Tag Archives: art

Seeking (and Finding) Provocative Art in Central Florida

Last summer, I filled three posts with observations about art here in central Florida, as well as thoughts on returning to a place from my past. While my visit this time still evokes bittersweet nostalgia as I stroll the tree lined streets around Winter Park and Rollins College, my need to write about memory and the past was fulfilled during last year’s visit. Today, I’ll stick with the art. Once again, the art rich area does not disappoint.

“Then They Came For Me” by Patrick Martinez

Like last year, I’m noticing artist statements about political turmoil and displacement. I’ll start with my Sunday afternoon visit to Cornell Fine Arts Museum at Rollins College. In his solo exhibit, “American Memorial” Los Angeles artist, Patrick Martinez uses several mediums and strategies to communicate ideas of unrest and fear.

As he states in the exhibit brochure, Martinez uses neon due to its common use in Los Angeles and across America.  It often has a base appeal, an urgent neediness, and a desperate element. In contrast, the words he chooses are associated with deep fear and a dark time in history. The words, “then they came for me” are attributed to Protestant pastor, Martin Niemoller who spoke out against Germans during the rise of Nazi power.

In his series, “25 and still alive”, the artist creates birthday cake sculptures with portraits painted on the surface of the cakes. What strikes me about these pieces, in addition to the richly painted portraits and inviting faux confections, are the titles. We initially sense a celebratory message which is quickly replaced with the idea that for some people, reaching the youthful age of 25 is a feat. 

 

 

 

 

 

 

 

In another section of the museum, I am delighted to see what feels like an old friend, a collection of Paul Signac drawings and paintings on loan from my own beloved Arkansas Arts Center. Seeing the pieces far from home made me proud of the renowned AAC collection and grateful to the Dyke family for their generosity.

Next up, via the affordable, convenient and comfortable SunRail train system, I visit the Loch Haven Park area, home of the Orlando Science Center, Orlando Fire Museum, Orlando Reperatory Theatre, Orlando Shakespeare Theater, Orlando Museum of Art, and Mennello Museum of American Art. Lakeside views and trails abound and aside from the heat, walking around this area is a treat.

This tree was here during the signing of the U.S. Constitution!

Approaching the Mennello Museum, I am drawn to the surroundings. Formerly a private residence, the intimate building is ensconsed by trails, gardens, a lakeside view, old trees (such as the one here on the right) and sculptures by American sculptor and installation artist, Alice Aycock.

My timing is off for this museum visit as I arrive just after a Bo Bartlett exhibit and just before a William Eggleston exhibit. I am able to see a Bartlett painting that, I’m told, is being purchased by the museum. And I get to peek at the Eggleston photographs propped against the baseboards ready to be hung. The Bartlett painting reminds me of one of his at Crystal Bridges Museum of Amercian Art due to the seemingly simple composition, the lonley yet brazen position of the figure, the brushwork, and the enormous canvas size.

“Untitled (Veronica)” 2015, oil on canvas

After a short walk from the Mennello Museum, I arrive in the cool comfort of the Orlando Museum of Art. I’m lucky to visit again this summer during the Florida Prize in Contemporary Art, which showcases 10 progressive Florida artists. Though the three dimensional structures, photography and video installations are engaging and provocative, my favorite works are the paintings of Chase Westfall. I’m sure I’m drawn to these because of my own penchant for paint on a two dimensional surface but it is his extreme combination, and therefore, contrast between abstraction and figurative representation that I absolutely adore.  It is jarring and slightly disturbing to see the sharply painted geometric patterns imbedded in a tense push and pull with various body parts.  I typically don’t find geometric and heavily patterned paintings very engaging but Westfall’s use of rigid line against loosely painted forms sets up an energetic contrast that is confusing in a good way.

Other favorites at the museum include two pieces by Robert Rauschenberg, a chandelier sculpture by Petah Coyne, and a painting by Lavar Munroe.  Munroe uses found objects and discard in his cut canvases, making the pieces a hybrid between painting and sculpture.

Ravenous after miles of walking, I find a superb Cuban restaurant near the SunRail Station before heading back to the Alfond Inn for more art exploration. I incorrectly thought I was thorough last summer when searching the hotel hallways for art. But this time I find corridors and conference rooms I was unable to access during my last visit. As I’ve stated many times, the work of Hank Willis Thomas is a powerful influence on my own work. After hearing him speak at the Arkansas Arts Center two years ago, I basically idolize his ideas and techniques. And seeing the work in person is so exciting. I also stumble upon these three Terry Winters paintings in a dimly lit conference room.  I hope those meeting in this room when the lights are on appreciate this trio of printmaking masterpieces!

