedia, Nicolas Carone was "an Italian-American painter and sculptor, born June 4, 1917 in New York City and raised in Hoboken, New Jersey. Carone belonged to the early generation of New York School Abstract Expressionist artists, whose artistic innovation by the 1950s had been recognized across the Atlantic, including Paris."

I find there to be a humorous stroke of irony in the way Nick Carone and his work gets tied to the subject of Abstract Expressionism. As far as I can see, there's seldom any mention that Carone's pictures were most often figurative throughout the span of his life. An example is this work done when he was eighty-six.

Untitled, 2003, mixed media on paper, 10 3/4 x 11 inches (private collection)

Open Studios at new 'Mid City' Location

2010-05-31T12:11:00.000-07:00

Washington D.C.'s Mid City Artists Open Studios took place on Sat, May 22nd & Sun, May 23rd 2010; it featured 27 participants, 5 new members and a whole plethora of work.

(from l to r: Joren Lindholm, David Peterson, Hannah Naomi Kim, Thomas Drymon)

Featured throughout the whole 2nd floor studio was the work of my studio colleagues Thomas Drymon, Hannah Naomi Kim, David Peterson as well as mine. Most of the art I displayed were framed oil colors which I made throughout 2009 and a few new ones from this year. In addition to that there were one or two viewer surprises, including a wall installation of drawings that I had done in different styles. My work has been described as 'surprising humor and irony, and emotive fields of color alternating with lyrical imagery'.

view of 'Isabella Etruscan' and 'Stationary Girl' (photo: Kim Vu)

Among the hundreds of attendees were a number of french families (painting appreciators invited through a local french mothers' network), people from the fitness center, staff members from DC Commission on the Arts, art & culture critics from The Washington Post, fellow area artists and lots of friends and local professionals. Also making the rounds were photographers from ReadySetDC and Borderstan. Within the two weeks that followed, Tom, Hannah, David and myself were each the subject of online artist features. See mine via the Logan-area Borderstan blog, here.

We have been at 1716 14th Street NW #2 (between R & S Streets) since February. Consequently, in conversing with some of the open studio visitors we found out some locals knew more about the building (and former occupants) than we had up to that point.

(photo: Liz Medina Chiomenti)

The event was relief-inducing for me; it completed a period of transition that started in February, when I moved out of my former space at Takoma Park's A.Salon building, subsequently readjusting to and customizing the new one. It was a busy springtime, in the middle of which I was completing and framing the 12 pieces which I contributed to Tom's premier group show at Dupont Circle's Studio Gallery.

View of Tom Drymon out back from my window (photo: Kim Vu)

We do this twice a year.

Our next Open Studios event (in the same location) is November 6th & 7th, 2010.

My Review of Jim Condron

2010-04-23T14:09:00.000-07:00

A Space Within: Self as Landscape, Landscape as Self
March 10 - April 8, 2010
Paintings by Jim Condron
Review by Joren A. Lindholm

Post fed at: Bourgeon online on April 26, 2010.

Last month I headed up to the Cafritz Center at Montgomery College’s Takoma Park/Silver Spring campus to view the work of painter Jim Condron. Not knowing the campus and having never heard of the artist, landscape was all I had to go by. It doesn't take long to realize that there is a sea of ordinary landscape painting in the world and that’s how I envisioned this exhibition. As it turned out, however, Condron is no painting monkey. A Space Within: Self as Landscape, Landscape as Self was arresting for me as I recognized aspects of my own experience, startlingly reflected in the paintings of someone else.

Entering the space, I was greeted by many oil paintings, ranging from large to small, hung in several open-ended corridors threading throughout the large gallery space. These paintings are harmonious—direct and clear with a wise use of the elements. They unfold slowly with a sophistication of light and ambiance. Not every one was a winner, yet the smaller works were the show’s highlight. Framing images of gardens that could be the artist's backyard, they were quite moving in their ability to amplify quiet places and assert themselves center stage. Furthermore, the undeniable glow in their illumination, a result of his intelligently-mediated color and tone, reminded me of the sensation of arriving in a new country and taking in what I saw. The pieces depicting environments at night had an equally invigorating kind of light. Not bad for hues assigned to plants, soil, and trees. Could these subjects be the ones at or near his Baltimore home?

Several large canvases featured houses injected into the backyard image which he refers to as “structures” on his website (www.jcondron.com). In these works, Condron's mark seems to take the lead, commanding the surface geometry and employing more dynamics than the charmingly and uniformly limp hand he uses in his small canvases. The ambition with large-scale was nice to see, yet I was disappointed with how the architecture dispelled the transporting effect that the whole show had going for it, leaving those pictures relatively anomalous by their localization.

