GDPR

Official dull, boring, seemingly obligatory, keep-the-evil-gods-at-bay announcement:

 

As you probably already know, the EU’s General Data Protection Regulation (GDPR) goes into effect  25 May 2018. The new regulations are such that your personal data can only be used with your consent. Here at Boondocks Babylon, the safety and privacy of your information is paramount. If you enjoy receiving my updates and announcements, no further actions are necessary.

 

Should you wish to stop receiving notifications , please email me at neobaroque@mac.com (or I would think , just unfollow me). This is all far above my head, I am a painter, this stuff, all a bit daunting .

 I do however appreciate your continued interest, it flabbergasts me that anyone finds it interesting. So thank you.

Sincerely,

Leonard Greco

Memorial Day 2018

Los Angeles

Cloistertime

I’ve been spending much of this year sequestered in my studio , focusing upon work at hand and engaging with the actual world far less . My desire to work has compromised my ability to attend openings, pay studio visits , basic human time . I have ambivalent regret about that , but the time spent at the cloister of my making is so fleeting , my life so short that I feel compelled.

Although I spend less and less actual time with friends , many talented and exciting artists, company I treasure I do stay engaged, at least superficially. Social media keeps me in the proverbial loop , for that I am grateful .

Work in progress : The Herakles Tapestry

And through social media I am offered moments of reflection . I recently saw a post from an artist I admire very much and a dear friend , this post was hash tagged with “#f@ckoverthinking” ( without my censor ; it increasingly seems the “f” word is the go-to descriptor for almost anything : “f-ing brilliant “, “f-ing amazing “, etc. ).

This admonition to not overthink one’s process and by extension work , inspired thinking about my own process and the work itself . The taste for seemingly spontaneous, emotive work , where the process is an existential eruption feeds a narrative very much in fashion . Hollywood for decades has promoted the mythology of a feverish genius , blind with passion , communicating madly with their unrelenting muse ( the new film concerning Picasso has a cover image that depicts this archetype very well – handsome , paint , bespecked , exhausted ).

I confess my studio time has never been a cardio workout . In fact , contrary to my friends admonition to “f” overthinking, I think a great deal . I think, I write , I connect the dots . And while my work isn’t aesthetically feverish , it is dense with layers , perhaps too many , I don’t know for I am too close to the process . But it is the work I find interesting , the work I want to look at and the work I want to bring into the world .

I’ve never been interested in work that doesn’t call me back for another visit . That makes too direct a point . The works I most admire puzzle me , tease me with elusive symbols , require my attention . Directness is not my nature , not in life , or conversation, or even in my writing ; I am furtive , and in my studio work I would rather slip in a sly informed allegory than confront an issue directly . A flourish of meaning easily overlooked.

But I do think my approach is at odds with contemporary expectations of what art is or should be ( my calling my work “art” is an indulgence I allow myself when speaking of it , generally I refer to it as “stuff I make ” ). Street art has in a great way set this expectation : deft, ecstatic , exuberant, and most importantly, accessible. Marx would have been pleased.

My own work tends to be more obscure, more measured , the process at times almost plodding , but a joyous plodding , because the dedication to minute brushstrokes, to innumerable pencil markings or whip stitches is not unlike a prayer .

I had a wise teacher , a Russian iconographer , who insisted that every brush stroke when painting (an icon) is a prayer of gratitude. This deliberate , exacting mindfulness, the antipode to “overthinking” , is what I seek in my cloister .

Which is where I will spend my day . Have a great one .

(I am inspired by medieval illumination, , the measured , concise focus upon marginalia . This ornamental border , my take on Marginalia, is on a much larger scale , but when finished will, I hope, convey the same spirit . I’m looking to go larger and also to employ fiber art.)

Alien Nation

We spent part of the day yesterday at a local privately own art museum, the Marciano Art Foundation. Housed in a handsome former Masonic Temple . This mid century structure , while lacking the patrician dignity of east coast temples ( such as the mind blowing Philadelphia pile ), nonetheless was very impressive in its day and currently, in its reincarnation, still is .

Happily the Marciano Foundation is conscientious in tending to the dignity of the facade .

The interior , much gutted , houses a permanent immersive work as shown in the video above in what was a spectacular auditorium and rotating collections of well known and lesser known contemporary artists in the striking gallery floors above . A noble mission . All free of charge. Quite admirable , all in the spirit of Carnegie .

Yet with this abundance, I was overcome with a sense of isolation, one that I frequently feel whenever in the presence of what is deemed important art . Be it the Museum of Contemporary Art , Hauser&Wirth or the well regarded Hammer – all must-sees when visiting Los Angeles , I feel a sense of desolation . What I experience on a deep visceral level is an abiding sense of alienation.

I see enthusiastic crowds gathering about , snapping images ( not all selfies thankfully) and having earnest and sincere conversation about work that leaves me so listless that I cannot muster the strength to open the camera on my phone .

What on earth am I missing ?

So much of what is seen as exciting and needing to be discussed at great length has me skeedaddling out of the handsome , well appointed galleries at a rapid pace . So much of the work, of cantilevered plates of glass, of copious amounts of asphaltum, of precise geometric composition, works demanding the focus of a mathematical equations , these works leave me wondering , if such works were my introduction to art , would I have ever picked up a pencil ?

Luckily , as a boy , my first art crush , was found in the teeniest reproduction of Greek vase paintings – from there I grabbed a pencil .

