Jasper Johns "Gray" and the Art Institute of Chicago

The Art Institute in Chicago is currently exhibiting Jasper Johns Gray, a sprawling collection of mostly monochromatic works. While I have certainly looked at Johns before, I was taken aback by the variation and continuity of the work. The subtlety was actually quietly stunning. There weren't a lot of pieces that wowed me individually, but as a whole, it is more than the sum of its parts.

One that did wow me was Diver. This is a breathtaking drawing in person...it's large; 6 or 7 feet tall, on paper mounted on canvas. The warmth of the underpainting is just luscious. The image reverberates from the downward thrust of a dive, to the two-dimensionality of the mark making and the hand prints. It is movement and static all at once. And a lovely catalog to boot. I believe it moves to the Metropolitian next. Visit http://www.artic.edu/aic/exhibitions/exhibition/johns for more info.

Also on display was a photo exhibit: Girls on the Verge. You know...I am mostly bored by photography, and this was no exception.










The permanent collection is strong in painting...I was pleased to see Cailebotte again....I didn't realize that he never sold a painting in his lifetime until I read it the other day. The museum has a number of big names; Picasso, Monet, van Goghs....a few lovely Corots.

I don't recall seeing Manet's The Mocking of Christ during previous visits...what a stark and haunting painting. The figure is so incredibly high key it almost leaps off the picture plane.


And John Singer Sargent's The Fountain is just lovely. I just get this pure sensual joy looking at his color and brushwork.

The minaiture room is fun; the American collection is good. The Asian collection, well, I don't know enough about it to know if it's good. I wasn't too impressed by anything pre-17th century.....so Egypt, Rome, etc. were small (hopefully, I didn't just miss them, but I was struggling to see everything in one day, so who knows?). Some of the galleries were closed due to the construction/renovation on the Modern wing.


Upcoming exhibits for Spring 2008 include Edward Hopper and a show of Winslow Homer watercolors (a must see, I think).

Age of Impressionism at North Carolina Museum of Art

Okay, I admit I am a bit of an art snob. I sort of glory in it. I've seen some things that have blown me away, and frankly this exhibit wasn't one of them. It wasn't bad...just average. For $15.00 I want it to hold my interest more than 15 minutes, which is about how long it took to make it through the exhibit. Monet can be good, but these Monet's are kind of a yawn. There are a couple of lovely Sargents, a Courbet or two, and a number of other "names".

Sargent had such a facile hand...it's like he didn't even have to think about it---just reacted. It almost seems too easy, and those of us who have to struggle marvel at it and resent it a little, and think maybe he is a bit superficial. But I think there is a certain magic in him. His watercolors are stunning---perhaps the immediacy of watercolor was perfect for his abilities....

The Museum has a fabulous Keifer in its permanent collection, and several Wyeth's that make me scratch my head and calculate how long it must have taken to make all those little cross-hatched strokes....and a nice portrait by Sir Henry Raeburn with incredible edge quality.

I think a worthwhile stop, particularly for students, even though the feature exhibition didn't overcome my own snobbery.

Supply List for Spring Watercolor class

For those who want to ask Santa to bring some their watercolor supplies:

As with any art material, buy the best you can afford….
Paints: I prefer tubes, but pans are okay.
I like Winsor Newton Artists Watercolors. The student grade version is Cotman watercolors.
* optional colors

Cadmium Red
alizarin crimson
Lemon yellow
Cadmium yellow
Yellow ochre or raw sienna
Burnt sienna
Burnt umber
Permanent Rose
Viridian cobalt blue
Cerulean blue
Winsor blue (phtalo blue)
Payne’s gray
Perm. Sap green
Indigo*
Violet*


Brushes:
Sable are best, but are expensive. I like Winsor Newton, but there are a lot of good sable watercolor brushes out there….just make sure they are for watercolor. You cannot interchange your watercolor and oil brushes.
Princeton makes a decent synthetic sable brush. Look for “spring” and a good point.
Sizes:
1” flat
½” flat
Size 10 round
Size 4 round
liner
other sizes as desired

Palette: I like a butcher’s tray (available with watercolor supplies), but you can purchase a plastic or ceramic palette, depending on your taste. Make sure there is enough room to mix easily.

A natural sponge and a synthetic sponge. These often come in a set.
Gummed tape (I have some on hand, so wait on this)
One large water container (1 quart or more), one smaller water container (8-16 oz.)
Board for stretching paper. You can buy a watercolor board, but a masonite sheet works well, and are cheap, so you can have a couple of them.
Paper towels (there are never enough…Viva is a good brand)
Masking fluid (I have some on hand—you might want to wait on this)
Cotton swabs have many uses; small spray bottle for water.
Pencil, ink pen, erasers, hardbound sketchbook (get a size you can easily manage, or keep using the one you have)

Watercolor paper (I like Arches):
140 lb. must be stretched; don’t go less than 140lb.; You can purchase cold-press paper by the sheet, by the block , or by the roll. You do not need to purchase all three. 5 sheets of Arches 22 X 30” 140 lb cold press paper costs $15.88 at www.dickblick.com . I estimate you will need about 15 sheets or so. Around half of these will be cut up into smaller sections for studies, etc.
Watercolor Block eliminates the need to stretch paper. Needs to be at least 12 x 16”, You will still be required to stretch some---you need to know how.

