tag:blogger.com,1999:blog-13563845394798963212024-02-20T17:17:54.996-05:00New Art in the Studio by NANCY NATALE
- Continuing my Art in the Studio blog with a more spacious look Nancy Natalehttp://www.blogger.com/profile/03325421420384484035noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-1356384539479896321.post-17160615167507737542015-05-18T12:26:00.002-04:002015-05-18T12:28:32.271-04:00Coming Soon: Another Encaustic Conference Hotel FairThe International Encaustic Conference, founded and directed by Joanne Mattera, is held annually at the beginning of June in Provincetown, Mass. with pre- and post-conference workshops at Truro Center for the Arts at Castle Hill in Truro, Mass. This year will be the ninth annual conference, and there are a few diehards, myself included, who have attended the conference every year since its inception.<br />
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After moving to the Provincetown Inn in 2011 in its fifth year, the conference has featured a hotel fair on Sunday morning, open only to conferees. What better way to look forward than to loIok back at some scenes from the 2014 hotel fair in the aptly-named (by us) "Three Queens Suite" of Susan Lasch Krevitt, Binnie Birstein, and myself.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTxBv1EZmW1CobNJzSrdgpC3reEMNxezRfXLNOp96W6YFDCKHyoxdglDFVltlIQdf1kpwg90RMH7vhc6WYahs6eschcZZrqhFTg2ASmQCRw8JYZgVpcYsgYHCIDJ3Rj0mFDHD9SoP_BUc/s1600/Art+News.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTxBv1EZmW1CobNJzSrdgpC3reEMNxezRfXLNOp96W6YFDCKHyoxdglDFVltlIQdf1kpwg90RMH7vhc6WYahs6eschcZZrqhFTg2ASmQCRw8JYZgVpcYsgYHCIDJ3Rj0mFDHD9SoP_BUc/s400/Art+News.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Our <i>Art News</i> cover on the door to the Three Queens Suite</td></tr>
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For the first time, three artists were featured on the cover of <i>Art News</i> and, imagine that(!}, it was us. This year, I heard that <i>Art in Americ</i>a was sending a photographer.<br />
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Here are some images from our suite. First up, Susan Lasch Krevitt who installed her work on the kitchen cabinets. (We are generally not able to hang work on the walls because we don't want to damage them.)<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgozt3bcNtp_hvY-nz68oGpEhcVXGAqsqF-EwdT7s88Et2lKtRuH-FMcx9eiktfMyUDboc4aRyUIAxgQzx_drjX9q5Khsn58sCKggbRsLkegBPhPL5BFWbZTAUCzgERZXXO6qQfa-gcE2c/s1600/Susan+kitchen.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgozt3bcNtp_hvY-nz68oGpEhcVXGAqsqF-EwdT7s88Et2lKtRuH-FMcx9eiktfMyUDboc4aRyUIAxgQzx_drjX9q5Khsn58sCKggbRsLkegBPhPL5BFWbZTAUCzgERZXXO6qQfa-gcE2c/s400/Susan+kitchen.JPG" width="372" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Susan's Installation on kitchen cabinets</td></tr>
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Since neither Susan nor I took more installation images, here are some closeups of the work.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo-JTQ-brDQYF3Yb0SZZmiiKn04YYY-qEoDK9XzjCpT4SW4np273xqtCbtRvKBgfNRlF-eSzIQLjZDlLJSwAB17_ukjiVoNawqILjnEdbMYG71dy3mxbD2iBw6XOFOQVS2wD01qg8YUFw/s1600/Susan+Flat+Tire+6.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo-JTQ-brDQYF3Yb0SZZmiiKn04YYY-qEoDK9XzjCpT4SW4np273xqtCbtRvKBgfNRlF-eSzIQLjZDlLJSwAB17_ukjiVoNawqILjnEdbMYG71dy3mxbD2iBw6XOFOQVS2wD01qg8YUFw/s400/Susan+Flat+Tire+6.JPG" width="180" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Susan Lasch Krevitt,<i> FT6 (open)</i>, 2014, 18 x 6 inches<br />
Canvas, rubber, silk, twine, encaustic</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs2V1k_7cS0HYVisN2JSW1kIZb-kzTsUDC5H8Rux3c9ak6wKGT8e6qMygMIyZIP9lSHpeH5d3g2Pud9mPUDe3wCLvB9fQFr6exy77qGzaAOCDQ-i1b7-T0VtQdAmpNU7GDoP9ck8GCbEY/s1600/Susan_Lasch_Krevitt_Flat_Tire_+Blue.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs2V1k_7cS0HYVisN2JSW1kIZb-kzTsUDC5H8Rux3c9ak6wKGT8e6qMygMIyZIP9lSHpeH5d3g2Pud9mPUDe3wCLvB9fQFr6exy77qGzaAOCDQ-i1b7-T0VtQdAmpNU7GDoP9ck8GCbEY/s400/Susan_Lasch_Krevitt_Flat_Tire_+Blue.jpg" width="263" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Susan Lasch Krevitt,<i> FT4</i>, 2014, 9 x 6 inches<br />
Canvas, rubber, silk, twine, batting, encaustic</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDgE8WnEcpxOiS2L-dWguNGyMPJIFsUeXT6_PDnRdg5RuvoRwNF3NHlFLupx2dOHAXN5j45_EAFlHkHDvw54_SITNPKlbDeS9MoJoRM77IG4_wWq_km-KZyVpeqSy-PNBRX09l-dZc4Yc/s1600/Susans+work.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDgE8WnEcpxOiS2L-dWguNGyMPJIFsUeXT6_PDnRdg5RuvoRwNF3NHlFLupx2dOHAXN5j45_EAFlHkHDvw54_SITNPKlbDeS9MoJoRM77IG4_wWq_km-KZyVpeqSy-PNBRX09l-dZc4Yc/s400/Susans+work.jpg" width="108" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Susan Lasch Krevitt, <i>FT1 (closed)</i>, 2014, 18 x 4 inches<br />
Canvas, rubber, silk, twine, encaustic</td></tr>
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Susan and I shared the living room/kitchen for our work. Here are some images of my pieces.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhicfXumEwYUf3ESPakdk6lJwhIeFTFBLS1mlqm_dHh5VuaMItPTo-IamyzYSMm54imYbxIQmVBtdspsIwjhqW9QSI73t_uCTBnEdsjsFIjmMkKoX6X14L71b9jDcVzAzKn1kPq197WyNA/s1600/Nancy+wall.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhicfXumEwYUf3ESPakdk6lJwhIeFTFBLS1mlqm_dHh5VuaMItPTo-IamyzYSMm54imYbxIQmVBtdspsIwjhqW9QSI73t_uCTBnEdsjsFIjmMkKoX6X14L71b9jDcVzAzKn1kPq197WyNA/s400/Nancy+wall.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nancy Natale - mall pieces on the wall. <br />
Through the doorway is the bedroom with Binnie's work.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh29hhxZHOwsAjP8JEKZEfVW0DZ8tNifx-dcIeoE7-dfLW1p_zp6x3Gd6VeRKhUlyDFG_ErA4CXm5LqjjDx2jisX1j9hkVOLsbu-ePx-cklr6IYOGxga-YPNgrMvV1CXF0Cx9SZ1z7b2yM/s1600/Nancy+coffee+table.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh29hhxZHOwsAjP8JEKZEfVW0DZ8tNifx-dcIeoE7-dfLW1p_zp6x3Gd6VeRKhUlyDFG_ErA4CXm5LqjjDx2jisX1j9hkVOLsbu-ePx-cklr6IYOGxga-YPNgrMvV1CXF0Cx9SZ1z7b2yM/s400/Nancy+coffee+table.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Some other pieces of mine laid out on the coffee table.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNekOSzGMDIzzcfjtHr8n8G2-XJ3pCIevn4RKYEOUD9BnruXn1EpeMZmzOdHfa1ji8W5QiWzgl71ppc3pphpMHpOkzz3YmjBDBQCq96Kc5Wr8dE3Osdadm2lEzde-hVsSy6qsPQz-OaDU/s1600/Nancy+Group+of+4_180.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNekOSzGMDIzzcfjtHr8n8G2-XJ3pCIevn4RKYEOUD9BnruXn1EpeMZmzOdHfa1ji8W5QiWzgl71ppc3pphpMHpOkzz3YmjBDBQCq96Kc5Wr8dE3Osdadm2lEzde-hVsSy6qsPQz-OaDU/s400/Nancy+Group+of+4_180.jpg" width="373" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A closeup of four works from the hotel fair</td></tr>
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And finally, Binnie Birstein displayed her work in the bedroom. (Note that the sheets and pillowcases were covering the hotel's artwork which was left in place.)<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik6mIxBYmihFLM3r4EnWOsnsoK1LJF_nrR5UqnQzCt0muLka8XmziqzGycZh7iDgaOeXMZXtEVw68w8_S_6nyvrwfmGlqElIzQW21UaAUDGd8nLOK4ihNhvP2T9ED5IvtnXs9l1Gv1NAc/s1600/Binnie+on+bed.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik6mIxBYmihFLM3r4EnWOsnsoK1LJF_nrR5UqnQzCt0muLka8XmziqzGycZh7iDgaOeXMZXtEVw68w8_S_6nyvrwfmGlqElIzQW21UaAUDGd8nLOK4ihNhvP2T9ED5IvtnXs9l1Gv1NAc/s400/Binnie+on+bed.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">An open portfolio on the bed showed encaustic monotypes and collagraphs</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjqGO12ZdeFBBM01Vm126zxP89T5Zb5MlFEdQikh9VD3IYo8ZjRRdFqCbmIvPC8-4b3w1-Bt2Y16wms8DkMgNyS2UIFD_gLpBdJdvX_RAbBMluqDVBq3p5ARMyY-n8ntEbRQ9_rXcjq94/s1600/Binnie+big+print.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjqGO12ZdeFBBM01Vm126zxP89T5Zb5MlFEdQikh9VD3IYo8ZjRRdFqCbmIvPC8-4b3w1-Bt2Y16wms8DkMgNyS2UIFD_gLpBdJdvX_RAbBMluqDVBq3p5ARMyY-n8ntEbRQ9_rXcjq94/s400/Binnie+big+print.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Binnie's matted collagraph and small paintings</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE1lmZBDrTNPu7xEHocZlnxFGye40-P0e7JJEJ6CJDD90GO9rYTx9R-DZWvWJQmMMZq_MNXuvjZUY_YPi0WElUIHekU-v0tBARjooXFCA9MvY8TFsKDN576Dh9cz91_zfvA3KIBIwO1zQ/s1600/Binnie+talking.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE1lmZBDrTNPu7xEHocZlnxFGye40-P0e7JJEJ6CJDD90GO9rYTx9R-DZWvWJQmMMZq_MNXuvjZUY_YPi0WElUIHekU-v0tBARjooXFCA9MvY8TFsKDN576Dh9cz91_zfvA3KIBIwO1zQ/s400/Binnie+talking.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Binnie herself speaking to a visitor about her work</td></tr>
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Again this year we will all be showing our dynamic artwork and welcoming fellow conferees to our 3Q Suite. Hope to see you there!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrrz-gSaSRFwR2sPnGKFSqIxVebRGPxwRbIm99I__saDlrLYJDkfuPr3fbfscl_Mnu-fkYTHJHT9ksmdhxGg6M4z60z-iPqKTDmtXbIQ9wV_hot8BUd4oKuzxp2DovFvK2jOe9BF13GZk/s1600/The+Crown.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrrz-gSaSRFwR2sPnGKFSqIxVebRGPxwRbIm99I__saDlrLYJDkfuPr3fbfscl_Mnu-fkYTHJHT9ksmdhxGg6M4z60z-iPqKTDmtXbIQ9wV_hot8BUd4oKuzxp2DovFvK2jOe9BF13GZk/s400/The+Crown.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">We found this crown in a Provincetown shop. Too much?</td></tr>
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P.S. If you want to look at some hotel fair shots from 2013, here's the link to my <a href="http://artinthestudio.blogspot.com/2013/06/some-artists-at-2013-encaustic.html">Art in the Studio</a> blog.<br />
<br />Nancy Natalehttp://www.blogger.com/profile/03325421420384484035noreply@blogger.com0tag:blogger.com,1999:blog-1356384539479896321.post-58068574796133386062015-03-11T23:47:00.000-04:002015-03-11T23:47:57.170-04:00Painting in Fayum Style With Encaustic and Cold ToolsThis is the fifth year I have hosted students from Smith College Museum's "Historic Methods & Materials" class in my studio. I teach them a little about encaustic with a Power Point about encaustic's history and then they experiment with encaustic painting. This year we spent one afternoon painting in the Fayum style using a four- color palette of encaustic paint based on four mineral colors: red ochre, yellow ochre, white (powdered gypsum or calcium carbonate) and black (ash). (For more detail, see my <a href="http://artinthestudio.blogspot.com/2010/06/tuesday-at-conference.html">2010 blog post</a> about the <i>Homage to Fayum</i> workshop taught by Francisco Benitez.)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb19fQ60TrvPUbpi1OESLKx4MfNxVHh2V66LiERfwEy8W_7RWNWLFAcjhysWgEQgNZZbL5srEDUFy-UkmILZXdyERhPZa5KcS8N2kq7p0j6iJ7ihmQZzFTm3Okh_b2Hz43xIREdJLYIa0/s1600/435.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb19fQ60TrvPUbpi1OESLKx4MfNxVHh2V66LiERfwEy8W_7RWNWLFAcjhysWgEQgNZZbL5srEDUFy-UkmILZXdyERhPZa5KcS8N2kq7p0j6iJ7ihmQZzFTm3Okh_b2Hz43xIREdJLYIa0/s1600/435.jpg" height="320" width="240" /></a></div>
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Students worked from color copies of a Fayum portrait owned by Smith College Museum. They painted their portraits on small plywood panels that I had prepared with a greenish-black encaustic gesso. Using small brushes and fusing with small tools and palette knives that they heated by holding them on electric palettes, they each made their interpretation of the portrait. You could have heard a pin drop in the studio as they intently worked.</div>
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Nancy Natalehttp://www.blogger.com/profile/03325421420384484035noreply@blogger.com0tag:blogger.com,1999:blog-1356384539479896321.post-12323547498731149642014-12-23T00:52:00.000-05:002014-12-23T07:31:04.514-05:00Christmas (Windows) in New York City<h3>
<span style="color: #666666;">Ever since watching <a href="https://www.youtube.com/watch?v=m_tlLasDH3A">"Scatter My Ashes at Bergdorf's,"</a> I've wanted to see the celebrated B-G Christmas windows firsthand. Shopping at Bergdorf Goodman is totally out of my realm, but looking is something I <i>can </i>afford. This year I had to bring some art south for an upcoming show in New York (info at the bottom of this post), so a rendezvous with my dear friend <a href="http://binniebirstein.com/">Binnie</a> was in order - just in time to see all the bright lights and magic of Manhattan at this special season of Selling.</span></h3>
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<b><span style="color: #990000;">Inspired by the Arts</span></b><br />
The window theme this year is "Inspired" and each window is dedicated to a particular art that inspires. More than 100 artists and display artisans contributed to the windows.<br />
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Here is the Bergdorf Goodman statement about the windows:<br />
<i><br /></i>
<i><b>We decided to base each window on a major art form, drawing equally from the fine arts, performing arts and applied arts. For our main windows, we settled on literature, architecture, theater, painting, music, dance, sculpture and film. Each window would be designed independently from the others. Each would be made from its own set of materials. But the entire set of windows would constitute a sort of eight-lesson course in art appreciation.</b></i><br />
