Interviews: this category of my blog includes articles in which I interview other artists or the subjects of my portraits and, on one occasion, one of them interviews me.

The subtleties of copyright: an interview with Paul Kinsella

When I stumbled across this cartoon by Paul Kinsella, I decided I had to ask him some questions.

The privilege of being on CubFluffer

This still from my recent interview with Gabe Flores pretty much sums up our relationship and probably everything we talked about too.

Following paintings: Gabe

This is my fourth in a series of videos of chats I have with subjects of my paintings, and it happens to be a conversation with the only curator who has ever played an important role in forming my work, Gabe Flores.

Following paintings: Mary Anne and Katie

This is my third in a series of videos of chats I have with subjects of my paintings.

Following paintings: Lyndsay

This is my second in a series of videos of chats I have with subjects of my paintings.

Following paintings: James

Following up with my paintings after they’ve gone on out into the world is one of my favorite parts of being an artist, and that probably has a lot to do with the owners of my work.

Art and money

A conversation with Gabe Flores about art and money.

From life

Is a portrait more true if it’s painted from life instead of from a photograph?  I don’t happen to think so, but I know a lot of people who do, so I decided to learn more about the logic of working from life by asking artist Tom Loepp about his more traditional—and maybe more romantic—way of painting a portrait. 

Working from perfect mistakes to plausible corrections

I have to agree with Chris Haberman: that’s the only way to make a painting.

Portrait of the artist as Web 2.0.

Artist Geoffrey Raymond turns portraits into a platform for comment and captures a moment in history. 

Portrait of the artist as a tangle of yarn

On a recent gallery hopping expedition, I came upon this work by artist Heather Watkins.  It didn’t immediately spark my interest, and, as such, I wouldn’t normally have investigated further, except that I happened to notice that Watkins sees this work as portraiture.

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