Author: ronthroop

I am a determined man. Unlike Henry Miller who arrived in Paris at the age of forty suspecting that he was an artist but needing six months of stimulation-by-poverty to prove it, I have known all my life that I am another one in a long line, both ignored and distinguished, to have the (mis)fortune of that mysterious element "X" inside me. I am forty-six years old, home teaching a twelve-year-old daughter, and retiring every night into a basement studio with my music and paints. This has been my practice for over twenty years, for I have taught our other daughter (age 23) until high school, working as a line cook to make ends meet, and an artist at every free moment to tame the element "X". I have written and self-published ten books with provocative titles and very few readers, had several self-sponsored shows exhibiting my work, and putting our family in deeper debt year after year. One could say that to the present day my life has painted its own tribute to a persisting in folly that might make a Henry Miller envy another fool. Professionally I have remained an enthusiastic failure. That is I buy paints, canvas, wood, frames, work feverishly, and have over the past five years, joined the unsaid "show circuit", exhibiting my paintings where ever and whenever possible, always at my own (and wife Rose's) expense, having few if any sales in upstate N.Y., and yet getting up after falling down again, and again, and again. For years I have painted relatively small and compact, as funds would allow. There's a college next door that sells smooth Bristol paper for two dollars per 30"x 40" sheet and Golden paints for enormous sums. A 2 ounce tube for twelve dollars goes far enough for miserly painters, and I have been very careful to stretch the paints out smooth for economy. But this year I have discovered big. The painting mentioned above is comically rendered, not at all where I want to go with paint. I foresee brave, broad stokes with wide brushes across eight foot canvas, and palette knives replaced with old record album covers. I have always worked fast, but now desire more of an unharried dance to my painting. Forever confident in application of color and contrast, I now feel the pressing need to let go like the sage. When I daydream this possibility I feel a tingling in my fingertips. That is joy and optimism! It is what I seek for my future as a painter. And then the reality of living check-by-check becomes all too real, and I find myself fermenting country wines to supplement income to justify expensive paints. I shop at A.C. Moore holding my 40% off coupon to buy inferior pigment that dries as drab as a February day in Oswego. I am always seeking gallery representation and/or rich patrons to free me as an artist, to open up the door of giving myself, expressively, routinely, until it is my turn for the great sleep.

Thank You for Coming Out to Little House of Big Stuckism

Another week ending dining room gallery exhibition of painting output, which I have produced to add flavor and sweet to a bitter winter on the way. Please join me as I talk about my work with too much commentary. Thank you!

P.S. There is mention of latest art news (not ARTnews) of ongoing and upcoming events in my area of unpower and no control.


A Painter’s Small World: Some Very Short Story With Godfrey Blow


Damian unwinding a yarn. (Photo by Terrance Manion)

Lots more at

The bloke telling the story to disbelieving couple in the photo is Damian, my friend, and fine art connoisseur of the Northern New York Midlands. It’s a unique story about a very small world, yet a big one too if we still wish it to become more than what the newspapers tell us.

Last May Damian, who is a professor at a nearby college, hosted a group of students for a week long tour of Australia, and then took a personal trip out west to Perth to visit with old friends from a past much more studded with global color than mine.

He posted on Facebook his upcoming travel itinerary (a curvy line with an icon airplane on it stretching from Melbourne to Perth). I commented to have a nice time and jokingly, to say “Hello” to Godfrey Blow, a painter I know. Suddenly in the comment feed, a woman, (who was actually Damian’s hostess in Perth) wrote back something like, “OMG, that is my best friend’s Dad! I know Godfrey Blow!”

That is the smallest art world story I have ever heard. With nearly 8 billion people on earth, and all of them knowing personally one painter in their lifetimes, it’s an incredible coincidence, don’t you think? A month later, Godfrey Blow’s paintings (shown below) were leaving Perth on that long convex real life, real airplane journey to Watkins Glen, N.Y.

Please take a good look at these treasures below. The Internet doesn’t do them justice—it’s an okay storyteller, sure. But let’s be like Damian, and put some adventure into our lives. We can get closer to a Godfrey Blow, and a painting is almost as good as knowing his daughter’s best friend in Perth.

Call Kathy and Joe at (315)527-4263, or visit Wednesday through Saturday, from noon to 5 p.m.

GodfreyBlow_BeforethestormatCottesloe_oilonpanel_ (1)

Godfrey Blow: Before the Storm at Cottesloe Oil on panel, 27 x 48 cm

MonumentatAlbany (1)

Godfrey Blow: Monument at Albany Oil on panel, 27 x 42 cm

Home Gallery Show of a Week’s Output of Paintings

Yesterday morning I began a dining room gallery exhibition of the week’s painting output, which I will continue to produce weekly to add flavor and sweet to a bitter winter on the way. Please join me as I talk to you about my work which is mostly pleasure. You can talk back, but you’ll have to stop by the gallery—The Little House of Big Stuckism! Thank you!
7 minutes long, so get an extra large sandwich to chew while watching. I’ll try to make future episodes a bit shorter, about 5 minutes.

