Caravaggio: Creative Minds Art History Project

Hello all!

I took a break from teaching my Creative Minds class with my Express Yourself Artshop crew over the summer since we had a bunch of other specialized activities going on, but am excited to be back! We started our new semester with a classic artist from the past, Michelangelo Merisi da Carravagio. Entertaining the masses through stories of epic violence before there were action movies, many of Carravagio’s paintings centered around religious and mythic themes and involved a lot of beheadings … Allegedly he also had to move around a lot to avoid getting his door knocked down due to a habit of “excessive brawling” – Life imitates art.

 

Though he also did the traditional commissions and practice of portraits, still life, etc., these intense and poignant scenes are what he became most well known for. One particular commission completed around the year 1597 for Cardinal Francesco Maria Del Monte, the Medici family’s agent in Rome, is what we drew inspiration from for our project. This ceremonial shield was painted with an image of Medusa just as she has been tricked into looking into a mirror, thus freezing and leaving herself open to guess what, another beheading! Students each picked a character from Greek Mythology to study images from, and drew from this to create their own image, blood and guts optional ;).

 

To achieve the atmosphere of strong shadows characteristic of Caravaggio’s work, we used black drawing paper as a base. Pastels show up bold and opaque on top of black, as do colored pencils if they are oil or wax based like Prismacolor colored pencils. This choice of black paper had a dual purpose; not only did it help us pay homage to Caravaggio’s high contrast style but it was a mental challenge in that students had to think about the process of shading in reverse. They had to think differently than with traditional drawing on white paper, adding shading with their colors to lighten an area and leaving spaces alone or coloring more lightly with their materials to “darken” them.

As always, feel free to share, steal, or try this at home for fun! Keep checking back as I will be posting more projects soon!

Artists To Know: Discovered On Instagram

It’s been awhile since I’ve done an Artists To Know Segment, and inspiration is everywhere. Despite being a completely visual based person, I resisted getting an instagram for longer than most just because the idea of yet one more social media account to manage filled me with a sense of intense existential dread if I’m honest ;). Finally, I realized as an artist trying to showcase and sell work I needed one for the business aspect alone and relented. Now I don’t know how I lived without it! I have discovered so many new and inspiring artists from all over the globe, but if I had to narrow it down to just 5 for right now, here are my tops.

Joram Roukes

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Roukes is a painter from the Netherlands whose work has been exhibited worldwide, and he is one of the only artists that work in more “chaotic” scenes whose pieces I’ve ever been deeply attracted to. In my own work I am so orderly and controlled, repeating a select amount of the same visual tropes within one piece with balanced space for the eye to rest … I’ve always tended to get stressed out by work filled with conflicting styles and a ton of disparate elements bundled all together, but I have loved every single piece of Roukes’s work that I have seen. The vibrant, unique color schemes and photo-realistic detail  that combine classical influences with modern experiences and street art are unlike anything else I’ve seen, and the thoughtful composition makes combinations of visuals that shouldn’t work together somehow work perfectly. Beginning as a graffiti artist, he now focuses on large-scale murals that combine his own experiences, global politics, and pop culture in a dark but also surprising and often comical way.

Natalia Berglund

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Berglund hails from Belarus, but received her arts education in the United States. Her focus is in portraiture. Unique takes on the portrait tend to be my favorite type of art, so I was intrigued by her work the moment I saw it. Berglund has equal parts Eastern and Western visual and ideological influence, which gives her a different perspective based on her experiences. Much of her work is also influenced by traditional religious portraiture, but at the same time aims to challenge religious iconography, and both Russia and the United State’s representation of what it means to be a woman. Though the work above was what first that grabbed my attention, if you visit her portfolio you can see the wide range of styles she works in, and the strength and story that is apparent in each portrait. Her mission through her work is similar to what I hope to achieve, and I find her a huge inspiration.

Cristian Blanxer

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Blanxer is from Barcelona, and actually graduated from university only 2 years before I did, so what have I been doing with my life -_- (I kid, mostly.). He works in both exterior murals, covering buildings in large-scale artworks, and on canvas. His canvases still integrate the cityscape as he seamlessly combines reflective urban scenes with traditional portraiture. What amazes me is how nothing gets lost in the merger. He strategically places the human elements and the architectural elements in such a way that the viewer’s brain can fill in the blanks and complete both scenes. This series appears to me like the viewer is seeing what the subject of the portrait is looking at through their eyes reflected back over them, as if we are being allowed to gaze into their mind, and that is what makes his art so powerful to me.

