Hillel's Description: Intimate Moment Series
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Instead "searing" is a word that comes to mind with this work - it might even represent the opposite of it's languid title. Although magnificently rich in colour, and heavy with form, there seems to be a struggle going on here that would remotely suggest a Goya or Bacon to me, only different.Retaining a "humanness", it barely scrapes through as a figurative piece. That sure is a curious path you're treading there Kagan. Now push on some more.
Your work is very accomplished. In it I was reminded of Giacometti, Caravaggio, Edward Hopper, David Hockney and a lot by Francis Bacon. I’m impressed, well done.
Haven't you noticed the tumbleweed blowing in the dry dust, the silence, and that there simply is no-one, David? The artists left here years ago. ArtProcess is long-deserted, and been abandoned to it's assured fate of slow demise and of one day disappearing altogether. Haha...! Sounds like a bad Western.Anyway, well done - you did pick one of the best of the lot to comment on, to my mind. I even had the honour of meeting Hillel once - and he is a true artist. Got to see some of his work in real life too - beautiful, (and surprisingly) delicate painting. The photos unfortunately lack the intimacy of the colours, and how they are applied.Reading some of what he's written on AP, you may get to appreciate a person with an enjoyably cynical sense of humour, replete with humane insight.
Ha ha , you could call the site "The Dead Artists society". Why did it die, reading the comments and following the links was so interesting.Here's another parody name "The silence of the Artists"! Your right this mans work is really good. Have you any idea where all these artists are now? I went to a couple of their websites. By the way where are you now, I sent you an email, drop me a line, I have a few ideas id like to chat with you about.
Well the artists themselves are very much alive (and concentrating on what they do) I hope. However, why this attempt at forming a little "society" died - I'm not quite sure. I suspect it may have begun with an offline meeting and group exhibition I co-organized in 2007. It turned out that I'm pretty useless at organization, and the event was a bit of a disaster. After voicing their anger with me (you'll find some of that in the forum), the artists probably figured that there wasn't much to be gained by participating anymore, and moved off to better sites.Objectively looking at the AP project in general, it sure was one monumental waste of time - individually, from all the work I put into it, and collectively on the part of the artists who uploaded their work and their comments.Still, as I write this comment, and look at the image of Hillel's painting, I'm glad I had a little part in bringing attention to his, and to his fellow artist's work.What the hell, it's just another entry in that ever-lengthening list of my failures, eh? You gotta laugh...
LOL Paul, you remind me of Frank Spencer in "Some mothers do have em" where he declares that he is a "Failure", you can see it here:https://www.youtube.com/watch?v=cdkagGGyiQAIts hilarious!You are so hard on yourself. Its a pity your forum here died , I suspect that most artists in the end want to be personally successful and that's why they have personal websites. Also it was probably unclear what you wanted to get from the project. You need to be rewarded for your efforts everyone does and in the end that's what keeps the momentum going.Artists talking to each other is interesting enough but in the end artists want to sell their work to collectors who will make them some money and enhance their reputation.
Thanks David for your comment and associating my work with the artists you mentioned starting with Gicometti, quite right. However when I saw your post a few days ago and also the image of my painting (yikes!!) instead of replying right away I set about trying to get a better photo taken, at least one that slightly approximates the actual painting. Either I was drunk or most likely it was the best I could do at time when I uploaded the image originally, probably both of those things. No wonder JP used the word "searing" above. My daughter paid paid me a visit and she took a better photo with her iphone than I ever could (it's now uploaded).JP's wrong (Hi, old friend thanks for the cal. I hope you got my email) not only in his estimation of my talents but his assessment of the current state of AP. It was always a valient effort on his part. A waste of time, no doubt but what isn't? I doubt that the Trapani exhibition had much of an affect one way or the other. In my opinion AP was a site where artists in theory could have dialogue with other artists. The problem was, and you hit on it David, artists just want to show and sell their work. For that there are much better sites. Still the idea of artists talking to artists still intrigues me. I don't just mean commenting on each others work - that becomes boring quickly and few have the audacity to truly give an honest opinion. But the broader idea of artists talking about all manner of things still seems to me to be worthwhile. For me it's the hidden forum section that should be upfront. Artists could still have their bios and portfolios for reference and images could rotate. Of course another part of me is sceptical that artists will talk at all without sufficient lubrication.