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As I write about art highlights during this central Florida visit, my daughter is in her final day of tennis camp at Rollins College.  I’ve passed my time with long walks, with a couple of movies, and of course, finding as much art as I can each day. But these idle hands are meant for making. I itch to return to my studio invigorated and inspired by the work of so many thought-provoking artists and the collections that thankfully share the work with the public.  Great art makes us think and I have plenty to consider during our travels home. Thank you for reading!

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Coping with American Politics through Visual Art

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Regardless of my political, social, and economic beliefs, I felt utterly aghast at the language used during our recent Presidential election. There are countless troubling components surrounding our political processes, why is language during the election disturbing me so? Words are our basic tool to understand each other, words change actions, completely influence belief systems, they make up our laws and our histories, words bond us and divide us. While political slandering is certainly a part of American politics, how is it that we came to accept such a lewd, false, cruel use of language?

With so much deceit and and hatefulness expressed through language, the ever-elusive truth disappears completely and we are left with a bunch a stumbling characters from the depressing movie Idiocracy. If there ever was a level of decorum, a line that politicians refrained from crossing, it is now erased. The willingness to say or do anything, ANYTHING, dsc_0888whether it is true or pure fiction, whether it is innocuous opinion or powerful persuasion that incites hate crimes, has reached a level I did not know could exist in the United States. Our entire reality is created by words and the ones we chose to believe. People in public positions have a responsibility to our entire nation to use words wisely, to consider the consequences of what they say, to really understand how their words impact all people, and how words incite action.

As a way of coping with election language, I created a group of paintings – small mixed media pieces that explore and deconstruct language. The pieces are currently part of an art auction on Instagram (follow lauraraborn) benefitting Planned Parenthood. To read more about the group, please see the press release below.

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FOR IMMEDIATE RELEASE
November 15, 2016
Local Artist Uses “Election” Paintings as
Fundraising Tool for Planned Parenthood

LITTLE ROCK, AR – During the weeks before the Nov. 8th Presidential election, artist Laura Raborn found herself retreating to her studio for longer hours than usual. Instead of her figurative oil paintings, she was compelled to create small collages referencing Donald Trump quotes that left her feeling shocked, insulted and sad. “He has made many hateful, racist, insensitive, inciteful statements…I just didn’t know how to cope. I had to find a way to express my shock…my anger…that someone in a public position was not only getting away with saying these lewd things, but was actually becoming POPULAR for it.”

When a collector saw one of the paintings and asked about buying it, Laura hatched plan to auction the paintings on Instagram and donate half the proceeds to Planned Parenthood. “If I were to make a donation right now, it would have to be small. But if I can sell these paintings, I could write a much bigger check to Planned Parenthood.” So far, she has about 15 pieces which means the Planned Parenthood campaign will last 45 days. If the pieces sell well, Laura will continue this body of work and direct the funds to organizations in need.

“I will never forget hearing Blake Mycoskie, the founder of Tom’s Shoes, speak at the Clinton School of Public Service about combining business and philanthropy. Later, I heard artist Hank Willis Thomas speak at the Arkansas Arts Center about using art as social activism. I was riveted; I took a full page of notes during the lecture. For years, I have heard those two speakers in my ear, and thought, “What will I do to help?’”

Starting on Friday, November 18th, one painting will be posted (and hopefully sold) every three days on Laura’s Instagram account (lauraraborn). She will donate half of every sale and will donate 100% of every dollar over $600. “While I would love to recoup expenses on materials and time, the purpose of the project is to make a sizable donation to Planned Parenthood. I am so excited about the possibilities I can hardly sleep…I just hope it works.”

List of above images:

“It Doesn’t Really Matter What the Media Writes,” 2016, collage on paper, 10 3/4 x 12″
“Small Hands,” 2016, mixed media on paper, 9 1/4 x 8 3/4″
“Counting My Money,” 2016, mixed media on paper, 12 x 9″
“You Can Never Be Too Greedy,” 2016, mixed media on card stock, 9 1/4 x 11 3/4″
“I Moved on Her,” 2016, mixed media on paper, 10 1/2 x 10 1/4″
“It Could Be a Conflict of Interest,” 2016, mixed media on paper, 9 x 10″
“When You’re A Star, You Can Do Anything,” 2016, mixed media on paper, 12 ¼ x 11 ¼”

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Opening Minds through Travel: Noticing the Art of a Place Part 3

Continued from Part 2:

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After five exhilerating and exhausting days in history, art and culture rich London, my daughters and I hopped on a non-stop 2 hour train to York and then Manchester for the more relaxing part of the trip. We still managed to pack in plenty of sites, but weren’t quite as overwhelmed as we were in London. York is a beautiful walled city originally founded by Romans with many ancient Roman sites still evident in the town structure. It was here that Constantine was named Emperor – I sometimes forget how far north the Roman Empire extended. It is also home to York Minster, a glorious gothic style cathedral famous for its facade as well as the stained glass windows, artwork, and crypt. Visiting a church built atop an older church is haunting as well as historic, andDSC_0943 going down below to see the original structure is a thrill. The deep relief carving (here on the left) is one of the artifacts that remains from the orginal structure, a Norman Church built around 1080 AD.

