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    ARTtalk  Each 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 1990)

    ARTtalk Cybercopy - posted April 1, 2015
    (ARTtalk’s latest cybercopy is posted on the 1st of every month.)

    Click Here for the New Monthly Issue of ARTtalk Local Beacon, N.Y.

    Buy your tickets now for the most anticipated garden event of the year—LANDSCAPE PLEASURES

    Saturday, June 13
    Come hear landscape experts Cole Burrell, Luciano Giubbilei, and Janice Parker.

    Sunday, June 14
    Tour five Wainscott and East Hampton estates, including the gardens of Jane and Michael DeFlorio, Toni Ross, and Robin and Fred Seegal.  

    Saturday evening, June 13
    Supporters at the Sponsor level and above will be invited for cocktails at the breathtaking Southampton garden and home of Marcia Riklis. This classic windswept oceanfront estate has fantastic sunset views over Shinnecock Bay. Designed by Edwina von Gal with Abby Clough Lawless of Farm Design, the property offers a variety of seating areas, gardens and paths that take advantage of grade changes and the micro climates they afford.

    Includes Saturday lectures, Sunday garden tours, and Saturday evening cocktail party
    Benefactor: $1,000 each
    Sponsor: $350 each 
    Purchase online

    Includes Saturday lectures and Sunday garden tours
    Non-Member: $225 each
    Member: $175 each 
    Purchase online

    Landscape Pleasures 2015 has been made possible, in part, with generous sponsorship from LaGuardia Design Landscape Architecture.

    Photos: Top left, Janice Parker, middle left, Luciano Giubbilei, bottom left, Cole Burrell; right, The garden of Jane and Michael DeFlorio to be featured on the 2015 tour, Photo Jeff Heatly.

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    Art Market Study Released—Over 6,000 active artists

    have responded to a survey by the International Art Ma-

    terials Association, with results released in the third edi-

    tion of the Artists and Art Materials Study. The results

    are free to Association members as well as art nonprofit

    organizations and educational institutions and are also

    available to non-members for a fee. namta.org.


    Endowment Increased—The Pérez Art Museum Miami

    has received a grant for $5 million from the John S. and

    James L. Knight Foundation to endow newly-

    commissioned projects by international artists, and re-

    lated community programming, as part of its Project

    Gallery series. This brings the museum’s total endow-

    ment to more than $20 million.


    Milestone—Sculptor William King has died in East

    Hampton, NY, at age 90. “...a sculptor in a variety of

    materials whose human figures traced social attitudes

    through the last half of the 20th century, often poking

    silly and poignant fun at human follies and foibles.”—

    Bruce Weber, The New York Times.


    New Gallery Dedicated—The new Contemporary Art +

    Design Wing at the Corning Museum of Glass, Corning,

    NY, features a gallery dedicated to special temporary

    projects, including large-scale installations. The inaugu-

    ral installation spotlights the recent acquisition Constel-

    lation (1996) by Kiki Smith. This room-size installation

    is on the theme of the heavens, inspired by images

    drawn from an early 19th-century celestial atlas, with 26

    hot-sculpted glass animals representing different animal-

    themed star patterns. cmog.org.


    Top Art Districts Named—USA TODAY and

    10Best.com have announced the winners of the 10Best

    Readers’ Choice Awards for Best Art District. The top

    three were Northeast Minneapolis Arts District; SoWa,

    Boston; and Station North, Baltimore. http://



    Project Launched—The Metropolitan Museum, NYC,

    has launched The Artist Project, a new online series

    (that began March 2015 for one year) that will present

    100 artists who are inspired by The Met and its collec-

    tion—one artist, one unique perspective, three minutes

    at a time. http://artistproject.metmuseum.org/.


    Winner Named—The High Museum of Art, Atlanta, has

    named Dr. Kirsten Pai Buick the 2015 recipient of the

    David C. Driskell Prize. This is the first national award to

    recognize an early or mid-career scholar or artist whose

    work makes an original and important contribution to

    the field of African-American art or art history. Buick is

    an associate professor of art history at the U. of NM.


