Grant Wood (1892-1942)

Grant Wood was born in Iowa and spent most of his life there. Although he had little formal training in art, Wood was to create many paintings, one of which became the most recognized, appreciated and humorously parodied paintings in American art history. Only a handful of famous images rise to the status of cultural icon, but "American Gothic," painted in 1930, is one of them. Wood considered it a statement of understanding and sympathy for the often cruel and difficult life of farming and of the austere and harsh qualities of living off the land.

Wood chose as his models his sister, who agreed to pose for the female model dressed in the prim and proper colonial print apron, and his stern-looking Cedar Rapids dentist, who modeled as the male dressed in a collarless shirt and clean overalls. Wood had discovered the home, built in the "carpenter Gothic" style, on a trip through Eldon, Iowa, in August of 1930. Although the continuity of the work is evident, Wood's models never actually posed together. Each element of the painting was modeled separately, building to the finished work.

In 1930, Wood entered the painting in a competition at the Art Institute of Chicago. The jurors proclaimed the work a comic piece, almost dismissing the painting completely. A powerful patron of the museum, however, wielded power and convinced the judges they should reconsider. The result was a third place bronze medal and a prize of $300. This same patron convinced the museum to purchase the painting, and today it still remains part of the Art Institute's collection.

National attention was heaped upon Wood when the work was first shown, but real farmers and their wives were not amused; nor were they swayed by the popularity and acclaim showered upon Wood. They were offended, as they considered the images controversial and felt the artist was ridiculing the simplicity of their lives. For the remainder of his life, Wood would defend his reasoning and motivation for this image.

Wood credited an early positive art experience with his decision to select art as a career. He was an exceptional artist, even from an early age. When only 14 he submitted an entry to a national art competition, a drawing of oak leaves that was awarded third prize. His only formal training was two summers with Ernest Batchelder at the School of Design and Handicraft in Minneapolis, where he studied wood and metal work. Wood opened and worked in a handicraft shop in Iowa for a while, but his strong interest in painting pushed him on. He attended three years of occasional night classes in painting at the Art Institute of Chicago.

Batchelder imparted a message to Wood that stayed with him throughout his career and is very evident in his most famous work: the dignity of hand labor, a dignity of the mind and heart, not the hand alone. Batchelder taught that when a man was robbed of this last vestige of human interest in the work that necessity compels him to do for a living, it is time to examine the standards by which we measure our lives.

Although Wood's "Gothic" was considered to be a satire of the rigidity of American rural small-town life, initially viewers felt it was more a visual equivalent of the revolt against the provinces genre of the 1910's and 1920's. But, when the nation was struck by the Great Depression a few years later, people started to view the painting differently. It then became an image of nationalism, a celebration of the steadfastness of virtue and the pioneer spirit. Critics and the public came to view the work as a pictorial record of the labors of men and women of stern character and stout hearts who had built the American democracy.

It is considered that the artistic movement of the American Regionalist school, where artists painted scenes of the American Midwest, was formed to permit painters a method to move away from the impressionistic style which prevailed at the time. Realism was again the method by which regionalists conveyed their emotions. Wood was further encouraged to move to realism by a trip in 1927 to Munich to supervise the production of commissioned stained glass windows for the Cedar Rapids Veterans Memorial Building. His exposure to 16th century Flemish painting directly influenced his move to realism.

As an icon, "American Gothic" has been parodied in almost every possible way. From hippies to the Clinton's to (Paul) "Newman's Own" products in the market, this painting has become embedded in the national consciousness. It doesn't seem to matter that Wood could have been poking fun at the down-home citizens of Iowa or perhaps praising their traditional values. The painting has intrigued art patrons for many years.

Other highly distinctive paintings by Wood were exhibited in 1931 and 1932, but the success of "American Gothic" overshadowed the majority of his work. At the end of his career, Grant Wood supervised many Iowa projects for the Federal Arts Project. In 1934 he became Assistant Professor of Fine Arts at the University of Iowa where he remained until his death from cancer in 1942.

We have a lot for which to thank Grant Wood. His vision and insight in the creation of "American Gothic" has given us a vision to which we might anchor the solidity and strength of our country. It also gave us the platform for humor and fun that has since been created.

