Education

Fearlessly Finding Yourself

Marjorie Hicks · May 2, 2016 · 5 Comments

I was a “closet artist” for about 15 years. I had a number of excuses why I couldn’t officially launch my painting career. Family obligations topped my list. But if I had been brutally honest, fear was also a factor. Following are five things I’ve done to help myself break free from the closet.

JOIN A LOCAL GROUP OF ARTISTS

Three years ago, I joined The Chestnut Group, a non profit alliance of landscape artists and friends dedicated to the conservation and preservation of vanishing landscapes in Middle Tennessee. I had no earthly idea how many new friends I would meet, and how much there was to learn about plein air painting. Painting outside in the natural and changing light is a revelation. This one act of “joining” jumpstarted my curiosity, skills, and most important, my confidence.

STEP OUTSIDE OF YOUR COMFORT ZONE

Warehouse 521, owned and operated by Jeanie Smith, is a local Nashville studio that offers countless opportunities to paint the human form with live models. Painting from life is challenging, and if you’re not used to painting in a group setting, the first few sessions may prove to be a bit daunting. If you haven’t noticed, artists are some of the nicest folks around, and If you do have a disappointing day, there will be plenty of people nearby that have gone through the same frustration. They’ll most likely help you laugh at yourself, offer sound advice, and maybe help you realize that what you’ve got on your canvas isn’t half bad!

START A CRITIQUE GROUP

My critique group consists of a few of those really nice folks that I mentioned above. We get down and dirty with detailed observation and criticism. Honesty and encouragement prevail. Developing a thicker skin is a must when you’ve tagged yourself as an artist. There will be triumphs and failures to be sure. What better way to glean pertinent information about what you’re doing right, and wrong, than from fellow artists you admire?

ENTER JURIED COMPETITIONS

You win some, you lose some, but if you don’t try, you’ll never win. I have met wonderful artists from all over the country at these competitions and seen stunning paintings that I would have otherwise never seen. Just do it. Pull on your thick skin, and be fearless.

ENJOY THE JOURNEY!

Luxuriate in the process of learning. Ask questions of fellow artists. “What is your process?” “Why are you using this particular color?” We know in our hearts that we are in this creative process for the rest of our lives, and aren’t we lucky?

The goal is not to be superior to others, but to be superior to our former selves.

– Ernest Hemingway

Tell me what it is you plan to do with your one wild and precious life?

– Mary Oliver

Is Representational Art Dead?

Dr. Drew Sarka · Mar 14, 2016 · 2 Comments

A look at representational art today

My wife and I flew from our hometown of Denver, Colorado to attend the American Impressionist Society National Art show at the Trailside Gallery in Scottsdale. As a representational painter, I was thrilled to be accepted to the show and even more thrilled to attend. I anticipated the wonderful paintings I would view, evaluate, study and enjoy. As we approached the gallery entrance, my excitement was palpable in my chest. But the heart thumping stopped, albeit briefly, when I saw a ‘for lease’ sign on the gallery exterior. Maybe my vivid imagination was too quick to jump to conclusions. I immediately thought, ‘Is this well-known gallery closing its doors? And if so, why? What does this say about the state of figurative and realistic art?’ And then I did dare think it. Blasphemy. ‘Is representational art dead?’
Although I create, buy and collect representational art, I still may not be the best judge of the genre’s status across America. If anything, I would likely overestimate its importance because it happens to be the art that I love the most. I know and follow many artists who create stunning artwork every day. I also believe they have loyal collectors who purchase and enjoy their pieces. This does reassure me. Although I wonder if these are more of the outliers rather than the norm.

A look at the Denver art scene

Denver is a great case study to understand the general health of representational art. Several well-known galleries in the area including Saks Gallery and Abend Gallery have been in business for many years and are credible institutions with solid reputations. Their exhibition openings are well-attended and feature art that depicts realistic subject year-round. Knowing this, I feel reassured again that the state of representational art was alive and well. However, there are more than 100 art galleries in the Mile High City, and looking at the bigger picture, it seems that there are fewer galleries that promote representational works than those that promote other genres. For example, the River North Art District (RiNo) almost exclusively promotes non-representational works. Maybe it’s not about the quantity of representational art galleries that indicates whether or not the genre is dying. A deeper look into art history reveals some interesting trends too.

