james siena interview

But who am I to start whining about other people?

Photo by G.R. BOMB includes a quarterly print magazine, a daily online publication, and a digital archive of its previously published content from 1981 onward. Einstein didn’t know, either. It would heat the cabin in those California winters when it got down to 35 degrees. It almost was a premonition or something, but it was a cool drawing. No. That needs more paint. Today, BOMB is a nonprofit, multi-platform publishing house that creates, disseminates, and preserves artist-generated content from interviews to artists’ essays to new literature.

Do you have any wisdom to share? Courtesy of Christinerose Gallery. James Siena by Shirley Kaneda Siena successfully turns his images into what they are not, coaxing their “other” from them. No.

Spirituality……..overrated.

the simple straight line. Concordulation (2017), consisting of undulating lines in shades of red, has a biological aspect, like the enlarged image of a blood cell, or the circulatory system of an alien creature. James Siena (BFA, Cornell University, 1979) is a New York based artist whose complex, rule-based linear abstractions have situated him firmly within the trajectory of modern American art. Like the painting that’s on that table up there, I never expected the yellow or the blue to happen in that painting. The work’s purpose is to move you. James Siena, Dr. Michelle Carlson, 2011-2014 enamel on aluminum 19-1/4″ x 15-1/4″ courtesy of the artist and Pace Gallery.

I also referred, as I recall, to the question “what does it mean?” as a sort of canard, in that those who ask me (of all people) this question would, amazingly, elicit an objective response! Percussilative Echo, (2017-2018), looks like an azure map of oceanic currents, and Ssonsunurrhth (2018), is equally cobwebby and electronic. That wasn’t Franz Kline’s bag! I think of the work as relating to two entities coming together; like love…….I made a painting afterwards, which is the image you have. And I do that. That’s my problem. 1 in G Minor: Part I, Allegro

Can we come back to your point about completeness?

The bits of pink also seem so significant to me. The initial impact seems to consist of nothing more than decorative motifs, the type of patterns found on textiles. It’s the attention paid to it. Perhaps the question would be better phrased as follows: “what do you want the work to do to people?”; making the issue one of effect and action rather than academic positioning. Actually, for me, not at all…….see above reference to “fields”.

Go ahead and start a picture, just stop it and it doesn’t matter.

I said “luminosity.” Yeah.

“Welcome to Cousin Talk. James Siena by Chuck Close and James Siena Prints, Pace Prints, 32 East 57th Street, New York, December 1, 2005–January 3, 2006. I was always attracted to that.

Well, I don’t think I took enough acid to have no filter at all. His first New York show was at Pierogi back in 1996, and since 2005 he has been represented here by Pace, who are staging his latest show at their 510 West 25 th Street space through this Saturday, April 30. Boundaries are, as you can see, essential to my practice. He is represented by Pace Gallery in New York City. Please Support Riot Material.Your Tax-Deductible Donation Helps Support our Missionto Nurture and Uphold the Arts in Los Angeles and Beyond.More Importantly, Your Donation Fully Supports our Writers.Thank You! (By the way, being moved by art- making it or viewing it- is as much of a religious experience as I ever have.). “It is not through a higher perfection that artworks separate from the fallibility existent but rather by becoming actual, like fireworks, incandescently in an expressive appearance.”.

Very important. This is done in order to underscore the “thing-ness” of the work, and to eliminate any notion of “field” so common to Abstract Expressionist tendencies, and other kinds of gestural abstraction.

But, what does this have to do with what is it to want to be an artist? James Siena’s paintings seem to embody this particular circumstance sans nostalgia. Artists love them, but many non-artists are afraid of them.

I want it to pull you in, and for you to be dazzled by its – by its craft, attention to craft, and but then you’re also, when you look at how it’s puckered and contorted and kind of angry, that’s not so attractive. We have cast two, and are working on casting three more……..very exciting.

< http://figureground.org/fg/a-conversation-with-james-siena/ >Questions? I like your explanation of Cousin Talk. by Jacqueline Humphries.

James Siena, Battery, 1997, enamel on aluminum, 29-1/8 x 22-3/4 inches (courtesy of the artist and Pace Gallery. Feedback loop overload! Mar 17 – Oct 27. It’s such an old story.

I’ve since learned it’s called knolling when you arrange like ruler, pen, cup, T square on your desk so that everything is accessible and nothing’s laying on top of anything else, and it’s all laid out. Maybe not as good as when I was ten, but pretty good. Or take for another example a painter like Mark Greenwold, who makes difficult psychological paintings. He paints these really intricate paintings that are really hard to look at, almost evil. That leads to that whole tired “crisis in painting”, too. I’m also thinking about viewers not yet alive taking in these things and how I’m sending a bit of myself and my understanding of the world into the time-stream; continuing an interchange (however one-sided, since I will be dead) with a world yet to exist, albeit connected to our own. December 1st.

They are the opposite of entertaining, but I find them utterly compelling. It seemed like it was time to give myself permission to disobey the stricter abstract rules and... let some of that more overt stuff about the human condition... to come through. His show at Galerie Xippas in Paris opens on March 22. It’s not up to me to say what the work means. But to name the period you’re in seems to be a bit bizarrely pretentious and wrong-headed. I think that part wasn’t on the tape.

I’m not seeing the color because I’m seeing washy brush strokes that don’t look like they should be there.” So, that’s technical.

Dan Schmidt James, I was glad you raised the subject of ‘branding.’ It has so little to do with the making of art and is really about the commodification and packaging of artists. It meant being really invisible.

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