Artistry

Clearing Your Slate--Creative Goals For the New Year

It's that time of year again, the time when we all reflect on the preceding months and remember the great moments, the triumphs. And then, as tradition dictates, we sit down with pen and paper to resolve goals for the coming year. January starts positively, but somewhere along the path to attaining those goals and aspirations, we get sidetracked and our great plans seldom become reality. This is proven by the fact that the same items keep appearing on our lists year after year. Could it be the burden of resolutions is too great? Is there any other way to stimulate ourselves to stay focused on the things we really want?

Starting today, consider abandoning all of the traditional New Year's "resolutions" and exchange them for New Year's "intentions." An intention sounds much more appealing than a resolution--more gentle and more attainable. A good place to start is to make a list of the things you would like to accomplish for both the coming months and for several years down the road. Look at a bigger picture.

You might ask yourself, What can I do within the next six months that will enhance my career? For some it may be as direct as setting an appointment to show your work at a new gallery or finally taking the necessary steps to arrange for an alternative space exhibit of your work. For others, pulling together a more complete portfolio would be a giant leap. Setting these goals is important and attainable as well as smart. They not only accomplish something that may make a decided difference in your career, but also give you the confidence to set more comprehensive goals.

After deciding on a realistic six-month goal, extend that idea over a full year; then add two- and five-year goals. List all of the pros and cons about each of these four goals and then list every possible positive or negative factor. Take a good look at both lists. Openly acknowledge the positives, then carefully study the negatives. Determine those things that represent real "problems" and those that could be more easily overcome.

In this process, you may notice that some of the negatives are simply fears that could be overpowered by keeping in mind all the positives of charging ahead. Certainly, leaping ahead is scary. Yes, taking chances and opening yourself to critique is a giant step, but risks and facing possible critique can make you stronger. Growth will happen, confidence will build, and you will be a better artist and business person for the experience.

Ridding ourselves of excess "baggage" is another good way to stimulate growth. As artists, most of us have works that haunt us--perhaps works that never "come together" or a project design that simply will not work no matter how much we want it to. Imagine not having to worry about a particular work again. So? Why not take action? You could paint over the original but why not make a symbolic and clean break?

Toss it into the trash can. The destruction and disposal of an unsuccessful work can be uplifting and quite liberating. What is the worst that can come of the destruction? A small monetary loss. But the up side is a fresh start. The lessons learned in working with an unsuccessful piece will stay with you, but the unsuccessful piece does not have to remain. And another attribute of destroying a troublesome work is quality control. That gives you great power and makes you a stronger artist.

To stimulate and renew artistic spirit, consider taking a page from Julia Cameron's book, The Artists' Way. Award yourself an "artist's date." As Cameron suggests, do something that will foster fresh, energized thinking, something that is very personal--perhaps, a visit to a new museum exhibit or a drawing session in the park. Plein aire painting is a bold step for some and an excellent way to break routine. Get "out there" and do it! Many say it is the single most stimulating thing an artist can do. Stretch the boundaries you think are set in stone. Break free of an old habit and create a new direction.

Something as simple as thinking of yourself as a successful artist can make a big difference. Envision your success, see your work hanging in the gallery you would love to be in, and begin to build a network of supportive friends. Come together as a group and brainstorm ideas for promotion, talk about difficulties you are experiencing, share successes, and put on an exhibition. Alone you might be a very good artist; with group support you may become a great artist. Such gatherings are charged with excitement and encouragement and can be phenomenally rewarding.

And, as hard as it might be, don't forget to ask for help when you need it. Most of us really love to feel as though we have helped another person. Considered by many to be the single biggest fault of today's society, asking for help and bonding with another creative spirit may give you that nugget of information that will thrust you forward.

Lastly, a mentor relationship might be helpful. Arrange with someone you admire to use them as a sounding board or perhaps to get basic guidance. Mentors are more valuable than most imagine. Learning from someone who has already "leaped through the hoops" can save you a lot of time, energy and, let's face it, money. Why struggle if someone is there to answer questions and offer you guidance.

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Art Marketplace

New Projector Completes Line

Gagne has introduced the fourth model of their new opaque projector line, simply named The Projector. Manufactured of heavy duty ABS plastic, it boasts a high quality 200mm lens with a 5" x 5" field of view. It can clearly project images up to 10 times with amazing clarity for a unit of its cost. The Projector is designed to fit between the more basic Mini-Sketch and the professional Trace Master (Deluxe) within the Gagne line. It's well made, good looking, competitively priced and immediately available from participating dealers.