    Opening Scheduled—On May 1 the Whitney Museum

    of American Art will open its new building at 99 Ganse-

    voort St., NYC, with the largest display to date of works

    from the collection. America is Hard to See, on view

    May 1—Sept. 27, will reflect upon art in the U.S. with

    approximately 650 works by some 400 artists, spanning

    from about 1900 to the present.


    Offsite Visits Now Possible—Patrons with disabilities

    that prevent them from visiting the deYoung, San Fran-

    cisco, in person can now visit remotely by using a com-

    puter with a camera and a Wi-Fi connection. The new

    Beam Tour program uses an ambulatory device known

    as BeamPro and allows for an independent and interac-

    tive user experience. www.famsf.org/beam-webform.




    —2015 Triennial: Surround Audience, New Mu-

    seum, NYC, thru May 24. This is the only recurring

    international exhibition in NYC devoted to early-career

    artists from around the world. Fifty-one artists from

    over 25 countries explore the effects of an increasingly

    connected world. newmuseum.org.


    —It’s OK to be a Realist, Ann Street Gallery, New-

    burgh, NY, thru May 2. This exhibit highlights a group

    of 16 artists whose work demonstrates the range and

    depth of the Realist tradition while adhering to tradi-

    tional artistic values.


    —Basquiat: The Unknown Notebooks, Brooklyn

    Museum, NYC, April 3 thru Aug. 23. This first major

    exhibition of the artist’s notebooks features 160 pages of

    these rarely seen documents, along with related works

    on paper and large-scale paintings. brooklynmuseum.org.


    —Fabergé from the Matilda Geddings Gray Founda-

    tion Collection, Metropolitan Museum, NYC. Objects

    originally commissioned by and created for the Romanov

    family and three of the fifty magnificent Imperial Easter

    Eggs are on view. Works from the collection will be dis-

    played on a rotating schedule until Nov. 2016.




     —Creating Landscapes Within the Landscape,

    Fourth Annual Plein Air Competition hosted by Co-

    lumbia County Council on the Arts & The Olana

    Partnership, 7/9-12/15. Artists will paint on location

    at the Olana State Historic Site in Hudson, NY. Includes

    the paint-out, art exhibition, live auction and tent sale.

    30 artists will be selected as well as 5 alternates.

    Deadline: April 18. info@artscolumbia.com; 518-671-



    —Non-Member Exhibitions, The Salmagundi Club,

    NYC: Annual Juried Painting and Sculpture, 5/26-

    6/5/15—Oils, watercolors, pastels, colored pencils,

    acrylics, mixed media and sculpture. Deadline: April



    Annual Juried Photography and Graphics, 7/27-

    8/7/15—Original digital photographic images, traditional

    photography and graphics. Deadline: June 17.



    —Photowork ‘15—National Juried Photography Ex-

    hibition, Barrett Art Center, Poughkeepsie, NY,

    6/20-8/8/15. The spirit of this show is a juxtaposition

    of traditional styles and cutting edge images. The photo

    is celebrated as both fine art and social commentary.

    Deadline: May 1. http://www.barrettartcenter.org/



    —Washington Square Outdoor Art Exhibit, Univer-

    sity Place, NYC. Memorial Day Weekend and the fol-

    lowing weekend; and Labor Day Weekend and the fol-

    lowing weekend. Choose any or all. The event show-

    cases fine artists and craft artisans, both local and from

    around the world. Deadline for Spring Show: April 22.

    Applications received after deadline will be considered as

    circumstances permit. www.wsoae.org/.


    —As a result of popular demand, select National Gal-

    lery of Art lecture programs are now available as a

    live stream. www.nga.gov/mellonlectures.




    —Hudson Valley Photography Network—Spring

    2015 Conference, May 9, 9-4, Mount St. Mary Col-

    lege, Newburgh, NY. George Lepp will speak on

    “Innovative Techniques for Nature Photography.” Regis-

    tration Deadline: May 7.




