Helen Frankenthaler (1928 - )

Born on December 12, 1928, in New York, Helen Frankenthaler completed her artistic studies at Bennington College in Vermont. She then returned to her native New York where she was introduced to Abstract Expressionism in the 1950's. Frankenthaler is perhaps the most recognized and celebrated of all the women on the American art scene to date. She is a second generation abstract expressionist of whom it is said that although "She was not the first artist to stain canvases, she was the first to have developed a complete formal vocabulary for the technique." (Whitney Chadwich). From a viewer's standpoint, the vocabulary she created seems to matter less than the stimulating vibrancy of her works.

Frankenthaler was a trailblazer. Allowing paints to soak into the very fiber of raw canvas while employing colors that seemed to float away from the surface three-dimensionally, she set the art scene on its ear. By pouring thinned paint (originally oil-based, but later acrylics) directly onto raw canvas--a material that was usually sealed against such pigment penetration--and allowing it to soak into the support, rather than painting on top, Frankenthaler changed forever what was considered the accepted method of application.

The technique, referred to as "stain painting," became the hallmark of her style and enabled her to create canvases that generated a mesmerizing ethereal quality. Manipulating the paint using rollers, squeegees and towels, she controlled the flow by pushing it into thin layers, pooled it to create thickness and blotted it to achieve rich combinations of color on simple, open fields. One major art critic of the 1950's and long-standing friend Clement Greenberg hailed her work as a "breakthrough moment in the history of modern art." Frankenthaler's work was cited as critical in the development of a new group of artists known as the "color field" painters. This is the group of painters who bridged the gap between works such as those created by Jackson Pollock and what was "believable." While their works hold little in common, Frankenthaler credits Jackson Pollock with her introduction to a freer and less controlled application technique that she adapted to her methods.

Even though her work is non-representational, as is the case with all other Color field painters, Frankenthaler continues to base her work on nature, both observed and imagined. When the style of her work is seen as a form of American landscape tradition, it can also be included in the context of 20th century abstraction. Flowing pigments, which create their own shapes and edges, became her metaphor for experiences with nature. The use of metallic pigments, for which she was again recognized as a pioneer (actual ground metal particles, initially), gave a brilliance and luster that had been absent in naturalists' works up to this time.

The flow of shapes into shapes and the use of aggressive color heighten the viewing experience of Frankenthaler's works. Her paintings are individual in style and meaning, and she developed an unconscious attitude that culture was not foreign or exotic, but just one part of who she was. Her use of color and the scale of her work further acknowledge that style, for which she has been known since the 1950's.

For over 25 years, Frankenthaler was the Grande Dame of the abstraction movement. The innovation in her technique reverberated through the art world for over 25 years. While she is no longer in the forefront of American abstraction, she will forever be remembered as a pioneer of American Abstract Expressionism and of color field painters. Her explosive rise to fame, which seemed to happen overnight, was not a short-termed flash but an enduring and important part of the entire evolution of abstraction. Throughout the years, her work has taken on an even more abstracted reality and has grown in grandeur of scale. As with her fellow color field artist Mark Rothko, the scale and color sensibilities in her work will always evoke emotional response.

Works by Helen Frankenthaler can be found in many major museum collections throughout the United States, Canada and Europe. In 1966 Frankenthaler was one of only four U.S. painters represented at the Venice Biennale. Her work was featured in regular exhibitions at the Whitney Museum of American Art. She was honored with a solo exhibition at the Guggenheim Museum and numerous other major galleries nationwide. Frankenthaler was awarded a 2001 National Medal of Arts. Seldom do viewers of her work leave unaffected. There is raw emotion on her canvases and studied review of them can be life changing.

Abstraction is not a style of painting favored by the masses. One of the major reasons for this is its lack of recognizable features. But, by very definition, abstraction offers more pure emotion and direct connection with the painter than other styles. One exercise to better understand or appreciate abstraction is to first select a realistic scene. Lay tracing paper over the image and trace the lines used in the shapes of the painting. You have just "abstracted" the original image. Take this image and change some element, such as making all straight lines curved lines or laying patterns into the open fields of the drawing. What you have created is your own personal abstracted reality. When applied to scenes from nature or even objects of everyday life, abstraction becomes a personal and illuminating experience. Perhaps you should give it a try.

Exploring Conte Crayons

Although most of us have explored the pastel/crayon/chalk aisle of the local art supply center, we might not have had experience with conte crayons or conte pencils. And few know any history or application of these wonderfully versatile and stable materials.