<i><b><br /></b></i><b><span style="color: #990000;">Windows Curated by Moi</span></b><br />
Although all the windows were fabulous, I thought the first two were outstanding, so those are the two I am featuring.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRdTffGJuEF7yQkPEfkC69sXpBd-ANgByNUVKBLg2-rtkGVVZ2RXQTOQb00cWeNTGEKupujBcmulGZycRJfZMy3nLW4tZWDP5rljSiKQ1wsJDTec2FDQgYbTFBXBEKoPQGUrGrLwwu224/s1600/Red_BG_Holiday_2014_arts-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRdTffGJuEF7yQkPEfkC69sXpBd-ANgByNUVKBLg2-rtkGVVZ2RXQTOQb00cWeNTGEKupujBcmulGZycRJfZMy3nLW4tZWDP5rljSiKQ1wsJDTec2FDQgYbTFBXBEKoPQGUrGrLwwu224/s1600/Red_BG_Holiday_2014_arts-2.jpg" height="640" width="476" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This is the official photograph of the Literature window, photographed by Ricky Zehavi,<br />
from the Bergdorf Goodman <a href="http://blog.bergdorfgoodman.com/windows/holiday-windows-2014-inspired#ad-image-0">blog</a>. Please click to enlarge.</td></tr>
</tbody></table>
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This wonderful red window, dedicated to Literature, was made entirely from "fabric, soft sculpture, and needlepoint." I was blown away by all the detail. Here are a few of my iPhone pix. Please click on them to can see them enlarged because they are so rich.<br />
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My second most favorite was Architecture, done up mainly in blues. This window was composed from paper and old blueprints.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZGj7Q10hRcHwpW-YSKLlW1iBU704s_ntGHJHryA5q_lZeG9CdghK_C4Tq33Ib-WjuXoLZL9CSeFgb_C8dclZSadck_i1RD29KmCz3_4OZm1iV02uWSl3NgKEQ0c18SrVC7GRBN9B6ag0/s1600/Blue_BG_Holiday_2014_architecture-5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZGj7Q10hRcHwpW-YSKLlW1iBU704s_ntGHJHryA5q_lZeG9CdghK_C4Tq33Ib-WjuXoLZL9CSeFgb_C8dclZSadck_i1RD29KmCz3_4OZm1iV02uWSl3NgKEQ0c18SrVC7GRBN9B6ag0/s1600/Blue_BG_Holiday_2014_architecture-5.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The official photograph by Ricky Zehavi from the B-G <a href="http://blog.bergdorfgoodman.com/windows/holiday-windows-2014-inspired#ad-image-0">blog</a>.</td></tr>
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Here are some of my detail shots.<br />
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<b><span style="color: #990000;">Looking Through Another Window</span></b><br />
Seeing these wonderful compositions was really a treat. Then as we wandered around, we passed by a building, looked in, and were surprised to see a work by El Anatsui hanging on a wall above a lobby reception desk. Of course we marched right in and prepared to shoot a photo, but we were told that no photos were allowed. "Why is this work hanging here?" we asked, and the guards said that it belonged to Mr. Bloomberg. At that we noticed that the building was apparently the Bloomberg Tower. Who knew? So we shot the Anatsui from outside, needing no permission and not being chased away. We did walk the length - inside - of the very large installation of works by Ursula von Rydingsvard without any prohibition.<br />
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<tr><td class="tr-caption" style="text-align: center;">A lovely work by El Anatsui behind heavy glass doors</td></tr>
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<b><span style="color: #990000;">To All a Good Night and Ho, Ho, Ho!</span></b><br />
And so, after a brief glimpse of The Tree, the giant nutcracker soldiers, the flags, the unending throng of celebrants, and amid the raucous blare of "holiday music," we took our selfie and departed for Grand Central.<br />
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<b>(Onward to the New York show - Opening January 23rd: <i>A Few Conversations About Color</i>, curated by Joanne Mattera, at <a href="http://www.dmcontemporary.com/exhibitions/then-now/">dm contemporary</a>)</b>Nancy Natalehttp://www.blogger.com/profile/03325421420384484035noreply@blogger.com0tag:blogger.com,1999:blog-1356384539479896321.post-14175745238992439272014-11-12T09:31:00.001-05:002014-11-12T22:07:35.684-05:00Revisiting RothkoLast night I was rereading some of my posts on my Art in the Studio <a href="http://artinthestudio.blogspot.com/">blog </a> and came across the very long, 6-part post I wrote about Mark Rothko based on the biography by James Breslin (<i>Mark Rothko: A Biography</i>.) Sometimes I cringe at the writing in my early posts, but I was quite satisfied with the job I did on this topic, thanks to the vast quantities of information that James Breslin unearthed and published. I'm quoting myself below on the subject of Rothko's lack of sales and extremely low prices despite his exhibiting work in some of the very best venues. The contrast between now and then is illuminating and may provide a lesson in persistence.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz1tfEuLV4Xkxez9r9IInB4uUSDIn8wcAwjOVtV89gj8xqGpbcw7QfXYIS0m3qJm9kAj7kpqdrzVAu-8vb4969MeKuFOnXJnf8bauG7ueu3o5nznGT7HX00OXORhYsqVzyU4lb6JEc1Is/s1600/Rothko-Red+Brown+Black+and+Orange.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz1tfEuLV4Xkxez9r9IInB4uUSDIn8wcAwjOVtV89gj8xqGpbcw7QfXYIS0m3qJm9kAj7kpqdrzVAu-8vb4969MeKuFOnXJnf8bauG7ueu3o5nznGT7HX00OXORhYsqVzyU4lb6JEc1Is/s640/Rothko-Red+Brown+Black+and+Orange.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Red, Brown, Black and Orange" by Mark Rothko, also known as No. 21</td></tr>
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<b><span style="color: #741b47;">Rothko in the news recently</span></b><br />
A couple of weeks ago we learned that his Harvard murals that have been resurrected and will be exhibited bathed in light that attempts to restore the original coloration that was lost due to exposure and Rothko's painting methods. (<a href="http://www.nytimes.com/2014/10/26/arts/artsspecial/a-return-for-rothkos-harvard-murals-.html">Here's </a>the story on those from a Sunday's NY Times story.)<br />
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And here's the quote from today's NYT about the most recent auction sale of a work:<br />
"Mr. Rotter was talking about the success of Rothko’s abstract canvases. Two of them were the stars of the Mellon sale on Monday, and on Tuesday, the most expensive painting of the evening was the artist’s “No. 21 (Red, Brown, Black and Orange) (image above).” Executed in 1951, it sold to a telephone bidder for $45 million. Its provenance was pristine, having come from the collection of the Houston oil billionaire Pierre Schlumberger and his wife, São, though the canvas failed to reach its high estimate of $50 million." (NY Times link <a href="http://www.nytimes.com/2014/11/12/arts/design/rothko-and-johns-paintings-are-stars-of-a-sluggish-auction-for-sothebys.html?emc=edit_ur_20141112&nl=nyregion&nlid=33565216">here</a>.)<br />
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<tr><td class="tr-caption" style="text-align: center;"> Mark Rothko 1960</td></tr>
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Now here's a long quote from my Rothko #4 post that is the ultimate contrast with the position of his work these days:</div>
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<b><span style="color: #741b47;">Sales and Galleries</span></b><br />
Perhaps it was not only his natural anxiety that gave Rothko that look in the photo but also the fact that his wife Mell was eight months pregnant at the time and about to quit the job that supported the Rothko family. Rothko was 47 and had received a statement from Betty Parsons for the year ended 1950 showing that he had sold six pictures, earning him $3,279.69 for the year. (And this was the most he made from painting during one year until 1955!)<br />
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Just before the baby (named Kathy Lynn but called Kate after Rothko's mother) was born, Rothko was offered a three-year contract for an assistant professorship at Brooklyn College. The salary from this job was about $5,000 a year and it was enough to support the three of them and a separate studio(!). Rothko appreciated the income but failed to get along with the faculty at Brooklyn College and his contract was not renewed. So in 1954, about to be unemployed and desperately searching for somewhere to move after their apartment building had been condemned, Rothko left Betty Parsons Gallery because his work was not selling and joined Pollock, Still and Newman at the Sidney Janis Gallery across the hall from Parsons. Although Breslin points out that economic times were bad during the late '40s/early '50s, Rothko and the others knew that Betty Parsons was not actively pursuing sales and creating demand for their work to the extent that should have been possible and that Sidney Janis proved he could accomplish.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj82-IdgOuiB36aWG9LodM6yQKO6tER9mEywBWj_HhkrCAdXE68rOpvoGnuc3bSILt5hAr3yG0lJOaVoMyw0o0QyPVxsFsjqdb00o0wxSObF5YS_y6C8nQdhl7izkIhlcyx-tmaAiDkD6U/s1600/rothko_untitl_1949.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj82-IdgOuiB36aWG9LodM6yQKO6tER9mEywBWj_HhkrCAdXE68rOpvoGnuc3bSILt5hAr3yG0lJOaVoMyw0o0QyPVxsFsjqdb00o0wxSObF5YS_y6C8nQdhl7izkIhlcyx-tmaAiDkD6U/s400/rothko_untitl_1949.jpg" width="330" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rothko, untitled 1949</td></tr>
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<b><span style="color: #741b47;">Incredible Shows But No Sales</span></b><br />
The fact that Rothko was not selling work is pretty incredible when you read the list of exhibitions that he participated in during the late '40s/early '50s: annual solo shows at Betty Parsons, two Whitney annuals, inclusion in "Seventeen Modern American Painters" organized by Motherwell at the Frank Perls Gallery in Beverly Hills, the Los Angeles County Museum's 1951 Annual, an annual at the California Palace of the Legion of Honor in San Francisco, two group shows at the Sidney Janis Gallery, group exhibits at Yale, Harvard, Wesleyan, and the Universities of Illinois, Indiana, Minnesota and Nebraska. And he showed internationally in Tokyo, Berlin, Amsterdam and Sao Paulo. He was also included in two exhibits at MoMA during 1951 and then given his own gallery with eight paintings at MoMA as part of "Fifteen Americans" in spring 1952.</div>
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<tr><td class="tr-caption" style="text-align: center;">Rothko, No. 10, from the National Gallery of Art</td></tr>
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And here's more about sales, prices and building a career, also from my #4 post.</div>
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<b><span style="color: #741b47;">He Couldn't Even Give Away His Paintings!</span></b></div>
A review of Rothko's prices shows that they were continuing to increase as his reputation grew. In the 1951 show at Parsons, his prices ranged between $500 and $3,000, with most in the middle of that range. But in 1951 Rothko sold only one painting, his Number 10, 1950 (see image above). Alfred Barr, Director of MoMA, wanted to acquire this painting but knew his board would not approve the purchase, so he got Philip Johnson to buy it and donate it to the museum. (Feelings against Rothko were so strong that one board member resigned in protest even of the donation!) The price at Betty Parsons Gallery for the painting was $1500, but Johnson was given a 25 percent discount, reducing the price to $1200. Rothko's share was only $830, but this changed within a few years.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-LXzQFsc0B6Le1T9lbDYYymLlYDqmi0E_8hv1i4LGMIAXqwzDm4oByittP4cQKOOhd4LgOuucGd1tVsQyb0D9fCCaBcFBgPeGysvQU2CwhVYBZcX9EdSloGV2F7GX9LfrPz2DOymdC38/s1600/rothko_white_ctr_1950.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-LXzQFsc0B6Le1T9lbDYYymLlYDqmi0E_8hv1i4LGMIAXqwzDm4oByittP4cQKOOhd4LgOuucGd1tVsQyb0D9fCCaBcFBgPeGysvQU2CwhVYBZcX9EdSloGV2F7GX9LfrPz2DOymdC38/s640/rothko_white_ctr_1950.jpg" width="436" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rothko, White Center, 1950</td></tr>
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<b><span style="color: #741b47;">Making a Living From Art - Finally</span></b></div>
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In 1957 Rothko wrote to Motherwell that he had been able to live by his work for the past 18 months for the first time in his 53 years of life. By 1959 Rothko's income jumped from $20,000 to $60,000 a year as art started to become an investment. Fortune magazine wrote about "The Great International Art Market" in 1955-56 and suggested that for the wealthy, "ownership of art offers a unique combination of financial attractions...a hedge against inflation, a route to legitimate income-tax reduction, a way to lighten the burden of inheritance taxes." Art was now a commodity.</div>
