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    ARTtalk  Each month you’ll find informative articles that deal with a variety of subjects such as artists and art history, current events and art world news, schools, competitions and workshops, and a Kids?Korner. Subjects vary each month. art supplies, airbrushing, drawing, painting, printmaking, sculpture, ceramics, matting and framing, arts and crafts, and more. These explain various techniques—how to work and paint with artist's watercolor on paper, oils or acrylics on artist canvas; how to use pastels, pencils or  pen and ink; how to work with different surfaces grounds; how to paint with the airbrush and compatible materials; the use of projectors and light boxes in your work and more. You’ll also find artists information on magazines, art books. (Established 1990)

    ARTtalk Cybercopy - posted June 1, 2015


    (ARTtalk’s latest cybercopy is posted on the 1st of every month.)

     

    Click Here for the New Monthly Issue of ARTtalk Local Beacon, N.Y.



     
     

    Teen Art Workshop

    June 27

     

    Teen Art Workshop

    Saturday, June 27 | for ages 13-17
    10am-Noon | FREE! No experience necessary!

    Join us to explore İnci Eviner’s short film Runaway Girls and her use of drawing as it takes on new dimensions as actor, action, and freedom.

    At the crossroads of drawing and performance, İnci Eviner's Runaway Girls uses repetitive, hypnotically shifting scenes to explore contemporary feminism in Turkish culture. After viewing the film, we will trace multiple life-size silhouettes and draw masks to create two puppet-like images of self/other - - our silhouette and an interchangeable face.

     

    For more information and to make advance reservations for Teen Art Workshops at The Drawing Center, please call 212-219-2166 x205 or email agood@drawingcenter.org.


    Image: İnci Eviner, Still from Runaway Girls, HD Video loop, surround sound system. Copyright İnci Eviner 2015. Courtesy of the artist and Galerie Nev, Istanbul.

     

    The Drawing Center’s 2014–2015 exhibitions and public programs are made possible, in part, with the generous support of Horace W. Goldsmith Foundation, May and Samuel Rudin Family Foundation, and the Cowles Charitable Trust. Additional support is provided by the New York City Department of Cultural Affairs and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.


         
     



     

     
    Art Institute of Chicago

    Summer is in full swing, and we have a variety of fun art-making programs for you and your loved ones to enjoy! Check out our July/August 2015 brochure and plan your next visit now!


     

    PROGRAM HIGHLIGHTS

    20th Annual
    Kaleidoscope Family Day

    Saturday, July 18
    Drop in 10:30–3:00
    No registration required
    Join us for the biggest Family Festival of the year—for free! Explore activity stations from some of Chicago's leading cultural organizations including Lurie Garden, the Poetry Foundation, and the National Museum of Mexican Art.

     

    Millennium Park
    Family Fun Festival

    Monday, August 3–Sunday, August 9
    Drop in 10:00–2:00
    No registration required
    Enjoy the sunny weather in Millennium Park with our Family Programs staff as your guide. For one week, families can create artwork inspired by nature and the exhibition Jean-Luc Mylayne: Mutual Regard.

    Family Gallery Walks
    July 2–August 7
    Thursdays, Fridays, and Saturdays
    1:30–2:00
    No registration required
    The Art Institute has one of the largest collections of art in the world! Experience the highlights on a fun and interactive tour designed specifically for families with children ages 6–12. It's free with museum admission.

    Workshops
    Registration required
    Learn and create through a variety of workshops this season! In addition our Mini Masters and Tween Workshop, we're offering a unique Family Workshop in August that explores urban naturescapes and mixed media.

    Teen Programs
    Ages 13–19
    Heads up—applications for Teen Council close on June 30. If you want to get involved, make sure to apply now! And don't forget to join us for our Break the Mold Pop-Up Night!

    Admission to the Ryan Education Center is always free, so visit as often as you like. Children must be accompanied by an adult.



