Spell of the Magic Play

Title: Spell of the Magic Play
LC Subject: Painting Acrylic painting Birch painting (image-making) paintings (visual works) acrylic paintings (visual works)
Creator: Green, George D., 1943-
Description: A detail view from the lower left corner of Spell of the Magic Play, which combines three-dimensional renderings of geometric shapes with carefully painted landscape scenes. The geometric shapes break the confines of a conventional picture plane to create an irregular perimeter to the piece. A bright color palette sets off the exposed wood of the piece. detail: Spell of the Magic Play; (1996 press release from Oregon Economic Development Department, Salem, OR) George Green has, for the past twenty years, been a leader in the development of new forms of tromp l'oeil illusionism (painting with photographically realistic detail). Green has had over 50 national and international solo exhibitions and is represented in 44 museum collections including the Guggenheim Museum, the Chicago Art Institute, The Denver Art Museum, the Los Angeles County Museum, and the Detroit Institute of the Arts. He has been represented by the Meyerson Nowinski Gallery in Seattle, and the Louis K. Meisel Gallery in New York City. George Green was born in Portland, Oregon in 1943. The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/
View: detail
Location: The Valley Library >> Benton County >> Oregon >> United States Benton County >> Oregon >> United States
Street Address: 121 The Valley Library, Corvallis Oregon
Date: 1975/2012
Identifier: 1995_osu_valley-library_24_a02
Accession Number: 1995_osu_valley-library_24_a02
Rights: In Copyright
Dc Rights Holder: Green, George D., 1943-
Type: Image
Format: image/tiff
Measurements: 43.5 x 77 inches
Material: Painting; Mixed media; acrylic; birch
Set: Oregon Percent for Art
Primary Set: Oregon Percent for Art
Relation: 1995 - 1997 Biiennium Valley Library Oregon State University, Corvallis Oregon 1995_osu_valley-library
Has Version: slide; color
Institution: Oregon Arts Commission University of Oregon
Note: To view a map of the artwork location in context to Oregon State University, see http://oregonstate.edu/cw_tools/campusmap/locations.php
Color Space: RGB
Biographical Information: I think errors are often unrecognized Acts of God, and should be used as opportunities for self transcendence. Harmony: A sometimes aesthetically desirable state typically achieved by a recourse to entropy at the expense of energy. Making visual energy is often a function of edges. Edges permit interface of seemingly disparate visual systems; each with its own internal logic. The greater the local differences of systems the greater the energy produced. Absent fashion and a parochial view of reality, ultimately everything goes with everything. Abstract/Realism: A dichotomy which is an anachronism useful mainly to some historians as a classification device. In realism pictorial sub-systems always represent themselves first as formal elements (shapes, colors, etc.) In a visual matrix, and second, as likeness or memories of other systems or events. What something is, is always more interesting than what something is about. Favor a direct experience of reality over a symbolic one. My best ideas occur when in a state of flow and are a function of the unconscious mind taking over the role of the conscious mind. I used to do whatever I wanted; now I do whatever I'm told, working beyond "ideas" into an automatic stream of action. Trust in the fruits of chance is necessary for the transcendence of self (intellect) in one's work. For me, the process of painting does not become authentic until the drawing/plan has been violated by acquiescence to unconscience automatic decision making, and the positive embrace of error. This process of change and development thru the acceptance of chance and error is loosely analogous to biological evolution, and with respect to my pattern of change, especially the "punctuated equilibrium" model put forth by Harvard palaeontologist Stephen Jay Gould.