Michelle Ramin | in real life

Michelle Ramin, 'Mona Lisa IRL' [Oil on Canvas, 26" x 38", 2016]

Michelle Ramin won the San Francisco Bay Guardian 2014 Goldie Award for Excellence in Visual Art. She has exhibited her paintings in San Francisco, New York, Portland, Nashville, New Orleans, and in the UK. She was born in North Central Pennsylvania and currently lives and works in San Francisco. Ramin studied at Penn State University and received an MFA from the San Francisco Art Institute. Her work has appeared in New American Paintings, SF Chronicle, SF Weekly, Beautiful Decay, 580 Split, and is included in the Jimenez-Colon permanent collection in Puerto Rico. A solo exhibition of Ramin’s work opened at the Duplex Gallery in Oregon on 2 June 2016.


Williams: I was in the Louvre probably decades before you, and before the space in which the ‘Mona Lisa’ is hung was renovated. Nothing important about the experience appears to have changed. There were no ‘smartphones’ then, but there were lots of cameras. A large group of people, which seemed to be moving as a pack from room to room, ignored every other picture in the Denon wing. Your painting, ‘Mona Lisa IRL’, does a number of interesting things with this scene, which must now be familiar to most tourists who visit Paris. To my mind, the most important thing you do is confidently announce that paintings are as good or better than photographs at contemplating our now surreal relationship with images and art. The virtual ‘Mona Lisa’, one we might see on the Louvre website, is somehow more real than the ‘Mona Lisa’ in real life.

Michelle Ramin
Michelle Ramin

Ramin: Yeah, I think that’s interesting—the idea of the ‘Virtual Mona Lisa’ vs. Mona Lisa ‘IRL’. She’s more famous as a replicated digital or printed image than as an actual painting. When I got into the room, I kinda stopped caring about the painting itself. In that moment, I was able to check it off my tourist list of things to see. I didn’t get very close and could honestly barely make out that it was the ‘Mona Lisa’, except for the huge crowd around her. It mattered to me more to be experiencing the way in which people experience her rather than getting close to the actual painting and observing the brush strokes, colors used, composition, size, etc. I studied all of that in school but all that knowledge didn’t mean a thing when I got into that room. It was then that I realised I wanted my next body of work to be about crowds of people observing famous pieces of art. It’s interesting to me that some people find the need to check certain famous pieces off of a list—as in the Louvre brochure—while others spend minutes or sometimes hours studying the same piece. It’s like this at concerts, too, and other cultural institutions and happenings. Something about hype and fame—the bragging rights involved—that really draws people, but perhaps for the wrong reasons. Then again, who am I to judge how people should and should not experience something?

Williams: Digital photography has become the standard method of certifying experience in a way that seems more reliable and objective than memory… until the drive fails or your cloud is hacked. Your paintings of subjects inside the Louvre and the Musée d’Orsay are also about the spectacle of art and the hype surrounding it. To experience this as a tourist or art lover is one thing, but artists experience the spectacle and hype of the art world in a different way, as I suspect you are finding now you have several exhibitions of your own coming up.

Ramin: Hype is a very real and intimidating phenomenon, especially now with the advent of social media. As young as I am (thirty-four), I still remember the days without computers, cell phones, internet, etc. Word of mouth and the printed word were the only way to get information out there. Now, there are so many ways—so many websites, blogs, apps, etc.—I can’t keep up, nor do I want to. The popular way to virtually socialise changes constantly. A week out from the opening of my solo exhibition ‘Jet Lag’, at Duplex Gallery in Portland, Oregon, and I find myself full of anxiety over whether or not I sent press releases to the right people. Who are the ‘right’ people? Even a few years ago, it was so much clearer. All I’ve been seeing this week is an ocean of faceless art blogs and Instagram accounts. I find myself feeling very much like I did in the congested museums of Paris—alone in a crowded room, and very overwhelmed. This is all part of the process, of course. The art making is the easy part for an artist. It’s everything else that is so difficult.