     

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    Airbrush

    Airbrush History Trivia

    —Abner Peeler, of Webster City, IA, invented the airbrush in 1878.  Imagine, over 130 years ago!  Abner, a professional inventor who tinkered with things such as screw machines, bicycles and typewriters, developed this painting tool—originally called a “paint distributor”—specifically for photographic retouching.  The paint distributor, which was similar to today’s oscillating internal-mix airbrush, had a wooden handle with metal parts and sold for the incredible price of $10.  The first such airbrush was sold to S. M. Thomas, and we know that the first painting completed with this paint distributor was a self-portrait of Peeler himself done by his wife on an enlarged photograph.

    The painter Man Ray (1890-1977) is probably the first fine artist to exhibit paintings done exclusively with the airbrush.  Ray, considered the only American Dadaist, learned to use the airbrush while working in an ad agency in New York City between 1917 and 1919.  His fine art airbrush renderings were shown in NYC galleries and called “aerographs.?nbsp; Looking at them with today’s standards of what we consider airbrush painting, these works of art would be considered simplistic—but at that time, totally new.  They consisted of images developed by airbrushing around found objects, such as paper cutouts, tools and paper clips that were used simply as stencils.  Man Ray worked flat on a table, allowing gravity to hold the stencils in place, and sprayed around them with black ink.  He repeated these images in both opaque and transparent ink and the end products lent themselves to the look of cubism

    .It is said that Man Ray was primarily interested in producing paintings with a smooth machine-like finish.  And because the ink was airbrushed onto the surface, there were no brush strokes in the artwork, which imparted an industrial appearance.  An excellent collection of his works is held by and exhibited at The Art Institute of Chicago; and even viewed today, their simplicity is astoundingly modern.

     

    Artist Profile

    Pablo Ruiz Picasso 1881 - 1972

    There is much that could be written about Pablo Picasso, arguably the greatest artist of the His influence on several generations of artists and his recognition as the founder of many art periods, most famously that of cubism, attests to his immersion in creativity. For 80 years of the 91 he lived, he devoted himself to an artistic production that contributed to development of modern art of the 20th century. And, all the while, Picasso was a man who loved women. During his life he had affairs, lived with or married over six women and fathered four children. He abhorred being alone when he was not working.

    Aside from the tumultuous personal life, Picasso was devoted to his art. During his early years he abandoned most of the classical training given him by his father and first instructor for his own interpretation of the world around him. Five “periods?are recognized as brought to life by Picasso.

    Most have heard of his Blue Period that lasted from 1901 to 1904 in which somber, blue tinted paintings prevailed. These were influenced by the loss of a friend. Images of this period include depictions of acrobats, prostitutes, beggars and artists.

    His Rose Period (1905 to 1907) brought out paintings with overall tones of orange and pink, many involving images of harlequins. During this period he was seriously romantically involved and the warmth of the relationship is seen in his palette of colors.

    Soon after the Rose Period came an African Period (1907 to 1909) that was influenced by artifacts from his personal collection. Many paintings of this period repeat the use of two figures.

    Cubism, the style for which Picasso is most famous, came into being when he and his friend and painter Braque challenged each other to dissect and “analyze?objects, then paint them in terms of their shapes. Color played a large part in this period of work ?monochromatic browns and shadow tones prevailed as a common thread. Each artist developed the style in his own way and each had strong similarities.

    His Cubist Period ran from 1909 to 1919, and included the use of collage as a fine art form. Heretofore, no artist had used collage and cut paper to convey images. Imagine art without collage?

    Picasso had many artist friends and some rivals. Matisse was one of the “gentle?rivalries experienced in Picasso’s lifetime. Both were strong, talented and seemed to challenge one another. A recent collection of works by both artists reveals they had a lot in common, although their styles were personal and not derivative. The bold, outlined and highly decorative nature of both artists' works is without question.

    Historically, a lot happened during the 90+ years Picasso lived, but he remained detached from any personal commitment. He was a proclaimed pacifist, refusing to fight for any side in the Spanish American War, World War I or World War II. If was thought by many of his contemporaries that his dislike of war and his unwillingness to fight was less political and more cowardice. Being Spanish but living in France during these conflicts, he escaped involvement and thus proclaimed and solidified his pacifistic standing. He did, however, remain a member of the Communist Party until his death.

