Setting Up an Acrylic Studio

Establishing an art studio to work in acrylic is a great opportunity to explore many products available to artists by contemporary manufacturers. The fast-drying characteristic of acrylic makes it the ideal medium for artists who enjoy heavy textural work, those who enjoy using a variety of substrates, collage artists, those who like to include a variety of materials in their paintings or anyone interested in easily blended colors, soap and water cleanup, no fumes and ease of transport of materials and finished works.

Basic supplies that are needed to work in acrylic include some sort of canvas or heavy watercolor paper, paints, brushes, charcoal or pencil for sketching, painting medium and various containers for water. Sponges, an easel (either tabletop or standing) and a work stool and table are also very handy items.

The surface upon which you work can be canvas--stretched or panels--or heavy-bodied watercolor paper. Canvas is considered by most acrylic artists to be the preferred substrate; but works on paper offer the opportunity to mat and frame under glass, while canvas works are most often put into a frame without added embellishment. Although acrylic can be used on almost any surface--including wood, metal, and some plastics--canvas or paper are the favorites of most artists. Sized canvas is ready to go and can be painted upon without pre-surfacing. Paper is often coated with a smooth layer of gesso to create a surface that is less absorbent and a bit easier to control. Paper also wicks water and makes the soft paints harder to manipulate. Lightweight papers can be used for studies or quick sketches but are not well suited to heavy applications of acrylic pigment.

The paints you might select can be anywhere from student grade to professional quality. Permanency and strength of pigmentation increase with price and, when possible, it is recommended that you select a professional grade of materials. This is especially true if your works are for sale. Craft paints are interesting and fun, but lack the high pigment formulation of professional paints. Most national brands of paints are created with good qualities of pigment and permanency.

Brushes are essential to your work. The type of brushes you select will depend on the type of work you like to create. Impressionistic and styles that use rich applications of color can be very well executed with bristle brushes, but these same brushes do not perform well on most portrait or other smooth realistic styles. Synthetic brushes do well with virtually any paints and are easy to clean. They make a great intermediate graduation between less costly brushes and higher costing sable or sable blends. For the best in smooth strokes, sable still rules, but the newer blends of synthetics are very useful.

Charcoal or pencil work is usually needed to establish the scene or design on your canvas before you begin painting. Charcoal virtually dissolves into the paint and does not create lines that will show through the painted surface. Pencil lines sometimes do show, but can be an interesting element in an acrylic painting. When creating thickly applied techniques, either works well. Both drawing instruments are great to have so that you can make the decision as you start your painting.

Medium selection is one that will greatly influence the finished look of your work. Because some paints dry to different sheens, it is wise to include medium in your paint blending. The use of mediums - either matte or gloss - will insure an even sheen on the surface of your painting. Additionally, should you so desire, you can do a final coat of medium after your painting is complete and dry. Sprays are easy to apply. Brushing on coatings gives a thicker coat and will better cover uneven shininess.

Water containers and cleanup tubs can be collected from recycled items. Plastic ice cream cartons, topping bowls, large butter tubs and such make great water containers because they hold a lot. Washing paint from your brush at each color change will keep your colors clean and clear. Use more water than you think you need. Large containers such as plastic bus trays, mop buckets, detergent and pet food buckets make great cleanup helpers.

These same containers also double as storage for many of the smaller items involved in maintaining a studio. Sponges not only help with cleanup but also can be used to create a speckled or dappled texture when pressed into a pool of paint and gently rolled onto the surface of your canvas. Other found objects can be used to create textures too: grasses, crumpled newspaper, crushed foil, etc.

An easel is very helpful when the size of your work grows, since it's very difficult to paint on a flat surface when your work starts to enlarge. Easels for tabletop are very handy, fold into a very small size and can accommodate up to approximately 20 x 24 inch canvases. Standing easels, either of wood or metal, hold works all the way to four or five feet. Some can be folded, but the most sturdy and steadfast are not portable and do not collapse. Their strength and ability to grip large-scale works make them indispensable. They can also hold smaller works and allow the artist to either sit or stand.

A work table for supplies and a stool are both very valuable. Spreading out your supplies so that you can see all your materials is helpful. Brush caddies, paint colors, mediums, containers and the other miscellaneous clothes and tools, etc., take up a lot of room, and a table will help you quickly find what you want.

Setting up an acrylic studio can be an enjoyable experience and need not be costly. Paints, brushes and canvas represent the greatest costs, but recycling can help save.