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unquote</div>
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<i>If you would like to read all the Rothko posts, you can start <a href="http://artinthestudio.blogspot.com/2009/04/rothko-part-one.html">here </a>with the first one and then search the blog for the other five parts. I think his is an incredible story and perhaps an inspiration for all artists struggling to sell their work.</i></div>
Nancy Natalehttp://www.blogger.com/profile/03325421420384484035noreply@blogger.com1tag:blogger.com,1999:blog-1356384539479896321.post-90964822638264323472014-10-19T16:29:00.001-04:002014-10-19T16:29:25.461-04:00The Never-Ending Series: SyncopatedSome quickly, some slowly - that's the story of life and of art.<br />
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Back in the spring I began a new series that was similar to my Running Stitch series except that the pieces of materials I was cutting up and combining on panels were bigger and required fewer tacks to hold in place. And, rather than emphasizing the horizontal, this new series emphasized the diagonal.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju72RdO5gL9M_pi_aoLoy0bw3d_UzG7iAdmsfUr_PIG0ANeFYSgQDFuUAioKRoZTFry-XI6wh3CrbtfIklUGmLmVvNdJ-_oF4pZ2iuZDyYzCArA4gWrCdbFTkBB92HalEPcNpMYv5zeuI/s1600/Triple+Play.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju72RdO5gL9M_pi_aoLoy0bw3d_UzG7iAdmsfUr_PIG0ANeFYSgQDFuUAioKRoZTFry-XI6wh3CrbtfIklUGmLmVvNdJ-_oF4pZ2iuZDyYzCArA4gWrCdbFTkBB92HalEPcNpMYv5zeuI/s1600/Triple+Play.JPG" height="400" width="398" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Iphone photo of "Triple Play," 24" x 24", mixed media on panel</td></tr>
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Now here it is nearly the end of October and I am just finishing up this series that I have decided to call "Syncopated." So far there are 13 pieces in a range of sizes. Most were begun in the spring, but I was unable to complete them due to other commitments. Now just one is left to complete so that I can move on. The series is not finished but this group is - at least for the time being.<br />
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<b><span style="color: #990000;">Meaning, Intention, Motivation</span></b><br />
I haven't written a statement about this work yet, and despite the opinion of some people, writing a statement is the hard work that really helps me understand what I am doing. In the meantime, I can share some of the more obvious reasons for making this work - at least obvious to me. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirvJFv9oF5vEdPBQYUU1gbcpMUFNbbftYC4-hXAG0YhbORzFLtQG2SRicSqZumMrNuw0ug9-5FWm23AVYkJYaxipy7TkiPEnj7f_8k-aCifgxfaREwoZqiZmo1V9W3xMu4jiiFkzH3jd0/s1600/green+blue.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirvJFv9oF5vEdPBQYUU1gbcpMUFNbbftYC4-hXAG0YhbORzFLtQG2SRicSqZumMrNuw0ug9-5FWm23AVYkJYaxipy7TkiPEnj7f_8k-aCifgxfaREwoZqiZmo1V9W3xMu4jiiFkzH3jd0/s1600/green+blue.JPG" height="280" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Iphone photos of two untitled works, each 36" x 36"</td></tr>
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<b><span style="color: #990000;">How I Work</span></b><br />
Besides my being ready for a change, working diagonally actually gives me a much more expansively playful feeling. The way I work is to have lots of materials around - paintings that I prepare on heavy stock, album covers, books, advertising materials, cardboard, and anything else that seems to have potential for use. I work intuitively by placing pieces of these materials on the panels and observing how color, shape, texture, value and placement affect the whole panel as well as other proposed pieces. Looking is the most important part of the process.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-6svdhNWmH6Myt_2ho7l9MCcAXi4wkvIqOjlNhn9l_VpIg9BYfXNZMhDvNL_CIPq6-zzoaFHgyDdJQVL9Q0hKjVKHh9gKNxhXf8JA9OuNsQVF-_dHU-FvLwZdhZMatj5Metew0ufw8hU/s1600/Legs.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-6svdhNWmH6Myt_2ho7l9MCcAXi4wkvIqOjlNhn9l_VpIg9BYfXNZMhDvNL_CIPq6-zzoaFHgyDdJQVL9Q0hKjVKHh9gKNxhXf8JA9OuNsQVF-_dHU-FvLwZdhZMatj5Metew0ufw8hU/s1600/Legs.JPG" height="400" width="268" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Iphone photo of "Legs," 18" x 12", mixed media on panel</td></tr>
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<b><span style="color: #990000;">Why "Syncopated?"</span></b><br />
<i>"In music, syncopation includes a variety of rhythms which are in some way unexpected in that they deviate from the strict succession of regularly spaced strong and weak but also powerful beats in a meter(pulse). These include a stress on a normally unstressed beat or a rest where one would normally be stressed. "If a part of the measure that is usually unstressed is accented, the rhythm is considered to be syncopated."</i> - from <a href="http://www.princeton.edu/~achaney/tmve/wiki100k/docs/Syncopation.html">Princeton University online</a>.<div>
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Rhythm plays an important role in my choices by allowing me to play with a regular beat and change that up by putting in surprising accents. The strange thing is that while I am aware of the list of qualities that influence my choices, there are often subconscious influences that I do not see until after the painting is provisionally completed and hung on the wall. There is the illusion of transparency, for example, (as pointed out on Facebook by <a href="https://www.facebook.com/shawn.eric.hill">Shawn Hill </a>in "Triple Play" or the illusion of swirling deep space at the center of "Legs."<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU4yQqceZFX3ZBygVii7puG101Ft7xfx_1djNLUj9AhPjwlGis1wLuGpkfTsQxNDzLX3hfI-cJcS7ldKGpV-B28_HM4jpgrb0DWwRKA5p9Fau23uFPl-z7FM5YE3IoejZ0Twxdw54S_ZU/s1600/dark+center.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU4yQqceZFX3ZBygVii7puG101Ft7xfx_1djNLUj9AhPjwlGis1wLuGpkfTsQxNDzLX3hfI-cJcS7ldKGpV-B28_HM4jpgrb0DWwRKA5p9Fau23uFPl-z7FM5YE3IoejZ0Twxdw54S_ZU/s1600/dark+center.JPG" height="398" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Iphone photo of untitled work, 24" x 24", mixed media on panel</td></tr>
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<b><span style="color: #990000;">Lines, Lines, Those Lines</span></b><br />
Why, you may wonder, do I have all those black lines in these works? Some people have said that the lines make the elements stand out from each other and look like stained glass, others that the lines seem unnecessary. Well, it turns out that the lines have both an aesthetic and functional purpose. The lines offer their own addition to the rhythm, grid or arrangement of the elements and function as spaces between elements that allow for movement and fluctuations caused by humidity. The lines are filled in with black encaustic.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJgkEEMzyWop5xINGnGu4mZs5NfOjezGcKNRexRrWavlupRoQyyRTS0D1h01uper9Z6tnNfmRFZEQ4mGlU4S8zhMycFKk4a_uIpR5xTc__5hqPaLHSDWMD4GOTENndodfZ7eWO1Qy6WMc/s1600/Cutting+Best+Cartoons2.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJgkEEMzyWop5xINGnGu4mZs5NfOjezGcKNRexRrWavlupRoQyyRTS0D1h01uper9Z6tnNfmRFZEQ4mGlU4S8zhMycFKk4a_uIpR5xTc__5hqPaLHSDWMD4GOTENndodfZ7eWO1Qy6WMc/s1600/Cutting+Best+Cartoons2.JPG" height="353" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cutting lines in an already completed work</td></tr>
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<b><span style="color: #990000;">Cutting to the Chase</span></b><br />
The need to allow for expansion and contraction of the elements means that the pieces I use can't be too large. I discovered this after the fact when too-large elements in some works began bulging. I had to cut spaces into them and move some tacks. The piece above is the final work that needs this cutting alteration and once it's repaired, professional photos can be take, and, at long last, I can move on.<br />
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Nancy Natalehttp://www.blogger.com/profile/03325421420384484035noreply@blogger.com0tag:blogger.com,1999:blog-1356384539479896321.post-77174159265365486782014-09-29T11:38:00.000-04:002014-09-29T21:15:38.457-04:00Color and Geometry at Conrad Wilde Gallery in Tucson, AZKicking off the fall season in their beautiful new space, <a href="http://www.conradwildegallery.com/images/press/PR-OCT-2014-Relative-Geometries%20.pdf"> Conrad Wilde Gallery</a> in Tucson is showing their first group exhibition of the season in the main gallery, called "Relative Geometries." This show runs through October 25th and features the work of Annell Livingston, Robert Moya, Joanne Mattera and me, Nancy Natale.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9-6A-lRvFjaI7WFdpPdwUuzM81aWdjVdrTT5OMlvyuSj0mr-RXXngqTFwyBf2X80SZ6OqXTsqw0qXIdofwnStRrX7HEJFMyPCFUMXVcYasSJsuce8UagrgpGzikxJB-fk2BMq3rHDtts/s1600/Natale_On_Broadway_180.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9-6A-lRvFjaI7WFdpPdwUuzM81aWdjVdrTT5OMlvyuSj0mr-RXXngqTFwyBf2X80SZ6OqXTsqw0qXIdofwnStRrX7HEJFMyPCFUMXVcYasSJsuce8UagrgpGzikxJB-fk2BMq3rHDtts/s1600/Natale_On_Broadway_180.jpg" height="400" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"On Broadway," 2013, 14" x 14", mixed media with encaustic on panel<br />
One of my works in "Rlative Geometries"</td></tr>
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Along with this group exhibition, Joanne Mattera will also have a solo show in the project space called "Chromatic Reasoning."<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrdF1R1qLc6fAkPM2cREktK87p6aOG4LOMI1P6le7pUpUBs6KEVWuFU3imQxxHnCLAfGMGkgpQo8z5SXLVraQ44E-kNnH6lG7VQc03-zvxa_zMXxtKMGMSjD-q09yq1hw5faqRKUI7sjQ/s1600/Mattera_Chromatic+Geometry+21.+2014.+12x12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrdF1R1qLc6fAkPM2cREktK87p6aOG4LOMI1P6le7pUpUBs6KEVWuFU3imQxxHnCLAfGMGkgpQo8z5SXLVraQ44E-kNnH6lG7VQc03-zvxa_zMXxtKMGMSjD-q09yq1hw5faqRKUI7sjQ/s1600/Mattera_Chromatic+Geometry+21.+2014.+12x12.jpg" height="400" width="397" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Joanne Mattera, "Chromatic Geometry 21," 2014, 12" x 12", encaustic on panel</td></tr>
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Miles Conrad has selected nine works from my small Running Stitch series. They are each 14" x 14" x 1.5", composed of various found and manipulated materials such as books, album covers, paintings, treated metal, advertising and other paper ephemera. I cut these materials into strips, lay out a horizontal arrangement and attach them to panels with lots of tacks. Many of the elements have had encaustic painted over them before they are cut up, and once everything is fully tacked in place, I apply another coat of encaustic in the valleys between elements.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiroqTrulRVw2c3Tuj1sZpRn3EKrnVOT5g7tBZQYrkQpBQa2bV_hH2fDKzCrEm1oJENSZBjWslcJnobesTZyiQkud8qVoViwKc_m3aNUXpHQRUokS3MlyP9BKQIE10mR40iWTzDXtl_xV8/s1600/Fronts+of+small+RS+for+Tucson.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiroqTrulRVw2c3Tuj1sZpRn3EKrnVOT5g7tBZQYrkQpBQa2bV_hH2fDKzCrEm1oJENSZBjWslcJnobesTZyiQkud8qVoViwKc_m3aNUXpHQRUokS3MlyP9BKQIE10mR40iWTzDXtl_xV8/s1600/Fronts+of+small+RS+for+Tucson.JPG" height="400" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The selection in the studio</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWoQdwUCu9rIZNrebwTjtBOgwO1CrbruEbkvq9ZiV5NSviLgKrKeVwhUQ_NetwOktqhzcUxP5Ue8vDEsIH8vqSuYCbL6hYKXuUq9pKJtA9cV_FFiwnqa7lenBrQxo4oR_SeY1tB2YBSkw/s1600/Backs+of+small+RS+for+Tucson.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWoQdwUCu9rIZNrebwTjtBOgwO1CrbruEbkvq9ZiV5NSviLgKrKeVwhUQ_NetwOktqhzcUxP5Ue8vDEsIH8vqSuYCbL6hYKXuUq9pKJtA9cV_FFiwnqa7lenBrQxo4oR_SeY1tB2YBSkw/s1600/Backs+of+small+RS+for+Tucson.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Oh, that dreaded finishing, including painting of edges and wiring</td></tr>
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Here are the press release images for "Chromatic Reasoning" and "Relative Geometries." You can see the real thing <a href="http://www.conradwildegallery.com/upExhibit.html">here</a> and find links that actually work.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4RfuXCQCKeCGxVAlcRrzUylaG7cttygJvN8ZE6rdWKp5O9NWJjoC7OTZeEYHJleNQ25B8QCcTPE2Gnk3vMfersGPqdOu8x6liX2DoMcf4PROlinM43m-_9uJTQmdvCUPKXb9T__N8cGM/s1600/press+releases+conrad+wilde.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4RfuXCQCKeCGxVAlcRrzUylaG7cttygJvN8ZE6rdWKp5O9NWJjoC7OTZeEYHJleNQ25B8QCcTPE2Gnk3vMfersGPqdOu8x6liX2DoMcf4PROlinM43m-_9uJTQmdvCUPKXb9T__N8cGM/s1600/press+releases+conrad+wilde.jpg" height="640" width="520" /></a></div>
