UPDATED

http://anthonypaloccijr.com/home.html

2011 so far

This is in progress it is a Self-Portrait

This is called "Maggie and I at the Bus Stop" it is about 120"X96" oil on canvas

This is a pastel drawing, a Self-Portrait 30"X22"

This is called "Self-Portrait on Ash Wednesday" it is 24"X18" acrylic on paper

March and Paint

New Paintings from the Year 2011

Acrylic on Wood

About 14" x 12"

"The Elephant in the Room"

Acrylic on Wood

About 20" X 12"

"Tiger"

Brooklyn Diaries 3

Ask me and I'll tell you.

BROOKLYN DIARIES ENTRY NUMBER 2

I Know Where To Find You

END OF SEMESTER

The semester is coming to an end. These are some things I made this semester.

This one is called, "Grad school Gorilla" it is acrylic on paper
This one is called, "Self-Portrait Smiling" it is pastel, charcoal, acrylic on paper
This one is called, "The Davisons on Halloween" it is 6' X 8' and it is oil on canvas
This one is called, "Painting of a Painter on Paper" it is acrylic on paper

This one is called, "Bear" it is Acrylic on paper

toothpaste

Good Day

TRY IT

This may be all done now, give it a day or two.

I give and I take away...days.

dekalb to flatbush 53seconds

DSW SHOE STORE (TONIGHT IS GOING TO BE A GOOD NIGHT) 2minutes 56seconds

dekalb to rockwell pl 1minute 15seconds

just about

I think this is what is in my studio right now. I think it is 8' wide, 6' tall. I think it is Oil on canvas. I think I like what it's doing so far.

Hands and Feet

Fire Ball

Elephant

Spotted Elephant

This painting looks more like this now. It looks more like this now, and less like it did before. Now, it looks like this.

Yoko Ono at the Museum of Modern Art

If anybody needs a thimble...

THE BROOKLYN DIARIES (ENTRY #1)

Elephant

Spotted Elephant 14 7/8" x 12 1/2" Acrylic on Paper

PRATT

I moved to Brooklyn. This is the set up for now.

Supposed to get a studio this coming week. This is the view from the roof top...

The Psychic Tiger

This photograph was taken by our friend, Sara.

These are two videos. This is a new music project I am a part of along with my friend, The Sneaky Mister. We are called The Psychic Tiger. We have a myspace now. The myspace is: www.myspace.com/thepsychictiger

And these are the videos:

http://www.youtube.com/watch?v=54yd-Aow1wQ

http://www.youtube.com/watch?v=pWvI7hwgJiY

Almost...

Probably just one more day and this thing will be all set.

I met some designers who are going to help me hang it for real. There are going to be red curtains on either side of this baby. It is designed to separate in the middle, each canvas will slide behind the curtains that will be up...You'll see. I'll post pictures of it when it is done. The painting is about 14' X 14'. latex/acrylic on canvas.

P-P-Progress

I think I may be done painting tomorrow. I have all day...so...I'm gonna use it.

*First thing's first. That bear needs a fez.

Mural

Hi everyone!

I am painting a mural for Shore Country Day school. It is a circus themed mural. I will post images of it in progress. I am having a good time.

PAINTING

Painting 3, acrylic on paper, 15" by 20" 2010

Painting 2 acrylic and pastel on paper, 13" x 21" 2010

painting 48" x 24" acrylic on wood. 2010

better image of this when I have time and skills. or when i find someone else with both of those things.

I will explain more later, but I feel like these are the first paintings I've made in a long time. This last one posted was the start. That is why it is called "Painting". It is about destruction, I know, more destruction. Painting is, more often than not, about destruction.

That actually might be all I have to say.

self-portraits

"Self-Portrait, June 5, 2010" 10" x 7" acrylic on paper
"Self-Portraits with the Planet Earth" 19.5" x 14.5" acrylic, pen, marker on paper

"Self-Portrait (as an ugly motherfucker)" 10" x 7" acrylic on paper

Motherwell

This is an excerpt from a lecture Robert Motherwell spoke at in October of 1959. The lecture was at the Association for the Advancement of Psychoanalysis at the New York Academy of Medicine.

He speaks firstly of the presence or absence of "objects" in his paintings. He goes on, "When I look at other contemporary artists' work, I do not look first to see whether the works have objects in them or not, but simply whether I am moved." And also, "One might say that one is distressed by the disappearance of the object in painting in direct proportion to one's ignorance of world art, an ignorance that in this day of reproduction is unnecessary on the part of any cultivated human being. One might say that the presence or absence of objects in painting strikes an audience much more than it does artists, that it is essentially an outsider's problem. That in our society most people are so far removed from the making of art makes the audience mainly one of outsiders. This situation can be modified a bit by education, it can only really be changed by a radical alteration in the nature of society, a profound shift in what people are tempted to and allowed to do. In our society art is most integrated in persons under seven, and in patients in hospitals, and these two classes have by far the highest percentage of true artists, in my opinion."

