month you’ll find informative articles that deal with a variety of
subjects such as artists and art history, current events and art world
news, schools, competitions and workshops, and a Kids?Korner. Subjects
vary each month. art supplies, airbrushing, drawing, painting,
printmaking, sculpture, ceramics, matting and framing, arts and crafts,
and more. These explain various techniques—how to work and paint with
artist's watercolor on paper, oils or acrylics on artist canvas; how to
use pastels, pencils or pen and ink; how to work with different
surfaces grounds; how to paint with the airbrush and compatible materials;
the use of projectors and light boxes in your work and more. You’ll also
find artists information on magazines, art books. (Established
- posted April. 1, 2016
(ARTtalk’s latest cybercopy is posted on
the 1st of every month.)
ASK's Annual 2D Juried
open to artists from New
Pennsylvania, New Jersey,
The juror for this year's
exhibition is Daniel
Belasco is the curator
of Exhibitions and
Programs at the Samuel
Dorsky Museum of Art at
SUNY New Paltz. He has
held curatorial positions
at The Jewish Museum,
New York, and
SITE Sante Fe, New
Mexico. A specialist
in postwar and
contemporary art, he holds
a PhD from the
Institute of Fine Arts,
NYU, and teaches
contemporary art and
museum studies at SUNY
The exhibition will be on
2 through April 30, 2016.
Refreshments provided by
Ship To Shore and JK's
Wine & Liquor
Airbrush History Trivia
—Abner Peeler, of Webster
City, IA, invented the airbrush in 1878. Imagine, over 130
years ago! Abner, a professional inventor who tinkered with
things such as screw machines, bicycles and typewriters, developed
this painting tool—originally called a “paint
distributor”—specifically for photographic retouching. The
paint distributor, which was similar to today’s oscillating
internal-mix airbrush, had a wooden handle with metal parts and sold
for the incredible price of $10. The first such airbrush was
sold to S. M. Thomas, and we know that the first painting completed
with this paint distributor was a self-portrait of Peeler himself
done by his wife on an enlarged photograph.
The painter Man Ray
(1890-1977) is probably the first fine artist to exhibit paintings
done exclusively with the airbrush. Ray, considered the only
American Dadaist, learned to use the airbrush while working in an ad
agency in New York City between 1917 and 1919. His fine art
airbrush renderings were shown in NYC galleries and called “aerographs.?nbsp;
Looking at them with today’s standards of what we consider airbrush
painting, these works of art would be considered simplistic—but at
that time, totally new. They consisted of images developed by
airbrushing around found objects, such as paper cutouts, tools and
paper clips that were used simply as stencils. Man Ray worked
flat on a table, allowing gravity to hold the stencils in place, and
sprayed around them with black ink. He repeated these images
in both opaque and transparent ink and the end products lent
themselves to the look of cubism
is said that Man Ray was primarily interested in producing paintings
with a smooth machine-like finish. And because the ink was
airbrushed onto the surface, there were no brush strokes in the
artwork, which imparted an industrial appearance. An excellent
collection of his works is held by and exhibited at The Art
Institute of Chicago; and even viewed today, their simplicity is
Pablo Ruiz Picasso 1881 - 1972
There is much that could be
written about Pablo Picasso, arguably the greatest artist of the His
influence on several generations of artists and his recognition as
the founder of many art periods, most famously that of cubism,
attests to his immersion in creativity. For 80 years of the 91 he
lived, he devoted himself to an artistic production that contributed
to development of modern art of the 20th century. And,
all the while, Picasso was a man who loved women. During his life he
had affairs, lived with or married over six women and fathered four
children. He abhorred being alone when he was not working.
Aside from the tumultuous
personal life, Picasso was devoted to his art. During his early
years he abandoned most of the classical training given him by his
father and first instructor for his own interpretation of the world
around him. Five “periods?are recognized as brought to life by
Most have heard of his Blue
Period that lasted from 1901 to 1904 in which somber, blue tinted
paintings prevailed. These were influenced by the loss of a friend.
