Art books

      When I was in art school, one of the very first classes I took was a drawing class that met at 8:00 AM MWF. Usually this class (AD 110) was taught by a TA. But this particular semester it was taught by one of the art professors. This was fine, except he had decided to use the time while we were drawing to impart his knowledge of life, and how we had to take advantage of every opportunity, and how he started out as a riveter and he built on that experience, and you have to build on your own experiences, and on and on and on.
     Drawing 110 was an intro class where you spent a lot of time drawing busted watering cans and guitars missing strings composed in a hap hazard "still life." When you are a freshmen, you have just rolled out of bed and you are attempting to get excited about drawing a bunch of garbage, the last thing you want to hear is what amounts to a graduation motivation speech. The entire time he was going through this weekly diatribe, the dialog in my head went something like this: "Okay that's great! Building on experiences! Wonderful! Do you want to pipe down so I concentrate on my drawing here? You are always telling me to think about what I see and not what I know, to focus on my lightest lights and darkest darks, so how about letting me do that?"
      Anyway, despite that, my instructor might be pleased to know that not everything he went on about was totally lost on me. One of the things that he said was that we should be keeping our textbooks and building a personal library of art books. I took this to heart and did not sell any of my art books when the semester ended. I built up quite a collection, and I have since added to my textbooks with other art books that I have found along my way as an artist. I am now a fine arts librarian, and this could well have been the starting point for that career choice as well. The picture above is just a potion of one shelf of several that house my art books. What follows is my recommendation for three art books from my collection that I think every artist should at least read if not own.

BOOK 3

The Practical Handbook For The Emerging Artist

     

     
   Unlike the other books on this list, this one is actually one of my former textbooks. This book has proven to be far more useful than the class that required it. It has information and guides through every aspect of being a practicing artist. From copyright law, to artists statements, to how to get your artwork seen, this book covers each topic in a way to familiarize the reader with the issue at hand. I refer to this book regularly but one of the points that I have taken from it was in section two; "Getting Your Work Out and Seen." Here the book talks about the different avenues for exhibition, how to navigate the selection process, and the pros and cons of each venue. One of the things that the author stressed was that as an emerging artist it doesn't really matter where you go to show your work, as long as it gets out there. She furthered by describing how you can build from each exhibition opportunity, and added that you never know who will be at each venue meaning that a prominent gallery owner or other professional might be there too. Personally I have experienced this, as my first solo exhibition at a small gallery outside of Washington, DC came about because the owner of the gallery happened to see my work at a local art fair. My copy is the first edition, but it has since been updated. An enhanced second edition is available.        

 BOOK 2

Why Art Cannot Be Taught

      I found this book shortly after I was rejected to every MFA program I applied to (another story that I may blog about at sometime in the future). The author describes it as a guide book for art students just beginning their studies. But I think it is a book every artist should read. In it Elkins discussed the historical roots of art education from the master/apprentice model to the academy to the current form of college art schools. He explained the nature of each environment and went in to detail about how the "publish or perish" model of higher education does little to help foster future artists. One section that I really enjoyed was on critiques and how  it described what would happen if an artist like Georges Seurat brought in A Sunday Afternoon on the Island of La Grande Jatte to a contemporary art class. The dialog was humerus, but a very valid point was made. 

BOOK 1

Art and Fear

      I'm not sure when I came across this book, but I have found it helpful even outside the realm of art making. This book described how as an artist one should take the time to cultivate his/herself as an artist. It described the benefits of surrounding yourself in a creative community and building a network of artist friends. It encouraged the reader to make art, even when there seemed little point in doing so. This is a very good book to consult when dealing with rejection (which happens a LOT as an artist). One thing that I took away from this book was the idea that one should constantly be developing art. The author explained the idea was to draw and draw and paint, sculpt and sculpt and wheel through, just keep working on whatever it is you do. Bayles and Orland stated that it wasn't quality that mattered, but quantity. If you keep churning out works not all of them will be masterpieces, in fact most will not be. But there will at least be a handful that are stunning, and it is these handful that will take you places.    

     Well those are my three picks. As mentioned I work in a library so to stress that, you do not have to go out and buy these books just to read them (though they are available through amazon). You can go to your library and check them out. I have provided a link to Worldcat which after you enter the title will tell you the nearest library with a copy of that book. They are very good reads.

  

   

A Story

      The latest issue of Professional Artist (pictured above) had some advice about writing an art blog. I was very pleased to discover that I have already been doing many of the things prescribed. There were however, a few things that I have yet to do with my blog. These include storytelling and list compiling. These, along with other ideas stated in the article, are supposed to help people understand your art, your perspective, and a little about what shapes your art making. I'll make some lists later, but for now I will tackle the story telling part.

      For many years now I have signed my work with the unique character featured below:

Once in a while I would be asked where I came up with this style of signing my work. Well, today I'm going to explain it.

