“To bring out the fine points of a good picture.”

“To bring out the fine points of a good picture.”

Such was the idea put forth by painter (and frame maker) Charles Prendergast in explaining his theory of crafting frames. Recently,  I had the chance to learn about Charles, and his better-known brother Maurice, at the New Britain Museum of American Art and to experience their collaborations. My feature article “The Painting and Its Frame”  explores the relationship between the image and frame. You can find the full text at Woven Tail Press.  Here is Maurice’s Approaching Storm framed by Charles’s wood frame with gilding and paint.

Approaching Storm_Maurice.Prendergast . . . Often my museum experience brings me to artists who have completely abandoned the frame—whether it’s painters whose raw canvas stands on its own or sculptures and installations where the boundaries are figurative.” Read More

Happy viewing!


The Rothko Conundrum

20170109_123104Many thanks to a little boy named Ezra (and his expert crocodile tears) and Mark Rothko for filling my time at AAA as I waited to get my new 44-year-old license. I have to admit that it felt a little awkward giving up on Lucretius, who got me through a registration renewal at the DMV last year. But Rothko’s The Artist’s Reality: Philosophies of Art gave me encouragement

“The Truth of Art is foremost. . . . This artistic conscience, which is composed of present reason and memory, this morality intrinsic to the generic logic of art itself, is inescapable” (“The Artist’s Dilemma,” chapter 1)

Thus, musings from Reconnaissance:
The Rothko Conundrum
the Phillips Collection
binary hypothesis
recognizable. a door
two mirrors. eight cauldrons
a house with its roof
green wishing away a marooned horizon

a blood puddle laying
on the upturned walkway
the puddle pretending a dance
the mirror between

an upside-down paragraph
hapless bronze fire
waking the vertical

bottle glass wishing away a citrus horizon
unfinished books. the last pieces
of paper left on the floor
perpendicular mischief

lost fish music. horizontal longing. orange and red on red
wishing away a missing horizon
lost in watertight cathedral windows
burdenless aches. plurality

the singular capture of loss
knowing or not knowing the ending

the house next door
a second window, serenity
ochre hallelujahs caught
on the windowsill
kneeling inside emptiness
sore fences. twice pink horizon

where seraphs go
why envelopes open
quadrilaterally quiet
five times red