Decorative Arts Collection Awards Competition

The Decorative Arts Collection Museum has announced plans for its 22nd annual Decorative Arts Collection Awards competition. The awards recognize fine, creative decorative art and the artists who create it. Competition exhibition and judging will be held June 6, 2006, in Nashville, TN, in conjunction with The Society of Decorative Painters Annual Conference.

This juried competition provides cash purchase awards and is open to artists from around the world. Entries can be painted in any medium, must be an original design and be painted on an object that has a use and function apart from decoration. Purchase award pieces and all transferable rights and designs on them become property of the Decorative Arts Collection.

Application and digital photos showing all surfaces of the painted piece must be submitted for jurying and postmarked by January 25; from outside the U.S., this date is January 11. For complete rules and an application, visit www.decorativeartscollection.org or write DACA, 393 McLean Blvd., Wichita, KS 67203-5968 or call 316.269.9300.

The Decorative Arts Collection Museum, established in 1982 and located in Wichita, KS, has a mission to collect, preserve and display historical and contemporary decorative art of the highest quality. The museum currently has over 1,000 pieces in its collection displayed on a rotating basis and through traveling exhibitions.

Pastels USA 2006

The Pastel Society of the West Coast will hold their 20th Annual International Open Exhibition April 11 -- June 1, 2006, at the Placer ARTS Building in Auburn, CA. Works in dry pastel only are eligible, and the juror of Awards is Gil Dellinger. Awards total over $10,000 and the slide entry deadline is February 4, 2006. For a prospectus, visit www.pswc.ws or send a SASE to PSWC "Pastels USA," c/o Maria Sylvester, P.O. Box 9236, Auburn, CA 95604.

Luminism

Luminism was a style of American painting from the 1850's-70's that was characterized by capturing the effects of light and atmosphere in landscapes and seascapes. Because of this, it is sometimes linked to impressionism.

Luminism existed during the same time as the Hudson River School, and many of those artists created works in this style. Leading practitioners included Sanford R. Gifford, Martin Johnson Heade, Fitz Hugh Lane, John F. Kensett, Jasper Francis Cropsey and Frederic E. Church (early in his career.)

Luminism is at its best when light is used to define and wash the subject in such a way that the light becomes an integral part of that subject. It isn't just highlight.

Capturing illumination for luminism is an art in itself. Washes and layers upon layers of subtle tones are often used to create an overall glow. Some artists employ the use of light textures and opaque ground work to begin the process. Then luminous washes of progressively rich tones are layered over the opaque areas. This results in a glow that cannot be easily achieved in any other way. Single layers do not create the illumination needed to create deep and powerful brightness. Conversely, setting flat opaque layers over soft tones in an attempt to create brightness has a contrived look.

Media that are best suited to luminism are those in which light transparent layers can be created. Oil and alkyd lend themselves to this painting style very well. They allow the artist to create a personal palette and work to build washes that can mimic light. Opaque media would be a poor choice because it is difficult to use as a wash and, when used as such, it is less translucent. True luminism is not the simple addition of light on a subject, but a rich glow emanating from that subject.

New York, NY -- The 15th Annual IFPDA Print Fair will be held Nov. 3-6 at the Seventh Regiment Armory. This year's fair brings 90 leading international specialists to exhibit rare and exceptional prints from Asia, Europe and the Americas. A diverse range of the highest quality works will be on view from old master to contemporary and in all printmaking media, from traditional woodcuts, engravings and etchings to new works that extend the boundaries of traditional printmaking. Call 212.674.6095.

Boston, MA -- The Boston International Fine Art Show will be held November 10-13 at The Cyclorama, Boston Center for the Arts. Over 40 outstanding galleries will show paintings, works on paper, sculpture, photography, fine prints, ethnographic art, studio furniture, glass and ceramics. See www.fineartboston.com or call 617.363.0405.

Santa Monica, CA -- The Los Angeles Interior Design & Antiques Show will be held November 12-13 at the Santa Monica Civic Auditorium. An eclectic mix of exhibitors will exhibit an exciting mix of materials including 18-21st century American and Continental furniture and decorative arts; Art Deco, Art Nouveau and Modernist furniture and accessories; vintage posters; contemporary art and sculpture; Americana and folk art; art glass and pottery, and much more. Call 310.455.2886.

