It’s March!
Celebrate Youth Art Month, National Craft Month
And the arrival of Spring!

Eva Hesse 1936 – 1970

Eva Hesse was born in Hamburg, Germany, in 1936 into a Jewish family. She was sent with her sister on a Kindertransport to Holland to flee the Nazis in 1938. Soon thereafter, her parents joined them and moved first to London and then to New York in 1939. When Eva was 9 her parents separated and her father remarried. Tragically, a few months later her mother, who had a history of depression, committed suicide by throwing herself out of a window.

During the 1950’s Hesse studied painting at the Cooper Union School and the Yale School of Art and Architecture. Her work in the early 1960’s was strongly influenced by Neo-Dada and was two-dimensional. In 1964 and 65, Hesse spent a year with her husband, Tom Doyle, in Germany. They occupied the unused floors of a factory, where Hesse completed her first three-dimensional works. These works were in reaction to conventional geometric constructivism. It was here that she began using such industrial materials as latex, fiberglass, wire and rope. From these new products she built numerous repeating series of large and unconventional forms. When grouped irregularly on the floor or hung from the ceiling, they were innovative. Hesse also visited the shows of many European artists who would inspire her. Upon her return to New York she started an amazingly productive period, cut short by her untimely death in 1970.

Her death at the age of 34 (from a brain tumor) made it inevitable that all the old clichés of the tragic female artist would be associated with the event. In the U.S. she was labeled the “James Dean of art,” despite the efforts of critics and friends to squelch such comments and feelings. It seemed that people were ready to assume an awful untruth rather than a real and sad truth.

Her last years afforded the opportunity to experiment with materials and build her feel for and command of composition. Her supreme control and knowledge of the materials make many of her works incredibly fragile and unable to be transported. Hesse’s work is seldom on loan due to fear of damage and loss of invaluable items. Therefore, few retrospectives of her work have been accomplished.

When you view her work, what you see is no longer influenced by the tragedy of her early death. Seen now is the genius of her grasp of design and material. It was described by one critic as a style that “took exactly what she needed from the art around her, transformed it, and gave it back to the art world.” This statement is almost spoken as the artist herself would have said it.

“Where does painting end and drawing begin?” Hesse asked. “A lot of my sculpture could be called a painting.” She often challenged “conventional dimensionality.” The elements of her work start as reliefs and then emerge in three dimensions right out of the painted surface. She said, “I literally translated the line.” And so she did. Rope and cords were used to mimic lines in a painting on canvas with the background removed. Although some of her supporters contest the analogy, some have said that her works remind them of a “Jackson Pollock that has come to life and shed its material support.”

One haunting motif of her work is the window frame, a direct connection to the suicide of her mother. And the tension of geometric and organic seems to dominate her sculptural and painted works. Some associate this tension and conflict with the work of Miro. The line work and “dangling” elements make the viewer navigate the work with a discerning eye. There is a certain type of magic in the way Hesse worked with positive images and negative space. At first glance there appears to be little structure or order, but with study the strengths of her drawings come forward. There is much more to the work than unstudied, haphazard doodling.

Eva was and is something of a heroine in many college art departments, not unlike Frida Kahlo and Sylvia Plath. And, although she lived prior to the women’s revolution in art, she is considered a real pioneer for women’s artistic rights and an outspoken minimalist artist. In an extremely short career, a mere 10 years, she has etched a place for herself even though heavy controversy surrounds the correlation between her drawings and sculpture and her death.

As with all artists, what happened to them matters less than what their work says to the viewer. Hesse often retorted to inquisitive viewers of her work, “Don’t ask what it means or what it refers to. Don’t ask what the work is. Rather, see what the work does.” And maybe we should do just that.

On view at the Menil Collection in Houston, TX, through April 23 is an exhibit of Eve Hesse’s work. Eve Hesse Drawing focuses on the importance of drawing in the creation of her work. As one of the most influential artists of the post-war era, Eva Hesse used drawing as a cross-over between two-dimensional work and sculpture. The exhibit includes over 100 works that present, for the first time, some of Hesse’s finest finished drawings—including representative works from each period of her mature phase—as well as examples of her very early drawings. Also on view are her “test pieces” (interpreted as a kind of sketch in three dimensions), her notebooks and diaries and 56 of her working notes. This exhibition travels to The Drawing Center, New York City (May 6 – July 15) and to the Los Angeles Museum of Contemporary Art (August 6 – October 23). And Eva Hesse: Sculpture will be on view May 12 – September 17 at The Jewish Museum, NYC.