     This story begins when I was in high school. I have always enjoyed working with clay, and when I was in high school I took as many ceramics courses as I could. I loved it. It was my favorite course, and this interest was carried with me as I graduated and began college. I entered as an undeclared freshman but as I began my studies I became more and more drawn towards art. I still had a passion for clay, and had worked in the open studio in the basement of the student center. After a while I decided to begin the study of art and became a pottery major. Here are some samples of my work:

     In my very first collegiate ceramics course, my instructor informed us that we would need to include our initials on the bottom of all our works. Once the clay is fired it tends to shrink and it was not uncommon for the work to become unrecognizable. The signatures helped people distinguish which work belonged to which artist. He also advised us to develop a unique way of linking our letters, so people with the same initials would be able to determine their own. I merged my "P" and "K." It's pretty unique and I never lost any of my pieces in a firing.

      I loved working with clay, and I still do when I get a chance. However, I did not stick with pottery while in art school. Why? You may ask. Well, the program I was enrolled in had a very strong emphasis on wheel throwing. The intro class was hand building, but thereafter it was the wheel until you got to your senior thesis. I enjoy working on the wheel but I really excel at hand building. I find it more freeing and expressive. Wheel throwing is fun, but it is monotonous. Especially when you have to spend an entire semester making nothing but platters. When I shifted to drawing/painting I took my signature with me.

      I have done some research and I am the one and only Peter Klubek out there, so I could just sign my work. But I like my signature, and the homage it pays to my pottery beginnings. So I think I will keep it.

      One more thing, just for fun. When I switched to 2-D art I remember being afraid of running out of things to "draw." I remember thinking: "What the heck am I going make pictures of? Surely I will run out of ideas before I graduate!" Years later, I'm still at it. So I guess I'm not out of ideas yet.        



   

Bridge Work

...And I'm back! After a brief hiatus of visiting friends and family I will again be posting weekly. Did you miss me? 

This painting was created for a group exhibition in New York. It is titled "Bridgework."  The theme of the show was "Bridges." I enjoy wordplay, and the examination of words with multiple meanings, so when I was given the theme I wanted to look at bridges from an unexpected point of view.

My initial thoughts turned to bridge the card game. I have never played bridge, and am unfamiliar with how it works. There have also been many images created around card playing, gambling, etc., so I decided against this.

I then thought about bridges in terms of dental work. This also made me think about how many people have anxiety about going to the dentist. This lead me to think that by creating an image related to dentistry the viewer and the work would create a bridge addressing this issue. This provided another layer of meaning for bridge, and I knew that this was the definition I wanted to work with.

I then began researching the procedures for bridge work. I examined all kinds of illustrations including these:

I also looked at actual x-ray images like these:

 

I determined that while these images are interesting (and somewhat disturbing), they may not be recognizable to viewers. I believed that I would need to create an image that could be interpreted with an element of familiarity. Most people have been to the dentist at some point, and the most common images that come to my mind when thinking about the dentist are the dental chair, the overhead light, and the dental x-ray machine. I then decided to incorporate all these images into the painting. 

Getting back to the issue of dental anxiety I decided to fall back on some of the basic elements and principles of art and design. Compositions with strong diagonals have a disharmonious psychological impact on viewers, and are associated with action, fear, etc. I therefore included many diagonals from multiple angles.

   
Next I put some thought into the palette. Yellow is a color associated with fear ("what are you are you yella?") so I wanted to use a strong yellow base. In addition to the floor of the dentists office and the lead x-ray vest, the rest of the image relies on a strong yellow undercoat. To contrast this I also used violet, the complement to yellow, to push against the yellow and add to the visual tensions.

I think this image successfully communicates all of the ideas I was working with. It was fun to explore all of these issues, and now it will be interesting to see how viewers respond. What is your response?    

Three part post

      This past weekend I attended the "Hot Art Cool Nights" art hop in Baton Rouge. It was great, there were many things to see and experience. I think events like this are good for getting art and community together, which is something that art is supposed to do. In addition, I also found out about a cool Website that brings art and observers together in one location, and finally I finished a painting that I had been working on. So many art happenings, all at one time!

PART 1
      "Hot Art Cool Nights" was an art exhibit that took place across several venues in central Baton Rouge. It happens annually, but this is the first one I attended. More about it can be read here. Attendance seemed a little low, but I attribute that to the stormy weather. At one point I was certain it was going to rain.

        For those hearty individuals that did come out, there was much to see. One of the things I enjoyed most, was the seemingly impromptu set ups. Art was there, and people came. This idea represents a simple concept but one that worked successfully.

  
      One location that I really enjoyed was in the supermarket. Art and a live band were set up adjacent to the meat department! (There was also free wine tasting at this stop). There's just something inherently funny about art being set up and offered next to fresh cuts of meat. Good news if you came to look at and purchase art, not so good if you just stopped in for some bologna and bacon.

