CELEBRATING LANDSCAPES

Today is Earth Day! Besides actually sitting outside and enjoying nature, what is the next best way to appreciate the natural world around us? That's right! Landscapes.

Within landscapes there is not only amazing natural scenes but emotion and a spiritual element. The added spiritual elements in landscape started in East Asian art with Daoism, and in then the West there was Romanticism. Where landscapes (with no added spiritual element) started with frescos in Greece and hunting trips depicted in Egypt.

Romanticism is the type of landscapes that we think of when we think of the stereotypical landscape. There were many prolific Romantic landscapes artists: Joseph Mallord William Turner, Frederic Edwin Church, Caspar David Friedrich, John Constable, Thomas Cole, Jean-Baptiste-Camille Corot, and many MANY more. In the 19th Century romantic landscapes were prominent in Dutch and American tradition of painting where they would have special schools devoted to learning about a genre of art like the Hudson River School. It started with a craze for landscape painting with the Dutch in the 17th Century with Realism but it really caught on in the 19th Century again starting with the Dutch. Quickly American artists jumped on the romantic landscape bandwagon to show off their new frontier which was different from the European atmosphere art enthusiasts were used to.

Let's look at how not only the composition of these pieces create great strength and pride but also include an emotional feeling attached, either through the weather or the colors and brushstrokes.

Frederic Edwin Church, The Heart of the Andes, 1859, Hudson River School

Caspar David Friedrich, Wanderer above the Sea of Fog, 1818, German Romanticism

John Constable, Stonnehenge, 1836, Victoria and Albert Museum London

Joseph Mallord William Turner, Wreckers Coast of Northumberland, 1836, Yaler Center for British Art

Thomas Cole, The Oxbow, 1836, Metropoliatan Museum of Art New York

 Now in East Asian Art, landscape is considered their most valuable contribution to the art world. They didn't have a mad craze for landscape, instead landscape was deep within their culture and was spread out over many centuries. William Watson wrote that "It has been said that the role of landscape art in Chinese painting corresponds to that of the nude in the west, as a theme unvarying in itself but made the vehicle of infinite nuances of vision and feeling." A lot of East Asian landscapes are monochrome which is attributed to Wang Wei's paintings where he devoided the use of figures and shifted to monochrome style of painting. The Song Dynasty Southern School has some of the highest regarded landscape paintings. There is a shan shui tradition where the landscapes were never intended to represent real locations even if they were named after them.

Song Xu, Landscape After Wang Wei's Wangchuan Picture, 1574, Ming Dynasty

Tang Yin, A Fisher in Autumn, 1523, China

There is so much more in the history of landscape and how it evolved in every culture around the globe. There are many books of the topic and papers written about artists who were devoted to the landscape. So, if you are interested you should check it out!

BLACK HISTORY MONTH: KEHINDE WILEY

Similar to Barkley L. Hendricks, Kehinde Wiley is a contemporary portrait painter. Wiley is a New York based artist whose work is in museums around the world. His work rivals great masters of portraiture from Titian and Ingres to Reynolds and Gainsborough. Wiley combines aspects of traditional portraits which we know well with contemporary twists. On his website is explains that he "engages the signs and visual rhetoric of the heroic, powerful, majestic and the sublime in his representation of urban, black and brown men found throughout the world."

Kehinde Wiley in his Beijing studio in 2012. http://nymag.com/arts/art/rules/kehinde-wiley-2012-4/

Kehinde Wiley's collections are separated into places around the world. He finds his models on the streets of New York. Because his models are always African American, Wiley will use his models to express whatever he has been influenced from travelling ie. when Wiley went to China and was researching historic propaganda posters from China's Cultural Revolution he will use what he has learned and combine it with African American Identity.

Kehinde Wiley, Two Heroic Sisters of the Grassland, 2007, oil and enamel on canvas, 96x72 inches.

A lot of the time he will copy images from history and reenact in his style what is going on. For instance with the painting above he is copying a Chinese propaganda poster printed in 1965.

http://www.maopost.com:8000/wcat=mao&wlan=en&wreq=posterpage&posterid=1239-001M&srcname=c_child&selected=161&total=216&srcreq=http:%2F%2Fwww.maopost.com:8000%2Fwcat=mao%26wlan=en%26wreq=postercat%26catref=c_child%26displistindex=9

His continuing combination of History and Style has made him a truly unique and magnificent artist who should be known and studied by all. Below is more of his work with the pieces they are inspired by.

