about art – the book – a blog

STAN BERNING

SANTA FE, NM / PRESCOTT, AZ

928-460-2611

stan@stanberning.com

(please write or call for further information)

stanberning Uncategorized, about painting, art critique, gallery/museum presentation, presentations, the book

Prayer Flag

(sold)

The monsoons are upon us. In the sky yesterday stood our first clouds in months.  I spent my 4th of July in the studio with the doors open to the trees and the monsoon clouds passing overhead. The sunset was biblical.

With the fires raging we’ve all been praying for rain. In the studio, set up now for watercolors, I’ve been doing my own little rain-dance. In the last few weeks I’ve begun a new series of watercolor/gouache paintings. I’m hoping they are filled with as much potential as I think.

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Tempestuous Noon

A big hot summer wind.

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A Desert In Shards

(sold)

Last week I went with a friend to see the Grand Canyon. We drove east across the high desert floor, squinting into a bright noonday light. Here is another watercolor.

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Light – Bird – Ether

These paintings, many of which appear so light, translucent, and gaseous (at times almost effervescent) are actually dense, torn, and worried. A watercolor can take an instant to complete, but these are taking longer. Often days of painting end in erasure and the finished image becomes a matter of resolving the shadows and ghosts of what’s been removed. Discovering that resolve before the paper fails to be scrubbed even one more time is a challenge. But what’s left is an image that feels to the eye sculptural.

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Tiered Green

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Bouguet Garni

This painting was a revelation. The revelation that came with this painting is how very closely the process of erasure, in regards specifically to this series of watercolors, is a direct result of my years of experience with the monotype. The monotype involves a lot of applying then removal of ink. This subtractive process is uncommon in the realm of watercolor and, though I began exploring soaking and reworking watercolor pages a long long time ago, I would never have come to this series – or this particular watercolor painting which is all about afterimage – without first seeing the ghost images of so many monotypes. I’m constantly surprised by these cross-pollinations that happen and, though my healthy subconscious works overtime and always seems to make the connections, my conscious mind is forever surprised when it finally catches up.

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White Interstices

This last painting has moved me in surprising ways.  Last night, as I fell asleep, the memory of its dusty yellows and oranges, and buttery whites stood before my closed eyes like a slippery window of layered light…..  I dreamed I was in my kitchen and through the door came myself, unaware of the first self sitting observing.  He/I walked about the room oblivious to the first-person ‘I’ sitting and watching with surprise.  It dawned on me that this second ‘I’ was a very realistic after-image of myself a few minutes before.  ”So he cannot sense me here and he is not real.” I thought and put my hands on his waist to prove it, expecting my hands to pass right through him.  But his body was as real as mine and I leaped back thinking he would surely realize that I was there.  He went on about his business, unaware.  A woman was in the room with me.  ”You can’t see him?” I asked. “But he’s right there.  Watch.  Soon he’ll go into the bedroom to sleep and then he’ll catch up with me.  He’ll no longer be behind.”  This as he closed the bedroom door behind him.  It was as if time and space itself had become slippery and layered.  This is what the painting has done to me.

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Restless Arc

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Trumpet’s Prelude

At work last night I became furious.  It was about the 3PM run, my 2 month long 4AM ordeal, and now having to be thankful for finding a place on another mediocre run while my 3PM run is given to Wayne.  I can’t go on erupting in anger like this.  The push of adrenaline through my body is not physically healthy.  In this time of world turmoil I have a job that keeps me afloat, offers medical benefits, and allows me the time and psychic space to paint.  There is much to be thankful for.  I went to bed exhausted, nervously trying to recover from my angry loss of emotional control, and slept restlessly.  I awoke this morning remembering a few childhood moments when dread first placed its stamp on my forehead and thought, “I have always been nervous, fearful, anxious.  I am now 60 years old.  What an awfully long time to be always anxious.  What a toll it must be taking on my body and spirit.”