Williams: The recent gallery paintings are unusual in your body of work because they have not edited out the architecture and environment of the subjects. In much of your other work, for example ‘Ben and Travis Find a Tube’ [Watercolor on Paper, 22″ x 30″, 2015], the setting is missing and only the subject and action is left. Something that may have started out being a photograph or a memory, or both, ends up being a pictorial distillation. Can you tell me something about your editorial process, about how you decide what gets left in and what gets cut out, about how you decide what your real subject matter is?

Ramin: I’ve always been a very focused person. I have a tendency to focus so much on one thing that I miss all the details surrounding the thing. Most of my work over the past five years has been intentionally editing out the background or surroundings of the figures—mostly because I, myself, only really cared about the subjects and their actions. The rest seemed superfluous. I wanted the viewers to see what I was seeing, which was the interaction and relationships between the figures, and nothing else. My newest body of work is about something a little different—still about people, their interactions with each other, but also their interaction with the unique space that constitutes a museum. There’s so much weight to a museum—historically, of course, but also architecturally. It’s contextually important for me to include this unique environment in the paintings. I didn’t want to introduce backgrounds again until I knew for sure it provided something important and relevant to the works’ content.

Williams: Some of your other projects, from 2011 and 2012—the installations ‘Mask Booth’ and ‘Try it on’—appear to invite or challenge people to try on something that in Australia we call a ‘balaclava’. It makes everyone look like a criminal, or like they’re on a polar expedition. What is this about?

Ramin: When I was in graduate school, I took up the mask, or balaclava, as a multi-layered, politically-charged symbol representing various identities. I used this metaphor as a way to discuss hidden identities, subcontexts, in each of our personalities. By putting on the mask, one takes on a new and very different identity. The body of work relating to masks centered around private vs. public personas and the existence of this doubling in everyone. This theme can be extended to include social media personas and public branding as well. At the time, 2011–2012, the Occupy Movement in the Bay Area was ramping up, the punk band Pussy Riot was very active politically and the film ‘Spring Breakers’ had come out. When I began the mask series, these cultural icons weren’t present, but by the time I was in the midst of the series they were. A form of the collective unconscious, I suppose. It seemed like the balaclava was on everyone’s minds, so it felt like a very relevant representation of that moment, especially following the 2008 recession and being an election year here in the U.S.

Williams: Yes, and by the time this zeitgeist filters through to your watercolor and pencil drawings, something else has happened. The hidden, masked self is perfectly domesticated and comfortable on the sofa. ‘Three aliases’ [Colored Pencil on Paper, 22 x 30 inches, 2011] is both funny and disturbing.

Artists have to be concerned about what other people think. At one end of the spectrum it’s ‘Will they like my work?’, and at the other it’s ‘Will they understand what it means?’ Are you a worrier? Are you on the side of authenticity or on the side of sincerity?

Ramin: I am absolutely a worrier! —In all aspects of my life. At this point in my career I care very much about what people think and how the work will be received. I want it to be accessible to everyone but I also want it to function on a higher level, where artists, critics, historians, etc., can gather more information from the work. I don’t want to choose sides. I want it all, really. Doesn’t everyone?

Williams: Maybe. The path we take to get to where we are seems less important at the start than when you get to near the end. That’s the difference between being thirty-four and fifty-eight.

We’ve touched on how technology now mediates how we experience art. This means that art is made by people who have seen more art than ever before. What have you been looking at recently? What have you discovered?

Ramin: The last art I went to see was at the San Francisco Art Institute (SFAI) and California College of the Arts (CCA) MFA thesis exhibitions. They are the annual displays of graduate students’ work. I love checking out the work of emerging artists coming out of graduate art programs. A lot of the work is missing steps but some is extraordinary. There’s such a refreshing feeling to young (in career, not necessarily age) artists’ work: the best of the showings can be invigorating and inspiring, like Laura Rokas and Robin Crofut-Brittingham. The worst is still really intriguing because it’s candid in its failure: no censorship, just letting it all hang out. I appreciate that on a lot of levels. That’s what graduate school is for… Experimentation and failure: something that should be encouraged more in post-graduate work and, honestly, in our daily lives.