    —2015 MoCCA Arts Festival, April 11-12, Center

    548, NYC—Visit the premiere alternative comic and car-

    toon fest that celebrates a diverse group of creators.




    —14th Annual Haitian Art Auction & Sale, April 17-

    19, Vassar College, College Center Multipurpose

    Room, Poughkeepsie, NY—Proceeds from this auction

    of Haitian paintings and handcraft support numerous

    programs in Chermaitre—a mountain village in Haiti un-

    reachable by road. thehaitiproject.org.


    —Poetry Reading and Book Signing: Li-Young Lee,

    April 18, 2 p.m. Storm King Art Center, New Win-

    dsor, NY. Enjoy a special afternoon of poetry with this

    distinguished poet. Book signing to follow. Free with

    admission. 845-534-3115









    Coming Soon: Botticelli to Braque: Masterpieces from the National Galleries of Scotland

    March 7–May 31, 2015 | de Young | Herbst Exhibition Galleries

    See paintings by many of the greatest artists from the Renaissance to the 20th century—including El Greco, Rembrandt, Vermeer, Degas, Monet, Gauguin, and Picasso—in an exclusive West Coast presentation of 55 works from the National Galleries of Scotland, one of the world's premier art collections. Also featured are British artists Sir Joshua Reynolds and Thomas Gainsborough, icon of the Scottish school Sir Henry Raeburn, and Americans Frederic Edwin Church and John Singer Sargent.

    This rare presentation continues the Fine Arts Museums’ tradition of presenting works from acclaimed museums around the world. Learn more

    See the exhibition before it opens to the public, and enjoy free admission to all special exhibitions as a FAMSF Member. Join today!





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    General's Art Press




    ART in Beacon NY




    AIRbrush Talk.com



    Basic Airbrush Techniques




    Robert Paschal, MFA

    Basic Airbrush Workshop—Beacon, NY   Learn the fundamentals of airbrush technique in a concise 3-hour hands-on class, designed for the novice who wishes to paint fine art, crafts, signs, customized autos/bikes/snowboards and myriad other objects.  Seating is limited.  All equipment/materials are provided. 845.831.1043; arttalk.com/workshop/workshop.htm 




    Cabin Rental

    Camp Cōkaboodie in the Adirondacks Mts. Jerry Savarie Road (off Big Brook Road) Indian Lake, NY       We are located on Lake Abanakee with beautiful views and sunsets!




    Offer valid through April 26. 
    See the Toulouse-Lautrec and La Vie Moderne: Paris 1880 – 1910 exhibition through April 26! 

    Become a member and enjoy unlimited admission to the Museum, including concerts, lectures, classes, parties, art-making activities, and more for free or at a reduced cost. All for as little as $5.50 per month—that's less than the cost of tw
    o café au laits! 

    Act now and you'll receive two additional months of membership for free!
    That's 14 months of art, fun, education, discounts in the Museum store and cafe, plus exclusive invitations to members-only events, including our member preview for the Andy Warhol exhibition in March 2016. 
    Hurry! Offer valid through April 26, 2015.
    Become a Member Today
    Questions? Contact the Membership Office







    Public Programs PRESS RELEASE



    Fri Apr 17, 7–8 PM
    Seattle Art Museum

    Learn More »

    dynamic skill, fast footwork

    Come see Nakotah LaRance, seven-time world champion hoop dancer, perform at the Seattle Art Museum. Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection will be open until 9 pm for attendees to experience after the performance.




    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

    .It 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 astoundingly modern.


    Artist Profile

    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 Picasso.

    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.?/td>


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    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. Choices abound!

    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.

    Application 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 artworks.

    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 muralists.

    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 prints…monoprints. -->

    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 collagraph plate.

    Wood block (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.

    Reduction prints 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.

    Finally, following is a simple explanation of some terms associated with printmaking:

    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.



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