    At the time of his death, Picasso had enjoyed wide acceptance as the greatest artist of his time. Many of his works were recognized within his lifetime. Some include The Old Guitarist from Picasso’s Blue Period, on display at the Museum of Modern Art; Las Meninas Series, on display at the Picasso Museum in Barcelona, Spain; and Guernica, in Madrid, Spain.

    “My mother said to me, ‘If you are a soldier, you will become a general. If you are a monk, you will become the Pope.? Instead, I was a painter, and became Picasso.?- Pablo Ruiz Picasso. Last words: “Drink to me.?

     

     

     

     

     

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    Basic Airbrush Techniques

     

    Workshop

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    Robert Paschal, MFA

    Basic Airbrush Workshop—Beacon, NY   Learn the fundamentals of airbrush technique in a concise 3-hour hands-on class, designed for the novice who wishes to paint fine art, crafts, signs, customized autos/bikes/snowboards and myriad other objects.  Seating is limited.  All equipment/materials are provided. 845.831.1043; arttalk.com/workshop/workshop.htm 

     

     

             

    Cabin Rental

    Camp Cōkaboodie in the Adirondacks Mts. Jerry Savarie Road (off Big Brook Road) Indian Lake, NY       We are located on Lake Abanakee with beautiful views and sunsets!

     

     

     

     
     

     

     

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    ARTPOURRI—NEWS

    NEA News—Recipients of the 2015 National Heritage Fellowships have been announced, with an awards ceremony and free concert scheduled for Oct. 1-2 in Washington, D.C.  Included among the winners are three quilters of Gee’s Bend, a Cambodian ceramicist and a Slovak straw artist/egg decorator.  The fellowships include an award of $25,000.  See details at arts.gov.

    Adults Targeted—Marvel has announced a new line of adult coloring books featuring some of their most iconic characters, stories and artwork to delight fans the world over.  Add your personal artistic style to Age of Ultron Coloring Book (Oct.), Little Marvel by Skottie Young Coloring Book and Civil War Coloring Book (both available in 2016).

    Anniversary Celebrated—The Clark Art Institute in Williamstown, MA, celebrates its 60th anniversary this year with a special summer offering of exhibitions, lectures and programs on the recently renovated campus.  See Van Gogh and Nature thru 9/13 and Whistler’s Mother:  Grey, Black and White, thru 9/7.         

    Senior Fellow Named—Julia Rosenbaum, associate professor of art history and faculty of the American Studies Program at Bard College, Annandale-on-Hudson, NY, has been named a senior fellow at the Smithsonian Institution in Washington, DC., for the 2015-16 academic year.  The fellowship will support Rosenbaum’s new project, “Curated Bodies:  The Display of Science and Citizenry in Post-Civil War America.”

    Winner Announced—The Guggenheim Helsinki Design Competition, which began in June 2014 and generated a record-making 1,715 submissions from more than 77 countries, has been won by Moreau Kusunoki Architects, a firm founded in Paris in 2011.  The design invites visitors to engage with museum artwork and programs across a gathering of linked pavilions and plazas organized around an interior street.   

    Imagination Required—High Line Art, (at W. 30th St., NYC) features Olafur Eliasson’s The collectivity project, an interactive installation of white LEGO® bricks that features an imaginary cityscape.  Every Tuesday and Thursday from 4-6 p.m. kids can build, play and dream about cities using LEGOs and their imagination; and every Wednesday and Friday from 5-7 p.m. adults can learn more about urban planning, architecture and community using LEGOs and their imagination.  Both are led by a High Line Educator, thru September.

    Seniors Targeted—MoMA, NYC, has launched Prime Time, an initiative offering an array of gallery conversations, film screenings, online courses and more.  The program is designed to enhance cultural participation and provide opportunities for older adults to engage with modern and contemporary art and is free to NYC residents ages 65 and older.

    Online Series Continues—Season 2 of The Met’s online video series The Artist Project has begun.  In this series, 100 artists have been invited to choose single works of art or galleries that spark their imaginations and then share their personal, passionate ways of seeing and experiencing art.  metmuseum.org

    Auction Recap—At Sotheby’s recent auction of American Art, Georgia O’Keeffe’s White Calla Lily led at $8.97 million, the second highest auction result for any work by the artist.  American Illustration was led by Norman Rockwell’s The Bookworm at $3.83 million. 