Related links on other sites

Conversations

  • Victoria Contreras Flores | correspondence - Victoria Contreras Flores received her degree and PhD from the Polytechnic University of Valencia. She was born and lives in Valencia, Spain, and is the creator of ARTNATOMY, and a great variety of other artistic projects.
  • Santiago Cañón Valencia | interview - Santiago Cañón Valencia is a cellist. An emerging solo artist of great technical brilliance, he was born in Bogotá, Colombia, completed his bachelor degree with James Tennant at the University of Waikato in New Zealand and advanced studies with Andrés Díaz at the Southern Methodist University in Dallas. Winner of many awards, he has performed with orchestras in Colombia, Australia, New Zealand, the USA, Canada, and Hungary.
  • David Hensel | interview - “I cheered on reading Brian Sewell’s scathing article about the Summer Exhibition, because I read it returning from going to the preview, where I’d hoped to find my own sculpture. Instead what I found was the empty base, without the sculpture. We know the art market prefers obscure art as somehow more advanced, and anything …
  • Victoria Contreras Flores | Art~natomist - Artnatomia is a tremendously clever use of Flash and a great educational tool. It is the inspirational work of art teacher and artist, Victoria Contreras Flores, who, with a contrary view of the demands of the art market, has decided to concentrate on using new tools and media to express herself and teach her students. Her …

Victoria Contreras Flores | correspondence

Victoria Contreras Flores received her degree and PhD from the Polytechnic University of Valencia. She was born and lives in Valencia, Spain, and is the creator of ARTNATOMY, and a great variety of other artistic projects.


Williams: Victoria, it has been about ten years since ARTNATOMY. It is a beautiful and practical tool for students, artists and illustrators. Has it been doing well, and getting the attention it deserves?

Contreras Flores: Yes, ARTNATOMY will celebrate its ten-year anniversary in September [2016]. I’m preparing a celebration! My little virtual pedagogical toy fulfilled and exceeded all my expectations: it is still selling an offline version, although it remains free online for students. It has also led to derivative commissioned works, interesting collaborations and international contacts and friends. It has exceeded the user target I predicted and the application is avowed useful not only by artists but by psychologists, neurologists, plastic surgeons, coaches—even criminologists. It has received international awards, been featured in magazines and cited in books and academic papers. I could not be more satisfied. For it to be a more popular site and tool I would have to overcome my laziness for business and social media marketing. But I have other interests, too.

A screenshot of ARTNATOMY by Victoria Contreras Flores.
A screenshot of ARTNATOMY by Victoria Contreras Flores.

Williams: You refer often in your correspondence, sometimes by way of apology, to what you call your ‘dilettante-ism’. To be an amateur is not such a bad thing. But you have made it your style to be a professional non-specialist, a dabbler who is also a discoverer of new things. I can see an advantage in this, if a way must be found to pay the bills. It also means, does it not, that some of the brief artistic commitments do not work out the way you planned?

Contreras Flores: Let’s see… First, I distrust works that ‘need explanations’. I produce objects, works, music that do not belong to the realm of language. They can simply thrill you or not, make you feel, identify with them, or not. When a work comes to us, we do not mind the author. I am much worse than my best works and I should not matter.

Victoria Contreras Flores
Victoria Contreras Flores

I understand, since I am also a spectator, other people have an interest in the person behind the art. When I have to introduce myself, to define myself, to be honest, I can only do it from the dilettante-ism which is neither more nor less than the result of my curious nature and my heterogeneous interests. I tend to emphasise—not in a cynical way—I work hard and humbly in learning everything I try. I’m a professional player. I accept me as ‘numerous’ and enjoy it. In this way, I think people understand why my production is so diverse.

This makes me an outsider within the art market. It is a sign of the times because ‘experts’ frown on unskilled labor, but I am sure that culture is the antithesis of specialisation. In any case, in me, this is not a theoretical starting point, not an a priori, but the result that I work by passion and curiosity: there is never much planned and the result always surprises me, and in a positive way.

None of my inventions, it is true, manage alone to pay the bills.  I have to accept commissioned work such as programming, or teaching. There are other costs, too: being free of children, luxury and property. I prefer to live this way to dedicate my life and efforts to make a business from my creations. I do not serve as a businessman. I did not choose that profession. I could, perhaps, get better economic results devoting all my efforts to a single thing … but only by being as bored and as sad as if I were working in a bank or living in a jail forged with my own hands.

