John Murray week of Feb. 18, 2013

I hope you have a good vacation week.
I've uploaded a video that Mary Judge made from a poem of mine, "Picasso's Dream"
I hope it works. I hope you enjoy it.
See you the week of Feb. 25. john.

John Murray classes week of Feb.11, 2013

Next week let's celebrate Blues poetry and music in honor of Black History month.

Well, I've got stones in my passway 
And my road, it's black as night 
Yeah, I got stones in my passway 
And my road, it's black as night 
I got some pains in my heart 
And they're stealing my appetite 

Well, I got a bird to whistle 
I got a bird to sing 
Yes, I got a bird to whistle 
I got a bird to sing 
I got a woman that I'm lovin' 
But she don't mean a thing 

You trying to take my life 
All my money too 
I say to you lady 
What you trying to do? 
I say please, hey let us be friends 
You hear me howlin' in your passway, baby please let me in 

Well, I got three legs to walk on 
Baby, please don't block my road 
Yes, I got three legs to walk on 
Baby, please don't block my road 
-Stones In My Passway-R. Johnson 

Robert Johnson was a brilliant and tragic young bluesman from the Missiippi Delta cotton fields and juke joints of the sharecropper 1930's. 
He wrote and performed in the Black underclass culture of the racist American South and died from poisoning by a jealous husband and owner of a bar where he was performing in 1938.
Many myths have grown around the writing and guitar playing of Johnson and he has influenced generations of  musicians and poets with his compressed and exquisite work.
I'll play sound Johnson and other blues as well next week and see if it inspires some art for you.
See you next week, john. 

John Murray classes week of Feb 4, 2013

As Roberta Smith said about Outsider Art; "...with irrefutable proof that the most lasting work comes from unstoppable emotional necessity, an especially useful lesson for the moment."

How do you feel about your own work?
Next week let's try a piece that touches on a deep emotional issue for you.
It can be a painful way to work and in some ways negates my "painting is about paint" theses.

Of course it has to be about the plasticity and sense of the artist's hand (or the denial of that sense if you feel ironic about your emotional content and want a cooler feel).

See you next week, john.

John Murray classes week of Jan. 28, 2013

What do you make of these images?
I try to avoid politics, but live in a world dominated by tribal nationalism, human interests and competition.
What images do you find emerging in your work, or what do you think of the concept of taking imagery and using it in your art?
The bottom painting that I did last week (over an old painting that artist, Karen Rothman gave me to paint over) seemed to elicit for me some of the visual intensity of the top 2 photos.
With my own work what comes first, next or last in my language is up for grabs.
Where I find my sources shifts and constantly doubles back on itself.
Reading observing and digesting aspects of culture and life feeds on itself and I am wrapped in a world of  visual complexity.
Trying to teach art (painting) is hopeless unless the artist/student emerges herself in the visual world.
See you next week, john.

John Murray classes week of Jan 21, 2013

Monday is the National celebration of the birthday of Martin Luther King Jr.
When I was a young Marine stationed in the south in the early 1960's, someone burned a cross on our platoon's front lawn. We had more Black Marines in our company than most other and that fact provoked the racist act. When on liberty with Black friends they couldn't join us Whites in diners or use the same public restrooms nor could they drink from the same water coolers. What a change in American society...a black President!
In human affairs things do get better sometimes.
There are no classes Mon, but Wed supercharged Painting morning and afternoon is running.

See next week, john.

John Murray classes week of Jan.14, 2013

Nam June Paik at the Smithsonian.

I’ve long loved Nam June Paik’s work and wondered if his humor and visual concepts could work for you in your art.

Last week the assignment suggestion was a self portrait and reading a review in the Friday Jan.11 NYT, and seeing his Buddah contemplating his own image got me wondering if you might also contemplate your self portrait and see where that leads you.

Perhaps a change of media: to sculpture or a color copy of  last weeks work that you can transfer to a new canvas or cardboard and paint again. Or take a video with your phone and work from that (send it to others in the class, I can provide you with most emails).

One of my favorite local examples of Nam June Paik's work is at the deCordova Museum Sculpture Park; "Requiem for the 20^th Century", try and visit the museum and see it for yourself. Tell me what you think.

Go online and look at other examples of his work.

Nam June Paik died in 2006 but his work lives on for us.

See you next week, john.

John Murray classes week of Jan 7, 2013

Welcome all artists in Oil and Acrylic Workshop, John Murray Medley and Supercharged Painting wed am and pm!
Thank you for taking my classes this Winter term at NAC..

Let's start the term off with a self portrait.
I know it seems so obvious, but it has been an art tradition for centuries that still works for me.
Every artist may feel that they are not much, but at the same time to be honest, all they think about.
It is just human nature.
My wife is always telling me that she wishes that every male figure/head that I do is not a self portrait.
I can't help myself, so why not embrace the concept?
The amazing plasticity of painting makes the subject matter immaterial, so anything that gets the process started works for contemporary art.
Please bring paint and canvas, palette, brushes and rags if you are new to the class. And a sense of adventure.
Happy New Year, john.