Archive for the 'Art Ideas' Category



The fascination of ferrous oxide (by Olga Norris)

I have been thinking lately, what is it that gives rust its seductive visual power? Why are so many creative folk increasingly drawn to using rust and rusting in their palette?
I suppose my first thinking about rust in art was in response to the sculpture of Richard Serra and Anthony Caro.
Caro_DreamCity_1996The colour of their iron blends so much more easily into Nature when the surface has rusted, so the otherwise perhaps harsh appearance of slabs, fragments of towering metal is softened. There is also an indicator of change and decay embodied in the rusting process of these sculptures: perhaps a warning to the skyscrapers in front of which the sculptures often stand, that time will destroy us all.
Perhaps the rusted surfaces of monumental sculpture are similar in their effect on us to the sight of ruins, and that we seek reminders of time past and passing. (See my previous RCC post on Time here.) Hence the overwhelming number of photographs of rust – just put rust into Google Image!
I first saw the effect of rust on cloth at the 21:21 exhibition of fabric by Reiko Sudo and the NUNO studio. They had designed and made lengths of cloth marked with rusty nails. Reiko Sudo gave a master class after that exhibition in 2005 – designed to have a cascade effect, with all the participants themselves agreeing to give workshops to others.
Alice Fox SpurnIn 2012 Alice Fox used rust transferred onto cloth to help capture the past and the current aesthetic attractions of Spurn Point during her residency there, and she continues to use the marks of rust in her work. She now gives workshops helping others such as Mags Ramsay to achieve interesting results.
cqws green tea pliers
Rust printMaeve Coulter who works in textiles and in printmaking has made Rust Prints which echo the visual and emotional effects of sepia in fading early photographs.
sally-hirst-gasholder1-1024x618Printmaker Sally Hirst uses oxidised iron filings to colour the paper on which she then prints images of old iron structures such as bridges and piers.
Judd rustJean M. Judd has a section on rust dyeing process on her website, and a generous soul has offered Free Rust Texture Stock Photos for designers, so there must be quite a demand. Is it because we are almost engulfed by technology which we no longer comprehend – so few of us can make the clever things which glide us through daily life – that we reach back to signs of a time which we think we understand.
It is good also to feel that those tools from past technology, now discarded, can be used to make something beautiful before being thrown back onto the scrapheap – or recycled, as seen in the rustnstuff blog.

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Still Lifes of Georgio Morandi (by Clairan Ferrono)

Still Life 1956

Still Life 1956

 

I was introduced to the work of Georgio Morandi several years ago by my friend Barbara Fitzpatrick, who is an architect, painter, and now my drawing instructor.  At first I was puzzled by her enthusiasm for what looked to me like dull, repetitive, almost monochromatic, paintings of bottles and boxes? painted chunks of cement? blocks of old cheese?  I couldn’t even always make out what the objects were.  But Barb assured me I should keep on looking.  So look I did.  And the work began to intrigue me.

 

Still Life

Still Life

 

And I found myself going back to look again and again. The paintings are quiet, deceptively simple.  The objects can appear both flat and 3 dimensional at the same time.

 

Natura Morta II

Natura Morta II

 

Despite the apparent lack of color, there are many subtle shifts of value.

Still Life 1946

Still Life 1946

Still Life 1952

Still Life 1952

 still Life 1955


still Life 1955

 

When I first started drawing with Barb as my teacher, she had us look at Morandi carefully and attempt to draw one of his still lifes.   And it was then that I really started to look at the relationships among his objects, the shapes and volumes of his forms, the spaces between the bottles and boxes, the shadows, the subtle textural shifts, the places where one object almost, almost fades into another, but just doesn’t quite. or perhaps, in fact,  does.

Still Life 1960

Still Life 1960

 

But the aha! moment really came very recently.  I had been working on a piece and I knew it was close to finished,  but I was reverse appliqueing shapes to a background and I couldn’t get them quite right. I was satisfied with the shapes themselves and the background was good too. But they wouldn’t come together.  And then, the Morandi moment. . . . I remembered to look at the negative space.  And that was it.  Bang, they came together.  Thank you Morandi (and Barbara).