Kehinde Wiley, The Three Graces, 2012, oil on canvas, 84x111 inches

Raphael, Les Trois Graces, 1504, oil on panel, 6.7x6.7 inches

Kehinde Wiley, Naomi and her Daughters, 2013, oil on canvas, 108x90 inches

George Dawe, Naomi and her Daughters, 1804, oil paint on canvas, Tate Museum

All Kehinde's work and information can be found at kehindewiley.com

BIRTHDAY POST: JACKSON POLLOCK

Now as far as "main stream artists" go, Jackson Pollock is the Kurt Cobain. Jackson Pollock is known for his Abstract Expressionist paintings, but he is also known for his trouble with alcoholism that led to his death. Throughout my art career I've obviously known about Pollock and his paintings but I've never researched into his life to actually learn about him as I have with many other artists. This might be because people who know practically nothing about art claim to love Jackson Pollock and his art when they know nothing behind it. So let's all learn about Jackson Pollock today and actually try to understand his methods and style, since it is his birthday after all.

Jackson Pollock, Male and Female, paint on canvas, 1942, Philadelphia Museum of Art. This piece is one of Pollock's early works where he first began to pour paint on the canvas.

 

Jackson Pollock's technique is his biggest legacy. His paintings are mainly created with household paints instead of artist paints which he claimed as "a natural growth out of need." To create his "drip" technique he used hardened brushes, sticks and basting syringes along with pouring to actively paint from all directions. In a 1956 Time Magazine Pollock answers all of the questions of why he is an idolized and revolutionary Expressionist painter:
 "My painting does not come from the easel. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting."
"I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid paint or a heavy impast with sand, broken glass or other foreign matter added."
"When I am in my painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fear of making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well."
You can even find cigarette butts and dirt in the paint of his paintings if you look closely enough. He took his techniques from American Indian sandpainting and Mexican muralists and Surrealist automatism.

Jackson Pollock, Number 5, paint on canvas, 1948

Jackson Pollock, Number 29, paint on glass, 1950, National Gallery of Canada

The "Drip period" was between 1947 and 1950 which was when he really became well known and was considered the greatest living painter in the United States. Right then was when he abandoned his drip technique and went back to his former styles. He was is high demand from collectors and galleries and in response his alcoholism deepened and he took a break from painting. A few years later on August 11th 1956 Pollock died in a single car crash in his convertible while driving under the influence of alcohol. He died along with Edith Metzger but Ruth Kligman, fellow artist and Pollock's mistress survived. He left behind his wife and artist Lee Krasner.

There is so much more about Jackson Pollock that you'd have to research for years to know. This is only a tiny glimpse at his life and his work. If you wish to learn more check out this bio on him. But if you are really curious and want to learn more, which I highly suggest, then go and find documentaries and books and really learn about him as a person.

References:
https://en.wikipedia.org/wiki/Jackson_Pollock

GLITCH ART

Some of you may have heard about Glitch Art, others might not. Most of the time Glitch Art is referring to a part of the digital photographic process where the artist would edit the data/code in certain ways to create certain effects to the pixels of the image. Artists have used Glitch Art in video form and photographs. These forms then have inspired other artists of other mediums to create a similar pattern but with drawing or painting. 

So far this movement is not a major part of Contemporary Art but it has made its way into other movements. Artists like Nam June Paik have experimented with Glitch Art and similar techniques where it is nothing new. For instance in Nam June Paik's Magnet TV he places a magnet on top of an old CRT TV and gets a bend in the data. 

Nam June Paik, MagnetTV, crt tv and magnet, 1965

Currently there are conferences and groups of tech-art aficionados that get together with workshops, lectures, performances, and screenings. One is called GLI.TC/H. 

Andy Denzler is another artist who uses glitching techniques to get their unique look, except this time it's with paint. He has been working with his specific technique since 2004 and has really come a long way since then creating beautiful dreamlike paintings without getting too muddy.

Andy Denzler, Just Antother Day in Paradise III, oil on canvas, 140 x 120 cm, 2014

I know there is a lot of Glitch Art haters out there because it is such a easy process to do to photography in today's world, but there is a specific art form to it. Just like Modern are and Minimalism it has to be done correctly and with the placement and precise end product it can be something magical. But it is a process based art form where you have to experiment. I love it's end product especially when used with painting and drawing, it can become something new and exciting for the art world to move into.

WOMEN IN ART: HELEN FRANKENTHALER

Many women did not consider themselves feminists by being a woman artist, but they were. The sad fact that simply following your passion could have made you a feminist is weird to think about in today's world. But it still very much a part of society, we owe it to some of the women who unknowingly started a strong movement. One of these women was Helen Frankenthaler.

Helen Frankenthaler was an Abstract Expressionist Painter and was a large contributor to the postwar American painting society. Her first piece to launch her career was Mountains and Sea.

