Monday, March 30, 2009

Gallery Shots



A few shots from the night of the opening party for The Rising Son, March 6th. Studio Room on top, Gallery room on bottom. We went out on a limb with the Christmas lights in the Studio and I must say, they turned out awesome.





Monday, March 23, 2009

Updates!

A few changes to the schedule are being considered and a big event is in the works for the entire month of May. Because of the incredibly strong response that we have received regarding our current feature, The Rising Son, we will be extending the dates into April, giving those of you who have since missed out to come and enjoy this time defying exhibtion.



As was mentioned above, May is shaping up to be an exciting month at The Andrews Gallery. In a Bacchic celebration of the days getting longer and the weather getting warmer, we plan to put on a series of free events open to the public with erruptions of music, art, dance, and poetry. These events will be loosely centered around Matt Curreri and The Exfriends, a musical ensemble that has been dubbed "one of San Diego's best indie bands" by the San Diego Union Tribune (2008). Matt has played at the gallery before, and we are excited at the opportunity to showcase some new projects of his in a series of shows. In conjunction with these performances, each night will have something new in store for the community to enjoy and partake in. The Exfriends will share the stage with other local musical acts. We will showcase San Diego local painter Floyd Elmore as a new feature. We will premier a brand new poetry series with readings from a diverse selection of San Diego County poets. We will fuse art and music in highlighting the work of San Diego local Owen Burke, who's hand crafted instruments display stunning levels of artistry, craftmanship, and sound. We will do these things and much more, with the same ol' good cheer and fun times that have come to define our events.

The details are being worked out as we speak, and we will post a full schedule with all of the specifics very soon. As always at The Andrews Gallery, these events will be free and open to the public. The purpose of these events is simple: to encourage and promote the arts in our community, and to provide a venue for anyone and everyone to engage with eachother in an environment of stimulation and FUN. If you are interested in participating or have ideas, LET US KNOW.

Saturday, March 21, 2009

Into a Thousand Parts Divide one Man, / And Make Imaginary Puissance


"Enter Chorus
Chorus: O for a Muse of fire, that would ascend
The brightest heaven of invention,
A kingdom for a stage, princes to act
And monarchs to behold the swelling scene!
Then should the warlike Harry, like himself,
Assume the port of Mars; and at his heels,
Leash'd in like hounds, should famine, sword and fire
Crouch for employment. But pardon, and gentles all,
The flat unraised spirits that have dared
On this unworthy scaffold to bring forth
So great an object: can this cockpit hold
The vasty fields of France? or may we cram
Within this wooden O the very casques
That did affright the air at Agincourt?
O, pardon! since a crooked figure may
Attest in little place a million;
And let us, ciphers to this great accompt,
On your imaginary forces work.
Suppose within the girdle of these walls
Are now confined two mighty monarchies,
Whose high upreared and abutting fronts
The perilous narrow ocean parts asunder:
Piece out our imperfections with your thoughts;
Into a thousand parts divide one man,
And make imaginary puissance;
Think when we talk of horses, that you see them
Printing their proud hoofs i' the receiving earth;
For 'tis your thoughts that now must deck our kings,
Carry them here and there; jumping o'er times,
Turning the accomplishment of many years
Into an hour-glass: for the which supply,
Admit me Chorus to this history;
Who prologue-like your humble patience pray,
Gently to hear, kindly to judge, our play.

Exit Chorus."


Not to be one of those people who starts by citing the entire choral prologue of Henry V. Maybe late Saturday mornings just have this effect on me. After reading the passage again, this incredible feeling descends on me; that this here prologue is the only way he could have begun the play. As if he had no other option. As if anything else would have been impossible.

Shakespeare might just be my favorite painter.

Wednesday, March 11, 2009

The Rising Son, Continued

You know what I like about our March Featured Artist Jesse Hensel? He doesn't just open doors, he builds them. Out of scrap and driftwood. Its a funny metaphor for the new show.


Time is a foggy thing, a thing seemingly impossible to, say, hold in your hand. I think good art is aware of this problem. I am always looking for work that conveys the movement of time while simultaneously acknowledging itself as a static or fixed thing. (For example, a book which at once tells the story of a character's entire life while at the same time collects dust on your bookshelf). The new show up in the gallery room does just this. The wild collision of innovation and empiricism in The Rising Son produces a snap-shot of Time itself, somehow causing thousands of years to suddenly become tangible and contemporary. The contradiction formed from this notion is a powerful result of the primitive modernity put forth by this show. I don't mean to attach too much complexity to the word "contemporary", I just mean that the whole thing feels present and new, even though it is saturated with bygone methods and materials. This must be what the artist means when he speaks to his art as forming "archaic bridges".


Indeed Time for me is a central theme of Hensel's overall project, and its a theme which is currently manifesting itself forcefully in the gallery. The Present, as a concept, has always been something that fascinates me if only for the fact that I do not see how it exists other than as a concept. No sooner do moments occur than do they become moments of the past. Even when people talk about the importance of living in the present, they often refer to or rely upon things they said just minutes earlier, in a way undermining themselves. Once we acknowledge this perpetual transfer of moments into the bank of time past, it becomes excruciatingly difficult to pinpoint the present. The Rising Son, by combining the forces of tradition and creative impulse, helps me grasp the present in a rather new and wonderful way.