First invented over 250 years ago to supplement the softer pastel sticks being made and to offer a less fragile end product, the conte crayons of today are made of highly refined materials. Kaolin clay (a product fine enough to be used in quality cosmetics) and pure pigments are compacted to create an extraordinarily rich and smooth graphic material. These crayons are harder and thinner (approximately 1/4" by about 2½") than traditional pastels but offer a product that is ideally suited for drawing and sketching on a wide variety of surfaces. They can be blended with paper stumps and removed with a kneaded eraser.

Adored by portrait artists because they hold their edge and can be "pointed" for extremely fine detail work, conte crayons are the perfect addition to any artist's sketch box. Able to overlay traditional pastel and other graphic media, they are often used to make corrections or to add detail to works in progress. Several color assortments are also available in pencil form. Because of their hardness, conte pastel pencils are premier tools for controlled detail work.

Crayon variety packs include several color "families," including special portrait tones, landscape tones, full spectrum color packs and contrast assortments for sketching. Most artists become aware of conte crayons in drawing class exercises when strong darks and lights are desired. The rich black and the opaque, stark white are perfect for creating shadow and highlight.

Surfaces onto which conte crayon may be applied include all pastel papers, velour papers, all varieties of soft surface watercolor papers as well as quality drawing papers, and even newsprint for practice work. A good "tooth," or softness of a surface, best insures good adhesion.

Conte crayon work is more stable than art done in soft pastel. Therefore, application of fixatives is seldom an issue. When conte crayon is an element in mixed media work, it can add fine detail that is hard to accomplish in other ways. When applied to a surface still slightly damp with medium, the conte crayon designs become very permanent and seem to melt into the surface. As a topical addition to watercolor or acrylic on paper, they can add just the right amount of visual texture.

Possibly the best way to explore the wonders of conte crayons is a sketch set. These sets usually include both crayon sticks and pencils in a variety of tones. There might also be a kneaded eraser and a couple of blending stumps--everything you need to get up and running with this versatile medium.

Graphic Chemical & Ink Co. Printmaking, etching, blockprinting litho supplies. Silkscreen Trade Names: Perfection, Easy Wipe, Graphic, Sureset, Universal, Graphinx.

More Uses For A Light Box

The current craze of working with vellum can be enhanced to new levels when you incorporate the use of a light box. The brightness will backlight your embossing or cutwork and will provide a great work surface for you to work color accents onto the vellum. The addition of colored pencil work to vellum (back side) will give the illusion of frosted, pastel tones and is especially good for original artwork and color additions to greeting card overlays. If you do cutwork, be sure to cover the top of your light box with a sheet of acrylic glazing material cut to the same size as the light box. This will provide a replaceable work surface and avoid damage to your box lid as you cut your designs.

Rubber stampers will enjoy using a light box because the backlighting will reduce eye fatigue and enable the stamper to more accurately place images and designs. Multiple layers of design can be stamped in precise patterns. Layered works, especially on vellum, can be created with ease. The light box takes the guesswork out of image placement.

Pattern and design developers can benefit from a light box because they can stack their drawings for precision fit and for exact duplication of curve-to-curve, corner-to-corner, space-to- space designs. A light box speeds the creative process and enhances the finished results.

For those who use slides and large-sized transparencies, the rich dyes produced by transparent watercolors can be used to correct slight irregularities in color and tone. A light box simplifies the task and reduces the risk of improper color placement.

Much more than a unit limited to simple pattern tracing, a light box can be put to many uses that can benefit the creative mind. Isn't it time you had one?

New IWATA Revolution Single-Action Airbrush - SAR

Iwata-Medea Airbrush Products is pleased to announce the release of their new IWATA Revolution single-action airbrush: the SAR. The new Revolution SAR has a 0.5mm needle and screw-in nozzle and comes with a spray pattern adjustment knob. An incredible value, this airbrush is ideal for beginners, high school students, and hobby, craft, and industrial work. The Revolution SAR is available now from your favorite art materials supplier. For a complete listing of the IWATA-MEDEA-ARTOOL catalog on the Web, go to www.iwata-medea.com

New AMACO Stonex Clay, Slice 'N Bake Canes, and 33 Additional AP Non-Toxic Colors

--AMACO's recently introduced Slice 'n Bake canes of polymer clay have beautifully detailed designs throughout and are available in contemporary, modern designs that can be used to decorate or accent any craft project. The six new Celestial and Tropical designs include Moon, Saturn, Sun, Dolphin, Fish, and Frog. The Patriotic series includes three different flag designs. Craftspeople can show their patriotism and decorate projects with the "stars and stripes." The Tropical and Celestial canes are 3/4" x 3/4" x 1-1/8" long, and the Patriotic canes come in two square and one round design. The canes can be used with polymer clay or sliced "thin" to accent candle votives, jewelry, ornaments, picture frames, accessories, and home décor projects--any surface that's oven-safe at 265 degrees F.

