Brushes for Oil

It is said that for every stroke in a painting there is a specific brush that will insure the perfect look. Well, that may be overstating the facts, but there are many styles of brushes and each performs a specific job very well. Many brushes can be used for multiple tasks, yet some are most helpful for very special applications. And remember, the investment in high quality brushes is worthwhile in the long run. With proper care and storage they last for years.

Long-handled brushes allow artists to distance themselves from the canvas and, in doing so, lighten their touch. The shapes of brushes most commonly employing long handles include filberts, brights, flats and rounds. Handle length is important for large coverage techniques and to allow a lessening of details, more fluid strokes and the ability to see as you apply paint.

Filberts are unique in that the outside edges of the bristles are rounded and can be used to create softened shapes like petals, leaves and less edgy shapes. Available in a wide range of fiber content, they are very useful in the controlled application of specific colors in specific patterns. Decorative painters favor them highly.

Brights are sharp-edged, slightly tapered tipped brushes with medium length bristles. Great for coverage of large areas, they charge and hold lots of paint. Used widely by oil and acrylic artists alike, they are considered part of any good painter's materials. When painting a shape with a sharp edge and volume, brights are indispensable.

Flats offer some of the same painterly applications as brights with a longer fiber length and a softer feel when used to apply paint to canvas. Acrylic and oil painters consider flats to be workhorses for applying large areas of color in virtually any situation. Flats come in all fiber qualities from hog bristle to sable and satisfy any need for long, strong, fluid paint application. Available in a wide range of sizes, they are great choices for specific shape creation and detail work.

Round brushes make quick work of many painterly applications. They maintain a sharp point for quick and accurate pointillism-style paint application. In the proper size they are great signature brushes because they flex and flow much like the action of a pen. Large rounds are favored by oil painters for washes and glazing because of the quantity of paint they hold and then distribute and because they are easy to use. As the brush load diminishes in one direction, a simple roll to another side of the brush and the remaining paint will again flow from the fiber of the brush. This is very helpful to the painter who is working on fresh, quick studies or works quickly, applying paint in rich, thick layers. Smaller sizes in round brushes are great for fine detail work.

One very useful brush is called a script brush. This usually has a long- to medium-length handle with long, slender bristles. The bristles are usually resilient yet soft and will carry a load of paint very well. What scripts do best is lines--long, slender, continuous lines and detail work. Bristle content varies, but some of the newer synthetics hold lots of paint and make long, continuous lines easily. Sable and other natural fur fiber brushes work fantastically, too, but are a bit pricier.

Specialty brushes include a huge variety of shapes and fibers. Stippling brushes are great for stencil work and for speckling, aging and random coloration of natural subjects such as trees, foregrounds, rocks and the like. Decorative painting brushes include angular tips and almost pointed flats to accomplish specific strokes during painting. Ultra-wide wash brushes made of soft boar bristle, synthetic and fine natural fibers are perfect for background coverage. Some hake (Japanese calligraphy and wash) brushes consist of many single units attached to act as a super-wide wash and background applicator.

Fan brushes are great for laying in clumpy, grass-like shapes in landscapes. They can be used to replicate the look of fur on animals and hair in portraits. Fans are good for gently softening edges where transitions occur between soft shapes. Fans come in a variety of different bristles-- raccoon, badger, squirrel, boar and synthetic as well as sable, each with its own "feathering" capability. Fans can also be used to create speckles of age or decorative showers of metallic tones by scraping the handle of another brush across the tips of a loaded fan brush.

Foam rollers and brushes can be used with oil and acrylics, but are not recommended for use with oils. The solvents in the compounds destroy the foam quickly. But, if quick usage is doable, foam offers some interesting possibilities. One such idea is to carve shapes and designs into the foam and then roll or press the paint-charged shape onto the canvas. Voila!--texture and interest in a fast-track method.

Interviewing artists who paint in oil has proven that each artist has a different set of needs when it comes to their brushes. Some use a few brushes to do all their work. Others have a huge collection from which they select the perfect fiber, length and shape for the task at hand. But it is safe to say that any artist is interested in the function of brushes--the way they charge with paint, the way they lay it onto the canvas and the difficulty of maintaining a sharp edge, a point or soft tip. Brushes are a good investment and, with care, they last a very long time.

Sugarloaf Crafts Festival
January 27-29
Dulles Expo Center, South Hall
Chantilly, VA
www.sugarloafcrafts.com
1-800-210-9900.