Mile High National 2006 Exhibition--The 2nd Annual Exhibition, sponsored by the Pastel Society of Colorado, will be held June 8 – August 2 at the International Plaza building in downtown Denver. Internationally celebrated pastelist Colleen Howe is the selection juror, and renowned Master Pastelist Ramon Kelley will be the awards juror. Send a SASE to Diane Fechenbach, 2204 Stratford Ct., Highlands Ranch, CO 80216-4256 or visit www.pastelsocietyofcolorado.org. Deadline: April 10.

Birds in Art--The Woodson Art Museum, Wausau, WI, invites contemporary artists working in all mediums other than crafts and photography to submit 2- and 3-D artwork interpreting birds and related subject matter for jury consideration. Based on the jury review, approximately 100 artists will be invited to participate, and a Master Wildlife Artist Award will honor an artist who has demonstrated outstanding achievement in using bird imagery in his/her work. Each year 60 works are selected from the exhibition to be included in a national or international tour. Visit www.lywam.org/birdsinart/; email museum@lywam.org; 715-845-7010. Deadline: April 15

The Artist’s Magazine 23rd Annual Art Competition--This competition is open to artists anywhere in the world. Only original artwork, conceived and created by the entrant, will be considered. Work done in photography (except as minor elements of a collage), digital/computer-generated artwork and sculpture will not be considered. Categories include Portraits and Figures, Still Life, Landscape, Experimental, and Animal Art. More than $25,000 in cash prizes will be awarded and top award winners will be featured in the December 2006 issue of the magazine. For a prospectus, visit www.artistsmagazine.com/2006_prospectus.html. Deadline: May 1

Working with Soft Pastel

The medium of pastel can be traced back as far as the 16th century in Europe. Pastel drawings are very durable, permanent and the color will last indefinitely with proper care. This fact is supported by master works that are still in great condition. Artists have used the medium for hundreds of years and many of these artworks seem as fresh and colorful as the day they were applied. Pastels do not yellow and the color does not oxidize, change or fade with age.

Soft pastels have one advantage, or application characteristic, that medium and hard pastels do not possess: They can be mixed or diluted with water. That equates to a lesser hazard, as no solvents are needed. Medium and hard pastels require a solvent for dilution.

Most of the same application methods apply to all types of pastels. The harder pastels can be used for fine line drawing, perhaps the one thing that soft pastels don’t do well. They are so soft and buttery in content that their lines are more pronounced and sharp lines are a challenge. Brilliant colors and dense pigmentation make working with soft pastels fun. Their binders are limited and therefore the lines and designs you create are fully loaded with pigment.

Underpaintings for pastels can be accomplished with several mediums, depending on the substrate used. Watercolor and acrylics can be used if the ground will take the water. Oils are used often, but should be thinned with turpentine or mineral spirits to produce a wash. Water can also be added directly to the first layer of soft pastel to create a wash technique. Upon this or any of the above underpainting, a rich layer of pastel can be created. One tip is the use of household rubbing alcohol to saturate the first layer of pastels to create a quick-drying underpainting. The alcohol can be pushed into the tooth of the paper to help soften and create a dynamic background. Water or a mixture of water and alcohol can also be kept in a small spritz bottle to work into the surface.

Working with soft pastels is a rewarding and exciting experience, yet there are a few things that one should remember: Avoid inhaling pastel dust. Do not blow on your paintings. Loosely tap the painting from the back and let the dust fall. Do not smoke when working with pastel. The tip of your cigarette is approximately 2300 degrees and will vaporize toxic materials in the dust; and you will inhale more than smoke with each puff. Wearing a mask is a good idea, especially if you have respiratory difficulty or are sensitive to dusty materials. To create corrections on a painting, go outside and brush the surface to allow the dissipation of the dust. Also, wash your hands frequently.

Almost any paper can be used, but those created with special tooth and grip are the best. Fixing your work is a choice you need to consider. The surface of a pastel has a sense of “life” that other media do not possess. If you do fix with a spray, expect some change to the look of your work. The fluid droplets in the spray cause some settling of pigment particles that creates a darkening of tones that some artists do not like. If you do not fix your work, the surface is extremely fragile and can be easily smeared and distorted. Proper transport and/or storage of your pastel paintings are exacerbated by a lack of fixing. By keeping their fragility in mind, you should have less disappointment and difficulty.

