Discussing "Sources"

As promised, I will continue to post some clips from my appearance on "Citizen's Corner" from time to time.

In this one, I am discussing the painting "Sources."

Work in Progress: “Summer School”

The two images above are from a current work in progress, tentatively titled “Summer School.”

This will be another in the series of mirror paintings— this one is small— 22” x 28”.

So far, the collage elements are from 2 children’s books of mazes— “My First Mazes” and “Seas-side Mazes” both published by Buki Toys (www.poof-slinky.com). In addition there are images from some Archie Comics titles that I found in various places on the internet (Veronica, Betty, and Cherry Blossom were the titles of the comics these come from). And finally, there are images of the box covers of some adult videos, also found on the internet.

Planning this one was a little difficult, as I am enjoying these mirror paintings while at the same time so excited about the Model Consumer images, and also hoping to get some work finished for possible inclusion in the FPAC Gallery’s “Image for Sale” show starting July 20th. Basically, there is a lot going on at 617 Midway and it puts some pressure on my painting time. All that said, the time spent thinking and finding collage elements and centering around a loose theme have paid off.

So far “Summer School” has been great. I have broken a few of the rules I have previously in the series (that is, what collage elements can go where, etc.) and think that it is truly headed in the right direction.

As I have been wrapped up with Model Consumer when at the computer I am posting these two images together— but you can clearly see the progress made between the two. Compositionally, I love this large line of an arm that cuts the piece in two. Think it is working really well.

Work in Progress: Postcard Poems

I have been remiss in posting new work in progress as I have been putting quite a bit of effort into the Model Consumer photo contest (www.KurtColeEidsvig.com/contest). This is turning out to be extremely exciting and will provide lots of great fuel for my next series.

I have also had lots of questions lately on my poetry— what is going on with it? Am I writing? Etc.

It is going. Yes I am writing. I have no idea how to answer the question “etc.”

From time to time I write postcard poems to my friend and the amazing poet, Martin Cockroft. This is a knock-off of the New York School poets who used to do this sort of thing quite a bit, and as Martin and I have collaborated on poems, etc., he tends to be the target of my experiments.

The postcards are a good way to control poem size and form as they only give you so much space. Left to my own devices my poems get pretty long and wordy so constraining them is a great exercise for me.

The pictures above are of the first 2 sections of a series of postcard poems. I am playing with rhyme and narrative-ish style. The form is 18 lines— kind of a sonnet plus 4. There is a set rhyme pattern and form. Each ends with a couplet.

I’d bought this box of postcards a while back— the 20th Century Art Box— with just this in mind. As you can tell, I like using postcards for my work— as with the painting “Precious Gems” as well.

This type of poetry (narrative, rhyme, formal) is so alien to my typical style it forces me to come up with some different stuff. Not sure what I think of these or the series but at the very least it is a good effort.

I’d thought I would write quite a few of these in Westport last week and I was completely wrong. But wanted to share some of my work here. I have hopes that the series will go on for a while, and I also have some other poems and revisions I am working on.

I plan on revising 2 manuscripts for submission for September as well and have just started thinking about that a bit more seriously again— which poems to use, revise, write into, how to order things, etc.

Model Consumer Photo Contest F.A.Q.

So, have lots of good response on the Model Consumer Photo Contest and some good questions too.

Here is my crack at answering the questions and keep those great entries coming in:

1. I’d love to be in the contest, when is it taking place?

The Model Consumer Photo Contest is accepting entries now through August 24, 2007.

Entries must be received via email to KurtColeEidsvig@yahoo.com by midnight on the 24th.

For full submission guidelines visit:

www.KurtColeEidsvig.com/contest


2. What kind of pictures are you looking for?

This is the hardest question to answer. The contest seeks creative images that will be judged on quality as well as creativity. Beyond that, the decisions are solely those of the model/photographer


3. Can I have someone in the dressing room (and the picture) with me?

If you want to, and can figure it out with the dressing room clerk, go for it. The only disclaimers are:

a) I am not bailing anyone out for getting arrested taking a picture (translation: Kurt Cole Eidsvig and KurtColeEidsvig.com are not responsible for any harm done in any way in the process of attempting to create an entry for the contest).

b) The person who takes the picture must be in the photo as well.

c) It is the entrant’s responsibility to secure the model release and rights and permissions of anyone who is included in the entry photo.


4. Are you looking for nudity?

Sometimes in my personal life, yes. For instance when I take a shower, I disrobe.

For the entry into the contest there are no rules for or against nudity. They are called “dressing rooms” though, not “naked rooms” so don’t feel obliged to do anything besides take a great picture.


5. Will you post the entries as they come in?

Since the contest is concerned with getting each person’s own creative version of themselves in a dressing room mirror I don’t want seeing other people’s entries to impact that. So, there will be no posting of any pictures until the end of the contest.

After that, full credit will be given wherever possible to the entries and the photos.


6. I am interested in entering— tell me more.

The only thing more to know is that each submission must be accompanied by the date taken, name of entrant, store, and location, as well as the following posted into the entry email:

This email and entry signify that I have read and agree to all of the contest rules and regulations for the Model Consumer Photo Contest. I herby grant Kurt Cole Eidsvig and KurtColeEidsvig.com full permissions and rights for the use of the attached photograph.

