Frank Stella Resolution: Happy New Year 2015!

Serpentine Belt  C.T. Rasmuss, Enamel/acrylic/found objects (2014).

Let me just say up front that: like any other piece of artwork that's lavished with texture, my 'Serpentine Belt' shown above, is better seen in person, more so than other of my paintings like it; This aside, it will act as the anchor for my New Year's Resolution of 2015, which is: this will be the first of a solid series that I'll focus on throughout out the new year.  

Reason being, to create a more consistent point A to B resolution in my art this year; in the spirit of "Frank Stella's Black Paintings series", which I've provided a link to a good article on his early works and an example of his Black Paintings series which: "first announced him to the art-world of New York":

link to article by New York Times, on Frank Stella's early works

link to Frank Stella: The MoMA Collection

Marriage of Reason and Squalor   Frank Stella, aluminum paint (1959).

Of course my (Jackson Method) action painting, Expressionistic style is the opposite of Stella's Color Field - Abstract Expressionistic style, this is no matter, as what I mean to take away from his example, in his series and other ones of his like it; is his focus on a common denominator, resulting in tangible results that clearly showed up in his subsequent series, which introduced evident new ideas and techniques.

* fascinating to me how Stella's "Black" series varied very little from one to the next, but were profoundly different at the same time..

In other words...If I'm more focused in a specific series such as this one due to my Resolution, it should allow me better discipline, less distractions, and a clearer goal in mind; even though I still have the slightest idea where it will go.  And just like all artists it takes much faith to realize your efforts, and ensuring that they will be worth while.  

Serpentine Belt - closeup  C.T. Rasmuss, Enamel/acrylic/found objects (2014).

Don't get me wrong, as an artist I can focus very well, and I wish to focus on one specific idea that's simple and basic; and I wish to incorporate it through slight/varying applications, from one painting to the next, where non one is the same, and none too different so much that I end up going off into an entirely different direction(but if it happens it happens, I will just set it aside for some other time).  

The element that will be my common denominator, is going to be the new final line composition: as shown above in a closeup of 'Serpentine Belt', is the solid black enamel line over gray acrylic line, which pulls it all together.  I introduced this aspect in this painting for the very 1st time, and I myself believe it's an element that's entirely new in this very style of the Post-Pollock era; which I've been working on here n there over the last year or so.

In closing I'd have to believe that it's easier to stick with one way of doing it in Stella's Minimalist technique, than my chaotic action painting style, but what they share is: this approach makes it easy for an artist to get stuck, just like Pollock did, whereas Stella was able to move forward because of it; and talking to artist friend/colleague, John Sousa, perhaps if Jackson wouldn't have hit that tree, he may have broke on through, which is what I intend to do for him..proving that this method can work work for any artist, I guess you can call it a method of micromanagement or connoisseur-ism, benefiting the artist in a painterly way tho.

Here's to progress in 2015!  &  A Happy New Year!!!

Jackson Pollock Still Life Museum

Jackson Pollock Still Life Museum  C.T. Rasmuss, oil/acrylic/enamel (March 2014).

I'm afraid for my future...afraid like everyone else to some point; But I'm particularly afraid of the painterly(set of ideals) path that I'm headed down, one not only less traveled, but hardly traveled if at all!!  The Jackson Method I've come to know it as, and I plan on continuing well into it; and along with it everything I've been doing for the 1st decade, bringing me up to speed and deeper into this spiral of chaos and dis-order.

On the plus side my biggest hope is: that I fair better than my counterpart/mentor Jackson himself-Headlong into a tree at a modest 50 mph or so; well I'm off to the Pub to play my harmonica and let loose of the generous share of Irish in me, may my Danish side keep me calm, ahahahaa!!!

Jackson Still Life Museum  - closeup - C.T. Rasmuss, oil/acrylic/enamel (March 2014).

Now for a brief description of what you see here: it's a 100% pure oil paining, within a 100% pure enamel/acrylic painting, keeping the integrity of a overall painting in tact.  It's a successful attempt, i believe, in propelling the Art for art's sake further into the existential argument; and w/o losing any validity I must say.  Most important was maintaining overall color balance and composition -holding it together: without losing the original intent of a well executed finished painting, and not:

 "just a neat idea"-poor execution(painting).

Thank You- Happy St. Patty's Day!!!

The Jackson Method: is Legit.

The Big Four  C.T. Rasmuss, acrylic/The Jackson Method (March 2014).

