White Canvas, Frames on a Wall, and a Palette Caught in the Act.

Palette Caught in the Act  C.t. Rasmuss, photograph with i-phone (Dec. 2014).

Last week, I was in the middle of painting some frames for an upcoming art exhibit of mine, which is now, this Friday; and as I was doing something with one of the more unfinished ones, I briefly glanced back over my shoulder, and this is sort of what I saw.  I didn't do anything to it(touch it or anything), I just left it as it was, and having the need to make this perception permanent, I did what any good photographer would do, I got my camera phone and took the shot.

And now I'm so glad I that I did!  I posted this photo on Facebook soon afterwards, and to a bigger reaction than anticipated, it got many likes, a share, and some commentary; so to sum it up: this photo was effective in making a point, but question is: "what that point(s) does it make"?  To answer: I'm not quite sure yet, but I think it goes deeper than first anticipated.  One of those shots I guess, that only comes from a mixture of intuition and the faith to take the shot!

When I was in art school down in Tampa, Florida(USF) about 5 years ago, I remember this girl in one of my conceptual art classes; we had our biggest assignment at the end of the year and remember putting lots of time into mine, as well as most other students in the class.  The reason I remembered this girl and the only reason she stood out was cause for her art assignment she had just placed a regular frame on a wall and that was her project, many of us all just looked at each other in disproving reactions mostly; as we all felt that she was grasping at straws, as the rest of us had put real thought  into our work and most of us took it seriously.  

This also reminded me of the 1st time I'd seen the White canvases on the top floor of the MoMA, when I attended Hofstra, a few years before USF; and I can't help but think that my photo is a result of all these factors.  The two photos above are obviously pictures of frames, meant for their original purpose(top photo), and for interior design(bottom photo)and not in the name of Fine Art in my opinion.  

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*I'm unable to cite these two works of art, as the sites I'd gotten them from, hadn't cited them either*

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Once in one of my sculpture classes at USF, I "accidentally" spent many hours on a White canvas of my own, which started out as a gigantic hard surface canvas for sculptural purposes, but ended up as a "White canvas" for my final critique(one in which my professor said was better than most graduate exit critiques). 'Palette Caught in the Act' raises at least two questions: "Is the White canvas, Fine Art?" and "Is a frame on a wall or around a palette, Fine Art?"; my answer to both of these is: "depends on the context they're in..".  As an example, based on my answer, the first two photos, again are not Fine art...but the second two are!  

The second grouping fits the category of Fine art because: the top photo is a frame that is deconstructed, then reconstructed into a completely different composition, where the artist seems to be trying to make an artistic statement; and the bottom photo is more obvious, as its actually in a Gallery, where it still can be disputed, but that's a different argument.  

As for my photo, I will defend my increasing like for it, by stating that: it's an original concept as far as I'm aware of, I meant to make an artistic statement by taking the photo(a composition that no longer exists within 10 minutes of "taking the shot", as the frame is now in use and the palette is back to being just a palette), which defines my statement: The Metaphysical Argument.  What that is specifically, we may never know for sure, but it's why I took the shot; our need to explore further into the void..

White Canvas 2  Robert Rauschenberg

Shown above is Rauschenberg, sitting in front of one of his White canvases, I can't recall who the 5 or 6 artists at the MoMA were, but this one was brought to my attention by my artist friend John Sousa.

What's in The MoMA? Artist - Paulo Guimaraes Gets Inspired (Part 2 of 2).

 Crucifixion (Corpus Hypercubus)  Salvador Dali, oil (1954).

For us artists some times the answer to the question, "What's in the MoMA?" when asking the regular public, would most likely be, "just a bunch of stuff that makes no sense"; and this type of response would of course offend most of us.  But what right do we have to be offended by such an attitude from the public, if we ourselves do nothing to defend the nobility of such important establishments?!

As I'd mentioned in part one of Paulo's visit to the MoMA, he became heavily inspired, and now has a series started, totaling 4 pieces; he's actually exhibiting these pieces in NYC:

posted above is Dali's vision of Christ, and it happens to be the inspiration for Paulo's final piece of his 4 piece series, he told me that he recalled it from when was still in school; and just for the record, this is not in the MoMA,but actually in the MET, which just so happens to be around the corner, so your in luck Paulo Guimaraes in being reunited with your muse!!

I remember seeing my 1st Dali and it was at the MoMA, and I saw a lot of artists here for the first time, and some for the "plentieth" time; as always it's a great feeling to see masterpieces that you've never saw, but can see work you've done in them.  And then there are works that you wish to aspire to, followed by the ones you'll only ever be able to admire(I feel that by admitting this last one, only means that there's no reason for me personally to figure it out artistically, leaving the magic of it untouched & forever pure).