--The health labeling on many AMACO products has been changed as a result of additional testing and review of products and ingredients for health exposure hazards by the ACMI toxicologist. Thirty-three additional colors are now AP Non-Toxic and carry the AP seal. For more information on all of AMACO's non-toxic glazes and the latest Product Encyclopedia & Safety Manual, contact American Art Clay Co., Inc., 4717 W. Sixteenth St., Indianapolis, IN 46222; 800.374.1600; www.amaco.com.

Rubber-Stamping with Nicholson's Transparent Water Colors

By Chris Mode

The craft of rubber-stamping has made some impressive leaps and bounds in the last five years. Hand-stamped cards are no longer simple projects for kids. With the introduction of quality products such as Nicholson's Peerless Transparent Water Colors, stamping projects can take on a professional and artistic look. Imagine creating a work of art in less than 10 minutes! Now you can with a rubber stamp, a black inkpad and Nicholson's Peerless Transparent Water Colors.

To create a unique hand-stamped work of art suitable for framing, follow these two simple steps: First, create a background with your favorite transparent Peerless Water Colors. My personal preferences are Peacock Blue, Wine Red and Cheek Pink. You are sure to find a few favorites of your own in the Bonus Pak that contains 40 different colors spread across the color palette! Begin by securing a piece of cold press watercolor paper to a firm Bristol board. This will prevent the paper from curling when the water is applied. Using a 1" brush, prime the surface with clean water.

Next, generously apply your three favorite Peerless colors to the watercolor paper using a wet paintbrush to lift the intense Peerless Water Color dyes from the paper swatches. Once your work surface is completely saturated with the Peerless Water Colors, sprinkle salt into the color. This is an old trick, but a classic one! Leave the paper to dry for approximately two hours.

Now, on a second piece of white paper, hand-stamp your favorite rubber stamp image using a permanent black inkpad. I like to use a smooth hot press watercolor paper or smooth cardstock. With a wet brush, lift some of the concentrated Peerless Water Colors off the surface of the dark side of the swatch. Although a paintbrush and water has worked well for over 105 years, you may want to try the new water reservoir pen that works impeccably well! The water brush is a self-wetting brush. Fill the barrel of the brush with water and you no longer need to mess with a jar of water to clean your brushes. The water brush cleanses itself as you work. Be delicate as you lift color to paint the rubber- stamped image. The intense transparent dye that coats the special cotton papers is so concentrated that very little is needed.

Once your rubber-stamped image is painted and shaded as desired, trim it to size. Place the finished image on your (now dry) watercolor background and attach with acid-free glue. Trim the newly created background paper to fit an 8 x 10 frame and there you have an instant-framed project! Or trim it to fit a greeting card and share it with a friend.

Schmincke Oils

The 102 gorgeous colors of Mussini Resin Oils were created for the artist who wants a traditional palette. The recipe for Mussini is based on old masters' formulations to include a tiny bit of natural resin, added just before the paint is put in the tubes. Microscopic particles of resin increase light refraction, making Mussini unusually luminous. And with 42 translucent colors, Mussini is ideal for glazing techniques. The resin also acts to balance the drying process, resulting in strong, tension-free paint layers that resist cracking.

Schmincke makes Norma Professional Oils in 78 brilliant colors for those artists who prefer a brighter, more modern palette. The formulations for Norma were developed at Schmincke after the turn of the last century when modern synthetic pigments were first introduced. Norma is made with the best pigment and natural oils, and with every advantage of the Schmincke research and development labs, it meets the highest standards of the industry. Norma in the larger sizes is an excellent value, so even an artist on a budget can experience painting with the best.

Bookbinding Primer

Art books are easy to make and can include almost any type of materials from handmade papers to stationery and copy papers. Covers can be decorative designer papers or simple card stock. Here are two easy projects.