The above painting of mine was done using my "Jackson Method" which I have adopted by the phenomenon invented by America's great artist, Jackson Pollock(Jack the dripper)!! 

I do not wish to just emulate this great artist and his most famous technique, but I wish to go beyond and find more about this technique, the validity of it, why it works and how to improve upon it.

In this particular painting I've been able to loosely bring together four principle areas in physics and science together, for now the mere mentioning and introduction to them shall suffice for now.

The Big Four  C.T. Rasmuss, close-up

After preparing the canvas with color, I began the action painting; just like usual expect now I can recognize it as a different style.  A different technique from the ones I applied later in the process, when using the black, then white; I recognized this differentiation in methods, because my intuition spoke: "chaos theory"! to me.  

Here is a link: to the Double-compound-pendulum-model- which lead me to the confirmation of my intuitiveness in differing applications of The Jackson Method, after reading up on chaos theory.

String theory is also another reference, actually #1 of 4: String theory visual models

The Big Four  C.T. Rasmuss, close-up 2.

Here is a close-up of the close-up: if you look hard enough you'll see a push-pin inserted into the canvas; one  that I used in the process.  I marked this spot that stood out clear as day to me, only to realize later that this acted as the point of origin...which makes complete sense! Especially after considering the Golden Mean & resulting Fractals.

But again you be the judge for yourself:   Images of fractals

Golden Mean model

Just to recap briefly, here is the list of the Big 4, which i know of for now:

1.  Chaos Theory

2.  String Theory

3.  Golden Mean

4.  Fractals

More to come..

Introduction to Abstract Expressionism - Class Taught by C.T. Rasmuss.

David  C.T. Rasmuss Acrylic/The Jackson Method (Feb 2014).

Introduction to Abstract Expressionism by C.T. Rasmuss

Abstract Expressionism was an art movement which started in the 1940's, post World War II. These artists valued spontaneity and improvisation, and they accorded the highest importance to process. Their radical new direction was responsible for shift the center of the art world's attention from Paris to New York, as the new mecca; they created large scale works representing each artist's individual psyches.

In this class: students will learn to get in touch with their individual 'psyches' as the Masters from the original era of Abstract Expressionism did. It will be structured via: factual art history lessons(short in class) for inspirational purpose and technique demonstrated by the instructor; it also will be loosely based, in order to allow each student the freedom to find their own form of expression!

Suggested supplies for this class: 1^st of all NO EASELS :) In class we will be painting on the table, possibly outside, on the ground when weather clears up. Whenever you're on your own, make yourself comfortable and paint on the floor; this will help tremendously in developing texture, a key ingredient in this fantastic form of art and self-discovery..

...We will be using Acrylics(water based) in this class, don't spend a lot of money on higher grades; as the point is expression, and you'll more than likely be using high volumes per canvas. Canvas, buy canvas at good deals, ask me what will work for class as eventually all students will be doing their own thing, as no two psyches are alike! Finally when it comes to brushes, I will provide the brushes, as classes go one you'll learn about brushes, what they do and the ones you'll eventually want to buy for yourself.

And now a list of definitions for you to look up for your own benefit, as well as Artists to learn:

Composition

Texture

Golden Mean

Color Theory

Abstract art

Modern Art
Surrealism

Action Painting

The New York School

Works Progress Administration (WPA)

MOMA

Guggenheim Museum

Peggy Guggenheim

Artists: Wasilly Kandinsky, Hans Hoffman, Jackson Pollock, Willem de Kooning, Franz Kline, Lee Krasner, Robert Motherwell, William Baziotes, Mark Rothko, Barnett Newman, Adolph Gottlieb, Mark Tobey, Richard Pousette-Dart, and Clyfford Still

                                  “Art is what you make it” -C.T. Rasmuss ENJOY!!!

Jackson Pollock: A Methodical Madman or Just A Madman?

She's Beautiful  C.T.Rasmuss, The Jackson Method (Feb. 2014).

Jackson Pollock seems to be a recurring theme for me, ever since I started devoting most of my efforts toward painting back in 2005, when was still living in my hometown, Flint, Michigan.  I took courses in painting at The University of Michigan-Flint; but largely I was self taught, 'Independent' as I prefer to be known, as some of the greats before me; I say "the greats before me" because like Pollock and other great artists, it's in 'our' blood to out do our predecessor's...

