Making your mark

For the fourth time this year I have had to pack up and move. The end result is pictured above. Fortunately, since the time this picture was taken, I have made progress and I've got some since of order back in place. I have not started painting yet (my poor easel has not been this idle for a long time), and it has been some time since I have posted here, but I'm making progress. This return to blogging is going to be about leaving your mark.

The image above depicts the most recent issue of Professional Artist. In it is an article by Matthew Daub, an art professor from Pennsylvania. Here he discussed the importance of creating works of art, and described how one should move to make his/her art stand for something.

To make his point, Daub drew comparisons between the work of a young art student at the Art Institute of Chicago, and the work of Goya (specifically The Third of May.). The author wrote how this student portrayed the then recently deceased mayor of Chicago, Harold Washington, unfavorably. The author stated that at the time, Washington was quite popular and his death came as a shock to residents of the city. When the work of this student was revealed Daub explained that outrage quickly gripped the city and the aldermen went so far as to pass a resolution to have the painting removed. When this failed several of these aldermen took it upon themselves to remove the painting, resulting in the paintings destruction, and ultimately a civil rights case with the ACLU (Daub 6).

The context of the work is central in this instance. Daub stated that now, more than 20 years later, if he were to show this painting to his art students in Pennsylvania there would be little reaction. By contrast, the author pointed out that Goya's third of May has transcended time. He wrote that in Goya's work it is relatively unimportant to know that the troops are French, and the civilians unarmed. The image speaks more broadly and addresses the horrors of war on another greater level (Daub 7).

Daub concluded by stating that it is unfair to compare the work of a student to that of an established master. However, the point addressed was very clear. As artists we have got to use our art as a speaking tool. Whether it is a statement of profound observation that speaks to generations, or an irreverent jab at society, art can express many points of view and artists should take a stand to leave a mark.

Daub, M. (2011) Marking Your Territory. Professional Artist September 6-7.

Scale (Again) and Google Earth Art

Image Courtesy of Rueters

Since my last two postings had something to do with scale, I see no reason to switch topics now. A recent news item, that I found last week, described the creation of a large scale statue in Hamburg, Germany. This statue is described in the article as depicting a giant mermaid in Alster lake. This sculpture is intriguing to me, and I would really like to know how it was constructed. The coloration on it is fabulous. It is to be on display until August 12 (So if you can get to Hamburg before then, definitely do it). The full article can be read here.

This sculpture reminds me of another located in Washington, D.C. This second sculpture, called "The Awakening," depicts a giant male figure emerging from the earth.

Image Courtesy of Wordpress.

As I look at these, I am lead to wonder. What drives these artists to create large-scale figurative sculptures? Is it the lore of giants? Is it just a playfulness of scale? What about the way they are presented? One is half submerged in water, while the other is in the solid ground. Does this use of water versus land create a different context for each piece? I do enjoy looking at these sculptures, I would just like to know more about them. This is a positive reaction towards a work of art, and should probably be a goal of all artists when creating a new piece. What do you think?

The second item I wanted to post is not about scale. Rather, it is about using a tool (Google Earth) in a new and creative way. A recent NPR article profiled the work of Jenny Odell (linked here). She described her work as an examination of that which is often overlooked. She said that when the items are cut out of a satellite map, and placed adjacently to one another, they lose their individual context and a new meaning is formed that suggests fragility. The article went on to describe how it is human nature to break items down and to categorize them.

While this is true, I am fascinated by the creative use of Google Earth. I think it's great when someone can see a new and creative way of using something not intended by the inventors. Human expression takes many forms, and this is an example of building upon the ideas of others. The result is a sort of collaboration that communicates ideas in a unique way.

3 Part Post

PART I

As a practicing artist, I receive several calls-to-artists every week. Last week I saw a particularly interesting call for book artists. I am not a book artist, and I am involved in several other projects at the moment, so I do not have time to explore this. However, I think it is extremely interesting. So if you would like to do this, I heartily encourage you to do so. The Athenaeum of Philadelphia is a museum and library devoted to books bound in unique formats. Among these include designs by Margaret Armstrong, Olive Grover and the studio artists of Decorative Designers. Using these designs as inspiration, the museum is asking for participation in the creation of new items. The full call for participation can be read here. If you do decide to participate please comment here, so we can see what you are doing.

Part II

Last week while traveling I stopped in Jamestown, NY. This is a unique community in Western New York, that among other things, features locally produced art works on the exterior walls of the buildings downtown. This is a group effort organized by the Jamestown High School, Jamestown Civic Organization, and Jamestown Community College. The images below illustrate this concept.

I think this is a fabulous idea. It showcases local artists, communicates unique ideas, and helps build a sense of community. This takes the gallery concept and brings it outdoors, where more people could potentially see it. If you are worried about damage to the art, this has been addressed and all pieces are protected from the elements by plexiglass. I would love to see this develop in other communities.

Part III

My last posting addressed the issue of scale. As I read through my post, I realized I forgot to include examples of the watercolor moving across the page. So for this post I am including two extreme art close-ups detailing the way aqueous media work. In the image below, a larger scale has been used, and the water has more room to run and drip.