     

    OPPORTUNITIES          

    Art in Sight—This is a free program at MoMA, NYC, for individuals who are blind or partially sighted.  Each month, specially trained MoMA lecturers highlight specific themes, artists or exhibitions through verbal description and touch.  July 21, 2-4 p.m.:  “Artist Processes and Materials.”  Space is limited and preregistration is required: 212-408-6347.

    Arts for Healing—This is an offering from the Mill Street Loft, Poughkeepsie, NY, “to provide a broad spectrum of diverse populations in our community with creative, transformational and uplifting experiences using the visual arts, storytelling, music and movement.” For more info:  cwolf@millstreetloft.org; 845-471-7477.

     

    ART EXHIBITIONS

     

    Photowork ‘15 National Juried Photography Exhibition, Barrett Art Center, Poughkeepsie, NY, thru 8/8

    barrettartcenter.org.

    Maurice Prendergast:  Boston Public Garden Watercolors, Met Museum, NYC, thru 9/7

    metmuseum.org

    Discovering the Impressionists:  Paul Durand-Ruel and the New Painting, Philadelphia Museum of Art, PA, thru 9/13, examines the early struggles and ultimate triumph of the artists who created the style known as impressionism and the role that the great Parisian art dealer Paul Durand-Ruel played in their success. philamuseum.org

    Gustave Caillebotte: The Painter’s Eye, National Gallery of Art, Washington, D.C., thru 10/4, features some 50 paintings from 1875-1882 by this critically noted impressionist. nga.gov.

    The Stories We Tell:  Hudson Valley Artists 2015, Dorsky Museum, SUNY New Paltz, NY, with works by 26 artists focuses on the narrative form of contemporary art and examines how stories shape our experience and our understanding of the world.  Thru 11/8.

    http://www.diaart.org/programs/main/78

     

    ART OPPORTUNITIES

    Allied Artists of America, Salmagundi Club, New York, NY, Sept. 3-13.  Open to all artists 18 years and older, including non-members.  Original paintings in oil; watermedia, pastel and graphics; sculpture in the round or relief.  No crafts, photos or classwork.  Styles:  traditional, contemporary and abstract.  Deadline:  July 18.  alliedartistsofamerica.org.

    Northeast Watercolor Society 39th Annual Int’l. Juried Exhibition, The Gallery at Kent Art Association, Kent, CT.  Watercolors executed within the last 3 years and not previously exhibited at NEWS Internationals are eligible.  No collage or pastels.  Awards.  Deadline:  July 25.  northeastws.com.

    Finding Our Place: The Geography of Art, Annmarie Sculpture Garden & Arts Center, Dowell, MD, Oct. 16-Jan. 3.  Open to artists 18 and older working in the U.S.  All media welcome.  Deadline:  Aug. 14.  http://www.annmariegarden.org/annmarie2/node/112

    Photography—Kingston Calendar-The Arts Society of Kingston requests photo submissions that portray the “Renaissance” of commercial and industrial buildings in the new “art economy” of Kingston, NY.  Selected photos will be featured in ASK’s 2016 Kingston Community Calendar.  Honorarium.  Deadline: Aug. 15.  askforarts.org/kingstoncalendar.html.

    Small Matters of Great Importance:  Light & Shadow, Edward Hopper House Art Center, Nyack, NY, Oct. 24-Jan. 3.  Open to all artists age 18 and over working in any medium, with work executed within the past 2 years.  Awards.  Deadline: Sept. 1.  edwardhopperhouse.org.

    NEA Grants—2016 is the 6th year of Our Town, the NEA’s primary creative placemaking program, and will be available for projects in arts engagement, design and planning and in knowledge building.  The application deadline is earlier than in years past:  Sept. 21.  Visit the Apply for a Grant section at arts.gov for info.