Images of this period include depictions of acrobats, prostitutes,
beggars and artists.
His Rose Period (1905 to
1907) brought out paintings with overall tones of orange and pink,
many involving images of harlequins. During this period he was
seriously romantically involved and the warmth of the relationship
is seen in his palette of colors.
Soon after the Rose Period
came an African Period (1907 to 1909) that was influenced by
artifacts from his personal collection. Many paintings of this
period repeat the use of two figures.
Cubism, the style for which
Picasso is most famous, came into being when he and his friend and
painter Braque challenged each other to dissect and
“analyze?objects, then paint them in terms of their shapes. Color
played a large part in this period of work ?monochromatic browns and
shadow tones prevailed as a common thread. Each artist developed the
style in his own way and each had strong similarities.
His Cubist Period ran from
1909 to 1919, and included the use of collage as a fine art form.
Heretofore, no artist had used collage and cut paper to convey
images. Imagine art without collage?
Picasso had many artist
friends and some rivals. Matisse was one of the “gentle?rivalries
experienced in Picasso’s lifetime. Both were strong, talented and
seemed to challenge one another. A recent collection of works by
both artists reveals they had a lot in common, although their styles
were personal and not derivative. The bold, outlined and highly
decorative nature of both artists' works is without question.
Historically, a lot
happened during the 90+ years Picasso lived, but he remained
detached from any personal commitment. He was a proclaimed pacifist,
refusing to fight for any side in the Spanish American War, World
War I or World War II. If was thought by many of his contemporaries
that his dislike of war and his unwillingness to fight was less
political and more cowardice. Being Spanish but living in France
during these conflicts, he escaped involvement and thus proclaimed
and solidified his pacifistic standing. He did, however, remain a
member of the Communist Party until his death.
At the time of his death,
Picasso had enjoyed wide acceptance as the greatest artist of his
time. Many of his works were recognized within his lifetime. Some
include The Old Guitarist from Picasso’s Blue Period, on
display at the Museum of Modern Art; Las Meninas Series, on
display at the Picasso Museum in Barcelona, Spain; and Guernica,
in Madrid, Spain.
“My mother said to me,
‘If you are a soldier, you will become a general. If you are a monk,
you will become the Pope.? Instead, I was a painter, and became
Picasso.?- Pablo Ruiz Picasso. Last words: “Drink to me.?
Smithsonian American Art Museum, DC, will hold a Cherry Blossom
Celebration on April 9 from 11:30am—3pm. Celebrate Japanese culture
and the arrival of the cherry blossoms with music and dance, face
painting, crafts and a book corner. Free. http://americanart.si.educalendar
Storm King Art Center, New Windsor, NY, opens for the 2016 season on
April 6. Special exhibitions this year include Dennis
Oppenheim: Terrestrial Studio and Outlooks: Josephine
Halversen, on view from May 14 thru Nov. 13.
Portrait Winner Announced—The
winner of the 2016 Outwin Boochever Portrait Competition at the
National Portrait Gallery is Amy Sherald of Baltimore, MD. Her
painting Miss Everything (Unsuppressed Deliverance)
received first prize. Works by 43 artists from 19 different states
and DC were chosen for display in The Outwin 2016: American
Portraiture Today exhibition on view through Jan. 8, 2017.
deYoung Museum, San Francisco, features the first major
retrospective of Oscar de la Renta’s work that celebrates the life
and career of one of fashion’s most influential designers. Included
are more than 130 ensembles produced over five decades. Oscar
de la Renta is on view thru May 30.
artists over 18 years of age currently living in New York City! The
Orange County Arts Council (NY) is offering two artists a grant of
$7,500 each if they move to and rent a studio in the city of
Newburgh. Selection will be made based on the quality of the work,
the artist’s vision and need for space. Details at https://orangecountynyartscouncil.
Guggenheim Museum has announced the artists who have been
commissioned to create works that will enter its collection as part
of The Robert H. N. Ho Family Foundation Chinese Art Initiative.