Three hundred fifty artisans will provide fine art shopping at its very best, where you may select one-of-a-kind originals and contemporary new designer crafts--sculpture, metal, leather, pottery and fine art. You'll see talented artists provide demonstrations in printmaking, wheel-thrown pottery, papermaking, woodturning and carving, basket and furniture making and natural wood sculpting. Admission is good all three days.

International Fine Art & Antique Fair
February 3-12
Palm Beach County Convention Center
West Palm Beach, FL
www.palmbeachfair.com
561-209-1300

This renowned fair will feature approximately 100 international dealers representing all disciplines of art from classical antiquity through the 1960's.

Painting Styles

Color Field Painting

The span of time from the early 1960's to the 1970's marks the period in which artists began to create a unique and strikingly elemental style of painting, Color Field painting. The style is best described as large-scale paintings that are viewed as huge fields of color, often as a result of thinned paint poured onto unprimed canvas. The works evoke strong feelings of emotion and are often displayed in reverent, quiet and reflective locations. Among the most famous artists to create works in the Color Field category are Mark Rothko and Helen Frankenthaler. Their works were hailed as luminous, depthless motifs highlighting color's intensity.

The groundbreaking element of this style is the fact that the massive works were often created on unsized, raw canvas. This technique allowed the texture of the canvas to become an integral part of the overall image, a minimal texture that added to the overall glow created by the artists.

The birth of this style has been credited to abstract expressionism of the 1950's. Although Color Field works represent a sharp change from this earlier movement and the painterly qualities of cubism, the strong emotionalism of both movements left its mark on Color Field works. The joint American-European roots of both abstract and cubist works helped to spawn the new movement, abandoning the self-expression revealed by the artists of those periods in favor of more global appeal. Color Field works are often, though incorrectly, included in the same category as cubist and expressionist works. There are introspective and spiritual elements of these mural-sized canvases that many overlooked at the time.

Mark Rothko was first recognized as an abstract expressionist, but developed a style that was more his spiritual balance. He was dedicated to the creation of Color Field works into which the viewer could become enveloped. He called this a "quasi-religious experience" and he wanted his works to inspire deep thought and reverence. To that end he created a chapel for viewing his works and installed huge canvases (many as large as 10 feet by 30 feet). The chapel is located in Houston, TX, and is visited annually by thousands of people who come to view art that evokes emotion and spirituality unlike any other gallery or display space. The hall is always quiet, lighted from above with streams of natural light from overhead skylights. There are benches for study, meditation and contemplation and cushions for relaxed comfort; and visitors are urged to take their time and not be rushed. Staying for hours is not uncommon because the peace and serenity created within the chapel is captivating. Mark Rothko achieved his goal and in doing so gave the viewer a unique art experience.

In the same period in painting is the work of Helen Frankenthaler. Her groundbreaking use of unexpected pigments and minerals in the large-scale works she painted makes her works different yet equally as appealing as Rothko's. Frankenthaler painted on the same unsized canvases used by most of the other Color Field painters, but her works take on a different visual draw to viewers. There is a luminosity not achieved by others of the period. Her use of ground metal particles and minerals combined with paints created in her works a pearlesence and glow that was not seen in works prior to that time. When viewed purely for their visually striking color and size, Frankenthaler's art is entertaining and surprising. For its deeper qualities, study and reflection on the interaction of shape and color are the foundation upon which Color Field work was formed. Large fields of color, minimal texture and stimulating grandeur make the works popular and inspiring.

The expressive potential of color, when used in simplified, large-format color-dominated fields of color, creates a cerebral and reflective impact. Artists of the Color Field period expressly created works that would achieve sublime rather than beautiful images. There was no attempt to create recognizable objects, for the object was not the issue or goal. Calming and comforting effects were what these artists were striving to achieve; and when viewing the work of their counterparts of the time, they achieved their goal.

Color Field works used no "props of an outmoded and antiquated legend...freed from the impediments of memory, association, nostalgia, legend and myth that have been devices of Western European painting"--Rothko. Such was the work of the Color Field artist. Mark Rothko used his glowing, soft-edged rectangles of luminescent color to provoke deep feelings, often tears. Frankenthaler used color and scale to envelop the viewer. Often viewed in close environments, the works of both artists were overwhelming. Of the period, Rothko said "I paint big to be intimate."