I played around on the computer for and hour or two.  The world, as seen through my computer, has become filled with images.  I am now often overwhelmed by the volume and speed with which the world of art can be viewed.  An hour took me from the cave paintings of Lascaux, through the Renaissance, Post Modernism, and back again.  I came upon some photos of Joan Mitchell’s newest paintings.  Having seen them before and been truly moved, this morning I flipping through them quickly, feeling unmoved.  I found myself thinking this disparaging thought:  ”It is purely aesthetics.  It has always been nothing more than aesthetic sensibility.  Why, as a young student, did no one tell me this?  I may not have wasted this life!”  In my funk I did not stop to acknowledge that these art-objects – not their photos but the works themselves – embrace and encompass all that is of the human experience.  Instead I became anxious to an extreme.  Fearfully I leaped out of my seat thinking, “I don’t want to see any more.  All these images, all these paintings throughout the centuries, overwhelm me.  I can’t, I don’t want to look at them!”  Five minutes later I was in my new winter studio, now flooded with morning light, finding the most beautiful orange line as I reproduced a nude drawing onto a sheet of watercolor paper already drenched in yellow.  My spirit relaxed and suddenly all my faith, which moments before had abandoned me, returned.

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A Third Gesture

After 2 weeks I’ve finished another watercolor. This one is titled “A Third Gesture”. Several times I had brought it to a place which left it ‘finished’ but emotionally unsatisfying. It did not want to be solidly rendered with large graphic divisions. I did not want to be easily resolved. It most definitely did not want to be Yellow! It’s end result is similar to gestures sketched in space by the hands – one, two, three. So many of these paintings now have come to be an exploration of the nature of memory.

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Select Exhibitions

Aberson Exhibits “A Natural History Part Five”     Tulsa, OK     2009

Farrell Fischoff  Gallery “Unbroken”     Santa Fe, NM     2007

Joseph Gierek Fine Art “Commencement”     Tulsa, OK     2006

Lincoln Center “Paintings From OFF THE MAP”     New York, NY     2005

Miami Dade Community College – Mary Washington College Museum – The Wisterieahurst Museum – Anna Marie College

“Egg Tempera: An Enduring Tradition”     2003

The Foothills Art Center “Northern New Mexico Printmakers”     Colorado Springs, CO     2003

Butters Gallery “A Natural History Part One”     Portland, OR     2001

Joseph Gierek Fine Art “Another Horizon”     Tulsa, OK     2000

Galerie Mireille Batut d’Haussy “First Seed”     Paris, FR     1999

Marie Park “Serial Style”     Dallas, TX     1999

Site Santa Fe “A Tribute to Monothon Printers”     Santa Fe, NM     1997

Stan Berning Gallery/Studios “Nine Shows”     Santa Fe, NM     1990-94

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Selected Public Collections

Merrill Lynch

Bank of Tokyo

Hilton Hotels

Hallmark Inc.

MCI Telecommunications Corp.

Volvo of North America

Hyatt Hotels

U.S. West Communications

Compaq Computer Corp.

United Airlines

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This is a show proposal I recently prepared for a museum specializing in the figurative arts.  I imagined this to be the foundation for a catalogue raisonné

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Stan Berning

“A Figurative Derivation”

paintings from 2002 to present

The medium in which I first discovered my voice was watercolor.  This fluid paint, rich in the mythos of unintended consequence, taught me to believe in the accident as a tool to enlightenment and forward progress.

As a young man, just arrived to New Mexico, I drove for Pony Express, a courier service.  My route took me between Santa Fe, Los Alamos, and Espanola at all times of the day and night and through all seasons and weather.  In the triangle between these three cities lies a geology forming one of the most beautiful places on earth.  As I drove I would come upon constantly changing natural visions of cloud, desert, mountain, and sky.  I practiced memorizing those rapidly disappearing vignettes.  Taking them home with me, I would then try to paint them.  While studying the layering of a mist — a horizontal band of white and gray turned pinkish in the early morning light and as seemingly substantial as the earth itself with the peaks of the Jemez Range sitting firmly above and upon it, the golden autumn cottonwoods along the Rio Grande river meandering below — my permeable subconscious was plumbed to its depths as spaces were rearranged within my chest.  The experiences of those drives, reinforced and made indelible by my exercises in memory and visualization, have continued to influence the work I create, making possible many of the stacked spacial arrangements of my architectural series and guaranteeing even my most nonrepresentational work’s impulse towards the majesty of the landscape.  Twenty years later the late days of the high summer of my career would find me in a 2000 square foot studio in Santa Fe, NM.

