An Intuitive Approach to Abstraction in Acrylic
Mixing Dry Media
Masters of
the Real Daniel E. Greene & Steven J. Levin
Best Frame
Forward
Preserve & Present Your Work June 2010 www.artistsmagazine.com US $4.99
A New (Twisted) Take on Perspective 0
Self Portrait (oil, 40x32) by Steven J. Levin
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contents JUNE 2010
54
VOLUME 27 NUMBER 5
features 24 Dramatic Shadow,
Expressive Light Steven J. Levin exploits the dramatic possibilities of extreme contrasts. By Rosemary Barrett Seidner
32 The Fifth Perspective Add a dynamic aspect to your work with this twist on conventional perspective. By Rudolf Stussi
40 The Design Is in the Details Master realist Daniel E. Greene plans every aspect of his complex compositions. Interview by Maureen Bloomfield
48 Between Chaos & Serenity Working in a square format in acrylic, Cathy Woo solves visual puzzles. By Ruth K. Meyer
54 The Fine Art of Framing Present your work to its best advantage by carefully considering the latest options for matting, framing and installation. By Rosemary Barrett Seidner
40
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24
32
48
columns 6 Letters 10 The Artist’s Life Ulrike Arnold picks up handfuls of dirt to paint vistas of earth and sky; TheArtsMap.com offers artists around the world a way to connect with one another, and more. Edited by Grace Dobush 14 Exhibitions Take to the road to see great art this spring. Edited by Holly Davis 18 Drawing Board Sketch quickly in pencil en plein air to render the essence of a scene. By Jerry N. Weiss
66 Supply Cabinet Don’t miss these new products fresh to market. Edited by Grace Dobush 68 Art Clinic Can a still life based on history be meaningful without an explanation? By Greg Albert 74 Workshop Guide Find a workshop here or abroad to suit your schedule. 80 Competition Spotlight Beijing artist Kathy Hirsh paints landscapes on site in pastel. Edited by Grace Dobush
60 Brushing Up To make a memorable portrait, suggest the universal rather than the particular. By Stan Miller 64 Ask the Experts How to combine graphite and charcoal to best effect and how to transfer a drawing. By Anthony Waichulis
10
02_TAM0610Contents.indd 3
on the cover Abstraction in Acrylic 48 Masters of the Real 24, 40 Best Frame Forward 54 A New Take on Perspective 32 Mixing Dry Media 64 COVER: Self Portrait (oil, 40x32)
by Steven J. Levin
The Artist’s Magazine (ISSN 0741-3351) is published 10 times per year (January, March, April, May, June, July, September, October, November and December) by F+W Media Inc., 4700 E. Galbraith Road, Cincinnati OH 45236; tel: 386/246-3370. Subscription rates: one year $22.96; two years $45.92. Canadian subscriptions add $15 per year postal surcharge and remit in U.S. funds. Foreign subscriptions add $20 per year postal surcharge and remit in U.S. funds. The Artist’s Magazine will not be responsible for unsolicited manuscripts, photographs or artwork. Only submissions with a self-addressed, stamped envelope will be returned. Volume 27, No. 5. Periodicals postage paid at Cincinnati OH and additional mailing offices. Postmaster: Send all address changes to The Artist’s Magazine, P.O. Box 420235, Palm Coast FL 32142-0235. F+W Media Inc. Back issues are available. For pricing information or to order, call 800/258-0929, visit our online shop at www.northlightshop. com/category/artists-magazine, or send a check or money order to The Artist’s Magazine/F+W Media Products, 700 E. State St., Iola WI 54990. Please specify The Artist’s Magazine and the issue month and year. Canada Publications Mail Agreement No. 40025316. Canadian return address: 2835 Kew Drive, Windsor, ON N8T 3B7.
3/19/10 9:58:46 AM
web
EXTRA
Look for the online extras icon throughout this issue to find out what’s waiting for you online.
online at
www.artistsmagazine.com JUNE
Art Clinic Submit an image for a critical analysis at bit.ly/artclinic.