In this second image, a smaller size paper was used and the water had less room to run down the page. This resulted in more color blending.

Another factor of this effect which I feel I must add, is the finish of the paper used. A smoother paper finish will also allow for more water to run. If you are using a rough watercolor paper, more blending will occur. These are things to consider if you decide to use this technique. That's it for now. Please leave your comments for next time, and thanks for reading.

Scale

This week I thought I would post a little about scale. Scale, or the size that an artist decides to work with, is one of the first choices he/she will make when beginning a work.

Of course the image above is just for fun, because we are clearly not talking about that kind of scale.

In a recent discussion with a friend, my acquaintance mentioned one of my works and described it as large. The dimensions of the piece in question is 30" X 22". This is by no means small, but compared to my other works it is significantly smaller. I didn't say anything, but in the back of my mind I was thinking "Hmm...that's actually a smaller image." This got me thinking about my works, the sizes they are, and why I generally paint in large scales.

To answer these questions I think it's important to understand the way I work. For the most part I paint in watercolor. I like the freedom and ease of the medium, but I also like the nature of using water to paint. I like the drippy, sloppy, runny quality of the brush and paint. Frequently I will intentionally hang my paper on the wall as I work in order to get the drips of water to flow more fluidly. This effect is enhanced in larger scales. I have done this with smaller works, but often the paint just blends together. With a smaller scale the resulting image still contains the free flow of water, but lacks individual droplets.

This explains a little of why I like to paint on large surfaces. I think there are other factors, but I don't want this post to be overly long. I will therefore stop with what I have said. What do you think? What scales do you work in? What are the scales of some of your favorite works of art? Do you think they would still be effective if they were created smaller or larger?

Art News: Theft and Death

I have been in the process of moving. This has meant that there was not a lot of time to think about the blog. So, for this posting I'm going to direct you to two recent news items involving the art world.

On Tuesday July 5, 2011 a Picasso drawing was stolen from a gallery in San Francisco. The full story can be read here. I'm not sure what can be done about art theft. It seems to be an ongoing problem. One of my favorite paintings (The Scream) was stolen a few years ago, and was eventually recovered. This is often the end result. I'm not sure why people would want to steal these items, as there is virtually no re-sale option, and it also robs the public of an opportunity to see art, but it does seem to be an ongoing issue.

This week also saw the death of artist Cy Twombly. I was not a fan of his work, and I often used it my "Is it Art?" game when teaching. However, his contribution to the art world has been recognized, and it is sad to see another artist go. The full story can be read here.

I welcome your comments, which could be used for future blog entries. So feel free to discuss these items, or even previous posts. I'll see you next time.

"Who Shot Rock and Roll" Opens at Birmingham Museum of Art

The photography exhibition "Who Shot Rock and Roll" opened at the Birmingham Museum of Art this weekend. This show features rare, behind-the-scenes, and unique photographs of the history of rock and roll from the 1950's through the present. This show originated at the Brooklyn Museum in New York. It traveled to Birmingham from Columbia, SC. It will continue to travel through 2012. More information can be read here, here, and the BMA show here.

The show is excellent. I don't like to admit it, but I can be an art snob. Photography is one medium that I can not really get into, and I'm not one to seek out celebrities (especially rock/pop stars). But this show trumps all of that. There is something for everyone. It really is an amazing exhibition. Reviews far better than I could report are found here, and here.

This was my first experience working at a museum with the development of a major exhibition. There is a lot of work that goes in to producing these shows. It is not limited on one curator, or one department. The entire museum staff undertakes duties relating to the exhibition. It is truly a team effort, and I think the staff at the Birmingham Museum of Art came together to present an exhibition far beyond what was required. The show is as much about presentation as content, and the Birmingham Museum of Art adds to the entire experience.

Art Basel

Image courtesy of Flikr swissestetix


One of the worlds largest international art fairs took place this week in Switzerland. Art Basel, as it is called, brings together artists, galleries, collectors and dealers for one show that highlights contemporary art from around the world. More specific information can be read here.

An article in the Huffington Post stated that sales for this year have been very good. It stated that these profits could be an indication that the art world is in an economic boom. A link to the full article can be read here.

As I was reading these articles I reflected on something that crosses my mind periodically. Why is art traded at such high prices? With the dollar amounts discussed in these articles, the art could be treated as an investment opportunity, rather than as a means of cultural expression.

When I taught art appreciation and art history, I used to tell my students that the monetary value of art was arrived at based on the one-of-a-kind uniqueness of each piece. I also explained that the name of an artist added a brand to the work, and often added to the price. While I think these statements are true, I believe they only answer part of the question.

That said, I'm not entirely certain what should be added to the answer. Part of me thinks that art is traded at high prices because people are willing to pay high prices. I do not like this line of thought however, because it would seem to add to the elitist attitudes so often associated with the art world.

Art is a form of communication meant to be expressed and interpreted by all. I have written about the barriers of the official "art world" before, and the thought that some art is worth obscene amounts of money adds to these divisions. These divisions distract viewers from the message communicated by the artist and reinforce works produced simply for the sake of making a profit.