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    Category: Painting

    New Image Painters challenge Zombie Formalists

      August 6, 2014
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    Galleries are trying to spread the news: dour Zombie Formalism is out; pop-inflected, often casualist, representational imagery is in. This summer Jesse Greenberg and MacGregor Harp of Brooklyn's 247365 organized "Don't Look Now" at Zach Feuer, a group show suggesting that a renewed interest in traditional genres--portrait, still life, landscape--is thriving within the painting community. Later this month a similar exhibition titled "New Image Painting" opens at Shane Campbell in Chicago.

    Click for full story / links
    SOURCE: Two Coats of Paint - Read entire story here.

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    Update: Jonas Lund and Flip City

     
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    UPDATE: Steve Turner Gallery responds--> https://www.twocoatsofpaint.com/2014/08/steve-turner-gallery-responds-to-post.html

    Remember "Flip City," Jonas Lund's June solo exhibition at Steve Turner in LA that featured a series of process-based abstract paintings created as flip bait for speculator-collectors?

    [Image at top: Flip City 18, 2014, digital painting on canvas, gel medium and GPS tracker, 50 x 40 inches.]

    Click for full story / links
    SOURCE: Two Coats of Paint - Read entire story here.

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    Kelly Tunstall and Ferris Plock paintings in Portland – Boing Boing

      August 2, 2014
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    Boing Boing

    Kelly Tunstall and Ferris Plock paintings in Portland
    Boing Boing
    Hypertalented couple Kelly Tunstall and Ferris Plock have a new show of paintings, including some collaborations, at Portland's Antler Gallery and Store. The show, titled "Floating World: Part Two," is on the heels of their San Francisco solo show ...

    SOURCE: paintings - Google News - Read entire story here.

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    "Purple Bell"

     
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    5 x 5"
    oil on panel
    I thought I'd take the day off of painting but that would mean cleaning the house.
    I did, however, take a break from painting people. In fact, anything that required sketching out first. It's nice to just start painting freely.
    My recent acquisition at the local farmer's market - a lovely, vividly-purple bell pepper.
    Please click here to the auction page.

    SOURCE: A Painting Today - Read entire story here.

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    Bodies Come Crashing to the Ground

     
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    Drawing human anatomy can be an adventure if you take it to the
    limits. Artist and draftsman Leah Yerpe certainly does. Her large- and small-scale
    drawings feature figures freefalling, tumbling, and twisting as they swoop
    across the page.

    Pleiades by Leah Yerpe, 72 x 107, charcoal drawing, 2011.
    Pleiades by Leah Yerpe, 72 x 107, charcoal drawing, 2011.

    Though Yerpe's works are much evolved from the anatomy
    drawing lessons a beginning artist might encounter, they most likely started
    there with some type of anatomy sketches. Without a sure knowledge of how to draw a human body, the artist
    wouldn't have been able to render her figure drawings so convincingly in such a variety
    of extreme poses.

    For instance, in the body drawing Pleiades,
    the artist shows a commanding understanding of the diverse movements of the body's
    core. The barrel of the torso is shown as it folds over itself; it expands
    through the rib cage when the figure arches her back; and her hips tilt to follow
    the backward movement of the legs.

    Yerpe also has an anatomical sensitivity when rendering what
    I like to think of as the exclamation points of the body--the hands and feet. These
    may not be the first thing you pay attention to when viewing her drawings, but
    they are the culmination of all the bodily tension and power she is showing. If
    an arm is bent and cocked back, chances are the hand is drawn in accord with
    the movement--fingers clenched into a fist and the tendons in the wrist slightly
    bulge.

    Cornix by Leah Yerpe, 60 x 113, charcoal drawing, 2011.
    Cornix by Leah Yerpe,
    60 x 113, charcoal drawing,
    2011.

    Her drawings of the foot are done in much the same way. If the
    leg seems to be relaxed, the foot is in a neutral position with toes slightly
    pointed. If the leg is bent or seems to be mid-motion, the toes are drawn up
    toward the ankle and the foot itself is arched. In any given situation, the
    hands and feet give us more visual information about the physical action of the
    bodies being depicted.

    Human anatomy for artists can be a gateway for incredibly
    dynamic and unprecedented figural works, allowing you to explore the body's
    full range of motion. For drawing anatomy, seek anatomy drawing guides that will allow you to see the action of the
    body in real time and explore how to artistically express all the movement
    and power inherent in our bodies. Enjoy!