New Body Art Products

Body art is the hottest new trend for everyone from celebrities to business women to small children (who have their faces painted and temporary "tattoos" applied at fairs, carnivals, malls, or the boardwalk). For those who prefer this temporary and painless form of decoration, some new products are now available from art retailers.

--Newly introduced from Medea Airbrush Beauty Products are Paintbrush Tattoo Products and Body-Art Airbrush Systems. With the Paintbrush Tattoo Products, you simply choose a design and color scheme, apply the transfer to the skin; and, when dry, hand-paint on the colors. Dust with baby powder and your waterproof tattoo will last for days or can be easily removed if desired. Three sets are available: The Professional Set includes enough paint and supplies to complete up to 200 tattoos; while the Master-Tin Set will complete up to 50, and the Temporary Tattoo Mini-Kit will complete up to 25. The nine Temporary Tattoo Colors are also available individually.

Medea's Body-Art Airbrush Systems result in a professional, highly realistic "tattoo" look. Select your Body-Art Colors and then simply airbrush them through the stencil of your choice wherever you like. Blend colors, overlap designs, be daring or discreet. These are waterproof and last for days or may be easily removed. The Professional Body-Art Add On System includes the Iwata Eclipse BS airbrush, 6 colors and 6 stencils, while the all-inclusive Professional Body-Art Airbrush System contains the foregoing, plus air hose and compressor. For those who already own an airbrush, see the Professional Application Kit, accessories, and wide variety of stencils available from Medea. Airbrush Body Paints are available in 15 individual, brilliant colors, as well as in a 6-color set. These provide great fun for adults and teenagers, alike, and "Only the attitude is permanent!"

--With the Mehndi Henna Kit from Jacquard Products, you can create this exotic Far Eastern ancient art of hand and body painting which remains a tradition for celebrations and festivals today. For over 5,000 years, this beautiful and mysterious art of painting on the body with preparations using the henna plant has been practiced. In India and the West, this art form is referred to as Mehndi. A special henna powder and specific liquid ingredients are mixed to a dark paste. Using an applicator, linear designs are drawn on the body and, after the paste has set, it is removed and reddish brown markings remain on the skin. The designs last 7-12 days, fading gradually until they disappear. See your retailer for this kit which includes all the tools and supplies you need to begin.

New Book of Inspiration

Author Jeanne Carbonetti's second book in her "Path of Painting" series, The Zen of Creative Painting, offers empowering advice based on Zen principles to creative artists of all levels. Encouraging painters to expect success through the principles of harmony as presented in the classic Tao Te Ching, theories are put into practice through exercises designed to unite body, mind, and spirit and which are illustrated by the author's own paintings. The best of Eastern philosophy is thus merged with the best of Western technique. Watson-Guptill Publications, 112 pp.

Painting

Paint Palettes

When most artists think about the word "palette," what usually comes to mind is the concept of using a limited assortment of colors that are chosen for use in a specific painting technique. It is often secondary to think about the palette as the implement on which a painter holds or mixes colors.

Originally, artists used seashells of various types to contain and mix pigments when painting. Later, glazed palettes were created to replace these found objects. Historically though, wooden palettes have been used by most artists. This material was used because it was relatively easy to manufacture, was sturdy and durable, and possessed a good degree of imperviousness to fluids. Its brown color was suitable and did not clash too much with colors that were mixed on its surface.

As modern materials became available and artists started to adopt new attitudes about color theory, a need for a paler-toned palette gave rise to the white palette. This type of palette has many of the same physical attributes as the wooden palette, but its lighter color had more appeal and became increasingly popular for storing and mixing paint while working. Of course, a wooden palette can always be painted with white lacquer to achieve the same effect.

The traditional oval-shaped palette is often preferred by painters. This type ranges from small hand-held units (for a limited array of colors) to the large-sized wooden models that are called arm palettes. For larger applications, it is best to place a palette on a solid table next to the easel so that both hands can be kept free.

There are many cases when a lightweight hand-held palette is necessary for the proper execution of a particular technique. For this purpose, a white lacquered aluminum palette (originally intended for use with aqueous mediums) or wooden palette can be employed.

Wooden palettes are typically available in oval or oblong shapes of various sizes. There are also models that are similar in appearance and size but are constructed of clear acrylic, Masonite, or styrene. Accessories include a palette cup that can be clipped to the edge of a hand-held palette that holds water or other dilution mediums for paints.

Most contemporary artists prefer to begin work with a clean palette rather than having residues of color remaining on the palette. For a smooth, impervious surface that can be easily maintained, glass or china plates can be used. With these makeshift palettes, all pigments can be rinsed from the surface during cleaning, and hardened paint can be scraped off with a palette knife or (carefully) with a razor blade. Also, any applied solvents will have no adverse effects on these types of palette surfaces.

