NYC Storefront Models

[JESTER]

These things looks amazing!

http://www.newyorkstorefronts.com/#a/9653

[Chuck Doan]

These are great, he is an excellent artist. He has a Flickr account with some more things. A month or so back he had an exibition near me, but I only found out afterwards. Dang.

[TRAINS1941]

Was just there Chuck.  Some excellent work.

Really liked the way you could look at the real thing next to the model.

Jerry

[BKLN]

His work is excellent! (isn't he a set designer / special effects guy or so?)

It remarkable how well a Californian captures the East Coast.

[Chuck Doan]

He has examples of set design type work on Flickr.

[marc_reusser]

Definitely very cool and well done. Not quite Chucks level, but definitely in the ballpark...especially character and observation wise.

Chuck,
The gallery show runs through tomorrow night here in Pasadena....you still have a day left. I think I may have to go by and have a look-see. Plus you can get a bite a King Taco in the next block over.

Thanks for posting this Tim.


M

[marc_reusser]

I went to the exhibit (Image for proof attached)...and can now say in all honesty the following.

Overall, the pieces are wonderful, engaging, full of character and emotion,.... and seeing several of them displayed in one space is really great. The cohesivenes and continuity of character, theme, quality, and the emotions the pieces evoke are superb. As my wife noted, it's not easy to pull that off.

Where the artist excels, is in capturing the look and feel of the places, and in including all the numerous details that make the scene feel real and complete. He is very observant in how things exist in the world...he "sees" and incorporates many of the things that most people overlook (IE,. the way paper is taped to the window, or the small sticker or grafitti on things such as a parking meter, or the piece of cardboard behind an old mail slot, to keep people from seeing in, UPS lables on boxes, the variety and discoloration of cardboard, etc.) He is also very good at adapting and improvising in a scene , yet making it appear natural,  as if it were in the real one (IE. to block sight lines, stacking cardboard boxes inside the window). He also excells in the area of "paper"...making stacks of newspaper, or old stained boxes look real...not an easy feat to do.

But, you can see that he has a set design background, because the scenes do photograph with a more realistic look, than when they are viewed in person......this is not a bad thing...it is merely a different approach in modeling; and this is where I feel critical about the pieces (especially at the scale he is working; 1/24)


I feel he lacks in many of the refined weathering and painting finishes. The rust at initial glance is believable...but on second observation, it is middling, at best they are often nothing more than a random dollop, or what looks like slapped on insta-rust (the type you get for home decorating projects). He seems to have a great ability to duplicate an image, but not always a full understanding of what caused something in the image, and how that reacted. (That said though...his peeling sectional galvanized sign over the hosiery store was outstanding....I doubt I could do as good or better)

His bricks were another issue....now, I understand that many of the brick facades on these old buildings were painted, however, where he tries to show/represent old natural brick, he fails, because it clearly looks like painted brick coloring, and painted grout (like on an HO building).....it lacks the matt-ness and lifelessness of real brick. He has the same problem in some of his concrete areas.

Lastly, in some areas, it would behoove him to use an airbrush, instead of a spray can or brush, on some of the painted surfaces.

There are other items such as this that I could list, but all in all these are trivial and unimportant issues, as what he delivers as an overall scene is what is important, as is the simple fact that this is "art" and not fine-scale model building as we try to practice.

There was a great moment in front of the doughnut shop piece that really drove one home the most important point of what the artist is doing...and that is engaging the public, and causing them to feel. Here was this group of four women, ooohing, chatting, laughing, and reminiscing stories of when they lived in New York and used to walk by or go to this place.....and for just a moment, they seemed to have completely forgotten about where they were, and gone to another time and place. What more could an artist ask for. (other than selling their work...which he had; from the red dots on the wall, they all seem to have sold.)

An interesting , and important (albeit maybe a bit sappy sounding...but  admirable approach) point to make about the artist and his work, he clearly notes that he is not out there to compete with others, or try to out-do others, but he is merely trying to do better than his previous effort. That he is trying with each piece to challenge himself, advance his skills, and do better than he did the previous day.

[finescalerr]

He's an impressionist. It goes with the territory.

If he were a modeler in the same sense we are he might have completed only one or two projects.

Russ

(By the way, my cats are running around the house like maniacs. They almost simultaneously jumped on my music computer desk as they chased each other down the hall and into my office. Hilarious.)

[Andi Little]

"Art", should only be classed as such when it is viewed from outside of the cultural context from within which it was created*, at least that's always been my maxim, in this instance topographically it seems to work? Although much more usually it is chronologically measured.
I'm pleased that you had a good evening/time, a collective experience is all the more for heightening ones senses, and one gets to share, review and adjudge those same experiences through ever more "fresh eyes" as you hear and converse with other attendees - or even "overhear" their conversations!

I'm also not surprised to hear your "review", I can almost guarantee without question that mine would of concurred with it - although I suggest you're being ever so slightly euphemistic in your appraisal. This is one of the reasons why I REALLY struggle to acknowledge the general assumption that model making is in any way "Art". I see the notion bandied about on several forums sites and boards, and again I struggle to not get involved, mainly because I suspect it might be a one way discussion, as there would be just shouting  coming the other way?
To me Model making is model making,................ these are "Assemblages". And it's the socio-statements contained here (see previous "Art" statement*) that bridge the gap between craft and Art.
His ends-piece proviso, is just that................. and a parry, or tip of the hat to crafts persons, artisans and  [yes] model makers that may view his work with a critical eye.