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In addition to York Minster, there are countless stunning sights in this northern English town. A walk on top of the wall itself is marvelous, offering what feels like secret views into gardens, homes, restaurants, courtyards, parks, and over bridges and rivers. Voted the most picturesque street in Britain, The Shambles,

the-shambles-7[2]is thought to be one of the oldest, best preserved medival streets in England. It’s timber overhangs make the already narrow street feel even more intimate and is filled with alluring shops and restaurants. Chocolate shops are a common sight in York, as the town has a long chocolate making history. It is no wonder I felt immediately drawn to the place! Confectionary window displays all over town are  like exquisitely designed jewels…works of art, really. Other beautiful sitDSC_0968es that contribute to York’s allure include the outstanding York Castle Museum with multiple exhibits and an excellent tour of the former prison, Clifford’s Tower with its expansive views, and the gleaming two rivers: the Ouse and the Foss. These rivers were an essential component for York’s earliest settlers, perhaps even Celtic tribes before the Romans arrived. One of our favorite sights was the botanic York Museum Gardens which include Roman ruins and the ruins of St. Mary’s Abbey where Turner famously worked.

One day we ventured into the countryside. Hoping to explore the seaside town of Whitby, we were cut short due to inclement (worse than usual) weather so we decided to tour Castle Howard instead, which is about a 30 minute drive from York’s city center. Even in the rain, Castle Howard was stunning. The artwork and sculpture, both inside and out, was quite overwhelming. This is a good place to explore and get lost. DSC_1007

After four days of the most heavenly pastries, coffees, and chocolates on earth, we sadly departed York and headed for Manchester, where we would spend one final day before returning to the United States. We didn’t quite know what to expect of the industrial soccer crazed city, but the food and art did not disappoint. After tracking down ancient Roman ruins at Castlefield, we headed to the Manchester Art Gallery. Much to my surprise, we were all three more interested in the “Vogue 100: A Century of Style” exhibit than I would have expected. I suppose, after seeing the exhibit “Shaping the Body: 400 Years of Fashion, Food and Life” so recently in York, we were primed to appreciate the nuanced Vogue display where art dominated practicality most of the time.

Another visual treat at the Manchester Art Gallery was the exhibit by Boris Nzebo. The artist’s large bold paintings explore the relationship between humans and their urban environments. As an artist thinking about how to convey and how to integrate people with place, I admire the method and style Nzebo uses to enmesh the person with his or her surroundings. It is the opposite of my approach which attempts to blend the figure with surrounding space. Nzebo uses crisp graphics, patterns, and shapes – his large faces are filled with and defined by architectural lines and urban objects. In one way, his paintings are filled with multiple layers as objects and people fit within other objects and people. On the other hand, the hard-edged lines and patterns flatten the space which unifies the people and the urban elements. IMG_8841

After lunch in the up-and-coming northern quarter of town, we sought respite at a beautiful little cathedral known as “The Hidden Gem” on our way to the John Rylands Library. The is a bibliophile’s nirvana. The collection includes treasures such as John Wesley’s 16th Century Hebrew Bible, notes and letters by Chemist John Dalton, a Gutenberg Bible, and many first editions such as Ulysses by James Joyce. The most famous artifact in the collection is known as Papyrus 52, or the Fragment of the Gospel of John, which is thought to be the earliest portion of any New Testament writing ever found. To read more about the history of the library and its’ special collections, visit: http://www.library.manchester.ac.uk/search-resources/guide-to-special-collections/.John-Rylands-Library-main-reading-room-1024x768

Our grand finale was an evening event, Summer Garden Party, at the Whitworth Museum. We had dinner overlooking a lush garden with live music. There was a perfume station set up for sampling, botanical cocktails, a drama performance about modern isolation – not to mention the exhibits themselves. The Whitworth is home to a renowned sculpture collection, print collection, portrait collection and wallpaper collection. I surprised myself by being most drawn to the teIMG_8775xtile collection; perhaps due to a recent surge of contemporary artists who incorporate fabric and thread into their mixed media creations which exemplifies the blending of fine art and craft that is so hotly discussed these days.