Denver, CO -- On November 19 the Denver Art Museum will host a day-long celebration for the release of Babar's World Tour, which coincides with author Laurent de Brunhoff's 80th birthday and the 75th anniversary of his beloved elephant, Babar, a favorite children's book character. Families are invited to take their own "world tour" of the Museum's collections with exciting activities available on every floor from 11 a.m. to 4 p.m.--art projects, storytelling and more. Call 720.913.0000.

Chicago, IL -- Begin your family's celebration of the holiday season with The Art Institute of Chicago's annual Wreathing of the Lions on November 20 at 10 a.m. on the Michigan Avenue steps. After the ceremony, spend the day at the Museum and visit the Kraft Education Center to create a work of art to take home. Visit www.artic.edu or call 312.857.7161.

Miami Beach, FL -- Art Basel Miami, scheduled for December 1-4 at the Miami Convention Center, combines an international art show with an exciting program of special exhibitions, parties and crossover events. An exclusive selection of 195 leading art galleries from North America, Latin America, Europe, Africa and Asia will exhibit 20th and 21st century artworks by over 2,000 artists. Visit www.artbaselmiamibeach.com.

Corning, NY -- A Holiday Open House will be held December 3-4 at the Corning Museum of Glass, the world's most comprehensive glass museum. Visitors can blow glass holiday decorations and souvenirs and explore music, children's crafts and more. Special sales in the Studio and seven-boutique Glass Market offer original glass art and more for holiday shopping. Call 607.974.8124.

Matting and Framing for the Holidays

It's the time of year when decorating becomes a real pleasure, a time when family and friends will call and the holidays approach. To create personal and dynamic looks for your home can be as easy as matting or framing a favorite print. There are several simple ways to create special looks for the holiday season and you can do any of them, whether or not you have ever framed a piece of art before.

If you have mat cutting skills, you can cut and decorate a special mat for a seasonal print. If you do not know how to cut a mat, you can purchase a pre-cut mat and use it as the foundation for your personal creative venture. Either way, the result will be one-of-a-kind and will add to the festive decor of your home or office.

With a simple mat of white or cream, you can create a "snow" surface very easily. Begin by using tacky glue on the surface of the mat. Apply the glue in small sections at a time. Pull cotton balls into fluffy tuffs and press them against the glued surface. Attempt to keep your fingertips clean and glue-free, if possible, so that the end result will be a clean, white "snowy" surface. This mat is perfect for a photo of kids playing in the snow, of baby's first holiday snapshot or a family group shot in front of the tree or fireplace.

Use any color of mat to embellish in bright metallic tones. With a sponge pouncing brush or the pad of a simple household sponge, apply acrylic metallic pigments to the surface of the mat. Apply gold in a random pattern and then fill in with silver for a cloud-like appearance. This is very rich looking and perfect for photos of holiday office gatherings, holiday weddings or other special images. You can add a color or two with the metallics to tie the mat directly to the colors in the image you are matting.

Add bows or strips of ribbon to the mat above and you have the perfect look for pets, babies or floral images. Punch holes in the mat and thread lace or ribbons through the holes for a homespun country appearance. Use press-on stickers, wire on beads or press in "nailhead" decorations for a great look. These items can be applied to frames as well as mats.

To color a frame in the new country style, begin by painting it a light, solid, flat color such as cream. Apply two coats of a medium tone (such as rich red or denim blue) to the base coat. After these layers are completely dry, sand randomly through the top two coats to reveal areas of light paint for a "distressed" appearance. Seal the finished frame with a matte sealer to protect the finish.

Enjoy decorating your home for the coming holidays or creating gifts for friends.

New Mat-Cutting System from Alto's EZ Mat

Alto's new 4590 Professional Mat Cutting System is the culmination of over 30 years of mat cutting experience. The team at Alto's has produced an all new top-of-the-line mat cutter designed for the professional picture framer, artist or advanced home user.

The 4590 cuts the highest quality mats. It cuts full sheets down to size; produces straight and full 45 degree beveled cuts; provides border widths to 8-1/2"; produces easy multiple openings and complex angle designs anywhere on the mat; and is equipped with production stops. The 4590 Professional Mat Cutting System saves time and makes any style easy to design and cut. This would make a great holiday gift! See your retailer and visit www.altosezmat.com for their fine line of products that includes mat-cutting tools and supplies, books and videos, and an online demonstration.