Very nice to meet you Hillel.Much of what you say resonates for me. I think Paul will attest to this because it’s how we both first met in the eighties. We were recommended to each other by an artist called Martin Folan who just loved to chat about art, life and everything in between for hours and hours. Sadly, he passed away.I recall many wonderful evenings in his studio in Dublin where he made cups of instant coffee and smoked strong cigarettes late into night while venting his opinions as they formulated within him in real time. He constantly had an entourage of admirers who would call on him day and night. All were welcome at any time it seemed. Martin provided a facility (namely his good self and his fascinating studio) I think, for many otherwise isolated young artists who yearned for appropriate stimulation and simple encouragement which he provided in copious amounts. Personally I loved listening to his eccentric ideas which ranged from organizing funerals for sparrows to impromptu traffic blocking parades through the city center. He was both contentious and flamboyant in the most charming manner. He introduced Paul and me to each other around 1984 and we have been friends ever since. I sometimes think he introduced us to each other to relieve the burden on him of too many visits to his studio. At the time my studio was about ten minutes away so he sent Paul around to say hi one day. Later I used to visit Paul’s studio which was an empty medical clinic I think and an amazing place to explore. Paul’s last Dublin exhibition was held. It was mesmeric because he painted everything in the studio white, a kind of cleansing of his psychic before he embarked on his next adventure in Italy. Throughout the ensuing decades Paul and I have kept in touch all be it intermittently at times but it’s been my experience that the best long term friendships are like that, they flip by like chapters in a book, no matter what happens you know the plot demands one more episode at least.Perhaps this is the case with Artprocess, it slumbers and then like the dragon it awakens again. So I agree with you Hillel, discussion is fascinating and entertaining. Interviewing people is interesting, I mentioned that to Paul a while back to perhaps have a section where he or we could interview various artists. Personally I like reading that kind of think, I’m a great talk show fan………lol!Anyway its very nice to meet you here Hillel and hopefully this is the start of another great plot twist in all our lives.
Crikey Hillel! That new photo of your painting is completely different... you should have that clever daughter of yours visit more often. OK now I really get the title. Those bodies are so deliciously slumped and weighing into the bedclothes. It's quite clear that they were good days (and nights) indeed. Interesting how you used a simple change of tone to pull the background away in the distance like that, and the easy working of the blues allow the rumbustious swirl of the figures settle so well. Yep, in my book, that's an inspiring work Mr.K. And on a square format too.I then wandered off to look at your other works and found this Studio Log LINK. It sort of embodies the original aspirations I had for ArtProcess: An artist-led presentation of her/his process, views of the studio, and interaction with visitors. In fact, just like a real studio visit, but without the bad coffee.Gentlemen, yes I did gladly receive your emails, and many thanks. I've been in a bit of a isolation funk this past year or so. I apologize for my laziness, and I fully intend to reply. Your continued patience with me is most appreciated!Considering David's and Hillel's ideas of what might have been useful about AP, I imagine that artists actually working on shared themes/projects together might also produce some interesting and surprising outcomes. I'd love to try that kind of direction. Given the right spirit, it could be a lot of fun, and would make good copy for the readers.Not sure if there's any collective willingness anymore to breathe a bit of life back into the site, but in theory I'm now available to redevelop it into something a bit more modern, if you're game. I just need ideas, willingness to test, and I really require lots of bitching like "WTF,isn't it ready yet???". Actually, following on David's mentioning of an Artist Interview section, that was an idea originally suggested by Hillel many years ago. I even remember working on the database design for it but somehow the concept never got completed (my fault again).Regarding the sales thing. I'd always avoided that particular can of worms but now I'm facing into needing to start making some money again myself, so perhaps we can even make some explorations in that direction? Selling works the quality of this particular painting can't be that difficult surely? The really hard part is building the correct collective context that will attract art buyers to the site in the first place.The question is, do we really have the wherewithal to get up, dust ourselves off and try again??? Yikes.
