Lines and Colors art blog
  • Dr. Sketchy’s Anti Art Show

    Dr. Sketchy's Anti Art Show - art by Jim Hoover
    I’ve long maintained that both men and women have only one erogenous zone. (Got your attention, didn’t I?)

    I’ll further maintain that this single erogenous zone is located in the same physical location for both sexes, directly between… the ears. Nothing is sexy unless you think it’s sexy.

    Which is why life drawing sessions are set up to maintain a professional or academic atmosphere and the sexual element is almost non-existant. This is generally a Good Thing, but it’s nice to know that there are exceptions to every rule.

    Dr. Sketchy’s Anti Art School is a series of drawing sessions that looks to put the “arrrrrr” back into art classes, with racy costumes, provocative poses and a generally anti-academic atmosphere.

    For more background, see my previous post on Dr. Sketchy’s.

    At the time, I mentioned that submissions were being taken for the first Dr. Sketchy’s Anti Art Show.

    Dr. Sketchy’s founder, illustrator Molly Crabapple, has written to say that the show is now assembled and will hang at Rapture, 200 Avenue A in NYC, from November 21 to December 20, 2007. The opening party will be November 27th.

    There is a gallery online for those of us not in the area, that features work by some of the participants, as well as photographs from the sessions.

    Note: The Dr. Sketchy’s site should be considered delightfully NSFW and politically incorrect.

    (Image above: Jim Hoover)



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  • Abigail Ryan

    Abbey ryan
    Abbey Ryan is a Philadelphia based painter, designer and illustrator who studied here in Pennsylvania as well as in New York and Massachusetts. She has a portfolio site, in which she showcases her illustration and design work, as well as her gallery art.

    The latter is non-figurative, with arrangements of soft edged shapes that give impressions of movement and suggestions of morphing forms. They are arranged with a designer’s eye for the importance of negative space and rendered with a muted palette and delicate applications of texture.

    Given my predilection for representational work, I find more interest in her painting blog, Ryan Studio, in which she has recently taken on the “painting-a-day” discipline, and paints crisp, painterly oils of simple subjects like fruit, vegetables, candy and other immediately available subjects that are often the chosen subjects for daily painters.

    Ryan posts large images of her small paintings that are actually large enough to get a good feeling for the surface of the painting and the way the paint is applied, something I wish more artists would do when presenting their work online, both for the benefit of those just looking, and for the benefit of those looking to buy, who must make a judgement about the appeal of a painting from an online image.

    Ryan’s strengths show when she arranges slightly more complex compositions and tackles textured and patterned surfaces in addition to her primary subject.

    Ryan appears to be fairly young, and her willingness to take on the painting-a-day regimen, and her confidence in working with more complex elements within it, make me think it will be interesting to watch the course of her development as a painter.

    [Link and suggestion courtesy of Jason Waskey]



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  • Art of War: Eyewitness U.S. Combat Art From the Revolution through the Twentieth Century

    Art of War: Eyewitness U.S. Combat Art From the Revolution through the Twentieth Century, John Singer Sargent, Tom Lea, Michael FayFor the benefit of those in other parts of the world, I’ll mention that today is Veterans Day here in the U.S., a day set aside to remember and honor those who have served in the military over the history of the country; though particular attention is given, as it should be, to those involved in conflicts within the memory of living persons.

    This past Memorial Day (a U.S. holiday in observance of those who have died in military service) I wrote a post about the PBS series They Drew Fire: Combat Artists of World War II, in which I mentioned this often neglected function of art.

    Art as reportage in general, and combat art in particular, gets looked down on by the art establishment as irrelevant, and often “not art”; but then the art establishment has always attempted to elevate itself at the cost of narrowing its vision. The fact is that visual arts like drawing and painting are very different from photography, and reporting a time, place or event through that process gives insight into life and human experience unlike any other. If the purpose of art is to communicate, here is that communication at its most raw and direct.

    Artists have been painting their visions of war for centuries, but combat artists have a unique role, that of soldier and artist, participant and reporter, subject and observer. They are able to give us the reality of war in a way that carries the undeniable weight of personal experience.