Wood Exhibitions

On September 10, "American Gothic" returns to Cedar Rapids, IA, for a once-in-a-lifetime exhibition: Grant Wood at 5 Turner Alley. As the central loan in a major exhibition of more than 100 works focusing mainly on the artist's most prolific years (1924 1934) in his studio at 5 Turner Alley, the exhibit integrates the Cedar Rapids Museum of Art's extensive collection with other special loans from museums and private collections across the country to reveal Wood's interpretation of the land and people of his roots. Through December 4. Also, the Renwick Gallery of the Smithsonian American Art Museum, Washington, D.C., will present Grant Wood's Studio: Birthplace of "American Gothic" beginning March 10, 2006. This exhibit will, for the first time, present the artist's decorative art and design work within the larger context of his paintings, drawings and prints.

Learning & Product Expo: ART!
October 7-9
Classes begin Oct. 6
Hilton Burbank Airport & Convention Center
Burbank, CA

Immerse yourself in the only weekend experience for artists in Southern California where you can take classes (choose from over 200) and visit an exhibit floor packed with art material manufacturers! Stock up on supplies at the lowest prices of the year, experiment with new art products, see free painting demonstrations and enter a juried art competition. Don't miss this opportunity! See more and register at www.learningproductexpo.com.

Jack Richeson & Co.
Kimberly, WI
Ongoing Workshops/Classes

The Jack Richeson Art School will unveil its newly constructed art studio and gallery, artschool, this month. A gala grand opening workshop, "Still Life & Figurative," with Ramon Kelley is scheduled for September 12-16 (either oil or pastel, student's choice). And from November 4-7, "Landscape and Figure Painting" with Larry Blovits (oil or pastel, student's choice) is being offered. In addition, classes are held in a variety of subjects including oil, pastel, watercolor and casein painting, sculpture, life drawing, portraiture and basic skills. These are suitable for the beginner, the serious hobbyist and the professional artist, and there are "Open Studio" hours for serious painters to meet and work as well as children's classes for different skill and age levels. For more information and schedules, see www.richesonart.com; Email: artschool@richesonart.com or call 1.800.233.2404.

Women's Studio Workshop
Rosendale, NY
Ongoing Workshops

WSW supports the creation of innovative and provocative work in printmaking, papermaking, artists' books, photography, ceramics and collaborative arts media and provides services to artists at all stages of their careers. See their website for workshops, grants and fellowship programs and more: www.wsworkshop.org.

Papers for Printmaking

For every printmaking method there are dozens of possible papers that the artist can use. For those techniques that use heavy amounts of ink or paint, a thick, absorbent paper is usually selected. For methods where the inks or paints are not applied thickly, thin, delicate papers can be utilized. Combinations of papers will give you different appearances and can lead to the discovery of a great new "feel" for your printmaking.

Thin papers such as synthetic fiber sheets, rice paper and other lacy and translucent sheets are the perfect basis for the light lines of some etchings and work very well for most woodcuts. The quantities of ink used in these printing techniques is low and, therefore, there is less likelihood of excessive paint disturbing the images created with them. Thin papers are most often absorbent and will accept and hold low quantities of ink without any loss of detail or design. Tests often show that there is little or no need for any additional paper bonding after the print is made.

But, if your paper choice is too thin for the prints you are trying to make and you are fond of the texture of that paper, consider adhering your decorative paper to a thicker paper for added structure. This combination will give you the surface tooth you want and the strength of the thicker paper. Adhere the top sheet to the lower one with an acid-free paste such as the wheat or rice starch used in book repair and preservation. Most art supply centers have a full line of archival, natural adhesives. They are not costly and make a lot of paste.

Use of this same technique is also good for the creation of a slightly crunchy surface. This heavier texture can be created by adhering crumpled acid-free paper to a heavier backing paper. The heavier the irregular top texture, the more ink or paint it can take. In this case, low ink techniques are less desirable.

Copperplate paper and other smooth-surfaced papers of all-rag or high-rag content are perfect selections for fine line etchings and engravings. The ability of these papers, once moistened, to "stretch" into even the most subtle depression on a master plate is essential to success. Whether you are using a metal plate or other material, such as acrylic sheeting, the lines you create will be well defined if the paper has little or no surface texture. Smooth, high-rag content gives the paper the strength to stand up to moist conditions and still renders a true image.

Drawing paper is crisp and not very flexible when it comes to using it as a printing base. You might use it for trials or with more primitive methods of printmaking. Wax cube carvings done with lino tools, pressings such as leaf prints or other flat shapes and textures do well on quality drawing paper. Test prints to determine color, registration and the like are often completed on lower quality paper such as drawing sheets before a run is made on higher quality materials.