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From the skylight, 20 feet above my head, I am bathed in a perfect well of light.  I stand at my work table mixing paint.  Before me on a large rolling easel sits a 4 x 6 foot painting.  Described within the plane of this picture are vast tectonic plates moving and shifting as they contend with one another; a subtle and endless movement intended to hold the viewers attention… forever.  The painting, divided nearly in half by aggressively incised lines made with a large metal straight edge and the nub of a blunt plastic pen, has reached the stage where all egg tempera paintings eventually must go.  I work in silence, carefully mixing the paint to exacting hues and, with a small brush and infinite patience, carefully modulate these final moments in search of a perfect balance.  An admirable journey of thousands of images done over the years has brought me to this one painting.  It is not the best painting I have done.  It is only another painting – a link in a chain of paintings – but it is the last painting of this series of wildly popular images which has been 15 years in the making.  I am not aware, at this moment, that this painting is the last.  It is the autumn of 2001.  I am 50 years old.  I do not realize summer is coming to an end.

The brushes have been cleaned and neatly returned to my work table.  The painting has sat, all night, in the darkness, waiting passively as I have slept.  Over my first cup of coffee I take one more hard look and decide it is finished.  It is moved to a corner of the room and out of my field of vision.  I pull out another white gessoed panel and place it on a second paint spattered easel. During the course of the day I have lunch with friends, take my dog for a walk, and mix the mud of five different pigments which has become my black and starting point.  Towards evening I take the largest brush from my can of brushes and begin to slap large quantities of this mixed-black upon the surface of the board.  I take my aluminum straightedge, make my first cut, and … stop.  I have seen this mark before.  I make another mark, this one dissecting the first at an odd angle, and stop.  It is so familiar!  All evening I search and find no new point of entry.  During the next few weeks I try several different mediums.  I return to the print studio, which had always before jarred me awake.  Much to my chagrin, the door remains closed to me as if, while I had slept, an unremembered dream had placed all the images of my past, one upon the other, before my eyes to form an impenetrable wall.

When the tools and elements of image building are put in the service of ‘product creation’ it becomes possible for a person to know a thing so well that they lose awareness of the broad world of unknown possibilities which surround them.  I had come to know myself too well.  In the surety of my own hard won competence I had lost sight of The Mysteries; all those things we do not know, the discovery of which is the true source of creativity.  My way had been firmly blocked.

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And so began my long search for a new aesthetic vocabulary.

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The subject upon which I chose to hang these new explorations was the human figure.  Giving little thought to the more profound consequences this decision would have upon my personal and artistic life, I chose the figure simply for its quality of opposites to the minimal architecture of my recent past work.  ”Perhaps,” I thought, “a new point of entry is on the opposite side of this thing called image building.”

I began with the monotype for, as I have said, it tends to jar me awake.  I cut stencils based on the contours and silhouettes of the naked body and these were then inked, flipped, turned and printed using multiple passes through the press.  I kept the process as spontaneous and unpredictable as possible.  This work led to a series of 250 prints and an oddly familiar result.  As the images resolved they became, again,volumes of space contending with one another within the picture plane.  What, in the geometries, were tectonic subsurface volumes of strata became, in the figurative context, volumes of sky and cloud.  A new door had opened but I had walked into the same room!  This change of subject had the result of presenting a much different face to the world but my language had not expanded.  I struggled with this new imagery for several years, wanting to commandeer them in my quest for a new and more satisfying approach.  Eventually I realized that I had not turned over new soil.  I was contending with a kind of self-limiting view – the sense of horizons placed too near me – created by the use of similar tools put in service to similar ends.

Like most artists of my generation I took many life drawing classes in college.  I attended a few sessions each year since, simply for the hand/eye coordination exercise it provided.  But as I continued using the figure in my finished work I began attending more sessions.  There is no cheating in life drawing.  In a landscape no one but the artist will know if a tree has been moved or the contour of a mountain changed.  But a drawing of the human body, even allowing for it’s infinite varieties of shapes and sizes, is either accurately rendered, deliberately abstracted, or obviously flawed.  Figure drawing, for me, has always been about getting out of the way while my eyes see and my hands render.

In 2006 I began attending 5 or more life drawing groups a week.  At this time I wrote, “I have been getting eye-aches from these extended periods of drawing….. and a different kind of ache located behind the eyes and deeper in the brain tissue at an overworked muscle or synapses stimulated to its limit.  This has only happened twice.  Each time I have had to leave the session and rest for 24 hours.”  Out of this intensely focused practice of seeing-for-the-sake-of-seeing came a selfless abandon and, with the letting go of personal control came a larger and more deeply experienced perception of both my emotional and aesthetic self.