Yellena James

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James grew up in Bosnia, but moved to the US at 18. Her background is in both fine art and graphic design, but she says she has always preferred paint and ink to digital means of creation (yes!). In addition to her personal fine art she continues to design for well known brands like Anthropologie and Crate and Barrel among others, and has published an interactive art book about applying the geometry of nature to drawing practice. James creates imaginary ecosystems inspired by the natural geometry present in the world around us, and says the process of building details in each piece is a form of meditation for her. I find myself getting immersed in her colorful botanical illustrations, imagining myself as part of her magical worlds, and her work has an intensely calming effect on me. I’m calm about 5% of each day, so this is nice.

Ritchelly Oliveira

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Oliveira is from Brazil, and is also mainly a portrait artist. I have a draw, I can’t help it! His drawn portraits are photo-realistic but incorporate surreal elements from nature or at times unfinished boundaries. There is a strong, silent emotion that resonates from his figures’ calm, reserved facades that is so moving, relateable, and true to life.

I hope at least one of these artists have left you feeling inspired, and if you ever have ideas of artists or types of art you’d like to see featured let me know!

sign (1)As for what I’ve been up to in my own creative universe lately, I was chosen to be part of the 50 Artists of the Great Lakes Bay Region Exhibition, and will be showing my new piece Torn in Studio 23’s gallery in the Fall. A metal print of my prismacolor pencil and mixed media work Wonderland will also be on display along Bay City’s Riverwalk trail for the next 2 years. It’s a couple days from September, so I am also officially in production mode for my annual Halloween ACEOs, so look for those in my eBay shop with more still to come! Check back soon to see the collaborative projects I’ve been working on in the meantime alongside some portrait commissions and logo designs. I’m ready for a busy Fall <3.

 

 

 

 

I’m Not Dead, Here’s Some New Art!

noboringwalls2I’m back again! I’ve been pretty quiet on here and have been taking a bit of a project hiatus in general as I go through some life transitions and changes in a couple of areas, but have completed a few smaller stand alone projects. I talked about some of my anxiety struggles previously, so while dealing with that at a higher intensity especially over this Spring and Summer, I really needed to focus on art that was purely therapeutic; not a job or another task to complete or something with an intense deadline or something that was going to take months to complete. 

I am obsessed with raven imagery, and parted with one of my favorite pieces recently as a gift for my brother, a fellow creative who just bought a new home and is getting married this fall. I knew I wanted to do another similar piece, but with a bit more color this time. I lead an art therapy program for adults with varying disabilities, and see every day how creation can be a life saving force that reminds people that they are worthwhile if only because they have made something that day. Art can be a window in an otherwise dark room. Part of the art therapy aspect of my forcing myself to keep making art even when all I wanted to do was watch movies or go to sleep early after getting home for the day was to inject my own personal thoughts and feelings into the chosen aesthetic of what I was creating. In “Flight Response”, the subject’s face is deliberately calm and expressionless while the birds flying around her appear fast and chaotic. Both she and the birds are done entirely in high contrast black and white to appear connected as one entity. They could be physical manifestations, or projections of the woman’s psyche. The background being almost opposite the woman and birds, a more expressionistic landscape in bright, peaceful colors, is also deliberate. There is hope, and there can always be better things ahead. Though not always aware of it, she is in control.Flight Response

I also wanted to take the opportunity to play around with some different techniques and combinations of materials with no pressure on achieving a specific result, another important aspect of art as therapy. In “Waiting”, I  tried watercolor painting on wrinkled lace, wire wrapped with yarn, embroidery, and weaving strips of hand marbled paper along with my traditional ink and prismacolor pencil drawing. Again, there is an aspect of sadness and isolation but not without a lingering hope. I aimed to craft a story based on what I was experiencing as a way to process my thoughts, but a story that is open ended so the viewer can create their own narrative as well.

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As the smoke is clearing, I’m still working on my series based around color psychology and looking forward to doing more teaching again in the Fall. Both of the above pieces are available for purchase, and I’m starting early on some small and affordable Halloween-time art that will soon be posted in my eBay shop, so keep an eye out! For a time lapse of some of the background illustration for “Flight Response”, check out my artist facebook page.

 

Artists To Know: Black History Month

It’s been awhile since I’ve done an Artists To Know post, and I wanted to take the opportunity for February to highlight some of my favorite black artists currently working – most new, some mentioned before. Enjoy, and be inspired!