 

An exquisite extra: Endpapers (by Olga Norris)

There are many aspects of books which excite me. Those who follow my blog will know that I am a fan of bookmarks, and another optional extra which delights me is the use of endpapers. In my publishing days I would have great pleasure in choosing and designing endpapers – if the budget allowed.
endpaper collectionTraditionally endpapers were designs rather like commercial fabric patterns, and I have a collection of small books on fabric designs which have appropriate endpapers. There are even a couple of books on endpaper paper designs in the collection.
Children’s books, books on art and craft subjects, and books that benefit from a map larger than individual page size are all ideal for endpapers.
Katrina-and-Jan-endpapersLike this one from here.
danced-in-underpants-2008And this one from here. And here are some more endpapers of children’s books.
weird endpaperI have not been able to track down which book has these endpapers by Rex Whistler, but I can imagine the delight of picking up the book and turning it round and round.
28 endpaper
29 endpaper
I always liked to have a different endpaper in the front from the back, rather like these by the artist Norman Thelwell for an Eagle Annual (at Christmas every year the Eagle comic would publish a book with all the features of the comic therein.)
endpapers_lgGraphic novels and similar publications, even in paperback can be found with endpapers.
But in many ways the most delightful use of endpapers I find is with novels, or other writing which does not contain illustrations. The Persephone Press publishes books with elegant plain grey covers, which burst to life as soon as opened with glorious endpapers and matching bookmarks.
endpapersImage from here

More delicious than ice cream!

Carrying the story of his ancestors to the canvas, by Kristin McNamara Freeman

In 1991 I went to a gallery show in Red Lodge, Montana, and there I “met” an artist whose work called out to me from the walls of the Merida Gallery. Each piece held me  with the strong images presented and the language of Native people illustrated in the techniques of a fine contemporary artist. Kevin Red Star called out to me through the images presented at that show. Each year through 1996 I returned to see his work at this gallery and in 1997 I visited the Red Star Gallery in Roberts, Montana, for a benefit show and sale for the Boys and Girls Clubs. In 1994 and 95 I was able to see his work at the Museum of the Rockies in Bozeman, a marvelous venue for the exhibition of his paintings. My budget allowed only for me to own some signed posters of his work.

A step back in time to Kevin’s birth in 1943 and his early life in Lodge Grass on the Crow Reservation is where we can learn how Kevin’s creative adeptness was nurtured by his family and teachers. His mother designed and created in applique pieces of regalia for tribal dancers and blankets for people in the tribe. His father, a musician,  would bring Kevin prints of the work of Charlie Russell and he would make copies of those watercolors and learned about creating images of the spaces where a person dwells, for that is what C.M. Russell sketched and painted. There is a wonderful series of videos called from the spirit with Kevin telling his story at www.kevinredstar.com/vodeos, a series well worth taking the time to view. There are some good pieces of information on succeeding in making and selling art; his daily commitment to showing up, creating and getting lost in his work is a large portion of why he has been so successful. His respect for the ownership of a symbol or design he might want to include in a work is expressed in one of his recordings, an interview from The Backroads of Montana on PBS; although he is a Crow, he would never use an image unless the family who has this image on their regalia or other family possessions gave their permission to him for the use.

Inspiration for Kevin’s work comes from looking around the land where he lives and works, taking walks for inspiration and seeing what shapes and forms in the landscape speak to him.He never grows tired of taking in the energy of the land of his people, nor looking closely at the horses, buffalo and the Crow people as he includes them in the work he creates.

In his video “painting the journey” found at the above link, Keven describes his process in creating a large piece for installation at a public building. He describes how he uses the tipi poles and the poles in the travois (used for carrying large loads behind horses) to direct the eyes of the viewer from the historical Native images to the newly constructed building in the painting. Buffalo were important images and yet they were too dominant in the design until he painted them as the clouds in white. Lesson after lesson about design decisions is given by Kevin in this recorded piece.

Kevin’s education at Institute for American Indian Art in Sante Fe, New Mexico, was a life changing opportunity for him. Here he learned not simply technique but how an artist works and presents themselves to the world. From there he went to the Art Institute in San Francisco for more study and growth as an artist. Kevin continued to be a part of the community of working artists as he shared critique session with other artists, presented work in galleries and shows and settled in Sante Fe for several years and still maintains homes in both Montana and New Mexico.

