Posted by June Underwood on October 31st, 2008
I am continuing to re- and re-read Schmid’s chapter on edges, because I’m not sure I have a decently full grasp of what he’s saying.
The book is Alla Prima: Everything I Know About Painting by Richard Schmid ($50 USD in soft cover from him; more from Amazon and more in hard cover).
Schmid begins his chapter by saying “Think about edges the way you would think about kissing someone…. Think of edges as exquisite subtleties, as the means to transmit romance, as ways to make your dabs or paint whisper or shout and reach nuances beyond the range of color. Think of them as visual poetry… but especially think of edges as you would the agents of expression in music….pianissimo (very soft), andante (flowing), allegro vivace (fast and lively), maestoso (majestic), fortissimo con sforzando (whamo!).
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Posted by Steve Durbin on October 16th, 2008
Complex #4 (detail), Nelleke Beltjens
There was a fascinating exhibit in Bozeman of drawings by three young European women–Nelleke Beltjens, Hedwig Brouckaert, and Jorinde Voigt–curated by independent art historian/critic/curator Peter Lodermeyer. Titled re/pro/ducing complexity, the multiple readings of which are all applicable, it consists of recent work that is varied, visually appealing, and intellectually stimulating.
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Posted by Leslie Holt on June 20th, 2007
The “tradition” of using non-traditional materials and found materials in art goes back awhile - from Braques and Picasso’s collages to Duchamp’s urinal. By now we are accustomed to seeing everyday things in the museums or galleries For me, the use of non traditional or found materials has to transform that material so that it becomes something else than the novelty of the material itself. A couple of artists came to mind when thinking about this today. I recently discovered and artist named Il Lee.
BL-069, 2006, Ballpoint pen on canvas, 48 x 42 inches more… »
Posted by Karl Zipser on June 4th, 2007
Compared to painting, drawing is about simplicity of materials. This is part of the beauty and challenge of the artform.
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Posted by Karl Zipser on May 30th, 2007
Tinting paper is the fastest and least expensive ways to ‘make’ paper. One begins with a ready-made sheet, but then makes it one’s own. more… »
Posted by Karl Zipser on May 28th, 2007
Drawings, paintings and photographs all seem to be more or less static entities. With luck, they can last more or less unchanged for hundreds of years. It is therefore interesting, if disconcerting, when artworks appear to change drastically from day to day. more… »
Posted by Richard Rothstein on May 6th, 2007
Last week I postulated that Art Deco as an art movement speaks a distinctly queer language. This week The New York Times asks how openly and assertively gay artists reflect the emergence of gay culture into the mainstream. It’s a fascinating article that speaks very much to the issue of how art both reflects and influences cultural change. While words are one thing, the work itself goes a lot further in answering the questions. What is gay art? What is it reflecting? How is it reflecting and changing gay culture and the culture at large? Rather than talk about the work of the artists discussed in today’s Times, I attempted to visually represent the leading edge of this supposed new school of art. As a gay man I am of course fascinated by this work and its collective messages, but I’m more curious to know what straight men and women think. However, while I look forward to your opinions I would also postulate that even those of you who are “straight” are, as artists, absolutely queer as well, regardless of who you bed so I’m not really sure you can provide a “straight” perspective…nonetheless…
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