Textured surfaces such as watercolor paper might yield an interesting look for some printing processes. The fiber content and strength plus flexibility make many watercolor papers very desirable for printmaking. Cold press papers are often used for monoprinting where more paint is applied to the master plate. Hot press, with its smooth surface, is also good for monoprints with greater small detail.

Handmade papers, especially those with interesting textures, can be useful for textural elements in printmaking. If collage-style works are your interest, testing and experimentation with rough textures can yield appealing results. For detailed work like etchings or other fine line printing processes, they may not give the anticipated results. But do not discount handmade papers on the whole because they do offer many opportunities. Fine textures created with natural papers such as grasses and flower petals work very well because the surface of these sheets is relatively smooth.

Sizing papers for printmaking can also be challenging. Cutting sheets with blades is fast, but the loss of deckle edges reduces some of the appeal of your prints. There are simple ways to mimic hand-deckled edges on papers so that you maintain that "handmade" or arty look. Repeated bending of the paper at the precise point you want to change the size of the paper is one method. This repeated bending first one way, then another, eventually wears through the sheet.

Another method is to gently fold the paper where you wish to size it and set a blunt edge in the fold. Carefully tear the paper against the blunt edge. The resulting controlled yet feathered edge is beautiful. Thicker papers work well with either of these methods. Thin papers can be dampened along the line on which you want to size the paper. This is done with a watercolor brush and a thin trail of clean water. Allow the water to soak into the paper for a few seconds and then gently pull apart.

Trial and error will help you find the perfect paper for your printmaking work. There are so many wonderful papers in every tone of white or pigmented with a rainbow of colors that one is sure to be perfect for you. And don't forget to consider metallic leaf. It adds drama and excitement to many styles of printmaking. Experiment!

New Artool Airbrush Templates

Artool Products Company has announced the availability of the new Kustom Kulture Freehand Airbrush Templates by Craig Fraser and Pin-Up Girlies Part 2 Airbrush Templates by Deborah Mahan.

The phrase "Kustom Kulture" was originally coined by the likes of Ed "Big Daddy" Roth and Robert Williams. Simply put, the genre of the Kustom Kulture relates to any artistic cultural aspect of the hot rodder's lifestyle. The title of each of the six new stencils in this Kustom Kulture Freehand Airbrush Template Set by Craig Fraser is self-explanatory: Flyballz, Aces 'n' Eights, Pistons 'n' Plugs, Sacred Heart, Lucky 7 and Martini Time. To get the set of six Kustom Kulture templates, ask for FH KKFX 21.

Due to popular demand, Deborah Mahan has come up with more exciting looks and accessories for her Artool Pin-Up Girlies series! Like the first set, Part 2 contains five distinctive configurations to choose from. Besides having new body contours, you can accessorize her with stars 'n' stripes; boots 'n' heels; a jester's cap; a gambling theme of hearts, diamonds, spades and clubs; a devilish or angelic tail 'n' wings; and more. Remember, all of Deborah's Pin-Up Girlies are interchangeable not only with each other, but with any of the Artool Freehand Templates. Give your airbrush and your imagination a whirl and have fun with Pin-Up Girlies Part 2 (FH PUGII)!

Artool's new templates are now available at your favorite Iwata-Medea-Artool supplier. For a complete catalog listing on the Web, go to www.artoolproducts.com.

Cowboy Artists of America

For almost as long as there have been cowboys, there seem to have been cowboy artists, but it wasn't until 1965 that a full-fledged organization of such talent came into being. The Cowboy Artists of America began in June of that year. It was started by three well-known working cowboy artists of the time: Charlie Dye, John Hampton and Joe Beeler. These three, along with another friend, George Phippen, discussed the formation of such a group while enjoying cold beers at a tavern frequented by local cowmen and ranch workers from the Sedona area. Each brought to the group a respected reputation for genuine knowledge of the subject.

A few days after this first gathering, these four met in the Sedona studio of Charlie Dye and formalized their ideas. Thus began Cowboy Artists of America, an all-male bastion and the oldest and most prestigious Western artist's organization in the country.

The group was started at the exact time that the National Cowboy Hall of Fame celebrated its grand opening in Oklahoma City. Joe Beeler had been invited to show at the Hall of Fame opening and his show was a grand success. Hot on the heels of this event, the National Cowboy Hall of Fame invited the newly formed Cowboy Artists of America to exhibit the following year. Sales were not huge at this first Cowboy Artists group exhibit, but the crowds were good and enthusiastic. This was the beginning of a relationship between the Cowboy Artists of America and Cowboy Hall of Fame that lasted for several years.