Williams: … “Mientras voy, y vengo, por el camino me entretengo” [“I go, and come back, by the way I enjoy”] is the phrase you have mentioned. It seems like a good philosophy, and one way to prepare for any surprise from the Nietzschean demon.

Your interest in putting new technology to work in artistic projects appears to have led to the creation of some beautiful necklaces. They are made with 3D-printing, I think. The project combines the decorative, the literary, and a little eroticism.

Contreras Flores: They were created playing, by mixing things I love: reading, calligraphy, typography, arabesque, and ajouré. I suppose I am not immune to the fact that my birthland mixes seven centuries of Muslim heritage with Spanish baroque. I design working on paper, getting a single, quick piece that must be legible. After that, I order the laser-cut from a supplier, and finally I hand-mount it. This is one of those inventions for those I would love to find a producer. I am interested in the field of jewellery because it mixes again l’objet d’art and applied art and allows sculpture in small sizes, experimenting very freely with materials and shapes.

I hope I will not be lost in translation but I am flattered to be related to ‘the smiling and playful’ Nietzsche. He aims and encourages us to be free from time-calculation—the furthest thing from a megalomaniac—facing our ephemeral insignificance should help us to live more freely, more calmly, and to enjoy more. In this way, too, I am just an ‘amateur’ who will die learning. So, I am glad if you find some eroticism—another of the simple good things of life—in my necklaces, which I could not prescind from formal exuberance to transmit their passionate messages.

The phrase ‘I go, and come back, by the way I enjoy’ has a good dose of black humor, by reducing life—‘el camino’—to a short, and not very serious, trip. This idea is also in the Spanish reflexive verb ‘entretenerse’, which is more like ‘to amuse oneself’.

Nietzsche is a key philosopher for me. It is interesting you mention him though we have never spoken about him before. People sometimes refer to Nietzsche as a severe, permanently angry, megalomaniac. Very different from the Nietzsche I know. I am flattered if you associate, at some point, some of my statements with the Nietzsche of ‘gaia scienza’: ‘superman’ is an ideal of courage to face life, which is facing death;  active thinking, not-condescending. A ‘logos’ strengthened in the consciousness of its insignificance, should manifest itself in a rigorous ethical demand, auto-immune to self-deception and, paradoxically, liberate us from false responsibilities and illegitimate ambitions. This makes life light, encouraging us to live in a more lucid, more laughing, and more vital way…

I will say that the human is my only theme and my inexhaustible source. The senses are instruments of knowledge for me (in Spanish, ‘sentido’, can mean ‘sense’, ‘felt’ or ‘meaning’ ) and I’m glad if you perceive any kind of sensuality in my work.

Williams: Yes, there is something about the choice of quotations, and the writers, that invites that interpretation. There is also the simple fact that in order to read the text of the necklaces it is necessary to gaze at the bare neck of the wearer. Imagining this moment invites erotic interpretation.

When you wrote to me of ‘the brief trip by which we amuse ourselves,’ I was reading The Gay Science. The allegory of the demon is a striking idea. I wonder why it is not taught in schools. (It may be because it is a dangerous idea; and perhaps because we now have a complicated relationship with the character that Nietzsche has become in our imaginations.) I am thinking of ‘eternal recurrence’, now, not in terms of its meaning to our isolated selves but as either rebuke or praise of the way we treat other people. Am I prepared for the violence, judgments, and wrongs committed against others to be endured, by them, over and over again?

In Australia it seems a majority of the voting population supports harsh measures—I would say inhumane measures—to prevent asylum-seekers reaching our shores.

Contreras Flores: Valencia is a wide-open mediterranean sea town, but there are no boats of people arriving on the beach. The refugee situation remains ‘someone else’s problem’, in Valencia as for most of Europe. I could not be more ashamed by our politicians—applying inhuman laws on our behalf, fomenting fear and nationalist discourses that only conceal ignorance and fear of ‘the other’ and the unknown. As a political subject—as we all are—I try to ‘Think globally, act locally’, I am involved in civil associations, and personally try to fight with my humble weapons, which are just pencils and thinking. It is always insufficient.