New Book on Acrylics

Focusing on a popular art medium that has been around for over 50 years, The New Acrylics--Complete Guide to the New Generation of Acrylic Paints by Rheni Tauchid illustrates how artists can create lush textures, color, and more with the modern acrylics readily available in any art supply store. The book is for beginning to professional artists, fine artisans, crafters and sculptors and is geared toward more non-conventional ways in which to manipulate modern-day acrylics. Watson-Guptill Publications, 160 pages.

In the Spotlight: Jacquard Products from Rupert, Gibbon & Spider, Inc.

Pearl Ex--An Art Product of the Decade!

If you have ever wished for a metallic paint color the exact hue of your favorite color, then you need to experiment with Pearl Ex. If you have ever wanted to create vivid metallic images with stamp pads that render permanent images, if oil paint colors are limiting your creativity or if you want to work with a product that is creatively unlimited, Pearl Ex is for you!

Pearl Ex creates a metallic look without being a metal. Particles are flat platelets with two surfaces; therefore, Pearl Ex lays down beautifully like a thin coating of metal. Different particle sizes create different looks, from a fine, smooth, pearly luster to a highly metallic sheen.

Pearl Ex is a safe, non-toxic, inert powdered pigment with a neural pH. It is extremely colorfast and stable; it will not tarnish or fade and is therefore ideal for archival applications. Artists, decorators, drafters and framers find many ways to utilize the beauty and permanence of Pearl Ex. Since it mixes with virtually any viscous medium and can be applied to almost any surface, it is useful for hundreds of interesting and enticing projects. Not only can it be used within a liquid medium, but it can also be used dry over any porous surface, where it will remain permanently. Artisans working in clay, wood, paper, fabric and all other porous materials find the addition of Pearl Ex a boon to the sheen and attractive qualities of their work.

Pearl Ex colors do best on dark surfaces, but can be used on any. The luminous quality of the tiny sparkles of metallic, for instance, seems to reflect light when a dark base is used. Try jewel tones, dark earth tones and the like for beginning projects and expect gorgeous results.

Craft projects can be greatly enhanced with Pearl Ex because it can be applied in so many ways. As a "stain" on raw wood, panel or fabric, it can be the element that raises a simple project to a more elevated status. Although available in 40 individual colors, the best buy may be achieved with one of the 12-count 3gm. bottle sets or the 32-count bottle set.

To open an entire palette of colors, use Pearl Ex to expand the perimeters of your paint box simply by adding metallics to the equation. You can use pearl tones with any paint, stain, acrylic, gouache, varnish, or melted wax (encaustic). You can mix it with or apply it to the surface of clay and create an entire new category of creativity.

One new product from Pearl Ex is the stamp pads available in 12 colors and four groups: Two-Tone, Metallic, Interference and Essential Colors. You can also purchase re-inkers to keep all pad colors full and ready for creative expression. Projects can range from canvas work to clay sculpture and decorative work on leather, glass, wood and more. These water-based inks are lightfast and washfast, offering a wide range of applications.

Information and instructions using Pearl Ex are available at the Jacquard website, www.jacquardproducts.com, and include such interesting projects as holiday ornaments, polymer clay projects, textures for glass and, stamping projects; and they offer a small glimpse of the possibilities of the pigments.

The holiday ornaments are easy and very striking. For gifts or your home or office decor, they make a real statement! They start with clear glass ornaments and with the aid of diluted white glue and the Pearl Ex powders you can create spectacular one-of-a-kind tree adornments.

Polymer clay is an especially interesting base for Pearl Ex applications. Because polymer is so easy to manipulate, shape and form, it is a perfect startup experimentation material. For instance, shape a disc of polymer and then stamp a design into the surface. Large, open, uncomplicated designs work best. Pearl Ex decoration can be done before or after baking of the clay. The results are permanent, lustrous and simply elegant. Add a pin back, and you have a near instant jewelry addition to your wardrobe or a very special gift.

Work on canvas can be greatly enhanced with the addition of Pearl Ex metallic powders. Add the powder to the paint mixed on your palette in small amounts because the colors are strong, pure and luscious. Marble finishes can be created using Pearl Ex, finishes achieved in no other fashion. Depth and luminosity is easy to achieve with a bit of practice and will wow your friends and family.

Research the website of Jacquard and see for yourself. Their 12-bottle sets make great gifts, and the 32-bottle assortment answers all creative needs for the serious artist and crafter. Or give yourself a great gift and perhaps the start of an entirely new creative direction.

