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Monthly Issue of ARTtalk Local Beacon, N.Y.
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)
- posted March 1, 2015
(ARTtalk’s latest cybercopy is posted on
the 1st of every month.)
Shatter Rupture Break the Rules
Accelerated communication. Rapid technological advances.
People traveling faster and farther than ever before.
Global conflicts that unsettle daily life.
Watch this video for a glimpse of how avant-garde
artists responded to the tumultuous changes of the first
half of the 20th century. And then immerse yourself in
Shatter Rupture Break, the first exhibition in
the Art Institute’s Modern Series, which unites works of
art—painting, sculpture, film, photography, design—from
across the museum’s collections to show the radical and
constructive ruptures of modern art. Opens
1923 the Scholastic Art & Writing Awards have recognized the
vision, ingenuity and talent of our nation’s youth. At the 2015
Hudson Valley Scholastic Art Awards, students of the Art Institute
of Mill Street Loft in Poughkeepsie, NY, were awarded 59 Gold and
Silver Key awards, two American Visions and 64 honorable mention
awards. Gold and Visions winners will have their pieces forwarded
on to the national competition, where they will compete with other
winners from over 100 different affiliates nationwide.
a recent paper conservation treatment, the Barnes Foundation
(Philadelphia, PA) discovered two unfinished sketches—one graphite
and one watercolor—on the reverse sides of two watercolors by
Cezanne, which depict the landscape of southern France: The
Chaine de L’Etoile Mountains and Trees,
normally on view in the Collection Gallery. The sketches will be
on view April 10-May 18.
outstanding artworks have been donated by leading artists in
support of MOCA-Los Angeles, to be auctioned in May at
has announced its third exhibition in Kingston, NY, which will
feature the work of Gabe Brown (Kingston) and Jean-Marc Superville
Sovak (Beacon, NY). Selected from over 400 submissions, the works
will be reproduced, enlarged and displayed for six months
beginning March 7 on the 90-foot long Greenkill and Broadway Ave.
bridges in Midtown, Kingston.
Special Day Inaugurated—The
Met Museum, NYC, has initiated
MetFridays, when the
Museum is open until 9 p.m. and visitors can view exhibitions,
drop into drawing classes, enjoy concerts or catch up over drinks
or refreshments. See a schedule at http://www.metmuseum.org/events/programs/met-fridays.
Thomas Cole National Historic Site (Catskill, NY) and The Olana
Partnership/Olana State Historic Site (Hudson, NY) will co-host a
landmark exhibition of contemporary art to highlight the pivotal
role that the two historic properties—and the artists who lived
and worked there—played in shaping America’s culture of
contemporary art. River
Crossings: Contemporary Art Comes Home
will be on view May 3—Nov. 1.
Medal Winner Announced—The
Caldecott Medal is awarded annually to the artist of the most
distinguished American picture book for children by the
Association for Library Service to Children. The 2015 winner is
The Adventures of Beekle: The
illustrated and written by Dan Santat (Little, Brown and
Company). In addition, six Honor Books were named. www.ala.org.
Wadsworth Atheneum, Hartford, CT, has unveiled their newly
renovated galleries of Post-War and Contemporary Art with a new
Island: Visions of an American Dreamland, 1861-2008,
on view through May 31, is the first major exhibition to use
visual art as a lens to explore the lure that Coney Island exerted
on American culture over a period of 150 years and features more
than 140 objects.
Seattle Art Museum and the Clark Art Institute had wagered
temporary loans of major paintings based on the outcome of Super
Bowl XLIX. As a result, the majestic
Puget Sound on the Pacific Coast
(1870) by Albert Bierstadt will be
on a three-month loan to the Clark in Williamstown, MA.
—The Hugo Boss Prize 2014: Paul Chan,
Nonprojections for New Lovers—Guggenheim
Museum, NYC, March 6—May 13.
is the first U.S. presentation of Chan’s series
Red Hook Community Arts Network, Red Hook, NY, March 6—April 10.
This juried show features original artworks in all media rendered
on or of paper, comprising landscape, figurative, abstract and
—Paula Hayes: Gazing Globes,
Madison Square Park, NYC, West Gravel area, through April 19.
Featured are 18 transparent spheres that hold the detritus of
contemporary culture, including up-cycled radio parts, industrial
materials, acrylic wands and other remnants of technology
sprinkled with fairy dust made of pulverized CDs.
—Focus on the Corcoran: Works on Paper,
National Gallery of Art, Washington, DC, thru May 3—Twenty-six
European and American works from the collection of the Corcoran
Gallery of Art, selected from some 3,400 that recently entered the
National Gallery of Art’s collection, are on view. Among several
NGA firsts are works by Anni Albers, David Park and Betye Saar.
The Stories We Tell: Hudson Valley Artists
Museum at SUNY New Paltz, June 20-Nov. 8.
Open to all emerging and mid-career artists
with a permanent mailing address/active art practice in Columbia,
Dutchess, Greene, Orange, Putnam, Rockland, Sullivan, Ulster and
Westchester Counties who have not had a major one-person museum
exhibition and who do not have an exclusive contract with a
commercial gallery. Traditional media, audio, video, film and
performance are welcome. Deadline:
85th Annual Juried Open Exhibition,
National Art League, Douglaston, NY, May 4-30.
