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    Please visit our Advertisers--They keep ARTtalk.com free for you!! Click here for our most recent issue of ARTtalk! ARTtalk acrchived issues! Get your Art Books here!! Monthly Art Tips from ARTtalk! Keep up-to-date with Art News!
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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 August 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.

    Art Institute of Chicago



    Concert: Pandit Rattan Mohan Sharma

    September 13 at 2:00

    Presented in association with Mandala South Asian Performing Arts

    Registration required
    Register here


    Lectures and Talks

    Lecture: Hal Foster on Charles Ray
    September 10 at 6:00

    Panel Discussion:
    The Art of Architecture—David Adjaye's Collaborations with Artists

    September 19 at 3:00
    Presented by the Department of Museum Education and the Architecture & Design Society

    Registration required
    Register here

    Conversation: Madhuvanti Ghose with Victoria Lautman
    September 24 at 6:00

    Concerts and Screenings

    Screening: Artists' Films
    September 26 at 2:00

    Concert: Avalon String Quartet—Soviet Jewish Expression
    September 27 at 2:00


    All events are free with museum admission and do not require registration unless otherwise indicated.

    More Lectures and Programs

    What's on View Now >
    Buy Tickets >
    Join or Give >



    August is New Orleans Museum Month

       New Orleans Museum Month is a collaboration between museums across the Greater New Orleans Area. It offers museum members the opportunity to use their membership to allow two people admission to all other participating institutions, FREE OF CHARGE, throughout the month of August. Not a member of a local museum yet? Join one and see them all for free during the month of August!









    My Generation: Young Chinese Artists is an extended look at the new generation of artists emerging in mainland China since 2000, the year that China opened wide its doors to international artists and that Chinese artists began to command attention in the global arena.







    Free Kite Festival at Segerstrom Center for the Arts

    August 23, 2 - 6 pm  |  free admission

    Location: Segerstrom Center for the Arts

    Presented in partnership with Segerstrom Center for the Arts. visitors will discover the origins of kite flying in ancient China and learn tricks from today's pros. Included are free workshops, demonstrations, and more. Food truck will be onsite for dining options. This event was originally scheduled for July 19, but rescheduled due to inclement weather.  


    More information here.







    #SelfieShowdown Celebrates Art + Dogs


    Join us as we pay tribute to man’s best friend and our exhibition, Northern Baroque Splendor.


    Selfie Contest

    Submit your best impression of the painting A Laughing Bravo with his Dog (Diogenes?) with the tag #selfieshowdown on our Facebook or Twitter page for a chance to win tickets to the Cincinnati Reds “Bark in the Park” game on Aug. 26 and a family membership to the Cincinnati Art Museum!


    Please visit the Northern Baroque Splendor album on Facebook to read up on rules, view the original painting and see all our entries so far.


    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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    General's Art Press




    ART in Beacon NY




    AIRbrush Talk.com



    Basic Airbrush Techniques




    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!









    —Record Broken—The Metropolitan Museum of Art, NYC, has announced that a record 6.3 million people visited during the fiscal year ending June 30.  This is the highest since they began tracking statistics more than 40 years ago and is the fourth year in a row that attendance exceeded six million.  Included are visitors at both the main building on Fifth Ave. and The Cloisters.

    Prize Awarded—The Baltimore Museum of Art has announced the winner of the 2015 Sondheim Artscape Prize:  Wickerham & Lomax, that is artists Daniel and Malcolm, respectively.  The winners receive $25,000 and six finalists will receive a $2,500 honorarium.   Works will be on view at the BMA through Aug. 9.

    App Launched—The National Gallery of Art recently released a new children’s app for iPad, NGAkids Art Zone, now available for free download on iTunes.  This dynamic app contains eight new hands-on activities inspired by works in the collection, as well as a sketchbook for freehand drawing and a personal exhibition space where users can save and display art they create with the program. Various levels of complexity are offered, making the app suitable for all age groups.

    Painting Discovered/Award Made—Senator Charles Schumer has visited the Thomas Cole National Historic Site (Catskill, NY) to unveil a newly discovered decorative painting by Cole, considered the founder of the Hudson River School of landscape painting.  The painting (circa 1836) was discovered during a paint analysis in the 1815 Main House.  The National Endowment for the Humanities has awarded $460,000 to the Site to restore the interiors of the East/West Parlours and infuse the rooms with interactive exhibits.

    Works FeaturedWe The Peoples: Norman Rockwell’s United Nations is on view thru Sept. 15 at the Visitors’ Lobby, United Nations Building, NYC.  Honoring the 70th Anniversary of the UN, it brings together Rockwell’s original UN drawing, his Golden Rule painting and a collection of works that reflect his appreciation for humanity as a citizen of the world.

    Approval Received—The design for the National Eisenhower Memorial in Washington, D.C., has received final approval from the National Capital Planning Commission  and the U.S. Commission of Fine Arts.  The Memorial, designed by award-winning architect Frank Gehry,  will honor Dwight D. Eisenhower’s role as America’s 34th President and as a military general.