New members were added to the Cowboy Artists over the next few years, with the roster leveling out at fewer than 40. These artists represented a wide geographical variance as well as a huge combined talent. The membership as a whole was greater than the individual parts and displayed a common concern and commitment to art and the West. Although it was not realized initially, this group was responsible for the revival of interest in Western history and the art that depicted all aspects of that life.

Each member had experienced the struggle of gaining recognition of his work. Now they were responsible for the revival of interest in all things Western. Through the exhibits this organization provided, knowledge and interest in the true West has greatly increased. They gave a fresh breath of air to the entire genre, influencing literature and movies as well as creating a renewed interest which rivaled that of works by Frederic Remington and Charles M. Russell.

To gain better control of their exhibits, Cowboy Artists of America split away from the National Cowboy Hall of Fame seven years after their association began. Cowboy Artists moved to the "birthplace" of their organization, back to where it had all begun. And their popularity did not wane. Today, the group reaches over 2.5 million dollars in gross sales at their annual exhibition.

Members now include few of the original painters, but a second generation of artists is now enjoying great popularity. Galleries worldwide clamor for works by this famous group of Western artists because of their reputation for honest depiction of real life. Though true to the styles of realism, Cowboy Artists are still able to create an air of romanticism in their works. In doing so, they help foster the sense of adventure, contemplation and reverence for a land and passion for an occupation that was almost forgotten. Even critics now admit their original prejudices were overly biased because of popularity and acceptance by the public for the reality dished up by these gifted artists.

The 40th Annual Cowboy Artists of America Exhibition & Sale will be held at the Phoenix Art Museum from October 22 to November 20. This unique exhibition will unveil more than 100 new works never before viewed by the public. The sale, on the evening of October 21, benefits the Museum and is one of the most successful fundraising events of the year.

Visit the website for Cowboy Artists of America at www.caamuseum.com to find out details and information about this organization, their exhibits and shows. Membership is by invitation only, after having been nominated by a current member, which keeps the roster small and refined.

Most museums across the U. S. have collections of Western art, and grow the collections annually. The Leanin' Tree Museum of Western Art in Boulder, CO, exhibits over 300 original paintings and bronze sculptures from the private collection of Edward P. Trumble; and the Panhandle-Plains Historical Museum in Canyon, TX, has over 3 million artifacts in the collection, and included in exhibit areas are textiles, fine art and furniture and decorative art. Check at museums when you travel, too, so you don't miss a chance to see works loaned from private collections and corporate purchases. And local artists who have selected Western themes for their work can be great places to acquire low-cost originals depicting long-loved and cherished subjects of the West.

27th Annual Long's Park Art & Craft Festival
Lancaster, PA
Sept. 2 5

Two hundred juried fine art and craftspeople chosen the best of the best by a panel of eight national jurors will offer an array of jewelry, apparel and leather, artwork and photography, ceramics and sculpture, crafted glass and basketry. Rated as one of the top 10 shows in America, the festival also will feature relaxing music and gourmet dining as well as a special area where youth can test their own artistic talents and create personal works of art. For info, call 717.295.7054 and purchase discounted tickets online at www.longspark.org.

Sausalito Art Festival
Sausalito, CA
Sept. 2-6

Each Labor Day since 1952, stars of the contemporary art scene are showcased on the bay shores of Sausalito. The best local American and international artists bring their combined perspectives, skills and more than 20,000 limited edition and one-of-a-kind works of art, including paintings, sculpture, ceramics, jewelry, fiber art, fine glass, woodwork, mixed media and photography. Meet the artists, enjoy entertainment on three stages and savor gourmet delights! Call 415.331.3757 or go to www.sausalitoartfestival.org.

Boston Arts ("ahts") Festival
Christopher Columbus Waterfront Park
North End, Boston, MA
Sept. 10-11

Launched in 2003, this annual event features local artists and craftspeople that exhibit and sell original works of art including paintings, drawings, sculpture, prints, ceramics, jewelry, fiber, glass, woodwork, mixed media and photography; and performance areas showcase music, theater, dance and family-friendly activities that reflect Boston's rich diversity. Call 617.635.3911.