Along with abstract expressionism, Color Field paintings forged the way for all that followed. Both American and European art was profoundly marked by the breakthroughs made by the first generation of abstract artists. Today, artists create their own expressions based to some degree upon those who forged the way.

Visit any major art gallery to see works by Color Field painters such as Mark Rothko and Helen Frankenthaler.

The eighth annual "The Art of the Portrait" International Portrait Competition will be held May 4-7 at the Wyndham Anatole in Dallas, TX, and is open to the public. Work must have been completed in the last three years and all media is accepted and encouraged, both two- and three-dimensional. There will be over $25,000 in cash and prizes awarded to the finalists, who must be registered for the conference and in attendance with original artwork. For further info, visit www.portraitsociety.org or call 1-877-772-4321. Deadline: March 10.

The60th Annual Sculpture Exhibition sponsored by The Pen and Brush Galleries, New York, NY, will be held April 12 -- 30. The competition is open to members and non-members who are professional women sculptors working in a permanent sculptural medium as well as professional women medallic art artists. Maximum weight is 200 pounds and maximum height is 6'. Jurors include Denise Bibro, Jonathan Shahn and Peter Trippi. For further info, visit www.penandbrush.org or call 212-475-3669. Deadline: March 13.

The14th International Colored Pencil Juried Exhibition, sponsored by the Colored Pencil Society of America, will be held June 28 -- July 25 at Expo New Mexico Fine Arts Gallery in Albuquerque, NM. The competition is open to all artists 18 years of age or older. Works executed within the last three years in colored pencil only are eligible. For more info/prospectus, visit www.cpsa.org; E-mail: exhibitions at cpsa.org; or call 503-655-6850. Juror: Gerald Peters. Deadline: March 31.

Scratchboard

Drawing with paper and pencil is a versatile and engaging art expression as are many painting techniques. If you like to create fine detail work, there is another material with which you might want to experiment--scratchboard, a straightforward product that uses rich black coating over bright white-base paper.

Scratchboard is easy to use for everyone from beginner to accomplished artist. It is a simple product with tremendous potential for contrast studies, linear designs and value work. What makes it so desirable for incising is its near-polished, smooth surface which is easily removed with any pointed or sharp instrument. Everything from push pins, straight pins, needles and tacks to etching scribes, wire brushes and X-Acto blades can be employed for varying effects. Your desk drawer is loaded with possible scribing tools.

The method by which images are created on scratchboard is subtractive. In the traditional scratchboard, it is a dark surface that is prepared for you to create and refine your sketch. Most artists build their drawings with light strokes until they have full, rich lights. Super-fine lines can be scratched to establish a basic sketch and then more and more detail can be added. The challenge is to create a dimensional drawing by removing the darks and establishing the lights in a scene. We are more accustomed to adding darks, as is the case with pencil drawing, charcoal and other media. This reversal is fun and can be rewarding because it is not the normal method of achievement.

Colored base papers are also available with a black coating. These are used to create vivid, rich, colorful drawings that reveal colors beneath the coating. Gold- and silver-base papers, as well as fluorescent and multi-colored sheets, open a wide variety of applications for the artist. When finished, these sheets resemble stained glass, especially when hung before a light source.

Details in scratchboard can be created in very much the same way as with pencil drawing. By making repeated short strokes that align in harmony, you can create the look of movement. Hard structures and dense areas can be mastered by using techniques such as cross-hatch or closely set line groups that are put down in a checkerboard pattern. When these patterns are close together, they look like stones, tiles or rough natural terrain.

Smooth-flowing lines can be useful and are easy to create on scratchboard. Rhythmic lines indicate movement, flow and harmony. Lazy flowing lines are used to create ties between subjects within a scene or to tie different areas together. Adding many flowing lines in close proximity can help to create a sense of order. But it is the bold, dramatic drawings on scratchboard that attract the most attention-- heavily scribed drawings that are rich and textured.

So dive into your supplies and see what types of pointed scratching tools you can come up with. Purchase some traditional black-on-white scratchboard or some of the bright colors and metallics and start drawing. Crisp linear work, dynamic details and unparalleled contrast await you.

Note: It is sometimes possible to correct mistakes by brushing over the area with permanent black ink. After drying, you can continue with your detail work.