As you can see from Paulo's final artwork(of 4) below: there's a good resemblance to Dali's masterwork, with much added character and uniqueness to it, staying in line with the rest of Paulo's series as a whole; and in viewing his series as a whole, there definitely an evident signature, so much so, that the words which come to my mind are: "Cubist-indigenous Americana"(perhaps a dawning of movement parallel to the original Cubist movement, where African artifacts inspired Picasso, not my call however-artist freedom, a beautiful thing we must agree:):
>click here to view (part 1) & Paulo's 1st two artworks of series<

Cubist Christ  Paulo Guimaraes, oil 24 x 36 (2014).

The whole: "copying", which I, as you might already know refer to as "Remake" of the masters always resurrects a great argument between most all artists; of all genres and philosophies; whether academically trained to the max or 100% self taught(independent)..."When is a painting truly a one of a kind?' this eventually leads us to another world, too large to discuss here and now. What's important for now is: just because you visit a museum for inspiration, view art books, take part in collectives or learn from your contemporaries of the world...what matters most is:

      That you stay true to yourself, never stop learning from the library amassed by the great artist before you, and give credit when credit is due.  Because how else is the generation after us to learn about their craft and their surroundings(artist/non-artist) and to truly make the best of it!

And again to be great is to be part of the great circle that continues to grow, and the only way to be part of it: is to wholly infuse yourself into it with everything you got, and as Dali once said:

“Begin by learning to draw and paint like the old masters. After that, you can do as you like; everyone will respect you.” 
                                ― Salvador Dalí

What's in The MoMA? Artist - Paulo Guimaraes Gets Inspired (Part 1 of 2).

Ode to Picasso  C.T. Rasmuss, pastel (2008).

  What's at the MoMA?

For those of you who are not familiar with the MoMA, its the Museum of Modern Art in New York City, definitely the best museum I've ever visited, of course in my short career I have visited a small portion thus far, but it's a top museum worldwide nonetheless, especially for Modern art.

Recently I viewed a post on Facebook by artist friend, Paulo Guimaraes, where he states:

"Heaven does exist! It's called the 5th floor at MoMA!!!! Seurat, Cezanne, Van Gogh, oh myyyyyyy!"

This got me to thinking: “How could I bring Paulo's latest 2 works of art that he shared with me, and the topic we've been discussing over my last few blog posts together?”

Answer - The MoMA!!!!

It is filled with masters, especially with Picasso's if not more so than any other artist of the Modern era, our discussion has been about “going into the past and seeking out the Masters for influence”, what better way than seeing their work up close? As evidenced by Paulo's reaction to his visit, and what better place than the MoMA?(for a person living in Bronx, NY).

Next there's Paulo's two pieces of artwork(seen below), where he told me that he was influenced by Picasso and a Contemporary by the name of Keith Haring, And if you notice in his statement of excitement/revelation; he doesn't mention Picasso, perhaps because re-familiarizing with a master took a back seat that day, to the excitement of new horizons, therefore opening his eyes to the potentiality of other “heroes”!

The God Particle Dualistic Confusion Chamber  Paulo Guimaraes, oil/pencil (2014).

The Root of all Evil  Paulo Guimaraes, oil/pencil (2014).

In turn, I believe experiences like this of his, lead to other findings on top of that; and once we familiarize ourselves with these new found heroes, perhaps then we move onto discover their very own heroes, for example: 2 of Cezanne's(who Paulo refers to) heroes were: Gustave Courbet and Eugene Delacroix, and they of course had their heroes as well, and so on..

I'm not saying Paulo never saw a Cezanne or Van Gogh till now, but upon his visit, he has become more aware of his “surroundings” as an artist in a world of creativity; passed down from generation to generation, displayed in a Museum where the Masters reside, and their ideas are as inspiring as the day they were generated, if not more so.

To be Continued...

[To familiarize you with Keith Haring, here's one of his artworks that struck my fancy if you will; an artist whose work I've come across many times, and if it weren't for Paulo sharing his influences for these two paintings, I may never have given him the attention he deserves]:

Follow this - Link for more on Keith Haring<

'Jasper's Dilemma' Meet 'Modern Dilemma'- (Rasmuss' dilemma meet Japser's dilemma).

Modern Dilemma   C.T. Rasmuss, oil (Nov. 2013).

