What is abstract art good for? What's the use - for us as individuals, or for any society - of pictures of nothing, of paintings and sculptures or prints or drawings that do not seem to show anything except themselves? - Varnedoe, 2006


Tom Corrado (tjc123@midtel.net)

cv

In a letter to her sister-in-law, Susan Gilbert, Emily Dickinson wrote "subjects hinder talk." I like that. I'd rather not pick a subject. I'd rather play with indeterminacy, thereby better inviting the collaboration of the viewer into the experience of a painting. No subjects or representations, but colors and movements and textures - "pictures of nothing" (Varnedoe, 2006) - informed by the Japanese practice of "zuihitsu," letting the "wandering brush" - or in my case the painting knife - take me wherever it wants to go.

Wednesday, November 25, 2020

Marcia Myers (1949-2008) layered the pigments along with marble dust and clear acrylic varnish, combining many layers to achieve the luminous depths and vibrant colors that define her paintings. Instead of layering the powder pigments into fresh plaster as in the frescoes of Pompeii and the Renaissance, she produced her frescoes by layering the pigments and marble dust on to clear varnishes and glazes, thus displaying a thoroughly modern take on the ancient medium. Using the powder pigments allowed her to make the most of each pigment's properties. While the ochres created a more opaque surface, the reds were more transparent. Lapis lazuli pigment stayed suspended in the medium, thus shimmering in light. 

flower
acrylic on gessobord
12x12"
2020


Sunday, November 22, 2020

 My older daughter Tara's "untitled" acrylic painting . . . on the shoulders of  Joan MirĂ³.

untitled
acrylic on canvas
12x16"
2020


Sunday, October 18, 2020

I have been in love with painting ever since I became conscious of it at the age of six. I drew some pictures I thought fairly good when I was fifty, but really nothing I did before the age of seventy was of any value at all. At seventy-three I have at last caught every aspect of nature - birds, fish, animals, insects, trees, grasses, all. When I am eighty I shall have developed still further, and I will really master the secrets of art at ninety. When I reach a hundred my work will be truly sublime, and my final work will be attained around the age of one hundred and ten, when every line and dot I draw will be imbued with life. - Cleve Gray

cow
acrylic on canvas
24x36"
2020


Saturday, September 26, 2020

Two of my paintings - this was supposed to be a chair & tomato are included in the Upstate Artists Guild Goodtime Revival Show which opens at the Art Associates Gallery on October 2 & runs through October 31.

this was supposed to be a chair
acrylic & pencil on canvas
36x36"
2020


Wednesday, September 9, 2020

When I look at [a Cy Twombly painting], I feel I'm on the brink of a formulated thought. Something is about to reveal itself. I'm almost there. I just need a couple more words, a couple more letters. I don't necessarily understand it now but I feel I'm about to. Maybe just looking for a couple more minutes will allow me to see something more, find a word, find an image. Twombly's paintings have this ability to prompt curiosity. - The Canvas (YouTube)

incident
acrylic on canvas
7x5"
2015

Friday, September 4, 2020

To achieve understanding it is necessary not to see many things, but to look hard at what you do see. - Giorgio Morandi

three (after Morandi)
acrylic & pencil on gessobord
12x12"
2020

Monday, August 31, 2020

I feel the ladder sway as the boughs bend. -Robert Frost, After Apple-Picking

after apple-picking
acrylic on canvas
14x11"
2020

Sunday, August 9, 2020

My painting, pumphouse II, is included in the Arts Center of the Capital Region Fence Exhibition, September 11 through November 7. Click here to take a virtual tour.

pumphouse II
acrylic & pencil on canvas
20x20"
2020

Thursday, July 9, 2020

I have no idea where a painting will end up, but I will recognize it when that happens. I am not a template painter. This is just not in my nature. I am patiently restless. - Lawrence Carroll

more or less
acrylic on gessobord
12x12"
2020

Sunday, July 5, 2020

My line is childlike but not childish. It is very difficult to fake . . . to get that quality you need to project yourself into the child’s line. It has to be felt. - Cy Twombly

then, again
acrylic on canvas
40x30"
2020

Wednesday, June 24, 2020

This b&w image of my BIG PIG is on the cover of the July Broadside for the Green Kill peer-to-peer artist space in Kingston, NY at greenkill.substack.com.