Art preferences ebb and flow

Art history tells us there are times when certain art forms and styles are more popular. In the late 1800’s, traditional artists had to eventually yield to newer impressionists. After this, post-impressionists dominated the art scene. Expressionists gained popularity, and later came the abstract expressionists… and so on. Judging by history, we know there are cycles in the styles of art and what appeals to society. But we also know that even with all the small changes and larger epochal shifts in artistic styles, representational art has never truly gone away. It may have been less popular during certain periods, but there is plenty of good evidence (in the form of very good paintings) that representational art is not dead.
But don’t take my word for it. You need only to go as far as your OPA catalog to see the magic, skill and beauty that is captured by its members. While it may be more difficult to find representational art now, its exclusivity may be the right springboard to launch it to a phase of popularity again. That said, I’m confident that representational art is here to stay.

Dear Art Student

Bill Farnsworth · Feb 8, 2016 · 2 Comments

"Rhythm" by Bill Farnsworth OPA — “Rhythm” by Bill Farnsworth OPA

Art has long been discouraged as a career choice because parents grew hearing about the “starving artist” label and for good reason. It is simply not easy pursuing art as a career. However, if the artist can make it work where they can pay their bills, the reward is that you are creating something beautiful and living life on your own terms. People wait until they retire to pick up a brush and in fact today the baby boomers are painting more than ever. They are taking workshops, joining painting groups, and doing something they always wanted to do.
For the young artist wanting to attend an art school, the financial commitment can be a big one. When I went to art school, tuition was $3,000 a year, now it is upwards of $50,000. The opportunities coming out of an art school have changed from the days of a graduate starting in the bull pen doing paste ups or Illustration in a studio. I was able to stay busy in Children’s Books for many years but that started to slide with Illustration as well. Computer generated art is the norm today and young artists are producing wonderful animation and children’s book illustrations. Graduates are getting jobs right out of school working for gaming companies and animation studios. While employment looks good in the digital field the big factor for these young graduates is the cost of paying back these huge tuition bills. Leaving school with $100,000 to $200,000 in student loans is crippling. Even if they have a good paying job the prospect of owning their own home or affording rent is very low. Colleges have been trying to outdo each other since Harvard’s inception.

"Hanging With Albin" by Bill Farnsworth OPA — “Hanging With Albin” by Bill Farnsworth OPA

It’s big business, and making campuses bigger is impressive but you want quality Instructors not infinity pools. I personally know many wonderful instructors teaching in art schools that offer workshops outside the campus. Having a degree will get you the better paying jobs, but at what cost? We never needed a degree to get illustration assignments or fine art commissions, but if you really want a degree, then possibly get it at a cheaper state school. You can take your tuition savings and travel to Europe and attend the best Atelier’s or take monthly workshops from the best painters in the world. Workshops can be taught outside on location or in a studio environment.
Whether or not you paint as a hobby or plan to make it a career, taking workshops without practicing what you’ve learned will be a dead end. So when you are not attending a workshop, paint with a friend or group on a planned day. If you make Thursday’s your group painting time you will put it in your schedule. Other days you work on your own. Students will choose an instructor because they admire their work or they heard they are excellent teachers. You might take a few workshops unit you have found an instructor you feel comfortable with. It’s important to stay with that instructor for a period of time so you keep with a consistent approach. Many students will follow an instructor because they love their technique. Technique is fun and flashy, but your true focus needs to be on the principals of painting with good shapes, values and edges.

"Collioure Boats" by Bill Farnsworth OPA — “Collioure Boats” by Bill Farnsworth OPA

Some students are fearful of failing in a workshop with a group because they have just started painting or haven’t picked up a brush for a long time. Everyone starts somewhere and the fact you are considering it is the first step. The workshop environment can be inspiring, not only for the students but the instructors as well. The camaraderie in the classroom forms lasting friendships while improving your craft.
As you improve and maybe start entering shows where you are competing with seasoned professionals it is important to keep things in perspective. Enter only your very best work and frame the painting with a quality gallery frame.You might start selling your work and that’s when hobbies can become professions.
That’s what is so great about art, you can blossom late in life, and start heading down a wonderful new road.
So whether you are the aspiring professional artist or hobbyist, the one thing to remember is that we are all students constantly open to learning new things.

A Few of My Favorite Things

Kim Carlton · Jan 31, 2016 · Leave a Comment

It’s not that I’m unimpressed by raindrops on roses or whiskers on kittens. It’s just that my favorite things are the things that help me simplify and strengthen my paintings. I have a handy bag that carries a few of my favorite things, stowed together with my painting gear in my backpack. In the back pocket of it are my idea-catchers and planning tools, kept handy for sketching out inspiration before I break out and set up my painting gear. In the right pocket, you can see my moleskine sketchbook and drawing tools. In the left pocket is my super-awesome MVP.
Developed by Peggi Kroll Roberts, the MVP is a tool that consists of a Mirror, a Value viewer, and a painting Planner. They come in a protective bag and are attached to a lanyard, which allows you to have the MVP around your neck while you are out in the field.