Pastels by Daniel E. Greene Greene paints in several media; see a sampling of his paintings in pastel at www.artistsnetwork.com/article/pj-greene.
Save Space With Issues on CD www.artistsnetwork.com/ digitalproducts
More Art by Steven J. Levin View additional paintings at www.artistsnetwork.com/article/steven-j-levin.
Two Rapid Drawings En Plein Air See more of Jerry N. Weiss’s landscape sketches at www.artistsnetwork.com/ article/rapid-landscape-drawings.
More Fifth Perspective Paintings Find more examples of Rudolf Stussi’s unconventional method for implying space at www.artistsnetwork.com/article/rudolf-stussi.
Online Seminar: The Simple Secret to Better Painting Take advantage of Greg Albert’s hour-long seminar at www.northlightshop.com/ product/online-seminar-the-simple-secret-to-better-painting.
Watch Video Workshops www.artistsnetwork.tv
Download Free Wallpaper www.artistsnetwork.com/wallpaper
02_TAM0610Contents.indd 4
Daily Extras Artists Network message board: Join a creative community—connect with other artists and post your work for critical review at forum.artistsnetwork.com. Artists Network online seminars: Sign up for our live, interactive seminars at www.artistsnetwork.com/art_online_ seminars. ArtistsNetwork.TV: Watch online video workshops at www.artistsnetwork.tv. Back issues: Pick up a print or digital issue you may have missed at www.northlight shop.com/category/73. Books—fantastic savings: Browse the best and newest books in fine art instruction and get discounts on a huge selection of books and DVDs at www.northlightshop.com.
Blogs: Find out the latest art happenings at artistsblog.artistsnetwork.com. CD compilations: Check out our digital collections of articles and issues at www. artistsnetwork.com/digitalproducts. Free e-mail newsletter: Get featured tips, breaking news and great deals delivered to your in-box. Go to www.artistsmagazine. com, fill in your e-mail address in the top left-hand corner and click Go. Subscription services: Subscribe to the magazine, renew your subscription, pay your bill or change your address at www. artistsnetwork.com/magazines. WetCanvas: Take a look at all this vast artists’ community has to offer at www. wetcanvas.com.
3/19/10 9:59:20 AM
letters
Publisher & Editorial Director Jamie Markle Editor Maureen Bloomfield Senior Art Director Daniel T. Pessell Managing Editor Christine McHugh Associate Editors Holly Davis, Grace Dobush
CALL FOR ARTISTS
CONTRIBUTING EDITORS
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June 2010
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letters
FROM THE EDITOR, OUR CONTRIBUTORS AND READERS
Time and Chance I LAST INTERVIEWED DANIEL E. GREENE for the June 2005 issue of The Pastel Journal. Though he certainly hasn’t abandoned pastel, Greene currently enjoys working close to life-size in oil. Paintings like To North Moore Street (page 44) or Dartman (below) are the painterly equivalent of theatrical soliloquies. Greene places his actors against backdrops that mirror their isolation—for example, the subway station, which is emblematic of departure, or the carnival, where illusion and chance collide. The recurrent image of the game board brings these themes—choice, chance, illusion, fate—together. His pictures are so full of feeling that you may be surprised to see how cerebral Greene’s process is (“The Design is in the Details,” page 40). A realist who takes another tack, Steven J. Levin depicts characters who interact with art and with one another (“Dramatic Shadow, Expressive Light,” page 24). Rudolf Stussi skews a Renaissance convention (“The Fifth Perspective,” page 32), while Cathy Woo poses whimsy against structure in her acrylic abstractions (“Between Chaos & Serenity,” page 48). Finally, Jerry Weiss imparts a lesson for plein air (Drawing Board, page 18), as Stan Miller does for portraits (Brushing Up, page 60). A top gallery director presents a crash course on “The Fine Art of Framing” (page 54), and contributing editor Greg Albert critiques a reader’s work (Art Clinic, page 68). Submit your own work for review at bit.ly/artclinic, and keep in touch, between issues, by visiting our blog, artistsblog.artistsnetwork.com.
