John Murray classes week of September 22, 2014

Next week "Plasticity and the Postmodern Figure" class starts on Tuesday the 23rd at 1 P.M.
Our first model will be a male.
Please come prepared to draw and paint on both canvas and paper.
Wednesday P.M. Supercharged Painting is not in session due to Rosh Hashana.
Morning Supercharged is in session!
All classes please continue with work you began last week, or if you did not attend last week, please
talk to me about an assignment if you feel you need one.
See you then, John

John Murray Classes week of September 15, 2014

Welcome to my Autumn 2014 classes at New Art Center.

Summer was a gorgeous feast for the senses as New England usually provides.

Now as the Fall term begins let’s think about the possibilities of a new language:

the visual, specifically painting.

This term I am teaching five courses: Mondays- Acrylic and Oil workshop and Postmodern Assemblage and Painting, Tuesdays- Plasticity and the Postmodern Figure and Wednesdays-Supercharged Painting A.M. and P.M.

Next week for the first class please bring enough material to work (canvas, paint,  charcoal, fixative and paper).

If you want an assignment concept think about the close of the psychic landscape of Summer and the lose of innocence and warmth implicit in that.

See you next week, John. 

Summer session John Murray classes week of August 25, 2014

The last week of my Summer session!

 
Try to do a piece that captures the memory of Summer.
This is a difficult thing to do.
The power of the past tends to overwhelm the Now of painting.
I saw some excellent work from artists who attended the class this Summer.
The Autumn term starts september 15.
I hope you keep working and sign up for one of my classes next term.
see you next week. John

Summer session John Murray classes week of August 18, 2014

Abstract vs Narrative in black and white.

This time of year, (my favorite) I try to relax and paint/draw in a manner that indulges my senses. I suppose I also work against this inclination at the same time.
This synthesis of sensual and rigorous sometimes leads me to a paradoxical solution for personal art-making; i.e. A black and white piece stripped of all content or a b&w piece loaded with sentimental content.
This approach of  following contradictory impulses has worked for me at times.
There truly are no rules in art making.
Don't listen to the voices of conservatism and repression.
See you next week, john.

John Murray Summer session classes week of August 11, 2014

Between the Devil and the deep blue sea!

All painting is tension between representation and plasticity (materials).
Modernist and certainly Postmoderist painting works the Hell out of this concept
to my great pleasure and enlightenment.
Next week try (once again...my favorite assignment) to exploit this idea in your own work.
Also I have a small show of my work down the street at Brookline Bank on Walnut Street,
if you have a chance check it out and tell me what you think.
See you next week, john

Summer Session John Murray Classes week of August 4,2014

August heat and light.

What can you make of it?
When the dog days start can you use the intensity to push your painting?
Late afternoon in the New Art Center can be very hot, but as the sun begins to set and dusk
melts into night the mystery of the summer has its effect.
I love the summer session in the big studio and find it a great creative opportunity.
Next week try and show the face of deep summer.
Before we know what has happened we'll be freezing again.
Enjoy!
See you next week, John.

Summer session John Murray classes week of July 28, 2014

                                                                                 Herring Cove Beach-John Murray

I enjoyed working with the model last week, I hope you did.
This week think about figure/ground issues and deal with placing a figure in a sketchy background.
A background that implies a number of possibilities.
The painting that engages me most is painting that opens possibilities about form/content and plasticity.
Or try a painting with no spacial illusion and do a flat frontal painting that acknowledges the literal flatness of the canvas.
The critic Clement Greenberg espoused this view and that concept contributed to Jackson Pollack's painting and fame.

Barcelona (for Aaron Siskind)-John Murray

See you next week, John.