Hailing from mainland China, Hong Kong and Taiwan, they will produce
works in a range of mediums from video and sculpture to mixed media
on paper and installation and more for a group exhibition opening on
Nov. 4.—Also, the museum has received a $3 million endowment grant
from The Andrew W. Mellon Foundation to support the continuing work
of the museum’s Conservation Department.
to be Celebrated—The
NEA will honor the 2016 NEA Jazz Masters at a tribute concert, held
in collaboration with the John F. Kennedy Center for the Performing
Arts, on April 4 at the Kennedy Center Concert Hall in DC. The four
individuals honored will be Gary Burton, Wendy Oxenhorn, Pharoah
Sanders and Archie Shepp.
the Met, NYC, Color the Temple: Scene 1, an
experimental lighting display that combines Egyptology with digital
technology, has been extended through April 24.—The Brooklyn
Museum has announced the extension of Stephen Powers: Coney
Island Is Still Dreamland (To a Seagull), a site-specific
installation by artist Stephen Powers, through Aug. 21.
Sculpture Winners Announced—The
historic Stanley Hotel, Estes Park, CO, has announced the winner of
its $50,000 national sculpture competition: The Visionary
by Daniel Glanz and Sutton Betti. The hotel, the inspiration
for Stephen King’s Overlook Hotel in his book The Shining,
recently constructed a garden maze, of which the sculpture will be
the centerpiece beginning in Sept.
Objects, Orange County Arts Council (NY) Juried Art Exhibit.
NYC area artists from Brooklyn to Kingston are invited to
participate. Proposals are sought for submissions for an outdoor
group art exhibit with works that interact with Safe Harbors Green,
the organization’s new outdoor park in Newburgh, NY.
Selected artists will receive a minimum $500 honorarium. Deadline:
June 10. https://orangecountynyartscouncil.submittable.com/submit.
June 11-July 31, Bennington Center
the Arts, VT.
Landscapes, seascapes, wildlife and scenes that portray the artist’s
love for the world we live in will be considered in traditional fine
Deadline: May 8.
Greene County Council on the Arts: It’s All Politics,
Catskill, NY, Sept. 21-Nov. 12. Open to all artists 18 years
and older residing in the US. Open to all mediums, this is an
opportunity to share angst, questions, hopes and fears about the
political system, past and future. Submissions should engage,
provoke and encourage discussion. Deadline: July 16.
Email: email@example.com with the show title in the subject line.
Club Annual Non-Member Exhibitions, NYC. These competitive
fine art exhibitions are comprised of works from all over the
country and allow both well known and up-and-coming artists to
exhibit their work in these prestigious galleries. Painting
and Sculpture (original oils, watercolors, pastels,
colored pencils, acrylics, mixed media and sculpture), July
18-26, Deadline: June 1. Photography and Graphics
(original digital photographic images, traditional
photography and graphics), Aug. 1-12, Deadline: July 11.
Over $5,000 in prizes and awards. salmagundi.org
Through Photographs. MoMA presents their first free
online course for general audiences, available on Coursera.
Original course content includes dynamic conversations, studio
visits and a close look at works from MoMA’s collection. Visit
coursera.org/moma for more info and to start learning today.
—Jackson Pollock: A Collection
Survey, 1934-1954, MoMA, NYC, thru May 1. This
concise but detailed survey features approximately 50 works from the
Museum’s collection as well as rare engravings, lithographs,
screenprints and drawings.
Hewn: New York Furniture Now, Boscobel House and
Gardens, Garrison, NY, April 16-Aug. 14. The dynamic and
ongoing tradition of making furniture in the Valley is celebrated
with locally made contemporary furniture that is inspired by past
and present, by nature and natural materials and by the very acts of
making and living with beautiful objects.
Conner: A New York Life, Norman Rockwell Museum,
Stockbridge, MA, thru June 5. This lively installation
brings to light the art of one of America’s original “Mad Men” who
made a career in the city’s vibrant publishing industry. Featured
are hand-painted illustrations for advertising campaigns and women’s
magazines made during the years after WWII, when commercial artists
helped to redefine American style and culture.