New Pearl Ex Varnish

Rupert Gibbon & Spider has announced the addition of Pearl Ex Varnish to the popular Pearl Ex Powdered Pigments line. The water-based Pearl Ex Varnish can be used as a medium or as a topcoat with the Pearl Ex Pigments. The varnish is great on paper, clay, metal, wood or plastic and cleans up easily with water.

As a Medium: Mix desired amount of Pearl Ex with Varnish. Apply to surface with brush, stamp, and squeeze or spray bottle. Metal or plastic may require light sanding or a primer.

As a Topcoat: Brush, airbrush or spray varnish on top of dry surface. Use a heat gun or bake at a low temperature to speed drying time.

Pearl Ex Varnish will enable Pearl Ex users to create their own lustrous metallic paints, glazes and durable finishes on every surface!

Simple Stencils

Stencils made from paper and other materials have been used for the development of shapes and designs since the invention of the airbrush. Paper handheld shields were used in the earliest days of photographic retouching to protect areas from overspray and to capture edges and patterns in the development of images.

Simple repetitive decoration on diner pottery was the rage during the '30s, '40s and '50s. Sterling China and Syracuse China, among others, produced hundreds of designs for various diners throughout the U.S. In Beacon, NY, tableware for the Yankee Clipper Diner was airbrushed with the silhouette of a two-engine, prop-driven airplane from the '30s commonly called the "Yankee Clipper."

The potteries could offer these custom designs in a limited quantity because airbrushing of the ceramic glaze was quick and simple to do, and workers could easily be trained to spray the images with stencils. Art Deco and poster designs in which solid planes of color existed were developed using stencils. A shape cut from the stencil could instantly be silhouetted on an object with the airbrush. Templates were made for specific designs for quantity production.

Stencils can be used in several ways in airbrush technique. A handheld stencil is moved around the surface of the artwork to develop specific edges or designs where required. Adhered stencils either come with adhesive or the artist applies adhesive to them for application to the work surface. One stencil can be moved around to create designs or images, while the other remains stationary.

Stencils can be made from an assortment of materials, and the easiest is paper. Thicker papers result in sturdier stencils, but thinner paper, which is translucent, will allow you to trace an image onto it. The thinner the material, the more it is affected by the air pressure of the airbrush. When air hits the artwork's surface, a thin stencil may flutter and allow paint to seep underneath.

Oil board or stencil board is another type of material used in stenciling. Years ago all shipping departments in factories throughout the country had stencil machines similar to large typewriters that cut specific stencils from oil-coated boards so that addresses could be painted onto the sides of shipping crates. The stencil board is ideal for multiple usages, and the same holds true if used in airbrushing.

A stencil material that allows you to see through it as clearly as glass is acetate. Five-mil-thick acetate is ideally suited for airbrush stencils. The edge is not so thick that it blocks spray and not so thin that it flutters from air pressure. When you cut a stencil from acetate, do not cut completely through. Just score the surface with a stencil knife; then bend it and the shape will pop out.

Mylar can also be used as a stencil material. It is much harder to cut than acetate, but has more durability for multiple usages.

To cut stencils you need a stencil knife. The knife can be as simple as a #11 X-Acto or as complicated as a swivel knife with ball bearings. Of utmost importance is a very sharp blade. For thicker and tougher material, a utility knife might be used. And if you are making major stencils from plywood, a jigsaw would, of course, be required.

Stencils are used with all types of paints that can be airbrushed--artist's acrylic, watercolor, gouache, lacquer, enamel, urethane, ceramic glaze, sign paint, inks and dyes, temporary tattoo ink, and more. If using automotive paints, be sure that your stencil material is solvent-proof.

In the field of body art, both handheld shields and self-adhering stencils are used. Artool makes a wide variety of tattoo templates that can be seen at www.artoolproducts.com. Special inks have been developed for the tattooing industry. These are designed to be safe and long-lasting, although they are removable at any time desired.

Often in a basic class the question arises whether one must have drawing knowledge/skills to use an airbrush. Learning how to draw is something that should be pursued; however, it is not totally necessary in all airbrush applications. With the use of simple stencils, the artist can decorate the border of a scrapbook, put decorations on pottery, paint a mural on a wall and much more.