During our final walk in the rain to the regal Midland Hotel, my younger daughter hailed herself a cab and insisted we were finished with the walking part of the trip. I think the little one had no more steps in her so it was time for our adventure to end. A mere 8 hours of flight time and we were transported to another world, where the modern and the ancient coexist. In all of our travels, it was the art and architecture that provided the clearest insight to the enduring truth of a people and place. I’m deeply grateful to our friends who hosted us during parts of the trip and to my family who dug deep to cooperate with a mom who loves to explore and find the art of a place.

As always, thank you for reading.
Up next, Florida art…its not all about the beach!

Spring Break in NYC: Art Nirvana

In a time when art is more loosely defined than ever, where there are no limits to what materials artists use, where anything imaginable can qualify as art, and where idea sometimes trumps craftsmanship, I return home from a trip to New York City electrified and inspired. Only in David Zwirner did I wonder, “What the?” Having said that, I know my personal lack of understanding an art installation does not reflect poorly on the art; perhaps it is my limited exposure to certain materials or styles that leaves me perplexed. My own education or perspective could be the problem.

While visiting roughly twelve galleries and four museums during my daughters’ spring break, I was repeatedly delighted by the quality, talent, and thoughtful presentation. For this trip, I focused on painting exhibits and found that representational painting, much of which was figurative, dominated the walls. One reason I paint representationally is because I believe art is most powerful when the highest number of people can glean some understanding, some insight, some information about a subject presented. Art made for an exclusive few seems to deny itself the chance to speak clearly about culture, about society, about life and about issues in a way that can eventually serve as documentation of our time. But maybe art does not have to represent anything specific. Maybe odd installations tell of a need for something real, three dimensional, touchable, formidable in a world inundated with visual imagery. Yet I can hardly resist the allure of a two dimensional painting or drawing that serves as a magical window to an idea. Yes, two dimensional work is an imitation of something, it is a copy. But the flat plane can reach our minds, our emotions, our thoughts. A great painting or drawing feeds, informs, opens, provokes, teaches, records and delights us.

Following are a few highlights from our visit:

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Alyssa Monks, Become, 2015, oil on linen, 50 x 80 inches

Alyssa Monks at Forum Gallery. I expected to feel disappointment over her departure from water paintings. However, the current body of work, “Resolution,” is stunning and exquisitely painted. The artist merges the human form with forest and plant environments. While the figures embody large swaths of canvas, they do not dominate the space. Instead, towering trees and foliage promote the idea of humans as secondary to earthly growth. The paintings allow us to see the intertwined existence of all living things. Combining human features with elements from nature is difficult and looking closely at the paintings shows how the artist chose certain brush marks and colors. The Forum Gallery website allows viewers to zoom in on the brushstrokes which is helpful and revealing.

 

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Claudio Bravo, Morocco Triptych, 2009, oil on canvas

Claudio Bravo at Marlborough Gallery. For years I have tried to figure out what exactly draws me to the entrancing work of Bravo. He is able to arrange material in a way that encourages the viewer to imagine how the material folds and feels. He is a master of value, creating shadows, highlights and folds that become almost linguistic. The contrasting colors he often uses prompt the viewer to repeatedly return to the work. Though it is often the human figure that draws me to a painting, Claudio Bravo’s still lifes reveal a vision and skill that is always worth studying in person when given the opportunity.

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Rimi Yang, Big Black Hat After Gainsborough, oil on canvas, 60 x 48 inches

Rimi Yang at Stricoff Fine Art. I first fell in love with her fantastic layered work while studying my aunt’s fine art collection several  years ago. Since then, I have found Yang exhibited on the east coast, the west coast and in between in Austin, TX. Rounding the corner of 11th and 25th in Chelsea, my eye landed on this painting (here on the left) and I immediately knew I’d once again found one of my favorite artist’s work. As I struggle, sometimes failing and sometimes succeeding, to paint the figure in an abstracted space, I think often of Yang’s  ability to create mysterious settings that allude to history, time, and things being covered, or painted over or washed away. I LOVE her precision used only sparingly and how it contrasts with loose brush marks and drips. I LOVE the exquisite details that contrast undefined areas. She makes it look so easy and it certainly is not. I was grateful this painting caught my attention because it turns out Stricoff Fine Art also carries many artists I admire such as Carol O’Malia and Joshua Bronaugh. We hit the jackpot! As a bonus, I got to meet gallery director, Michel Vandenplas, who was very kind even though my girls were basically sprawled out napping on a couch toward the back and I’d taken a photo of a Yang painting which I learned was not permitted. Despite all this, he was completely welcoming and gracious. Sometimes, when the details of a busy trip fade into the past, it is the kindness of strangers that stays with us. Speaking of a welcoming and kind stranger, next up…

Garvey Simon Art Access. When submitting work for the Delta Exhibit at the Arkansas Arts Center, I read about this year’s juror, Elizabeth Garvey and was excited about the possibility of meeting her and seeing her gallery. Though we had no appointment and just stopped by to say hello, we were warmly welcomed. Liz graciously guided us into her office to show the work of many of the artists she represents. What first struck me in glancing at the walls was the pattern created by the wide variety of artists and their meticulous high quality use of materials.