Glass palettes usually have an underside of baked white vinyl so colors can be easily differentiated. Colors are applied to the top surface area that is impervious and smooth. Some of these kinds of palettes are designed for tabletop storage. This type is suitable for mixing paint, ink printing, and mono-printing. It is also ideal for clay sculpting, stenciling, and other crafts and hobbies.

There are also lighter glass palettes made from tempered safety glass that are designed to be hand held. With these, paint can be easily removed from the surface, even after it has dried. With proper care, this type of palette will last almost indefinitely. Glass palettes are easy on brushes and won't absorb paint, oils, or inks.

For those who wish to avoid cleanup, there are disposable or peel-off palettes. These are usually constructed from sturdy cardboard (with an impervious coating) and are oblong with a thumbhole. They are sold in two or three sizes, are paint-proof, and have become quite popular.

Almost any flat surface can be used for a palette. Some find plastic disposable plates handy for mural work, while others buy cheap porcelain, glass, or tin dishes at yard sales for palettes. The basic criteria of these types of makeshift palettes is that they don't contain too deep of a depression or have separations, since either will inhibit the act of easily picking up or mixing paints together. Keeping oil colors fresh is an important consideration. To help do so, a palette seal tray with an airtight compartment lid can be used to keep paint fresh and protected when not in use. Another effective method for preserving oil colors for several days is to remove them from the palette and then place them on a strip of glass, which is then submerged in a tray of water. If a metal plate is used as a palette, the entire tray can be placed in water.

Within a few days, the stored colors can be removed from the water. After the water has been shaken off and the remaining drops allowed to evaporate, colors should be checked for thickening--especially if rapidly drying pigments are used such as umbers. Keeping colors stored in water will delay the drying action but not stop it since water also contains oxygen.

You may wish to try some of the above-mentioned palettes. Considering the modest expense for the very real benefits that can be gained, you may just find that a different type of palette can better help you hold, mix, and store your paints.

  Exhibition

"Mary Cassatt: Modern Woman"
Art Institute of Chicago
Through January 10

Mary Cassatt was, and is, regarded as a leader in the Impressionist movement. Despite the fact that she was a single foreigner traveling alone in Europe and one of the few women in a male-dominated art movement, Cassatt achieved significant position in the Paris art scene. She was one of only three women ever to join the French Impressionists. She was also the only American artist invited to exhibit with the French Impressionists; and it is said that Cassatt developed her own personal style in response to the Impressionists' ideas about art and modern life.

Mary Cassatt's dedication to the creation of art was boundless. She is known to have braved bitter cold, bad living conditions, disease-ridden regions and extreme danger in order to pursue her studies and to further her career. Her unmarried status actually afforded her a freedom of movement that married women of the time could not have enjoyed. Many quotes have been made about her talent, but one that was spoken truthfully--but in near sarcasm--by Edgar Degas is, "No woman has the right to draw like that." This was positive affirmation of their close professional relationship.

Described by friends as having "an electric vitality" and a talent admired by both men and women of her time, Cassatt displayed both a tenacious determination and impressive record of achievement. But, because Cassatt did not chronicle her life or create any record or diary, following her career is not an easy task. Documentation of women artists of her time, despite her stature, is weak. It wasn't until she was in her seventies that any written record of her career was made. This piece erroneously refers to her as a one-subject artist and attributes her success to the fact that she departed the "wasteland" of the United States for the rich civilization of France.

Much of Cassatt's style originates from the relationships in her early life, and members of her family are depicted in many works. It was ten years after her death before a major retrospective of her work was made. This exhibit established a new understanding of Cassatt's professionalism and made clear the variety of themes and materials in which she excelled. An entirely new vision of Mary Cassatt then took form. Only then were direct comparisons of her work and that of her male peers made. The reaction by scholars and all visitors to this exhibit placed her forever on the list of important American painters.

Remarkably, it was not until 1966 that a full biography of the artist was completed. Miss Mary Cassatt: Impressionist from Pennsylvania included interviews and previously unpublished letters, capturing her personal style and endearing her to the world. It stands as a permanent archival record and chronicle of her life for all generations.

You might have been fortunate enough to have seen the exhibition while it was at the Art Institute of Chicago. This is an exhibit of rare works, some never before seen. An amazing variety of material is included: paintings, prints and drawings from four international institutions, twenty-seven galleries and corporate collections in the United States, and fourteen private collections.

