The artist makes no attempt at naturalistic representation. The trunk is a hurried brown elipse; the foliage nothing more than a slash of green, almost an afterthought. Grant is clearly only interested in conveying the extreme pokiness of his subject. The branches are violent slashes; the crayon dripping with emotion. Haunting.
Monday, October 30, 2006
Grant is obviously channeling Jackson Pollock's Number Seven in this drawing. Does the ladder in the title refer to the ladder Pollock employed in creating his paintings, dripping and pouring paints from its heights? Or, could this be a commentary on Pollock's climb up the ladder of the art world and his fame, ego, and alcohol fueled destruction? Either way, the young artist has out-pollocked, Pollock.
Thursday, October 26, 2006
What's this a picture of?
-he traces the drawing with his finger, "it's a picture of this."
But what is it?
Are you saying it is art about art? Is it a metapainting?
-"I bet you can't lift me up!"
When it was pointed out that there are no visible bats in the painting, the artist explained, "You can't see the bats because they are sleeping behind the painting." The bats are sleeping behind the painting. Grant, having resolved the two dimensional plane of the work with a furious series of monochromatic strokes, addresses the space behind the work. Lucio Fontana attempted to bring this same space to our attention by puncturing the actual canvas, Grant punctures our understanding with a single sentence.
Tuesday, October 24, 2006
I spent several days last week in New York, searching through the galleries of Chelsea and Williamsburg for some piece of art that would move me, and then I came home to this.
After World War II the center of the art world shifted from Paris to New York. I believe my friends, that we are about to witness it shift to Olympia, WA.
Monday, October 23, 2006
I spoke with Grant yesterday, and it seems the new art will be posted soon. In fact he has promised that we will love it, because, "you haven't seen anything like this before!"
Thursday, October 12, 2006
In the past few weeks I have received a slew of negative letters regarding my recent statements in Art in America that Grant is the greatest artist working today, if not the most important artist in recent history. I have been accused of being incapable of separating my role as a contemporary art commentator from my role as a father (of the greatest artist of our time). I think this drawing does more to defend my views than anything I might write (as brilliant as it might be).
Wednesday, October 11, 2006
What is "it": that is the question. We know "it" twists and is also capable of shooking, but what happens when it does? No answer is given.
A unique iconography seems to be developing in the young artist's work. Disembodied heads, blank eyes, swirling masses, and anthropomorphic pigs populate his drawings like remnants of half-forgotten dreams. Grant clearly owes a debt to the surealists, but his art seems to be more directly influenced by the urban art scene of today.
Monday, October 09, 2006
"The bus is bibrating, that means it's getting smaller." The Magic Schoolbus spins in a red blur in the upper left portion of the page as a green monster watches apprehensively. What "action" will the school bus bring? The monster appears to be clutching a purse to his chest. Will the bus attempt to rob him? Grant identifies the red arabesque at the bottom right as a "number panic", perhaps that is a clue. The monster is green, he is finance incarnate. He clutches a change purse to his chest symbolizing greed. He is menaced by the specter of a gallows to his right as a "number panic" closes in. What seems to be the source of all this upheaval?- a school bus. Clearly, the artist feels that shrinking education budgets will somehow cause the stock market to crash. Don't go selling your stocks or anything though, he's only three, what does he know about the market? Or education budgets for that matter. Plus, that really doesn't even make any sense if you think about it. The kid's in preschool for Pete's sake, he shouldn't be commenting on the financial world in the first place. I'm going to go give him a time-out.
*I know it looks yellow on here, but I swear he is green in the original.
Sunday, October 08, 2006
This is the artist's first known mixed-media piece. A figure flanked by a puma and a bear grins, his gaze hidden behind a stamp placed on his face. Is this actually a cyclops, Polyphemus perhaps, the stamp over the eye a metaphor for his blinding at the hands of Odysseus? Does the bear at his feet act as a stand in for the giant's treasured flock of sheep? When asked for some sort of insight into this enigmatic work, Grant explained, "Candy is tasty".
Saturday, October 07, 2006
Grant and I were trying to decide who liked the color blue more. Grant explained, "I'm hungry for blue. I am going to eat it tomorrow. It's like frosting." Defeated, I said I would settle for green. "Green is like climbing a wall", he added.
Friday, October 06, 2006
Monday, October 02, 2006
"Weltschmerz" is the word Grant uses to describe the emotion caught on our time traveling friend's face. Having seen what humanity has to offer through the ages, he is unimpressed and world-weary. His blank eyes convey an ennui magnified by the realization that he can never truly go home.
This is a drawing about a man who opened a door full of paint. The paint is the swirling orange mass in the upper left corner. You'll notice how perfectly the artist has captured the look of surprise and consternation on the man's face as he takes in the situation. There is no escape from his messy orange fate.
Sunday, October 01, 2006
This is Grant's favorite drawing. It is Thomas the Tank Engine barreling down the track. You'll notice how Grant intentionally used crude lines and distorted the form to suggest energy and motion, capturing Thomas at his most dynamic. He tore up his first few attempts, the draftsmenship was impeccable, but he felt they were too static. I think he just needed a nap. Kids!