In the same gallery, there was an exhibition of optical-effect-driven sculpture and painting (mostly with thin stripes, as I recall) by Delaware artist Dennis Beach, titled “On and Off the Wall.” Those works were installed throughout the other end of the space (yes, the Cafritz Art Center was raised in the new millenium, so it is big) and amounted to a sobering glance and go, in stark contrast to Condron’s economy of means.

This Website Rocks

2010-04-20T15:24:00.000-07:00

A far cry from the 'who cares?' syndrome.

Have you ever wondered about the stuff that happens in the fine art trade, I mean, how it goes down? 'What did he/she do?' 'What did he/she have lined up?' 'Did he/she have to aim for that particular trend or niche?' There's also the stuff that doesn't happen. Ever hear the question, repeated-add-nausea, 'has your/his/her artwork sold anything'? Then get this. Nearly anyone asking that about an artist's work could be a buyer of it. However, due to the nature of their question, it could be said then that people are aware of their consumer power, yet they are thinking that they don't want to be the first one to purchase? Is that adult thinking, even if an acquisition could be a sweet deal (hello?!!) or gotten for an objectively market-inflected price? And, how can the artist and the (often intimidated or stranded) consumer be empowered in all of the hoo-ha? I sure had been wondering; this is my field.

Later I found that Alan Bamberger and the writers for www.artbusiness.com have shared hundreds of articles respectively for both fine art collectors and fine artists. Each and every article is written as straight as an arrow (complete with a sense of humor and true wit), and collectively cover all wide-ranging stages of the game. After reviewing one artist article and one collector article, I quickly bookmarked the site for more. What surprised me was that the material is free of topics unrelated to the fine arts, that get habitually blended into certain stages when shared widely. For makers and consumers who have artworks in their vicinity, and think 'OK, it's there, I can see it, now what?', you are to find lots o' insight. Imagine fewer and fewer people getting stuck in the smoke screen of a business that has its share of reputations.

Artists reading some of the following articles would make the whole world a better place: "Art in the New Economy"; "How Not to Succeed in the Art World"; "I Can't Sell Art Because I'm Not Dead and the Media Are Idiots" and "Why Should People Buy and Own Art?" to name a very few.

Next Exhibition - Curated Group Show

2010-04-08T15:54:00.000-07:00

It was my pleasure one sunny Saturday afternoon last October to be introduced to quite a number of new faces amongst a DC art-going crowd. Just an hour before I had walked over to Nevin Kelly Gallery, at its then Columbia Heights location, to attend an artist talk for 'Dark Matter', an exhibition of DC artist Ellyn Weiss' most recent work. Before leaving I spoke at length with Thomas Drymon, who a few months later would organize, curate and promote the first in a series of group exhibitions to feature local DC artists. Before Thanksgiving, he gave me a call to ask me if I wanted to be a part of it. I said yes, and through the winter and into spring experienced working with him on very open-minded terms in planning my work selections for the successful group exhibit, 'Only What You Can Carry with You'.

Since premiering at Dupont Circle's Studio Gallery, Tom's venture and first exhibit featuring James Cassell, Peter E. Harper, myself and Zade Ramsey has gotten a great amount of coverage. Ellyn Weiss has written about it for her own blog (www.eweissart.com/index.php/News/) and for the Pink Line Project (www.pinklineproject.com); and the show was covered in the Friday art column of the Washington Post. There were hundreds of first-time viewers at the April 2nd Friday opening reception, which fueled profiles for each artist. Below are some photos of my work taken at the opening.

Tom selected four of my paintings, and eight collages for inclusion. The paintings represented my most recent work, which has bold color, starkly contrasting with the subdued appearances of the collages. Among the works on canvas was my most metaphorically layered piece to date, a two-panel, quasi-diptych developed throughout 2009 entitled 'The Traveler and the Travel'. Jessica Dawson, art critic for The Washington Post writes, "Lindholm's disjointed imagery really works. The panels (of the above mentioned) are united in some ways and not in others, mirroring the ambiguities of contemporary life."

Thomas Drymon is a freelance designer, painter and curator, currently based in Washington DC. Tom states that his aim is to showcase for the public work with a developmental and inquisitive nature, and made by artists who have had five years or more out of school. "Three exhibitions are planned each year at traditional and nontraditional spaces and are intended to introduce low to mid-priced works," he says. To learn more about his ideas and catch his second and third exhibitions for 2010, visit www.thomasdrymonselects.com. To access the original Style section coverage, go to the bottom of this Washington Post article.