If you haven’t had the soft pastel experience, do try them. Their rich tones, smooth texture and dramatic expressionistic nature make them a delight.

Approval Awarded Gagne Porta-Trace Model

The “Creative Home Arts Club Member Tested and Recommended” seal has been awarded to Gagne’s Porta-Trace Model 1012-1/Carrying Case Combo. This lightbox can be used for embossing, stenciling, memory books, calligraphy, needlework, tracing, fabric inspection, quilting and many other non-craft applications. This versatile tool has a stainless steel frame for durability and features a tilt-up device with full, even lighting. Some of the comments from club members: “This lightbox was a cut above others I have used...” and “The Porta-Trace is exceptional quality... .” See your retailer and visit www.gagneinc.com to view their fine line of lightboxes and projectors.

New SewPaintable from Tara

Tara Materials has introduced Fredrix SewPaintable, a revolutionary craft and scrapbook product for crafters, rubber stampers and scrapbookers. It is sewable, glue-able, paintable and printable and is great for indoor or outdoor projects. SewPaintable is made from a thin polyester/cotton woven canvas that has a coating on one side that you can paint on with just about any acrylic paint or spray paint. The coated side is durable and weather-resistant so that you can also create projects for outdoor use. Even when painted, the product remains flexible enough to sew or glue into thousands of intricate creative projects. If outdoor-rated paints and sealants are used, you can even use SewPaintable for banners, signs, patio cushions and mailbox covers because it is rain-resistant.

In addition, rubber stampers and scrapbookers will enjoy using their inkjet printers to print photographic images on the fabric side of the product. Many techniques can be done using the coated side of the fabric: die-cut, crackling, image transfers, texturizing, rub-ons, stenciling and more. SewPaintable is available in a variety of roll widths and canvas sheet sizes. See your retailer and visit www.sewpaintable.com for project ideas, instructions and tips on this exciting product.

New Windpower Series of Artist Papers from Strathmore

Strathmore Artist Papers, a division of Mohawk Fine Papers, Inc., is proud to introduce their new line of fine art papers made entirely with wind-generated electricity--the Windpower Series of Sketch, Drawing and Bristol Pads. In demonstrating their ongoing commitment to the environment, they are the first and only paper manufacturer in the U.S. to make paper entirely from 100% wind power--a pollution-free, renewable energy resource. Like other Strathmore papers, new items in the Windpower selection are all acid-free.

Windpower Sketch is a heavyweight paper ideal for experimentation or perfecting techniques, has a lightly textured surface that works well with any dry medium, is spiral bound and available in 5 sizes of 70 micro-perforated sheets. Windpower Drawing is bright white and suitable for pencil, charcoal, pastel, crayon and marker; is spiral bound and available in 5 sizes of 30 sheets. Windpower Bristol (tape bound) is available in two finishes. Smooth is ideal for fine pen and ink, pencil, mechanical drawing and airbrush; and Vellum is designed to accept a variety of media including pencil, pastel, charcoal and airbrush. Both are available in four sizes of 15 sheets.

Select Strathmore’s Windpower Series to do your part in preserving the earth’s resources for future generations. See your retailer and visit www.strathmoreartist.com.

New Stampbord from Ampersand Art Supply

Stampbord is an innovative new stamping surface developed by Ampersand Art Supply that allows perfect and clean impressions every time. It is correctable and erasable and is great for jewelry, magnets, custom boxes, altered books, card-making, scrapbooking and more! Stampbord is unique in that it allows you to scratch back into the image to create incredible details and highlights. It’s a multi-media surface, making combining water-based paints or inks with collage techniques easy.

Mini-Bord Bags are great for creating jewelry, refrigerator magnets, embellishments for cards and scrapbooks and more. Standard Paks are for smaller masterpieces, while Box Kits (5”x5” or 5”x7”) are handcrafted boxes with the Stampbord surface on the top and beautiful birch plywood sides--and here you can let your creativity run wild. Scratch Tools include a wire brush, scratch knife, line tool and fiber brush to scratch incredible details and highlights into the Stampbord surface. And Ampersand’s Claybord Inks are specially formulated to leave brilliant color on the Stampbord surface. See your retailer and visit www.ampersandart.com. And for Stampbord Project Ideas, visit www.stampbord.com and www.stampscapes.com.