Lina Iris Viktor

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Viktor is a British – Liberian artist based in New York who creates “queenly self portraits with a futuristic edge”. Everyone knows I’m a sucker for surreal, fantasy-like portraiture and after coming across the image above, I had an instant new favorite! Viktor studied film, photography, and design and uses all of these backgrounds to create her unique fantasy worlds that combine elements of painting, sculpture, photography, and performance. What makes her art so compelling to me is the contrast of seemingly opposite elements … Her works are detailed with a lot of pattern and texture to look at but the colors are kept minimal; many of the scenes she creates are contemporary or futuristic in appearance, but still contain elements of the classical. As well as a diverse study of art, she also had a diverse upbringing as far as culture, being raised in London by Liberian parents and also spending time living in Johannesburg, South Africa. Viktor aims to use her immersive scenes to convey a philosophical commentary on both a social and historical “preconception of blackness”. Her work is a category all its own.

Woodrow Nash

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Nash is an artist from Akron, OH who works in stoneware, earthenware, terracotta, and porcelain. He is most well known for his unique bust sculptures that capture an expression, depth, and personality that I have never felt before in this type of art. He began as an illustrator, working as a fashion illustrator in New York in the mid 70s and then returning to the Midwest to do technical illustrations. Just as he uses multiple materials for his sculptures, he also employs various firing methods from pit firing, to electric, to raku (one of my personal favorites!). He calls his style “African nouveau”, because although it is influenced by African cultural aesthetic he blends in elements of art nouveau, and his sculptures tend to appeal to a wider audience beyond just those of African heritage. Each gorgeous figure he creates has a story, and they draw you in instantly.

Kehinde Wiley

If you can’t already tell, creative portraiture is my thing. I love portraits that transport the viewer to a new place of the artists’ making, where every pattern that is used is not only decorative, but an element that is used to speak to the subject’s unique psychology. I have been a fan of Wiley’s unique, powerful style of portraiture for a long time, and was excited when he was chosen to do Obama’s official portrait. Possessing a MFA from Yale, he combines contemporary figures with aesthetic elements from the past, giving his portraits a surreal, timeless feel. One of his most recent projects for the Saint Louis Art Museum featured oil paintings of black men and women dressed in their own clothing, styled for their usual everyday, posed in traditional poses from European and American art history to make a comment about under-representation. The photographic realism coupled with ornate pattern and creative approach make it no wonder his work has garnered the acclaim it has. His art is a testament to the fact that it is possible for an artist to stay true to themselves and not follow the crowd, and still be successful.

Tawny Chatmon

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A self proclaimed “army brat”, Chatmon did a lot of traveling as a kid and had resided in 3 different continents by the age of 12. Once settled in the US, she turned more in the creative direction of theater. She didn’t start getting into photography until her early 20s, when she was gifted a camera at 19 and through self teaching and experimentation saw an opportunity to make a living through the lens. After losing her father to a battle with cancer in 2010, Chatmon’s portrait photography became not only a career but a way to communicate and process emotions, an art. What first drew me to her work was the image above, part of her series titled “Deeply Embedded”. The composition and heavy use of pattern on the clothing reminded  me a bit of Gustav Klimt, one of my favorites from art history. Chatmon writes about this series on her website, “Deeply Embedded was created during a time where I continued to come across negativity centered around natural black hair & styles. Anger followed by frustration and sadness forced me to refocus that energy into creating work to speak for me as our words fell upon deaf ears.” There are many different forms of beauty in our world, and photography is the perfect medium to capture that fact.

Pierre Jean-Louis

 

I love art that plays with the merging of people and their environments, which is why I found this 26 year old artist’s work so inspiring. This self taught artist from New Jersey grew up in a deeply conservative religious household, but also a deeply creative one being the son of successful Haitian painter Bonaventure Jean-Louis. He moved beyond his roots with multimedia approaches, taking his inspiration from the beauty of the natural world that God has created, and with his series “Black Girl Magic”, explores specifically the beauty of natural hair. Models’ hair is transformed into forest, flowers, and galaxies, making a comment against exclusionary beauty standards.

I hope you will take the time to explore more of these artists’ amazing work. It was so hard to pick just one or two images to highlight!