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David Morrison, Stick Series No. 12, 2015, Colored pencil on paper, 14 5/8 x 21 3/4 inches

Much of the work on display was abstract forms from nature. Much of the work took something recognizable from the world and zoomed in for a hyper close view which helps viewers let go of the meaning of the things presented and see things in a new light. Ever since hearing Hank Willis Thomas speak about his work,  I deeply appreciate art that helps a viewer let go of a preconceived notion and see something in a new way. I was particularly drawn to the work by Julia Randall who shows us a view of life, of the human mark, of the fragile moment, in ways we surely have not considered. Her close look at various subjects – dead flowers, billowing empty plastic bags, chewed bubble gum – each involve air in one way or another. Not air that gives life, but air that is used and old. Whether the human form appears or not, the idea of a person involved with the item is ever present.

 

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Time, 2006 Oil on Panel, 36″ x 36″

Gallery Henoch. Finally, I was delighted to find Gallery Henoch, which has been in business for 50 years representing realist artists such as David Kassan, Burt Silverman, Daniel Greene, and Max Ferguson. For four years, I’ve regularly visited Crystal Bridges Museum of American Art and never tire of the painting, “Time” by Max Ferguson. Though I did not get to see Ferguson’s work during our visit, the majority of the work on display was by Gary Ruddell. He creates a space for the figures that presents the idea of fantasy, or memory, or the world of youthful imagination. The looming deep shadows contribute to a slightly eerie or dangerous atmosphere though the figures seem content in frozen playful gestures. With backs turned away and eyes cast downward, there is something unreachable about the worlds in which the figures exist. I am grateful to have found another artist to admire who can create evocative compositions using semi-realistic spaces for figurative work.

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Gary Ruddell, Small Journeys, Oil on Panel, 54″ x 54″

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Gary Ruddell, Pinball Cha Cha, Oil on Panel, 60″ x 60″

There were so many more inspiring exhibits but this post is getting long…below are photos from our wanderings at the MOMA and the Met. Thank you for reading!

Laura

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Robert Motherwell

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Takashi Murakami

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Cy Twombly

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Jim Dine

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George Condo

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Robert Rauschenberg

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Francisco de Goya

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Philip Guston

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Jean-Michel Basquiat

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Jasper Johns

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Joan Mitchell

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Ferdinand Hodler

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Willem de Kooning

 

 

The Joys of Teaching Mixed Media: Part 5 Drawing

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David Bailin, detail of “Papers,” 2013, charcoal, oil, pastel and coffee on prepared paper

Throughout my time as a student and an artist, I frequently notice an assumption we make: we assume artistic talent correlates with an ability to draw representationally. I can’t count the number of times I’ve heard statements like, “Oh, I’m not artistic at all…I can hardly draw a stick figure.” I take issue with this false assumption. Drawing is only one of many ways to create art. Furthermore, I believe most people CAN draw. I used to not be able to draw – seriously, I was terrible at it. With practice and instruction, now I can. I certainly have plenty of room for improvement, but I’m getting better. Sure, some people have a natural aptitude for it. They make it look effortless. For those who believe they “can’t draw,” sometimes it just takes a few tips and some patience.

Today’s post will introduce drawing tips, as well as ways to incorporate drawing into your mixed media artwork. When teaching workshops at the Arkansas Arts Center, we spend about 30 minutes on drawing by focusing on:

  1. contour studies
  2. value studies
  3. mass studies

We also spend a few minutes looking at an important element of drawing: line. Line quality and variety is an essential tool when it comes to drawing. It can guide the eye, build a pattern, and emphasize an area of an abstract piece. Line can turn into all sorts of doodles and shapes. Best of all, you don’t have to know how to “draw” in a traditional sense to create lines. Before we review the specific drawing lessons, let’s take a moment to look closely at this Jean-Michel Basquiat painting:

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Untitled, 1982, acrylic and oil on linen, 76×94″

Do you think it is well drawn? Are there recognizable objects and figures? Is this more or less interesting to you than a highly realistic figure painting? Take note of the lines and shapes. If you get out a piece of paper right now, are you able to make the wavy lines such as those on the far right and the far left sides? Notice the variety of circles – on top of the skull, in place of the hands, inside the rectangular body. Can you draw circles like this? I am not asking that anyone imitate Basquiat. Simply allow yourself to notice the drawn line in the work of other artists. I can’t imagine that Basquiat asked himself if the figure is “good” or “well-drawn.” He freely works with expressive line. He paints over areas constantly experimenting with adding and subtracting information. Often, as artists and students, we do not allow ourselves this freedom based on the belief that we “can’t draw” or our drawings aren’t “good.” Well, enough is enough. You can draw and here are a few exercises to get you started.