In the Spotlight: American Art Clay Co. (AMACO)

Polymer Clay

Inexpensive, complete and ready to go, wildly colorful, easy to manipulate and loads of fun, polymer clay has risen to a pinnacle of creative expression because anyone of any age can form original items that will last forever. If you like to do detailed, imaginative and unusual items or just want to explore the possibilities of a quick and ready medium, polymer clay could be the answer for you.

Originated in Germany in the 1930's, polymer clay was first used to create doll heads and body parts. In the early 1960's the product became widely available but only in smooth, whitish flesh color for use in toy making. Then in the 1990's, colors in individual packs and in a formula easier to manipulate started to change the way this versatile product was being used.

Today, there are so many applications in which polymer clay can be employed that it is amazing. Because the product does not shrink, it can be used to cover base materials such as wood, tightly crushed aluminum foil, metal objects and the like. Any material that can withstand 265 degrees in a household oven can be covered with a layer of polymer with no fear of cracking or loosening. This opens up another entire area of artistic application. Everything from artists’ metallic powders to eye shadow can be used to highlight and tone the surface of any item of this clay. Colors can be combined with ease to create new tones of clay or a personal palette.

The product comes in small bricks and rolls (canes) and in bulk packs for larger or group projects. Each brick is a uniform color and texture.

Beads are a favorite project for startup polymer clay creations. Premixed colors facilitate making a rainbow of tones that can be combined to make dramatic yet simple beaded earrings, necklaces, bracelets and the like. When strung with other textures such as tumbled stones or metal components, truly dynamic wearable art can result. Many cottage industries have started with such combinations.

Intricate designs called millefiori can be purchased to speed the creative process. These slender snakes of clay (canes) contain a continuous pattern inside and can be cut to make beads, smoothed and enlarged for pendants or cut into thin slices and then laid out like cookie slices to cover an item with design. Gorgeous gifts can be made by covering bought items with the thin slices to create unique accessories.

No glue is needed to attach soft polymer pieces to one another. They bond automatically and become permanently joined once heated in the oven. Repairs are easily made by adding fresh clay to the damaged piece and reheating.

FIMO Soft Polymer Clay

A large assortment of polymer clay tools/equipment is also available from AMACO to aid in your creativity: Professional System Bead Rollers and Bead Baking Rack, Bead Making Tools Set, Pasta Machine, PolyRuler, Texture Plates, Template, hardwood and plastic tool sets and much more. New from AMACO is the Polymer Clay & Craft Oven. This countertop oven has a 300 degree maximum temperature for baking polymer clays and other craft products.

See your retailer and visit www.amaco.com to see all that American Art Clay Co. has to offer the professional artist/potter, craftsperson and teacher: kilns, wheels, art and craft materials, clays, glazes and much more.

It is easy and it is fun, so head out to your art material dealer, gather up a few packages of polymer clay and begin your creativity today!

Artwork in Mixed Media

When artists begin to explore the possibilities of using several different artistic disciplines on any artwork they create, they open an ever-increasing group of doors. For every artist that creates mixed media works, there are almost as many combinations. Virtually any materials can be combined and the results can be breathtaking. Whether you start with a building block and then add to it or create an entirely original work with a combination of materials, you can consider yourself a true mixed media artist.

To begin, you might want to consider using a previous drawing or photograph as the groundwork for a completely new style and appearance. For instance, if you have a photo to which you add acrylic, pen and ink, conte crayon, graphite, oil pastel or other material, you have taken the photo to another realm while creating a mixed media artwork. Using two or more disciplines is a great way to jumpstart a lull in your creative adventures.

Many famous artists use mixed media to capture a specialized market by retouching (adding personalized elements) to existing prints from their original paintings. Adding details and embellishments to prints on paper or canvas is a very trendy way to make them more dramatic and eye-catching. The material you add should be permanent and should create an entirely new look, so that the print would not be confused with other prints that will be in the original series. Where this is most helpful is when you create prints-on-demand from your own printing setup or have multiples printed professionally.

Combining printmaking techniques with painterly techniques and materials is another way to get a lot of mileage out of prints that might not be perfect or those that need enriching in order to be salable. By adding textures such as gold leaf, decorative papers, stamped shapes and the like, you can make wonderful originals out of otherwise lost works. It is also lots of fun to do and might open an entirely new area of artistic expression.