Fraudulent or Practical? Regarding “Projection: An Ethical Issue?” (Letters, April 2010), the old masters used to assign apprentices to “scale up” their drawings onto the canvas. Was that cheating? I would like to suggest a simple test for the letter’s anonymous author, who believes that another artist’s prizewinning work was less “genuine” than his or her own because the prizewinner used a projector: Try using a projector, and see what happens. The writer will probably be amazed, and perhaps relieved, to learn that having a projected image on an otherwise blank canvas leaves one far, far away from a prizewinning painting. If he or she has an honest emotion to express, good mastery of materials and process, good drawing skills and a strong compositional sense, a good painting may result— but it won’t be due to the projector. Like an artist’s plumb line, like a grid—in fact, like a photograph that’s not projected—the projector is an aid, one of many, and nothing more. Lacking any of the foregoing factors, using a projector will do an artist no good. But if it works for you, why, knock yourself out! It’s not cheating. Deborah Weinstein, San Clemente, CA
Private collection
An Artist’s Subject Casey Baugh has a lush and masterly painting style that’s a pleasure to look at (“Practice Makes Perfect,” April 2010); however, I find his current subject matter a bit disappointing. The portraits look like oil versions of a women’s fashion magazine photo shoot. Baugh states, “I like to paint what fascinates me ... .” Presumably that’s a series of flawless, young, runway models. I hope that he starts to expand his horizons and show work that depicts more breadth to the human experience, as his skills are truly wonderful. Cara Nilsen, via e-mail Dartman (oil, 68x68) by Daniel E. Greene
6
www.artistsmagazine.com
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3/26/10 11:20:37 AM
letters Afternoon Storm (pastel, 24x24) by Richard McKinley
Keep In Touch Subscribe at subscribenow.artistsmagazine.com. Share your comments on and suggestions for The Artist’s Magazine. Please write us at The Artist’s Magazine, 4700 E. Galbraith Road, Cincinnati OH 45236, or at
[email protected]. We also count on your letters and questions for the following sections of the magazine: Letters: Send us your letters to the editor. All letters become the property of The Artist’s Magazine, and those chosen for publication may be edited for clarity and length. Art Clinic: To submit artwork for Art Clinic, go to bit.ly/artclinic. Creative Workout: To submit artwork in response to a Creative Workout prompt, go to bit.ly/workout-1. Ask the Experts: Send your questions on painting techniques, technical matters, business practices, legal issues and more. Not all letters will receive a reply; all letters become the property of The Artist’s Magazine. Please include your name, address, phone number and e-mail address with all correspondence. Follow us on Twitter: www.twitter.com/artistsmagazine. Become a fan on Facebook: www.facebook.com/artistsnetwork.
in a vain attempt to find one that would successfully sharpen my pastel pencils without breaking the soft pastel tip. (Sharpening on the oldfashioned sandpaper slab takes too much time when you’re in the middle of drawing a model.) The other day I thought I’d try sharpening my pastel pencils with a “makeup” pencil sharpener, which is designed to sharpen wood yet still leave the soft tip in one piece. It really works! I happened to use the Shaklee Minerelles sharpener that is designed for eye and lip pencil crayons. ■ Stellar at 60+ I hope you’re still running the Over 60 competition and publishing the results (“Simply the Best,” March 2010) when I reach that age. It’s exciting to think of where my art will have taken me by then. After all, art—like life—is a journey, and those who have been on the road a while always have the most interesting stories to tell.
Donna J. Dubsky, Columbus, Ohio
Coming Up in the July/August 2010 Issue Plein air master Richard McKinley inspires you to get outside, while Michael Chesley Johnson tells you what gear you’ll need for a satisfying painting adventure, regardless of your medium. Nava Grunfeld explains her exotic approach to color in watercolor and acrylic; classical realist Nick Raynolds demonstrates how to block in shapes; and mixed media artists Laura Breitman, Joan Hall, Kitty Kilian and Pat Street demonstrate four distinct approaches to collage. Finally, we showcase the grand prize and first place winners of our All-Media Online Competition and remember the beloved California watercolorist Henry Fukuhara. Look for the July/ August issue on sale on newsstands June 8.
