well, we’ve never been that hardcore about the midwestern thing, it’s just a starting point. anyway, newberry’s been teaching at indiana university, in bloomington, indiana for the last couple of years.
I just noticed the explanatory captions under almost every painting on the website, how goofy. Tina’s an interesting person, very self-deprecating and really into the Civil War. She had a party once where we all wore old hats and shot guns in the basement.
I also tend not to use coasters. I fear no rings of condensation on this coffee table. That kind of reckless abandon is what we aim to foster: Low-impact furniture degradation. Incidentally, that might be my new favorite answer to “describe your work” questions.
I’m with Kristin, the scale is impossible-seeming… I’ve said it before, and I say it again: nothing tops the unrepentantly weird.
I know Tina has a fascination with barbie dolls and I may be making this up but I think she once related that to the scale of her paintings-as in the miniature scale makes the figures feel somewhat unreal.
Yeah, there’s something about the way one enters and moves around a complex small-scale painting. Less real, demands more projection on the part of the viewer.
I have to admit that The Persistence of Memory has kind of sucked me in, every time I’ve seen it in person. Though I would swear I’m not a Dali fan, even if you woke me up in the middle of the night.
Also, another scandalous thing to say: in the last couple of years I’ve come to enjoy ter Borch more than Vermeer. I know Vermeer is the Great Artist, and there’s just not as much quality in ter Borch. But both of them get small scale. But Vermeer turns a small scene into a performance, one that can match any grand-scale history painting or fresco cycle or whatever. And ter Borch feels a little less like a performance and more like a singalong.
I’m glad that Newberry’s weirdness feels so idiosyncratic. When you mention the Barbie dolls, it makes me think how simple it would be for here to change course a bit and make these some kind of sociological statement a la Hillary Harkness.
Actually I do ride a single speed fixed gear bike, so no coasting there, but I thought it referred to not resting, pushing forward and keeping up the investigation. You know, constant vigilance, that sort of thing. A reference to a philosophical mindset rather than a geographical state.
I do like Tina Newberry’s work, I’m still puzzling out how many different levels she’s working on. I like that piling on of fictions, exaggerations, half truths and honest expression.
I actually couldn’t decide whether I found my interpretation of the “no-coaster” thing to be pretentious or intimidating so eventually I just stopped thinking about it.
Since when is South Philly a “no-coast”… I didn’t think it was in the mid-west…
well, we’ve never been that hardcore about the midwestern thing, it’s just a starting point. anyway, newberry’s been teaching at indiana university, in bloomington, indiana for the last couple of years.
I just noticed the explanatory captions under almost every painting on the website, how goofy. Tina’s an interesting person, very self-deprecating and really into the Civil War. She had a party once where we all wore old hats and shot guns in the basement.
wow, she packs a lot into those tiny paintings. I love the attitude.
I suddenly realize that I completely misunderstood what “no-coasters” meant. Whoops.
I also tend not to use coasters. I fear no rings of condensation on this coffee table. That kind of reckless abandon is what we aim to foster: Low-impact furniture degradation. Incidentally, that might be my new favorite answer to “describe your work” questions.
I’m with Kristin, the scale is impossible-seeming… I’ve said it before, and I say it again: nothing tops the unrepentantly weird.
Oh! All this time, I thought it referred to some blog doctrine about bicycling strategies, like we all had to ride one-speeds and avoid downslopes.
put me down as a fan of all three (so far) interpretations of no-coasters. any more out there?
I know Tina has a fascination with barbie dolls and I may be making this up but I think she once related that to the scale of her paintings-as in the miniature scale makes the figures feel somewhat unreal.
Yeah, there’s something about the way one enters and moves around a complex small-scale painting. Less real, demands more projection on the part of the viewer.
I have to admit that The Persistence of Memory has kind of sucked me in, every time I’ve seen it in person. Though I would swear I’m not a Dali fan, even if you woke me up in the middle of the night.
Also, another scandalous thing to say: in the last couple of years I’ve come to enjoy ter Borch more than Vermeer. I know Vermeer is the Great Artist, and there’s just not as much quality in ter Borch. But both of them get small scale. But Vermeer turns a small scene into a performance, one that can match any grand-scale history painting or fresco cycle or whatever. And ter Borch feels a little less like a performance and more like a singalong.
I’m glad that Newberry’s weirdness feels so idiosyncratic. When you mention the Barbie dolls, it makes me think how simple it would be for here to change course a bit and make these some kind of sociological statement a la Hillary Harkness.
Actually I do ride a single speed fixed gear bike, so no coasting there, but I thought it referred to not resting, pushing forward and keeping up the investigation. You know, constant vigilance, that sort of thing. A reference to a philosophical mindset rather than a geographical state.
I do like Tina Newberry’s work, I’m still puzzling out how many different levels she’s working on. I like that piling on of fictions, exaggerations, half truths and honest expression.
I actually couldn’t decide whether I found my interpretation of the “no-coaster” thing to be pretentious or intimidating so eventually I just stopped thinking about it.