The incredible size of the Chicago Art Institute building and the positioning of the exhibit within the structure built excitement with every step. Placed far away from the building entrance and after a labyrinth of cordoned walkways, entry into the first salon was breathtaking. Large works of Spanish dancers and bullfighters seemed to come to life. Glowing skin tones, for which Cassatt is known, and candid, relaxed poses offered a rare look into the everyday lives of the subjects. Color and grandeur leaped off the canvases.

One captivating work, also in this salon, could almost have gone unnoticed. "Mrs. Duffee Seated on a Striped Sofa, Reading," completed in 1876 is barely eight inches by ten inches. It is an exquisite work with luminous tones, painted in Cassatt's riveting style. One is drawn into the work, wonders what Mrs. Duffee is reading, and can relax into the tempo of the scene. This feeling of relaxation and the artists' genteel character emanate from many of the works.

In variety of media, "Mary Cassatt: Modern Woman" offers a feast. Everything is here from softground etchings, aquatint, and lithograph to pastel, watercolor, graphite drawings and, of course, those luminous oils. The spectrum of materials and the expertise with which they are rendered by Mary Cassatt is phenomenal. One fascinating note about Cassatt is that she never dated her work. It is through letters and other correspondence that historians are able to determine when a work was completed.

Not only did Cassatt give us her own work, but she also helped build strong collections throughout the country as well. Even as a student in Philadelphia, she recognized the scarcity of fine art collections in the United States. After her studies in Europe, she returned home and began working with prestigious art galleries and America's wealthiest leaders to help enrich this country's public art museums. She might never have realized that these important institutions would end up housing collections of her own work, but she was very instrumental in building collections from which future generations would benefit.

"Mary Cassatt: Modern Woman" travels to the Museum of Fine Arts, Boston (February 14, to May 9, 1999) and then to the National Gallery of Art in Washington, D.C. (June 6 to September 6, 1999). See it if you can. You will not be disappointed.

Competitions

The California Watercolor Association's 31st National Open Exhibition, scheduled for June 1-25, is open to all U.S. and Canadian artists in waterbased media on paper. Awards Juror: Skip Lawrence. Send large SASE to: Dave Lester, 390 Hermosa Court, Lafayette, CA 94549; www.jps.net/cwa. Slide Deadline: Feb. 12.

The 22nd Annual Art on Paper Exhibition, April 8-May 15, is open to artists living in the USA. Juror: Samuel Hoi, Dean of the Corcoran School of Art. Send large SASE to: AOP, Dept. 1, Maryland Federation of Art, P.O. Box 1866, State Circle, Annapolis, MD 21404. Slide Deadline: Feb. 12.

The Art Association of Harrisburg's 71st Annual Juried Exhibition, May 22-June 24, is open to all media. Juror: Fereshteh Daftari, Asst. Curator, MoMA. Send SASE to: Art Association of Harrisburg, 21 N. Front St., Harrisburg, PA 17101; (717) 236-1432. Slide Deadline: Feb. 26.

The 7th Annual International Juried Exhibition sponsored by the Colored Pencil Society of America, July 1-Sept. 25, is open to all artists aged 18+. Work must be completed totally in colored pencil. Cash prizes. Send large SASE (55 cents postage) to: Pam Whyman, 7th Juried Exhibition, 14511 281st Ave. NE, Duvall, WA 98019. Slide Deadline: March 31.

Airbrush

Triggering for Freehand Airbrushing

When airbrush technique comes to mind, many artists envision elaborate processes where stencils and frisket film, found objects, and secret techniques are employed to develop images. In reality, however, many artists utilize nothing but the manipulation of the airbrush to develop their images, e.g. the portraiture of Chuck Close and the fabric designs of Jurek.

To develop competency in strictly freehand airbrushing, much practice is required, primarily the same type of practice that is used in the basics of airbrushing. This entails spraying dots, lines, and gradations after learning the triggering techniques and becoming familiar with the manipulation of the air source for a variety of effects.

To start, triggering is important, and we will assume that the student is at a basic level and is using a dual-action airbrush.

