Tom Corrado (tjc123@midtel.net)


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; rather colors and movements and textures - "pictures of nothing" 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.

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 (triptych)
acrylic on canvas
6x6"
2017

Thursday, March 2, 2017

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

journey
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

grey 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 UAG'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 Artist 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

stop & 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



Thursday, April 23, 2015

On Kawara (1932-2014) was one of the leading figures of Conceptual Art. He was best known for his Today series: monochromatic canvases, whose only image was the date on which they were made, rendered in meticulous white letters that look almost printed against fields of red, black, or gray. In 1997, Kawara placed seven of these in kindergarten classrooms around the globe, a social project he called Pure Consciousness, its title borrowed from a quote by Leo Tolstoy, referring to the stillness of one’s sense of self in relation to the passage of time - a Zen-like idea that suggests paying attention to something as basic as the passage of time.

#35 (obelisk)
acrylic on canvas
48x24"
2015

Thursday, November 20, 2014

One wants one's work to be the world, but of course it's never the world. The work is in the world; it never contains the whole thing. - Jasper Johns

#41
acrylic on canvas
40x30"
2010

Saturday, October 4, 2014

I worry about the difficulty of making things, or the difficulty of knowing what to do. I may think, having been working at [painting] all these years, why don't I find it easy, since it's a relatively simple activity? - Jasper Johns

gray area 5
acrylic on canvas
8x8"
2014

Friday, October 3, 2014

Four of my paintings are included in UAG's Outside the Line Show, opening this evening and running through October 24th.

gray area 4
acrylic on canvas
10x8"
2013

Tuesday, September 23, 2014

The Essential Cy Twombly (D.A.P., September 30, 2014), edited by Nicola Del Roscio, is the ultimate overview and most accessible survey of Twombly's work to date, presenting paintings and cycles of paintings, drawings, sculptures, and photographs from his diverse oeuvre.

gray area 3
collage
14x11"
2014

Wednesday, September 17, 2014

Jasper Johns on making art: Take an object. Do something to it. Do something else to it.

gray area 2
acrylic on canvas
6x6"
2014

Friday, September 5, 2014

One of my panel paintings is included in UAG's Members' Show, opening this evening and running through September 26th.

#51
acrylic on canvas
48x24"
2014

Tuesday, May 6, 2014

You just go on your nerve. - Frank O'Hara

#82
acrylic on canvas
30x48"
2014

Friday, November 1, 2013

My painting, Retracing Our Steps to Utopia, is in UAG's Mixed Media Exhibit, opening this evening, and running through November 29th.

retracing our steps to Utopia
acrylic on galvanized steel attached to plexiglass

with nuts, bolts, & spacers
36x11"
2013

Friday, October 4, 2013

Four of my paintings are in UAG's Shades of Gray Exhibit, opening this evening, and running through October 25th.

you will know the ending before
acrylic on canvas
30x40"
2013


Friday, August 2, 2013

My painting, #44, is in UAG's Member's Show, opening this evening, and running through August 23rd.

#44
acrylic on canvas
48x24"
2013

Friday, July 5, 2013

Three of my paintings are in UAG's

Three of my paintings are in UAG's Midsummer Night's Dream Exhibit, opening this evening and running through July 26th.

scene from the airship I
acrylic on galvanized steel attached to plexiglass with nuts, bolts, & spacers
13x36"
2013

Monday, June 17, 2013

Armed with a camera and Artist's Questionnaire, Joe Fig entered 24 artists' studios and documented their day-to-day creative life, covering everything from how they set a creative mood, how they choose titles, how they organize their studios, which painting tools they prefer, to whether they sit or stand to contemplate their work. It's all in Inside the Painter's Studio (Princeton Architectural Press, 2009).

brand new day
acrylic on aluminum attached to plexiglass with nuts, bolts, and spacers
36x24"
2013

Tuesday, June 11, 2013

Channeling the Lascaux Cave painters?

