Memo from the World: Paint Club

by Anna Roxas

Secret societies and hard-line initiations came to mind when the name "Paint Club" was mentioned as the hot new assignment for this writer. Likewise, it was to my relief that there were no soap sculptures on exhibit when I stepped in Markham-Murray Gallery in New York City's Tribeca. The gallery's white walls are lined with canvases: paintings bearing sweeping gestures, short quick strokes, graffiti-like images, collage-work, and in places a thick layer of acrylic paint seemingly applied with a brush or by hand. Each work is intriguing. Each painting draws the viewer in to examine closely the random forms, figures, and text and to discover underpainting perhaps intentionally or unintentionally hidden. Each work exudes its own energy, almost competing with the one next to it.

Jim Murray, artist, part-owner, and current director, did admit that calling the show Paint Club is somehow reminiscent of that notorious film by David Fincher, made even more famous by the actor Brad Pitt who plays one of its leading characters. "It's catchy," remarks Murray. It's also a most fitting description for this new idea. Last month, Markham-Murray Gallery held its third Paint Club session. A result of an inspired conversation "...from a night of drinks with artist friends…," Paint Club was created primarily as an experiment in collaborative painting. Soon, it became a regular informal gathering of around thirty artists, both emerging and mid-career, mostly residing in New York City.

Paint Club in process, March 2000. Jim Murray
is pictured in white whirt, at the right. All images
courtesy Markham-Murray Gallery

How does one join the club? As indicated on their website, Paint Club is a private painting session and has yet to be opened to the public. The gallery provides painting materials, stretched canvases, and drinks. The artists who participate are mostly friends of the gallery director. Yet, neither velvet cord nor slide submissions are involved. If you are invited, you are advised to check personal angst and ego at the door.

Is it an exclusive club or can anyone join the painting sessions? Free paint may be unusual fare at social gatherings, but in Paint Club's painting sessions, it is enough to draw a number of outside inquiries. Due to word of mouth and recent television coverage by a local cable news channel, Paint Club is starting to garner some public attention. For the moment, Murray says, " We are still in the organizational process...." Although pleased with the positive reaction towards the painting sessions, Murray intends to take it one step at a time. He has thought of spreading the cost by asking interested parties to bring their own share of paint. Aside from contemplating the cost of producing such an event, the future of Paint Club is as unpredictable as the art works it has on view.

Collaborative work #17 / March 2000
acrylic on canvas / 30 x 40 inches

Describe a Paint Club session: "We usually call everyone two weeks in advance. In the last session, it was held on the same day as the opening" - probably a nightmare for most gallery and museum curators. Murray was quick to explain that the main reason for Paint Club is to encourage interaction among artists: "We're not getting together to produce a masterpiece or great art, we're just here to meet each other and exchange ideas." But isn't this how great art is actually formed? Minus the competitive spirit and the debates on aesthetics that pervade New York City's bustling contemporary art scene, Paint Club is an unexpected response from the artists' flank.

News of artists banding together is nothing new. In the United Kingdom, Damien Hirst and his cohorts at the Royal Academy of London did organize Sensation in response to London galleries' employment of marketing and hype tactics to promote their stables of artists. As a surprising outcome, the whole exhibition was bought by collector and advertising mogul Charles Saatchi. London's art scene entered the new millennium with a new twist and a whole roster of hot Young British Artists.

Collaborative work #15 / March 2000
acrylic on canvas / 32 x 32 inches

Unlike the whole love-hate affair with Sensation, Paint Club takes a lower profile and revels in the anonymity of the individual artist. The Paint Club statement elaborates,"...we are taking an anti-establishment approach to creating artwork. The day is as much about enjoying the creativity of other artists as it is about making good work." Photo and video documentation of the Paint Club session depict a gathering of various individuals milling about a room filled with paintings in progress. There seems to be a relaxed and friendly atmosphere. Beer cans and bottles are pictured huddling with bottles of paint. The common facial expression of those present seems to be one of serious concentration; people take turns approaching the canvas, while everyone appears to be contemplating their next stroke.

Murray did mention that if artists were initially hesitant to make their first mark, he would step forward and begin, with brushstrokes that would, eventually, be painted over.

Collaborative work #1 / January 2000
acrylic on canvas / 40 x 54 inches

And what about the paintings on exhibit from this Paint Club session? The works themselves are a surprise, evoking an overall tone that could be attributed to one artist. Says Frank Liu, one of the artists who took part in the session and happened to drop by Markham-Murray during the interview, "...it's as if they were painted by one artist...." He then proceeded to search for one of the collaborative paintings he worked on. For a moment, Liu expressed slight confusion in identifying which painting it was. It took some time but, eventually, he found the work and animatedly recalled the whole Paint Club session to his other artist friend, who regretted missing the event.

There are about fifteen works currently on exhibit by Paint Club. Particularly striking for this writer is work #4. Aside from the vinyl wall pieces that run across the back-room wall, #4 is one of the larger pieces in the show. The work is mostly various shades and layers of blues and whites. Almost enveloped by this bluish field are organic shapes scattered about the canvas, some blending and others imposing their presence. Near the left center of the painting is a linear rendition of a rabbit. Cartoon-inspired and characterized by a wide-eyed gaze, this figure adds a whimsical tone to the work but also commands the viewer's attention with its unfazed facial expression. The work measures 68 x 68 inches. For anyone who wants to take this "bunny" home with them, the silent auction bidding sheet next to the painting indicates the starting bid is $500.

Collaborative work #4 / March 2000
acrylic on canvas / 68 x 68 inches

With the Paint Club exhibition, it is evident that pooling talent may benefit not only its participants and art collectors, but the community as well. The show has turned out quite a number of works that may be easily acquired due to accessible, low starting bids. As indicated in the printed invitation, "Half of all proceeds will be donated to the Tribeca Partnership [a homeless empowerment organization]."

The Paint Club challenges art as a form of individual expression. Markham-Murray, by organizing the Paint Club sessions, provides a neutral venue for artists to surrender control over their own art to serve a bigger cause or to be a part of a group improvisation. The gallery is moving fine art to another direction, toward redefining collaborative art and the artist's idea of expression. What then is the next step? It is already quite a feat to be able to gather individuals who have their own sets of aesthetics and notions of what they would like to paint. It is an even more admirable accomplishment to actually get them to enjoy this process.

About the Author:

Anna Roxas attended the Sensation exhibition and wrote about her experience in the December 1999 Arts4All Newsletter.

Resources:

The home of Paint Club can be found at http://www.markham-murray.com

Readers in the New York City area should know the Paint Club collaborative paintings exhibition is ongoing and will have its final viewing and bidding at a silent auction on Thursday, 13 April 2000.

Wall painting in process, March 2000