Monday, March 17, 2008

The Spitzer Timeline

Since I'm not exhibiting today, I thought it might be nice to provide a feel for how this whole thing unfolded.

Note: Double-clicking on each image will give you a hi resolution version.

Over the weekend of March 8/9 I started working on a painting of Eliot Spitzer that I planned to give to (a group of NYC and Catskills-based citizens fighting the potentially disastrous expansion of the Belleayre mountain resort that Spitzer had championed) to use as a fund-raising device. When Monday morning rolled around I realized three things: a) a Spitzer painting, since he would likely no longer be Governor, would be of little use to them, b) that if I down-shifted into second, so to speak, I could finish the painting and get it on Wall Street in a timely manner, and c) my painting of Fidel Castro could wait a week or so.

This, by the way, is Big Fidel in its formative stages:

(Explanatory note: Unlike the Spitzer painting, I'm doing Big Fidel in what is called the Obscured Box Technique--where I paint each one-foot square completely then mask it off before painting the next one. This is Big Fidel half done, the point at which I usually unmask the whole thing to see where we are. If you look closely, you can see that each horizontal band is actually composed of five "boxes" that abut each other in sometimes disjunctive ways.)

Big Fidel, by the way, is for sale.

Anyway, back to the narrative: I didn't take any pictures on Monday, but by Tuesday afternoon, The Annotated Spitzer looked like this:

Eleven p.m. Tuesday evening we had this:

Wednesday evening--after the first day of annotation--we had this:

Thursday evening:

Friday evening (and where it currently stands):


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