Quick Booklet

Materials needed: 2 - 8½" x 11" papers, one cover paper (card stock or heavy contrasting paper) at least 5½" x 8½", needle, thread (same as cover color), 2 clothespins or paper clips, ruler, and stencil knife.

Fold sheets in half (fold the 11" length to 5½") and then cut along fold line. Fold each piece in half again to a 4-1/4" x 5½" measurement. You have created the eight pages of your book (four fronts and four backs) called a single "signature" book.

Cut cover material the same size as the folded sheets (5½" x 8½"). Fold around interior sheets, aligning edges at top and bottom. Carefully open the pages, using clothespins or paper clips to hold the pages in position.

Thread the needle with a doubled length of 18" thread. With a ruler, measure the centerfold line, locating the center between the top and bottom of the "book." Measure one inch above and below this center point and pierce with needle and thread at either location. Start the penetration on the inside of the folds (inside the book). Go through all pages and cover, leaving a "tail" at least six inches long. From the outside of the book, bring the needle to the second point and push through cover and pages. Pull the needle and extra thread through to the inside snugly and tie a tight square knot. Trim off excess tails to 1/4".

It may be necessary to trim the right side of the booklet if the pages and cover are not in proper alignment. This can be done with a stencil knife and ruler.

Decorative Booklet

A very special covered book can be created by making a signature of about eight sheets of paper folded and sewn together without a cover attached. Trim edges as needed for a clean, finished look. Create a "cover" by folding decorative paper around the first page of the book. Overlap the inside edges of the wrap-around cover and glue the overlap together. Trim the right side to an appropriate size. Repeat for the back cover. This book can be very versatile, using richly textured handmade papers, contrasting papers front and back, or corrugated/embossed sheets for added interest.

For elegant presentation, consider making an envelope or pouch in which to enclose your book project. Create pockets on the pages and include trinkets, tea bags, flower seeds or other items. Books are great "on-the-go" art projects because the materials are compact and easy to transport.

Utilization of the Internet

The airbrush user has taken to the Internet like a fish to water. Regardless of the application--painting, illustration, hobby or craft--the common denominator is the use of the airbrush. This mix of users participates in the Internet in multiple ways, e.g., sharing information, exhibiting artwork, and chatting about airbrushing as a community. Is it the mechanical aspect of the airbrush that makes these persons comfortable with using the Internet or is it the fact that they have a willingness to experiment with new media? Whatever their inspiration, most will eventually have their own websites. Following are a few tips to consider and possibly make it easier to develop an effective website.

--Most airbrushers build their own websites that range from simple to complex in nature. Because they have learned to build a website on the Internet, they also have the knowledge to maintain it at will. Information can be updated, photos can be changed, links can be added and deleted, etc., all without the involvement of a third party. Web sites can be built and maintained using readily available programs such as Microsoft Front Page in conjunction with MSN. Check it out. These are easy to learn and fun to use.

--Once a page is built and on the Internet, you would probably like someone other than your friends and relatives to visit. Therefore, you must promote your web site through several different options. One is to have reciprocal links. Contact sites of interest, join link exchange programs, and exchange links with other airbrush users and organizations. Always have a "Links" page on your site.

--When you build the pages for your site, pay special attention to the page titles. In doing searches you will notice that it is the title of the page that comes up in the search engine. Often you will see these titles listed as "New Page 1," "Welcome to My Home Page," or some other nondescript title. You are allowed only nine words in your title, so choose them carefully. Use as many as are appropriate and make your page titles descriptive so that searchers can readily find you.

--Learn how to submit your home page to the various search engines, such as Google, AltaVista, etc. You can hand-submit not only your front page but also other pages of interest on your site. This gives you a greater chance of being selected because you will have more key words in your titles to be searched.--Apply to Internet directories such as Yahoo to have your web site listed. Getting listed can be difficult and it may take months, but you may shorten this time period by buying a listing. Make sure that you have selected the right category in which to be listed, because once done, it may be impossible to get a second listing or move your existing listing to a different category.

--Join web rings. These are loosely associated groups of web sites that have some common interest. There are airbrush web rings, body painting web rings, fine art web rings, etc. All of these will send traffic to you at one time or another.

--If you are selling online, but only a minimal number of items, you may wish to look at PayPal as a method of doing business. A storefront is also available for those who wish to go into a full-blown business. PayPal is a secure and unique way to transfer funds online and is used extensively on eBay.There are myriad airbrush artists utilizing the Internet. Some are looking for chat rooms (www.airbrush.com) or art galleries (www.arttekstudios.com/) or self-instruction (www.airbrushtalk.com/learn.htm) or magazine articles (www.airbrushaction.com/) or workshops/classes (www.arttalk.com/workshop/airbrushworkshop.htm).