Suggested Vendors: Cheap Joes on Monroe; Binders at Cotswold www.danielsmith.com ; www.dickblick.com ; www.asw-express.com ; www.cheapjoes.com ; www.jerrysartarama.com ;

You’ll be taught how to mat and frame your watercolors; and you need framing materials for at least one project. The cost will be kept to a minimum, but you’ll need matboard, a frame and glass. Don’t buy this now….wait till the time comes.

Lastly, you’ll be required to enter at least one exhibit. Entry fee for the student show is $5.

Artists you should know....

April Gornik, China Light, 2004, Oil on linen, 25" x 28"

She really blows me away. This makes landscape painting interesting to me again. Check out her website at http://www.aprilgornik.com/ . She's recently put up some new work, and it's lovely. Here's a new one:

April Gornik, Dune Sky, 2007, Oil on linen, 70" x 81"

Contemporary Cool and Collected at the Mint Museum

I viewed the new Mint Museum exhibit Contemporary Cool and Collected yesterday. A good exhibit...though I wish it were a little stronger on painting. Here are a few of my favorite highlights:

Lalla Essaydi, Converging Territories #7

Chromogenic print, 30x40"

What an absolutely stunning piece! Here's a statement about her work from http://www.aperture.org/ :

Lalla Essaydi's photographs deal with a rebellion against the limited domain of the female within Islamic traditions. As noted in Nazar: Photographs from the Arab World (Aperture, 2005), according to Islamic tradition, the street is the domain of men, and women are condemned to live indoors. Behind closed doors, they are nothing more than decoration, suggests Essaydi, a situation she that she vividly represents in Converging Territories, which appeared in the spring 2005 issue of Aperture magazine alongside a text written by Isolde Brielmaier. Essaydi places Islamic women in isolated spaces and literally decorates them with texts written in henna. The texts-a reversal of the silence of their isolation-give the women a voice, with which they can speak to the space and to one another. The rebellious character of the photographs is magnified by the fact that within Islam calligraphy cannot be practiced by women. Converging Territories, #30 was photographed in the house where women and girls from the artist's family were locked up, sometimes for weeks, when they transgressed the rules of Islam. Essaydi herself was sent to this space as a youth; escorted by silent servants, she would be left alone for up to a month. As Isolde Brielmaier notes, "her intention and introspection are evident in her photographs: we see Essaydi turning 'space' into something more than just the delimited enclosures of that house of her childhood." Brielmaier goes on to say that "at a time when many images in circulation portray Arab people in increasingly negative ways, Essaydi reclaims and reconsiders ideas of what it means to be Arab and female on her own terms."

Shana and Robert ParkeHarrison, Mourning Cloak, photogravure, 55 x60"

The info card by this image states that the butterflies "act as a shield, protecting Everyman from his empty existence; or implies a richer existence by interacting with the natural world." As I looked at this I couldn't help but wonder why the Chrisian symbolism of butterflies isn't mentioned...it's a clear symbol of resurrection.....

Tony Oursler, Invisible Green Link?, aluminum, acrylic, LCD screen, DVD player

I love it when I get surprised...it's not necessarily a new idea for the artwork to cause you to reverse viewpoints and recognize yourself as the work to be viewed; but I wasn't expecting it for some reason.

Stephanie Pryor, Untitled (painting light blue background), acrylic paint and acrylic ink on gessoed board.

A lovely little poem on canvas. Beautifully crafted and suggestive. But I'm sick of pieces titled Untitled.

The Elizabeth Murray painting Split and Join is probably my least favorite of all I've ever seen of hers. I got a kick out of Tara Donavon's Controlled Caging, and of course, Josef Koudelka's Untitled (Coal Mining Started in the Region around the Year 1400) was haunting to me. All in all, a worthwhile show. Take some time and enjoy it :-)

Robin Russo Drawing

Robin is finishing up grad school now, but this is from Drawing I.

It is such a great feeling when you guys leave the nest and fly............

Teaching Schedule for Spring 2008

Tentatively, my teaching schedule for Spring 2008 is:

Watercolor on Fridays (all day class---9:30--3ish)

Drawing I on Monday/Wednesday 12:30-3:20

Art Appreciation online

*This schedule is subject to change*

This painting is by Ron Isaacs, my old painting professor at EKU.
And yes, that's me and my beloved dog Angel! Here's the full painting:

His work is pretty incredible, and so beautifully crafted.

Of course, it has nothing to do with my teaching schedule---I just thought I'd give you something interesting to look at :-)