Blending With Watercolors – Stained Glass Ocean Project

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Hello! Today I want to show you a fun beginner project you can do to practice blending colors with watercolor paints and markers. If you are a complete beginner to color mixing, it is easiest to stick to either all warm colors (red, yellow, pink, orange …) or all cool colors like I did (blue, green, violet …). Some colors when blended together turn into “mud”, making a neutral like brown or gray. This is where understanding the color wheel comes in handy! For more about the color wheel, visit my earlier post Colors Aren’t Scary :). For this project, we will try out both flat brushes and round brushes. Round brushes have a teardrop shaped bristle that comes to a point at the end, and flat brushes have rectangular shaped bristles that are, well, flat on the end. Pretty easy to remember! It’s good to have a variety of sizes of each. Your brush size depends on the size of the area you are filling in. If your brush is too big, you risk getting paint where you don’t want it  but if your brush is too small, you will see all the little strokes and the paint won’t cover evenly.

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I started first with an outline, drawing my design in pencil on watercolor paper and then tracing over it with a waterproof black fine-liner pen (Sharpie fine points will work – You do not necessarily need a fancy art pen, though my preference when I do watercolor and ink work are these bad boys by Staedler.). You can draw your design however you want, or if you want to practice this technique without the added pressure of drawing, feel free to print this outline out and use graphite paper to transfer it right onto a piece of watercolor paper (Don’t have graphite paper on hand? Just shade over the back of your printout with a pencil, lay it on top of your watercolor paper, and trace over the lines and it will work the same way, though a bit more labor intensive.).

 

With watercolor, you want to start with the background and move to the foreground, and you always want to work lightest to darkest. It’s all about layering and building up colors since the paints themselves are translucent. In this more simplified project, we will be focusing just on blending this time, not layering. Still, working with the background first ensures that if any background color does find its way into the waves, which it inevitably will, we can just work right over it later and you won’t even notice by the end. Starting with the background, you want to choose a couple of colors (I used a cornflower blue and a cerulean blue.) and water them down so that they are consisting of mainly water with a small amount of pigment. Then you want to use a larger round brush and start filling in the space using circular motions. This will give our background wash a bit of texture, so that it has a hazy, cloud-like appearance rather than just flat streaks. I applied the cornflower blue on the bottom half of my sky and the cerulean on the top. Because both colors are wet, they should bleed into each other and blend together in a pretty seamless gradation. Be sure to overlap the two colors slightly where they meet. If they aren’t blending enough, you may also rinse off your brush and using the same circular motion run over the line where they touch with your damp brush to work them together further.

Color blending is one of the foundation skills of painting with watercolors, but it takes a lot of practice. Good thing you are about to get a lot of it! We did a textured blend for the background, but within an individual space inside our waves, we are now going to practice some flat blending with the goal of getting our colors to merge into as smooth of a gradation as possible. Now we are going to use a medium sized flat brush. A flat brush will be perfect for the smooth effect we need and will also be easier to keep inside the edges of our geometric shapes. You can tilt the brush so you are only using the tip rather than the whole side for narrower areas. Pick 2 different colors, and start painting one color on one end until you’ve gotten to about halfway across. Rinse your brush, and paint in another color starting on the opposite end, overlapping in the middle. A unique quality watercolor has is that when one color touches another while it is still wet, they WILL bleed into each other. In this case, that is a good thing as using wet-on-wet color with watercolors makes for some pretty low-effort, seamless blending. Still, watercolor can be finicky and things don’t always go as planned. I purposely filled the shape in so that there are darker, patchy areas and a harsh transition between the two colors. This happens sometimes, but can be easily rectified by going back over the uneven area with a damp brush. Be sure to always paint in the same direction, following the length of your shape.

Blending with watercolor markers is a similar process, but you need to be a bit more controlled with your water application so that you don’t completely lose the effect of the ink. I love watercolor markers because you can get such bold contrast, but a little bit of ink goes a long way, and with too much water your separate colors will just swim all together into one mass.  I cannot emphasize enough, quality also matters. If you get cheap markers, chances are they won’t blend nicely no matter how skillful the artist. They don’t need to be officially called “watercolor markers”, they just need to be water soluble so they will run when wet. I love using Tombow’s water soluble brush markers. You also need to think about the values of the markers you are using. Deeper colors will spread a lot farther than paler colors, and can overpower. I have started with a darker color, a royal blue, and a lighter more muted color, a sage green. Start by scribbling a bit of each color on opposite ends of your shape. You do NOT want to shade the entire area in. Again, a little bit of ink goes a long way when water is added. Then, still using a flat brush you want to dip your brush in some water, tapping off the extra on a nearby paper towel. Wet the ink on one side and work it into the middle of the shape. Rinse off your brush, and wet the ink on the other side, again working towards the middle where they will meet. The wet colors will again, flow together and seamlessly blend pretty much on their own once they meet, staying darkest where you first laid down the ink. You can see above that a gradation is apparent, but the blue has pretty much taken over as the main color you see.