Helen Frankenthaler, Mountains and Sea, 1952, oil and charcoal on canvas

This piece was pretty different for the viewers because of a few things; for one the colors look like they would be watercolor, but instead they are oil, which is surprising. Another thing is that she worked on unprimed (and unstretched!) canvas which allows the paints to seep into the canvas creating what is considered a "soak stain". Another artist who not only influenced her work greatly but also used the soak stain technique was Jackson Pollock.

Helen Frankenthaler, A Green Thought in a Green Shade, 1981, oil on canvas

Helen Frankenthaler, Nature Abhors a Vaccum, 1973, oil on canvas

"A really good picture looks as if it's happened at once. It's an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it—well, she did this and then she did that, and then she did that—there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute." In Barbara Rose, Frankenthaler

Citations:
Mountians and Sea: http://artchive.com/artchive/F/frankenthaler/frankenthaler_mtns.jpg.html
A Green Thought in a Green Shade: https://paintingowu.wordpress.com/tag/helen-frankenthaler/
Nature Abhors a Vaccum: http://www.nytimes.com/2011/12/28/arts/helen-frankenthaler-abstract-painter-dies-at-83.html?pagewanted=all
Info: https://en.wikipedia.org/wiki/Helen_Frankenthaler#Influences

WOMEN IN ART: JENNY SAVILLE

One artist that many painters seem to find very influential is Jenny Saville. Her work is very grotesque and unique making her opinions heard. For this post I will briefly discuss what I know about her and show you her work. 

Saville became quite famous at a young age while finishing up college. In her 20s she was creating huge pieces of the human figure. "(Flesh) is all things. Ugly, beautiful, repulsive, compelling, anxious, neurotic, dead, alive." which I feel perfectly sums up her work. Her pieces mainly show flesh and she has perfected an active way to paint it. 

Jenny Saville, Red Stare Head IV, 2006-11, oil on canvas, 99"x73"

"Fascinated by the endless aesthetic and formal possibilities that the materiality of the human body offers, Saville remits a highly sensuous and tactile impression of surface and mass in her monumental oil paintings. In the compelling Stare paintings she renders the contours and features of the face and the nuances of skin texture and color in strokes both bold and meticulous. Enlarging the facial features of her human subjects to a vast scale and rendering them in layer upon layer of paint, she imbues in them with a sense of mass and weight that is almost sculptural and at times wholly abstract. Intense pinks, reds, and blues erupt through pale skin tones, disclosing the internal workings of the painting like the flesh and blood of a living organism."

While Red Stare Head IV relates to her older paintings of hanging meat, she always painted figures in hopes to show how foreign and uncomfortable bodies can feel.

Jenny Saville, Propped, 1992, oil on canvas, 213cmx183cm

Her use of text and linework in throughout most of that certain collection in subtlety. But the underlying tones really brings almost a feminist feel to her pieces. There are tons of impressive pieces in this collection I highly suggest looking into because I can't even begin to put them all in here. Because of her interest in bodies and modifying she took some time and just observed plastic surgeons. This helped her to understand the mindset of the person getting something done and also why and how they went about it.

Her newer pieces were all based around Motherhood and she portrayed herself with her child. These newer pieces still have the same fantastic Saville skin tones and brushwork but also included more drawing and line work. The line work really pushes the idea of movement and how children are constantly wiggling and growing.

Jenny Saville, The Mothers, 2011, oil on canvas, 106"x86"

Ever since this collection we haven't seen much work out of Jenny Saville, but hopefully she is continuing working and creating these beautiful contemporary masterpieces.

Citations:
Red Stare Head IV and quotes: © Jenny Saville 2011. Courtesy of Gagosian Gallery http://www.gagosian.com/artists/jenny-saville
Propped: http://www.saatchigallery.com/aipe/jenny_saville.htm

CRITICISMS: LOVE EM OR IGNORE THEM?

Like I've said many times, artist's are constantly being critiqued. We critique each other, we critique behind people's backs, we try to give helpful information, or we can't see past the negative aspects. It happens to everyone. But how do you respond when you're being critiqued?

When you have been working isolated for a long period of time, you only have yourself to figure out some pretty important decisions. You have to be the one to power yourself up and motivate yourself that what you're doing is truly awesome. So what do you do when someone comes in and doesn't see what you see? I think there are two main options, love it and use the criticism to make you see what other people may be seeing, or ignore it and just do what makes you the happiest. Now how do you choose what is the best option?

It's always hard to hear a bad review on something you hold dear. Especially when you thought you were doing great. So after that rest period of accepting the critique and wallowing in it, do you change it? or do you press on? The best option is to get a second or third or fourth opinion, someone you trust will be honest and helpful.