Textural elements are always entertaining and eye-catching. If you take a simple landscape and add textural lines in oil pastel, paints or markers, you add detail that will capture and hold the interest of the viewer. Unusual brushwork, spattered textures, linear designs and unexpected visual treats will help your work be noticed, involve the patron and, hopefully, entice him/her to buy.

Many artists find that combinations of materials give them the fullest freedom of expression. Use of vivid colors, opaque tones and the glitz and shimmer of metallics are some of the ways to quickly join the ranks of multi-media artists. Don’t be hesitant to experiment and explore unusual combinations!

Because schedules sometimes change, it is good to confirm events and exhibitions in advance.

The Armory Show
The International Fair of New Art
March 10-13
Piers 90 and 92
New York, NY

The Armory Show, devoted exclusively to contemporary art, takes its name from the rich history of the 1913 Armory Show, which introduced European Modernism to America. In its eighth annual exhibition, the Show will present 153 galleries from 38 cities around the world. Visit www.thearmoryshow.com; 212-645-6440.

17th Annual American Craft Council
Atlanta Fine Craft Show
Georgia World Congress Center
Atlanta, GA
March 10-12

Indulge yourself in the largest selection of museum-quality craft in the Southeast, featuring the distinctive work of 250 of America’s top fine craft artists. Select from a wide variety of jewelry, clothing and accessories, baskets and quilts, as well as sculptural and functional objects in clay, fiber, glass, metal and wood. Visit www.craftcouncil.org/atlanta/; 800-836-3470.

Airbrush Tools and Equipment

All artists who use the airbrush in their work, regardless of application, have a work station where the airbrush is housed and attached to an air source. This area, be it a taboret, easel, table, or drafting board, usually contains the airbrush, a holder for the airbrush when not in use, a regulator that regulates the amount of air coming from the air source, and moisture and oil traps to keep the air clean.

All artists, including the airbrusher, use a variety of tools, equipment and other objects in the creation of artwork. Some of the things most commonly found in the airbrush studio and their uses follow:

Straight Edge Ruler/T-Square - A metal straight-edge ruler is necessary for cutting frisket and stencils when a straight, exact line is required. Metal is essential because you will be cutting against it and wood or plastic might result in damage. These come in various lengths and, depending on the scale of your work, a few different sizes will come in handy.

The same holds true for a metal T-square, which works well when using a drafting table, drawing table or drawing board for a work surface. It’s also handy for the fine artist who works on canvas. Again, these are available in a variety of sizes. Both the ruler and T-square should be cork-backed to prevent paint bleed underneath; but this is not necessary if you won’t be painting with a paintbrush or rendering with markers or pens along the edge.

Cutting Tools – The airbrusher uses a variety of cutting tools that include knives and scissors, and there are myriad types of each. The standard frisket knife, which is normally a #11 X-acto blade in a metal or plastic handle, is the most common one used in cutting frisket film, acetate stencils or paper stencils. Also available are frisket knives with swivel blades that are usually smaller than #11’s. Each manufacturer has a unique swivel system with various available blades.

For cutting thicker materials, e.g., illustration board or thicker plastics, a utility knife works well. These are industrial knives used for cutting cardboard and have replaceable or snap-off blades and range from box cutters to heavy-duty linoleum cutters. It’s always good to have a pair of scissors for cutting frisket rolls to length or nipping off the tip of a paint bottle, etc.

Drawing Instruments — The airbrusher will be drawing on the work surface on frisket film, on acetate for stencils, and on paper for preliminary sketches. For laying out a drawing on a paper surface, you’ll use a drawing pencil (4H). A fairly hard light lead can easily be erased with a kneaded eraser (gum) with no resultant smudging. For drawing on frisket film--a plastic surface--a thin-tipped permanent marker works well. Colored pencils also are handy to touch up missed areas in artworks on paper.

If the artist is working on paper, there are two distinct surfaces to use: hot press (high surface--smooth) or cold press (medium surface—light textured). The same holds true for illustration board.

Flat File - A flat file is useful for storing your paper inventory as well as finished artworks, stencil materials and frisket film.

These include a selection of the basic items that an airbrusher has on hand. However, everyone has his/her own personal collection of found objects and special effects tools, and no two collections will be identical.