    Mural Installed—William de Leftwich Dodge’s mural Atlantic and Pacific was commissioned for the Panama-Pacific International Exposition, the 1915 world’s fair held in San Francisco.  Recently, the massive work of art was installed at the de Young, San Francisco, in conjunction with the exhibition Jewel City:  Art from San Francisco’s Panama-Pacific International Exposition.  Rolled and kept in storage for nearly 100 years, the museum has documented the work of the preparators and conservators as they installed the work in Wilsey Court.

    Double Takes AboundSeward Johnson in New York features 18 of the artist’s painted bronze sculptures located in the Garment District Plazas, Broadway, between 41st and 36th Sts.  The lifelike and life-size sculptures of iconic figures like Marilyn Monroe and Abraham Lincoln, as well as ordinary people, have been selected from three different collections by Johnson. Thru 9/15.





    Kingston Sculpture Biennial—Organized by the Arts Society of Kingston, NY, featured are some 40 works by 34 artists installed in various outdoor and indoor locations in the historic Rondout waterfront and midtown areas of Kingston.  Opening reception Aug. 1, 5-8 p.m. Thru Oct. 31.

    Windows on Main 2015—Beacon, NY—For the 11th exhibition, local artists have created site-specific installations that inspire and engage in retail storefronts down the one-mile length of Main St.  This year’s theme is Industrial/Metal. Aug. 8—Sept. 12.  beaconwindows.org. 

    The Rise of Sneaker Culture, Brooklyn Museum, NY—This exhibit, featuring approximately 150 pairs of sneakers, explores the complex social history and cultural significance of the footwear now worn by billions of people throughout the world.  Thru Oct. 4.

    Constellation, a public artwork by Melissa McGill—Bannerman Island, Beacon, NY.  As the sun sets, a series of 17 starry lights will appear one by one with the start of the night sky, creating  a new constellation over this island in the Hudson River.  It will light after sunset  for two hours every night for two years (June 2017).  melissamcgillconstellation.com.





    PHOTOgraphy 2015, Red Hook Community Arts Network, Red Hook, NY, Sept. 25-Oct. 15.  Any work created from an original photographic based process is eligible.  Film, digital, digitally manipulated, solar prints, archaic processes and photo collages/mixed media that is photo based are welcome.  Deadline:  Aug. 7—Midnight.    http://rhcan.com; rhcanphoto@gmail.com.


    7th Annual National Figurative Drawing and Painting Competition and Exhibition, The Lore Degenstein Gallery at Susquehanna University, Selinsgrove, PA, Oct. 24-Dec. 11.  This juried competition is open to 2-D figurative artists (referencing the human figure), who are over the age of 18 and working in painting, drawing printmaking or fiber.  Deadline:  Sept. 2.  http://www.susqu.edu/documents/newsevents/ldg_fig_2015_entry_form.pdf.


    Art Quilt Elements 2016, Wayne Art Center, Wayne, PA, March 18-April 28.  Work submitted must be innovative and original in design and a personal expression of the artist’s intent.  International applications are encouraged and welcomed.  Deadline:  Sept. 30; Late Deadline:  Oct. 5.  http://artquiltelementsentry.org/.

    Also, Craft Forms 2015, Dec. 4-Jan. 30, 2016, the 21st international juried exhibition.  Open to all professional artists working in clay, fiber, glass, metal, wood and/or mixed media crafts.  Deadline:  Sept. 10;  Ext. Deadline:  Sept. 13.  http://craftformsentry.org/.


    87th Grand National Exhibition, The American Artists Professional League, Salmagundi Club, NYC, Nov. 8-20.  Open to all artists 18 or older; works only in representational or traditional realism; original oil, acrylic, water media, mixed media, pastel, graphics and sculpture.  Deadline:  9/12.  www.aaplinc.org.



    Sunflower Art Festival, Aug. 8, Tuthilltown Spirits, Gardiner, NY, 10-8.  Celebrate art, music and community.  Art and activities for kids of all ages will be available.  Artists may pre-register to create a visual field of sunflowers in a live art tent or submit proposals for onsite art installations.  www.sunflowerartfestival.com.

    Affordable Art Fair, Sept. 10-13, The Metropolitan Pavilion, 125 W. 18th St., New York, NY.  Over 70 local, national and international galleries will offer an array of original artwork from more than 1,000 artists—ranging from $100—$10,000.  affordableartfair.com/newyork/.

    —46th Annual Riverside Crafts Fair, Aug. 15-16,  10-5, Garrison Landing, Garrison, NY.  This high quality craft fair set on the edge of the Hudson River will feature 80 juried artists showing furniture, photography, jewelry, gourmet food, glass items, fashionable clothing, fine art, ceramics and more.  garrisonartcenter.org.

    Figure Drawing:  Sneakers & Sketches, Aug. 20, 7-9 p.m., Brooklyn Museum, NY.  Sketch from live models dressed in streetwear and sneakers from local brands and inspired by the exhibition The Rise of Sneaker Culture.  Tickets online.  www.brooklynmuseum.org.

    Moonlit Walking Tour, Aug. 29, 7:45 p.m., Storm King Art Center, New Windsor, NY.  Enjoy a guided tour  and view Hills and Clouds (2014), a sculpture by Lynda Benglis that glows after dark and is part of the special exhibition Lynda Benglis:  Water Sources.  RSVP by Aug. 26 to moon@stormkingartcenter.org. 

     re 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 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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