Brendan Cass, one in 4.4 million

Journal page on Brendan Cass

There must be millions of living artists in the world. In fact I just looked it up and it turns out there are 4.4 million active artists in the USA alone, of which 3.2 million are recreational artists, 600,000 are professional artists and 122,000 are art-degree-seeking college students (http://www.artistmentorsonline.com/?tag=how-many-artists-are-there).

The figures are mind-blowing, or maybe disconcerting, but that's not what this post is about. In this crowded field, how does one choose artists to look at or to focus on, those who can answer questions one might have or give one ideas? Mostly, for me anyway, it's luck or serendipity. Usually wherever I land up turns out to be instructive or inspiring in some way or other. In this way, while reading recently about Donald Baechler, he mentioned Brendan Cass (b. 1974, American) as a young artist to watch. So I followed that lead and it proved to be a good one to share. The image at left shows some of Brendan Cass's paintings, and below that some journal notes from a video interview at a show in Lars Bohman Gallery in ?Stockholm, Nov-Dec 2009.

I'm not sure if this artist has hit the big time yet but he's certainly heading that way. The paintings are large to very large (e.g. 6' x 12') and are loosely based on photos. They seem very free and spontaneous but he takes a long time over them. He uses store-bought small canvases to try out colour combinations. Often he works from the photo first and goes to visit the place/country afterwards, and he has a particular liking for Northern countries and winter landscapes. He uses bright, even fluorescent colours, saying he likes to load a painting with as many colours as possible. The paintings are very gestural and loaded with texture and yet they don't look messy. They remind me of Peter Doig in their evocation of mood and space. He has done at least one of Ireland (Glendalough) which I would love to see but haven't been able to find it.

In a video of a studio visit filmed in 2012 by New Art TV, Cass's studio is an old railway station on a disused train line near a river in Connecticut  -- idyllic really. Here it is ...

Artist at work

Contemporary abstract artist Martin Wohlwend of Liechtenstein working in his studio. That's oil stick he's using. He does sometimes use colour but not in this video, it's an all-black work. I found it fascinating to watch.

Who's who

Who's Who, mixed media, 12 x 16 ins

I did this for a change of pace in September 2010. It started as a doodle and after a while one thing led to another and I got lost in it which is always a nice thing to happen. There should be some familiar faces in there, if not then it's very badly drawn.

These are contemporary artists drawn from a UK magazine. I don't think either of them is recognizable but I like how the two drawings complement each other.

Added 23/4: These are the "originals" in the top drawing clockwise from top left:

http://www.ibiblio.org/wm/paint/auth/gogh/self/gogh.bandaged-ear.jpg
http://arthistory.about.com/od/from_exhibitions/ig/frida_kahlo/Frida-Kahlo---Self-Portrait--1940.htm
http://en.wikipedia.org/wiki/File:Egon_Schiele_079.jpg
http://www.codart.nl/news/89/
http://www.artquotes.net/masters/picasso/pablo_selfport1907.htm
http://en.wikipedia.org/wiki/File:Henri_Rousseau_-_Self-portrait_of_the_Artist_with_a_Lamp.jpg
http://www.nga.gov/education/classroom/self_portraits/act_warhol.shtm
http://www.museum-reproductions.com/cgi-bin/modern.pl?fid=1039954407&cgifunction=form

Self portrait

There was an intention behind this self-portrait photo which I think could be deciphered from the internal evidence of the photo alone, at least in a general way (with a regretful look back at the unfinished discussion on the artist’s intention).

Solution here.

A recap

Is it too soon for a recap? If a blog is thinking aloud then that is what I’m doing now. I chose these three drawings totally at random, they just happened to be nearby. They remind me that my natural instinct is for variety which in these days of the tyranny of the theme could be a bad thing. There are three types of drawing here: 1) a drawing from life (the old lady in the wheelchair); 2) an analytical drawing of an abstract painting, and 3) a drawing from memory. I doubt that classifying them in this way is the least bit helpful, though I did recently come across a claim by a 19^th century British writer that all thinking is classification, or something to that effect. I will look for the quote. It bothered me at the time because it had a dogmatic, closed-mind kind of ring. Plus, in terms of classifying I’m a joiner and not a splitter. I tend to look for common factors. In these three drawings a common factor is that they’re all scribbled, they’re not neat or tidy. This suggests that my intention in making them was not to make presentable drawings of the kind you could frame and sell. Which brings up the matter of “the artist’s intention”, a whole subject by itself, with its attendant theories and controversies particularly in the last fifty years. To put down my stake: in my view figuring out the artist's intention is the surest straightest route to understanding art.