There is a fine article in the “Santa Fe New Mexican”. August 17, 2014, written by Daniel Gibson, author of the newly released book on Kevin Red Star. There is a wonderful photo with the article that captures the heart centered joy that he expresses as he talks to you. You may read the article at http://www.santafenewmexican.com/magazines/indian_market_2014/kevin-red-starr-pushing-into-unknown-territory/article_9aec8c64-23c4

The “Big Sky Journal” has another article penned by the author of the book on Kevin Red Star, Daniel Gibson. Here is a photo of the cover of the magazine

Big Sky Journal Arts 2014  Painting featured in Big Sky Journal article

Big Medicine

Keven’s work is represented at the Smithsonian, The Denver Art Museum, the Heard Museum, the Whitney Museum of Western Art, eSpace in Paris and other galleries and museums in Europe and the US.

Kevin will be speaking at the Linden Museum in Stuttgart Germany on October 6th, 2014. He will present the story of his childhood on the Crow Indian Reservation and his 50 years of making art. He will then be at the Book Faire in Frankfurt, Germany October 8-9.

In March 19-21, 2015 he will once again be at the benefit auction and sale for the Charlie Russell Museum in Great Falls, Montana. In Paris, France he will have an exhibition entitles, “Shields, Drums and Masks” at Gallery Orenda, 54 rue de Ver Neuil.

Kevin Red Star

this photo of Kevin has appeared in magazines and newspapers and truly represents the gentle, sensitive and available nature of the man I have met and spoken with on several occasions.

one example of Kevin’s use of the traditional tipi of the Crow as a design element in his paintings. You can visit his Facebook page and see many more of his paintings, and also visit his website to read more of his story and see the work he currently has for sale. kevinredstar.com

Kevin Red Star is a contemporary painter, a member of the Crow Tribe and a man with a fine, gentle and caring demeanor. His skill as an artist reaches out to people from all walks of life and in his work it is my belief that folks are able to see his story and that of the Crow Nation.

Meaningful? Morbid? … or simply a mixed bag to be sorted each on its own merit? (by Olga Norris)

Rabbits’ Village School, Circa 1888
Walter Potter: Rabbits’ Village School
It was popular during the 19th century, and gradually becoming a minority curiosity during the 20th, but then suddenly there has been a revival of the art of taxidermy – or a growth in the use of taxidermy in art. In the 19th century the amateur Walter Potter made sentimental tableaux which can excite responses through the vowels from ah to ugh. (Image above, more images and an article here)
Damien Hirst
Damien Hirst: Away from the flock (from here)
Somehow not really seen as taxidermy (I don’t know the technical details of taxidermy as opposed to – or in addition to preservation in formaldehyde) the conceptual art of Damien Hirst burst onto the scene with a shark, halved cows, sheep, …. And now he is certainly not alone. A few years ago I saw and was intrigued by the work of Claire Morgan, which was when I started thinking about the use of taxidermy in sculpture.
claire-morgan-fantastic-mr-fox
claire-morgan-fantastic-mr-fox1
Claire Morgan: Fantastic Mr Fox (from here)
This was followed by watching a BBC programme about Polly Morgan in the series What do artists do all day? You can watch here and here. There seem to be so many artists now working with taxidermy as part of their sculpture – there are links here and here to some of them.
I find that my initial negative reaction to most of this art gets in the way of my thinking about it. It has nothing to do with guts and feathers and fur, but somehow it feels disrespectful to the beasts if the quality of the work draws attention to the taxidermy rather than to the idea being explored in the piece. I thought of Hirst’s work as art first and considered the technique of presentation seriously only when I read that the shark had to be replaced because it was rotting. It’s the worth of the artistic expression which engages me rather than the particularities of technique in this case. I found that Claire Morgan’s work also engaged me, but perhaps that is because I saw and walked round it, observing, thinking, feeling – whereas the other work is simply represented in photographs and therefore not sufficient to make a considered enough judgement.
Bulldog
Shauna Richardson: Bulldog (from here)
And then I found out about the ‘crochetdermy’ of Shauna Richardson. She, with one tool, overwhelmingly one material, and lots of time achieves remarkable results. Here and here are more links about the crochet work. It certainly is extraordinary craft, as was shown in the Victoria and Albert Museum’s exhibition The Power of Making, but is it art? I certainly do not think it’s any less worthy of consideration simply because she does not use the body of the original beast. Like all work, I reckon that each individual piece should be weighed on its own merits, and not lumped in with however the technique of its making is considered at any point in time.
I’m curious to know what you think.

