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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, 2016


    (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.


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    FREE First Saturday Opening Reception

    Regional 2D Juried Exhibiton

     

    Join us Saturday April 2, 2016!

    5 - 8 PM

     

     

    ASK's Annual 2D Juried Exhibition is open to artists from New York, Connecticut, Massachusetts, Pennsylvania, New Jersey, and Vermont.

     

    The juror for this year's exhibition is Daniel Belasco. 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 New Paltz.

     

    $250 Juror's Award sponsored by www.Lynnefriedmanart.com 

     

    The exhibition will be on view April 2 through April 30, 2016.

     

    Refreshments provided by Ship To Shore and JK's Wine & Liquor 

     

     
     
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    Airbrush

    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.?

     

     

     

     

     

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    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!

     

     

     

     

     

     

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    ARTPOURRI—NEWS

    ARTPOURRI—NEWS

    Festival Scheduled—The 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

    Season Begins—The 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.

    Designer Featured—The 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.

    Call for Artists—Attention 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.

    Artists Announced—The 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.

    Jazz 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.

    Exhibits Extended—At 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.

     

     

    ART OPPORTUNITIES

    Functional 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.

    Wildscapes, June 11-July 31, Bennington Center

    for 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 art media. 

    Deadline:  May 8.  http://www.thebennington.org/wildscapes-submission-form/

    2016 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: niva.gcca@gmail.com with the show title in the subject line. 

    Salmagundi 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

    Seeing 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.

     

     

    Exhibitions

    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.

    Hudson 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.

    Mac 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.

     

    Events

    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

    Gardiner 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.

    Spring 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 Preservation.

    http://www.lyndhurst.org/event/crafts-lyndhurst/

    Celebrate 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: www.poklib.org.

    Thomas 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. 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

    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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