Tracy Brown, via e-mail
Sharpening Pastel Pencils I discovered something I want to share with your readers. I’ve purchased several pencil sharpeners June 2010
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7
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the artist’s life
EDITED BY GRACE DOBUSH
Heaven and Earth German artist Ulrike Arnold takes landscape painting to the extreme. BY KAREN LELAND
Canyon Point in southern Utah is a sweeping desert filled with stratified rock formations that reach up to the sky and deep canyons that reveal mossy brown rivers. Aside from the sandstorms and 110-degree heat, it’s the perfect place for German artist Ulrike Arnold to do her work. Painting outdoors isn’t a new idea, but Arnold takes it a step further: She paints with the outdoors. Over the past 30 years, she has traveled to five continents—setting up shop in Algeria, Egypt, Madagascar, Tasmania, Greece and India (among other countries) and painting with the elements she finds. “I paint on the spot, with only the colors that THE LANDSCAPE OF
are there,” says Arnold, who has shown her work in more than 90 exhibitions. “Some might say that’s a limitation. What if there’s no blue around? But I capture the essence of a place through the authentic materials and the forms around me.” Using pigments from the earth contained in rock, sand, mud and clay, Arnold crushes them into a fine powder and mixes them with a transparent medium that acts as a binder. The finished product becomes part of her palette. In June 2009 Arnold was invited to create artwork to adorn the new Amangiri Resort at Canyon Point. “When I started exploring the land, I found a cave near the resort,” Arnold says. “The Anasazi people had lived in that cave and created petroglyphs there 6,000 years ago. I knew that was my place.” So she set up shop and created an outdoor studio at the mouth of the cave, putting up a wooden table that could hold the
6x14-foot canvases she’d be working on. Renting a house a mile away, she worked 10 hours a day for five months, in extreme heat, rain and sandstorms. The result: three large abstract landscapes for the hotel’s public areas and 50 small paintings for each room in the resort. “I want to capture the essence of a place,” Arnold says. “In Utah at Amangiri, it was the rock formations and the color of the earth, the rainstorms and very hot weather that influenced me. I could feel the power of nature there day and night—that was my inspiration.” She says her abstract landscapes aren’t meant to describe a river or a mountain, but to evoke the spirit of the place through free forms. “I think of my work as a view from an airplane, a bird looking down at earth,” Arnold says. Her fascination with using materials of the earth began when, as a 21-year-old art student, she traveled
ABOVE: A selection of earth samples from
every continent. RIGHT: Ulrike Arnold paints in Bryce Canyon
National Park, Utah.
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the artist’s life
to southern France to see the famous cave paintings at Lascaux. Several years later, Arnold encountered the red ochre pits at Roussillon in Provence. “That was for me a major enlightenment,” she says, “a big bang. That’s when I decided to paint with the earth.” If Arnold has spent much of her artistic life looking to the ground for her medium, a chance meeting with an American meteorite expert in Flagstaff, Arizona, recently left her gazing up at the stars for inspiration. “I met this meteorite expert named Marvin Killgore, who collected meteorites from Argentina and Greenland,” Arnold says. “When I told him I painted with the earth, he told me he had some leftover meteorite dust I could use.” When Killgore sliced meteorites to prepare them for study under a microscope, small pieces would fall off. He’d been saving the dust but didn’t know what to do with it. “Killgore said it was like a miracle meeting me,” Arnold says. “Now I’m painting with material from the cosmos as well.” Using the donated dust, Arnold has created a series of silvery and shiny meteorite paintings (see them on her website, www.ulrikearnold. com). With stones from the earth and stardust from the sky, Arnold is painting a little bit of heaven right here on Earth. KAREN LELAND (www.karenleland.com) is a writer and artist in Tiburon, California.