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Here are a few more of my pieces in the show.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihp4R1UE6yay1jnn2z-6i7gx5djWPtalv73U26xZ_E_MVmwbG_cE-Nb9MKlPIyqvdaoEY5do0vrMIE3kRTuwr_iP371nqrVZFYT5Xh5HAFX4Ima7pZx-052WAa-bgl1gkmQblujnuUMZA/s1600/Natale_Lotsa_Pulp_180.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihp4R1UE6yay1jnn2z-6i7gx5djWPtalv73U26xZ_E_MVmwbG_cE-Nb9MKlPIyqvdaoEY5do0vrMIE3kRTuwr_iP371nqrVZFYT5Xh5HAFX4Ima7pZx-052WAa-bgl1gkmQblujnuUMZA/s1600/Natale_Lotsa_Pulp_180.jpg" height="400" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Lotsa Pulp'," 2013, 14" x 14", mixed media with encaustic on panel</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYb2T69hTQqv9P-ay8ASDt-EwmmbOX99Q0Bt7C7_t8h-PXl8wi_hL4p3SjSY5x4Kd2tz3qbqxbaLDgvMYJKy_wEn53qFA1XiRv0PNQ8a91YIW6zSFeMzLC0vC8yOjsoUx5oU5x7m0RLuU/s1600/Natale_World+Around+Us_180.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYb2T69hTQqv9P-ay8ASDt-EwmmbOX99Q0Bt7C7_t8h-PXl8wi_hL4p3SjSY5x4Kd2tz3qbqxbaLDgvMYJKy_wEn53qFA1XiRv0PNQ8a91YIW6zSFeMzLC0vC8yOjsoUx5oU5x7m0RLuU/s1600/Natale_World+Around+Us_180.jpg" height="400" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"World Around Us," 2013, 14" x 14", mixed media with encaustic on panel</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw-emMnekrXTpjxklxSqiVGYU9-yiiBgRwDYW-p6F2zeLnUf9YPUL7a16idmTUAOLCj4CgDlhVKxWHgLd3-ODQq3cF-ltbY6eTzFXwYfZXL4KxNaNoqBbDKYyvj6bk-QYTfaBxJ8_P1L4/s1600/Natale_Guest_Star_180.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw-emMnekrXTpjxklxSqiVGYU9-yiiBgRwDYW-p6F2zeLnUf9YPUL7a16idmTUAOLCj4CgDlhVKxWHgLd3-ODQq3cF-ltbY6eTzFXwYfZXL4KxNaNoqBbDKYyvj6bk-QYTfaBxJ8_P1L4/s1600/Natale_Guest_Star_180.jpg" height="400" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Guest Star," 2014, 14" x 14", mixed media with encaustic on panel</td></tr>
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I hope you will visit Conrad Wilde Gallery if you are in the Tucson area to check out the space and these two very colorful shows. Joanne Mattera is attending the opening and I'm looking forward to seeing her photos of the installation and the reception.Nancy Natalehttp://www.blogger.com/profile/03325421420384484035noreply@blogger.com0tag:blogger.com,1999:blog-1356384539479896321.post-89720914152362334512014-09-19T23:21:00.001-04:002014-09-20T21:09:03.657-04:00Road Trip: Larchmont, New York, Saturday, September 13th<b>P a r t T w o of the arting weekend </b> (<a href="http://newartinthestudio.blogspot.com/2014/09/road-trip-new-jersey-and-new-york-sept.html">Link </a>to Part One)<br />
<b><br /></b><i>On Saturday <a href="http://binniebirstein.com/">Binnie </a>and I drove to the Hunterdon Art Museum in Clinton, New Jersey to pick up work from <u>Swept Away: Translucence, Transparence, Transcendence in Contemporary Encaustic</u>. We had a very nice lunch in Clinton and then drove slowly back into New York through the rain and traffic. It felt like we had been gone for hours -- and we were. In fact, it was nearly dark by the time we reached Larchmont and the rain began falling more steadily.</i><br />
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<b><span style="color: #741b47;">Kenise Barnes Fine Art (KBFA)</span></b><br />
<i>Larchmont, New York</i><br />
Opening Reception for Two Shows: Saturday, 6:30 - 8:30 p.m.<br />
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This was the first time I had visited Kenise Barnes' lovely <a href="http://www.kbfa.com/">contemporary art gallery</a>, and Binnie and I were very pleased to be receive a friendly welcome and unofficial tour prior to the reception's beginning. This is a pristine white space, thoughtfully and beautifully organized to display the exceptional art featured at KBFA. The upstairs space has two galleries with a small viewing room at the rear and the world's best storage layout and viewing area in the basement. Even the bathroom has a terrific selection of artwork complementing the dark blue wall and streamlined fixtures.<br />
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All the images below are from the <a href="http://www.kbfa.com/">KBFA gallery website</a>, and I wish that all galleries would use this website as a model of easily navigated sections with wonderful, large photos and full captions. This website gets an A++. (I am linking to it twice for good measure.)<br />
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<a href="http://davidkonigsberg.us/home.html">David Konigsberg</a> was showing "Nigh Season" in Gallery I, and his large, colorful narrative paintings featured conceptual landscapes that seemed to be remembered rather than observed. His website statement says: " His work occupies a nether world of image and memory in his very personal narratives, which are not meant to be deciphered but experienced as emotional possibilities."<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAS8Rwh20iyt3yAFhV4SGc6gmZPwEEFgMDl6uldij3D-uajSnYTdymOMWBhZe9LsPT86Zm7bGUzM__DAfEV7EzOThF7vYB2VlBNv9EUFGEYsfMom8b3YJKzkmJcRTNKfSBRly_nfB4Juc/s1600/KonigsFieldsNearGermantownOC45x60.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAS8Rwh20iyt3yAFhV4SGc6gmZPwEEFgMDl6uldij3D-uajSnYTdymOMWBhZe9LsPT86Zm7bGUzM__DAfEV7EzOThF7vYB2VlBNv9EUFGEYsfMom8b3YJKzkmJcRTNKfSBRly_nfB4Juc/s1600/KonigsFieldsNearGermantownOC45x60.jpeg" height="473" width="640" /></a></td></tr>
<tr><td class="tr-caption">David Konigsberg,<i> Fields Near Germantown</i>, 2014, oil on canvas, 45 x 60 inches</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhstFoqwW6HWadmflM_25EaEsVHlOZf8uvpN-qo8hr2B4E58wAPZGKx1VrJmj1-5MCHUDU8u7qYvtVam-sJGf5MatsDq-iEkXzA7FG40i3bLAqJRUxkgXJAYvDnmw2ZHKJ4BpCARChrLRw/s1600/KonigsFieldsAndDistantBarnOC44x46.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhstFoqwW6HWadmflM_25EaEsVHlOZf8uvpN-qo8hr2B4E58wAPZGKx1VrJmj1-5MCHUDU8u7qYvtVam-sJGf5MatsDq-iEkXzA7FG40i3bLAqJRUxkgXJAYvDnmw2ZHKJ4BpCARChrLRw/s1600/KonigsFieldsAndDistantBarnOC44x46.jpeg" height="610" width="640" /></a></td></tr>
<tr><td class="tr-caption">David Konigsberg, <i>Fields, Distant Barn</i>, 2013, oil on canvas, 44 x 46 inches </td></tr>
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<b><span style="color: #741b47;">Julie Gross</span></b><br />
In Gallery II, <a href="http://www.juliegross.net/">Julie Gross</a> and <a href="http://margaretneillstudio.com/home.html">Margaret Neill</a> were showing new work in "Undulate." This show spoke more to my aesthetic because of the color and geometry. I had admired Julie Gross's work only online, but in person it was so intensely colored and vibrant that I had a new appreciation for it. She refers to these curving forms as "vessels for color" and that was readily apparent.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmQBOhtOBVEoAnfqhBCKQw9CKSZ2hfBV1oFS0YPq18_5JF9R1_j8e9oLJwP8etz2badNVrtBjKhmnRaQmPvdZIGy0rhXdWFcGtzxfbXXIWhXJcWuxDeQsSCthhkoF5Wg9xclMpcar8LZ4/s1600/GrossVSH4_2014_64x32.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmQBOhtOBVEoAnfqhBCKQw9CKSZ2hfBV1oFS0YPq18_5JF9R1_j8e9oLJwP8etz2badNVrtBjKhmnRaQmPvdZIGy0rhXdWFcGtzxfbXXIWhXJcWuxDeQsSCthhkoF5Wg9xclMpcar8LZ4/s1600/GrossVSH4_2014_64x32.jpg" height="640" width="316" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Julie Gross, <i>Vertical Sine Horizon #4</i>, 2014, oil on linen, 64 x 32 inches</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-4f8UnKWWx-f8Ab5xyrLDqWKzV50ZTeBugRnArWWH5BK9tsaFh-C4N77MIGKTlZHjVL0teKcFYK7eS2zbcl4bu77UPcmfNC_J6gLqjpFlm8vpkwcQzYNYeT4xUU8WF1hq1pk9MHb0b8E/s1600/GrossVSH5OilonLinen64x32.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-4f8UnKWWx-f8Ab5xyrLDqWKzV50ZTeBugRnArWWH5BK9tsaFh-C4N77MIGKTlZHjVL0teKcFYK7eS2zbcl4bu77UPcmfNC_J6gLqjpFlm8vpkwcQzYNYeT4xUU8WF1hq1pk9MHb0b8E/s1600/GrossVSH5OilonLinen64x32.jpg" height="640" width="316" /></a></td></tr>
<tr><td class="tr-caption">Julie Gross, <i>Vertical Sine Horizon #5</i>, oil on linen, 64 x 32 inches</td></tr>
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These large columnar paintings were dynamic and luminous with restrained curves that played with the relationship between figure and ground. There was noting restrained about the thrilling color combinations. The colors were pleasingly sophisticated and unexpected, especially in the gouache paintings on paper that were studies for the larger works. Those dense, matte gouache surfaces were even more chromatically rich and seemed to vibrate as the colors played off one another. We were gushing over them!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggwPL1huglVS2zNrBkLZ0XXL70UR2zdRNFD2PlgGl0T9thdLEpheVY54euKSpv7jbSmZOUtj8cyKLY_UwdcaxuIGNpq5ODaY5-Ksi6VqJzrsKYCYOfXqDlIsCdMVwikqC8LRnsPcf8QlQ/s1600/GrossStudyVSH10_22_5x13_5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggwPL1huglVS2zNrBkLZ0XXL70UR2zdRNFD2PlgGl0T9thdLEpheVY54euKSpv7jbSmZOUtj8cyKLY_UwdcaxuIGNpq5ODaY5-Ksi6VqJzrsKYCYOfXqDlIsCdMVwikqC8LRnsPcf8QlQ/s1600/GrossStudyVSH10_22_5x13_5.jpg" height="640" width="316" /></a></td></tr>
<tr><td class="tr-caption"><span style="background-color: white; color: #777777; font-family: futura-pt; line-height: 11.6999998092651px; text-align: start;">J</span>ulie Gross, <i>Vertical Sine Horizon #10</i>, 2014, gouache on paper, 22.5 x 13.5 inches</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTwSuMzGSAR96t9RNkDRNvD06JBkKYyuAYntTr4ankdQPbkAIobJWnCw4dJkLJJtMrmgeHYbSDzOZHqSDY52FMOm83b_UNrN9QQP7Myz68yJQYDopuuchxOtZkOBfnXo0GVYIllZX7mWc/s1600/GrossStudyVSH20_22_5x13_5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTwSuMzGSAR96t9RNkDRNvD06JBkKYyuAYntTr4ankdQPbkAIobJWnCw4dJkLJJtMrmgeHYbSDzOZHqSDY52FMOm83b_UNrN9QQP7Myz68yJQYDopuuchxOtZkOBfnXo0GVYIllZX7mWc/s1600/GrossStudyVSH20_22_5x13_5.jpg" height="640" width="310" /></a></td></tr>
<tr><td class="tr-caption">Julie Gross, <i>Vertical Sine Horizon #20</i>, 2014, gouache on paper, 22.5 x 13.5 inches<br />
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<b><span style="color: #741b47;">Margaret Neill</span></b><br />
I was not familiar with Margaret Neill's work previously but became an instant fan. The curves in her paintings are sensuous and created with a full movement of arm and body. It was clear that those curves were felt emotionally and intuitively as she applied layers of meditative paint. Thin veils of paint with striated brushmarks in some areas gave glimpses of forms beneath and added a great sense of depth.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI4SIBf33nGM3Tm-_zIlwVg2YJBXU-BgAJfnvXTwGEzJvVgSzEdio41WspjhEKiMnxz6UbkS5mPuK-98HIkEP1NusItJ4rdnUXqNSUUIQipF_28QIP3STlf2JgV_kNL780H9rD94-t-Uw/s1600/NeillConduit48x48+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI4SIBf33nGM3Tm-_zIlwVg2YJBXU-BgAJfnvXTwGEzJvVgSzEdio41WspjhEKiMnxz6UbkS5mPuK-98HIkEP1NusItJ4rdnUXqNSUUIQipF_28QIP3STlf2JgV_kNL780H9rD94-t-Uw/s1600/NeillConduit48x48+copy.jpg" height="640" width="582" /></a></td></tr>
<tr><td class="tr-caption">Margaret Neill, <i>Conduit</i>, 2014, oil on linen, 48 x 48 inches</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCV4olDVPOdAeLPE0HDq92IwBMHZTjYZ9hEkW4iEhRdaWwSPUNsbgIEI0iG43111oiLIxOuMegWrBCRtf6ZMID_T9J9re3SYFHwDQwOBCDZIuHjkj7H_zLcvUvnlNmd5Na_v0pgyVI-XE/s1600/NeillSnap24x24+copy+(1).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCV4olDVPOdAeLPE0HDq92IwBMHZTjYZ9hEkW4iEhRdaWwSPUNsbgIEI0iG43111oiLIxOuMegWrBCRtf6ZMID_T9J9re3SYFHwDQwOBCDZIuHjkj7H_zLcvUvnlNmd5Na_v0pgyVI-XE/s1600/NeillSnap24x24+copy+(1).jpg" height="385" width="400" /></a></td></tr>
<tr><td class="tr-caption">Margaret Neill, <i>Snap</i>, 2014, oil on paper mounted on panel, 24 x 24 inches<br />
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Margaret Neil also showed airy drawings on paper that recorded repeated trajectories of looping pathways and pressures, like graphs of emotional journeys or dramatically obsessive responses to music or memories. Her statement says: "My work emerges from an engagement with my materials and is concerned with neither narrative nor image. The medium becomes the vehicle of my expression of transient but ever present tensions and their resolution..."<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPHDc8ePqmV4I9yyEtAeH702I5FfiLcavv3aE5K7gCCL7MOU6dKt-52YWxrpTE1YJQJv4ySiCh8J8v1xKjbIQWuB5FINCMcjZII4rysliPbQu99Qfhz5sdgRqCoV3U0_Ccu5as7z3gZb0/s1600/NeillRondelseries1_35_50x50+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPHDc8ePqmV4I9yyEtAeH702I5FfiLcavv3aE5K7gCCL7MOU6dKt-52YWxrpTE1YJQJv4ySiCh8J8v1xKjbIQWuB5FINCMcjZII4rysliPbQu99Qfhz5sdgRqCoV3U0_Ccu5as7z3gZb0/s1600/NeillRondelseries1_35_50x50+copy.jpg" height="452" width="640" /></a></td></tr>
<tr><td class="tr-caption">Margaret Neill, <i>Rondel Series I</i>, 2014, colored pencil and acrylic on paper, 36 x 50 inches (unframed) 51 x 37 inches (framed)<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIhKrWMGwx_-GeNXMDtVhyllFVbENiz-rrFfkrE9wPunFUKKVp_SqWafA3vz3RC8L6Nm5OGGWRuGaI5VcNEoIqlvYMQk9nNcek-X1kRMJZeu7mVduL_aEiCemncvxQtN_bGVYigrM7NlY/s1600/NeillProspect44x44.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIhKrWMGwx_-GeNXMDtVhyllFVbENiz-rrFfkrE9wPunFUKKVp_SqWafA3vz3RC8L6Nm5OGGWRuGaI5VcNEoIqlvYMQk9nNcek-X1kRMJZeu7mVduL_aEiCemncvxQtN_bGVYigrM7NlY/s1600/NeillProspect44x44.jpg" height="640" width="620" /></a></td></tr>