Wednesday, June 17, 2020

The meaning of the work is in the doing of it. - Cy Twombly

at the free throw line
acrylic on canvas
30x48"
2020

Sunday, March 1, 2020

Rather than the artist expressing him or herself, it is the art that expresses the artist. - Pat Passlof

pumphouse I
acrylic on gessobord
12x12"
2020

Monday, December 30, 2019

Only recently, I have let go of that part of me that self-edits. The part that says, "That’s too personal, I can’t let people see that about me." And, it’s not that I am not afraid, I am. It’s more of a "do-it-anyway" kind of thing. When I think about my life and my work, three aspirations come to mind: striving for courage, honesty, and generosity. Not so easy. But it is important to let go of any pretense, and just be who I am now. - Margaret Glew

attitude
mixed media
26x15x9"
2010

Monday, December 23, 2019

. . . I often have my paints far away from the painting. This forces me to step back and slow down and look. I need that physical distance from the painting when painting, this distance is very important to me. - Lawrence Carroll

introibo
acrylic on gessobord
12x12"
2019

Friday, December 20, 2019

The happiest part of making paintings is when they go out the door and into the world. - Agnes Martin

crux
acrylic on canvas
6x6" (x3)
2019

Wednesday, October 16, 2019

Abstract is not a style. I simply want to make a surface work. - Joan Mitchell

pickle
acrylic on canvas
12x9"
2019

Saturday, May 4, 2019

My (BIG) tomato is included in the Arts Center of the Capital Region Fence Salon Show which opens May 17th.

tomato
acrylic on canvas
48x36"
2019

Friday, April 5, 2019

I may often get impatient with [Cy] Twombly's showoffy irresoluteness and fustian poetic conceits, but if I try to imagine the art of our time without his exceedingly human presence in it, I feel a global chill. - Peter Schjeldahl

kedem
acrylic on canvas
20x20"
2019

Wednesday, January 30, 2019

To see in order to paint. To paint in order to see. - Etel Adnan

flag
acrylic on canvas
24x48"
2010

Sunday, December 2, 2018

I'm not an abstractionist. I'm not interested in the relationship of color or form or anything else. I'm interested only in expressing basic human emotions: tragedy, ecstasy, doom, and so on. - Mark Rothko

apropos
acrylic on gessobord
14x11"
2015

Thursday, November 15, 2018

The secret to [Warhol's] majesty is that he was a square citizen, untroubled by ambivalence and having no use for irony. - Peter Schjeldahl

inadvertent
acrylic on canvas
40x30"
2018

Wednesday, October 31, 2018

A painter is doing what? Copying nature, perhaps, creating abstractions, and everything in between, and I’m doing none of those. I’m using paint in a kind of experiment to find out what happens with the paint, . . . - Marcia Hafif

in just
acrylic on galvanized steel attached to panelboard with nuts, bolts, & washers
36x24"
2018

Tuesday, October 30, 2018

You've been making the wrong mistakes. - Thelonious Monk

Blue Monk
acrylic on canvas
10x10"
2005

Tuesday, September 11, 2018

I swear if I had to do this over again, I would just do the paintings and not show them. - Cy Twombly

reader
mixed media
50x12x8"
2014

Sunday, May 6, 2018

My BIG PIG oinks its way into the Arts Center of the Capital Region Fence Salon & Select Shows 2018 from May 18th to the end of August.

BIG PIG
acrylic on canvas
36x48"
2018

Saturday, May 5, 2018

Slow painting is an actual stance, an intention and practice shared by other contemporary painters who, without constituting a movement, collectively insist on a phenomenological experience over a connotative one. - Stephen Westfall, Slow Painting, Art in America, February 2018

the beauty of footnotes
acrylic on galvanized steel attached to panelboard with nuts, bolts, & washers
36x24"
2018

Friday, May 4, 2018

I painted myself out of my painting. - Milton Resnick

must memory fade?
acrylic on canvas
40x30"
2018

Saturday, July 29, 2017

Four of my paintings are included in the Upstate Artists Guild's Members Show at the Albany Barn: Stage 1 Gallery, August 4th through September 22nd.

imperfection study #1
acrylic on galvanized steel attached to panelboard with nuts, bolts, & washers
13x36"
2017

Monday, July 24, 2017

We can see perfection in our minds but we can't make a perfect painting. - Agnes Martin

sous chef
acrylic on canvas
12x9"
2006

Saturday, May 20, 2017

Two of my paintings are included in The Arts Center of the Capital Region Fence Salon Show, May 18th through July 2nd.

utopia, day 2
acrylic on canvas
20x20"
2017

Wednesday, March 15, 2017

Openings

The impastos and gouaches in the small gallery
on the third floor, the long-limbed bronzes
crowding the poorly lit hallways, the after-hour
departures rehung as an homage to the lives
of the long coats and wide brims that filled
the spaces between the shows and now daily wait
for the commuter train and the safety of the suburbs
are not unlike the visitors who drift through,
stopping occasionally for a closer look
at the work of the brush or painting knife,
the blending of color, the play of light and dark,
scribbling their lives, page after page,
revision upon revision, against the collage
of empty limbs in the courtyard moving to the rhythm
of the wind amid the color fields of seasons
with their unmet promises, their table settings,
their half-filled water glasses.