ABOVE: Bisbee, Arizona, fullmoonpainting (1991; earth on canvas, 59x118), by Ulrike Arnold, is in the collection of actor Dennis Hopper.
Radiant Oils BY ARLETA PECH Ever wish your paintings had the appearance of stained glass? Radiant Oils teaches you how to build realistic values and create luminescent paintings that glow with color. With more than 10 mini demonstrations and three extended painting demos that reinforce the mini lessons, you’ll discover how to apply glazes of transparent color to attain that perfect glow. The demos illustrate all the key concepts, from creating the background to preserving edges to establishing form and completing a painting. Hardcover, 144 pages, $29.99.
Available at bookstores and at www.northlightshop.com JEN LEPORE is a senior editor for North Light Books. To see all of Jen’s Picks and sign up
for her newsletter, go to www.artistsnetwork.com/northlight.
June 2010
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the artist’s life FROM THE SKETCHBOOK OF…
Marina Grechanik marinagrech.carbonmade.com Ra’anana, Israel Materials: black pen, gouache, colored pen-
cils and found paper in a Moleskine Cahier About the sketch: I drew this in a bar-
bershop while waiting for my turn in the chair. I love watching barbers work—their moves are so coordinated. They change their poses fast, but I had the chance to capture positions they repeated. Drawing a barber’s assistant washing a woman’s head was easier because he stayed in one place for a couple of minutes. These sketchbook pages come from the correspondents of URBAN SKETCHERS (www.urbansketchers.com), a nonprofit organization devoted to fostering the art of on-location drawing.
George Jartos
Arts Map
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Collage artists Robin Colodzin and Jonathan Talbot were coming up empty while looking for new ways to connect with clients, collectors, curators and other artists. They realized that they weren’t the only artists seeking connections, so they created The Arts Map (www.theartsmap.com). The Arts Map is a worldwide, interactive map of artists’ studios, galleries, arts organizations, museums and more. You can search and filter your results by medium, type of organization or type of instruction. Map markers on the Arts Map are user-generated. It takes just a few minutes to input information about your artwork, studio or gallery, and the listings are free. You can explore the map and add your own info at www. theartsmap.com. —G.D. ■
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EDITED BY HOLLY DAVIS
Picasso in The Metropolitan Museum of Art Through August 1, The Metropolitan Museum of Art New York City, 212/535-7710, www.metmuseum.org
The Metropolitan Museum of Art, gift of Mr. and Mrs. John L. Loeb, 1960 (60.87); © 2010 Estate of Pablo Picasso / Artists Rights Society (ARS), New York
The Metropolitan Museum of Art, bequest of Scofield Thayer, 1982 (1984.433.276); © 2010 Estate of Pablo Picasso / Artists Rights Society (ARS), New York
exhibitions
Why see it: His name a household word around the world, Pablo Picasso (Spanish, 1881–1973) might well be considered the greatest fine artist of the 20th century. His oeuvre includes paintings, sculptures and prints. In a career spanning seven decades, Picasso engaged in a variety of styles and manners, absorbing the influences around him and, in turn, asserting his own influential genius. The Metropolitan Museum of Art has long been collecting pieces from the full scope of Picasso’s oeuvre and is especially known for its cache of the artist’s drawings and its selection of his early figure paintings. Despite the Met’s significant holdings, the museum has never before put so many works from its Picasso collection on display. What you’ll see: On view are 250 works by Picasso from the Metropolitan Museum of Art’s collection, including 34 paintings, 58 drawings, a dozen sculptures and ceramics, and 150 prints.
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ABOVE: Seated Harlequin (1901; oil on
canvas, 34¾x241⁄8) by Pablo Picasso TOP, LEFT: Head of a Woman (1922; chalk on
wove paper, 423⁄8x283⁄8) by Pablo Picasso
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exhibitions
Hendrick Avercamp: The Little Ice Age Through July 5 National Gallery of Art, Washington, D.C. 202/737-4215, www.nga.gov
of Art in Washington, D.C., and the Rijksmuseum in Amsterdam.
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