...

"... What really distinguishes an artist from other people - for many other people are creative - is an extraordinary sensitivity to his medium, a sensitivity so accurate and intense that I think perhaps that people who don't have it can scarcely imagine it. What is music but sounded pitches regulated in time? What is painting but a surface-plane animated by patches of color and lines made with hairs glued to sticks dipped in pots of color. And yet, these incredible simple physical elements, in the hands of sufficient sensitivity, can express what every adjective in Roget's Thesaurus denotes, all forty-four pages of lists of words. Painting is a specific instrument, like a string quartet, and no more than a quartet needs objects, though like a quartet, it can imitate any object if one likes, at one's discretion.

Modern art, like many other things in modern life, is a revolt against some crushing aspects of the nineteenth century. Modern art found two ways to fight: one was to get rid of false sentiments in painting, to "purify" it, which is the significance of the cubist revolution, and the abstract developments that followed it. If you substitute the word "pure" for "abstract," you will be much closer to the intent involved. The other revolution on the part of modern art has been expressionism, which is an effort to be truthful about human realities at any cost - in spirit, though often not in means, dadaism and surrealism are part of the expressionist enterprise to be truthful.

In these senses, abstract expressionism is not badly named. It guards the effort to keep art pure, free from false sentiment, and it also is involved in truth at any cost. There are other forms of abstraction that are involved in purity and the consequent beauty, but not in asserting truths; and there are forms of expressionism that are involved only in truthfulness, not purity and its beauty.

Of course all this is a historical enterprise. There is no such thing as art in general, but only the various arts of specific times and places. It obviously would not be necessary to purify the art of primitive peoples, say, the art of a village in Africa, or of Siena in the Middle Ages; nor was it even necessary to make art "truthful" except in modern times, during the last century and a half, when true art has been surrounded by and indeed almost submerged by all kinds of "art," essentially false and corrupt, from Tokyo to Moscow, from Moscow to Paris and London, from New York to San Francisco.

In this historical situation, a few artists try to protect the purity and truthfulness of art, simply from love. To love painting is perhaps irrational to begin with, but I suppose there is something irrational in all love, though I for one delight in it. Those of you who suppose that modern art is either essentially irrational or chaotic or childish or representing some modern form of disintegration exhibit your own cultural barbarism.

On the contrary, modern art is a specific ethical enterprise in relation to specific historical necessities. It is a conscious, mature, and ethical enterprise, on the part of men who deeply love painting, to preserve its integrity and truth. No one likes the resulting product at first acquaintance, so far are we from subtle ethical actions; but everyone who comes to love it cannot do without it; and to watch it's drama historically unfold - its traitors and enemies, as well as its heros and lovers - is a modern Iliad of absorbing interest, like all the great enterprises of mind and sensibility rooted in true ethos."

Keep in mind this was lecture was in 1959, the reference to "primitive people" and "men" are relative to the time.

This was taken from "The Collected Writings of Robert Motherwell"

BLACK WORK (A NOVEMBER TO REMEMBER)

BLACK WORK - In November of the year 2008 I was occupied by a series of small oil paintings consisting of black paint over postcards. They became a kind of symbology or alphabet and signs as I blacked out all of the text and the information on the cards. They were coming out of a period of desperation, frustration and contempt I felt for my school, job and work place. All of the post cards were printed for events by my school. All of the paintings will eventually rot away.

[The Black work eventually carried over into some other works not made on postcards ( seen in the photograph above )]

Ed Sanders - Henri Matisse

WHAT IT IS

Dry Media

I think I called this one something like "sentenced to death" or something self evident like that. It was made from a photo of a Nazi Officer about to be executed after WW2 but I put myself in his position. (it was something to do) 30" x 44" pastel and charcoal.

Anonymous Relative, Pastel Charcoal 2009? 22" x 30"

Chimp In A Suit, Pastel and Charcoal 2010 22" x 30"

Mother, Charcoal Pastel Collage Acrylic 22" x 30" (Now Destroyed) 2007 (I believe)
Self-Portrait 2009 Charcoal, 22" x 30"
Self - Portrait, 2009 Charcoal and Pastel , something like 22" x 24"
Zio, Pastel and Charcoal 48" x 32"
Self-Portrait 30" x 44"
The Fire Escape, 2006-07 Charcoal, 30" x 44"

The Fire Escape (Unfinished) 30" x 44" Charcoal

Self-Portrait, 22" x 30" 2006 Charcoal and Collage

Ruth, 18" 24" 2006 Charcoal

Self - Portrait, 22" x 30" 2006 Charcoal and Collage
Collage, 12" x 12" 2006 I believe.