Crafts Park Avenue
New York, NY
7th Regiment Armory on Park Ave.
Sept. 30 - Oct. 2

Crafts Park Avenue is the annual fall edition of New York City's premiere display and sale of contemporary American crafts by 150 of the nation's finest craft artists and features glass, leather, jewelry, photography, wearable and non-wearable fiber, wood, mixed media and more. Enjoy a special focus on wearable arts, featuring live "show and tell" demos with special guest presenters and models. Call 845.331.7900 or visit www.artrider.com.

1st Annual Sedona Plein Air Festival
Sedona, AZ
Oct. 24 - 30

Sedona's exquisite natural beauty will be the focus for 30 of the finest outdoor painters in the country! The festival, presented by the Sedona Arts Center, is a weeklong celebration of the light and color of the scenery that is exhilarating for the artist as well as the collector. Here's an opportunity to watch some of the country's finest plein air painters at work. A Patron's Gala will be held October 29, and on October 30 any remaining paintings will be available for public viewing and purchase. For info on the festival or gala, call 888-954-4442 or visit www.SedonaArtsCenter.com.

Airbrush

Know Your Airbrush Terms

In the realm of airbrushing, there are many words or phrases used that may be unfamiliar to a person who is just learning or investigating the technique. To help you fully understand explanations/instructions, following is a discussion of basic terms:

Single action refers to an airbrush in which the air and paint are turned on simultaneously by just depressing the trigger. A set amount of paint is sprayed.

Dual action (also called double action) refers to an airbrush where the artist first depresses the trigger for air and, while the trigger is depressed, pulls back on it to release paint. This type of triggering provides the most versatility because you can regulate the amount of paint sprayed by manipulating the trigger.

External mix refers to the type of airbrush where the air and paint are mixed together outside the airbrush tip or externally, resulting in a spray that is coarse in appearance.

Internal mix refers to the type of airbrush where paint is mixed with air inside the tip of the airbrush, which results in the appearance of a soft spray.

Gravity feed refers to the type of airbrush where paint is drawn down and flows into the airbrush from a color cup that is mounted on top of the tool.

Side feed refers to the type of airbrush where paint is drawn into it from a color cup that is mounted on the side of the tool.

Bottom feed refers to an airbrush where paint is drawn up into it from a jar or color cup mounted on the bottom of the tool.

Air source is a device or unit capable of producing pressurized air, e.g. compressor, CO₂ tank, or propellant can. It is the air provided by the air source that sprays the paint.

Psi or pounds per square inch is a measurement of air pressure. An airbrush is operated at a certain psi depending on the material being sprayed, the viscosity of the material and the manufacturer's directions.

Cfm or cubic feet per minute is the volume of air that an air source is capable of producing. As a rule of thumb, an airbrush usually uses 1/2 cfm at 30 psi to spray properly.

Air Regulator is a device that is attached to an air compressor or other air source that allows the user to regulate the psi flow of air to the airbrush.

Frisket film is a transparent self-adhering stencil material with a peel-off backing that is used to create individual stencils directly on the surface of artwork.

Airbrush templates are usually reusable manufactured stencils of a pre-cut design (not self-adhering) that are used to develop images in airbrush technique.

Overspray is the sprayed paint that drifts above and below the intended area in which the airbrush is directed.

Dagger stroke is a sprayed line used in freehand airbrushing that goes from narrow to wide to narrow in one pass. It is used commonly in lettering, T-shirt design, automotive graphics and freehand portraiture, etc.

Stippling is a technique that is the controlled spraying of large simultaneous dots that results in a textural appearance. This is usually achieved by lowering the pressure on the regulator to 1 or 2 psi, which in turn causes the airbrush to spray larger than normal dots.

It's important to understand these key terms when learning airbrush technique. See www.airbrushtalk.com for more helpful hints.

New Director Named--The J. Paul Getty Trust has announced that Michael Brand, director of the Virginia Museum of Fine Arts, has accepted the position of Director of the J. Paul Getty Museum. He will be the first museum director to oversee two open Getty sites--the Getty Center in LA and the new Getty Villa in Malibu, scheduled to debut in early 2006.

Shortlist Announced--The Tate Britain has announced four artists who have been shortlisted for the Turner Prize 2005: Darren Almond, Gillian Carnegie, Jim Lambie and Simon Starling. The prize is awarded to a British artist under 50 for an outstanding exhibition or other presentation of his or her work in the 12 months preceding May 11. An exhibition of their works will begin on October 18, and the winner will be announced on December 5.

