When I was at Sacramento State I took a class from Jim Nutt. I loved his work
and was excited to be taking a drawing class with him... the first day all of
use were sitting in the studio waiting for Jim to come in and "teach".... none
of us it seemed know what he looked like... after about 15 minutes of just
waiting one of the "students" got up and simply said "draw"... he had a
basketball under his arm and left the room to play basketball... This went on
for a couple of weeks... one day I followed him out of the room and he went
into the mens room... I stood at the urinal next to him and simply told him I
took the class because I wanted to work with him... after that he stayed in the
class and worked with each of us... turned out he was just shy and didn't
interact well with groups of students....
I also took several class with Bill Allan... I remember it was a graduate
level critique class and he told us to either bring a bottle of good wine or a
six pack of beer... we sat around looking at each others work and got drunk....
John
guido bondioli <[EMAIL PROTECTED]> wrote:
--- Dragonfly Dream <[EMAIL PROTECTED]>
wrote:
>
>
> > Diebenkorn
>
>
I had many meetings with Diebenkorn in the 60/61
school year at California School of Fine Arts, 800
Chestnut. SF, CA. I had a good time. I knew right away
that there was little serious going on there.
Diebenkorn insisted that he didn't know about art:
"Perhaps I don't know about art." That was the only
thing I ever heard him utter in many critiques I
attended. He looked! He looked and pulled at his GIANT
eyebrows and then that one line, and he would leave.
It was unbelievably expensive; that one line. Some
teacher I had busted my ass to study with.
It reminds me Of Neri's inconclusive references to
this junk and that junk, comparing all the results
from a particular exercise. It was all junk as he
expressed himself.
A line I got from Bischof; Its just right to go back
into. What a great line. I use it often. He used it
because he was often speechless. Words seemed to flee
from him as wild horses running over the dunes. I use
the line because I see the contrast spread is thin and
the shape structures are all the same and there is
unclear overlap in the spacial array. Or worse, mixed
motives in the marking patterns. OH! It looks just
right to go back into. And then do a diversion into
some boring story about my student contact with
Bischof.
Diebenkorn seemed least informed and least articulate
of all. The blessing in the interaction is knowing
that Art Stars are stars for something other than what
they know about making an artifact. In a way all
artifacts are equal. I happen to like those that are
full of visual cues. I couldn't find out about visual
cues from the people at CSFA. Diebenkorn added his
prestige to the murkiness and opacity of the whole
educational process.
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