After that, just go take a picture and send me your best one.


7. I don’t understand the contest— taking a picture of myself in the dressing room mirror? Won’t the camera be in the picture? Are you just trying to see people naked because there are easier ways.

This is a multi-part one—

I took some pictures of Old Navy mannequins a few months back. And I have been doing these paintings with layering— mostly line drawings to make up people (i.e. maps under the surface, design-build drawings of planes, etc)...

On top of that I have done a lot of work with mirrors lately. Which I love. It recalls the idea of threes in nature and in art— the father/son/holy ghost; person/mirror's surface/reflection; water/surface/sky; past/present/future, Monet's water lilies-- reflection, lilies, beneath water, etc., etc.

Also, a lot of my work lately is on how people inform their ideas of themselves— images of women in comic books, the National Enquirer saying Lindsay Lohan is too fat/too skinny, etc.

And, over the past few months I talked to 2 different people about dressing room mirrors. One said:

"I know— how do they do it so things look so good in the dressing room and when you get them home they look awful?"

The other said:

"Could those dressing rooms make you feel any worse about yourself? I mean the light is awful… and those mirrors!"

Obviously, people were seeing different things in dressing rooms.

To go back to the mannequins, I thought it would be interesting to flip the idea I have been working on in art. That is, rather than take some pictures to make up what people are (the maps, drawings, etc.) why not use people to make up another object— that is mannequins in this case.

So, I needed pictures of people to then turn into line drawings and put beneath the surface of paint in a huge line painting of mannequins. Which I also love, because who draws mannequins?

The contest seemed like a good way to promote my art, get some help creating art, promote some other people’s photography and modeling, and create some great art wit a lot of combined energy and creativity.

I also love the idea of people's various images of themselves within the confines of consumer America, and what that looks like to different people. So, I am working on this project that is both an individual work of art and a happening of sorts— it captures people's vision of themselves, ideas of consumerism, uses mirrors, and is great fuel for other paintings.

No longer is the project limited to this mannequin painting but I have also planned individual paintings for some of the pictures I have received— watercolors, (like the fire and ice paintings) enlarged pieces, etc. This will be the start of my next series.

As for the camera needing to be in it? Maybe. I guess if you can hold it to the side maybe not. But it isn’t important to me either way, as long as the image is cool. You may want to turn off your flash too. Maybe not.

As for wanting to see people naked. That is the strangest question to me— the contest rules say nothing about it. Maybe take the picture before you have tried something on, or after, or in-between. Or be buck naked— whatever.

But do I like to see naked people? I guess it depends on who is asking.

And as for easier ways to see naked people…

I feel like I may know a few of them but I am always eager to find new ones. Do tell.


8. As always, for more information see:

www.KurtColeEidsvig.com/contest

www.617Midway.Blogspot.com

www.MySpace.com/KurtColeEidsvig

You Know You’re Nearly Famous When They Spell Your Name Wrong

OK, that probably isn’t true— but it sounds good (might make a good opening line for a poem). But if it were true, I would have been nearly famous my whole life.

Lots of people have asked how the interview went last week on Dan McCole and Denise Harrington’s TV show, Citizen’s Corner, on Boston’s BNN Channel 9. As you can tell from the pics, we had great fun— it was an honor to be asked to be included. The only unfortunate part was that they spelled my name wrong. With a last name like Eidsvig, this is not uncommon. Although in this case, they spelled Kurt with a C instead.

I think it was a newspaper article on my High School’s Freshman Hoops team (which was supposed to be the next powerhouse team in the state, until we went 3-13) where they spelled my name Eldsvig. This one stuck wonderfully. I still see people from High School who call me Eldsvig when they see me. I grin like I am amused and have never heard it before.

And then there was the unfortunate incident with the jacket with my name embroidered in cursive on the sleeve in 8th Grade. The jackets were the rage. The only problem was the R in my first name looked like an N. Thank goodness that one never turned into a nickname.

But I have had Edsvig, Idsvig, Eldsvig, Erdsvig, etc. etc. So, my nearly famous status is cemented once again.

Back to the show. Dan and Denise had me bring in a few pieces and discuss them and also asked me to read a couple of poems. The time flew by and they were great. But it is weird to see yourself on camera afterwards. There is probably a reason I am not pursuing a TV career instead of art and writing.

I am going to post some clips from the show here, and will follow up with some more when I get them uploaded. The first ones are of me discussing the painting “Queens,” and me reading the poem “St. Augustine’s.”

Hope you enjoy,

Curt

Reading Announcement: Wednesday July 25th, Fort Point Theater Channel's Reading Event

The date and time for the Fort Point Theater Channel's Reading Event has been confirmed.

The event will take place at Studio Soto which is located at 63 Melcher Street in Boston and is scheduled for 7:30 PM on Wednesday, July 25th.

For more information on Studio Soto please visit http://www.studiosoto.com/

The image above is borrowed from their homepage.