    Art of War: Eyewitness U.S. Combat Art From the Revolution through the Twentieth Century is a collection that puts together artwork depicting war at the level of those who experienced it, both from artists in combat and outside observers who were adapt at capturing some of the same reality.

    The book, by combat artist Avery Chenoweth, includes art by a few names you will recognize, John Singer Sargent and Edouard Manet among them, but is mostly of names known only to those familiar with combat art. Some were artist/correspondents for magazines, who also went to the front lines, but most are actual combat artists, soldiers who did double duty as artists.

    This is not the “military art” of glorified war machines, sleek warplanes, dramatic fighting ships and cool tanks (though I have to admit here that the 12 year boy in the back of my brain still has a fascination with such things), nor is it an anti-war treatise; it is work by artists who tried to portray war as they saw it, directly, immediately and without filter or apology.

    I think it would be hard for those with direct experience of combat to glorify war, leave that to the video game companies and movie makers; combat artists need to convey their experience as honestly as possible.

    I haven’t read Art of War, I’m basing my comments on the book on information from those who have, as well as articles and reviews, particularly an excellent article on combat art from the Milwaukee Journal Sentinel, that includes information about Marine Staff Sargent Michael Fay, a contemporary combat artist assigned in Iraq.

    I think it’s important that collections like this exist. Here is a role for art that isn’t emphasized and discussed enough. Not only is it a visceral example of the power of art to communicate; but it serves as a reminder, even for those of us who are vehemently anti-war, that the sacrifices of those who have served their nation by putting on a uniform and stepping into the inferno deserve our recognition.

    [Images above: “Gassed” by John Singer Sargent (WW I), “Mortarburst” (field sketch) and “The Price” (final painting) by Tom Lea (WW II), “Trip flares” by Michael Fay (Iraq II)]



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  • Sara Tyson

    Sara Tyson
    Canadian illustrator and designer Sara Tyson makes the commonplace monumental, abstracting the forms of her subjects into multi-planed geometric solids and rendering them with colors and textures that give them the weight of planets.

    She appears to take her influences form 20th century modernism, particularly Picasso’s brand of cubism, Greek sculpture and decorative arts, and 12th and 13th Century European art, as it emerged from the geometric patterns of decoration into figurative realism.

    Into this interesting stew she stirs her conceptual editorial approach and produces distinctive illustrations for clients like The Washington Post, CA magazine, The Globe and Mail, The Progressive and others.

    Tyson is skilled as a graphic designer as well as an illustrator and that skill is evident in the strength of her compositions, in which the shapes read as strongly as design elements as they do as representational forms.



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  • M Collier

    M Collier
    I know very little about this artist, not even whether “M Collier” is male or female. What little biographical information there is simply mentions that the artist was born in San Francisco, earned a degree in Art History from California State University, has “lived in and traveled to many places”, and now resides in Southern California.

    M Collier is represented online by a painting blog called Paintings from the Point, as well as by inclusion in the DailyPainters.com site and membership in the Daily Painters Guild. I mentioned Collier briefly in my post last spring about Painting a Day Blogs (Round 6), The Daily Painters Guild. I don’t see any sign of a dedicated portfolio site or mention of gallery representation.

    Collier’s paintings appear refined and accomplished, with an emphasis on chiaroscuro and the effects of light as it plays across the the gleaming faces of curved china dishes, around reflective silver surfaces, and through transparent vessels holding water, and usually, flowers.

    There is a fascination with light, and the color of flowers and vegetables, but in particular I think, with the way these smooth curved objects sashay the light beams around their forms in graceful arcs and ellipses. If you look at the shapes of the areas of color, soft, muted blue-grays and delicate slivers of highlights, you’ll find those curves and arcs repeated again and again. This is particularly evident in the repeated theme of stacks of teacups, in which your eye follows a swinging line back and forth as it travels down the canvas.

    Most of these works are painted in oil on board at a small scale, often 6×6″ (15x15cm), and take on the (I think) difficult challenge of handling square compositions. They are predominantly of small, intimate subjects, treated with a clear realist approach. The compositions usually employ a dark, very neutral background, against which brightest highlights in the foreground objects sometimes go to pure white. Within that range, color is carefully controlled and at times seems almost like an accent; with the red of cherries or the greens and reds of vegetables appearing almost like an extra element on top of a monochromatic final.