In 2007 I painted a show consisting of oil pastel studies over grid works of pen and ink drawings.  These explosive color-works consisted of contour figure drawings executed, one over the other, with the expressed intent of achieving a kind of moment to moment forgetfulness.  They became a spiritual exercise in letting go of expectation and fear.  I wrote during this time, “After another day of drawing and painting, I stood looking into an oil pastel of lush oranges, pinks, and whites as aggressive and juicy as any De Kooning.  It is as if I had somehow gotten the fingers of my hands wedged between two parts of the painting process that, up till that moment, had fit together seamlessly and, like two flaps of skin, pulled them apart to expose the gut.”

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In 2009 I took these paintings further by using the figurative monotypes of 7 years past as a foundation over which to build the image.  Using oil paints, I worked with the live model letting the contours, shadows, forms, and feelings found there excite the page.  For a year I refused to speak of them, even to myself in my journal.  They accumulated in a stack at one end of my work table, each placed there when finished and not looked at again. They were, to my mind, artifacts left over from the act of staying in the moment.  I did not ask anything of them.  I did not study them, fearing that reason would murder them.

As I signed and prepared these paintings for a show, I was struck by their lucidity and the pure joy they expressed through color, hue, texture and light.  These improvisations – for that is surely what they are -were about abandon; not the practiced abandon of the well trained craftsman reproducing a known energetic stroke in pursuit of a desired result, but rather, a true and complete abandon which can only come to those who have nothing to lose.  With no thought of preserving the mark just made nor any expectation of the mark to come; with my mind preoccupied in ’seeing’ the figure before me and thus distracted from the normally contemplative judgments of image making, I had danced for that hour or three on the edge of failure as close to the spirit of pure improvisation as I had ever come.  In doing this body of work I rediscovered the joy and excitement of true risk taking, and I realized something quite surprising: all substantive art has, at its source, improvisation.  Those architectural images of my past, which in many cases were so laborious to complete, began as acts of improvisational play.  The excitement and appeal they still convey to the viewer is the result of the joy I felt while drawing out of those muddied black surfaces an image new to the world.  For years I had played with that series till one morning I awoke to find the ability to play had left me.  I’ll not soon forget the lessons of joyful play which lie at the heart of these paintings from 2009.

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Set upon this new course, my intention has been to build a creative future by renegotiating my vocabulary both as an artist and craftsman.  By refusing familiar aesthetic resolves I have discovered new and unfamiliar possibilities.  During this period I have dismantled most all those things of which I had become so sure.  It has been a difficult process.  This creative life of learning through discovery is not always an easy one, for revelations can be years in the making while some knowledge is gained by circuitous routes.  In art, as in life, the world is full of rabbit holes.  The act of painting-as-improvisation has placed the greater emphasis on intuitive ambiguity over thoughtful resolution and renewed my enthusiasm for the paint itself.  Looking to the contour, mass, and energy of the human figure has provided me with a varied and seemingly endless physical, emotional, and spiritual resource from which to draw inspiration.

Each day for the last few years I have worked from the model for countless hours until the separation between self, subject, and the materials at hand have blurred.  I no longer ask myself, “What is of me and what is of the subject – what is of my own ambition and what is of the self propelling impetus of the painting?” for I have found myself clothing the naked bodies of others with all the passions, fears, and contradictions of my own fluidly evolving psyche while releasing the image from the tyranny of personal expectation.

In this age, as in every human age, the body presented as subject, object, or metaphor is charged with a complexity of meaning made substantive by context, for as we gaze out from these eyes of ours we find our likeness, both beautiful and profane, staring back at us from the eyes of others.  This complex system of flesh, bone, and brain which is the human body is the result of millions of years of a terrestrial biology striving in its nature towards greater and greater complexity.  It is no secret why the timbre and tone of each painting’s melody — set in space and made physical by its vibrancy of color, compositional structure, quality of line, and surface treatment — is realized in elements mirroring those of landscape, for in my deepest self I remain transformed by those early years studying the vistas of the Southwest, while the contours and crevices of the human form naturally echo the geological and biological features of the planet from which it has evolved.

Watercolors first taught me that in the course of honest exploration there come moments of awed surprise which are the key to all that we, as artists, do.  Having spent the last several years renegotiating the artistic process, I now feel the creative force again flowing freely and powerfully.  As I return each day to my light filled studio, I cherish, with more self awareness than ever before, those personal moments of utter surprise and subsequent revelation, for they make possible this magic thing I do.