As a  sobering proviso of mine own .............. one must always bear in mind that perhaps the single most polished skill of the living and exhibiting artist ................ is that of self promotion!!!! - ambition is a very unattractive trait, and it's the devils own job to identify that black thread as it weaves its insidious way through any given scenario.

Given the skills levels that are evident on this site it's great to discuss the more rarefied aspects of what it is we try to emulate, although these conversations are much better with alcohol, wild eyed stares and theatrical gestures - "ah" - the student union bar!! I miss those arguments........ sophomoric bliss.


PS............ please excuse me for responding in "soundbites" ........... it's really way to early for intellectual insight and I haven't even had breakfast yet.

[marc_reusser]

Andi,

Actually I not at all being euphemistic. I truly did enjoy the different constructions/pieces. I did however very clearly have to separate what this artist creates and what Chuck creates, and not to mentally compare/judge them in respect to each-other as I was  looking at the exhibit.

What I found in this artist's pieces, and I personally find this a very good and important concept/approach to include in ones work; one I frequently use in presentations in my work, and often in my own model building; and that is what I call "the implied read"....it is when something in an image or a model represents or implies the piece/item/detail/etc. ...but it is not exact or super clear/detailed, and thus lets the eye fill in the rest...often interjecting the viewers own emotions, vision and ideas, (IE. his Master lock was there in shape and rough ribbing pattern....so we all know/read it as a Master lock, or his latch-plate is there square and gold toned, but it lacks the shine of brass, the beveled edges, and the screws holding it in place) I consider this "implied read approach" an "artistic" thing...along the lines of a painting , water-color, etching or highly detailed pencil sketch....you view the overall scene, or a part of the scene, while your mind subconsciously fills in the little nooks and crannies drawing from it's own experiences and ideas.

Where-as were this one of Chuck's pieces, the lock would be scale spot-on..probably even have the right serrated key opening turned at a jaunty angle, and the latch-plate would have just the correct sheen and wear, with some scratches, the screws turned at various angle, and one maybe missing or slightly coming out from the surface. ...even the screw slots would show wear from use. This is of course also art..but compared to the above it is at the ends of Vermeer, Photorealism, or actual photography. Your mind does not need to fill in any gaps....the entire scene is there for you to look deep into in awe, noticing all the fine details and being stunned by the replication of things that you have seen/experienced before, in real life.

It is actually very easy (and interesting) to do a compare-contrast of this artist and Chuck, and how they approach their  assemblage; as both model in a similar scale(s), and both do sort of flat/façade shadow-box type scenes.


...it's late, so I don't know if I am making sense.

(EDIT:  Maybe the "implied read" aspect of the artist was my own interpretation, and not something he did intentionally...it could just be that he cant do a perfect lock, or a perfect door plate...or simply did not want to; regardles, what he created/fabricated has the same effect.)

[Carlo]

Thanks Marc and Andi -
I think this is an interesting, relevant, and thought-provoking discussion.
This Forum is also the right place to have it.

It would be very interesting to see what the creator (artist/craftsman/whatever) himself
Would write in response to this. Any chance we could have this thread forwarded to him,
with a request for comment?... Russ?

Carlo

[Chuck Doan]

I didn't realize the show ran for a few weeks. Probably won't make it, but thanks for the nice eyewitness account Marc. I like Mr. Hagee's philosophy, it sounds like he is having fun with this. His work is somewhat similar to William Christenberry's models, or as he calls them, sculptures. Those are more impressionistic than these but I like both styles.  I like how so many artists are using miniatures to tell their tales.

The art vs. craft debate is unwinnable to me since "art" is such a subjective thing. Still it is fun to discuss. All I can say is these are a lot more interesting and art-ish to me than a urinal hanging on a gallery wall. Well, unless I had to go!

I am more of a tree modeler than a forest one. Mostly like a still life but without the imaginative spin a more artistic person could put on it. Technical observation; replicating things I see but lacking "interpretation" (wish I had that ability). And like Russ brought up, the price is very little output. Still, fun in its own way.

[BKLN]

I spend 20 minutes writing a reply, but everything has been said. I love the discussion. Now really just need Mr.Hage's point of view.

[Gordon Ferguson]

What happened ?

Go away for a few days and the forum gets all intellectual ............... just realised there may be a subtle message there!

Anyway I like his stuff, certainly has an eye for all the little bits that set the scene

[Malachi Constant]

An interesting , and important (albeit maybe a bit sappy sounding...but  admirable approach) point to make about the artist and his work, he clearly notes that he is not out there to compete with others, or try to out-do others, but he is merely trying to do better than his previous effort. That he is trying with each piece to challenge himself, advance his skills, and do better than he did the previous day.

I keep trying/hoping to make some progress in that direction myself.  Occasionally, Mr. Sappy ends up somewhat happy that way!    (By contrast, the comparison thing can lead to bouts of severe depression and discouragement.)        So, then you just sing the Tin Man's song and go on about things ....

Another sappy thing on this end ... you used the word "lifeless" to describe how brick should appear, which struck me as an extremely appropriate thought that never occurred to me and could actually prove quite useful. 

Meanwhile, these pieces are quite extraordinary ... straddling the line between modeling and art quite nicely.

Cheers,
Dallas