<tr><td class="tr-caption">Margaret Neill, <i>Prospect</i>, graphite on paper, 44 x 44 inches</td></tr>
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<b><span style="color: #741b47;">A Perfect Ending To a Perfect Day</span></b><br />
Binnie and I met up with our friend, artist<a href="http://www.ruthhiller.com/"> Ruth Hille</a>r, and interviewed her informally* about her residency at the<a href="http://www.goldenfoundation.org/index.php/2011-09-02-11-09-21/about-the-residency"> Golden Foundation Residency Program</a> in upstate New York. We had a fine time chatting downstairs in the KBFA viewing room surrounded by paintings and other works of art. Eventually we adjourned for a good<a href="http://www.hunanlarchmont.com/"> Chinese dinner</a> just down the street from the gallery and then, full circle, made our way back to Connecticut through the rain and traffic.<br />
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*Here is the <a href="http://prowaxjournal.com/2014/09/11/artists-community-ruth-hiller/">link </a>to an actual interview with Ruth about her Golden experience conducted by Milisa Galazzi in <b><i>ProWax Journal</i></b>, a quarterly online publication for professional artists working in the medium of encaustic. While you're there, read some of the other great articles and features!<br />
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Coming up next: <b> P a r t T h r e e</b> - no, I'm still not done with the world's longest weekend.<br />
<br />Nancy Natalehttp://www.blogger.com/profile/03325421420384484035noreply@blogger.com1tag:blogger.com,1999:blog-1356384539479896321.post-60903442099611450732014-09-17T00:11:00.000-04:002014-09-17T09:29:28.438-04:00Road Trip: New Jersey and New York, Sept 12-14, 2014<b><span style="color: #741b47;">P A R T O N E: Hunterdon Art Museum and American Folk Art Museum</span></b><br />
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Ostensibly, the purpose of this trip was to pick up work from the<a href="http://hunterdonartmuseum.org/"> Hunterdon Art Museum</a> in Clinton, New Jersey. The Hunterdon exhibition ran from May 18th until September 7th and was a beautiful second incarnation of the original <i>Swept Away: Translucence, Transparence, Transcendence in Contemporary Encaustic</i>. The exhibition was originally curated by Michael Giaquinto of the <a href="http://www.ccmoa.org/">Cape Cod Museum of Art </a>and it was exhibited there from May 18th until June 23rd, 2013. Very big thanks go to both museums for their thoughtful installations and gracious hosting of our work!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi56LRlelj9nBgANUa-nJ2RjYu2NcUpgn-06He1ALdGUZ-rljRC5awKtERY8k-mrhL-6eS_UhpbzQgeryuNdbRXZsfXw2INcYsorB9ZpTBtzwtvFcdy18xp8attNy_MpsSwYuQlUCTjb40/s1600/Linda+catalog+cover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi56LRlelj9nBgANUa-nJ2RjYu2NcUpgn-06He1ALdGUZ-rljRC5awKtERY8k-mrhL-6eS_UhpbzQgeryuNdbRXZsfXw2INcYsorB9ZpTBtzwtvFcdy18xp8attNy_MpsSwYuQlUCTjb40/s1600/Linda+catalog+cover.jpg" height="320" width="244" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Catalog cover for the Hunterdon's exhibition - Cover image is a detail of an encaustic painting by<a href="http://www.lyndarayart.com/"> Lynda Ray</a></td></tr>
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<b><span style="color: #741b47;">Driving, Always Driving</span></b><br />
My good friend <a href="http://binniebirstein.com/">Binnie Birstein</a> chauffered me all over Connecticut, New Jersey and New York this weekend, and I owe her a big debt of gratitude for her fortitude and excellent driving skills. It's true that we had a great time chatting away by the hour, eating some great food, and doing lots of arting wherever we went. I don't know how many miles we put on Binnie's car, but there were a lot.<br />
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<b><span style="color: #741b47;">First Stop: American Folk Art Museum</span></b><br />
<i>2 Lincoln Square, Columbus Ave. at 66th St., NYC</i><br />
<b>Willem van Genk "Mind Traffic" and Ralph Fasanella "Lest We Forget"</b><br />
When I read Roberta Smith's <a href="http://www.nytimes.com/2014/09/05/arts/design/willem-van-genk-mind-traffic-and-ralph-fasanella-lest-we-forget.html?_r=0">review </a>of this show in the Times, I knew it was going to the top of the Must See list. This is the first time I have been to this museum since they have revamped themselves in reduced circumstances. (If you recall, this is the museum that sold their unique building to MoMA who plans to tear it down.) The location across from Lincoln Center is great and it's right next to the Mormon Temple in case you want to pop in.<br />
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These shows were beautifully installed and I was happy to learn a few things from the installation. We visited on Friday night and unfortunately (for us) the museum was having a musical performance right in the middle of Fasanella's work, so we didn't get to see all his paintings.<br />
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And, by the way, they did not allow photography of the work so I have had to resort to the internet, thus being unable to provide titles, sizes, etc. for the most part. Those caveats aside, I loved these shows in a big way!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3AEU9qoFH4dDnt0c3uEj0msv_qa4EVvX4kRwwI6-DOY8AEJ0rxR-T5o9XEs1myX8mnlNRS8V3O6JHgJMWWdMFatcaITGajJb2wJ62CvqoZ20AXsGF0AVKhyphenhyphenta1Oz955NgNSufSTf8pdg/s1600/fasanella_american_tragedy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3AEU9qoFH4dDnt0c3uEj0msv_qa4EVvX4kRwwI6-DOY8AEJ0rxR-T5o9XEs1myX8mnlNRS8V3O6JHgJMWWdMFatcaITGajJb2wJ62CvqoZ20AXsGF0AVKhyphenhyphenta1Oz955NgNSufSTf8pdg/s1600/fasanella_american_tragedy.jpg" height="307" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ralph Fasanella, "American Tragedy," size and year unknown (to me)</td></tr>
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<b>Ralph Fasanella</b> (1914 - 1997) was a self-taught painter from working-class New York with a strong social conscience. He depicted scenes (imagined and actual) of importance in American history, especially to the American worker. His works are usually large and highly detailed. The ones most interesting to me had emblems or signs at the top, usually in dark red, that hovered above the scene below. The American Folk Art Museum has a large collection of Fasanella's work and an archive of related materials.<br />
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<b style="font-size: medium;">Willem van Genk</b><span style="font-size: small;"> (1927 - 2005) was a Dutch painter, also self taught, but more of the visionary and outsider ilk than Fasanella. Van Genk suffered from mental problems but was able to live on his own and create a large body of unique visionary work in paintings and sculpture.</span></div>
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Van Genk's works are covered with obsessive marks and writing, many containing buildings, cars, airplanes and machines composed of intricately cross-hatched lines. He often uses collage of both paper and thin wooden pieces and many works have circles or hexagonal areas like large thought balloons added to scenes that contain other information.<br />
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<tr><td class="tr-caption" style="text-align: center;">Willem van Genk, Untitled (World Airport), 1965, 44 3/4" x 46 3/4"</td></tr>
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Although Van Genk worked from books, magazines, travel brochures and maps, he also traveled later in life, so some of his scenes come from direct observation.<br />
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Van Genk liked to build trolleys and machinery from cardboard with pieces of plastic, screening and advertising glued on. The museum has a large collection of these displayed together although they can't be viewed in the round. Due to discoloration of the glue over time, these works have an antique, weathered look that adds to their character and interest.<br />
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Additional info and more photos: Roberta Smith's rave <a href="http://www.nytimes.com/2014/09/05/arts/design/willem-van-genk-mind-traffic-and-ralph-fasanella-lest-we-forget.html?_r=0">review</a>, Wall Street International <a href="http://wsimag.com/art/10955-willem-van-genk-mind-traffic">review</a><br />
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Coming up in Part Two - lots more from the road.Nancy Natalehttp://www.blogger.com/profile/03325421420384484035noreply@blogger.com2tag:blogger.com,1999:blog-1356384539479896321.post-43965862699676685992014-09-09T00:32:00.003-04:002014-09-09T00:36:17.267-04:00Color and Light From NatureThis week I was surprised to find how much my color choices had been influenced by observing nature - or is that Nature? The funny thing is that I first made the paintings and then saw the wonderful light and shadow with all that beautiful foliage. Who knew?<br />
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<tr><td class="tr-caption" style="font-size: 13px;">"Guest Star", 2014, 14" x 14" x 1.5", mixed media with encaustic on panel<br />
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<tr><td class="tr-caption" style="font-size: 13px;">"East of the Sun," 2014, 14" x 14", mixed media with encaustic on panel<br />
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<tr><td class="tr-caption" style="font-size: 13px;">"September Blue," 2014, 14" x 14" x 1.5", mixed media with encaustic on panel<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">For the "Relative Geometries" show at <a href="http://www.conradwildegallery.com/">Conrad Wilde Gallery</a> in Tucson (opening October 4th),</span></td></tr>
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More info about the "Relative Geometries" show will follow - along with images of my other paintings in the show which have little or no resemblance to anything in nature but fruit and flowers.<br />
<br />Nancy Natalehttp://www.blogger.com/profile/03325421420384484035noreply@blogger.com1tag:blogger.com,1999:blog-1356384539479896321.post-13392691141351651612014-09-01T11:05:00.000-04:002014-09-01T11:05:11.525-04:00An Introspective Week: The Illusion of IntentionThis week I'm becoming more aware of the season changing and moving much too early into fall. My eye keeps returning to one particular vignette in our neglected yard that draws me to it with its seeming perfection, just as if we had planned and carefully tended all the elements to achieve their peak in the final days of summer.<br />
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But we put no effort of weeding, trimming, pruning or watering into making this garden picture happen since we are operating more under the benign neglect system of gardening. This image is an illusion of intention and that idea connects me to some other thoughts this past week about making art.<br />
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<b><span style="color: #741b47;">How long did it take?</span></b><br />
When someone asked me this week that question that sets my teeth on edge, I posted it to one of my Facebook art groups for discussion and input. Since there is no time clock or a widget counter in the studio, artists know that of course the answer must be that it takes an artist all her life to make a particular work, as the sum total of all that has come before it.<br />
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It got me thinking about making art as a great chain, where one piece is so strongly linked to the one before it and the one after it. A painting or a sculpture does not stand alone in an artist's work because all the work is connected, and made whole by what preceded and what followed.<br />
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<b><span style="color: #741b47;">Intention and accident</span></b><br />
How much is really within our control? I'm not talking about the manipulation of a medium, but how much other factors influence the work. For example, another question a studio visitor asked me this week is why I chose the colors I used in a piece I was making. My answer was the practical response that I had those colors left over from the previous work. If that had not been the case, would I have chosen something else?<br />
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It reminds me that I used to make work no wider than 44 inches because that was the width of the hatchback in my car. There are practical constraints and influences that limit choices in making works. So in thinking about intention, how much is really accident that becomes transformed into meaning?<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVNwquEGpIGHdCI4n4y3C6OCTY5pRk3jJZ09vfCXv2LCDBhIP_vgr-85ifeI5WWu9yVt34JGFruEPyWJQHJwo8YF8C7_Q6o8gymyQCKbbdhyPpWommX8MAyWm5hQys7w1RccI1h3f7Y0k/s1600/Paintings+for+elements.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVNwquEGpIGHdCI4n4y3C6OCTY5pRk3jJZ09vfCXv2LCDBhIP_vgr-85ifeI5WWu9yVt34JGFruEPyWJQHJwo8YF8C7_Q6o8gymyQCKbbdhyPpWommX8MAyWm5hQys7w1RccI1h3f7Y0k/s1600/Paintings+for+elements.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Paintings to be coated with encaustic before being cut up and used as elements in other works.</td></tr>