NEA News--The National Endowment for the Arts has celebrated its 40th Anniversary of service to America. Since President Johnson signed the National Foundation on the Arts and the Humanities Act in 1965, the NEA has played a pivotal role in fostering the arts across the U.S.; and it remains the nation's largest annual funder of the arts. "Highlights in NEA History," a compendium of historic and current programs made possible by NEA support, can be viewed at the newly designed home page at www.arts.gov.

Holiday Stamps Dedicated--The U. S. Postal Service has dedicated 2005 holiday stamps at the Pillsbury Test Kitchens in Minneapolis, MN. The stamps feature cookie-shaped gingerbread men, Santa Claus, snowmen and an angel to celebrate the child in everyone and evoke favorite memories from the simple pleasure of decorating cookies of the season.

Coin Newly Designed--For the first time in history, the image of President Thomas Jefferson will face forward on the new 2006 five-cent coin. "Jefferson, 1800" will conclude the Westward Journey Nickel Series. The forward-looking nickel obverse or heads side was designed by U.S. Mint Artistic Infusion Program artist Jamie Franki of Concord, NC, based on a Rembrandt Peale painting of Jefferson in 1800. This image was selected from 147 designs submitted by the U.S. Mint sculptor-engravers and AIP artists from throughout the country. The '38 classic rendition of Jefferson's home, Monticello, by Felix Schlag will return to the reverse or tails side more highly detailed after careful restoration by Mint sculptor-engraver John Mercanti.

Women Honored--The National Women's Hall of Fame, Seneca Falls, NY, has honored ten outstanding American women, including the renowned architect and sculptor Maya Y. Lin. Lin was the architectural designer for the Vietnam Veteran's Memorial in Washington, D.C, and created the award-winning Civil Rights Memorial in Montgomery, AL. She was also recently honored at the third annual Women in the Arts Luncheon at the Brooklyn Museum, which celebrates the many contributions women have made to the advancement of the arts and culture.

Exhibitions:

New York, NY -- The Metropolitan Museum of Art -- Vincent van Gogh: The Drawings is the first major exhibition in the U.S. ever to focus on van Gogh's extraordinary drawings. It is comprised of 113 works selected from public and private collections worldwide that reveal the range and brilliance of the artist's draftsmanship as it evolved over the course of his decade-long career. Through Dec. 31.

Detroit, MI -- Detroit Institute of Arts -- The Art of Screenprint presents the versatility of screenprint by concentrating on the variety of procedures artists employ to create images in this major category of modern printmaking. The objects are selected from the museum's collection and the archives of Stewart & Stewart, printers and publishers of fine art screenprints in Bloomfield Hills, MI, for 25 years. Highlighted artists include Janet Fish, John Himmelfarb, Hunt Slonem and Steven Sorman, among many others. Through Dec. 31.

Washington, D.C. -- National Gallery of Art -- Pieter Claesz: Master of Haarlem Still Life showcases 25 works from all phases of the artist's career. Claesz was one of the most important Dutch still-life painters of the 17th century and pioneered the development of monochrome tabletop still lifes (the so-called "monochrome banketjes"), quietly restrained works imbued with an extraordinary sense of naturalism. The paintings of mincemeat pies, breads, lemons, olives, nuts, fruits and wine are visual feasts that delight the eye and whet the appetite. Through Dec. 31.

St. Louis, MO -- Saint Louis Art Museum -- American Art Pottery, an installation of 40 works from the Saint Louis Art Museum's collection and several private collections, celebrates the beauty and variety of artistic ceramics made in America between 1880 and 1920. Included are works by many award-winning art potteries such as Grueby, Van Briggle, Rookwood, Tiffany, Dedham, Gates and Walrath as well as 12 works made in University City at the Art Academy and Porcelain Works. Through Dec. 31.

Portland, OR -- Portland Art Museum -- Roy Lichtenstein Dossier Exhibition -- The Museum celebrates the opening of the new Center for Modern and Contemporary Art (CMCA) and the acquisition of Roy Lichtenstein's massive sculpture Brushstrokes by presenting a dossier exhibition of original preparatory drawings, maquettes and small-scale sculptures using a brushstroke theme. Brushstrokes is one of a series of heroic-scaled sculptures that the artist created in the last decades of his life. The largest public work by Lichtenstein on the West Coast, the 29.5 foot-tall painted aluminum sculpture will be placed on the east side of the Museum campus at the entrance to the Evan H. Roberts Memorial Sculpture Mall and the new CMCA. Through Feb. 12.

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Copyright ARTtalk Vol. 16 No. 1 -- November 2005