Studio visit/crit (Jess Perlitz)

Jess Perlitz was kind enough to give me some advice today.

Some I can’t talk about just yet because…it’s still at the secretive idea-gestation phase.

[Edit: It’s no longer secret.  She advised me on early stags of the project described in Coming Clean, parts 1 and 2.)

She brought a lot of common sense into our conversation.  It won’t sound terribly profound when I say that she urged me to check out a book and work from that imagery rather than the same image on my computer screen…but it will make a big difference to me as I paint.  It’s so obvious once put into words!  The backlighting threw me off, and it was a waste of electricity to boot.

Also, why not just present a repainted/copied/forged (gasp!) painting with a different title?  I have been so careful to make obvious changes to these famous paintings, but what if the only change is that I am the one hanging it on the wall?  How far is too far with this appropriation game?  Can I use this as a tool to learn what it is about certain artworks that draws me to them?

Keep looking at Kehinde Wiley‘s art.  (Wait, when did he start doing altarpieces?  It is simply in…the…air!)

kehinde_after memlings portrait of st benedict

Kehinde Wiley, After Memling’s Portrait of St. Benedict, 2013

Consider messing with the same appropriation/forgery with small changes.  This will let me discover experimentally what sorts of alterations I’m most interested in.

Those were the main things (that aren’t on the down low for now).  Good stuff.  Definitely a worthwhile conversation for me.

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