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a terrible-beautiful dream

In the street of a small rural town, surrounded by milling people, I was assisting with the lighting of candles.  These candles were then placed inside translucent papier-mâché balloons.  Some were no more than small paper bags clasped tightly in both hands above the head.  Others were slightly larger and attached to fragile wicker frames one could uncomfortably crouch within.  Once each person made the tremulous decision to ascend, they would grasp hold of these improbable contraptions and be lifted high into the air.  The blue sky was soon filled with a hundred or more.  Later, the candle light of each soul flickered impossibly high in a deep night sky.  These pinpoints of light converged or drifted apart in random movement on the still night air; a gathering of fireflies in the complete blackness of a starless night.

With a quick tremor of fear, I thought, “The candles will soon burn out!’” No sooner had this thought come to me than the first of the lights was extinguished and the body of that soul plunged to earth.  Soon more and more were falling.  Two lights came together, were extinguished, and the two fell as one.  From the vantage point of a bird poised just above them, I saw four who had come together.  Their bodies, intertwined, fell rapidly away from me, disappearing into a foggy, obscuring blackness to perish on the desert floor far below.

Standing upon a small hill, gazing up at the few lights left flickering in the sky, I sensed with dread the bloated and decaying corpses that in the darkness surrounded us.  To the man standing next to me I said, “When daylight comes there will be bodies to collect and bury.”

This morning I am contemplating how we humans, awkwardly tangled in dreams of salvation, struggle to lend meaning to a physical world that is most often brutally indifferent.  It may be that the one thing of substantial power left to us is our own imagination.

As a painter, I grew up seeing the world through the prism of art.  As clear and true a prism as any other, art elevated me above the poverty of my everyday existence and conferred upon my life a spirit charged with potential.  That potential seemed to explode onto the public stage on March 3rd of 2005 with a one-man show at New York’s Lincoln Center and the premier of the film Off The Map.  In this very special movie, the story of which is, in part, about a man’s transformation from lost soul to artist, my paintings play a significant and pivotal role.  Though I am forever grateful to the films director, Campbell Scott, for the opportunity to be a part of his exceptional project, out of it came some surprising and devastating personal consequences that left me shaken to the core and in doubt of all I had once taken for granted. Two months after its release, I sold my home and studio and, with a profound sadness, abandoned all ties to the place I’d called home for 25 years.  With only the vaguest of plans and no idea of what was next required of me, I thrust myself out onto the highway in one last desperate reach for clarity.

Originally these stories, posted online at livejournal.com, were intended simply as a travel log to keep friends and family informed of my whereabouts.  The writing and rewriting of them soon became an integral tool in my quest for understanding, healing, and redemption.

This is a true telling of a decisive moment upon which my world turned and, as such, it is a bridge.  There will always now be that which came before and that which followed.  This bridge is for my father.  He never had the opportunity to make his own crossing, but through his music, despite his hard life, he bequeathed me the desire and faith to dream.

Herbert Anthony Berning

1915 – 1965

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Begun in late summer of 2010, these paintings are being done for Sara Eyestone, the art curator for The La Posada Hotel in Santa Fe, NM.

press release 2/2011

Mr. Berning, a resident of Santa Fe since 1981, is a former gallery owner, teacher, author, and well known artist.  A player for 30 years in Santa Fe’s rich cultural scene, his works have been exhibited in such diverse locations as San Francisco, Paris, and New York’s Lincoln Center.  In 2005 his paintings became the focus of the film OFF THE MAP starring Joan Allen and Sam Elliott.  On display in the ballroom through the summer are his most recent, vibrantly hued and wholly realized abstract oil paintings.

Evocative of the New Mexico landscape with its sweeping vistas and ever changing light, these dynamic paintings are from Part Five of his NATURAL HISTORY series.  Known in the past more for his printmaking and large scale work in watercolor and egg tempera, on display in these oil paintings is a virtuoso use of color by a generously spirited and always exploring artist.

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FLAMINGO

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Autumnal

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Ambitious Love

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Fishing

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Flurry in Violet

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Solar Fold

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A Desert Walk

Three 16″ x 16″ panels were used to make this 48″ long painting.

I present each panel here and then the whole.

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Resting Gray

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Winter Solstice

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Push

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Anchorage in Black and Yellow

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Red Queen

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Tattered Blue

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Velvet Cleft

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A Natural History Part Five #63

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A Natural History Part Five #45

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A Natural History Part Five #53

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A Natural History Part Five #59

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A Natural History Part Five #61

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