Our Opening Went Well as Far as Understatements Go

Please watch the video below, which covers just a sliver of the night. Quintus gallery has more rooms than I captured, chock full of other paintings and pleasures. There is another Stuckist room, but I would hope that during exhibition season one would keep focus on the invitational downstairs. 36 painters living in 9 countries did me a great turn this year making my path into a new winter an enticing mystery worth the trouble of more cold and more bleak.


Now this “thank you”:


“She said ‘Somewhere there’s a faraway place
where all is ordered, and all is grace.
No one there is ever disgraced,
And everybody there is wise, and everyone has taste’”

—Lou Reed from “Think It Over”

I would like to thank warmly Kathy and Joe Matus of Quintus Gallery. This exhibition would not have happened if they did not visit Round Trip Stuckism last year, acquire my work for their gallery and home, purchase several Russian pieces, and then happily show up at my door last February to talk shop. I set up our meeting in my basement studio, dank and cold and dimly lit with dollar store lamps, and we planned like true novice-professionals inhabiting a sane world.
I remember Joe, sitting in my painting chair, asking if I’d like to do a “Russian” show, and me answering, “Great, but let’s give it a more international flair, and with more Stuckists!”
Yes, the more the merrier. I insisted they leave all the start-up details to me, then led them upstairs and served quiche and bread and cake. It happens they were full from a late breakfast, so my family gobbled it all up while we talked about anything under the sun to take us away from the gloom and doom of a northern winter.
Kathy and Joe are the type of art professionals that artists want and need. Quintus Gallery can house any artist with a genre, but stands as shelter in the storm for Stuckism. We thank them for their inspiration and enthusiasm.
Now, about that “leaving the details to me”.
Once again, the over-elaborater, Ron Throop, setting up the very difficult task of getting other painters to participate in his super great art plan.
That night I floated the idea past Charles Thomson, and caught his attention. Viola! Suddenly it became two fools instead of one. Almost a party.
With his expert advice, adept organizational and editorial skills, and undeniable patience and dedication to this movement called Stuckism, I was able to fuel up for the demands of an exhibition of this magnitude.
Great thanks to Charles Thomson! He wrote once during our frequent e-mail exchange that Stuckism operates on a national, regional, and of course individual level, and that he would like to see more collaboration among U.S. artists. His frequent input into the creation of this exhibition has been very welcome. We can bet on the continuation (and growth) of Stuckism in the United States. Unless Americans are actually so determined to forego the joy of visual art-making and appreciation, (and there is evidence pointing to paradigms leaning this way), we painters will have to persevere against the cold shoulders of the confused media, entrenched academia, and non-essential establishment critics.
Thank you Charles Thomson.
Thank you Stuckism. You wake art up. You bring people together.
Thank you Stuckist painters for trusting me and Quintus Gallery to exhibit your work on your time and dime.
And thank you local and world wide audience for clearing these walls of Stuckist paintings.
Please bear in mind though—Take one down, and two spring up!

Ron Throop
August 2017

I have more thank yous to offer during exhibition month. Meanwhile, stock up on your wine for the holidays, deep reds for the solstice, dry whites for the equinox. Remember please that no wine is worth the winter trouble of a blank wall to stare at while the cold winds blow. So mark a stop at Quintus in Watkins Glen, N.Y. on your day trip itinerary. I’ll introduce you to these painters, many whom I know very well—about as much as you, but only because we’re human and hold dear these darling imaginations.

Bring the color to your winter!

One more thing.

A visitor at Friday’s opening asked me to show him the Henderson paintings. He shared the same last name, and wanted to see what possible genes and genealogy were spread and sent his way. When gallerists or curators connect more to the idea of painters rather than paintings, private vistas can widen significantly even a skinny finger lake.

I walked him over to Holly Henderson’s paintings, and then escorted him and his wife to the video table to show how his many great grandfathers and mothers unwittingly saved the world with Stuckism.

Instant connection! Unless he was a cardboard man. I expect him to purchase her paintings soon. If not today, then tomorrow. Imagine sitting in a cat hair chair thinking on nothing during the intellectual season, or dreaming a hungrier life in a London club getting to know the band before the lights go out.

Absolute magic!

We’re still alive. Go start your painting collection!

Quintus Gallery
65 Salt Point Road
Watkins Glen, N.Y.

(315) 527-4263


EXHIBITIONS: International Stuckism-Quintus Gallery, Watkins Glen, New York

Yup! Thanks Richard Bledsoe!


Richard Bledsoe “Petrified Forest” acrylic on canvas 20″ x 24″ 


International Stuckism

October 13, 2017 – November 12, 2017, opening reception Friday October 13 

Quintus Gallery 65 Salt Point Rd. Watkins Glen, NY

Featuring artists from the UK, Spain, Greece, Russia, Iran, France, the Czech Republic, Australia, and the United States 

New York artist Ron Throop continues to make things happen. His latest project has been coordinating over thirty artists from around the world to share their visions in the latest display of the global art phenomenon of Stuckism.

The great analyst Carl Jung understood what art does. He stated, “All art intuitively apprehends coming changes in the collective unconsciousness.” Before the rejection of elitist presumption and incompetence became the consuming political topic it is now, in 1999 a group of UK artists started waging the same fight against the corrupt and out of touch establishment art world…

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