  1. Blind contour: photo 4 (2)this is when you look at an object and draw it’s outline without looking at your paper or pencil. Just stare at the object and let your hand put down a line. By not looking at the paper, we are able to let go of perfection.
  2. Value: this is when you look closely at the light and dark areas of the object. You can include an outline but unlike the conphoto 5 (1)tour studies, you are not searching for the edges of the object or trying to get the outline just right. Instead, concentrate on light and dark using a simplified scale of three shades in a range: lightest, middle, and darkest. Often when we admire painters for their loose brushwork, their successful rendering comes from a masterful use of value to create an object and not necessarily a well executed outline.
  3. Mass: this technique, which I learned from artist David Bailin, is like magic and has probably improved my drawing skills more than anyphoto 3 (1) other. Using rapid back and forth sketch marks, try to fill in the inside of the object without accidentally adding an outline. You can include value if you choose. Initially difficult, as our eyes and hands want to concentrate on the edge of the object, this technique forces us to see how the object takes up space in an environment. Once you have the general mass filled in, take a step back and compare it to the object. After making adjustments by erasing or adding mass, you can outline the object. The magic happens when you notice your drawing is, perhaps, superior to a drawing that started with an outline. I have found this exercise particularly helpful when drawing complex forms such as the human figure.

There are many more drawing techniques than can provide all artists, no matter what level, with immediate improvement. If drawing interests you, check out the drawing classes at the Arkansas Arts Center. In the meantime, back to how drawing can be a valuable tool in your mixed media work. Remember the Basquiat painting? Let’s talk a moment about doodles. Sometimes we need a little nudge toward how to make a mark on paper. Look around you at the multitude of designs and lines. You can make designs on paper based on fabric on your couch, or lines on a garden gate. You can look at brochures, magazines and all sorts of pieces of paper. Below, I used a padded envelope that came in the mail and a brochure from a vacation to inspire doodles.

Using a pencil, conte crayon or charcoal, let the images you see in life work their way onto your paper. If you get in the habit of doodling in a sketchbook, these marks can become a treasure trove for layers in your mixed media paintings. You can also look up doodles in books and online for inspiration. Below is a piece by Parisian artist, Marcus McAllister (who originally hails from Little Rock, AR!). He beautifully arranges a drawing of a bird with abstract elements such as layers of dripping green and blue paint, a layer of creamy white using a stencil, and a pattern of yellow circles along the upper part of the composition.

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Laura Raborn, detail of mixed media study

Whether you doodle, practice drawing from life, use printed material for design inspiration or choose a child-like approach to draw shapes resembling recognizable imagery, please have faith in your ability to add drawing to your mixed media work. Remember, any failed attempts can be obliterated with stencils, words, collage or any of the materials and methods from the last few posts.

Next, I’ll wrap up the mixed media workshop series with a final discussion on layering. Until then, thank you for reading!   Laura

 

 

 

The Joys of Teaching Mixed Media: Part 4 Language and Letters

Raborn, “Notice,” 2014, acrylic and charcoal on panel, 25×25″

There are many reasons and ways to add language to our work. While teaching a mixed media workshop at the Arkansas Arts Center, I always wish we could spend more time on language, letters, and words.

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Raborn, “The Code Breaker,” 2015, mixed media on panel, 18×24″

Words can be the focus of the artwork, the complete purpose of the piece. Or words can be subtly buried within the work. We can add thoughts, names, lyrics, accomplishments, names of places, religious passages, historic quotes, dates, poems, all sorts of words. Words can be used to set a mood, or can be used to contrast something in the piece. They can be unclear and confusing; they can be mysterious. They can be filled with meaning or completely meaningless. Letters can be used to establish a pattern, where the letter loses meaning and is simply a chosen shape for the composition, as seen in the work of Robert Rauschenberg. Words can be borrowed from the media or from a product to reference popular culture. There must be countless motives to incorporate words into artwork; I’ve listed just a fraction of the reasons.

