John Murray classes week of Feb. 27, 2011

The iconic female.
Here are 4 versions of the artist's response to the female figure. The first is a blockprint from a model I did a few years ago, the second a 1000 year old Aztec textile showing the birth and death cycle of female nature, below and to the left a recent John Chamberlain sculpture in foam and lastly a painting from a model I did last year.

All 4 represent a degree of cultural and personal bias and as such are open to interpretation and criticism both feminist and artistic. The DeCordova class on tuesday has a model next week and offers a unique opportunity to deal with your version of these issues. The model is 7 months pregnant. Newart Center classes had a model the week of Feb. 13. Take a moment and check the John Chamberlain retrospective, "Choices", that just opened at The Guggenheim Museum and runs through May 13. See you next week, john.

No John Murray classes week of Feb.20, 2012

New Museum Triennal.
With the deCordova Biennial happening here in the New England area, take time to see what the New York and International set are doing.
nytimes.com/design.

Also on the week off from class give some thought to how you approach your canvas/ground and think a little about alternative ways to address the potential space that your surface offers you. I like this Sam Francis painting from 1970 and the way it deals with spacial concept....just think about it. See you the week of the 27th, john

John Murray classes week of Feb. 13, 2012

All NewArt Center classes will have a model next week.
DeCordova artists please continue with on-going work, you will have a model on the 28th of Feb. See you next week, john.

John Murray classes week of Feb. 6, 2012

RIGHT BRAIN LEFT HAND.

I,ve always been fascinated by work that originates from the unconscious and finds a way to plastic representation.

All modern artists play with the edge between intention and the automatic/accidental. Even the exquisitally designed work of Matisse shows some of this unconscious

gesture and unintentional application of pigment. The tension between these impulses can result in strong work. I've posted a painting I did last week as a demonstration using acrylic mediums and charcoal and finished in oil paint. I gave no thought to the direction and use of material in terms of image until the final oil paint where I edited and pulled an image from the puddles and marks. I find it more expressive than work I drive from more intentional process. This week try a piece using your right brain and your left hand and see what happens.

See you next week, John.