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<b><span style="color: #741b47;">Habits of Mind and Hand</span></b><br />
There are certain marks and colors that I go to in an automatic way. If I choose to make something different, am I working against myself? Will the process create new habits or lead me to see something new that resonates with me? These are questions that I don't usually think about in a conscious way but that are always there. Am I choosing or avoiding, omitting or including?<br />
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<b><span style="color: #741b47;">Inventing Context</span></b><br />
I read an article in <i><a href="http://www.artinamericamagazine.com/">Art in America</a></i> this week that referred to a statement by Janet Malcolm that she had never found anything an artist said about his or her work to be interesting. Well, she is a snarky bitch but I am wondering if the statements we make about our work can ever convey the reality of our choices. When I set my work into the context of depicting or referring to memory, am I simply choosing a context from a laundry list or is that really the meaning of my work?<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZDxzj3_-ZqN2vXMwF1Tx2po78_lNqlz5JMAQtpjORS2n5jf-7TD9f36f6WNGioZXFeQRQw2uVyoBHXX21jwmxuANoGdd7CfYGjK9Avs9gwrTggqpiUBwl4KMJ1hb3tONCwVdEZoTb4Ng/s1600/Tile+painting1+Aug2014.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZDxzj3_-ZqN2vXMwF1Tx2po78_lNqlz5JMAQtpjORS2n5jf-7TD9f36f6WNGioZXFeQRQw2uVyoBHXX21jwmxuANoGdd7CfYGjK9Avs9gwrTggqpiUBwl4KMJ1hb3tONCwVdEZoTb4Ng/s1600/Tile+painting1+Aug2014.jpg" height="604" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Going anywhere or a dead end?</td></tr>
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<b><span style="color: #741b47;">The Making</span></b><br />
I make what I like to make. I have found it after continual experimenting, looking, comparing, trying, putting aside, and many times uttering the death sentence on those disappointing failures that deserve scraping or sanding or even tossing into the dumpster. My confidence in myself and my work ebbs and flows depending on my mood, my sales, my feedback, my personal assessment and innumerable other factors. The process can fascinate, bore and frustrate me but I keep at it year after year, glacially moving along that chain of making, link by link, not thinking about how long it's taking.<br />
<br />Nancy Natalehttp://www.blogger.com/profile/03325421420384484035noreply@blogger.com1tag:blogger.com,1999:blog-1356384539479896321.post-47748192322251124012014-08-24T20:34:00.001-04:002014-08-24T20:34:20.326-04:00Road Trip Part 2: The Clark, Williamstown, Massachusetts<b><i>Continuing from Part I - repeating the paragraph from the end of that post:</i></b><br />
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<b><span style="color: #741b47;">Make It New: Abstract Painting From The National Gallery of Art, 1950-1975</span></b><br />
Before showing you my amateur iPhone pictures, I recommend that for professional views you take a look at some links: the Clark's<a href="https://www.facebook.com/clarkartinstitute/photos/pcb.10152670094664391/10152670094024391/?type=1&theater"> Facebook images</a> of the show and also a review by <a href="http://www.bostonglobe.com/arts/2014/08/16/abstract-art-made-approachable-clark/OiGkanM394LsPMFGT1F7WO/story.html">Cate McQuaid</a> in the Boston Globe with beautiful pictures.<br />
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So we are in the first gallery of the show that consists of 35 paintings curated from the National Gallery's collection by its curator, Harry Cooper.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIK8-ZMnHs_E5C1ZDNLbFedNOCGL2Ht-viiyfNyFPh19VpUyNYKmkrX47VEC287rRQPOiQrSdZ__obfGujKzx2j_2pzN4_3tkLdOOePkQTU45EZYeqO9JDnn-GWxcOhrfo2VvwOFbHE30/s1600/Viewers+in+front+of+Pollock.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIK8-ZMnHs_E5C1ZDNLbFedNOCGL2Ht-viiyfNyFPh19VpUyNYKmkrX47VEC287rRQPOiQrSdZ__obfGujKzx2j_2pzN4_3tkLdOOePkQTU45EZYeqO9JDnn-GWxcOhrfo2VvwOFbHE30/s1600/Viewers+in+front+of+Pollock.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Viewers in front of Jackson Pollock painting, Number 1, 1950, (Lilac Mist).</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4Xxt8_-6-w_KnnuozpLS8FdebxVbH3yzFovG8-IFn9bRnuI78Qh3bk1VL1ueNu1a9lHCXcwWmbbQ88GsxT_J79gD3tUBY0K1C44vahDysOflg7KGmoknp5AEpzjlBEHdVUNE_A6O8Ems/s1600/Pollock+detail.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4Xxt8_-6-w_KnnuozpLS8FdebxVbH3yzFovG8-IFn9bRnuI78Qh3bk1VL1ueNu1a9lHCXcwWmbbQ88GsxT_J79gD3tUBY0K1C44vahDysOflg7KGmoknp5AEpzjlBEHdVUNE_A6O8Ems/s1600/Pollock+detail.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of "Lilac Mist" surface</td></tr>
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When you enter the gallery, you are facing Pollock's painting. Other works in this gallery are by Pollock's contemporaries - Rothko, Newman, Kline, Still and Joan Mitchell. The Mitchell work faces the Pollock.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY3U6QHamODfx8fTKbiHXXLlauFYubHRgBuOhmDr9Aq8ZtEjUEj0kUfpLZqqVeZrlkYX_qSqbxgnXo8y2jXxLyr6Tf3FYBdX-UYquRT6JIcTiG4IsCLoLeN91X6TroK1-X-ltmjsKE6Zc/s1600/Mitchell+full+view.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY3U6QHamODfx8fTKbiHXXLlauFYubHRgBuOhmDr9Aq8ZtEjUEj0kUfpLZqqVeZrlkYX_qSqbxgnXo8y2jXxLyr6Tf3FYBdX-UYquRT6JIcTiG4IsCLoLeN91X6TroK1-X-ltmjsKE6Zc/s1600/Mitchell+full+view.jpg" height="480" width="640" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnMTpdxvdXFQN2XlBFset7yPd-M50IlvEdUg_BQ0JrBPKmeYTvIR0g0JE5HOZ54F42ozNz30jRREALkIBxsAWB4uP7rhD1bmpXphKaRHjH74Wyn5AfjyIUzn5sJAZgXKRY-wNlALIs8LA/s1600/Mitchell+detail+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnMTpdxvdXFQN2XlBFset7yPd-M50IlvEdUg_BQ0JrBPKmeYTvIR0g0JE5HOZ54F42ozNz30jRREALkIBxsAWB4uP7rhD1bmpXphKaRHjH74Wyn5AfjyIUzn5sJAZgXKRY-wNlALIs8LA/s1600/Mitchell+detail+2.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Joan Mitchell, "Piano mechanique," 1958, oil on canvas, with two details.</td></tr>
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I was excited to see this work because I had only seen Mitchell's later work in person. As her work progressed, it became much more fluid and less what Cate McQuaid calls "effortful." Still, the number and variety of marks she makes plus the amount of color grounded by black in this work, make it much more interesting to me than the Pollock. And she's a woman painter among all those guys, making me pleased to see her confronting Pollock.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5IeeyRq2ezLNSTdRMW61xHjML8rpuGm9ZWlqCGo476WP3E58-KTZSpuIFXiPBC1XZDX42P0DwUnwRsVzf6y3cFV8kbr56tDHfzCi8vmIk3h2ya0KEA8qmY_v2SXymxkMpzMr85goswqE/s1600/Color+Fieldpaintings.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5IeeyRq2ezLNSTdRMW61xHjML8rpuGm9ZWlqCGo476WP3E58-KTZSpuIFXiPBC1XZDX42P0DwUnwRsVzf6y3cFV8kbr56tDHfzCi8vmIk3h2ya0KEA8qmY_v2SXymxkMpzMr85goswqE/s1600/Color+Fieldpaintings.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Color Field Painting Gallery</td></tr>
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<b><span style="color: #741b47;">Color Field Painting </span></b><br />
I've never been that interested in the stained form of color field painting, and I thought the most interesting work in this gallery was the one by Larry Zox, you can see it on the left wall of this gallery in the image above.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5y1LpBHC501uwYqfnge_nKBWZ9rvW4vAmkrjRR_y7V9AzOP-L_VfiaDrNyDVOI7EBm1Eoqshu9s13Mcgqe9yVIUcBEwy2bxInRhk6U1VFZ5_NNA5nG_78IgOSCCBAgF08-UtBJgN1z5w/s1600/Zox_Decorah.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5y1LpBHC501uwYqfnge_nKBWZ9rvW4vAmkrjRR_y7V9AzOP-L_VfiaDrNyDVOI7EBm1Eoqshu9s13Mcgqe9yVIUcBEwy2bxInRhk6U1VFZ5_NNA5nG_78IgOSCCBAgF08-UtBJgN1z5w/s1600/Zox_Decorah.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Larry Zox, "Decorah (Single Gemini Series), 1968, acrylic on canvas</td></tr>
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Zox's work looks very contemporary. It conveys the interesting illusion of folding in at the center when you stand in front of it because of the triangles pressing in from all sides.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU_WoJfvunMWxccsT9B-f-O4ET5__OcsjekNdijcJezGSSAMsdo0WsJryATmRFrA0F-wWNq1gd6Jr4cUtrz9vlzgLD8asO7RRPVlsKsuMNYVWMj9ErEU3lRo6XCqTEBFQ9tvISPynBsB4/s1600/Buren+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU_WoJfvunMWxccsT9B-f-O4ET5__OcsjekNdijcJezGSSAMsdo0WsJryATmRFrA0F-wWNq1gd6Jr4cUtrz9vlzgLD8asO7RRPVlsKsuMNYVWMj9ErEU3lRo6XCqTEBFQ9tvISPynBsB4/s1600/Buren+2.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Daniel Buren, "white acrylic paint on white and blue striped cloth," 1970.</td></tr>
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The small corner work by Buren was also unexpectedly contemporary, from its placement, to its raw edges to its installation with push pins. (I'm not sure that it was in the Color Field gallery, but I'm putting it here to relate to the Zox work.)<br />
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<b><span style="color: #741b47;">Pattern, Texture, Shape and Other Categories</span></b><br />
Probably to make the work more accessible, paintings were sorted in this show by technique or prominent feature. However, as I look back on my photos, I can make no sense of where one began and the other left off because I don't agree with the distinctions. So I'm just going to put works together as they make sense to me.<br />
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The highlight of one gallery ("Pattern", "Shapes"?) to me was the work by Al Loving. He seemed like an old friend because I had presented his work in my talk on bricolage at the <a href="http://encausticconference.blogspot.com/">Encaustic Conference </a>last June. Since my image was not very good, the one below is from Cate McQuaid's <a href="http://www.bostonglobe.com/arts/2014/08/16/abstract-art-made-approachable-clark/OiGkanM394LsPMFGT1F7WO/story.html">review</a> in the Boston Globe.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfnmtayBSW-eXTzUKlSloesAJMe7apDyAQWH80Wmh1RN1ChHQRwLR7jkS8azbShP6X1IRW7svItlqTGDoI6CkO46ZNcBZOfaBbq8JUYSZ7t0yJnfYV0GNLgK_0VEqKC231qaOQ1ZY71ls/s1600/Loving-001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfnmtayBSW-eXTzUKlSloesAJMe7apDyAQWH80Wmh1RN1ChHQRwLR7jkS8azbShP6X1IRW7svItlqTGDoI6CkO46ZNcBZOfaBbq8JUYSZ7t0yJnfYV0GNLgK_0VEqKC231qaOQ1ZY71ls/s1600/Loving-001.jpg" height="628" width="640" /></a></td></tr>
<tr><td class="tr-caption">Al Loving, "Brownie, Sunny, Dave & Al," 1972. ESTATE OF AL LOVING, COURTESY GARTH GREENAN GALLERY</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWK9aJisk5SJt3lyqAZcS-X3_fMN7RRrek1VhmOjVYH-xn2BlOMePJaBpepWLWju7HI6p7pTecdXu4b-Fr-VrboxLi3lXb_XeHKignWUoqmyhsCqWTL30LnjowsnEdR3HsFCuZqPTq9tE/s1600/Frank+Stella_Delta.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWK9aJisk5SJt3lyqAZcS-X3_fMN7RRrek1VhmOjVYH-xn2BlOMePJaBpepWLWju7HI6p7pTecdXu4b-Fr-VrboxLi3lXb_XeHKignWUoqmyhsCqWTL30LnjowsnEdR3HsFCuZqPTq9tE/s1600/Frank+Stella_Delta.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Frank Stella, "Delta," 1958, enamel on canvas</td></tr>
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Frank Stella's piece made an interesting complementary to the Loving work. I had never seen this work in person and didn't realize that it had such a shiny, gooey look that I think adds to it and relates it more to Ab-Ex.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjegGW-bKo83cY6ZcWQB8HP8ZnIDMZHbxC_zIaeM8hbSIHlrUiBJsiwleGPpqbz_cHNUEUa4GWirIlmlHg7fWOnhGh9j18oq0NX3V3TuIyDCf8RTcUh7OC5G3K9TGHBP9b8PFuo8xkq0t8/s1600/Broodthaers-Mussels.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjegGW-bKo83cY6ZcWQB8HP8ZnIDMZHbxC_zIaeM8hbSIHlrUiBJsiwleGPpqbz_cHNUEUa4GWirIlmlHg7fWOnhGh9j18oq0NX3V3TuIyDCf8RTcUh7OC5G3K9TGHBP9b8PFuo8xkq0t8/s1600/Broodthaers-Mussels.jpg" height="640" width="596" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Marcel Broodthaers, "Panneau de Moules (Panel of Mussels),<br /> 1966, mussel shells, resin and paint on panel</td></tr>
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Another bricolage work, that drew everyone to it to see if was really shells on panel, was this great piece that has such wonderful texture. My photo is lousy but you can see the shadow below of the ragged forms.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHqTypVOE-Lk5SAl7ecLDYSbKquAJt_JRh8yLfrYf4KrFCPuMjtiIvUjF-Lo0B2aEMwEAd3jk3WR0Nz2jZ12zJRcYG2kPnHrw_ioFgjUvLkAsniNM2LeVvPcWfRYNrrGKcVk0m0_Talbs/s1600/Kusama-Infinity+Nets+Yellow.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHqTypVOE-Lk5SAl7ecLDYSbKquAJt_JRh8yLfrYf4KrFCPuMjtiIvUjF-Lo0B2aEMwEAd3jk3WR0Nz2jZ12zJRcYG2kPnHrw_ioFgjUvLkAsniNM2LeVvPcWfRYNrrGKcVk0m0_Talbs/s1600/Kusama-Infinity+Nets+Yellow.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Yayoi Kusama, "Infinity Nets Yellow," 1960, oil on canvas</td></tr>