The fleeting and elusive nature of the Present points to our experience as straddling two realms: the past lived through our memory, and the future lived through our imagination. And while I am not claiming in the least to understand the faculties of our imagination or memory, I can say that I feel more comfortable with these concepts than I do with a suddenly estranged Present that I thought I knew so well. When the expectation of knowledge is absent, we feel comfortable with our ignorance. Things that are definitively impossible to know grant us a freedom from the necessity of understanding, a necessity by which we are all in some way tortured. In unearthing this contradiction, The Rising Son achieves a self-awareness that releases us from the burden of needing to know and understand the art. While there might be a particular story behind the individual pieces, they are all constructed in such a raw yet thoughtful manner that they give us the opportunity to simply enjoy the physicality and life they exude. In enjoying those things, I end up enjoying myself. Strange how that works.


Come to The Andrews Gallery and take a break from knowing things, on us.

Tuesday, March 3, 2009

The Rising Son



Reception fiesta Friday March 6, 2009 7:00PM @ The Andrews Gallery. All are welcome.

Directions.

Jesse is here and the show is breathing in the gallery. The room expands and deflates with the rhythm of this art's respiration. Look forward to seeing you, and look out.

Sunday, March 1, 2009

Buying Art

Ok ok ok, it is perhaps no secret that I myself am a painter and gallery owner, and so obviously I want you to buy the art that I create and represent. However, it is my hope that you will forgive me this bias, see past it, and seriously consider what I write here. This post means to enumerate the far reaching and compounding benefits caused by when you buy art, and hopefully this fact will enable you to be ok with my compromised position.

Disclaimer (2): This post operates under the fundamental opinion that Art is a positive force for any and every community. If you dispute this claim, I urge you to post comments as to why.

If you agree that having a strong Arts presence is an enhancing and desired quality, then you must see buying art as one of the most powerful means of attaining and sustaining such a presence.

I heard a woman on the radio the other day say that every artist is a small business. This way of thinking is a simple revolution. For too long too many see artists as the anti-business people, and this false distinction has worked to create a block in normal people's minds when it comes to buying art. In fact, I would go so far as to say that it has created disdain in the mind of many artists for the idea of marketing and promoting their own work. This is a tragedy, because self-promotion is essential for any artist looking to further their career. The most household names of Art History, particularly in the last century, have been people who tirelessly promoted their own projects (Picasso, Warhol, et al.). Good artists, like everyone else, should know that their fates are up to them, and that moreover it is no contradiction to their art or their principles for them to seek sales. Furthermore, people who are in a position to buy art should actively look for artist in whom they believe and make the choice to support them.

Parenthetically, I make an effort to say good artists because I am not, and no one should be, a supporter of making art for the sole end of making money. I would never advocate for such a base project. And the success of "commercial art" (i.e. art that has no aesthetic value but that people are willing to buy because it is for lack of a better word "safe" - see your nearest Holiday Inn) should be seen as an object of disdain to everyone. Indeed, the most effective way of combating such a relentless evil is by supporting that which is worth supporting. In that way you undermine shallow artistic ventures while bolstering those that are substantive.

That anyone in a position to buy art should actively look to do so has implications over and above the simple idea of a deserving artist getting paid. Art, unlike say hot dogs, and artists, unlike hot dog vendors, have a compacting effect on the quality of the community at large. Contextualized in economic terms, when you buy from a vendor, that vendor's business is bolstered, and (it is hoped) he or she then injects more capital back into the market place. This is good for the community, and there is no reason to suspect that this chain reaction is not set in motion when art is bought. But more so, buying good art encourages good artists to keep working, and this, if sustained, creates a flow of creativity and innovation that can be rewarding for a community in ways that money cannot buy.

The same goes for artistic establishments. In fact, even more so, because real art galleries make it their job to give to the community at large artists whom they deem particularly strong and worthwhile. As mechanisms that actively look for and seek to expose those who are exhibiting high levels of creativity, art galleries offer a source of culture and expansion to everybody. The more support they receive, the more resources they have to execute their missions. Most galleries have mission statements. Read them. Support the galleries who's missions you find worth supporting.


If good art enhances a community, what might it do to a household?

So far, mentioning artists, artistic establishments, and the community, I have only to discuss one last and most paramount beneficiary of you buying art. That is, you. I want to argue that there are few better feelings on this planet than becoming a Patron of something you respect, of knowing that you enabled someone you appreciate to continue what they do, and above all, to wake up in the morning to see hanging on your wall or posed in your living room a piece of art that you love and on which you chose to spend your hard earned money. And while you may be a fan of hot dogs, there is no denying that the satisfaction they give is but momentary (and can in fact be afterward quite troubling). Art is a gift to yourself that gives both visually and psychologically for as long as you retain the faculties of sight and thought.

Please share with me your reactions to this post, send it to and discuss it with all of your friends and acquaintances and ask them to do the same. Support your local galleries, and most importantly the artists they carry. Develop a collection at whatever means you have. Show it to people. Set an example for your neighbor. See what happens.