    When viewing the works in Collier’s blog, there is no “Previous Posts” navigation, so use the dated links in the right hand column. You can also find a thumbnail-gallery display on the DailyPainters.com site that makes it easier to get an overview.



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  • Forget the film, watch the titles (update)

    Closing titles - Lemony Snicket's A Series of Unfortunate Events - from Forget the film, watch the titlesIf you’re a fan of pop songs, particularly from the 1960’s when the three minute pop song was perhaps at its peak as a musical form, you’re familiar with the concept of a “golden intro”, that delicious first 20 or 30 seconds of instrumental music before the vocals start, that was often a thing of beauty in itself, above an beyond what may or may not have been a great song in total.

    For examples, listen to the exquisite first 20 seconds of the Beach Boys’ California Girls or that wonderful descending pattern that forms the intro to the Kinks’ beautiful Waterloo Sunset; ahhhh – fractional moments of musical bliss. (The existence of these little bits of beauty was, of course, accentuated in being defaced by disk jockeys of the time, who made an infuriating, deranged, grafitti-like art form out of talking over entire song intros and ending their blabbering only microseconds before the song’s vocals started, but I digress…).

    Similar to the wonderful hidden jewels of song intros, the introductions, or opening credits, of films have long been a repository for gems that often stand out from their surrounding work; which again, may or may not be up to the quality of the intro.

    In recent years the opening credits, once considered a form of entertainment in themselves, also prominently in the 1960’s, have been de-emphasized, their place having been taken by the closing credits. In either case, the titles of films are a sort of hidden and underappreciated art form, rarely in the spotlight but as worthy of attention as animated shorts.

    In another example of Why I Love the Internet, there is a site out there devoted to just that concept. Forget the film, watch the titles is part of the Submarine Channel, a portal for independent film. When I first wrote about it back in February, the project was just getting off the ground and the selection was small. On checking back, I’ve found the selection expanded, well worth a return visit.

    Much to my delight, it now includes the great closing titles to Lemony Snicket’s A Series of Unfortunate Events (sequence at left), one of my favorite pieces of short animation in recent years (and a prime example of the credits being considerably better than the movie). These were designed and directed by Jamie Caliri, who was the director of the terrific animated ad called “Dragon” for United Airlines last year (see my post on Jamie Caliri).

    Like that sequence, the Lemony Snicket titles were done essentially with painted paper cut-outs, artfully drawn, arranged and animated. In the case of the Snicket sequence the lead animators and layout artists were Todd Hemker and Benjamin Goldman. Forget the film is good about not only giving you the credits for the credit sequences, but links to further information.

    The collection is not growing rapidly, but you can sign up to receive their newsletter and know when the next title sequence gem has been added to the showcase.

     


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Vasari Handcraftes artist's oil colors

Charley’s Picks
Bookshop.org

(Bookshop.org affilliate links; sales benefit independent bookshop owners; I get a small percentage to help support my work on Lines and Colors)

John Singer Sargent: Watercolors
John Singer Sargent: Watercolors

Sorolla the masterworks
Sorolla: the masterworks

The Art Spirit
The Art Spirit

Rendering in Pen and Ink
Rendering in Pen and Ink

Urban Sketching: Understanding Perspective
Urban Sketching: Understanding Perspective

World of Urban Sketching
World of Urban Sketching

Daily Painting
Daily Painting

Drawing on the right side of the brain
Drawing on the right side of the brain

Understanding Comics
Understanding Comics

Charley’s Picks
Amazon

(Amazon.com affiliate links; sales go to a larger yacht for Jeff Bezos; but I get a small percentage to help support my work on Lines and Colors)

John Singer Sargent: Watercolors
John Singer Sargent: Watercolors

Sorolla the masterworks
Sorolla: the masterworks

The Art Spirit
The Art Spirit

Rendering in Pen and Ink
Rendering in Pen and Ink

Urban Sketching: Understanding Perspective
Urban Sketching: Understanding Perspective

World of Urban Sketching
World of Urban Sketching

Daily Painting
Daily Painting

Drawing on the right side of the brain
Drawing on the right side of the brain

Understanding Comics
Understanding Comics