New Lumiere "Wine Country Palette" from Jacquard

Rupert Gibbon & Spider, Inc., manufacturer of Jacquard Products, has announced the addition of eight new colors to their popular line of Lumiere Metallic Paints: Citrine, Burnt Orange, Crimson, Burgundy, Grape, Indigo, Old Brass and Metallic Rust. The new colors are called the Wine Country Palette and are characteristic of the rich, sophisticated colors that you would find in the northern California landscape where Jacquard is based. With this expansion, Lumiere is now available in 32 different colors. Lumiere paints are fantastic on many surfaces including fabric, leather, paper, wood, and shrink plastic. They are great for home décor, holiday crafts, clothing, scrapbooking and jewelry. See your retailer and visit www.jacquardproducts.com.

Scratchboard Products from Ampersand

Ampersand Art Supply manufactures several premium products for the scratchboard artist. Claybord Black is a clay-coated hardboard panel for scratchboard that is coated with India ink. It's extremely durable and easy to scratch into for cleaner and crisper details and lines. For added dimension, colored inks can be added to the white areas and then scratched again for additional highlights and volume. Artwork can be sprayed with Claybord Fixative to allow the finished scratchboard to be framed without glass. Also available are instructional books, kits and videos. See your retailer and visit www.ampersandart.com for their entire fine line of premium art panels and accessories.

Marvelous Marbling

Marble replicas are found in all areas of decor these days. On everything from office accessories to fabrics, glassware to greeting cards, marbled surfaces are a delight. Did you realize that some of these finishes are very easy to create on your own? Not only are they doable, they are fun and inexpensive to do, often with materials you have right around the house. Remember that exact duplication is not possible, but coordinated looks can be created with the same color selections and application order. After a couple practice "marbles," you will be ready to forge ahead with new materials, new application techniques and great results!

Paper marbling is fast and simple and can be done several ways. For a quick and super-simple technique, all you need is paper, a shallow pan of water and a can of spray paint. Carefully spray the paint onto the surface of the water in a light mist. When the paint hits the water, it will stay afloat and "dry" there. The paint usually swirls as it hits the water so you can either lift it as-is or create a super crackle look. To do the crackle, use a toothpick or wooden skewer to break the floating paint. Gently set a piece of paper onto the surface and "lift" the color away. The result is the fastest way to marble known to man. If you want to create multiple colors in your paint marble, spray and break one color, then add a second. For more colors, break the surface a bit before each addition.

Oil based paints, thinned with oil or turpentine, can be suspended on water for quick marbling too. However, they require considerable drying time to prevent disturbance of the patterns and the smell of the paint lingers. If there is time to allow the drying and fragrance dispersal, oils are a very colorful and dynamic method of marbling.

Another fast-track method is chalk marbling. To create these feathery, soft and elegant sheets, you will need chalk (vivid colors work very well), paper, a scraping tool such as a piece of window screening (like a tea strainer) or a sharp blade and a shallow tray of liquid laundry starch. The starch is thick enough to hold the particles of chalk on the surface, allowing easy application and lifting. If the particles do not remain afloat, they are too large. Use another tool to scrape against the sticks of chalk, creating a finer powder.

When the sheets are lifted, hold them over the starch support so that excess fluid will drain back into the starch. Hang sheets to dry. Before continuing, clean the surface of the starch by dragging a scrap of paper across the surface. Add more color and continue. Often it is possible to create a ghost sheet with the color particles remaining on the starch. This sheet will have a very soft, delicate look but will contain the same colors of the original sheet. Wonderful for stationery and collage, these sheets are often beautiful. Spray all chalk marbled sheets with a sealer to hold the particles in place. Use carefully because the surface is very fragile.

Note: The order of application of chalk dust or paint is reversed from the pick-up. Colors applied first will remain on top of the lifted sheet.

For more adventurous marbling, you use a heavier gel base called carrageenan. Actually, ground seaweed that is used in many food products to thicken and stabilize, carrageenan is available in art and craft stores in two forms. One is a type that requires cooking and the other does not. Both function very well and last through many sheets of design. Ox gall is added to thinned acrylic paints to make them suspend on the top of the gel base. A drop or two is all that is needed. Acrylic paints of almost any type work well with this traditional marbling technique. Inks, watercolor and other liquid colorants can also be used. Some metallic powders will also suspend on the surface but may need to be fixed after completion. All oil-base paints work very well.