Open to artists 18 and older who work in all traditional and
non-traditional 2D and 3D media, including certified unique and
original computer art and sculpture. Deadline:
March 27. http://www.nationalartleague.org/
National Association of Women Artists—Professional
women artists, at least 18 years of age and citizens or permanent
residents of the U.S. and Puerto Rico, are eligible to apply for
membership in March and September of each year. Categories
include Painting, Works on Paper, Video Art, Sculpture, Mixed
Media/Collage and Installation. Jurying is done from CDs/DVDs. Deadline:
March 15 and Sept. 15 of each year.
Capital Professional Development Program.
Choose from six in March or five in April. All webinars are
interactive and allow time for participants to ask questions. $25
each. Info: http://creative-capital.org/pdp
“Learning to Look” - Summer Teacher
Institute, National Portrait Gallery, Washington, D.C., June
29-July 2 and July 13-16.
Integrating portraiture into the classroom provides exciting
opportunities. Teachers in grades K-12 may apply as individuals
or as part of a team. email@example.com, 202-633-8503.
Meet Me at MoMA,
monthly program with specially trained educators for individuals
with dementia and their family members or care partners.
Tuesdays, 2:30-4:00 p.m. Preregistration is required.
Adrianna Campbell on Robert Smithson—Gallery
Talk, Dia:Beacon, Beacon, NY—Sat., March 14, 2 p.m. This
one-hour walkthrough is free with museum admission and no
reservation is required. www.diaart.org/events.
art on paper, Pier 36, NYC, March 5-8.
Exhibiting galleries will feature modern and contemporary work by
artists who look to paper as a major influence in their sculpture,
drawing, painting and photography. Beneficiary Partner is the
Brooklyn Museum. artonpaperny.com
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
This rare presentation continues the Fine Arts
Museums’ tradition of presenting works from
acclaimed museums around the world.
See the exhibition before it opens to the public,
and enjoy free admission to all special
exhibitions as a FAMSF Member. Join
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Eclipse Airbrush, Iwata Airbrush, Medea Textile Colours, Medea Com-Art Colours,
Ampersand Art Supply, Artool, General Pencil Co., Silentaire Technology,
American Art Clay Co., Graphic Chemical & Ink, Grumbacher, Schmincke,
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ART in Beacon NY
THE ARTIST’S MARKETPLACE
Robert Paschal, MFA
Basic Airbrush Workshop—Beacon,
NY March 10 2015
6-9 p.m. 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;
Camp Cōkaboodie in the Adirondacks
Jerry Savarie Road (off Big Brook Road) Indian Lake, NY
are located on Lake Abanakee with beautiful views and sunsets!
Join an adult
art history class
Engage with Carnegie Museum of Art's collection and
exhibitions through the museum's art history classes.
Programmed by the museum's education department, these
classes offer terrific opportunities to investigate
individual works or periods in greater depth, and allow
visitors to connect with the art currently on view in our
Art Through the Ages: An Art History Survey
Gain a new appreciation for the history of art from
ancient to contemporary times, with a focus on Carnegie
Museum of Art’s world-class collection. Become
acquainted with a range of artists in ways that you
never before considered, through captivating gallery
walks, provocative lectures, readings, and take-home
exercises. This 14-session class meets every Thursday
between February 19–May 21, or every Friday between
February 20–May 22.
|February 19–May 21
$200 ($180 CMP Members)
|February 20–May 22
10:15 a.m.–12:15 p.m.
$200 ($180 CMP Members)
Across the Atlantic:
The Beginnings of American Art
With art historian Isaac King as your guide, discover
the origins of American art through the work of Benjamin
West, Gilbert Stuart, John Trumbull, and Rembrandt Peale
in this four-session class.
February 25–March 18
10:15 a.m.–12:15 p.m.
$80 ($64 CMP Members)
Van Gogh, Gauguin, and Fin-de-siècle Paris
CMOA’s rich collection of Impressionist and
Neo-Impressionist paintings, including works by Cezanne,
Cassatt, Renoir, Monet, and Signac, along with the
Visiting Van Gogh: Basket of Apples, serve as
the foundation for this four-session class.
10:15 a.m.–12:15 p.m.
$80 ($64 CMP Members)
Questions? Email Lucy
Stewart, Associate Curator of Education, Adult Programs,
or call us at 412.622.3288.
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
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
.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
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
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
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
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
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
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>
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
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.
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
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
Printmaking is an enjoyable expression and is
accompanied by some terms that often seem a bit difficult to
understand. So, here some of the common terms and techniques will be
explained. The scope of printmaking is huge and can be enjoyed by
nearly any age group. Some of the materials used are found around
the home, while others must be purchased from art material
Graphic Chemical & Ink Co.
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.
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
mordant - an acid or other corrosive
substance used to “bite?into a metal plate to create an image on
gouge ?a V- or U-shaped tool for cutting a
wood or linoleum block.