In my case I not only wish this, but I also wish to prove the critics against Pollock, wrong, that he wasn't a Madman, but in fact there was method to his madness; as I hope you can see in this post.  I aim to continue in this manner of documenting, as I dig deeper into this debate; what I like to call the: The Jackson Method, capturing the evidence w/o compromising the integrity of autonomy.

p.s. I hope to me joined by other professionals of my field as well as other fields that can help explain the implications and dynamism of The Jackson Method.

                                                                          Stage1:

Stage2:

Stage3:

Stage4 w/thumbnail:

House Tree Person Test; Taken by C.T. Rasmuss

The House-Tree-Person test (HTP) is a projective test designed to measure aspects of a person’s personality.

Seen below, is a HTP I administered to myself without realizing it until the end, when it came into fruition:

HTP  C.T. Rasmuss  India Ink/oil on foam-core (2013).

This Work began purely as an Action painting, using India Ink on foam-core at "Last Day at The Pendleton-Cincinnati"; during which I was being interviewed on camera.  I was actually working on three at the same time going back n forth from surface to surface; taking only one to full completion(that day), this not being the one.  I told the interviewer that I would finish the other two at a later date, as it was just not meant to be for these two...and about 6 months later that 'day' had come for this particular one.

First, I discussed with myself: "Why does it need to be the same medium?  I can just continue with oils(my re-current medium of choice), can't I?"

I then, mixed up a palette of oils & took to the palette knife!  After 30 minutes of chaos and frustration I relaxed and took a quick breather, I then saw the perfect place for a house with a yard.  I was reminded of my Graduate studies in Art Therapy at Hofstra out on Long Island & how I coincidentally administered a HTP- House Tree Person Test to my students(Seniors) in Assisted Living just the day before...

So here you have my H-T-P, question is what does it say about me, you be the judge, I still can't figure me out, haha!!!

A Jean-Michel 'Basquiatesque' Painting Surface

                                                     'Ode to Basquiat on Barnside', C.T. Rasmuss; 2011

He would often draw on random objects and surfaces, including other people's property.  I remember coming across the artist, Basquiat many times since 2005, when my 1st real art teacher in college advised me to look him up; because she saw some characteristics in my painting style that were similar to his.  This was later confirmed in my Drawing class at USF in Tampa; when my art instructor exclaimed that I had a "Basquiatesque drawing style". 

As I encountered this artist more and more through research, and also because Basquiat being the artist of many artworks I was drawn to time and time again, I was exposed to some of his most interesting techiniques, using anything within reach as well, but not just in medium any more ( like I was somewhat influenced by Pollock's spontaneous flirtations w/ putting what ever he felt like putting into his works of art), but the act of applying any type of medium onto any surface that could hold it, like the doors Basquiat would find and paint (door jam and all as seen below). 

                                                              Example of 3 doors painted by Basquiat.

I find my Ode to Basquiat on Barnside's painting surface (being rough outdoor panneling) to be most similar to the surface used in Basquiat's painting found below, on the left side.  I applied my applied painting technique and the pouring method to it along with things like the paint stir that was of no longer use to me, a paint lid of an emptied paint can and other misc. objects: a couple push pins and a dime I flipped into it that I found on the floor, rather than putting it into my pocket.  I'd like to think both Basquiat and Pollock would be proud of everything that went into the painting literally, not because of the objects themselves (Pollock) or the obscure panel I used (Basquiat); but because, the entire process from painting surface to all the other ingredients used, were completely spontaneous and unplanned...without rules or any critical after thought.  A true intersection I believe; where the three of us could meet, at a new artwork we all had in common.

                                                    Basquiat with some of his 'Carte de visite' paintings.

                    

Art, "Pass it On.."

Art, "Pass it on.."  C.T.Rasmuss, acrylic & corresponding caps/tubes (2011).

Art leads to innovation; innovation leads to a new world; a new world leads to new beauty; and new beauty inspires new Art...

Art is: The Human Act of Creation.

Side A- B/W Juxtaposition:  C.T. Rasmuss, Acrylic on foam-core (2013).

            The Dictionary's definition of Art is:  

     ..the human act of creation...

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Side A  C.T. Rasmuss, Acrylic on foam-core (2013).

I agree with this definition but may I also add that:  It is your Human Right, perhaps calling to partake, to some degree, in exercising your God given gift; of being Human! to attempt your hand at this beautiful privilege?!!!

Night & Day - A Modern Dilemma  C.T. Rasmuss - A technique invented by the artist. (2013-13).


As you've probably noticed in this blog, the Artist's portrayal of: 'Evolution'

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