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SCATTERGOOD: living a life of art. . . May 7th ~ June 10th 2007
EXHIBITION DEDICATED DANA ART GALLERY ~ DANA HALL SCHOOL Art Gallery co-directors: Michael Frassinelli & Mary Ann McQuillan.
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WORKS IN THE EXHIBITION 1. Church
in Moonlight (1957) 12" wide x 9" high; linocut Grade
10; Dennis-Yarmouth Regional High School, South Yarmouth, MA Awarded Gold Key in 30th Annual Boston Globe Regional
Scholastic Art Awards. 2. Portrait
of Albert Ricard, Age 15 (1960/61) 11" wide x 14" high; pencil
drawing from sketchbook Albert Ricard was a
student in the Saturday drawing class for children at the Swain School of Design, New Bedford. At sixteen,
shortly after I drew this sketch, he ran away to Boston and became involved in
the literary life of the city, which included the poets John Broderick, John
Wieners and Steven Jonas. During this period he changed his first
name from Albert to Rene. By the age of eighteen, he had moved to New York City and
become part of Andy Warhol's "Factory." He appeared in the Warhol films Kitchen (1965), Chelsea Girls (1966), Screen Test (1966) and the "lost" Warhol film The Andy Warhol Story (1966) with Edie Sedgwick. From September 29th to November 24, 1967 Ricard, writing under the byline "René," contributed to "The Talk of the Town" column of the Cambridge-based magazine The Avatar. In 1981 he published the first major
article on Jean-Michel Basquiat entitled " The Radiant Child" for Artforum magazine. An
art critic, artist, and poet, noted "controversial arbiter of taste," Ricard's
books of poems include Rene Ricard (1979),
God With Revolver (1989) and Trusty
Sarcophagus Co. (1990). The latter marked
Rene's first publication combining his literary and visual material. 3. Hanging
Bird (1960) 16" wide x 20" high; pencil drawing with watercolor This may be the first of many
dead birds I have painted and drawn.
Why dead birds? I'm not
sure I know; although I remember playing with the skulls of seagulls as a kid. 4. Self Portrait, Age 20 (1960) 11"
wide x 14" high; pencil drawing from sketchbook 5. New
Bedford Man (1961) 18" wide x 21" high; pencil
drawing This pencil drawing
was done for a Swain School drawing assignment in which we were required to
create a portrait from life of someone we knew, to be completed outside of
school. I chose a homeless man who
lived in the area near my boarding house.
For a glass of wine, he posed for me in my apartment. He was surprised
that I drew him with a blind eye, of which he thought no one was aware. 6. New
Bedford Still Life (drawing) (1962) 24"
wide x 20" high; oil on canvas duck In 1962, when this painting was
created, the City of New Bedford was the most economically depressed city in
the United States. During the time
of Herman Melville's Moby Dick the city, because of the wealth generated from
whaling, had been one of the most prosperous and culturally rich in
America. In my painting, a study
for a much larger painting, the dead fish might represent the depressed fishing
income and/or the death of the whaling industry. The dead sea gull, might
represent the death of an era or my own lost innocence. The use of canvas
"duck" was simply because this cotton cloth used for sails was more affordable
than artist canvas and easily available at the area marinas. 7. Death
Mask: After an Egyptian Mummy (1963) 9.5" tondo, 17" x 17.5" framed;; woodcut This woodcut was used for the
cover of The Liberal Content, issue 8, 1963. Published for the college community
by the Office of College Centers, Unitarian Universalist Association, in
cooperation with Student Religious Liberals. Art Director: Richard Kellaway.
Two of my etchings, Homage to Roden and Santa Claus, were illustrated in the article
"A Printmaking Workshop." 8. Study
for 'Disabled' (inspired by "Disabled," a poem of Wilfred Owen) (1967) 18" wide x 24" high; acrylic, ink and collage drawing • Disabled, acrylic painting & collage on canvas. 9. Three Studies for a Portrait of A.M.S. (1973/74) 48" wide x 36" high; oil on canvas I found this painting - on the walls of
Eugene O'Neil's Antique Gallery, in Newton Lower
Falls, on March 15, 2007. I purchased it for $25.00. Initially I was upset, but guess I should be happy that it wasn't sent to the dump! 10. Self
Portrait, White Point, Nova Scotia [reed pen study] (1976) 16" wide x 18" high; oil on linen canvas I
spent a number of summers at White Point, Cape Breton, Nova Scotia in a
small cabin built by Frank Fritzgerald, a local fisherman. 11. 'Please
Don't Talk About Me When I'm Gone' (1978) 7.5" wide x 9" high; 16" x 20" framed; photographic silkscreen (edition of 25) This photographic silkscreen
was a tribute to Martin Luther King, Jr. and the Civil Rights Movement and created as a demo for the Silkscreen Workshop. The title is from a song by the great blues singer, Billie Holiday. The print is dedicated to Noel Wright,
a housemate on Mt. Ida, Cincinnati, Ohio who was slain by rioters during the
evening following the assassination of Dr. King. At the time I was
in Wellesley for a job interview. 12. Paranoia