I bought a new art book today with a 40% off coupon at Half Priced Books, a book on Frank Stella(MOMA - 1970); guess what I found on page 46?? (also happened to be my last page I chose to read for the night)

'Jasper's Dilemma' (1962-63) by Frank Stella, big whoop right?! but this happened to be a painting titled in respect to Jasper Johns, the artist that lead me to the purchase of this book; it also happens to be a very similar composition to my next mosaic I had planned.

Weeks ago, I had decided to do a geometric landscape, in respect to works I've been inspired via M.C. Escher.  Then a week ago I thought of an "inventive" way to use my geometric composition: as a side by side perspective, involving a gray-scale mosaic next to the same picture, full of color.

Modern Dilemma  C.T. Rasmuss, ink on paper (Oct. 2013).

I thought it was a genius idea, and still do, but after seeing the existence of  'Jasper's Dilemma'; I realized it wasn't totally new in it's conception, specifically in being two identical geometrical images next to each other
:(

Jasper's Dilemma   Frank Stella, Alkyd on canvas (1962-63).

Doesn't mean I'm not seeing this through, as I am! I feel that it's just the blow to my ego for good measure & the fact "the show must go on".  I also don't believe in unworthy coincidences, this perhaps is my dilemma; as I thought much of my geometric abstraction was completely new and inventive, before running into Stella haha..

One thing for certain is as far as I know, the only differing aspect of my work(in progress) is not just my mosaic method(inventive in it's own right) but that I chose my gray-scale to be on the left!..rather than the on the right!...as shown above^

Arshile Gorky; Helps Artist with Disillusionment.

Disillusion  C.T. Rasmuss, oil (2013).

This disillusionment of which I speak of, happens to stem from my current living situation; I moved into my new place with the 'disillusion', that it was going to be perfect...except I didn't count on one thing, a stubborn(drunken) Mule for a neighbor!!

Yet still..  I must keep things in perspective, as the good still outweighs the ugly!

This night in which I turned my despair into positive action, via Disillusion; I surely won the battle, not really against my enemy, but for myself...Soon as I sat down to recollect upon this vision embedded in my subconscious, the title came to me like a shot!  It is what it is, and this very night, all I could relate to was Arshile Gorky's despair, and a painting of his that I could barely recall; a painting that's clear as day now after posting below..

'Garden in Sochi'  Arshile Gorky,  oil (1943).

A painting that affected me more than any other at the MOMA in NYC(as you can see the palettes are very similar, and was it somehow was my guide through this trying time last night:)

My Jungian analysis:

I see myself, atop right, lying down on my side resting with my hands behind my head(orange face, encircled in brown).  I am watching a bird(right below facing to left, outlined in white) eating a seed(orange triangle, outlined in white w/ tip facing bird); just below the seed, a woman is lying flat on her back, arched upward starring at what I'm watching, with a snake slithering from the right side of the kidney shape she rest upon(as the snake intersects into her head).

Disillusion(middle section)  C.T. Rasmuss, oil (2013).

Quite ironic, as this is quite close to how I perceive my current living situation, surrounding bird feeders & Sunflowers outback, haha..just realized the title of Gorky's painting too, 'Garden"; a very crucial part of our feud, as he's mowed over my plants, weed whacked and killed them more ways than one, blah, blah, but I say thank you for the inspiration.

I must, or I lose- for my own sake!!!

Ode to Piet Mondrian

                                                                Cat Man Dew, C.T. Rasmuss; 2007.
Piet Mondrian has been a long time artist to go to for inspiration, especially for me after seeing his work up close at the MOMA in NYC.  It is a much different world in person than to see it from through a photo of his artwork; it's like starring helplessly yet willingly into a world of nothing and everything all at once (great emotional turbulence with a powerfully soothing after-taste).

In this post I have included a few photos of his works that have been exhibited at the Guggenheim, and some of my works that he has inspired in me; after seeing the real thing during my stay on Long Island, 2007-08.  Enjoy!!!

                                             Tableau No. 2/Composition No. VII, Piet Mondrian; 1913.

                                                                       Tableau 2, Piet Mondrian; 1922.
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                    Photos of pastels done by C.T. Rasmuss:

 

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                                       Mondrian Park, C.T. Rasmuss; 2008                  Mondrian Daisy, C.T. Rasmuss; 2007

                                                           Ode to Mondrian, C.T. Rasmuss; 2008

                                                          Untitled Mondrian1, C.T. Rasmuss; 2008

                                                            Untitled Mondrian2, C.T.Rasmuss; 2008


To view more works by Mondrian follow the link below:

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Tableau%20No.%202%2FComposition%20No.%20VII&page=&f=Title&object=49.1228