Williams: What are you working on now, Victoria?

Contreras Flores: I have been focused on music, learning amazing software that allows me to record and produce my own music with an acceptable quality. In the realm of soundtracks and music for shorts films I collaborate in projects by talented people and continue to mix all the disciplines I am interested in—films, literature, images, and music.

Contreras Flores’s necklaces can be bought directly online from her website, where there is also a short list of retailers, information about her experiments with 3D-printers, and other design objects for sale.

Victoria Contreras Flores | Art~natomist

Artnatomia is a tremendously clever use of Flash and a great educational tool. It is the inspirational work of art teacher and artist, Victoria Contreras Flores, who, with a contrary view of the demands of the art market, has decided to concentrate on using new tools and media to express herself and teach her students.

Her web site is at http://www.victoriacontreras.com.

Victoria Contreras Flores' animation 'Another Day' can be viewed at her web site.
Victoria Contreras Flores’ animation ‘Another Day’ can be viewed at her web site.
From Victoria Contreras Flores (in very expressive English) to Stephen J. Williams:

In fact I begun to project this ARTnatomy tool just by necessity, as a ‘war tool’ for my pupils, by the time I taught at a little University which had not any subject in Anatomy (during a five years career!). In order to provide them the minimum information, and also make my job easier, I begun this work, which finally I have presented as an academic investigation.

I don’t have any agent or gallery. I broke my relation with last one two years ago.

By the time I was a fine arts student, abstract expressionism worked as the real academicism at the Universities and the Art Market. In this lineal and scientifist (and mistaken) conception of progress applied to art, figurative art was despised as old. Nevertheless, I have always be interested in the representation of the world and the human being, and my readings, in the tradition of heterodox thought. I have always been an outsider (I don’t like vernissages… [A ‘vernissage’ is a private viewing of paintings before a public exhibition—SJW.]) very critic with the art market: as you see, this is not the best way to become a successful artist.

By the time I discovered digital tools, I begun to find another way to pay my bills and a powerful medium to experiment and mix all of my other interests (music, narration, movies). Nevertheless, as guarantee of ‘seriousness’, the ‘modern critic’ tends to demand to the author a specialisation, for me narrow and suspicious: it is supposed that if you make oil paintings, you cannot be a good escultor, or work with computers, or vice versa; nevertheless, the incursions of Leonardo or Picasso in any scope are well understood as virtues and richness… Far from trying to compare myself to them, nevertheless, I do not put any limits to me, because I work by passion and curiosity (the rest, concerns nothing to me and I am sent to results). Rather than this, I brush often the most unconscious audacity, putting me in lands where still I am only an apprentice (3d or writing, for example. The section ‘Toxtexts’ in my web is where I put my ‘essais’ and my ‘poems’, sorry just in Spanish).

As you see, in this way, I have preferred to have my name forgotten by art critics (as I forgot theirs), to work in freedom. I think the Internet is much more alive than the market of the traditional arts and less won by the ‘intermediaries’. Find more interesting artists in the network than in Arco or Basel, and I do not have any doubt that if Leonardo da V. were raised again, he would be hooked to his computer, ‘playing God’ gladly, with tools that include supports, brushes, pencils, music and movement. If to similar playful possibility we add the reproductivity and accessibility advantage to him to be—not only economically—for any bourgeois, the computer opens for the creation a new door of revolutionary consequences: the real possibility of insurgency of ‘I do all by myself because I don’t need anybody else’. As always, another thing is the use that everyone does of the instrument: the new tools raise the challenge to combine with sense creation and technology, to produce an art of quality that assume applications, utility; the objective would have to take care of recover for the creative activity the place and the function in the society (more natural, less sacred) than narrow dichotomies and bad interpretation of history, snatches to him.