So now either they disagree, or support the criticism. If they disagree with the bad review then at least you can blow it off as just one bad critique and continue on. But you do want to fix what could be something bad, so take it in pieces, try and see what they see and fix it in their eyes but keeping to your overall idea. If they support the bad review, you've got some figuring out to do. You want to fix whatever you've got wrong, but you also want to stay true to your master plan. Maybe step back and work on something completely different for a bit. This will allow you to have perspective and maybe you'll see what they saw and scrap it. OR use that anger to fuel what you want to do without anyone holding you back, who cares if you just keep the piece to yourself. OR you can take their critique and build off of it, do what they say, in the end it could turn out exactly what you wanted. It might just take a different path to get there. 

Either way, trust in your peers and friends. Know who the people are that you can really be honest with and will guild you. If you don't have a support group, then try and build one. Find people on the internet where you can show your work to and help them as well. 

What do you do when you get into this situation?

PAINTING: SKIN TONES

Painting has a lot of amazing qualities about it from the color, detail, size, and subject matter. One of the things that amazes me the most about paintings is how artists' portray skin tones. There is such a variety of ways to portray a person and the tones of their skin can set the whole mood of a painting. Now, paintings during the Neoclassicism and before used basic skin tones. For instance:

Anton Raphael Mengs, Perseus and Andromeda, oil on canvas, 1774-9, Germany

(http://www.arthermitage.org/Anton-Raphael-Mengs/Perseus-and-Andromeda.html)
Notice the skin tones used are probably mixes of white, pink, Indian yellow, Naples yellow, burnt umber. Nothing too drastic besides the reds or slight purple tones. 
Now compare this to later artists like Vincent van Gogh: 

Self Portrait of Vincent van Gogh, oil on canvas, 1888

(http://www.theguardian.com/artanddesign/2010/aug/21/vincent-van-gogh-painting-stolen-cairo)
As you can see during the Impressionism movement artists begin to see colors in shadows of skin tones. van Gogh includes brilliant colors like Alizarin Crimson and Prussian Blue. When I first was learning to see colors in shadows, it was like a whole different world before me. I never would have noticed how colorful a corner of a white room could be. 

One of my favorite artists, Lucian Freud (grandson of Sigmund Freud), used color in a more natural sense even if there are still purples and blues. Although, he often got criticized for having lifeless looking paintings because of the colors he used as well as the Cremnitz white that makes a unique texture.

Leigh Bowery, Lucian Freud, oil on canvas, 1991

(https://www.tate.org.uk/art/artworks/freud-leigh-bowery-t06834)
Now there are still lots of differences between the colors these painters use and how they apply them. But I do think the simple idea of seeing colors in places you wouldn't definitely is important in becoming an artist or appreciating pieces of art. Try it out!

DEBATABLE: DIGITAL AGE

There is a lot of controversy over the seemingly super speed jump artists are making into the Digital Age. Artists who could be strong in the traditional arts methods are now jumping right into being graphic designers. 
Why? 
Well for one, people now are very impatient and not willing to put a few months into a masterpiece painting, they'd rather take a few hours or days to complete something. This takes a lot of the handiwork out of a piece. People now would pay more for a painting than a poster wouldn't they? But companies would rather have things done fast, so that leaves the artwork less personalized. 
Two, jobs are more available to people who can easily create a pamphlet that can be easily copied and distributed than make pot. Going back to the fact that we're impatient, people like things to be done and how they like now. No wasting time. When I was deciding which major I wanted to be Graphic Design or Studio Art. I didn't want to have to pick, but I ended up with Studio Art because of the process and the intimacy of creating a piece. Yes, when you finish a painting there is such a tie between pride and hatred for it. But that is only because you struggled with it and you babied it into what it finally became. I knew going into Studio Art that I wouldn't have as many job options, so, like many other students, I took digital classes as well like Digital Photography and Intro to Graphic Design. That way I am slightly ambidextrous in the art world. The basic art principles are there, it's just the process that differs.
Three, kids now aren't learned cursive so their basic hand mechanics aren't going to be able to create beautiful brushstrokes. I've heard this from many people that kids are now taking typing courses instead of cursive. I don't really understand the thought process behind it because both skills seem very important to me even if you never use cursive ever again after 4th grade. It seems obvious, but our handwriting plays a part in how we'd draw a line in a gesture drawing. Consider the fabulous movement in figures and lines in this Rubens:

Rubens, The Calydonian Boar Hunt, 1611, oil on panel

(http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=267599)
How are kids going to be able to paint a perfect new age replica of a Rubens? They won't. But they might be able to recreate a digital copy of it, or print out a copy on a 3D printer. Which seems like such a shame and like cheating in the art world. But if you are a traditional artist, then the value of your work will skyrocket and the Rubens will be worth a ton more. 

I'm not hating on the digital age. I love some of the innovation that we have been able to create. We just need to find a way to keep the more traditional arts as well, so that we don't become a lost artifact. What do you think? Keep moving forward and forget the past? Or keep trying to combine the two into beautiful