Change of Focus for eyemxmatter

2010-03-15T18:08:00.000-07:00

Earlier this year I purchased a website. It is under construction to be my professional site. This blog, which has been a host for my painting and related events, will continue as a tie to my handle on the arts. However, I've been going to more art events than I ever have before. So the posts and commentary will be more outward in their scope.

We are always promoting whatever we talk about, yet I would argue that which is highlighted is not always intended to come from a competitive commodity and marketplace aspect (despite that being inescapable). I'd like to focus on other people's work, in addition to my own. I know that what I say about 'artist-xyz' would have a tendency to be more about my view than it is about 'artist-xyz'. So in talking about other people's work, I want to offer building blocks to a shape-giving view of contemporary art-making that could gel given time.

As philosopher Arthur Danto said in 'After the End of Art' (1997).........because - according to his thesis - the narrative of art history in the west was irrevocably completed with Pop in the 60's........ anything, ever since, can - and has accessibly been - art. Because of this ground zero, Danto believes that a platform for large-scale development in the fine arts no longer exists (as much as artists and/or their commercialization may strain for a second-hand notion of it). I tend to agree with Danto on this, and on it nevertheless being good news for everyone's freedom to create. Yet I like shapes. There's something about tangibility. Perhaps, within the humble process of maintaining a blog, I will find and contribute to any tangibility for the art community within this globalized community (and always, inevitably from the point of view of a painter). If nothing else, there will be a reflection of my thoughts staring back at people.

Recent Work Nearing Completion

2010-01-31T12:21:00.000-08:00

These are from a series of about 18 paintings covering 6 images.

study for ‘Stationary Girl No.2'

The subject of this image (in two versions) is an almost freakish kind of serenity,
with a woman who feels that she doesn't need any thing or to have any destination.

oil on paper, 21 x 15.5

‘Sad Nature' (unfinished)

oil on canvas, 16 x 20

study for ‘Stationary Girl No.1'

oil on paper, 14.5 x 11

‘Stationary Girl No.1 (nocturne)'

oil on canvas, 24 x 18

study for ‘The Traveler and The Travel' (which on canvas is a diptych)

This one makes me laugh, the way it came out. There's lots of ideas in there, yet it was mainly prompted by the notion of interpreting who a person is as a self versus who someone is as defined by what they are/are not doing (p/p/f). There is, at large, possibly an interchangeability of these two forms of identity (which are very contrasting in nature).

oil on board, 11 x 17.5

Studio Relocation Immanent

2010-01-31T11:17:00.001-08:00

The plan is to, by March, relocate my work studio to the DC's most active gallery district of the 14th Street/Logan Circle area (around 14th & S Street to be exact)! Here is a photo of my current DC studio. I've been here for close to 3 years, and I am enjoying the recent tweeks (such as getting the walls and floors painted in December) that are customizing it. Alas, it's time to adapt to, and mold another space - this time closer to where I live, which has long been Mt. Pleasant.

Forthcoming exhibition at The Studio Gallery in Dupont Circle, April 2010

2010-01-31T10:47:00.000-08:00

Opens Friday, April 2nd, 2010 in Dupont Circle, Washington DC. This will be a fairly extensive exhibit of collage-based work (in various media) that showcases a small handful of DC artists. Work that I created in 2009 and 2010 is to be included. As there was no show that I was a part of last year, it is certainly going to be a new entry.

New York Exhibition entry selected by Sean Scully

2010-01-31T10:31:00.000-08:00

This is a thumbnail of the piece that was a selected entry to the New York Studio School Alumni Show, 2009. The juror for that show was Sean Scully. I drove up to attend the mid-May opening reception. The attendance that night packed the whole house; it was fun. This piece, acrylic on paper from 2007, was acquired by Mike Zimberg of New York, New York.

Aquired

2010-01-31T10:05:00.000-08:00

This piece is part of the 'helmet head' series. It is collage on canvas. It was acquired by Teresa Mary Brown in New York.

Auction Donation

2010-01-31T09:55:00.001-08:00

"Architectonic Environment" by Joren Lindholm
2003, acrylic on paper, 32" x 49"

This piece was donated to a local auction, held in October 2009, that benefited the non-profits: Paper to Pearls (http://www.papertopearls.org/) and ProMicro Finance (http://www.promicrofinance.org/). The latter was created by John Syauswa Kavyavu, who is a colleague of mine from the Congo. It was a pleasure to prepare this piece to be part of the auction. It was acquired by local Washingtonian Kym Park.