—Victoria Contreras Flores

Multiple monotypes: Riccardo Angelo [exhibition September 2005]

Modern art, art critics, and bad artists, are obsessed with the ‘new’. What else is there? Well, there’s the history of techniques, for a start …


Exhibition catalogue (→ PDF opens in new tab)

Riccardo Angelo‘s art seems very accessible when he paints identifiable figures and poses, but inaccessible when his private thoughts and knack for surrealism take over the imagery. The theory, popular amongst critics of literature, that ‘the author is dead’ means that we do not have access to the intentions of artists. It is an idea that attempts to dislodge artists from the centre of their own work. It may be an effect of that dislodgement that art dealers—auction houses and galleries—encourage us to think of artists as in or out of fashion and, themselves, engaged in a struggle to stand for a while at the head of an advance guard. It is to everyone’s advantage that some artists appear to be at the cutting edge of taste, where investments will show a good return, and it is also completely irrelevant to the artwork.

Art criticism has a long list of well-worn words that are useful support critical claims to seriousness, and often before such claims to seriousness are warranted. Artists learn at art school and sometimes remain in the habit of obscuring what they know with what they learned.

It is a curious thing that the art world, the public language of visual artists, is saturated with artistic “intentions”. “What I mean by this is…” “In this picture I was trying to achieve…” “This is a painting about…” “So-and-so is trying to…” We lap up the intentions of painters in a way that we would find intolerable with, say, novelists.

However, I can not reconcile this effect with the knowledge that no artist I know talks to me about their art that way. (This, I have to admit, may simply show how I made the world I live in!) The more closely I get to know an artist, the less the conversation is about the apparent content and motive of the work than about the struggle to make it—about techniques, methods, materials, errors, frustrations and experiments.

This all amounts to saying that the artist’s history of art is very different to the art critic’s history of art. This is a fact worth noting. To an artist, the history of art is principally the history of the mastery of techniques and the struggle with materials: what is passed on, what is forgotten, what remembered, what can be seen or inferred from the surface of a painting and what must be imagined, what is discovered and what has to be re-invented, what he can do and what he cannot do. No-one who has spent any time with artists, listened to their conversations, and shared their practical daily concerns about their work, could deny that this is a basic truth about being an artist.

In this context, I think that Riccardo Angelo’s Nineteen monotypes exhibition was a litmus test of how to look at art, since its subject was not only the familiar figures that filled up the white space of the paper the monotypes are printed on, but also the technique itself. The nineteen monotypes were made specifically to draw attention to how they were made, and to the fact that the process of making them involved various, sometimes unexpected, stages of work.

The monotypes

Monotypes, as the name implies, should be one of a kind. Ink is applied to a plate that can be made of metal or glass, and may be flexible or rigid. The ink may be drawn on the plate; or painted on; or painted on, then rubbed and scratched off to make negative details. Plate and paper come together, sometimes, though not necessarily, in a press (a burnishing tool will suffice for some variations of the technique). The paper is peeled off the plate to reveal the image. The plate is wiped clean and the process starts again. Degas was a master maker of monotypes and he invented several distinctive variations of the technique, including making further images off the already used plate and hand-coloring the fainter second impressions. The beautifully luminous dancers’ tutus in Degas’ monotypes were made by first rubbing solid black ink on the plate and then rubbing away the ink with brushes and cloths to leave a blank area in the form of a white dress.

Riccardo Angelo’s nineteen monotypes were exhibited at a small, fine art gallery in Melbourne in September 2005. Angelo has made hundreds of these monotypes, usually in groups of about six to twenty. They are all organised by date. They do not have titles. The titles of the nineteen monotypes, taken randomly from superficially appropriate passages of the book of Genesis, were added to the monotypes at the request of the gallery director. The dates tell the viewer that some of the nineteen monotypes were made months before many of the others. Most, according to the dates, were made on a few days around the middle of December 2004.

First impressions: the meaning of ‘monotypes’

A monotype is one of a kind. However, the technique of making them encourages an artist to experiment with how the ink is applied and removed, repeating patterns, shapes and content in evolving sequences. Almost all monotypes are an instance of an evolving process and, of course, sometimes, failed prints are thrown away.

Many of the pictorial elements of the whole exhibition are in these first monotypes, made in August 2004. Birds. Wings. A squatting child. A snake. Two figures kissing. A figure kneeling, legs forming the shape of an inverted ‘V’.