New Airbrush Classes Scheduled

--A workshop in Basic Airbrush Techniques with Robert Paschal will be offered in Beacon, N.Y., on March 25 (6 hours) and Intermediate Airbrush -- Special Effects with Pamela Shanteau will be offered April 29-30 (12 hours). All equipment and supplies are provided for use in class and seating is limited. Visit www.arttalk.com/workshop/workshop.htm or call 845-831-1043.

--A variety of airbrush classes will be offered at Learning & Product Expo: ART! in Washington, D.C., from June 1-4. For more info, visit www.learningproductexpo.com, where registration begins on April 1.

Museum to Reopen--The New Orleans Museum of Art will open its doors once again on March 3, with free admission to Louisiana residents. To celebrate, a select group of objects from the Whitecloud collection of Native American art will be prominently displayed in the Great Hall, with a full-color catalog available in the Gift Shop. Donations to NOMA’s Katrina Fund may be mailed to: NOMA, Katrina Fund, PO Box 19123, New Orleans, LA 70179; or made online at www.noma.org.

Auction Records Set--Sotheby’s Old Master Paintings, Drawings and Sculpture auctions totaled over $79 million, a record for a series of Old Masters sales in New York. Among the highlights of the sales were strong prices for works by Rembrandt, Donatello, Francisco Goya, and William Blake, among others.

--And at Christie’s, an oil on canvas portrait by Charles Willson Peale, “George Washington at Princeton,” set a world record for an American portrait at auction at $21,296,000. The full-length painting is signed and dated 1779 and depicts George Washington as the Commander-in-Chief of the Continental Army.

Milestone Reached--Animation legend Myron Waldman has passed away at the age of 97. The last surviving head animator of the Max Fleischer Studios, he was instrumental in the animation of Betty Boop, Popeye, Casper, Raggedy Ann and Andy and the original Superman series.

Fund Created--The Getty Foundation has established a $2 million fund to aid visual art institutions in New Orleans as they recover from the impact of Hurricane Katrina. The foundation’s Fund for New Orleans will enable nonprofit arts organizations to apply for either conservation grants or transition-planning grants to strengthen nonprofits as they respond to the city’s changed arts environment. The foundation will also consider support through its regular grant categories for other organizations in the region.

New Museum Directors Appointed--The Los Angeles County Museum of Art has announced the appointment of Michael Govan as Director and CEO. Highly regarded, Govan was previously President and Director of the Dia Art Foundation in New York and spearheaded the creation and 2003 opening of the critically acclaimed Dia: Beacon (Beacon, NY), the new museum that houses Dia’s collection of art from the ‘60s to the present.

—And Andy B. Jones, renowned decorative artist, teacher and author, has been appointed Director of the Decorative Arts Collection Museum. The Museum, established in 1982 in Wichita, KS, has a mission to promote understanding and appreciation of decorative painting by saving outstanding historic and contemporary examples, maintaining exhibitions and providing educational opportunities to the public. See www.decorativeartscollection.org.

Exhibitions:

New York, NY -- Metropolitan Museum of Art -- Robert Rauschenberg: Combines takes a rare and comprehensive look at the objects that he terms “combines,” in which he has reinvented collage. The exhibition includes approximately 65 works and is the first to focus exclusively on this significant material. Through April 2 and travels to The Museum of Contemporary Art, Los Angeles on May 14.

Charlotte, NC -- Mint Museum of Craft & Design -- Thirties Glamour and the Allure of Bakelite features jewelry/fashion accessories drawn from the collection of Charlottean Patty Gorelick, combined with period fashions from the Historic Costume Collection of the Mint Museum of Art and showcases the beauty and intriguing designs of manufacturer-designers who embraced the Bakelite medium. Through April 2.

Brockton, MA -- The Fuller Museum of Art -- Wickedly Wild and Wonderful Wood: Recent Works by the Massachusetts South Shore Woodturners features functional and sculptural lathe-turned objects by 30 members of the MSSW. Through April 2.

New York, NY -- Whitney Museum -- Whitney Biennial 2006: Day for Night is titled after Francois Truffaut’s 1973 film and examines contemporary artmaking by over 100 artists in America at a moment of profound global change. This marks the 73rd in the series of Annuals and Biennials inaugurated by Gertrude Vanderbilt Whitney in 1932. Opens March 2 through May 28.

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Copyright ARTtalk Vol. 16 No. 5 -- March 2006