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detail of demo from Arkansas Arts Center workshop

If you are considering adding language to your work, here are a few methods. First, you can simply hand write on a painting. Try charcoal (use a spray fixative – even hair spray will work in a pinch), pencil, markers, paint….just about any mark making tool will work for handwriting on a water based paint such as acrylics or water color. You can also use all these mediums with letter and number stencils or stamps. Stencils and stamps produce a mechanical look with a hard edge which can be a stark contrast to loosely painted areas of a composition. Look at this Richard Prince piece (below) I had the joy of finding at the National Portrait Gallery in Washington, D.C. Notice the loose brushwork and monochromatic layers of paint. Notice the drips and the splotchy paint under the letters. The mechanical lettering highly contrasts the surrounding and underlying space which is a bit jarring for the viewer. Another contrast is set up conceptually: there is an odd humor among the dark palette. The disjointed messages are confusing and dark while simultaneously comical.

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Richard Prince, “In Morning,” 2002, acrylic and oil on canvas, 89×75″

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Detail from demo

Using collage by cutting letters out of old books, magazines or any printed material works well and is one of my favorite ways to add words, particularly when I plan to add more layers on top of the collaged letters. In the example on the left, I first glued color copies of a map on a gessoed canvas. After the glued paper was totally dry, I then added acrylic gel medium on top of the maps. While the medium was wet (and slightly thick), I raked a comb through the medium to create lined texture. After the medium dried, I painted over the entire piece with the light blue acrylic paint. In order to re-expose the map, I wiped back some blue paint with a damp paper towel (NOTE: in the last post of this workshop series, I will talk more about acrylic gel medium layers and about the yellow drippy layer).

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Raborn, detail from “Mixed Messages,” 2015, mixed media on panel, 16×20″

Remember the recent post about image transfer? The transfer method is an excellent way to add language because the letters look embedded into the artwork instead of added on top.

While this sounds counter intuitive, I try not to think too literally when considering language in my work. I recall comments professor Taimur Cleary frequently made during grad school critiques. He pointed

Raborn, Untitled, 2014, acrylic and charcoal on panel, 32×24″

out that sometimes my marks resemble language. He allowed me to see the potential in creating marks that remind the viewer of letters and words but are meaningless (in terms of legibility). But the marks can still have a desired effect: making the viewer lean in and WANT to read the work. The IDEA of language as a form of communication can exist in a work without any actual letters or words! Following are two examples of the incorporation of words into paintings. They make it look so easy!

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Robert Rauschenberg, “Dam,” 1959

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Christopher Wool, The Harder You Look

 

 

 

 

 

 

 

 

 

If you’re still not feelin’ it and want to hear an inspiring lecture about the importance of words in every aspect of our lives, check out the TED Talk by writer Kelly Corrigan. It might initially seem unrelated to a mixed media workshop post, but opportunities like listening to Kelly’s talk is one of the many rudders that steers the direction of my artwork. I think you’ll find her inspiring, too.

http://tedxtalks.ted.com/video/More-Reading-Kelly-Corrigan-at

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Next up: You think you can’t draw? Oh, yes you can! We’ll review several approaches to drawing and how to include the drawn line in your mixed media artwork. Thank you for reading!  Laura

 

Hanging out with David Bailin, artist and drawing teacher extraordinare

 

Miami Art: For Regular Folks Like Us

DSC_0325This time of year, everywhere I turn, news about Art Basel in Miami flashes before my eyes. But what about a family visit to Miami during a time of year when Art Basel is NOT in full swing? Well, the art in Miami is omnipresent year round, even during Thanksgiving week. Between the numerous galleries, the multiple museums, the public sculpture, various estates and gardens, and murals radiating throughout the city from the mural epicenter of Wynwood, Miami is a visual feast. Art and design and color are everywhere, communicating the mood and personality of Miami and informing our perception of the place.

Driving up from laid back Duck’s Key, we first stopped at the Lowe Art Museum on the University of Miami campus, to see a portrait exhibit I’d read about when planning the trip. The museum was easy to find with parking galore due to the Thanksgiving holiday. En route to the special exhibit, I was delighted to find pieces in the permanent collection by some of my favorite artists such as the masterful Hung Liu, transformative Cindy Sherman, and provocative Sally Mann.

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Hung Liu, Customs, 1995, oil on canvas

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The temporary exhibit, “Portrait Transformed: Drawings & Oil Sketches from Jacques-Louis David to Lucian Freud” has big names in the title though lesser known artists are included as well. The visual breadth provides viewers with  a more complete understanding of the evolution of portraiture during the last two and a half centuries. As a figurative artist, I found the written introduction to the exhibit to be particularly informative and a bit surprising. While the description helps viewers understand the purpose of the collection, the writer does not talk above us with lofty art language. Instead, Curator Robert Flynn Johnson writes as though he sharing insights with a personal friend. His refreshing honesty creates enthusiasm and curiosity for the work on display. For example, he states with aplomb, “Portraiture can be numbingly boring…the endless limpid depictions of prior generations of relatives that no family member wants to inherit.”