(The Sixties) (1982) 11.5" wide x 11.5" high, 18" x 21" framed; photographic silkscreen (edition of 30) A tribute to the protest movements of the 1960s. "There were those - a few - who wanted a
strike. There were those - a few -
who saw no reason for any change in the usual schedule. . . And there were those
- quite a few - who knew only that they rejected both extremes, and that
whatever was done, we must do it together. And so meeting followed upon meeting, and
discussion upon discussion. Some groups were large, some very small. A good deal of it was painful. Not all of it was reasonable. But it produced the decisions announced
in the following bulletin, and the program that implemented those decisions." Dana Hall Bulletin, July-Aug. 1970; see article "Five Days in May" 13. Study for 'Ident . . . Dr. Webern' (painting); (1974) 14" wide x 14.5" high; Color-Aid
papers & collage 14. A
Soldier: Anton von Webern in Burg-Mitteril (1974) 8.5" wide x 13" high, 16" x 20" framed; type-written
poem 15. Photograph
of Francis Bacon on Bardwell Studio Wall (1978) 16" wide x 20" high; oil on canvas This painting was
inspired by a photograph of Francis Bacon hanging on the wall of my Bardwell Auditorium
studio - now the kitchen across from the Oak Room. I used to paint in a style
very much influenced by the contemporary British painter Francis Bacon. I gave
up painting in this derivative manner because the works were too illustrational
and lacked the raw intensity I responded to in the originals. I don't dislike
these paintings, but I don't think much of them either. They remain an
interesting experiment and a record of a very troubling time in my life that I
have left behind me. 16. Reflection:
Spathe Flower & Dead Oriole (1980) 20" wide x 24" high; oil on canvas . 17. Dead Oriole on Shelf (Entombment) (1981) A tribute to Hans Holbein's The
Body of the Dead Christ in the Tomb, 1521 18" wide x 24" high; oil on linen canvas An oriole found on the road into the Wellesley
Dump; 18. Self
Portrait with Casts, Rowayton, CT (1979) 16" wide x 18" high; oil on linen canvas I painted this self-portrait on
a hot humid day at home in Rowayton, CT. I was indoors
because I had a hard time walking with a cast on my leg. The cast I was painting was a copy of Michelangelo's preparatory model for a sculpture of the River
God in Casa Buonarroti, c. 1521-34 19. Self
Portrait with Hanging Ivy Plant (1979) 16" wide x 20" high; oil on linen canvas 20. Self
Portrait #2 after Tear Duct Surgery (1980s) 12" wide x 13.5" high; pencil drawing 21. Life
Drawing (portrait
on blue paper) (1980s) 13" wide x 15" high; black & white chalk on toned charcoal paper 22. John
Jagel Seated in Trench Coat (1986/87) 8" wide x 10" high; monoprint Somerville artist John
Jagel (1929-2006) and I drew (he sometimes painted - I never did) each other
every week for nine months; we then exhibited our portraits of each other in an
exhibition titled "Portraits of the Other" at Radcliffe/Harvard University in
Cambridge, MA. It was a remarkable
exhibit but very few people saw it because Boston's art critics were mute. 23. Profile
Self Portrait (1987) 22" wide x 30" high; charcoal drawing 24. Portrait
of Queen Anne (1985) 22" wide x 30" high; charcoal drawing 25. Study
for Frontal Portrait of John Jagel #1 (1986) 18" wide x 24" high; charcoal
drawing 26. Study
for Profile Portrait of John Jagel (1987) 22" wide x 30" high; charcoal drawing 27. Seated
Self Portrait #3 (1986) 21.5" wide x 30" high; charcoal drawing formally in "The Claflin Collection," City of
Newton 28. Eye (2003) 10.5" wide x 10.25" high; charcoal drawing on museum board Private collection 29. Road
Kill: Cape Cod
Crow on Pizza Plate (1980) 20" wide x 20" high; oil on linen canvas • Phoenix (Cape Cod Crow), 1980-2003, oil, charcoal & collage 30. Seated
Portrait of Lucian Freud (1985) 29" wide x 54" high; charcoal drawing 31. Portrait
of Francis Bacon #1 (1986/87) 34" wide x 42" high; charcoal drawing on museum board 32. Expulsion
from the Garden (2002) 18" wide x 12" high; oil paint on canvas, charcoal, pigments & collage on museum board Private collection Inspired by "A.D. 2267," a poem by John Frederick
Nims; "Expulsion from the Garden of Eden," A. D. 2267 John Frederick Nims 33. Paper
Prayer: Love Life (1993) 4" wide x 12" high, 9.5" x 14.75" framed; charcoal, paint & collage Private collection 34. Spider
Monkey (after Redon) (2004) 9" wide x 8.5" high; charcoal drawing on museum board Private collection 35. Maine
Horse Skull: 'Fire' (1986) 34" wide x 42" high; charcoal drawing on museum board This is the first in a series of charcoal drawings on 'The Elements' using a horse skull found in the woods of Maine with my friend from graduate school, Jeff Elgin (past art teacher at Skidmore). From the remains of the horse's skull and skeleton it appears the horse was trapped in a fire and shot in the forehead. Other drawings in the series I have completed and working on are Air (smoke), Earth (ashes), and Water (rain). • Maine Horse Skull: Smoke, charcoal drawing
WHITE POINT, N.S. SKETCHBOOK
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2011 © : All Rights Reserved. No Rights Granted. UPDATED: 01-09-2011
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