David, any friend of Delaney is a friend of mine and Paul for that matter so It's nice meeting you as well. I knew most of those things about JP because I interviewed him for the first ever AP Artist to Artist interview complete with links to images of works and historical photos of completely painted white studios; furniture, ashtrays, cigarettes butts, ashes and all. After all that work JP never got around to publishing it, the real reason being that he was most uncomfortable about being seen as self important, modest chap that he is. Of course that was the whole point of the interview thing. Why should we obscure artists not celebrate our own interests, obsessions and relevance seeing as no one will ever do so? I did not know the name of your common friend and inspiration, now deceased but I see that I can get the book on Amazon. I'm considering downloading it even though the price is a bit steep.JP, I am old and feeble nowadays and I don't know if I have the energy and time any longer to contribute much in the way of content. For instance today was bathing, grooming and toenail clipping day and when I say day I mean it literally takes the whole day and I'm totally exhausted but I am mulling it over and you know where to find me. By the way I'm in no way suggesting AP should have anything to do with sales. In my opinion if this site is to go on it has to be about artists talking to artists just as it is now only perhaps in a broader sense than just visual artists' concerns and comments. Perhaps extending to artists of other disciplines in more of a free wheeling conversation. I have no idea what the interface should look like or how it could possibly create enough interest and traffic to monetize it even modestly but somehow I thinks it's close right now, just a bit of tweaking needed here and there, easy-peasy, simple as pie.
Happily visual artists tend to live to ripe old ages, so get used to plenty more years yet Mr. Kagan. I'm thinking of sending a young Catholic nun over to hold the paintbrush in your hand (yes, I said paintbrush) just like Matisse had the the good sense to do. That should pep you up a bit, though I'm not sure your dear wife, Donna, would be too amused.Your so democratic opening up of AP to other disciplines has me raise an eyebrow - I seem to recall somewhere you bitching about anyone being able to call themselves artists these days - even strippers! Haha... However, I agree that it's a good idea, and had been thinking that if there is to be a next AP version, we'll have articles (as opposed to images of artworks) as the central unit on the site. In that way it can be used in a more journalistic manner. How we'll get the message across to other disciplines I'm not entirely sure though. Anyway, we'll cross that bridge when we get to it.I've decided to take up that Artist-to-Artist Interview (AAI - bit like Alcoholics Anonymous International - dragging confessions out of us) feature you two have been banging on about. I have to wind up some little thing I'm currently working on and should be ready to start by the end of the month (if you're in agreement). If so, I'll be contacting you both behind the scenes in April for 'Use Cases', and eventual verification and testing before publication. Then you'll be free to interview all you like - might even be able to drag ol' Hanjo, Maria, and Karen back to these parts?? It'll be a nice small project that shouldn't take too long. And don't worry, I won't be asking you to do much - just an odd line of reaction now and then will be more than enough.
Hillel,I extend a hearty handshake to you and long may it last.I for one would love to read the interview you did with Paul. Even if one knows the main details of someone’s history, listening to other people’s perspectives by way of questions and interactions is really interesting and entertaining. That’s why talk shows where the host interviews the guest are so fundamentally fascinating.The same goes for biographies. I think the real interest in both is the notion that the audience might see something of themselves in the subject or if not may see something worth emulating. It’s a learning curve in how to be a better person I guess. Its also a way of seeing the pitfalls that may occur and hopefully by learning from it one doesn’t have to endure the actual consequences for themselves. Anyway for a myriad of reasons interviews are worthwhile.About monetizing the site, I tend to agree with you too Hillel. I suppose one could consider the site having a shop where works or high quality prints of works could be sold. The artists could get their cut and the site administrator could deservedly get a fair commission. Interesting content by way of articles, podcasts and interviews could be added regularly and thus subscribers to the site could be given the opportunity to leave donations of any amount via PayPal, or Patreon. I think we would need to try and attract non artists who are interested in eavesdropping on the conversations/antics of artists and might be inclined to leave a donation every now and then and maybe buy a work or two into the bargain. My instincts say that the real income would come from people who like to read great articles and listen to fascinating interviews. Later in the shop you could sell mugs and T-Shirts with Art Process logo emblazoned on them. Don’t laugh, some people might be proud to visibly associate themselves with such an innovative site that is more art for art’s sake than art for sale sake. Also just a thought, video content of art process might be welcome every now and then too.Paul I’m in the same position as you desperately trying to figure out how to make some extra cash mainly to be able to give my lovely little daughter all the opportunities she deserves. I have been looking at many ways of making money on the internet from affiliate advertising to artists selling prints of their work on their websites. It’s not easy and every option seems to demand a lot of time (especially) and effort. The best option I can see is simply having a mega interesting site that has rich content that people appreciate and that some viewers are willing to sponsor out of the gratitude of their hearts because they don’t want to see the site die for totally selfish reasons. Like you Hillel, I am almost 60 and haven’t much time to waste but with the right idea I can certainly drum up the enthusiasm required to make it work. So Paul as I have said before I am on board, if I can just figure out the right path to follow.One final variation of the interview idea Paul is the podcast discussion where two or more individuals discuss pertinent ideas in an accessible way that is both informative and entertaining. That is the kind of valuable content that audiences would appreciate and come back for more. Those are my initial thoughts on the matter. What do you think gentlemen?David
Don't mind him David, he's only winding you up - that interview doesn't exist really (except maybe in his head, or have I just blanked it out?).Something just occurred to me... perhaps if the reason I didn't put together an interview "container" on the site was to avoid it... then what do you think gentlemen, instead of an interview, we had a Conversation? A sort of two-way interview? An interesting question bubbles up in the discourse and each one gets to give his or her answer, in such a way that the role of host and guest are interchangeable?By the way Hillel, do you still have that painting? Has it ever been exhibited?
