Concrete Floor (Gray), Dia: Beacon, Beacon, New York, 2008.

Boarded Window (Gray in Gray), Monterey, 2008.

Gray Concrete Wall, Northampton, 2008.

Old Wall (Gray on Gray), Monterey, 2009.

Suprematist Composition (for El Lissitzky), 2009.

This photo was taken in Monterety with my iPhone. I reference El Lissitzky because it reminds me of his work, in whatever perfunctory way, and I get a chance to show off my art historical acumen. (Hey, I spent fifty thousand dollars on this degree, I gotta use it somehow!) Since I'm in an art historical mode, I'll share a couple of quotes of note about Suprematism, a fascinating and radical art movement in pre-Stalinist Russia (Stalin pretty much shut down any real art production, and instituted propagandistic 'Realism' in its place) begun by Kasimir Malevich, master 0f the square, and the reason I have used the square so frequently in my own work.

Suprematism ... Term coined in 1915 by Kazimir Malevich for a new system of art, explained in his booklet ... ‘From Cubism and Futurism to Suprematism: the new realism in painting’). The term itself implied the supremacy of this new art in relation to the past. Malevich saw it as purely aesthetic and concerned only with form, free from any political or social meaning. He stressed the purity of shape, particularly of the square, and he regarded Suprematism as primarily an exploration of visual language comparable to contemporary developments in writing. Suprematist paintings were first displayed at the exhibition... ‘The last Futurist exhibition of paintings: .10’ held in Petrograd (now St. Petersburg) in December 1915; they comprised geometric forms which appeared to float against a white background. While Suprematism began before the Revolution of 1917, its influence, and the influence of Malevich’s radical approach to art, was pervasive in the the early Soviet period...”  )

From the Grove Dictionary of Art

I felt only night within me and it was then that I conceived the new art, which I called Suprematism.

Kasimir Malevich

Another of my 'art heroes' is Robert Ryman, to whom I have also dedicated photographs; he said in an interview with Donald Kuspit:

[the square] “seems like the most perfect space.”

So, for me (and my work), the square takes on not only a practical way of organizing space, but a kind of metaphysical presence.

Garage Door, New Hampshire (for Robert Ryman), 2004.

I enjoy finding unintentional art, like this sloppily painted garage door. The first thing I thought of was the work of Robert Ryman, a painter who became known for his "white paintings," although he doesn't think about them as "white paintings." He is concerned with surface and truth to materials. 

“It was never an intention of mine to make white paintings. I don’t even consider that I paint white paintings. The white is just a means of exposing other elements. White enables other things to become visible.” 

(Ryman, quoted in Art News, Summer 1986)

For a good representation of his work, see the Dia: Beacon web site. 

Whitewashed Window, Pacific Grove, California, 2009.

As I mentioned in a previous entry, I enjoy finding unintentional "art," like this whitewashed window. When I see this kind of white brushwork, I think of the paintings of Robert Ryman.

Walburga in Tree (Foot), Hampshire College, Amherst, Massachusetts, 2000.

Walburga up a tree on the campus of Hampshire College, Amherst, Massachusetts

I met Walburga while she was studying Body Mind Centering in Amherst. One of the most remarkable people I know, she trained as a lawyer, then decided she wanted to be a dancer. Like many dancers, she studied BMC, a holistic practice involving movement, healing and integration. Walburga grew up in Bavaria, and lives in Berlin. She teaches BMC around Europe. Over the course of several summers, I took hundreds of photos of Walburga in various contexts: "Being Tree"; "Being Water"; "Being Rock." Not only is she a great dancer, she is an amazing model/subject, and has a repertoire of facial expressions that is, well, Walburga. Eventually, I will upload a lot of photos of her, and a link to her website.

Untitled Vertical Triptych, 2000.

Untitled Vertical Triptych (Rust), 2000.

Untitled Vertical Triptych (Rust 2), 2000.

Untitled Vertical Triptych (Stockings), 2000.

Untitled Vertical Triptych (Oranges), 2000.

Untitled Vertical Triptych (Bath), 2000.

Three images from Bath England, 2000

Exotic Flowers and Sinuous Lines and Tom Tom Rhythms, 2000.

Montage (For Duke Ellington), 2000.

My tribute to the great Duke Ellington - and African women.

Yale Art Gallery (Curtains), 2000.

This photo was taken at Yale's Art Museum (New Haven). The sculpture is by David Smith, perhaps the 20th Century's greatest sculptor.

White Negligee (Backlit), 2000.

Translucency is something I'm very  much interested in, whether it be glass, water, or fabric. Here, I hung a negligee next to a window with mini-blinds, and documented the resulting play of light.