New Home for Lady Liberty II--A monumental replica of the Statue of Liberty was gifted to the Brooklyn Museum in 2002 after removal from a Manhattan building where it was installed over 100 years ago. About 1/5 the height of the Bartholdi original, the sculpture will undergo conservation efforts in view of visitors beginning in the spring of 2006 while positioned in its new location, the Museum's Frieda Schiff Warburg Memorial Sculpture Garden (which houses a collection of architectural fragments salvaged from NYC buildings that were being demolished).

Stamps Take Flight--The U.S. Postal Service has dedicated the new American Advances in Aviation commemorative stamp sheet. Depicting 10 classic American aircraft from the 30's 50's, the stamp sheet was designed by Phil Jordan; and the illustrations and header design were painted by William S. Phillips, an award-winning historical aviation and landscape artist who also created the artwork for the 1997 Classic American Aircraft collection.

Museum Debuts--The Zentrum Paul Klee, a museum dedicated to the life and work of Paul Klee, has opened in Bern, Switzerland. Designed by Italian architect Renzo Piano, the museum houses over 4,000 of Klee's works.

NEA News--In partnership with the U.S. Dept. of State and Europalia International, the Arts Endowment will present the culture of the U.S.A. at the Europalia Festival from Oct. 2007 through Jan. 2008. Centered in Belgium, europalia.usa 2007 will showcase the very best of American arts and culture.--Dr. Sarah Bainter Cunningham has been appointed the Arts Endowment's Director of Arts Education and will be responsible for providing national leadership in the arts education field, selecting panelists and managing the review panel process, and recommending grant programs and leadership initiatives.--Pres. Bush has nominated Idaho Shakespeare Festival managing director Mark Hofflund to serve on the National Council on the Arts.

Exhibitions:

Beacon, NY -- Zahra's Studio Gallery -- Spray 2005--The Airbrush in Modern Art--Four Perspectives in Airbrushing focuses on four distinctly different artists who utilize the airbrush in the development of their artwork: A.D. Cook has a traditional approach to figurative art using airbrushed acrylic artist colors; Pamela Shanteau's works are derived from many years of painting in the custom automotive field; Kirk Lybecker paints large sharp-focus landscapes in airbrushed watercolor; and John Wesley Hawkins paints contemporary and futuristic fantasy cast-resin models that have won numerous awards. The exhibition opens on September 10 with an Opening Reception and is on view through October 1. Sponsors include arttalk.com, airbrushtalk.com, Iwata-Medea, Inc., and Artool Products.

New York, NY -- Whitney Museum of American Art -- Robert Smithson is a retrospective that brings together the artist's sculptures, photographs, films and earthworks, as well as a largely unknown group of paintings and drawings from 1957-63, providing an opportunity to revisit a career cut short by his death in a plane crash in 1973. Through Oct. 23. In addition, on Sept. 17-18 and 24-25, the Whitney will collaborate with Minetta Brook, a NY-based arts organization that presents innovative public art projects, to realize one of Smithson's unrealized proposals, "Floating Island." Smithson's vision of 1970 consists of a tugboat and barge filled with earth and many different varieties of trees and shrubs that will create a manmade "island" that will circumnavigate Manhattan and be visible to viewers on the shore at a number of publicized locations on the Hudson, Harlem and East Rivers.

Minneapolis, MN -- Walker Art Center -- Chuck Close: Self Portraits 1967-2005 focuses exclusively on the artist's self-portraits in all of the media in which he works: painting, drawing, photography, collage, and printmaking. The exhibit includes a broad array of examples from throughout Close's career and provides a fascinating glimpse of an artist's self-examination through time. Through October 16 and then travels to the San Francisco Museum of Modern Art, Nov. 19 Feb. 28, 2006.

New Orleans, LA -- New Orleans Museum of Art -- 2005 New Orleans Triennial--A Southern Perspective on Prints showcases the works of more than 40 contemporary printmakers from 12 southern states who push the boundaries of the traditional definition of printmaking. Artistic freedom is evident in this year's Triennial, giving it a fresh look and creatively expanding traditional printmaking. Through Oct. 16.

Stockbridge, MA -- The Norman Rockwell Museum -- Windblown: Contemporary American Weathervanes is a juried exhibition on view on the Museum's beautiful 36-acre site overlooking the Housatonic River. Creative designs by artists and craftspeople working in diverse media are featured in these enduring symbols of our dependence upon the elements of wind and weather. Through Oct. 30.

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Copyright ARTtalk Vol. 15 No. 11 -- September 2005