Tucked away in a small Montana town……by Kristin McNamara Freeman

Embroidery by Marjory Hiltner 10265302_10152314257021676_8431305616118869630_oThis spring when I received a newsletter from the Danforth Gallery in Livingston, Montana, a surprise discovery of an artist working in fabric appeared on the pages. As I went looking for more information about the woman who created the work of fiber art pictured above, it became clear to me that somehow in the small population state of Montana a fiber artist, like me, seems to imagine that we know of all the working textile artists in the state. It was my pleasure to discover that Maggy Rozycki Hiltner lives in the small town of Red Lodge which is south of Interstate 90 and is often reached as the terminus of a drive over the Beartooth Hiway that begins at Cooke City near the Northeast entrance to Yellowstone National Park; a place I could visit on a day trip.

In this small rural and somewhat isolated town Maggy creates her fiber pieces using images cut from pieces of vintage embroidery or images she has embroidered by  using patterns from the 20’s, 30′, 40’s and 50’s. These embroidery patterns were often found on the pages of women’s magazines such as”Women’s Home Companion”, “Needlecraft”, “Peterson’s” or “Ladies Home Journal” to name a few of the resources you can still find on Etsy or Ebay today. Back in my younger years a trip to the local “five and dime” store would be the resource for books of design transfers which could be ironed on to fabric or there was always a supply of stamped kitchen towels and pillow cases that could be purchased. The thread most often used was a six strand cotton embroidery floss. Sometimes today you can find a collection of embroidered and/or appliqued household pieces at thrift stores and garage sales. If the stitching needs some repairing the same cotton floss used 50 years ago is still sold and can be used to make some repairs, if desired. It is these used, older pieces of embroidery that Maggie finds and uses to create her artwork today.

In a wonderful interview on the blog:

http://www.mrxstitch.com/future-heirlooms/.  the  interviewer gives a wonderful description of how the artist’s work impacted the author.

“I do not remember when I first came across the work of today’s artist Maggy Rozycki Hiltner but I do know that I immediately enjoyed it. She uses nostalgic figures and imagery to make some playful but poignant remarks about childhood, gender, expectations, friendships, sex, and love. Her technique is a unique blend of collage with found materials, hand embroidery, machine stitch, and applique. Her humor is clever and at times biting. Her work is fabulous.” The article also includes many photos of her artwork.
 
Maggie graduated from Syracuse University in 1997, was Studio Assistant in fibers and textile design at Arrowmont School  of Arts and Crafts in 1998. and has had her work shown across the country since then in solo, group and invitational shows. She has an extensive list of publications where her work has been included in photos and text. A busy, talented woman creating textile art in her studio in this small rural town of Red Lodge, Montana.
 
A visit to her web site.. .www.maggyrhiltner.com/index.html  will have you reading and exploring the heart and art of this artist. Here, from her website in a small vignette from one of her pieces. She currently, through September 1st, has work showing at the Dairy Barn in Athens, OH, and will have work in the following shows (from her website):

Quilt Visions Biennial 2014
October 3, 2014 to January 4, 2015
Visions Arts Museum
San Diego, CA
visit the Visions Arts Museum website
see work to be included in the exhibition

Solo Exhibition
April 24 to August 16, 2015
Dr. Ruth Tam Lim Project Room
Mesa Arts Center
Mesa, AZ
visit the Mesa Arts Center website

Focus: Fiber 2014
September 26, 2014 to January 18, 2015
Erie Art Museum
Erie, PA
visit the Erie Art Museum website

A Common Thread: Stitching and Embroidery
March 7 to July 5, 2015
San Jose Museum of Quilts and Textiles
San Jose, CA
visit the San Jose Museum of Quilts and Textiles website

If you will be near one of the shows her work is sure to delight the exploring, playful artist within each of us. For some, it will be the remembering of the  images she uses from our days as a child or young adult, or even those times when we have picked up and been tempted to buy a piece or two of embroidered household linens.