Good luck surfing the airbrush Internet world. Once your site is up, be sure to get it listed FREE on www.arttalk.com and www.airbrushtalk.com.

Winner Chosen--The Whitney Museum of American Art has named the second winner of the Bucksbaum Award--Israeli-born video and installation artist Irit Batsry. Given to an emerging artist living and working in the U.S. and whose work is in the Biennial, the award consists of a $100,000 stipend and residency.

"Forest" to Raise Money for Charity--American sculptor Jim Amaral is among 134 artists invited to turn 10-foot metal tree forms into works of art in Bogotá, Columbia. Adorning parks and sidewalks, the trees will be auctioned by the Green Heart Foundation with the proceeds going to widows and orphans of police officers killed in Colombia's civil war.

Art Show Discontinued--The New York State Dept. of Correctional Services has discontinued the Corrections on Canvas show held for the past 35 years in Albany. Although it is felt that inmate artwork contributes toward rehabilitation, some have criticized the show because it allowed inmates to profit financially from their crimes.

Architecture Prize Awarded--The Pritzker Architecture Prize for 2002 has been awarded to Glenn Murcutt of Australia. An advocate of environmentally sensitive designs, Murcutt will receive a $100,000 grant.

Temporary Home for MoMA--Visitors take note! New York's Museum of Modern Art will close its doors in Manhattan on May 21 and reopen in a temporary home on June 29 as MoMA QNS in Long Island City. An enlarged museum will reopen at 11 West 53rd St. in 2005.

Exhibitions:

Denver, CO -- Denver Art Museum -- China Meets the American Southwest: Pottery Designs and Traditions provides a fascinating look at traditions in pottery from opposite sides of the globe--Native American pieces from the museum's outstanding collection paired with ancient Chinese examples on loan from the Sze Hong Collection. More than 50 exceptional pieces will be on view to compare and contrast. Through May 28.

Baltimore, MD -- Baltimore Museum of Art -- Reflections of Sea and Light: Paintings and Watercolors by J. M. W. Turner from Tate is the first major exhibition of Turner's extraordinary vision of the sea (and its only U.S. venue). More than 100 watercolors, oil paintings, drawings and prints that follow 40 years of Turner's career as a painter are on exhibit, including many never-before-seen works. Through May 26.

Los Angeles, CA -- Los Angeles County Museum of Art -- Trends: A New Presentation of LACMA's Collection of European Art features the Spanish Pieta, a rare, almost life-sized eighteenth century sculpture that is one of the few surviving examples of sculpture made from molded linen. In addition to related sculptures, visitors will view paintings by Luca Giordano, Georges de La Tour and Giovanni Tiepolo as well as tapestry, porcelains, exquisite furniture and decorative arts and more. Through July 28.

Philadelphia, PA -- Philadelphia Museum of Art -- Barnett Newman assembles more than 100 works not seen together in over 30 years in this retrospective exhibition. A master of expansive spatial effects and richly evocative color, Barnett Newman pioneered an art that combined uncompromising abstraction with powerful emotion. Through July 7.

Washington, D.C. -- National Gallery of Art -- Christo and Jeanne Claude in the Vogel Collection includes 60 objects that span the careers of these artists who have wrapped, covered, draped, and folded fabric over, through, and around everyday objects--from early works such as Christo's Package (1961) through studies for works in progress such as Over the River, Project for Arkansas River. Through June 23.

Los Angeles, CA - J. Paul Getty Museum -- A Treasury of 15th Century Manuscript Illumination celebrates the art of illumination through 25 manuscript books and leaves and cuttings from manuscripts in the Museum's permanent collection. Through July 7.

North Miami, FL -- Museum of Contemporary Art - Salvador Dali: Dream of Venus explores the remarkable Dream of Venus Surrealist Pavilion, which Dali designed for the 1939 New York World's Fair. The exhibition examines the impact of this installation on the acceptance of Surrealism by the mass American audience. Through June 30.

May Birthdays:

  1    George Inness
  6    Ernst Kirchner
13    Joseph Stella
15    Jasper Johns
22    Mary Cassatt
22     Marisol
23     Franz Kline
25    Wil Barnet

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Copyright ARTtalk Vol. 12 No. 7 -- May 2002