Trying the process again using the same 2 colors, but shading in only a tiny bit of blue and more of the green, you can see we get a more balanced effect where the pure green color is still highly visible.

 

You can also create a gradation with only one color. The beauty of watercolor is the depth of value that can be captured from one single hue, simply by adjusting the amount of water added. To do this you would apply a bit of the same color on each end in a darker or medium value (mixing less water with your paint). Then, rinsing off your brush, add some water to the edge of the area of color on each side, again spreading towards the center from each end. The color will remain most saturated at the ends, and will be the lightest (most watered down) in the center.

If at any point you add too much water, your gradation is in danger of all just running together into one flat tone. If this happens, you can blot the area with a paper towel to lift the excess water (and some of the pigment), and then blend right over again. You don’t want to see any “puddles” pooling on your paper … that is a sign there is too much water being used. Also keep in mind damp is ok, but if you are filling in a new area next to an old one that is still very wet, the colors will bleed together over your lines. Sometimes it helps to use a blow-dryer to speed along the drying process. Or, you could just work on filling in areas that aren’t touching each other until each spot dries. The paint air dries pretty quick.

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Here is a reminder of the final image! It is the same blending process for each section, which is what makes it good practice. I filled in some spaces using the markers, and some with paint. I kept lighter colors on the crests of the waves, and alternated medium and dark tones throughout the body of water, making sure not to fill in too many of the same colors right next to each other. It always feels good to still have some sort of finished product after practicing techniques, and I guarantee you will start to see a difference in the first couple spaces you fill in versus the last! Remember, it’s all about playing with color. Have fun!

Artists To Know: ArtPrize 2018 Edition!

I just made the last weekend of ArtPrize this year, and though to me it seemed like the venues had less art in them than usual, there were still some standout projects! Keep in mind I was only able to be in Grand Rapids for a day this year, so I by no means saw near everything. Of what I did see, the following were my favorites.

Rynita Shepherd, Sex Ability: Smashing Stereotypes With Sex Appeal

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In approaching this piece, I experienced firsthand why I always tell people that when visiting a gallery or museum you absolutely should not just breeze by the artwork, but actually take the time to stop in front of each piece for at least 3 minutes. Looking at this series from way across the room, I thought it was just a set of typical boudoir photos. I am tattling on myself right now and admitting I assumed they were photos taken by a man, probably with some cringey artist statement about “appreciating female beauty”, and proceeded to internally rolled my eyes a bit. Then I actually walked right up to it and looked, and realized that first of all these are NOT photos! These were drawings with a story. Shepherd has a rare condition called Arthrogryposis which causes her to have limited mobility in her arms and legs. Because of this, she uses her mouth to draw. All of the women in these portraits have the same condition. Shepherd says, that society expects so little of people with disabilities, and that, “We are completely discredited as sexy, capable women by society due to our physical differences. We have the same hopes, dreams, and desires. We are every woman.” What a powerful statement, as this artist places the unseen right in our faces, and smashes stereotypes about disability!

Mher Khachatryan, Jesus

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I remember this artist’s work from the 2 previous years he was featured at ArtPrize due to his trademark effect of having his images trail off into wisps of smoke and vapor. I’d encourage you to visit his artist profile and look at last year’s tribute to 9/11. Everyone remembers those paintings of a Jesus looking wistfully to the sky, with long eyelashes and glossy auburn hair that every Grandma had hanging in her dining room at one point … This is not that. Khachatryan is from Armenia though he now lives in the US, and wrote lovingly in his artist bio about being able to see one of the first churches ever built in his home country. I can actually see the emotional, spiritual, and cultural connection the artist had to this subject as I look at this piece. The light, airy, glowing feel he has achieved using oil paints and mainly dark black at that is no small feat. I saw many viewers stop and audibly gasp in wonder as they approached this large scale painting. For your art to have that kind of power is a beautiful thing.

John Gutoskey, PULSE Nightclub: 49 Elegies 

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I adore mixed media, and this series stopped me dead in my tracks. Each piece individually is intriguing and beautiful, but hung together the viewer feels immersed and transported. This series uses monoprints to commemorate each of the 49 people massacred at PULSE nightclub in Orlando, Florida in the summer of 2016. The series is rife with symbolism encompassing the themes of grief in the wake of a tragedy, and violence against LGBTQ individuals and people of color.