Other artists have included pieces of vintage embroidery in their work, Sue Reno, http://www.suereno.com/ showed pieces of her work incorporating vintage linens in a recent article for Quilting Arts and Deb Lacativa uses vintage linens for the cloth she dyes for sale and in the work she creates http://lacativa.com/ and http://morewgalo.blogspot.com/ . 

What pure delight to discover an unknown to me textile artist living in a small Montana town. An artist whose work reaches from coast to coast here in the USA and brings a new vision to those who see her work.

 
 

 

 

 

 

 

 

 

Some Time Later (by Clairan Ferrono)

photo 4

E Hesse

http://collection.mam.org/search.php?search=Hesse%2C%20Eva

 

Some time ago I posted about an art filled trip I’d taken to Wisconsin.  This post was meant to follow shortly thereafter, but life intervened.  Finally, we move on to the Milwaukee museum of art. I had limited time, so I quickly determined to see only the modern art (which is what I am most interested in).  One room was closed, which was a disappointment, but that allowed me to spend more time with each piece that intrigued me.

L Carroll

L Carroll Grey Sleeping Painting 2010-12

Carroll detail Carroll detail 2

details

I was taken by this rough mixed media piece by Lawrence Carroll, an artist I’d never seen before:  https://www.en.wikipedia.org/wiki/Lawrence_Carroll  Of course, the stitching drew me in! This piece is made of wax and canvas on wood.

O'Keefe

G. O’Keeffe

There was a room of O’Keeffes, but I found none very interesting except for this small still life.  The vegetables seem to me to have her particular sensuality, and I like how they are clearly situated in the white bowl? on the white cloth? which is narrowly delineated at the top of the painting.

De Witt detailDeWitt detail

S. LeWitt Wall Drawing #88

This piece by Sol LeWitt was drawn on an entire wall of the museum in pencil.

Sol de Witt

The work was conceived by de Witt specifically for the Milwaukee Museum of Art, but not executed by him.  He gave instructions (above) that  6″ grids should be drawn to cover the wall and that freehand lines (looking very much like quilting!) should be drawn inside each square.  He further instructed that the inside of the wall have blue and yellow lines, but this was not done.  He clearly believed that “the hand of the artist” was not essential, only the idea.  However, I wonder what the work would have looked like if he himself had drawn all the lines.

Joan Mitchell

J. Mitchell Untitled 1969

I spent most of my time with the abstract expressionists (no surprise here!).  I like the movement around the dark clotted enter of this piece by Joan Mitchell. I also like the texture of the thick paint.

Mitchell detail

detail

Rothko

Rothko Green Red Blue 1955

This is not one of the best Rothkos, but his work is always worth looking at to my mind.

Hoffman

H Hoffman Dew and Dusk 1957

Hans Hoffman was the teacher of the early abstract expressionists and a master of color.  His work is so exuberant I couldn’t help smiling the entire time I was looking at it. The multiple colors are so saturated  that there is no hint of the “rainbow” effect.

Hoffman detail

detail

 

Diebenkorn

Diebenkorn 2

R Diebenkorn OCEAN PARK #88 1974

The Diebenkorn was too large for me to get a full shot of, and again, it’s not his best work, but still quite lovely melting soft soothing sea colors kept from being too sweet by some dark and sharp lines of color containing them. I love the blurred edges as well.

As it turned out, I had 15 minutes extra which I spent just sitting in a big comfy chair, looking out a window at a gorgeous view of Lake Michigan.  In addition, it is worth a trip to this museum for the building itself designed by Saarinen. It has wings which are opened and closed at specific times of day.  www.youtube.com/watch?v=IFQQJIUTv9M

https://mam.org/info/details/quadracci.phpwww.mam.org

You can get an app for your phone showing different views of the wings opening and closing.


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