On an index of U. Our goal is a greener and healthier environment for Dallas ISD elementary schools that will link indoor classrooms with outdoor learning for students and teachers. With the help of students, teachers, and volunteers, we successfully planted a total of trees and created a curriculum-based landscape design for outdoor learning centers. Overview Did you know that school campuses in Dallas are some of the hottest and least shaded urban heat islands in North Texas?
Thanks to a generous grant from the Boone Family Foundation, we are creating greener schools by: Expanding tree canopy cover Creating outdoor learning environments Providing Dallas ISD approved, STEM-based curriculum Enhanced experiential learning We launched this program to for the health and well-being of Dallas ISD students and to provide solutions to deal with the effects of the urban heat island effect in the area. The majority of people painting are not desperate people. They never take that chance. The chance of making a complete botch of it.
And their liveliest work is in the mode. AK: Is to go out the window, yes. To go into free fall. Get a little out of what all your lively friends are doing. Artists can mature, but painters generally take ten or fifteen years of painting to start to really put it together. It may take fifteen years to put it together, and usually people have one burst of creative energy and then they spend the rest of their lives painting the same painting.
They make it better. I felt with myself that I just wanted to move on and out. If I fall down, I fall down. Just the actual painting. I can do things easier.
A little easier. A little more intelligence. AK: My painting is about dominating your idea of what a painting should be — but also what the world looks like. I prefer that to formal invention.
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But after you paint them, they start to look like the painting — rather than the painting looking like the person. How things look and the appearance of things is a variable that most people take for granted as a constant. Most people look at the world passively. An artist looks at the world passively too for a lot of the time, and at this point your vision of things is dominated — like your taste is dominated. Paintings show you what makes things look good, where movies and TV show you about a lot of external appearances. You see faces, Italian faces where it took 1, years to make the mouth, and the head is off a statue and the person is considered a real so-so looking person in New York and maybe to himself.
Those things are fascinating. What was it about those artists at that time? They made big paintings, their surfaces were cool, they were very retinal, like you? AK: I think with both of them — they just buzzed. No question about it.
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It had so much brilliance and innovation. I thought it was really sensational. I found a lot of similarity in the imagery.
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Mine were very external, where he had such openness and invention. It was really quite dazzling. I saw a drawing… it just had so much pizzazz to it. Is it falling back? Is there less to do in painting these days? AK: The art scene has gotten bigger. The New York scene has been a little duller the last years. I think that painting per se has receded a bit.
Stylewise things get a little duller every year. JS: Do you think this is because painting is harder to do or that people are just not interested in ideas that painting does best? What are the bright, aggressive minds doing? I think most of the brighter people, in the last five years, were not in painting.
What did you mean by this? There are some people who are going to like that painting because it is a beautiful lady. AK: It was one of those really slick pieces of painting where I did a whole head of hair with nothing. Just one thing on the edge and no brush strokes. It was basically flat paint — a slight inflection.
When I was painting it I wondered if I could get away with this. Then this painter comes in and it was the fanciest piece of painting in the painting. So that made the painting special. Now some other person would like it for its color or scale, and another person is going to like it because it may represent society at a certain time. AK: Definitely.
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And painters who steal are real good. If this is true, what does that mean to painting? AK: When I went to school it was all politicized. I was about the only person in the art school who was apolitical. I find it basically uninteresting. To a person imbued with a political reality, my work would have very little relevance. What did you mean by that? AK: It has to be an art system. A system to make it art. Without it you have no coherence. You start with art first and you learn how an artist makes a system. You take that system and apply it. What system you use is irrelevant.
The possibility of making a painting and stripping away a lot of content is the whole idea of dealing with an empirical painting of a sort, or dealing with representational painting. The point of painting empirically and representationally is now legitimized possibly for the first time. Representational painting per se was legitimized by Andy Warhol and Pop art. Now doing it empirically is legitimized, too. My paintings are legitimate as modern now.
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