Daniel Robert Mattson, Sideshow

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I appreciate so many things about this piece, and would encourage you to click on the link to the artist’s ArtPrize profile to read all he has to say about it. This surreal allegory feels like such a release from the built up tension I know I have been experiencing in our current political environment. It is bipartisan, and Robert has made a piece rich with symbolism though even in his bio he will not divulge everything that was going through his mind, preferring to let the viewer think for themselves – a truly American sentiment. Robert said that “This particular piece has haunted me years”, and it does make a startling picture of our society, one that is not to be desired. However, if we can recognize it and call it what it is, then we can change it.

Kimberly Wolz, Rainbow Connection

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In this piece, Wolz created a ton of small, square pieces of art featuring quilled paper animals and plant life arranged in color order using Fibonacci’s golden ratio. It is meant to represent harmony, and I have heard that the paper quilling process itself can be quite calming, meditative, and harmonious. The detail is exquisite, especially to someone like me who couldn’t even make a paper crane during an origami craft lesson as a kid!

George Cooley and Margaret Brostrom, Human Targets

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This collaborative series confronts the psychological affects of using human targets. seven pieces exploring the dehumanizing qualities of human targets. The artists believe that using human shaped targets desensitizes the shooter towards real violence, and go as far to say practicing on human targets is premeditation for murder – In weapons training and competitions using these targets, more points are awarded for shots that would “kill” a real human in the area the competitors are aiming to hit. I am so far removed from recreational or even protective gun use that I honestly hadn’t a clue that these were the targets most commonly used at shooting ranges … No one in my family hunts, and growing up no one in my household was ever the least bit interested in owning a firearm even for protective use. I have never been to a shooting range, and always pictured targets as the little red and white concentric circles like Katniss Everdeen may use to practice her bow and arrow. It’s a lot to think about, and this artwork starts an important conversation. The artists produced over 50 target artworks, and chose 7 for the final display. I do a lot of series myself, and am impressed by their commitment to put their strongest work forward for this important and relevant issue.

This post comes a bit late, but I hope you all enjoyed learning about some new art and artists. Have an inspiring evening!

 

 

 

Gustav Klimt – Creative Minds Art History Project

I got a bit behind on sharing my projects, but have now caught the awful Fall cold that is going around, so no better time than the present to sit and type with a hot cup of tea at my side. Gustav Klimt’s work, like that of the earlier covered Van Gogh, is one of those bodies of historical work that is recognizable even by non-artists because of his unique style that has been made readily available in print form to this day, and is appropriated and referenced constantly in new art. Though I’ve never experienced an emotional connection to his work, I love the use of metallics and vivid, overwhelming detail of his pieces as well as the merging of both realistic and painterly elements.

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Klimt began as a decorative painter under the belief that art’s true purpose was to show viewers something beautiful, and got his start painting murals on the walls and stairways of lavish, wealthy homes. His personal work was charged with an eroticism that was not present in art at that time, and it earned him a good deal of disdain but he remained committed to depicting the beauty of the world as he saw it. His pieces have resonated and stood the test of time, enough that virtual immersive experiences of his work were made available this year in Paris and Austria.

Not all of his work is sensual in nature or contains nudity, and there are plenty of other examples to show as inspiration if you are doing this project with younger audiences.

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Klimt’s work incorporated figures and portraits, but learning how to draw faces and the human body properly is a whole semester of lessons within itself! To make a Klimt project that was accessible to all skill levels, fun, experimental, and stress free, we used collage. Some of Klimt’s portrait work does remind me of a very early form of fashion editorials, so we cut out models and celebrities from Elle and Vogue magazines to become the subjects in our Klimt inspired artworks.

Students were then encouraged to place their magazine cutout where they wanted it on the page, and trace around it with pencil to save the space. I recommend gluing the magazine cutout on last so it doesn’t accidentally get smeared with paint. After outlining, students could add on and sketch the outfit of their dreams with pencil. Once the basic outline was complete, students filled in the background and clothing in different shades of metallic paint first, and then could add detail overtop with pattern. As I’ve mentioned before, I work with a lot of adults with disabilities and seniors in my art program. Painting small patterns with a brush can be hard for some depending on their dexterity level so we made this project more accessible by also introducing the use of ink stamps for those who were struggling with fine motor skill. Innovation can lead to some simply amazing results, as can be seen by the work-in-progress above! Be sure to check back soon for more artist-inspired project ideas!