Presented in a 9×12 format, the planner is outlined in black to help you see the subject in isolation. The grid allows you to plan strategic “sweet spots” in a balanced, well-composed painting. It is helpful to have the same ratio (9×12) plotted out on page or canvas for ease of transfer. I travel with a variety of canvases, but normally use 8×10 or 9×12 as they are easy sizes for scaling up in the studio.
The way I normally use my planner is sandwiched together with the value viewer. This allows me to very quickly see likely candidates for a painting, as these two work as a team to show the simplicity and strength of good light and shadow patterns.

The mirror is a good tool to affirm a composition choice and will also come in very handy later, when the painting is in progress. Looking at the subject upside-down in the mirror or viewing the painting and the subject together in the mirror will miraculously show the painter where weaknesses are. Also—and this is extra—it can be used to signal the search helicopter if you get lost, and let you check to make sure you look fabulous before they come to your rescue! I need to remember to tell Peggi that she should include that in the write-up (note to self).
You will see, when you begin viewing the world through the dark red Plexiglas, how easy it is to create your perfect notan (portrait and figurative painters may want to try a green viewer, but the red viewer is perfect for the landscape painter).

This is a scene from the east coast of Florida, made into an abstract design just by applying the red filter!
The next step will be to plan out a painting, either directly on canvas or—in my case here—in a sketchbook.

The MVP makes capturing the essence of a rapidly-changing scene much easier by literally framing and filtering it down to a wonderful design. I spent about an hour on the whole plan, including the strategy sketch and the transfer to my canvas. It’s amazing how much more smoothly the painting process goes when you have confidence in the plan and structure that underlies it. Having the right tools to simplify our job will go a long way toward the creation of stronger paintings.
If you are interested in learning more about the MVP and the other great tools that Ray and Peggi Kroll Roberts have created for artists, visit them at www.krollroberts.com and click on the Shop tab. Work smarter, not harder, so you can just paint your joy!

Resolutions That Stick

Lori Putnam · Jan 3, 2016 · Leave a Comment

WOW, I don’t know about you, but I’m feeling a bit “over-stuffed” with holiday cheer right now. It’s that time of year again, when most of us resolve to make a change for the better. My resolutions? Oh, I am always trying to lose the added pounds, exercise more, draw every day. You know, the usual stuff. But the average New Year’s resolution fizzles out in about 6-8 weeks. Here are three ideas to guarantee you won’t drop the ball, by committing to others instead of only to yourself this year.

Pledge to give. Whether it is time or money, it doesn’t matter. Just do it. There are lots of places to volunteer your time or donate your money that will help others in the art world (or otherwise). Obviously, finding ways to serve in your local community, or on committees in organizations to which you belong is the easiest. Most of us sell ourselves short in that regard. You may be thinking you have no particular skill that would be useful. Chances are there is a job or small task with your name stamped on it. If you feel you cannot make any time to volunteer, perhaps you could make a monetary donation. Even $10 helps. If you wish to make your donation to an arts, look for respected organizations, like donating to the OPA scholarship fund, to a project like Kevin Macpherson’s ArtAmbassador.org, or by browsing through GoFundMe.com or Kickstarter.com. There are lots of others of course. Just check them out carefully. These are just to give you some ideas of where to look.

Share your talents. Teaching is an amazing way to improve both yourself and someone else at the same time! Take a look at your calendar right now. When is your best opportunity for offering a workshop, an evening of critiques, a one-day class, or a public demonstration? Mark it on the calendar today; set your price (or maybe it’s free); determine the when and where; and get the word out on social media right now. Once you have committed to sharing your talents to others, you will not be caught backing out on that resolution for sure! Trust me, you will benefit just as much or more as those you teach.

Collaborate with others. What is something you have been wanting to try? Skydiving? Maybe something a little less scary. Perhaps there is an art exhibition in which you would like to take part, a fundraiser in which you have considered participating, a competition you seem to miss due to procrastination every year, a workshop you have always wanted to take, or an art trip you have been meaning to plan. Who would you like to do that with you? Who can encourage you and commit to the same idea? Call up a friend or two or send them an email right now. They may just been needing a little encouragement too. So get the ball rolling and find someone else who might want to share in an experience with you and make it happen.
See. There you go. Three resolutions all wrapped up with a bow and ready to celebrate. And you didn’t have to leave your chair or eat a celery stick.