Fabric can be marbled if you use the carrageenan base and fabric colorants. Fabric should be washed and ironed prior to marbling. Because large pieces of fabric might be desired, you may need to use a large container such as a child's swimming pool to float the pigments. This scale is not unusual, but is a bit of a challenge. Fiber artists often group together to utilize the quantity of materials needed and share the cost and camaraderie of the event. Remember to handle the fabric carefully while it is gently washed so there is less chance of design disturbance. Allow the material to dry, and then press to set the patterns.

Now that you have marbled papers and fabrics, you might be wondering about some cool ways to use them. If you make greeting cards or do bookbinding, marbled papers are indispensable for color, texture and visual interest. Gift wrap and gift boxes can easily be created by using larger sheets and stock weight papers. Cover journals, containers, flowerpots or mats on photos and artwork. Fabrics can be used to create gift and decor items, clothing and ornaments. The list is long and the uses are as many as there are marbling artists.

Explore the possibilities and you will surely find a marbling method that suits your style and personality.

Airbrush Instruction

It seems like wherever you turn today, the airbrush is being used--whether on television, on the Internet or in print. The airbrush has become a tool that many people have a desire to learn to use.

On the Food Channel bakers use the airbrush for decorating pastries, chocolates and cakes. And there are very popular programs on the Discovery Channel, such as "American Chopper," where the airbrush plays a prominent role in custom automotive painting. On the Learning Channel, artists and crafters use the airbrush in many different applications. Simplistic battery-operated "airbrushes" are seen in kits in department stores and drugstores to airbrush temporary tattoos, while professional airbrushes are used for T-shirt and baseball cap decoration in malls and on boardwalks. Beauty and nail salons feature airbrushed designs. Videos abound in art supply/craft stores for various airbrush applications. And on the "Little Einsteins" Web site, children can choose to paint with an airbrush. This e-tool resembles a bottom-feed airbrush and is manipulated with the mouse--as recently demonstrated by a three-year-old toddler! (See http://disney.go.com/disneychannel/playhouse/littleeinsteins/activities/paint.html.)

With airbrushing and its many applications so visible to the public, more and more people are interested in learning airbrush technique. ARTtalk constantly receives e-mails from individuals seeking good, solid airbrush workshops to attend. Following are some recommended classes:

--Airbrush Action magazine has for many years offered both basic and advanced classes in different cities throughout the U.S. Coming up in 2006 are classes in Las Vegas, NV, (Feb. 7-10) and Charlotte, NC (June 8-11). These highly recommended classes are taught by a faculty of airbrush professionals such as Craig Fraser, Deborah Mahan, Michael Cacy and Terry Hill, among others. One- to four-day classes are offered that include basic introduction, a Kustom Master's Series, commercial illustration, pin-up and canvas airbrushing as well as other applications. A full listing can be found in Airbrush Action or on their website at www.airbrushaction.com.

--For those who are interested in the art of airbrushing miniatures, we recommend Alex Castro's classes in East Stroudsburg, PA. These are offered to beginner, intermediate and advanced students and are personalized workshops held in the artist's studio. For more information, Email alexdoriscastro@msn.com or call 570-421-2012. http://alexcastro.com/

--ARTtalk.com (www.arttalk.com/workshop/workshop.htm) offers basic airbrush technique workshops throughout the year in Beacon, NY, 65 miles north of Manhattan and just off Interstate 84. These one-day workshops have been offered for many years and are successful in taking the novice through the fundamentals of airbrush technique to a point where he/she is competent enough to take more advanced classes. Also offered throughARTtalk are an advanced special effects workshop and a custom automotive workshop taught by Pamela Shanteau, both two-days long. Her classes can also be found at the Learning & Product Expo: ART that is held in Burbank, CA, each October and now in Maryland in June. This highly successful show, which has classes in all types of art applications, plus a trade show floor with products being demonstrated and sold, will be held for the first time on the East Coast on June 1. For more info go to www.learningproductexpo.com.

--For those who wish to learn airbrush technique on their own, there is a 12-part informational booklet, "The Beginner's Guide to Airbrushing," available at www.airbrushtalk.com.

Museum to Expand--In a major step towards expansion, the Walters Art Museum (Baltimore, MD) has signed a contract with the Maryland Historical Society to purchase a building just west of the museum for $1.5 million. The purchase was made possible by a donor gift, and closing on the purchase was expected before the New Year.