The interview was completed in 2009. The proof is in your mail boxes and I still have this painting.
Now I don’t know who to believe you Paul who says no interview took place or you Hillel who send me an alleged copy of the interview? We if it’s a fabricated interview it’s a pretty damn convincing one. What I enjoy about personal interviews the most is the “human interest” that is the story about the human experience in all its facets from chronological dictation of events to the emotional consequents of those experiences. In that sense, Paul this is the part of your story that interests me most;“Soon I ended up broke, and sleeping in the streets of Rome. One idea was pretty clear, there was no point in going back. I did want to leave but felt I had to wait around a little bit longer. After all, I was drawing in Rome,and that did have its appeal.I then met ……………………………………………………………I still want to leave.”I want to read more! Don’t get me wrong, the entire story is rich and fascinating, a wonderful episodic narrative. I want more, your life is a real page turner. Now if I were a punter I would definitely be back to artprocess to read more of this kind of material.Very good interview Hillel, interesting and astute questions, well done. Who will interview you in turn I wonder?Paul your idea of a two-way conversation is good but personally I prefer the old fashioned interviewer/interviewee coupling, as it keeps the focus clear so the narrative can be expressed with the right rhythm. Besides insights into the interviewer’s character can easily be gleaned from their style of questioning. A two-way conversation is already embodied in the dialogue.
Paul, just another thought. The two-way conversation could be another subsection on the site under podcasts where you have titles like “JP Delaney and Hillel discuss Futurism, Cubism and the impact of Post-Modernist thinking on a lonely dishwasher”.But seriously you could set up semi-formal discussions on a myriad of pertinent and contentious issues of contemporary interest to an artprocess audience. Maybe something like “In the era of Fake News what about Fake Art or artists?”I liked and found interesting Hillel’s indignation that a self-styled Sunday painter can count himself as a real artist’s peer.
Oh cripes! Where did that come from???First of all, please accept my most profuse apologies Hillel, I should have known better than to think you were just joking, I really didn't think such a thing existed.Secondly, I'm surprised by how much I blathered on - it goes to show how much I intrinsically trust you - not even my wife knows all of that (not that she'd be much interested anyway haha). Strange that I can't recall working on it with you. If you do ever decide to drop the painting [not advisable btw], you've a bright future in journalism with an obvious talent at getting one to divulge... and to not remember afterwards!!As soon the new interview section is ready, I hope you'll allow me to reverse the roles.Also for many years, I've considered the idea that maybe one day I'll try to sell selected artist's works on the internet, and I think that now is the time to attempt that. After the interview stuff is done, I want to do a separate artprocess.com site (this one will remain artprocess.net). Will you let me try to publish and sell your work there?
I'm not sure I know what you have in mind but I'm open to new new experiences. You know there are sites like Saatchi that have been honing the whole selling of art thing for a number of years now. They are selling some works though not all that many for the number of works for sale. The reason being that selling art is just about as hard as making it. As for me we can follow up off-line.
Please, please, please make me one of the selected artists that you want to sell, I need the pocket money :)On a more serious note I think it would do no harm to put a donate button on artprocess. I noticed this morning while reading about the demise of Stephen Hawking that even The Guardian Newspaper online has a donate button!
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