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Jacques-Louis David, France, 1748-1825, A Turbaned Man In Distress, black chalk

Such candor makes me want to hug this unpretentious curator. He continues, “However, portraits are also capable of being the most transformative, emotionally sublime, and deeply moving images in all art….Apparently even the art market concurs with this assessment – eight of the ten most expensive works ever sold are some form of portraiture.” In a world of abstraction, avant-garde images, conceptual installations and alternative material use, it is music to my ears to hear an appreciation for the drawn human figure.

After a quick walk around the UM campus and a Cuban sandwich at Versailles in Little Havana, we headed to the beautiful waterfront estate: Vizcaya. Built by Chicago agricultural tycoon, James Deering in the early 1900s, Vizcaya is a paradise of art, architecture, European furniture and sculpture, and gardens. Even during renovations, there is plenty to see. After a home tour and leisurely strolls in the gardens, wDSC_0250e drove a few minutes up the road to the Perez Art Museum.

Like Crystal Bridges Museum of American Art, the facility and grounds of the Perez are an architectural wonder. Designed by Pritzker Prize-winning architects Herzog & de Meuron, the space uses multiple platforms and containers to bring natural elements into the environment. prez_art_museum_miami_hanging_gardens_photo_world_red_eye_webThe scale of the greenery, the expansive windows and the layered views infuse in our minds elements of plants, water, and light while walls and floors recede from our awareness. Walking around the grounds and inside the building is like a dream as the lines between interior and exterior disappear. Yet amongst this dreamscape the art assertively demands our attention. DSC_0288

While the conceptual sculptural pieces were incredible (one was made out of a tanning bed!), it was the work of Firelei Báez that took my breath away. Using vibrant color and multiple layers, the artist alludes to human form by combining human shapes with other natural elements to startle, delight, and dismay the viewer. I’ve been working with stencils made from my figure drawings to combine the figure with pattern, shapes and layers exposed within the figurative form. My goal is to emphasize what came before, or a certain emptiness, or the idea of disappearing. Báez uses a similar technique in – I must admit – a superior manner.

Walking through the “Firelei Báez: Bloodlines” exhibit, my mind was swirling with body ornamentation, pattern, decoration, and how these elaborate embellishments of the human form conversely connect us with each other as well as distinguish (or even separate) groups of people within a larger community. The layers she builds to define the human form and the details within the layers creates a disconcerting feeling. Perhaps the discomfort is caused by the high volume of pattern and decoration which defines, fills, and takes over the human form.IMG_0330

My thoughts were interrupted when, out of the corner of my eye, I noticed a familiar sight. Like an old friend calling me over, a large work by Robert Rauschenberg awaited. Though this piece was new to me, I recognized the skillful layering of commercial imagery. He has a way with repurposing and combining images – a method that seems simple but leaves other artists lagging behind. Rauschenberg produced multiple distinct bodies of work using an enormous variety of materials throughout his career and somehow, his work remains unmatched even with similar approaches and materials. Leaving the museum, we found easy access to the A1A bridge over to Miami Beach, checked into the Palms Resort and Spa and relaxed after a full day of sight-seeing.

Though most galleries and museums were closed on Thanksgiving Day, we found plenty to see on Day 2 in Miami. Starting with brunch at the illustrious Biltmore Hotel (and some entertaining gawking at homes in Coral Gables), we fueled up for the winding fairytale walks though Fairfield Botanical Gardens.

The gardens were much larger and more elaborate than we expected but we managed to reserve enough energy for one final stop of the day: Wynwood Walls. Describing the area as a bunch of murals on the sides of old buildings is a gross understatement. The ceaseless onslaught of images, the fantastical designs, the skilled representation, the pattern, the text, the variety, the overt and subtle messages, the social component, and the color was overwhelming. I suppose what struck me as most impressive was the quality of the work – such high quality and creative effort in a provisional setting.

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As a grand finale, we found a mural perfectly tailored to fit our Thanksgiving Day visit: GRATITUDE. Though the trip was abbreviated allowing a visit to only a fraction of Miami’s artful sights, we departed the vibrant city feeling grateful, indeed.

Thank you for coming along on a short art tour of Miami. Next up, taking all this artistic inspiration into the classroom at the Arkansas Arts Center.

A peaceful and happy holiday to you all,
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