In exhibition, the prints are not presented in any particular order. The first impression is confusing. Few viewers appear to spend more than seconds in front of each of the prints. You may look at the details of any print and become lost it its suggestiveness—the ‘drawing’ that forms the basis of the prints is apparently wild, undisciplined, free. Indeed, it is hard to imagine how it would be possible to control the materials to produce a fine effect: the viscous ink, brushes and glass are not ideal instruments with which to draw. Angelo is an excellent draftsman, but his abilities don’t appear, at first viewing, to be on show here.

It is only when viewing the prints from a distance and as a group that revealing patterns begin to appear.

Techniques and variations

Why do many of the monotypes present us with a figure that has fallen to its knees to form an inverted ‘V’ shape with its legs? Man, woman, dog, and creature—they are all the same—all reduced to the same pitiful position. The supplicant, bowed shapes of all living creatures in this world, Angelo seems to be saying, should tell us about something they all share. It is hard to pin down what he might be referring to. Most of the monotypes have some explicitly sexual content, but they are definitely not erotic. It is not even, really, a human theme. In the world of these drawings, man and dog suffer in the same way, men and women are equally exposed, and all nature becomes part of the muddled, expressive, psychological moment of the work and of the exhibition.

Then there are the groups of two or three monotypes that belie the individuality of the print process. It is clear from these prints that Angelo does not always clean the glass plate he uses before beginning work on the next impression. He reworks an image he has already made by making new layers of ink stick to the half-dried layers underneath, and he adds new details.

The monotype process produces unique prints, but Angelo has rediscovered something that Degas knew: the plate, whether flexible metal or inflexible glass (other materials can be used), becomes an anchor that keeps the work on theme. The plate remembers the structure and some of the details of the drawing, and always provides a useful departure point for the next drawing, if one is needed. The process itself is also telling us that the work is not random; not as random as we first thought.

These three prints demonstrate something different. Between one print and another the details may change dramatically, but the underlying structure of the picture can remain the same. On the right hand side of the three prints there is a group of trees, or a tree. On the left hand side: a much larger tree, a female figure (perhaps like a sphinx), and a child’s face with its mouth open, crying. Of course, there are birds, beaks, animals and snakes everywhere, making it difficult to see these figures. Look at the prints for a while and you begin to realise that deep patterns have repeated themselves.

The next two prints reveal another variation in the technique.

The second print is a reverse print of the first. This means that the second print must somehow have been printed from the first print, or the image reversed on the plate and re-printed.

What does it all mean?

One of the reasons I wanted to write about this exhibition, and why I wanted to publish a permanent record in print of these nineteen monotypes, is that it allows me to discuss an unresolved question about the relationship between artists and their critics. I include in ‘artists’ all kinds of artists, though I realise that, increasingly, it is used to refer only to visual artists.

So much of what one reads about art is shallow, ideological or self-serving. Is there an appropriate way to write about art at all? I’m not really sure. I would align myself with Susan Sontag, if anyone. I am not interested in producing another interpretation, but in what I see and in transmitting some of that excitement about what is visible.

This is, itself, a philosophical manoeuvre, of course. An ‘interpretation’ cannot avoid being, at some level, an attempt to master and comprehensively remake the art it is talking about. Interpretations come to stand for the works of art themselves. There is nothing intrinsically wrong about that. In fact, in life as in art, an interpreter is exactly what we need sometimes.

However, it is undeniable, I think, that certain critical ‘positions’ or theories seek to remove artists from a privileged relationship to their own work. The effect is strange. The public discussion of art is carried on as though art itself were an ‘effect’ or by-product of the history of ideas. Artists are made to line up while an -ism is pinned to their lapels. At some point the unreality of it may strike you as itself meaningful.

Riccardo Angelo’s Nineteen monotypes exhibition invited us to view ourselves in the act of looking, and to notice how many of the artist’s intentions and meanings could be traced from one moment to the next.

Doubtful knowledge: recent paintings by Shane Jones, 1999–2001

Drawing falls and folds of cloth has been a standard exercise for student artists in their teachers’ studios. Along with perspective, chiaroscuro, flesh, and hundreds more particular painterly ‘rules’, mastering this painting exercise is a foundation of depicting human reality. Without it, it would be impossible to present any image of a man or woman in his or her social reality. It is not only the depiction of our clothing that the painter has to master—the space in which it appears, the volume it contains, the sources of light playing on its infinitely varied surfaces. There are also beds, furniture, curtains, and all the rest.