—LOOT: MAD About Jewelry,
Museum of Arts and Design, NYC, April 11-16.
Now in its 16th edition, this annual exhibition and sale features
designs from more than 40 emerging and acclaimed international
jewelry artists and is the ultimate pop-up shop for contemporary
artist-made jewelry. madmuseum.org
Open Studio Tour, Gardiner, NY (Ulster County), April 30-May
1, 11am-6pm. Local area artists, potters, photographers,
sculptors and more are opening their studios to the public this
weekend. www.gostartists.org for map/info.
Crafts at Lyndhurst,
Lyndhurst Estate, Tarrytown, NY, April 29-May 1.
Over 275 leading artists and crafts people exhibit, sell and talk
about their work. Benefits the National Trust for Historic
National Poetry Month! An Afternoon of Poetry with Simon
Winchester, Storm King Art Center, New Windsor, NY, April 16,
2pm. Enjoy hearing a selection of poems, book-signing and
more. stormking.org. Poetry Writing Workshop—The Art of
Ekphrasis, Barrett Art Center, Poughkeepsie, NY, April 19, 6-8pm,
co-hosted with Adriance Memorial Library. Register/info:
Cole: The Artist as Architect 2016 exhibition and New
Studio Opening, Thomas Cole National Historic Site, Catskill,
NY, May 1, beginning at 11am. www.thomascole.org
Painting How To
Painting on a Grand Scale
When artists gravitate towards
large scale works, they face some interesting challenges along with
the actual creative process. How art is created ?on a grand scale
?is different from small artworks. Every aspect of the act of mural
painting and other large scale artwork has considerations that make
it fun and stimulating - well worth those deliberations.
From the very ground onto
which the artist places sketch lines, brushes of paint and blended
colors, large scale nudges the artist into new realms of production.
In order to paint large scale, the preferred ground ?canvas of some
sort ?must be acquired in an appropriate size. The content of the
canvas and its weight are both vital considerations when the painted
surface is gigantic.
Widths/lengths and fiber
content of canvas-type grounds vary greatly, but there are sizes as
large as 12 feet wide. More commonly, large scale works are
completed on canvas of 60? 72? or 84?widths. Roll length purchases
are necessary and can vary by manufacturer ?from 6 feet to 25 yards.
But, after width and length,
the fiber content may be the single most important element of the
painting. As you would expect, there is cotton fiber in a variety of
weights, but there is also linen, jute, cotton/linen blends
polyester (all synthetic) and cotton/poly blends and all can be
found primed and unprimed. The weight and texture of the canvas will
have an important bearing on the finished artwork, and most artists
match their style with the texture and surface of their ground.
Rather than traditionally
sized tubes of paint, most muralists/large scale painters use jars,
tubs ?even gallons of artists?colors. Most manufacturers of paint
offer a wide selection in larger quantities. Selection of textures
in those containers is also sometimes available. Thicker paint means
more pigment for application and working into large spaces.
tools include brushes for sure, but those used are much larger in
size. Consider when doing any work—if the scale were huge, you would
want to use larger brushes. And, additionally, rollers (like those
used for wall painting) and trowels are also used in larger scale
works ?tools that would be difficult to use small scale become a
necessity for bigger works. Trowels, scrapers, and tools not often
associated with “painterly?applications are used by muralists and
accomplish the job they want. Painting pads and hand “mops?for
decorative surfacing of walls can come in very handy on larger scale
Easels play a big part in big
works. Studio easels in both wood and metal often accept works as
large as 5-8 feet tall. They help hold the work at the proper level
?that at which it will be viewed ?so the artist is always aware of
the scope, perspective and dynamics of his/her work. Some artists
who do large scale work cover a wall with plywood and then staple or
tack their canvas to that surface at the proper level for work and
viewing. Easels and wall attachments ?whatever they might be ?help
artists by allowing them to step back and take in the “big
picture.?For large stretched canvas, wall mounted easels are great.