     

    Art EVENTS

     

    Live Sculpting—Throughout the exhibition Ralph Pucci: The Art of the Mannequin (thru 8/30) at the Museum of Arts and Design, NYC, Michael Evert will live sculpt a variety of models in the re-created studio.  Included are fashion designers Anna Sui on 7/23 and Isabel Toledo on 8/27.  6 p.m., free with admission.  madmuseum.org.

    Digital Portrait Studio—The Dorsky, SUNY New Paltz, July 11 and Aug. 8, 12-4 p.m.  Museum visitors are invited to sit for a 20-minute sketched portrait.  Hudson Valley artist Tasha Depp uses her iPad to create images of visitors, which will be added to her Live Sketch Project.  Reserve a timeslot at museumrsvp@newpaltz.edu.

    Studio Tour—Approximately 40 artists will participate in the Saugerties (NY) Artists Studio Tour from Aug. 14-16.  See saugertiesarttour.com for further info.

    Chess Opportunity—On Tuesdays, Wednesdays, Fridays and Saturdays through Sept. 5 from 1-4 p.m. play an exhibition copy of Yoko Ono’s White Chess Set (1966) at the MoMA, NYC, Sculpture Garden (weather permitting).  By remaking the chess set in all white, the artist changed the nature of the game.  A special collaboration with Chess in the Schools, this program is open to visitors of all ages and abilities and is presented in conjunction with Yoko Ono:  One Woman Show, 1960-1971.  Free with admission.  moma.org

    Community Free Day—on July 11, Dia:Beacon will offer a Community Free Day with programs throughout the day suitable for a broad audience.  See more info at http://www.diaart.org/programs/main/78.

     

     

     

     

     

     

     

     

     

     

     

     

     

     Here for the New Monthly Issue of ARTtalk Local Beacon, N.Y.

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    Painting How To

    Painting on a Grand Scale

    When artists gravitate towards large scale works, they face some interesting challenges along with the actual creative process. How art is created ?on a grand scale ?is different from small artworks. Every aspect of the act of mural painting and other large scale artwork has considerations that make it fun and stimulating - well worth those deliberations.

    From the very ground onto which the artist places sketch lines, brushes of paint and blended colors, large scale nudges the artist into new realms of production. In order to paint large scale, the preferred ground ?canvas of some sort ?must be acquired in an appropriate size. The content of the canvas and its weight are both vital considerations when the painted surface is gigantic.

    Widths/lengths and fiber content of canvas-type grounds vary greatly, but there are sizes as large as 12 feet wide. More commonly, large scale works are completed on canvas of 60? 72? or 84?widths. Roll length purchases are necessary and can vary by manufacturer ?from 6 feet to 25 yards.

    But, after width and length, the fiber content may be the single most important element of the painting. As you would expect, there is cotton fiber in a variety of weights, but there is also linen, jute, cotton/linen blends polyester (all synthetic) and cotton/poly blends and all can be found primed and unprimed. The weight and texture of the canvas will have an important bearing on the finished artwork, and most artists match their style with the texture and surface of their ground. Choices abound!

    Rather than traditionally sized tubes of paint, most muralists/large scale painters use jars, tubs ?even gallons of artists?colors. Most manufacturers of paint offer a wide selection in larger quantities. Selection of textures in those containers is also sometimes available. Thicker paint means more pigment for application and working into large spaces.

    Application tools include brushes for sure, but those used are much larger in size. Consider when doing any work—if the scale were huge, you would want to use larger brushes. And, additionally, rollers (like those used for wall painting) and trowels are also used in larger scale works ?tools that would be difficult to use small scale become a necessity for bigger works. Trowels, scrapers, and tools not often associated with “painterly?applications are used by muralists and accomplish the job they want. Painting pads and hand “mops?for decorative surfacing of walls can come in very handy on larger scale artworks.

    Easels play a big part in big works. Studio easels in both wood and metal often accept works as large as 5-8 feet tall. They help hold the work at the proper level ?that at which it will be viewed ?so the artist is always aware of the scope, perspective and dynamics of his/her work. Some artists who do large scale work cover a wall with plywood and then staple or tack their canvas to that surface at the proper level for work and viewing. Easels and wall attachments ?whatever they might be ?help artists by allowing them to step back and take in the “big picture.?For large stretched canvas, wall mounted easels are great. They can accommodate works of around 100 inches in height. They are sturdy, help hold the stretched canvas firmly and adjust to all points up to around 100 inches.