Comment: IA&A Participation

2010-01-31T08:59:00.000-08:00

I presented a canvas from my 'helmet head' series. I contextually prefaced it by sharing a bit about the 'New York School' of Art that my work comes out of. Cleary said that she liked my work (they ask the critics to be more objective and specific than to say that - lol); that I should give it more of a finished look; and that I should definitely pronounce the HUMOR in my work more overtly.

There was a good turnout for November 2009. Almost 1/4 of the attendees were just curious local Washingtonians, the rest were DC artists - either presenting their work or observing the others who did. Manon Cleary, the critic, and a smart one, did very well I thought. For more info on DC-based Cleary there was an interview published (http://thenewgay.net/2008/03/artist-profile-manon-cleary.html). She was quite intent to prepare for what she was to say, such that she looked up all possible websites and materials for each designated presenter before hand. She was able to give all the artists genuine, concrete feedback that was more or less based on the work that they presented. Also, Manon had informed things to say to the figurative painters - obviously coming from her own skill in representational painting that goes way back.

New Event

2009-11-06T16:37:00.000-08:00

This is a monthly event hosted by International Art and Artists (Hillyer Space). I am set to be attending and presenting at November's Crit '09 session. As with any opportunity where discourse deepens, I'm interested. There are 12 artists presenting work this time (one piece only) - of which I am one. I found out today that Manon Cleary, a mainstay DC artist, will be facilitating. I am doing this because I want to see who else is out there.

Archive File

2009-10-01T11:47:00.001-07:00

This image is after Balthus. Dimensions of total piece: 85" x 69.5". This is a piece in its interesting state prior to resolution, that was made as a tryout for a particular process. The source image was a painting reproduction from a Balthus monograph. I worked 'blind' to the whole composition by transcribing four panel quarter sections independent of the others, and then pieced all four together. The whole thing is much larger than life, so I was able to enjoy a number of the parts within each panel, as my intention was to work out the way it all fit together later on.

2008-11-10T21:07:00.001-08:00

List of Works from 'Color Position' Exhibition

2008-11-10T21:05:00.000-08:00

1. 'Color Position Collage'
photo-collage and acrylic on paper, 6.5 x 5 x .1

2008-11-10T21:04:00.000-08:00

2. 'Helmet in Apocalypse'
gouache on paper, 17 x 15 x .1 inches

2008-11-10T20:53:00.000-08:00

3. 'Composition'
watercolor on paper, 11 x 8.5 x .1

2008-11-10T20:51:00.001-08:00

4. 'Etruscan Painting'
oil on canvas, 15 x 17.75 x 1 inches

2008-11-10T20:51:00.000-08:00

5. 'Painting'
oil on canvas, 16 x 19.5 x 2 inches

2008-11-10T20:47:00.000-08:00

6. 'To Be Chosen'
collage and acrylic on canvas, 72 x 60 x 3 inches

2008-11-10T20:45:00.000-08:00

7. 'Madras Painting'
oil on canvas, 32 x 24 x 2 inches

2008-11-10T20:43:00.000-08:00

8. 'The Step Father'
oil on canvas, 39 x 61 x 4 inches

2008-11-10T20:42:00.000-08:00

9. ‘The Enigma'
collage and acrylic on canvas, 85 x 68 x 2

2008-11-10T20:35:00.000-08:00

10. 'Dream of Where I Have Been'
oil on canvas, 28 x 22 x 1

2008-11-10T20:30:00.000-08:00

11. 'That's What Falls Church is to Me'
oil and varnish on canvas, 24 x 19 x 1

2008-11-10T20:29:00.000-08:00

12. 'Adult Baum (Emerald City)'
oil on canvas, 52 x 36 x 2 inches

2008-11-10T20:26:00.000-08:00

13. 'Fixed Address at the House of Reckless Correlation'
oil on canvas, 24 x 24 x 1 inches

2008-11-10T20:24:00.000-08:00

14. 'Ex-Runner Painting'
oil and varnish on canvas, 36 x 44 x 2 inches

2008-11-10T20:22:00.000-08:00

15. 'Husband and Vendor'
photo-collage and watercolor on paper, 5 x 3.5 x .1

2008-11-10T20:12:00.000-08:00

1. 'Color Position Collage'
2. 'Helmet in Apocalypse'
3. 'Composition'
4. 'Etruscan Painting'
5. 'Painting'
6. 'To Be Chosen'
7. 'Madras Painting'
8. 'The Step Father'
9. 'The Enigma'
10. 'Dream of Where I Have Been'
11. 'That's What Falls Church is to Me'
12. 'Adult Baum'
13. 'Fixed Address at the House of Reckless Correlation'
14. 'Ex-Runner Painting'
15. 'Husband and Vendor'