They can accommodate works of around 100 inches in height. They are
sturdy, help hold the stretched canvas firmly and adjust to all
points up to around 100 inches.
And lastly some artists employ
the use of airbrush to do a lot of the design layout and fill-in on
large works. Texturing with an airbrush can be accomplished by
painting through screening, metal mesh, decorative pierced metal
sheeting and many more items. Airbrush gives the type of color
gradation almost impossible to achieve in any other way. Mists of
tone-on-tone and the softness achieved is a huge asset to some
In review, large scale
artworks bring new thought processes to ponder and hurdles to
overcome. But, isn’t that what contributes to making art so
enjoyable and rewarding—to accept the intellectual stimulation of
such works and to succeed.
Printmaking Techniques & Materials
No matter the level of
your involvement with printmaking, it is sure to be exciting. In
some techniques, duplication of results is nearly impossible,
which seems a bit contradictory to the basic term: printmaking.
Let’s take, for our first example, the most direct and simple of
A monoprint (mono
meaning one) is created by applying ink or paint to a hard flat
surface (plate), pressing paper against the plate and lifting
the paper from the plate. The resulting print is one-of-a-kind,
since ink or paint would be nearly impossible to set in the same
place time after time. Simple doesn’t mean uninteresting, and
this is a great technique for any artist.
Collagraph, a very
simple form of printmaking, is a print created from a plate (Masonite,
mat board, chip board, etc.) that has natural and/or found
objects with texture glued to it. The surface of the plate is
sealed and, when dry, is inked on the textured plate, excess
removed and a paper placed on top. Downward pressure (using a
press or hand roller) presses the paper and ink together and the
images are transferred (in reverse) to the paper. Again, the
simplicity of collagraph prints makes them easy for everyone to
try. Many, but not unlimited, prints can be made from a master
(woodcut) printing advances in difficulty because the artist
uses special gouges and carving tools to create a dimensional
image in a wood block. The high surfaces of the wood block are
inked, paper is pressed against the inked areas and the
resulting image is a woodblock print. Surfaces other than wood
can be used; linoleum, wax, and rubber are a few that are a bit
easier to carve. Early wood block designs were used for fabric
embellishment and those blocks endure as collectables.
are created with care by print artists who desire more color and
texture in their work. Each color is printed individually on the
ever-decreasing wood block. Working from back to front colorwise,
the artist reduces the wood block with every color, printing
that part of the plate that will reflect a specific color, and
then removing more mass to print the next color. When finished,
the only areas that remain on the block are those representing
the very last color.
Drypoint etching is
more involved because it starts with a metal plate. The plate is
scribed (scratched) by the artist to record a subject. Ink is
rubbed into the slight toothy grooves created by the scribing.
Paper is then put on the plate, pressed and the resulting print
is pulled away from the plate. For all but the tiniest of
printed images, a printing press is invaluable in the process.
Strong definition and evenness is difficult with hand pressing
methods. Many prints can be made from the original plate.
Etching can be taken yet another step by using acid to enlarge
and remove areas of the metal surface.
Intaglio prints are
made from a metal base into which designs have been created.
This is often done with harsh chemicals, the metal dissolving
where there are scribed or etched lines that have been made
through a protective covering. Because of the chemical contact
(acids), this level of printmaking is considered advanced and
should be done under supervision and instruction. Many prints
can be made from the original plate. Ink is rubbed into the low
areas, paper is pressed to the surface and a print is created.
following is a simple explanation of some terms associated with
brayer - a hard
rubber roller on a handle used to transfer ink to the plate.
plate ?a surface on
which an image is formed, usually metal.
baren - a circular
padded tool used to rub against the back of paper to obtain an
image from a master.
hard ground -an
acid-resistant material applied to an etching plate through
which you scribe to create a design.
mordant - an acid
or other corrosive substance used to “bite?into a metal plate to
create an image on that plate.
gouge ?a V- or
U-shaped tool for cutting a wood or linoleum block.