    And lastly some artists employ the use of airbrush to do a lot of the design layout and fill-in on large works. Texturing with an airbrush can be accomplished by painting through screening, metal mesh, decorative pierced metal sheeting and many more items. Airbrush gives the type of color gradation almost impossible to achieve in any other way. Mists of tone-on-tone and the softness achieved is a huge asset to some muralists.

    In review, large scale artworks bring new thought processes to ponder and hurdles to overcome.  But, isn’t that what contributes to making art so enjoyable and rewarding—to accept the intellectual stimulation of such works and to succeed.

     

     

     

    Printmaking

    Printmaking Techniques & Materials

    No matter the level of your involvement with printmaking, it is sure to be exciting. In some techniques, duplication of results is nearly impossible, which seems a bit contradictory to the basic term: printmaking. Let’s take, for our first example, the most direct and simple of prints…monoprints. -->

    A monoprint (mono meaning one) is created by applying ink or paint to a hard flat surface (plate), pressing paper against the plate and lifting the paper from the plate. The resulting print is one-of-a-kind, since ink or paint would be nearly impossible to set in the same place time after time. Simple doesn’t mean uninteresting, and this is a great technique for any artist.

    Collagraph, a very simple form of printmaking, is a print created from a plate (Masonite, mat board, chip board, etc.) that has natural and/or found objects with texture glued to it. The surface of the plate is sealed and, when dry, is inked on the textured plate, excess removed and a paper placed on top. Downward pressure (using a press or hand roller) presses the paper and ink together and the images are transferred (in reverse) to the paper. Again, the simplicity of collagraph prints makes them easy for everyone to try. Many, but not unlimited, prints can be made from a master collagraph plate.

    Wood block (woodcut) printing advances in difficulty because the artist uses special gouges and carving tools to create a dimensional image in a wood block. The high surfaces of the wood block are inked, paper is pressed against the inked areas and the resulting image is a woodblock print. Surfaces other than wood can be used; linoleum, wax, and rubber are a few that are a bit easier to carve. Early wood block designs were used for fabric embellishment and those blocks endure as collectables.

    Reduction prints are created with care by print artists who desire more color and texture in their work. Each color is printed individually on the ever-decreasing wood block. Working from back to front colorwise, the artist reduces the wood block with every color, printing that part of the plate that will reflect a specific color, and then removing more mass to print the next color. When finished, the only areas that remain on the block are those representing the very last color.

    Drypoint etching is more involved because it starts with a metal plate. The plate is scribed (scratched) by the artist to record a subject. Ink is rubbed into the slight toothy grooves created by the scribing. Paper is then put on the plate, pressed and the resulting print is pulled away from the plate. For all but the tiniest of printed images, a printing press is invaluable in the process. Strong definition and evenness is difficult with hand pressing methods. Many prints can be made from the original plate. Etching can be taken yet another step by using acid to enlarge and remove areas of the metal surface.

    Intaglio prints are made from a metal base into which designs have been created. This is often done with harsh chemicals, the metal dissolving where there are scribed or etched lines that have been made through a protective covering. Because of the chemical contact (acids), this level of printmaking is considered advanced and should be done under supervision and instruction. Many prints can be made from the original plate. Ink is rubbed into the low areas, paper is pressed to the surface and a print is created.

    Finally, following is a simple explanation of some terms associated with printmaking:

    brayer - a hard rubber roller on a handle used to transfer ink to the plate.

    plate ?a surface on which an image is formed, usually metal.

    baren - a circular padded tool used to rub against the back of paper to obtain an image from a master.

    hard ground -an acid-resistant material applied to an etching plate through which you scribe to create a design.

    mordant - an acid or other corrosive substance used to “bite?into a metal plate to create an image on that plate.

    gouge ?a V- or U-shaped tool for cutting a wood or linoleum block.

     

     

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