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Artist Sarah Stolar Dismantles the Patriarchy

"More", oil on canvas, 60" x 48", 2018 Artist Sarah Stolar's large-scale paintings are currently on show in a group exhibition at the Elizabeth Jones Art Center for Social and Environmental Justice , in Portland, Oregon. The title of the exhibition is Power Positions: A Dismantling of Phallacies , and as the pun in the title suggests, each of the artists presents work that questions patriarchal power structures by concentrating on women and female expression. In the words of the exhibition prospectus, they "explore themes of misogyny, intersectional feminism, body politics, sex and sexuality, power/empowerment, and systems of oppression." Stolar contributes eleven paintings that nearly all share common themes and method of making. "More", from 2018, is a good example of this style: a woman staring directly at the viewer, her pose and gesture indicating confidence, possession of her own body, even defiance (for example, the gesture of the righ
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New Interview

  A new interview with me is now live on Vimeo via Multiple Arts , a series curated by Liana Voia, who lives in Canada and France. It's a really well-edited piece, with me mostly speaking directly to camera about my life, art, influences, and plans, with detours into the history of twentieth century French art! The interview is part of a series  of dozens of similar interviews that Liana has conducted with artists in the United States and Canada: Here is the video (link here if you want to watch it via Vimeo):

Process Videos

  Beginning shortly before Christmas, I have been regularly uploading short videos showing me (or at least my hands) at work in my studio. Many of them are short hyperlapse videos, condensing hours of work into fifteen or thirty seconds, to fit the Instagram format and recommended length. Ai imagine that by the end of this year I will have quite an extensive archive of my painting and printmaking sessions.  

A Successful Online Exhibition

In my last blog post, I talked about a virtual exhibition of my work that I created via the Kunstmatrix hosting site, and which can be viewed on my website. Last week, I held two online events to inaugurate it -- a preview for the VIPs on my mailing list, followed two nights later by a public event -- and I am pleased to report that both were a success. Both events were broadcast via Zoom, and a recording of the public event is available via my Y ouTube channel , website , or here: About 27 people attended, and I sold ten pieces from the show. But most satisfying of all, perhaps even more than the sales, was the question and answer session conducted by artist/curator Joanne Aono . We agreed that I wouldn't see the questions in advance, and it made for an incredibly interesting and stimulating back and forth.  I hope you look at the virtual exhibition, but I also urge you to watch the Q & A, which begins at around the 30:00 minute mark.

Online Exhibition

  Exhibition opportunities are limited for me due to the pandemic, so I've put together an online exhibition which opens on Friday March 265th. Here is a short video preview of it: The app I used to create the show is called Kunstmatrix , and it enables you to set up virtual rooms through which people can move in a siimulation of 3-d movement, similar to how one looks around Google street view in 360 degree panorama. People can join the opening by signing in to a Zoom call, and then I just share my laptop screen within the Zoom call and perform the virtual walk-through by moving my mouse around. I've "attended" similar online events, but this is the first time I am trying it myself. Report to follow...

Another Life

  I took this photo ten years, in February 2011. There are so many things about it that are so different from now that I feel I'm looking at something from someone else's life: The location is the living room of an old farmhouse that my wife and I owned back then, in a very small town in northwestern Illinois not far from the Mississippi River. The old fireplace, the old wood pocket doors, are all original, but I repainted the walls and put up a faux tin ceiling. The watercolour over the fireplace is something I did back in London in the 1990s. The ceramic vase was from a ceramic artist who had a small workshop and store on the little high street in this town. Finally, I took the photo on a Samsung flip-phone, so it was probably 160 Kb, as opposed to the multi-megabyte photos we all take with our smartphones now. I imagine this is true for all of us: the older we get, we can look back at more than one time in our lives with the amazement of people discovering the ancient Egypti

Photographing my Work

  Every artist knows that you need to have good, high quality photos of your work if you hope to attract any attention online. This applies to: Your website. Blog. Social media. Physical mail such as postcards. We all know this, yet it's hard to get good advice. I am no expert, so I'm merely passing along what I've learned from scouring the internet and talking to professional photographers. So, consider this post a quick source for where to find some useful information, via the following links: In the photo at the top of this post, you can see how I followed the advice. I bought two Neewer softboxes from Amazon ( ) which cost $90. They were well worth the price: very bright daylight-style bulbs, can go up to 7 feet high, and they have an opaque covering over the fr