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This is just one section of Kusama's very large painting this consists of yellow circles painted on a dark ground. There is relatively little texture but the obsessive pattern is mesmerizing.<br />
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Of course I am leaving out many very well known works from the show, but I am just choosing my favorites and Lee Bontecou is right up there at the top of my list.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg580ZmflbGpQ8_Y3kg4hcJhr54WmDGZBxoEsFXMZZLuqTNVsMMIOWBEwAeyhc7vHg5BRBOVQeqWu1tQXeEtPQaLeFFfdSgLcTEdmvd-JYtmzribpxamqOhlw9XgjqPWjHoo_-YSngfwgY/s1600/Bontecou+4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg580ZmflbGpQ8_Y3kg4hcJhr54WmDGZBxoEsFXMZZLuqTNVsMMIOWBEwAeyhc7vHg5BRBOVQeqWu1tQXeEtPQaLeFFfdSgLcTEdmvd-JYtmzribpxamqOhlw9XgjqPWjHoo_-YSngfwgY/s1600/Bontecou+4.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lee Bontecou, Untitled, 1962, welded iron, canvas, wire and black paint</td></tr>
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I love being able to see the stains, marks of wear, and patches on the worn canvas she used along with the tiny copper wires holding the canvas onto the welded iron. The photo doesn't show it, but when I looked into that gaping black hole of eternity, I could see a little light at the seam.<br />
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<b><span style="color: #741b47;">Emerging to Nature, Restricted</span></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigZFLmbh1VGn4ZW0hYrUqxTyZmei4QiaPTVO7laXMdxDY3em_83Lnbjxit9J9WjRAM1yRGDzOnGbAoeOOst8g2KVHbElCQ0h1s0KDwc192H8u81Z7A55LVc4KHhMVsEtWi5cFKYpMhBcM/s1600/Terrace+with+willows.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigZFLmbh1VGn4ZW0hYrUqxTyZmei4QiaPTVO7laXMdxDY3em_83Lnbjxit9J9WjRAM1yRGDzOnGbAoeOOst8g2KVHbElCQ0h1s0KDwc192H8u81Z7A55LVc4KHhMVsEtWi5cFKYpMhBcM/s1600/Terrace+with+willows.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Paved terrace with reflecting pool and willows</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6dQIspyzZwb7ALdAN08kVk3X59vNvaNand_8Cruf12L5kJmbWsUbmUT_qod9xva3CnLu4yRO1_WF-rq9vS4u-mLKgS6DlhGUPCa2-gJheYRjOwQRNlU5h2FZ7pjSIbfLiSbMQgLWvc7U/s1600/Fenced+grass.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6dQIspyzZwb7ALdAN08kVk3X59vNvaNand_8Cruf12L5kJmbWsUbmUT_qod9xva3CnLu4yRO1_WF-rq9vS4u-mLKgS6DlhGUPCa2-gJheYRjOwQRNlU5h2FZ7pjSIbfLiSbMQgLWvc7U/s1600/Fenced+grass.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Terrace with reflecting pool and roped-off grass.</td></tr>
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Gee, doesn't that grass look inviting? Well, forget about it!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ1LWm4RD-R1p_r_JSkAxk7EAaDgC2b7MIwYT0ROaI-3QB2lOdaTa8A0wsyo-7VQgEJDk7cyX7rASE2VAzeDOCv_LZCDvb2wIehO-mogMmj3ciF9HiVd9yAgA1FTmRGxXtHuNH1chY1AI/s1600/Real+Frontdoor.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ1LWm4RD-R1p_r_JSkAxk7EAaDgC2b7MIwYT0ROaI-3QB2lOdaTa8A0wsyo-7VQgEJDk7cyX7rASE2VAzeDOCv_LZCDvb2wIehO-mogMmj3ciF9HiVd9yAgA1FTmRGxXtHuNH1chY1AI/s1600/Real+Frontdoor.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I think this is the real front door. We saw it on our way out.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghaf_UYhEh8W9G4skF1-skAXe3kVGFzOYQuu_K60fklNYduV6xcIFOWLCFTroBrfYQzpsYkFXVahS-HqpZtcyVPVIFuU2Wnc_zMyxqeplIb-YHRhn0UHvc-aK5KxAHmjIlgwbakJgUQnM/s1600/Hidden+corner'.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghaf_UYhEh8W9G4skF1-skAXe3kVGFzOYQuu_K60fklNYduV6xcIFOWLCFTroBrfYQzpsYkFXVahS-HqpZtcyVPVIFuU2Wnc_zMyxqeplIb-YHRhn0UHvc-aK5KxAHmjIlgwbakJgUQnM/s1600/Hidden+corner'.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A hidden corner</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC6Lotljje5oj3nXRp4BnPC10ppgibCRrwH1H-S5IS8x30gYxkxLKdfp8ZNf8a-gqmhbsjd7Q2pieuABqvYRvJ0PT28mtJIxIa5N64YvDKguufMVMz2i8e7ioYuhQsej8syoUQXpweKmE/s1600/Lawn+Mower.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC6Lotljje5oj3nXRp4BnPC10ppgibCRrwH1H-S5IS8x30gYxkxLKdfp8ZNf8a-gqmhbsjd7Q2pieuABqvYRvJ0PT28mtJIxIa5N64YvDKguufMVMz2i8e7ioYuhQsej8syoUQXpweKmE/s1600/Lawn+Mower.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A sea of grass being mowed by one guy with a push mower.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Road to the back parking lot</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTiqxEPY0CDni6gDZDgO1GVcMYr5AAQDgCqqjULf776-c01YChwM2QQttHAclt0pbfWG16EHwzXTJBSsraJ3vMog_e6IUzgBAIY7XURpFt4_sKKUzIKSLvhKmJsY8JYJDHPtejfsnQzzE/s1600/The+rope.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTiqxEPY0CDni6gDZDgO1GVcMYr5AAQDgCqqjULf776-c01YChwM2QQttHAclt0pbfWG16EHwzXTJBSsraJ3vMog_e6IUzgBAIY7XURpFt4_sKKUzIKSLvhKmJsY8JYJDHPtejfsnQzzE/s1600/The+rope.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mind the rope and forget about that grass!<br /></td></tr>
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I thought the architecture was clean, crisp and a bit stark. The outdoor areas were lovely but the roped off grass everywhere really spoiled the look of inviting, lush greens contrasted with all the concrete and glass. Perhaps the ropes will be removed when the grass has had a chance to settle in, but somehow I doubt it.<br />
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<br />Nancy Natalehttp://www.blogger.com/profile/03325421420384484035noreply@blogger.com3tag:blogger.com,1999:blog-1356384539479896321.post-52038937175157476632014-08-24T15:33:00.000-04:002014-08-24T20:40:52.339-04:00Road Trip, Part 1: The Clark, Williamstown, MassachusettsBonnie and I used to take road trips all the time before we adopted our dogs and became more tied to home. We both love riding along and gawking at houses and either imaging how it would be to live there or being thankful that we don't. I've been wanting to see the architectural remaking of <a href="http://www.clarkart.edu/museum/">The Sterling and Francine Clark Art Institute</a> (otherwise known as "The Clark") since reading about the transformation. So last Friday was the day.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvdFmyjugsc26IJQRPX0Ic2c-n_79Jd348ATCGKES_AczXBfMpSZ0RLAsg59jle8Uk7Hpq7tt_hC2V8ddrPHegPfIDhJYRMAszXdtwnUhtfUKhWibulTHkMPUWjppUpbEcU-syKMbBCu4/s1600/On+the+Road.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvdFmyjugsc26IJQRPX0Ic2c-n_79Jd348ATCGKES_AczXBfMpSZ0RLAsg59jle8Uk7Hpq7tt_hC2V8ddrPHegPfIDhJYRMAszXdtwnUhtfUKhWibulTHkMPUWjppUpbEcU-syKMbBCu4/s1600/On+the+Road.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">On the Road</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqfatpJWDHEapJKgMuO_SiM-76b4YDYF1RYDVMj3jEUukIZmCMH-Rlbsi69sz3oz2J5g8BXSk4c73rpOdSapNBXl-9lY1vw71hbFQ-NTSxDR1ogIyvhoTDPIwom2AQ1So4iZZbln989rk/s1600/Berkshire+View.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqfatpJWDHEapJKgMuO_SiM-76b4YDYF1RYDVMj3jEUukIZmCMH-Rlbsi69sz3oz2J5g8BXSk4c73rpOdSapNBXl-9lY1vw71hbFQ-NTSxDR1ogIyvhoTDPIwom2AQ1So4iZZbln989rk/s1600/Berkshire+View.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Berkshire Hill view, at least I think it's a Berkshire Hill. </td></tr>
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Williamstown, in the Berkshires of western Massachusetts, is a little more than 50 miles away from where we live in Easthampton and it's a scenic trip out there. Although the landscape is still very green and lush, it feels like fall is just around the corner and a few trees were already beginning to turn color.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxKpg3TBFzyd0l0f2NBY2laDa1vqev0Z_aT97yPnJ9wuuYzPKXwJ3aveSU_htHjD2XX_xynxF-1h65NvRileA3gFiXIj38aftylRMnP1qcfOrQ3patTf4ULwaNrsVeb1xw-V1rsz636lI/s1600/Curving+Clark+Road.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxKpg3TBFzyd0l0f2NBY2laDa1vqev0Z_aT97yPnJ9wuuYzPKXwJ3aveSU_htHjD2XX_xynxF-1h65NvRileA3gFiXIj38aftylRMnP1qcfOrQ3patTf4ULwaNrsVeb1xw-V1rsz636lI/s1600/Curving+Clark+Road.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Curving road on the beautiful grounds of the Clark</td></tr>
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The museum addition (by <a href="http://en.wikipedia.org/wiki/Tadao_Ando">Tadao Ando</a>), gallery renovation (by <a href="http://www.selldorf.com/">Selldorf Architects</a>) and landscaping (by <a href="http://www.reedhilderbrand.com/">Reed Hilderbrand</a>) have been described much better by others, namely <a href="http://www.nytimes.com/2014/07/11/arts/design/clark-art-institute-reopens-with-new-and-renovated-space.html#">Roberta Smith</a> in the New York Times, <a href="http://www.bostonglobe.com/arts/theater-art/2014/05/17/after-extensive-renovations-transformed-clark/3ncDAtxcMP0KAdcUDj30EL/story.html">Sebastian Smee</a> in the Boston Globe, and <a href="http://online.wsj.com/articles/museum-review-the-clark-art-institute-1404861424">Lee Rosenbaum</a> in the Wall Street Journal. Mostly, reviewers rave about the changes and improvements, but there's always one (or more) in the crowd who <a href="http://www.bostonglobe.com/opinion/columns/2014/07/23/what-have-they-done-clark-art-institute/gyxI2mrOXum9ly5hwReagP/story.html">doesn't like change</a>.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUo5jUlpG2VW2dcufond9qWua9Ok6Ep5mjJt0atTJTSDeMjqYny-P11ZeZSIjqVNFj-qKGVb130fLsYXGQWZHSPzgL1A4CJG2J5z0t5hhAaTwSmj_YJxkMIWnAdl0AJ0mBCjH_l4PfpdY/s1600/The+original+building.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUo5jUlpG2VW2dcufond9qWua9Ok6Ep5mjJt0atTJTSDeMjqYny-P11ZeZSIjqVNFj-qKGVb130fLsYXGQWZHSPzgL1A4CJG2J5z0t5hhAaTwSmj_YJxkMIWnAdl0AJ0mBCjH_l4PfpdY/s1600/The+original+building.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The original museum building, as iPhoned Friday.</td></tr>
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I found the<a href="http://www.clarkart.edu/About/History"> story of the original Clark</a>, established by <a href="http://en.wikipedia.org/wiki/Robert_Sterling_Clark">Robert Sterling Clark </a>and his wife Francine, a fascinating one: Sterling Clark had piles of money inherited from the Singer Sewing Machine Company, became an adventurer and world traveler who shocked his conservative family by marrying a French actress. The couple's devotion to art collecting and desire to preserve their collection for the future led to their building the Clark and opening it to the public in 1955. What's not to like?<br />
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So, just to let you know that this is just my relation of our road trip and my personal take on the Clark. If you want more, check the links.<br />
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<b><span style="color: #741b47;">The New Building and Layout</span></b><br />
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I'm showing you these three views because I'm not really sure which one leads to the correct entrance. We went in the wrong door, didn't see an admission desk and were inside for free and walking around the galleries in the original building. Apparently if you take a left instead of a right in the concourse between buildings, you are IN.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg82qMjQnvyGDETHoh7uqbtP9jI2ZiaqQepuVFSNkgzUeFqXIiNzd0e0S6jwoGOw9Q3IGR7qg1kH0q1AAMjzD6WuhAF269M_Yh43Py5dgmff0yybHBxVOzgIXV0Tzy9yENXXqtrvJCCpm8/s1600/Concourse+between+buildings.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg82qMjQnvyGDETHoh7uqbtP9jI2ZiaqQepuVFSNkgzUeFqXIiNzd0e0S6jwoGOw9Q3IGR7qg1kH0q1AAMjzD6WuhAF269M_Yh43Py5dgmff0yybHBxVOzgIXV0Tzy9yENXXqtrvJCCpm8/s1600/Concourse+between+buildings.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This is the concourse. To the left is the original building with American and European galleries.<br />
To the right is the new building with special exhibitions. The plastic "bricks" on the wall honor donors.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT4vybtMp5YALxNpCbnggTMeaT9DDCSy4ZLO0UzTcOU8oX77cRbzWArggalVKGVf-SW6mTCA74H1k_I25sKs-NXN39GB4MQ9-LRUOYUNBk7pSbZOrnRxK0uiZh-yJiYb_6TepQKz5EE9g/s1600/Cornerstone+dedication.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT4vybtMp5YALxNpCbnggTMeaT9DDCSy4ZLO0UzTcOU8oX77cRbzWArggalVKGVf-SW6mTCA74H1k_I25sKs-NXN39GB4MQ9-LRUOYUNBk7pSbZOrnRxK0uiZh-yJiYb_6TepQKz5EE9g/s1600/Cornerstone+dedication.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The original cornerstone dedication.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-_3S2dTGXHDTuDGkpa2mahFiWr3QHAim9k74kFbMG-_2hyRHi1D0O2Kb3cgp4xN6sQuGj0R69lsKitHDEmNY3uu74FB5-HHvO7zBkcUez5gOwQhP5u__fWLo3GRXGSAyJaD3GzlPNIhQ/s1600/Tiny+painting.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-_3S2dTGXHDTuDGkpa2mahFiWr3QHAim9k74kFbMG-_2hyRHi1D0O2Kb3cgp4xN6sQuGj0R69lsKitHDEmNY3uu74FB5-HHvO7zBkcUez5gOwQhP5u__fWLo3GRXGSAyJaD3GzlPNIhQ/s1600/Tiny+painting.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The painting here was only postcard size but it contained incredible detail (Lucio Rossi, 1875).</td></tr>