    SOURCE: Artist Daily - Read entire story here.

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    John Seed: Tracey Adams: ‘Everything in My Life Is Interconnected’

      July 31, 2014
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    Artist Tracey Adams draws her ideas and inspirations from a wide variety of fields including music, mathematics and science. In her varied works, all of these disciplines come together in visual form, in a process that Adams characterizes as involving a "synthesis of intention and chance."

    Read more: San Francisco, Painting, Tracey Adams, Monterey, Arts News

    SOURCE: Painting on Huffington Post - Read entire story here.

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    Selected work: Chelsea

      July 29, 2014
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    Without Andrew Ginzel's List (on hiatus until September) and Facebook (recently deactivated), I've been left on my own to figure out what shows are out there this summer. Recently I've begun using NY Art Beat, an iPhone app that lists galleries by neighborhood. Gallery go-ers can review shows, bookmark them, and then view all the bookmarked locations on a handy map (my map is posted at right), making afternoon planning much easier. Apparently Walter Robinson had the same list of things-to-see on Tuesday because he had signed into all the gallery guest books right before I did. Alas, we never bumped into each other.

    Exhibitions featured (Click links for full exhibition statements and images):

    "All a tremulous heart requires," co-curated by Brad Hajzak. ZieherSmith,New YOrk, NY. Through August 15, 2014.

    "Displayed," curated by Matthew Higgs. Anton Kern, New York, NY. Through August 22, 2014.

    "Jeffrey Courtland Jones: Did I See You See Me (In a New Light)," Kathryn Markel Fine Arts, New York, NY. Through August 29, 2014.

    "Justine Hill: Pick and Place," Kathryn Markel Fine Arts, New York, NY. Through August 29, 2014.

    "Paintings on Paper," David Zwirner, New York, NY. Through August 15, 2014.

    "Conversations," curated by Sharon Louden. Morgan Lehman, New York, NY. Through August 22, 2014.

    "About a Mountain," curated by Holly Jarrett. Asya Geisberg, New York, NY. Through August 15, 2014.

    "Carl Ostendarp: Blanks," Elizabeth Dee, New York, NY. Through September 6, 2014.

    "Jodie Manasevit and Eric Dever," Berry Campbell, New York, NY. Through August 9, 2014.

    "JJ Manford and Max Razdow: Through Every Leaf," Freight + Volume, New York, NY. Through August 16, 2014.

    "Another Look at Detroit, Parts I and II" curated by Todd Levin. Two locations: Marianne Boesky and Marlborough Chelsea, New York, NY. Through August 8, 2014.

    Gone but not forgotten:

    "Franklin Evans: paintingassupermodel," Ameringer McEnery Yohe, New York, NY. Through August 1, 2014.

    "Don't Look Now," organized by Jesse Greenberg and MacGregor Harp of 247365. Zach Feuer, New York, NY. Through July 26, 2014. Thanks for letting me have a look even though the show was over.

    "Joan Mitchell: The Black Drawings and Related Works 1964-1967," Lennon Weinberg, New York, NY. Through June 28, 2014. Thanks for taking me upstairs to see these drawings even though the show had been down for a month. Time flies in the summer.

    ------

    Two Coats of Paint is licensed under a Creative Commons Attribution - Noncommercial-No Derivative Works 3.0 United States License. For permission to use content beyond the scope of this license, permission is required.
    SOURCE: Two Coats of Paint - Read entire story here.

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    Working Through My Moods

      July 28, 2014
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    BlueBillie by Shen, acrylic on claybord, 18 x 24.
    BlueBillie by Shen, acrylic on claybord, 18 x 24.

    I am finding myself in a little bit of a battle with the blues. Whenever I'm feeling down, I find it especially difficult to create. However, I am learning more and more as I get older that it is important to pay attention to my moods—so I don't I end up burning out. Sometimes, I find that I just need to rest, stop procrastinating about something, or pay a little closer attention to my priorities to make certain they are in the proper order. But I often ask myself, "How do I step out into the wonderful world of painting and creation in general if I am not feeling like it?" Here are the steps I go through:

    1. Creating is my job. I need to remember that I have to go to work sometimes when I don't feel like it, just like the local banker does. And, there were certainly lots of days I remember not wanting to go to school—just like my teen! Not to mention, I chose the career of art because I love it...and I've often had to love it more than food!