Shane Jones was apprenticed to the depiction of reality in paintings for twenty years before his own peculiar ‘take’ on realism began to emerge in his work. Virtually all the early paintings—still lives, street scenes, rooms and objects—have been destroyed. It is strange, now, that everything he has learned about painting is pressed to the task of depicting a reality that none of us has ever seen: a realism that looks like pure psychology.

A man dressed in a gray suit and a woman in a long, deep red dress stand with their backs to us. Behind them is a white curtain which reaches from somewhere out of the top of the painting to the surface the figures are standing on. There are actually two curtains: one for each of the figures. We can see, in the middle of the painting, that the two falls of curtain meet and overlap—except at the very bottom, where a small, triangular, black space, tells us that there is nothing or something on the other side of the space in which the figures stand. If you knew the artist, you would immediately recognize the male figure as the artist himself. However, for the purpose of the picture, it is just a man. There is nothing very special about him at all. We cannot see his face. We do not know whether he is anxious or calm, handsome or ugly. His companion, the woman in the red dress, may not be his companion at all: the two figures have adopted the same pose before us, turned away from our gaze, but they are not standing together. Well, they are not necessarily standing together. She has no feet. The dress is just long enough—just the right length—for the feet to be hidden. She seems to hover on the stage. Is it a stage? If it is a stage, are we also part of the performance that is about to begin, or that has just ended? Should we feel relieved and happy that the drama is over, or apprehensive because it just about to begin? The curtain may not be the curtain of a stage at all—perhaps it is only a curtain, a white sheet hanging in a gallery, much like the room in which the picture itself is hanging.

For the past four years Shane Jones has been methodically emptying his paintings of unnecessary clutter. In 1996 he won the Norma Bull Prize for a self-portrait. He emptied the room in which he painted himself by lowering the point from which the viewer seems to look on him: only the ceiling and an empty wall are visible in the background.

In 1997 Shane Jones saw the paintings of Avigdor Arikha (1929-), in particular ‘Slippers and Undershirt’ [1979]. The discarded clothing in these paintings, arranged like abstractions, seem heavily laden with their absent human bodies and activities. Shane Jones began to paint articles of clothing and falls of cloth. But these paintings are not copies of the effects Arikha achieved, any more than Arikha’s ‘Self-Portrait in a Raincoat, Peering’ (1988) is a copy of Joshua Reynolds‘ ‘Self-Portrait’ (c. 1748-9). Jones emptied his paintings of any discernable background and, as well, of perspective: handkerchiefs and cloths were unfolded and flattened to reveal their commonplace designs. These objects, sometimes painted at ten or twenty times their natural size, sometimes at ‘actual size’, were presented as though emptied of their function. No longer useful or used objects, they became simply something to look at: reality magnified. Articles of clothing, male and female, were presented to us neatly, often actually on their hangers, but floating in black space. Dresses, shirts and jumpers are the ghosts of their owners.

Deborah Klein and Shane Jones.
Deborah Klein and Shane Jones.

An untitled painting of 1998 went so far as to show only what appeared to be a white sheet suspended in black space, the upper left-hand corner hinting at something that could not be seen—a hook or nail holding everything up. We are forced to acknowledge our first ideas are often wrong when we notice the white sheet is, in fact, full of color—pinks, mauves and greens.

Underneath the thin veils that now hide his subjects’ faces, Jones has painted a real portrait of himself, a model or a mannequin. There is a Japanese flavor in the spatial arrangements and blank interiors that owe much to James McNeill Whistler.

Asked about the meaning of his paintings, Jones sometimes quotes Benjamin Disraeli: “To be conscious that you are ignorant is a great step to knowledge.” Or, at other times, he will say: “When I was twenty I thought I knew everything; at forty I thought I didn’t know anything at all…” This is really Jones’s subject: the feeling that we do not know very much about other people or about ourselves: uncertainty and ignorance painted with pared-down, formalised and quasi-realistic effect: the suspicion that commonplace certainties might some day turn out to be doubtful knowledge.