   I concluded the evening by sitting down and listening to the music. It was very good, and despite the photograph there were plenty of people-watching opportunities also. 

PART 2

      The Website that I found out about is called Pictify. I do not know how long it has been in existence, but the concept is very similar to Pinterest. The difference is that all of the images are works of art, many loaded by the art museums that display them. If you are addicted ti Pinterest and you like art, then this is a site for you. You can explore it here.

PART 3

      This image represents one of my most recent paintings. It's called the dance of life, and it builds on the techniques and experiments I have been discussing in recent posts. What do you think?

      Well, that is is for this week. More art to come in the future! Keep checking my website, there will be updates soon!
      

Fest for all/Stabbed in the Art

      Last week I mentioned that "Fest for All" and "Stabbed in the Art," two different but art related events were to take place. I did attend both, and they were very good. I am a member of the Louisiana Art and Artists Guild (LAAG) and there is a meeting scheduled this week. There is also an "art hop" event taking place sponsored by the Mid city South Merchants. It is supposed to feature artists, galleries, and offers viewers free rides from venue to venue throughout mid Baton Rouge. This event is called "Hot Art, Cool Nights." I plan to go to these events as well, and will of course let you know about it here. Before moving to Baton Rouge, I figured there would be some kind of art scene, but I had no idea it would be this thriving!

      "Stabbed in the Art" is a monthly exhibition and art party. It features the work of 12-24 artists, a live DJ, and an open bar. It takes place in an out-of-business neighborhood market in the Garden District of Baton Rouge. The owner of the building opens it up once a month for this purpose. This open forum offers artists the opportunity to socialize, network, display and sell their work in a common area. The event is very positive, and although I have only been one time so for, I think the quality and content of work will be different each time. I am excited about next months exhibition!

     "Fest for All" was an art exhibition and sale that featured artists form across the country. I spoke to some artists from as far away as Missouri and Nebraska. In addition, the Shaw Center,  offered free admission throughout the weekend. This art festival also offered food, music, artist demos, and events for children. Some  photos from the event are below. I had a very good time and saw some interesting work. It reminded me of the Des Moines Arts Festival in Iowa, an event that I helped with in the past.

      I have also been very busy in my studio. In addition to the exhibition opportunities I wrote about last week, I was contacted by the New Emerging Artists Houston Art Fair. I plan to submit some work there as well, and so my studio is jammed packed with activity and multiple projects. 

  

It's going to be a busy, art infused spring! As new events occur, I will write about it here. Please post your comments, see you next time.

Art happenings

      These three paintings are some experimental results from the painting and posting last week. I think this is an interesting idea, and I will continue to develop it. Although it may be difficult to believe, these images are watercolors. They look very much like oils. I painted them on foam core, and found that applying the paint to the surface was very much like working with oils as well. The watercolor stays fluid, and can even be erased, reworked, and scratched into just like oils. It was a new experience for me, as I had always been instructed that watercolors could not be worked like oils. I think it has to do with the sheen of the foam core, but whatever the reason it seems like a good surface to use in the future.

      It is a busy time, and there are many art happenings. "Stabbed in the Art" and "Fest for All", two different art exhibition/festivals will be happening in Baton Rouge this weekend. I plan on attending both and will post about them here. You should go too, if you are in the area.

      In addition to these events, I also have some upcoming exhibition opportunities. I will be submitting some of my work to an exhibition in North Dakota at the end of the month. I was also contacted by my gallery representative in New York, with an opportunity happening in early June. She also confirmed that I will once again be listed in the annual Art in America guide to artists and galleries. It is indeed a very busy and exciting time. I will update information here as it is available. See you in the future, don't forget to post your comments.  

Artist Update

    
      I have once again been invited to participate in the Cultural Association art exhibition in Civitanova Italy. The exhibition is May 20th-July 8th in the Cultural Association Gallery. The image above is the one I created for this show. The theme was arts and crafts makers.

      For quite a while I was uncertain what I would submit to this exhibition. I originally thought about doing something with weavers and/or spinning wheels. I still think that might be an interesting idea to explore, perhaps I will do so at a later date. After discussing different ideas with a co-worker (she suggested cheese making), I decided to experiment with wine making. The completed image is interesting, but I think I may need to explore this idea further.

      I like my pallet choices. I find the colors in this image to be very soothing, and I think they create an almost sleepy atmosphere. As I was working this image, I was torn between using distorted, representational figures, or more accurate, naturalistic ones. The result of this quandary is a kind of combination of both ideas. The figure in the foreground is more representational, while the one in back is somewhat more naturalistic. The same idea was carried though in the ellipse of each wine barrel which virtually divides the painting in two. This division is bridged by the viewer’s eye as it moves across and down the page. I think the addition of a third, even more distorted figure, (perhaps in the lower right corner) would add to this image. I was limited to specific dimensions for the exhibition, and I think working with a larger picture place would also benefit the composition.

      These are my considerations for this painting. What do you think?