#also applicable for Owen Snyder

[i-didnt-do-1t]

Oscar thought he made it obvious that he didn’t want to talk when he left the room to go out for a smoke. His knuckles hurt as he fished for the rolled cigarette in his pocket but the ache didn’t come anywhere near the satisfaction he got out of laying into Kelly like he had.

Now he’d done his part, had money in his pockets, he wasn’t exactly keen on sticking around with Pulitzer and friends, cuz Christ why did old people talk?

He almost sighed in relief when he heard footsteps on gravel behind him because the idea that Morris actually wanted to sit in and listen was ridiculous, and Oscar had been on his self inflicted best behaviour all day around Weasel and Pulitzer and god did he need to say what he was thinking.

“You see Kelly’s face when he found out Katherine is Pulitzers?” He said without turning, striking a match against the rough wall behind him.

“Can’t say I’m shocked.”

Except that voice was not Morris.

“The boy’s too arrogant and too stupid to pay attention to anything outside of himself.”

Oscar didn’t answer, didn’t turn around to look at him, let his hand close into a fist in his pocket and swallowed smoke.

“You look older Delancey.”

Oscar didn’t look at him when he felt a body settle against the wall next to him, felt eyes roaming the side of his face. Didn’t look at him when he answered. He knew Snyder was here, but that didn’t mean he hadn’t been avoiding him. That didn’t mean he expected the guy to follow him out for a smoke.

“Tends to happen when you don’t see someone for a couple of years Snyder.”

“No need to get smart with me. I’m just making conversation.”

“Course you are.”

He fixed his gaze on the curl of cigarette smoke as it wafted in front of him. It didn’t come from Oscar’s cigarette.

“We have a common enemy now though, don’t we.”

Oscar tapped his cigarette against the wall, still refused to look at him, watched the ash fall. “We don’t have a common anything.”

“Not even Jack Kelly? You seemed as delighted to drag him away as I felt watching it.”

He scoffed. “Kicking Kelly’s ass is a perk.”

“I just wanted to say thank you. For helping to bring him home.”

Something churned in his stomach.

Not on Kelly’s behalf, frankly he couldn’t give a shit but he knew what the refuge was like, knew what he would pick had he been given the choice Jack had.

The choice between going ‘home’ and getting the hell out.

Hell, he had already picked. A long time ago.

See he wasn’t a coward like Kelly was, and sometimes violence was easier.

More satisfying, too. (His knuckles burned)

“I miss you and your brother at the refuge you know.” Snyder paused, as if he was expecting the sentiments to be returned, Oscar didn’t fill the silence, hoped that maybe if he gave nothing Snyder would get bored and leave.

Oscar had never been that lucky.

“You were both like dogs. Always baring your teeth. Practically doing my job for me with how you kept people in line.”

“Yeah, thank me by putting 20 dollars in my pockets.”

“Maybe if you come and visit Kelly’s friends once he inevitably makes the wrong choice.

Oscar thought about Jacobs, thought about the way he seemed to stumble over his words and whispered in Kelly’s ear and had his little brother brag about family. “Maybe.”

He stubbed out his cigarette. If Snyder wasn’t going to leave he would.

But Snyder seemed to do the same, and sure Oscar tried to step around him but suddenly Snyder’s hand was on his upper arm squeezing in a way that was meant to be friendly but was just a little too tight to achieve it.

Oscar exhaled through his nose, had no choice but to look at him finally.

His face was as sharp as he remembered, eyes cold and fixed on Oscar’s, a stare Oscar could never remember Snyder breaking first.

He gave him a hint of a smile, something practised and cruel in the way it curled up at the edges, like they were sharing a joke but no else knew the punchline but Snyder.

“I was surprised your brother didn’t join you out here. Pulitzers is boring don’t you think? Old folk are so opposed to progression.”

Oscar looked away first.

All he could do was agree.

#newsies #oscar delancey #Snyder newsies #the delancey brothers #Alex Christian Snyder #god Snyder thoughts have never occurred to me before yet here I am #also applicable for Owen Snyder

[researchcognizance]

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[brianasworkbook]

Laura owens notes

Notes from Laura Owens book: 

- “Beyond drawing in traditional sketchbooks, Owens employs pieces of paper, a computer, a scanner, watercolour paper, small canvases, and large pieces of paper... which are sometimes pricked and turned into traditional cartoons, with pounced charcoal, she also daws directly on the canvas, freehand, looking at a small sketch or with a projector on. This is by no means an exhaustive list but it’s capaciousness suggests the range of tools at Owens disposal as she works toward the painting - the painting that will then be additionally subject to a range of technical approaches.” 

^ From this we can learn the various methods of making that Owen employs when she creates her work. From this I have learned new ways of working and will experiment with these such as charcoal pounces and watercolour paper and process’. 

- She is interested in signs and semantics - language 

- she repeats depictions of ‘nearly’ mirrored elements and symetry askew. Her paintings function paradoxically, calibrating inclusivity and exclusivity, bringing the far away near, materialising contradiction and visually incorperating the narrativity and storytelling 

- Using Adobe Photoshop she drew a series of curved gestures and equally bulbous erasures into these gestures - and then projected images of these gestures onto the panels, taping around thier edges and filling in with flamboyant impasto that rose off the surface almost as thick as the as the stretcher bars. Underneath these impasto elements, Owens hand painted trompe l’oeil shadows, playing with real and and illusionary shading. On the lower parts of some of the panels there was even a scatter of applied pumice stones. 

^This description of the work allows me to better undertsand it. It is often hard to distingush marks and read paintings via digital images so this discription helps me tremendously in undertsanding her work and applying similar methods and techniques to experiment with within my own work. 

- With thier grids, lattces and abstract-expessionist-like impasto strokes, the “Pavement Karaoke” paintings also call to mind various episodes from the history of modernist abstraction, if previously incompatible ones (the grid and the stroke are rarely bought together- Mary Heilmann and Joan Snyders work (1970s) being an exception). 

^ This usage of the grid and lattice is a direct link to my own work. My own work uses the grid as not only an element within the painting but to also reference the ‘bathroom nude selfies” and the bathroom tiles. Alluding to the concept of the internet as a ‘seedy hotel room’ 

- Also interested in silk screening and digitally altering images. Creating a series of paintings based on marketing emails, newspaper articles, childrens stories and motivational posters. 

Laura Owens interview notes: https://www.youtube.com/watch?v=sNpjpS52CE8

Interested in painting as having  wider canon that what was taught- children’s books, newspapers etc having more relevance to informing paintings than we thought

Canvas as an object, paintings as an object, paint as an object, etc

Used high quality house paint 

Screen prints as well (silk screens or flash)

Uses many different textures through her materials (shiny oil paint, matte paint, varnish, velvet, dry, layered, etc), it is about those differences on one surface 

All reference artificiality 

https://www.youtube.com/watch?v=nzxQYUSO6c4

Starts with a word or idea, does site visit, uses context as motivation for starting point 

“Appropriates” images from other people

https://www.youtube.com/watch?v=3XWTzk_YnvA

Responds to space 

Exhibition and painting in one - wanted to push the idea that each painting in itself is autonomous 

Uses projections to help her paint on large canvases, uses photoshop to plan colour and where the colour will be - combination of physical making and computer (ALSO SIMILAR TO MY TECHNIQUE). 

Key elements: 

- bright colours 

- combination of painterly marks and design patterns 

- gestural 

- perspective elements in earlier works

- painterly marks 

- illustration 

- rich colours 

- various methods of painting (spray paint, thin and thick application, etc) 

- thick dashes of paint 

- drop shadows

[portlandrooferss]

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