    2. The feelings may linger, but no two days creating are ever the same. When I get into my work, creating an acrylic painting like these here, the world usually looks a little bit brighter or if not, it certainly helps to try and be productive rather than just sit around and wait for my mood to change. More often than not, I am glad that I tried and sometimes the results are spectacular!

    3. Get Inspired! Look at some amazing art in books, museums, galleries, or online. Or I'll read some of my favorite writings like "The Art Spirit" by Robert Henri or "My Life" by Marc Chagall. Then, there are movies like "Exit through the Giftshop" or "Basquiat"—seeing the lives of such prolific artists certainly leaves me in the mood to throw some paint around!

    BillieSwirls by Shen, acrylic painting, 13 x 19.
    BillieSwirls by Shen, acrylic painting, 13 x 19.

    This topic also reminds me of one of my favorite quotes from Ralph Waldo Emerson, "Do not be too timid and squeamish about your actions. All life is an experiment. The more experiments you make the better. What if they are a little course, and you may get your coat soiled or torn? What if you do fail, and get fairly rolled in the dirt once or twice? Up again, you shall never be so afraid of a tumble."

    When there's nothing to lose, but possibly a great gain on the other side, why not give it a shot? Maybe I'll have a tremendous painting breakthrough that will make my soul sing!

    --Shen

    Shen loves making the flat surface of a painting or drawing come to life. A professional artist and entrepreneur for more than 25 years, she lives to discover new techniques, mix media, and make difficult concepts simple! You will often find her painting live at events of all kinds to "wow" her audience. Her work has been collected by celebrities, corporations, and galleries spanning the globe. She is also an art instructor and keynote speaker, speaking to artists about how to market themselves in new, fun, and creative ways. Shen lives in Vail, Colorado, with her husband and three beautiful daughters. More of Shen's work may be viewed on her website.


    SOURCE: Artist Daily - Read entire story here.

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    4 Tips for Drawing People

     
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    I was recently on the train with a friend who caught the
    attention of an artist sitting across from us. She started drawing my pal. We
    were thrilled! It was an exciting moment as we watched my friend's face appear
    on the paper in front of us. As the artist went about her work, I observed her
    in action--and then went home and did a little more research to pull together
    these tips on how to draw people that might be useful.

    Self Portrait by Jon deMartin, 2011, chalk drawing on toned paper, 17 x 14.
    Self Portrait by Jon deMartin, 2011,
    chalk drawing on toned paper, 17 x 14.

    Different lines are essential when drawing people--denoting
    volume and light and dark means remembering the diversity of line. It can be
    thick or thin, jagged or smooth-edged, dabbed and dotted or unbroken. Figuring
    out how to draw someone's face with just line is a lesson in itself in how
    useful and dynamic lines really are.

    Move your hand--and the paper. I was initially surprised at
    how often the artist drawing my friend would move around. But in hindsight,
    this makes perfect sense. The gesture of our hand when staying in one place can
    only change so much, so altering the position of the hand or the surface we are
    drawing upon can help you get the marks you want.

    You are not connecting the dots. My impulse is always to
    draw people starting with a bold outline that goes all around their body or
    face. But that's an elementary urge, and in reality I don't need a rigid
    enclosed outline to create dynamic drawings of people. I can use intermittent
    lines, marking the nose or the hand for example, and the viewer's eye will
    often fill in the rest.

    Julie in Profile by Jon deMartin, 2009, chalk drawing on toned paper, 24 x 18.
    Julie in Profile by Jon deMartin, 2009,
    chalk drawing on toned paper, 24 x 18.

    Crosshatching is never extreme. When I first learned about
    crosshatching, my teacher reinforced again and again that it should never be
    too crossed. What I mean is that the two lines of the mark should not be drawn
    perpendicular to each other so you have a true "+." Instead, the lines of a
    crosshatch are usually at a much more acute angle to each other.

    This is only the tip of the iceberg of what it takes to
    learn how to draw a person, but it's definitely a place to start. For more
    in-depth instruction on drawing people, consider the Anniversary Edition of Drawing People. Enjoy!


    SOURCE: Artist Daily - Read entire story here.

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