Sofa-Sized Art and the Modern Residential Wall

Sofa-Sized Art and the Modern Residential Wall

I am a sofa-sized artwork on an off-white modern residential wall. Some might presume I was painted by Bob Ross. But my collector tells anyone who asks if I am an original Ross, that, no, Bob Ross never painted such a large painting as I. She then jabs her index finger at a scribbled name on my lower left, your right: Monet. C. Monet to be exact: Chas. That is probably short for Charles, a strange name for the factory artist who painted me, especially since she and the five other artists in the same row of easels all sign their paintings the same way: C. Monet. It is funny knowing I am a clone, or clone-like. I bet if I had coffee with another version of myself, I would expect they get that Bob Ross comparison. Or, maybe not. I’ll never know. I don’t drink coffee. I am a sofa-sized painting on canvas with a metallic gold, aluminum frame.

The gold frame makes me feel special. I was available unframed, my canvas carefully folded and stapled on the backside of the wood stretcher. She chose the frame, making me stand out like a jewel on my partner in crime, the off-white wall. Between the two of us, the wall and I, we have watched years of television. That’s where I picked up the “partner in crime” phrase. We both have been dying to use that particular string of words, but look at me, I had first dibs! My friend, the wall, doesn’t have a name. He’s just “the Wall”.

When she brought me home, she wasted no time at all deciding where to hang me.
The wall and I have been inseparable.
Two sofas have come and gone.

Comments

Post a Comment

Popular posts from this blog

Jackson Pollock's Over-Splatter

Image
  Jackson Pollock's Over-Splatter,   How They Happened, Where They are Located, Why They Went Unnoted for More than Fifty Years, and How They May be Understood and Put to Use By Sandy Kinnee and Lauren Kinnee, Ph.D. Once You See the Drips You will Always See them PART 2 Jackson Pollock’s Stray Drips (Over-Splatter): Their origins and implications   Abstract   This paper proposes a wholly new method for reconstructing the chronology of Jackson Pollock's oeuvre based on the presence of drips of stray pigment on otherwise cohesive canvases.  Pollock, after having finished a painting and let it dry, moved it to the side in his studio where it occasionally accumulated drips and other marks that were the byproduct of his working method.  These marks, here termed ‘over-splatter,’ are present on both recto and verso of many Pollocks in major museums.  Lavender Mist of 1950, for example, has a large and distinctive red splotch on the front, right s...
Read more

The Mummy's Curse and the Armani Suit

Image
    There’s a reason it’s called rag paper.   For centuries, ragpickers supplied the papermaking industry with cotton and linen. Discarded clothing scraps were the aluminum cans of the past. They provided a livelihood to the unskilled. At the dawn of the Industrial Age, everything changed. A rising bourgeoisie and the success of education lead to increasing demand for printed material. The impact upon paper and the rag   supply chain was unanticipated. Consumption of traditional cotton and linen scraps outstripped supply.   The price of rags rose. When demand for papermaking material exceeded supply, alternate sources were sought.    One long forgotten trove of very, very old rags was rediscovered in the 1800s: linen wrapped Egyptian mummies. A Maine papermill owner imported a boatload of them and removed the linen wrappings. The linen was then converted into pulp with the end product being butcher wrap.   Production of the brown   ...
Read more

Isamu Noguchi and His Nisei Muse

Image
Noguchi Doing Time While it is true that at Poston Isamu Noguchi was neither fish nor fowl not fully Japanese and was in the internment camp voluntarily None of those who had reason to not want him around had the authority to release him He was a perpetual outsider Much like Pollock was portrayed as a cowboy but was anything but Except for Jackson's drinking Two artists doing time in ill-fitting Pigeonholes The book tells the story of Isamu Noguchi's girlfriend and muse during his time in the Poston Internment Camp, located in the Arazona desert where she inspired his famous lamps. CLICK HERE TO BE TAKEN TO THE FULL PREVIEW OF THE BOOK. The book is a limited edition of fifty copies.
Read more