1. First, make sure the airbrush is held correctly (like a pen or pencil). Then depress the trigger completely to release air; and pull back on the trigger (while depressed) to release paint. Start practicing dots by pressing down for air, pulling back for paint, and then releasing the trigger to shut off both air and paint. Listen to the spray--on/off. Look at the dot that is developed. The closer you are to the surface of the work, the smaller the dot; and the further back you pull the trigger, the more paint comes out. Practice spraying until you have the command of spraying small dots; and then large dots. Take grid paper and spray dots inside the squares.
2. Once you feel comfortable with the on/off triggering, move on to triggering the airbrush by pressing down on the trigger for air, pulling back for paint, and then pushing the trigger forward to a shut off position while the air is still on; then removing your finger from the trigger to shut off the air. Use this system of triggering to develop dots within your grid paper.
3. Now that you have become familiar with the forward and backward method of triggering, move on to the method that you will utilize in all your freehand work. Depress the trigger for air; pull back for paint; spray your dot; move your finger forward to shut off the paint; pull the finger back for more paint without shutting off the air. If you have had the opportunity to watch a professional T-shirt painter working on a boardwalk or in a mall, you will notice that the air is constantly on.
4. Another method of triggering is to press down for air and pull back for paint; when you reach the point that gives you the volume of spray you require, you can keep the trigger at that position and control the on/off of the paint by allowing the trigger (which is spring-loaded) to pop up at that position for shut-off. Then you can simply push down for that same amount of paint each time. Again, spray dots into your grid.

Experiment and become comfortable with all the methods of triggering that you can utilize when needed.

Once you are settled into your preferred method, you can begin to practice line work, dagger strokes, and gradations that will be used in developing your picture without the use of stencils.

Art World News

New Museum Planned?--Rumors abound that the Guggenheim Museum will build a new $400 million branch on Pier 40, the largest on the Hudson River that is part of the new 5-mile Hudson River Park. Award-winning architect Frank Gehry is rumored to be connected to the project.

Artists Linked--"Wondrous Strange: Pyle, Wyeth, Wyeth & Wyeth" is the first exhibition to give serious attention to the motivation that most dramatically links Howard Pyle with the works of his student, N.C. Wyeth; Wyeth's son, Andrew; and his son Jamie. At the Delaware Art Museum, Wilmington, through February 21. (302) 571-9590.

Kiss Permanent--A bronze cast of Rodin's Kiss that was looted by the Nazis during WWII has been placed on permanent display in the Tuileries Gardens, Paris. The Tuileries Sculpture Project will put 20 pieces of modern sculpture in the city's royal gardens by the end of this year.

Pollock, et al, Displayed--See more than 150 paintings, works on paper and sculptures by influential American painter Jackson Pollock at MoMA, Manhattan, through February 2. Also on exhibit are "Focus: Pollock and Printmaking" and "Dubuffet to de Kooning: Expressionist Prints from Europe and America."

Paintings for the Heartland--The Indianapolis Museum of Art has acquired 17 paintings and 84 prints by Gauguin and his followers from Pont-Aven from a Swiss businessman/collector. Valued at approximately $30 million, the works will be unveiled in a show next March.

Stained Glass On View--"Glory in Glass: Stained Glass in the United States" is on view at the gallery of the American Bible Society, 1865 Broadway at 61st St., NYC, through February 16. Fourteen windows from seven historic churches, panels and roundels, as well as rare examples of medieval and Renaissance glass, photographs, illustrated books and documents complete the display.

Russia to Return Works--The Russian Cultural Ministry has announced that it will return to rightful owners those works of art looted during World War II as well as contribute information from its archives to an international database on looted art. Not included in this offer is "trophy art," the works taken by Soviet troops from Germany and Eastern Europe that are considered to be reparations for wartime ravages that Russia suffered.

Auctions Set Records--At Christie's recently, a van Gogh self-portrait from 1889 sold for $71.5 million, the second highest price ever paid for a van Gogh at auction and the third highest for any artwork sold at auction.

--A record auction price was set for Maori art at Sotheby's when a four-foot statue, owned by a Swiss collector, fetched $1.1 million recently. Representatives of the tribe which carved the sculpture circa 1830 had hoped to see it returned to New Zealand.

--And Nineteen items of American Indian art were withdrawn from auction at Sotheby's in Manhattan after tribes protested that their heritage was being sold into private hands. Three additional objects were bought by people who intended to return the items to the tribes.

Pop Art Exhibited--"Roy Lichtenstein: Landscapes in the Chinese Style" includes six examples of the Chinese art that inspired him. Through February 7 at the Smithsonian's Arthur M. Sackler Gallery, Washington, D.C.

Museum Receives Works--The Jack S. Blanton Museum of Art at the University of Texas at Austin will be the new home of one of the largest and most important private collections of Old Master paintings and drawings. The 700 works, estimated to be worth more than $30 million, are partially a gift from the private collectors, while three donors have contributed several million dollars toward the acquisition, leaving the university to raise $15 million.

JANUARY BIRTHDAYS

  1    Alfred Stieglitz
  7    Alfred Bierstadt
12    John Singer Sargent
14    Berthe Morisot
23    Edouard Manet
        Nicole (Paschal) Corneyea
28    Jackson Pollock

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Copyright ARTtalk Vol. 9 No. 3 -- January 1999