. . . and this little piggy
acrylic on canvas
6x12"
2007

Monday, June 10, 2013

I sit for two or three hours and then in 15 minutes I can do a painting. - Cy Twombly

#33
acrylic on canvas
40x30"
2006

Thursday, June 6, 2013

A painting is not a picture of an experience; it is an experience. - Mark Rothko

#13
acrylic on canvas
40x30"
2010

Tuesday, June 4, 2013

I love refrigerator magnets. Hence fridgeArt: small (7x5") abstract acrylics on magnetized canvases. A painting on every refrigerator!

fridgeArt
acrylic on magnetized canvas
7x5"
2013

Sunday, June 2, 2013

Inspiration is for amateurs, the rest of us just show up and get to work. - Chuck Close

#21
acrylic on canvas
20x16"
2007

Friday, May 31, 2013

My well-worn copy of Jane Waller's The Human Form in Clay (Crowood, 2001) is a great resource for ideas with its bios, descriptions of working methods, and pics of sculptures of 50 contemporary artists who use clay to portray the human form.

Missy
mixed media
16x5"
2012

Wednesday, May 29, 2013

My main advice [to a beginning artist] is to just be in your studio and work and not be worried about the art world. I think the art world should take up maybe 10 percent of your time. - Joan Snyder

#45
acrylic on canvas
36x18"
2009

Saturday, May 25, 2013

Enjoying Suzanne P. Hudson's Robert Ryman: Used Paint (MIT, 2009) which addresses Ryman's assertion that what engages him is not what to paint but how to paint.

in just
acrylic on canvas
40x30"
2010

Thursday, May 23, 2013

The less there is to look at, the more important it is that we look at it closely and carefully.Kirk Varnedoe

#79
acrylic on canvas
48x24"
2012

Monday, May 20, 2013

Favorite films about artists?

Gerhard Richter Painting (2011)
Georgia O'Keefe (2009)
Seraphine (2008)
Art School Confidential (2006)
Agnes Martin: With My Back to the World (2003)
Frida (2002)
Pollock (2000)
Love is the Devil: Francis Bacon (1998)
Basquiat (1996)
New York Stories: Life Lessons (1989)
Camille Claudel (1988)
Painters Painting (1972)
Lust for Life: Vincent Van Gogh (1956)

wolf
acrylic on magnetized canvas
7x5"
2013

Friday, May 17, 2013

On the shoulders of Brancusi?

muse
plaster
16x5"
2000

Wednesday, May 15, 2013

steel wire . . . aluminum foil . . . liquid rubber . . . acrylic paint . . . ear buds

nano
mixed media
58"
2008

Tuesday, May 14, 2013

The fear - and freedom - of abstraction.

#55
acrylic on canvas
48x24"
2013

Sunday, May 12, 2013

Agnes Martin reinvented painting by taking everything out of the painting: colour, composition. The things that are all beneath notice in a painting became the subject of the painting. You could say minimalist in that way, but they take you to a step beyond in perception - the touch and the brush stroke, the way the pencil line was drawn over the surface of the weave of the linen. These paintings exist more like music or mantras than they do like paintings as we knew them. - Arne Glimcher

#67
acrylic on canvas
48x24"
2012

Friday, May 10, 2013

For most modern artists, a picture is not a statement, nor does not emerge from a preconceived plan. Every brushstroke, even the first, is a response to something that has occurred before, on the canvas or in the artist's mind or memory, and will influence what happens next. - Calvin Tomkins in a 2006 New Yorker profile of Jasper Johns

when virtual trees flatten
acrylic on aluminum attached to plexiglass with nuts, bolts, and spacers
9x31"
2013







Wednesday, May 8, 2013

A mystique exists that Agnes [Martin] painted very few works but in actuality, she painted almost daily when inspired and that was with some frequency. However, only a relatively small amount of works exist from such a long and productive life because she destroyed most of the works she produced. Probably no artist has ever been a better editor than Agnes Martin. The rejected paintings were shredded with a mat knife. As she grew older, during the last few years, she enlisted the help of friends (myself included) to destroy the unacceptable works, as it was very hard to cut through the thick primed linen fabric. When I once asked her why she was destroying a particularly delicate and beautiful work, she said, "It's too aggressive, and there's a mistake." Most often that referred to a pooling of colour in one of the works that made the brushstrokes discontinuous. The mistake became an unwanted "focus" in a non-compositional painting, which disturbed its serenity. - (Arne Glimcher, Agnes Martin: Paintings, Writings, Remembrances. Phaidon, 2012)

. . . and this little piggy is green
acrylic on canvas
4x12"
2012

Sunday, May 5, 2013

I have learned to accept doubt as part of the process of painting. - Robert Ryman

gray area 1
acrylic and pencil on canvas
10x8"
2013