I will be reading from the chapbook Love is Give and Take alongside:

Karen Rosenberg

Amy Grunder

Robert Boulrice

Michele Corkery

Cynthia Bargar

Silvia Graziano

It will be a great evening combining prose, plays and poetry from some very gifted writers. Hope you can all make it.

Model Consumer: Conceptual Multi-Impressionism?

The response for the Model Consumer idea has been great— have gotten lots of interesting replies from around the U.S. and a few other countries. Of course, almost everyone is like… what are you up to? Eidsvig, have you developed some strange dressing room fetish?

Sadly, no.

The only pseudo-fetish that I can even come close to pinpointing is my love of girls on roller skates/rollerblades. It is strange. I think it may come from the lead-in to Three’s Company where Jack ogles some ladies and falls over on his bike.

But anyhow. Back to the ideas behind Model Consumer.

As I thought about it at the beach the idea seemed to be a combination like Conceptual Multi-Impressionism. Here goes:

Sol Lewitt, who died in April, was one of the major conceptual artists I studied. I don’t remember where I saw the line drawing that was people over and over again trying to draw a straight line with chalk pieces— which of course resulted in a curvier and curvier line (kind of like the visual version of the game “telephone”— but this combination of people carrying out a task and a work getting their energy embedded in it has fascinated me.

The picture above is from the New York Times review of Lewitt’s retrospective at the Whitney (http://www.nytimes.com/2000/12/08/arts/08KIMM.html?ex=1183435200&en=76a979421c69e720&ei=5070).

One of the thrills of my life was walking into Paul Tucker’s office at UMASS/Boston for a talk and seeing this huge wooden box with a return address “Lewitt.” During our talk I asked… “that isn’t Sol Lewitt?” and Professor Tucker laughed, opened the box, and showed me this scale model Lewitt had provided of a sculpture for the UMASS sculpture park. I felt like I got to peek behind the curtain in the Wizard of Oz. It was incredible.

Lewitt is everywhere— most all contemporary collections have at least one of his pieces. Some are great, some not so much. But the idea of conceptual art— that is, the artist creating the concept while others execute, works wonderfully at times in his art.

Next— I’ve talked before about Monet and Impressionism. How a lot of my ideas about art return here over and over. How to capture truth in a painting that has been radically changed by photography— and this idea of the personal filter we all have being intimate and necessary and maybe more “real” through paint than the stillness of a photo…

Add to this my experience with DigArts— the project I did for Artists for Humanity at the Roxy in Boston in 2005, and the idea of a piece being constructed by many different viewpoints has started more and more to intrigue me. The night at the Roxy I took photos of people at the club, had them fill out surveys, leave lipstick marks on paper, etc.— and assembled all of this into a huge collage that was a combination of many different viewpoints in one moment. Afterwards I started to think of “happenings” connected by internet where people constructed different art works at locations around the world and fused them into a single piece via a huge monitor. Like a big quilt where many different quilters get assigned a square— or LiveAid, via visual art, and without Bono.

The pic above is from the Artists for Humanity event.

In my recent work I have been using images to make up other images (jet planes, comic books, scratch tickets, etc to make up female figures)…. I thought, why not turn it around and use people’s image of themselves in consumer America (via a dressing room) and collage these images?

This was also probably fueled by my trip to Old Navy (http://617midway.blogspot.com/2007/05/old-navy-no-to-paparazzi.html) where I was told by a woman working there that I couldn’t take photos. I guess it adds some intensity to have people all over the place in stores taking pictures in the dressing rooms after the people told me I couldn’t take pictures in their store.

As for the actual images themselves— I’m not saying a word. Integral to the piece, or series of pieces, is people being free to be as creative and honest as they can with their individual works. This is why I limited the entry to one image— it forces people to think about exactly one picture they can stand behind.

Which is what art is all about.

Maybe.

Thank you all for your responses… and good luck.

Where Have I Been? Where Have YOU Been? & Upcoming Reading

Where have I been? Westport. Thanks for asking. Yes, even artists get a break from the studio now and again. In fact, I keep seeing these artist's documentaries where the artist says "well, time to go to the studio" and gets up and walks to a different building. Must be nice. Here at 617 Midway the paintings stare at me all the time. "Why are you sitting down when you could be painting?"

They often talk in a Irish brogue.

Anyhow, the pic above is from beautiful Baker's Beach in Westport, MA. Of course, being a poet with semi-delusional visions of grandeur I always think of Frank O'Hara when I go to the beach in the summer- and make sure to watch out for dune buggies (for you non-O'Hara fans, you will need to look up the dune buggy reference).

It also makes me think of Alfred Leslie's "Killing Cycle" recently- which I can't find a decent image of anywhere.

In other news, looks like I will be participating in a group reading in July. Most likely the event will be held at Studio Soto in Fort Point on Wednesday, July 25th.

Readers will be:

Karen Rosenberg - play

Amy Grunder - fiction

Robert Boulrice - play

Michele Corkery - short story

Cynthia Bargar - poetry

Silvia Graziano - poetry

and me (poetry)

I will post more definite information when I have it.