From much of the work I see at respectable temples to art , I fail to grasp the spirit of the maker , of the object . I read the theory , witness the sincere discussion concerning the work , I ponder , question , reflect , yet comprehension is as elusive as proving the existence of an almighty .

It isn’t at all fair to pick on the Marciano Art Foundation, and that isn’t my intention . In fact , I am sure at some point I will return for some exhibition of interest .

But the greater issue for me is of existential disconnect. I have many contemporary artists whose work I know and love ( a few I have even met ) but they all offer a piece of their heart . Perhaps that sacrifice is what I desire , and wish to offer myself . The presence of heart wasn’t apparent to me yesterday.

 

In the end , I did enjoy my visit to the Marciano , the staff was so pleasant, plentiful and eager to chat, the interiors handsome and spare and the Masonic history thoughtfully preserved . In fact the Masonic costumes were of particular interest .

The exterior of the former temple still retains its beautiful mosaic murals by the fantastic Millard Sheets and the striking monumental architectural sculptures narrate Masonic lore as plainly as a medieval stained window .

In closing, my intention isn’t to bemoan the contemporary world, that would be futile and ineffective, my intention is to recognize my disconnect, the why of it , and to find a place in it . An attachment to a romantic past is fruitless , but thoughtful conversation across time , that is what I seek . My alienation frequently stems from not grasping my present society,this alien nation .

“Embodied”, my intention and some kind words

In the final week of my residency I’m quite literally tying up loose threads ; I’m also trying to gather my thoughts, my feelings and clarify my intentions.

The following is the result :

 

EMBODIED: ST. ANTHONY & THE DESERT OF TEARS

Leonard Greco

Shoebox Projects – Artist in Residence

 

Embodied:St.Anthony & the Desert Tears, my latest (ongoing) body of work, is inspired most significantly by Gustave Flaubert’s “The Temptation of St. Anthony” (1874). The richness of detail and illusion that Flaubert evokes almost suffocates the reader in its voluptuous beauty. Flaubert himself was inspired in great part by Brueghel’s own phantasmagoric depiction of the tormented hermit. I wish in some way to allude to that dizzying yet exhilarating experience.

As a young boy Flaubert witnessed a marionette performance of “The Mystery of St. Anthony”.  From that point on, “St. Anthony accompanied Flaubert for twenty-five or thirty years”, as the philosopher Michel Foucault has written. Flaubert returned to the anchorite time and again until completing the work in 1872.   This is not an easy read, dense, at times over-ripe, seemingly more chant than prose; Foucault describes the work as an “overcrowded bestiary” with “creatures of unnatural issue.”

It is this “overcrowded bestiary” I wish to evoke with the still evolving Embodied, wishing to populate the tableaux with a parade of bewildering, complex “creatures of unnatural issue”. These hybrid embodied beings represent not simply base impulses but our own deep struggle to live a fully expressed life.   For when I tackle such fraught topics as sin, temptation and redemption, I am looking beyond the typical biblically inspired admonition (such as Lust or the other Seven Deadlies). I am more interested in the quotidian, seemingly insignificant distractions that prevent us from embodying our truest selves. In essence, what interferes with your being authentic?  What is your demon? Who, what shadows your path?

I’m particularly interested in exploring how the tools of modernity – social media, the self-commodifaction through “branding” oneself, the pursuit of relevancy— all hinder full true self-expression, perhaps even censoring it or rendering it mute. Foucault describes Anthony’s temptations as “…false gods resembling the true God….” I argue that false gods lurk in the inky alleyways of a frenetic and rapacious contemporary society.

The mystic Thomas Merton in discussing the Desert Fathers insists, “they did not reject society with proud contempt, as if they were superior to other men”, but instead were seeking the fullest expression of their purpose. Throughout our lives we are given signs which point us (or call us) in the direction of our authentic purpose, so as Merton reminds us: “…whatever you see your soul to desire according to God, do that thing, and you shall keep your heart safe”.

I will do that “thing”, clumsily, distractingly, awkwardly, but like Anthony, sincerely and with purpose.

 In addition to my own words I was flattered by this generous review of my work by the art and culture writer Genie Davis . It certainly warms my heart .

Thank you Genie, Art and Cake and ShoeboxProjects.

https://artandcakela.com/2018/01/07/leonard-grecos-embodied-st-anthony-the-desert-of-tears-at-shoebox-projects/

 

 

Fonts, Themes & Filters!

I think I’ve developed quite an addiction to the myriad filters , texts and aesthetic options available on apps such as Phonto. As I try to promote my residency work and its reception next Saturday at ShoeboxProjects, I find myself distracted by the plethora of options .

Here is a sampling:

If you are in LA please try to attend , the location is in The Brewery at 660 S. Ave.21, unit 3, 90031.

If you can’t make that day , give a holler , I’ll be installing all next week and will be delighted to meet you there .

Wish me luck !

Desert Epistles, 1st of January 2018

New year, new motivation. Today David and I spent the day hanging work for my installation piece Embodied: St. Anthony & the Desert of Tears . In addition to his unflinching support I was particularly grateful for the second pair of hands and eyes . I will continue to be more dutiful in documenting Embodied.

The following images were taken this afternoon.

My little Fiat is quite the workhorse.

The final unveiling is Saturday January 13th, 2018, 3-6 at Shoebox Projects ( in the heart of the Brewery), 660 South Ave. 21, Los Angeles, 90031.

I would love to see you there !