three squares (a day)
acrylic on canvas
6x6" (x3)
2017


Thursday, March 2, 2017

I paint to figure out how it works. - Robert Ryman

me too!
acrylic on canvas
20x20"
2016

Friday, December 23, 2016

One of the valuable things [abstraction] does more fiercely than a lot of other art is to make us think and read what others think. - Kirk Varnedoe

pink tower
acrylic on canvas
48x24"
2016

Friday, December 16, 2016

We have been trained to see painting as "pictures," with storytelling connotations, abstract or literal, in a space usually limited and enclosed by a frame which isolates the image. It has been shown that there are possibilities other than this manner of "seeing" painting. An image could be said to be "real" if it is not an optical reproduction, if it does not symbolize or describe so as to call up a mental picture. This "real" or "absolute" image is only confined by our limited perception. - Robert Ryman

red tower
acrylic on canvas
48x24"
2016

Friday, December 9, 2016

There are no mistakes. - Miles Davis

gray tower
acrylic on canvas
48x24"
2016

Friday, December 2, 2016

Stop before you're done.

yellow tower
acrylic on canvas
48x24"
2016

Wednesday, November 23, 2016

Two of my paintings are included in ARTBAR Gallery's ART for the Holidays 2016 Show, December 3rd through the 30th.

a mind of winter III
acrylic on canvas
20x20"
2016

Wednesday, August 3, 2016

Three of my paintings are included in Upstate Artists Guild's Members Show, August 5th through the 26th.

misplaced modifier
acrylic on galvanized steel attached to panelboard with nuts, bolts, & washers
36x24"
2016

Friday, July 29, 2016

No whiteness (lost) is so white as the memory / of whiteness. - William Carlos Williams, The Descent

. . . and this is your house II
acrylic on canvas
40x30"
2016

Thursday, June 2, 2016

I have paintings in shows at

The Arts Center of the Capital Region (through June 27)
The Bethelehem Public Library for the Pine Hollow Arboretum (through June 30)
The Upstate Artists Gallery (through June 30)

. . . and this is your house
acrylic on canvas
12x9"
2016

Monday, March 21, 2016

. . . it does not matter what one paints as long as it is well painted. - Mark Rothko

don't go
acrylic on galvanized steel
attached to panelboard
with nuts, bolts, & washers
36x11"
2016

Tuesday, November 10, 2015

The Snow Man

by Wallace Stevens

One must have a mind of winter
To regard the frost and the boughs
Of the pine-trees crusted with snow;

And have been cold a long time
To behold the junipers shagged with ice,
The spruces rough in the distant glitter

Of the January sun; and not to think
Of any misery in the sound of the wind,
In the sound of a few leaves,

Which is the sound of the land
Full of the same wind
That is blowing in the same bare place

For the listener, who listens in the snow,
And, nothing himself, beholds
Nothing that is not there and the nothing that is.

a mind of winter I
acrylic on canvas
20x20"
2015



a mind of winter II
acrylic on canvas
15x30"
2015

Tuesday, September 15, 2015

[Agnes] Martin’s negotiations between image and thought, the author believes, were central to both her art and her often troubled mental life. Not until after the artist’s death in 2004 was her diagnosis of paranoid schizophrenia publicly revealed. Martin heard voices. Occasionally she fell into catatonic states. Found wandering the streets during a psychotic episode in 1967, she was committed to Bellevue, where she underwent shock treatment. - Patricia Albers, On the Grid: Two New Books About Agnes Martin, The New York Times Book Review, June 25, 2015

tree too
acrylic on canvas
36x36"
2016

Friday, July 3, 2015

on a roll
acrylic on canvas
48x30"
2015

Thursday, June 18, 2015

Twenty of my paintings are on exhibit at the Arts Center of the Adirondacks (Blue Mountain Lake) today through July 18th.


Sunday, June 14, 2015

What's the matter with our art? We're too well qualified. - Morton Feldman

new day
acrylic on canvas
40x30"
2015

Tuesday, June 2, 2015

Painting, for me, is like an excavation site. As I develop layers of line and color and idea, some images are buried and new ones emerge. During the process, I discover meaning in the disparate clues and create a new "civilization" as a painting. . . . As I "excavate" each theme, the element of surprise keeps me engaged. - Barbara Moody, Montserrat College of Art

#51 (primary)
acrylic on canvas
48x24"
2014

Saturday, May 9, 2015

Like in Japanese gardening, you want to allow some leaves to remain when you're sweeping a path so it will feel natural. - John Zurier

#70 (mi casa es tu casa)
acrylic on canvas
24x48"
2015