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Exhibitions


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Please visit and support

21st CENTURY ABSTRACTION

From Roots to Celebration of the New

Curated by renowned art critic Peter Frank, this exhibition presents the work of seven contemporary abstract artists. In a period of art that values reproducibility, speed, and spectacle, these seven artists find a common ground and belief in the unique, the contemplative, and the inventive use of their materials.


Longview Museum of Fine Arts
Oct — Feb, 2023

215 E Tyler St,
Longview, TX 75601

Tues-Fri 10am-4pm
Sat 10am-2pm
Closed Sunday & Monday

Panel discussion on Bailin's exhibited drawings

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Provincetown Art Association And Museum
460 Commercial Street Provincetown MA 02657

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21st Century Abstraction

From Roots to Celebration of the New

Essay by Peter Frank

For more information about the artists, please visit 21st Century Abstraction. This brochure can be requested by contacting the studio.

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DRAWING ESSENTIALS:

A Complete Guide to Drawing

Deborah Rockman

With expository text accompanying five full color reproductions, the series ERASING is highlighted in the fourth edition of Deborah Rockman’s Drawing Essentials appendix. Drawing Essentials includes more than one hundred illustrations from twenty-two contemporary artists.

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Drawing Essentials App-64
Drawing Essentials App-65

INTERNATIONAL DRAWING ANNUAL

Exhibition-in-Print

11h Annual, 2020

Manifest received 1187 submissions from 354 artists from all across the U.S. and the world. The publication will include 110 works by 66 artists.

TRICYCLE • 2018 • Charcoal, Colored-Pencil, Pastel and Coffee on Paper • 78 x 83 inches was selected for publication.

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Observation


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Epiphany from the studio

The Anxiety of Style

Reflections from an old artist

DB painting in 1974
Young Artist with paintings, 1974
I just found some photographs of paintings I created in college. It reminded me of how artists come to develop a style. Students use negation and hybridization as a method to come to grips with the anxiety of creating something new and personal. Negation is the easiest way to create a semblance of uniqueness. Take the current practice and do everything opposite. I am reminded of Mannerist artists during the 16th century, who in the face of the great masters of the Renaissance, produced work that turned the rational approach of their mentors upside down (perspective, local color, rational composition, etc.). For me, it was playing with color field painting and gesture painting.

Field Painting 1974
Field Painting, oil & shoes on canvas, 6' x 6', 1974
Another way that the anxiety of style is handled in student work is through synthesis and hybridization. In the painting on the right, I combined the rough edged matte-knife strokes of Clifford Still with the lyrical abstract paintings of Philip Guston. The anxiety is apparent in the scratchy, nervous and agitated painting surface created by using my fingers to apply the paint and made all the more so by deliberately and self-consciously dumbing down the subject matter into child-like diagrammatic imagery.

First Meeting, 1976
First Meeting, oil on canvas, 6' x 9', 1976

Whether the work was successful, it does contain my subsequent interest in humor and narrative (see my early work here). But style can't be forced even by the most competitive art student. And with what style mature artists end up can't be justified or avoided. To paraphrase the rhetorical and wonderfully post-modernist riddle posed by that old Blackglama ad campaign: What becomes a style most? Insert your work here.

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