Prize Winner Announced--The Tate Britain has announced that the Turner Prize 2005 has been awarded to Simon Sterling. The artist transforms and reframes existing objects using a rigorous process of research to develop his sculptural installations.

Shortlist Announced--The Guggenheim Museum has announced the shortlist for the Hugo Boss Prize 2006 at Art Basel in Miami. The seven finalists are from Puerto Rico, Germany, UK and Mexico and include Aida Ruilova from the U.S. (video).

Book Award Made--The Colorado Center for the Book recently awarded their history book of the year award to the Denver Art Museum's New World Art Department. Painting a New World: Mexican Art and Life, 1521 to 1821 is a catalog of the largest exhibition of Mexican colonial painting ever assembled outside of Mexico, was edited by Donna Pierce, and is available in the Museum's Shop.

Plaster Cast Sold--Sotheby's and SCP Auctions recently sold the original plaster cast of the Heisman trophy sculpture from 1935, used as the model for the most famous and significant individual award in college football, for $228,000 in an auction of Important Sports Memorabilia and Cards. The cast was consigned directly from the family of the late artist Frank Eliscu, who completed it at the age of 23 in 1935. His finished product was used to create the mold for the bronze trophy that is awarded each year.

Artists Named--Curators have announced their selection of artists for the 2006 Whitney Biennial, which opens to the public on March 2 and remains on view through May 28 at the Whitney Museum of American Art, New York, NY. This is the first Biennial to have a title attached to it; "Whitney Biennial 2006: Day for Night" takes its title from the 1973 film by Francois Truffaut, whose original French name denotes the cinematic technique of shooting night scenes artificially during the day using a special filter.

National Endowment for the Arts News--The NEA will award $20.4 million in a round of FY 2006 funding to nonprofit national, regional, state and local organizations across the country, funding Access to Artistic Excellence grants as well as Literature Fellowships for individuals. The grants support the creation and presentation of work in the disciplines of design, folk and traditional arts, local arts agencies, media arts, museums and visual arts, among others, and will fund 794 projects out of 1,353 eligible applications.--Over $1.3 million will be awarded through the Challenge America: Reaching Every Community program. One hundred and thirty-five grants of $10,000 each will be given to primarily small and mid-sized organizations for projects that extend the reach of the arts to underserved populations.

Exhibitions:

Indianapolis, IN -- Indianapolis Museum of Art -- International Arts & Crafts is one of the largest arts and crafts exhibitions ever and the first to showcase the movement's influence in Europe, America and Japan. Featured are nearly 300 objects, and highlights include two reconstructed furnished interiors of the period, an American Craftsman room inspired by Gustav Stickley and a Japanese room. Through January 22.

New York, NY - Metropolitan Museum of Art -- Fra Angelico is the first American retrospective devoted to the work of the great Italian Renaissance artist known as Fra Angelico (1390-1455) and the first comprehensive presentation of his work assembled anywhere in the world in half a century. Featured are nearly 80 drawings, paintings and manuscript illuminations from throughout his career, supplemented by 45 additional works by his assistants and closest followers. Through January 29.

New York, NY -- Museum of Modern Art -- Pixar: 20 Years of Animation features over 500 works of original art on loan for the first time from Pixar Animation Studios. The show includes paintings, concept art, sculpture and an array of digital installations that reveal the intricate hands-on processes behind Pixar's computer-generated films--including Toy Story, A Bug's Life, Finding Nemo, etc. Through February 6.

Los Angeles, CA -- Hammer Museum and Museum of Contemporary Art (on view simultaneously) -- Masters of American Comics is a large-scale exhibition comprising in-depth presentations of work by 15 artists who shaped the development of the American comic strip and comic book during the past century. With over 500 objects on view, the exhibition provides understanding and insight into the medium of comics as an art form. Through March 12. Travels to Milwaukee Art Museum (April 27) and The Jewish Museum, NY (Sept. 15).

Chicago, IL -- The Art Institute of Chicago -- Illustrations from the Coretta Scott King Book Awards, 2001-2005 features a selection of original works of art from books that have received either winner or honor awards for their illustrations. This award commemorates Dr. Martin Luther King Jr.'s life and work and honors his wife for her "courage and determination in continuing the work for peace and brotherhood." Through April 23.

Happy New Year 2006

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Copyright ARTtalk Vol. 16 No. 3 -- January 2006