2008-11-10T20:11:00.000-08:00

2008-11-10T20:10:00.000-08:00

2008-11-10T20:08:00.000-08:00

2008-11-10T20:07:00.000-08:00

2008-10-07T13:24:00.000-07:00

2008-09-11T13:29:00.000-07:00

Catalogue of Works

2008-09-11T13:08:00.000-07:00

'Guardian Helmet', 2003
oil on paper, 13.5 x 8 x .1"

2008-09-11T13:05:00.000-07:00

'Tan Rose', 2002
oil on board, 19 x 11.5 x .5"

2008-09-11T13:02:00.000-07:00

'Duffy's Pause', 2007
oil on canvas, 78 x 66 x 2"

collection of David Remington

2008-09-11T13:00:00.000-07:00

'French Woods', 2003
watercolor on paper, 12 x 9 x .1"

2008-09-11T12:56:00.000-07:00

'Zim Zum', 2004
photo-collage with mixed media on wood, 5.5 x 8 x 2"

2008-09-11T12:53:00.000-07:00

'Study for Duo', 2002
pen on paper, 9 x 9 x .1"

2008-09-11T12:49:00.000-07:00

'Self Portrait with Hand', 2001
oil on canvas, 24 x 22 x 1.5"

2008-09-11T12:46:00.000-07:00

'Study for New Alegra', 2008
oil & charcoal on paper, 22 x 15 x .1"

2008-09-11T12:41:00.000-07:00

'Chamber Drawing', 2003
ink wash on paper, 15 x 22 x .1"

2008-09-11T12:35:00.000-07:00

'Self Portrait', 2000
oil on canvas, 36 x 24 x 1"
destroyed in 2001

2008-09-11T12:25:00.000-07:00

'Helmet in Apocalypse', 2003
gouache on paper, 17 x 15 x .1"

2008-09-11T11:14:00.000-07:00

Statement.

Wherein the objective of my work is to build a variety of compositions out of abstract structures, my execution negotiates the familiarity of our world with the invention and tactility inherent in the medium.

I'm interested in the use of color for liberating, emotive purposes. I'm interested in visual contrasts of weight and alignment. I'm also interested in inexplicable moments and connections between things. Finding images for me is often through free association. I want my work to flirt with you, coming from awareness of the gaps between reality and what we understand. The subjects of my juxtapositions and depictions are often peculiar without being peculiar.

Looking from, and composing with respect to, the whole visible field has enabled me to follow a path of creating subjects and scenarios within images that are spatially complex. Drawing lends itself along the way to a variety of things like placement, movement and texture, indifferent to where it would otherwise go in the pursuit of finished appearances.

Joren A. Lindholm

2008-09-11T11:11:00.000-07:00

'Adult Baum', 2005/2008
oil on canvas, 52 x 36 x 2"

2008-09-11T11:08:00.000-07:00

'The Step Father', 2003/2008
oil on canvas, 39 x 61 x 3"

2008-09-11T11:05:00.000-07:00

'Double Repose Painting', 1997
oil on canvas, 38 x 46 x 1"
collection of Amanda Kraus

2008-09-11T11:01:00.001-07:00

'Mono Painting', 2007
acrylic on paper, 28 x 14 x .1"
collection of Michael Zimberg

2008-09-11T10:59:00.000-07:00

'Fixed Address at the House of Reckless Correlation', 2008
oil on canvas, 24 x 24 x 1"

2008-09-11T10:57:00.000-07:00

'Painting in Black and White', 2003
acrylic on paper, 12 x 15 x .1"

2008-09-11T10:34:00.000-07:00

'Square Dance Painting', 1995
oil on canvas, 32 x 24 x 1"
collection of Tony Gant

2008-09-11T08:02:00.000-07:00

'Scrapped Interest', 2004
temporary installation, 41 x 91.5 x .25"

2008-09-11T07:59:00.000-07:00

'Scrapped Interest' (alt. view), 2004
temporary installation, 41 x 91.5 x .25"

2008-09-11T07:11:00.000-07:00

'Depot', 2004
photo-collage with mixed media on wood, 6 x 4 x 1"

2008-09-11T06:57:00.000-07:00

'Self Portrait', 2001
oil on canvas, 46 x 34 x 2"