Garth Herrick's Apotheoun is a Smithsonian Competition Semifinalist

[Garth Herrick]

Thanks Michele,

The show opens July 1, 2006.

Christine Egnoski did highlight me as an OBPC semifinalist in a recent email Portrait Society of America newsletter, asking all the membership to chime in if they are of semifinalist or better status. I have not seen other responses yet, so perhaps traditional portraiture is not the main thrust of this competition and show. I'll admit "Apotheoun" has limited "edginess".

Garth

[Enzie Shahmiri]

Hi Garth,

I am sorry to hear that you did not make the finalist cut, but I am sure there will be many other shows that will continue to recognize the outstanding caliber of your work.

[Kimberly Dow]

Well, let me be the first to say that they are just plain nuts. (Do you think that statement could hurt any future chance I might have? )

I agree with Michele, I doubt there will be traditonal portrait work represented at all...unless it is a token one.

It is a terrific honor that you got as far as you did Garth, I am proud to know you!

[Michele Rushworth]

The show opens July 1, 2006.

I'll be in D.C. for a couple of days in August so I'll be sure and make a point to see it. Sorry the Apotheoun won't be among them, though!

You wrote that you felt this work doesn't have any "edginess" to it. I do think Apotheoun has a "thinking outside the box" approach, though. Its composition puts it on the cutting edge of what a "portrait" is, don't you think?

[Alexandra Tyng]

Garth, as I told you, I am truly sorry your Apotheoun didn't make it all the way! I was SO sure it would. It is a big disappointment. But semi-finalist status is not too bad. There are many, myself included, who would have been happy to make it to that point. So take the kudos and run with them!

Originally Posted by Michele Rushworth

I do think Apotheoun has a "thinking outside the box" approach, though. Its composition puts it on the cutting edge of what a "portrait" is

I do agree with Michele and others--this painting draws on tradition but is not traditional per se. It does have edginess, but it is not the kind of edginess that is "in your face." I really admire that.

I'm beginning to think about "retina-burn" in relation to these particular judges. Maybe in-your-face edginess is what catches their attention. I guess we will find out soon enough. It does seem odd, though, because I would have said it's that particular combination of unusual composition and incredibly rendered foms, textures, and glowing light that would cause any judge to stop and look twice.

Portraiture seems to still be divided into two philosophies, "contemporary" and "traditional," and I think it's going to be a while before these start to really come together. You are one of those artists who bring them together, and I'm predicting your work will be appreciated more and more as time goes on, so just hang in there and don't doubt yourself.

[Garth Herrick]

Dear Enzie, Kim, Michele, and Alex,

Thank you kindly. I guess this is a little outside the box for a portrait.

I believe one of the principal jurors (the artist component of the jury) was Sydney Goodman, a Philadelphia artist and teacher of international repute, that I once studied with at PAFA. 25 years ago, he'd wander into my student studio cubicle, not say a thing about my work, but praise the art postcards I had taped up to my wall. He took some of them for his own inspiration. In 1994 I painted the ancestral version of Apotheoun, "Apotheosis of the Chunnel". Sydney Goodman awarded this as the top prize best of show in a local exhibiton in 1996. Whenever we'd cross paths, we would nod hello to each other. He seems to remember me, and acknowledged that when he autographed his monograph book for me during a retrospective exhibition of his at the Philadelphia Museum of Art eight or nine years ago. Naturally I thought he might like Apotheoun if I entered it. Perhaps he did to an extent; it is hard to know what the other three judges had in mind for the final selection. I thought this painting would be as good a gamble as any, given his role on the jury. I have not personally been in contact with Mr. Goodman in several years. Some day it would be interesting to sit down with him and hear how he viewed this jurying process for the National Portrait Gallery.

Below is the original life-sized (1994) painting Sydney Goodman liked, and a detail. I think I have changed a lot in twelve years. Below that is a detail of Apotheoun (2004). And finally, Lesser Apotheoun (2006). Gosh, I have worked this subject to death! Time to move on!

Garth

[David Draime]

Hey, sorry your painting didn't make the final cut, but: top 100 out of 4000! - nothin' to sneeze at. And as I'm sure you are well aware, at that level, it's then down to the whim of the juror(s). Another jury and the final 50 would be totally different, with you getting the Grand Prize. Ultimately, it becomes quite a subjective affair. But keep entering these competitions because I want to see more of your work in person!

David

[Garth Herrick]

Originally Posted by Garth Herrick

I believe one of the principal jurors (the artist component of the jury) was Sydney Goodman, a Philadelphia artist and teacher of international repute, that I once studied with at PAFA. 25 years ago, he'd wander into my student studio cubicle, not say a thing about my work, but praise the art postcards I had taped up to my wall. He took some of them for his own inspiration. In 1994 I painted the ancestral version of Apotheoun, "Apotheosis of the Chunnel". Sydney Goodman awarded this as the top prize best of show in a local exhibiton in 1996. Whenever we'd cross paths, we would nod hello to each other. He seems to remember me, and acknowledged that when he autographed his monograph book for me during a retrospective exhibition of his at the Philadelphia Museum of Art eight or nine years ago. Naturally I thought he might like Apotheoun if I entered it. Perhaps he did to an extent; it is hard to know what the other three judges had in mind for the final selection. I thought this painting would be as good a gamble as any, given his role on the jury. I have not personally been in contact with Mr. Goodman in several years. Some day it would be interesting to sit down with him and hear how he viewed this jurying process for the National Portrait Gallery.

Dear Michele,

Yes as I stated above I do know Sydney Goodman and he may know me as a former student. I have not been in contact with him for five years, so there is no conflict of interest in this competition. I would love to meet with him after the show opens and get his take on the whole process. As I said above, he greatly admires the earlier version of the painting that led up tp Apotheoun, which is the reason I entered it.

I don't know if he has a website, at least I could not find one. He tends to paint on a colossal scale both in conception and size. In school he always wanted me to simplify my modeling of form in paint. I found one web image. He frequently puts himself in his paintings. In this case he is holding the camera at the bottom.

Garth