So I suppose I should update this sucker. No idea why as I am speaking aloud in an empty room.At any rate the format of my site will change soon. I don’t like writing blogs/or entries. I generally think I sound pompous or ridiculously self conscious.So. Image based site coming, minimal text- lots of visual delight.hopefully! 

If it sounds fancy thats because it is. The collection is housed in a beautiful new building in Charleston, SC that resembles a ship on the outside and a cruiseship on the inside. My contribution to the collection can be found on this website. In other news we are still fighting it out in NYC. And by it I mean the weather.The Kara Walker exhibit at the Whitney is through but I caught it right before the end on Saturday. It was a moving exhibit and I am most impressed (having seen her cutout and video work before) with the quality of her writing. It is very raw and confrontational, of course, has amazing layers of meaning and context to sort out. 

whats up nobody!

Just moved to NYC.

C

Hello nobody, please visit reduxstudios.org  for a look at our balloon parade promoting last weekend’s benefit art auction. We (Redux) did very well, so all the Charlestonites who love esoteric video installation work, ironic performance pieces, highbrow lecture series and boozing it up at openings can breathe easy- you are safe for at least another season!

On Draftsmanship and Authenticity

In a painting that struggles to maintain the power of human environment, it is important to preserve a level of draftsmanship and authenticity. In particular, cityscapes fall victim to the rules of perspective and texture that every human instinctively recognizes as “correct”. Also weighing in on the collective understanding of a “landscape painting” are hundreds of years of custom and obligation that the genre drags along with it.

If a painting aims to record any kind of perceived reality, it seems imperative to imbue the work with sense of place and authenticity. This acknowledgment of visual fact is a technical tool, it does not immediately define the painting. In history we see fantastic landscapes still harnessing a level of realism in order to create an associative recognition in the mind of the viewer. Dali comes to mind as an obvious example.

To maintain authenticity is not to say that the only appropriate street scene is a perfect parrot of the image itself. Instead, acknowledgment of fact allows any radical deviations the weight of intent. The nod can be subtle but must carry the impact of observed reality.

An unparalleled opportunity to own a C.Terrell print or painting for a pittance.

A show featuring Mary Edna Fraser Batiks, Jeff Kopish welded works, and C.Terrell prints and paintings.
Music, pork and art. A fine time indeed.

DECEMBER 8th, 2007
4 pm - 8 pm

Email : info@c-terrell.com for an invitation and directions

Past works added to gallery.

enjoy

see and bid on work by C.Terrell and others at the annual Redux Contemporary Art Center Benefit Auction.
November 30th, 2007 at the Charleston Institute of Art

www.reduxstudios.org

“He liked to talk about the ‘beneficent radiation’ of his colour, of its power to heal, and he would prop up his paintings like sun-lamps around the bed of a sick friend.” - Robert Hughes on Matisse in The Shock of the New
I can easily imagine these works having a positive effect on your immune system.

Initial sketch for commission piece.