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Above are views of some of the European galleries in the original building. They have been revamped to have a cleaner and more spacious feeling. I did notice the difference from earlier visits. And the good thing about the redesign is that you can whiz right through these to get to what you really want to see.<br />
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Yes, it's all about the Ladies Room and this one was a real beauty - all that marble tile and beautiful soft light. It was just crying out for a selfie.<br />
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<b><span style="color: #741b47;">Apprehended and Shaken Down</span></b><br />
Right after we emerged from the Ladies Room, we went up to a guard to ask where the Abstract Expressionist show was and of course he noticed that we weren't wearing the fluorescent orange wristbands that show you've coughed up your $20.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBE8sLV3SYLm9D9fNEYr-mWstmKSjYjaePJ7X5KAMLr2SYfk_Ewhmhac1CXwtmyyorP3FURyd3fcSpbH663xgsWvX7y0PyrR8mwR0UPl2-DE2pav_kzwM4NgPnjUY_j3haYJrhX2ng4xY/s1600/Descending+into+restaurant.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBE8sLV3SYLm9D9fNEYr-mWstmKSjYjaePJ7X5KAMLr2SYfk_Ewhmhac1CXwtmyyorP3FURyd3fcSpbH663xgsWvX7y0PyrR8mwR0UPl2-DE2pav_kzwM4NgPnjUY_j3haYJrhX2ng4xY/s1600/Descending+into+restaurant.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Passing quickly through the gift shop, we descended the stairs in the new building to pass through<br />
the restaurant and find the Ab-Ex show.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Before descending, however, we took note of the wonderful views through the expansive glass walls.</td></tr>
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<b><span style="color: #741b47;">Make It New: Abstract Painting From The National Gallery of Art, 1950-1975</span></b><br />
Before showing you my amateur iPhone pictures, I recommend that for professional views you take a look at some links: the Clark's<a href="https://www.facebook.com/clarkartinstitute/photos/pcb.10152670094664391/10152670094024391/?type=1&theater"> Facebook images</a> of the show and also a review by <a href="http://www.bostonglobe.com/arts/2014/08/16/abstract-art-made-approachable-clark/OiGkanM394LsPMFGT1F7WO/story.html">Cate McQuaid</a> in the Boston Globe with beautiful pictures.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirFhunJWr73FzhoJQFpgznqAhnhASQIMQN48lVbsoF8Dlr42P4oO4BVIMNkvNetzw0RxK7q9vnXMQ3VOXDzZ8Lseab15OJWoxeZSfwbn5QAeyLYyx4WnypURJ6Tjq65PGQR3gPdZOPFJ8/s1600/Cy+Twombly+at+entrance.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirFhunJWr73FzhoJQFpgznqAhnhASQIMQN48lVbsoF8Dlr42P4oO4BVIMNkvNetzw0RxK7q9vnXMQ3VOXDzZ8Lseab15OJWoxeZSfwbn5QAeyLYyx4WnypURJ6Tjq65PGQR3gPdZOPFJ8/s1600/Cy+Twombly+at+entrance.jpg" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cy Twombly in the lobby area, Untitled (Bolsena) from 1969.</td></tr>
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I don't want to be a tease, but this post is so long that I'm going to make a Part II with photos of some paintings and my observations. I like posting big images on this blog, but they do take up a lot of space and take some time to load. Plus I have to go watch the Netflix series that I'm bingeing on. First things first.<br />
<br />Nancy Natalehttp://www.blogger.com/profile/03325421420384484035noreply@blogger.com2tag:blogger.com,1999:blog-1356384539479896321.post-20323401464780045872014-08-17T12:02:00.000-04:002015-04-22T22:42:32.653-04:00Last Week in the Studio: Part 2 - August 17, 2014<i><span style="color: #741b47;"><b>In this post, as promised, I show how I got more ruthless.</b></span></i><br />
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Last week I made the decision to put aside one painting and make another one (<a href="http://newartinthestudio.blogspot.com/2014/08/last-week-in-studio-part-1-august-17.html">Part 1</a>). In this post I show you how I dramatically changed one painting to go with another. Sometimes you just gotta do what you gotta do. (By the way, these are all iPhone photos and they will expand if you click on them.)<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUTxK8_G-vonNVPaK69HjmBbSXYCDx2DedEs_PLHT0mr7lOKSz2KmywmOQfSLe0fiFuW2dKn9vBJFJUSqKvFoBljaaYCLk81UJBFUFT2syCtH6QJG4G23FZGc31lAHDfhZAOsQoZq5Vm0/s1600/In+the+beginning.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUTxK8_G-vonNVPaK69HjmBbSXYCDx2DedEs_PLHT0mr7lOKSz2KmywmOQfSLe0fiFuW2dKn9vBJFJUSqKvFoBljaaYCLk81UJBFUFT2syCtH6QJG4G23FZGc31lAHDfhZAOsQoZq5Vm0/s1600/In+the+beginning.JPG" height="640" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This was last Monday. </td></tr>
</tbody></table>
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A black gessoed panel (<a href="https://evansencaustics.com/">Evans Encaustic</a> black gesso) and a new box of tacks - what more could a girl want? On the wall is the painting I want to pair with the new one.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU5mAergCkvhQb1PplbkQe_3dur-Nh98C9bSzerLTbrE6KkrfuvfRRSgqBtMez_RYDpuILhVDC1nlddB3LkvKnkcL5feVFN4Ujgl46Ag2BzUeas_78Y_AMEfFnYE-1ymx1J_iwx5pV5RU/s1600/Initial+layout+%233.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU5mAergCkvhQb1PplbkQe_3dur-Nh98C9bSzerLTbrE6KkrfuvfRRSgqBtMez_RYDpuILhVDC1nlddB3LkvKnkcL5feVFN4Ujgl46Ag2BzUeas_78Y_AMEfFnYE-1ymx1J_iwx5pV5RU/s1600/Initial+layout+%233.JPG" height="640" width="480" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV7ES9VZgowTVWDn60hwlLatB8mzO1JPDD0pfEfvC0G7EipWehis8bf2WHaklWw2JOiBFblYK4vonr2EEwxjdzePCPonk9zj8UmkPgK7eacU1HAbFmpBr21oSM4aGBFZcaV8k5Xzl_x4o/s1600/More+assembling+%233.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV7ES9VZgowTVWDn60hwlLatB8mzO1JPDD0pfEfvC0G7EipWehis8bf2WHaklWw2JOiBFblYK4vonr2EEwxjdzePCPonk9zj8UmkPgK7eacU1HAbFmpBr21oSM4aGBFZcaV8k5Xzl_x4o/s1600/More+assembling+%233.JPG" height="640" width="480" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis4GA7kOYUHGF90xy4x3uxHYgwTz5JjUtj0rf6VlQ49moY2KtIYwxABBoSn1AcomKHC5g7fKWBha5k6qWOribMVVNV_j9mJZLgip4FsuBNllJJcj51BfZiX_vzfJZjUejA2fjJpAM867Y/s1600/Assembling+%233.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis4GA7kOYUHGF90xy4x3uxHYgwTz5JjUtj0rf6VlQ49moY2KtIYwxABBoSn1AcomKHC5g7fKWBha5k6qWOribMVVNV_j9mJZLgip4FsuBNllJJcj51BfZiX_vzfJZjUejA2fjJpAM867Y/s1600/Assembling+%233.JPG" height="640" width="480" /></a></div>
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<b><span style="color: #741b47;">WHAT'S GOING ON HERE?</span></b><br />
First of all, I have a plan for what I intend to do. I measure and draw it out on the panel and get ready to roll. Assembly proceeds pretty quickly because I'm practiced at this. I have stocks of elements sorted by color. If I need more, I cut them from various supplies or make paintings in the colors I need that I can cut up. I lay out one section at a time. In works like this where I'm organizing by closely-related color, I have to carefully select elements to achieve an overall color tone but still provide some punch from hits of other colors here and there.<br />
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In addition to choosing color, I am looking for text (that I usually place upside down), interesting marks, pattern juxtaposition and humor. I want to make the painting interesting on an intimate, close up level as well as from a distance. My overall context is making works that reference memory in some way, but sometimes the layout hints at other things such as architecture, maps, landscapes from overhead, walls, and other geometric constructs.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEife5_wux_pHxkbIm6vdVzLL-6S0EfI6l8LKdVcy9YRhgp7kdYpTs43QDq3zxua53iKuim-cRxR8FgCEjjDa_jHpX4_5vuAyEW10ncS6VotDFT6PX1GVFvbK3aydpnFPTBGeKitvKC9HlI/s1600/Tacks.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEife5_wux_pHxkbIm6vdVzLL-6S0EfI6l8LKdVcy9YRhgp7kdYpTs43QDq3zxua53iKuim-cRxR8FgCEjjDa_jHpX4_5vuAyEW10ncS6VotDFT6PX1GVFvbK3aydpnFPTBGeKitvKC9HlI/s1600/Tacks.JPG" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Looking into a new box of tacks with one package removed. Each pound of this size tack contains<br />
about 1150 tacks. It will take about 1200 tacks to make one 48" x 36" painting.</td></tr>
</tbody></table>
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<b><span style="color: #4c1130;">THE SPLIT WORK WEEK</span></b><br />
The way my weeks are scheduled, I work at a day job Tuesday, Wednesday and Thursday. This gives me a block of four days, Friday through Monday, that I can spend in the studio. Most weeks I take Sunday off unless there is something pressing, so I consider Mondays my days to accomplish a lot but still leave plenty to work on during Friday and Saturday. This makes me get right to work as soon as I walk into the studio.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXI9TFyx4Qg4G0_4Wi5p3YWlxYR792_DKQOMLk-7oDeDG9WdOwPrck67wRZW0ywpNMgFvh2e4nkI3uQLdX_w31Mqhc87sEewaHe7Yj-5Nh1UnYf0buE_HFlAJNb7GEB5NfokJC_6eyAQQ/s1600/o&b+layout+on+3+before+copper.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXI9TFyx4Qg4G0_4Wi5p3YWlxYR792_DKQOMLk-7oDeDG9WdOwPrck67wRZW0ywpNMgFvh2e4nkI3uQLdX_w31Mqhc87sEewaHe7Yj-5Nh1UnYf0buE_HFlAJNb7GEB5NfokJC_6eyAQQ/s1600/o&b+layout+on+3+before+copper.JPG" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Layout on Friday. In this photo, the orange sections have not yet been tacked in and there's<br />
a blank channel running down the center.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU7vYBnwSp6q5PIHAFIwMiMjlZ4nevtMguL6ldRUjcu1xVqZp0Ob7neocV5VwTMFGq9gjecq09u-RJi9lCJ4fnrchbWjAr04N80ul-bwyeMVeIcczNvyHKCdr2YdIlcVMH-IgIZexLsms/s1600/o&b+side+view+of+protruding+tacks.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU7vYBnwSp6q5PIHAFIwMiMjlZ4nevtMguL6ldRUjcu1xVqZp0Ob7neocV5VwTMFGq9gjecq09u-RJi9lCJ4fnrchbWjAr04N80ul-bwyeMVeIcczNvyHKCdr2YdIlcVMH-IgIZexLsms/s1600/o&b+side+view+of+protruding+tacks.JPG" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here's a side view of the piece under construction showing the way I position tacks before<br />
I fully commit to the composition. Of course, even after I commit, I might change my mind. </td></tr>
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<b><span style="color: #741b47;">THE COPPER TRAIL</span></b><br />
You may wonder what is going into that narrow, offset space on the panel where the black gesso still shows through. The answer is copper - used a bit differently than in previous paintings, and that's good. I'm always trying to stay within a series but push it a little bit forward.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhROH0SRThI7NB4zGJGoqX1TKGL8xy2J6gLdk0JqieJXym39Ay5qQl_r3lQruMhabUz1xXg4kL4OBhi5z4cq4pV0l8d3ux1tMfIZN5LU-275v23nB73Lzvfjapcw68gobw929FmyGwcIZU/s1600/Copper+layout.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhROH0SRThI7NB4zGJGoqX1TKGL8xy2J6gLdk0JqieJXym39Ay5qQl_r3lQruMhabUz1xXg4kL4OBhi5z4cq4pV0l8d3ux1tMfIZN5LU-275v23nB73Lzvfjapcw68gobw929FmyGwcIZU/s1600/Copper+layout.JPG" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here is the copper laid out in the narrow channel between color blocks. Note the difference in<br />
color of the copper strips. I usually treat the metal I use with various chemical solutions and I<br />
make it a point to never (well, usually) throw anything away. So some of this copper dates<br />
back to paintings made and cannibalized long ago.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjQ05_reQLEkj3wwg8IAaEB9oGopszaeD5pxM1PZVrBnphF0MCnHMLCKLcACG8aWROfjbiaTRl6IKYy6CNCoQn4ac0UoJynxQPywYojBki5mNFUxSuDFvqlPhu7h82r7EZY2v9ekOYICg/s1600/Copper+nailed+in.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjQ05_reQLEkj3wwg8IAaEB9oGopszaeD5pxM1PZVrBnphF0MCnHMLCKLcACG8aWROfjbiaTRl6IKYy6CNCoQn4ac0UoJynxQPywYojBki5mNFUxSuDFvqlPhu7h82r7EZY2v9ekOYICg/s1600/Copper+nailed+in.JPG" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here's a closeup after the copper has been nailed in. Note that the colored elements on either<br />
side of it have not been nailed in completely but just enough so that I can put the panel<br />
up on the wall and study it.</td></tr>
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<b><span style="color: #741b47;">LOOKING, ALWAYS LOOKING</span></b><br />
I was fortunate enough to study for two semesters with <a href="http://artinthestudio.blogspot.com/2009/12/rob-moore-art-of-seeing.html">Rob Moore</a>, a wonderful teacher at <a href="http://www.massart.edu/">MassArt</a> who passed away much too young and with too much knowledge, insight and enthusiasm for painting still to communicate to his students. Although much of what he said when I studied with him went right over my head at the time, one thing I understood then and still recall is that seeing your work instead of seeing what you hope to see is one of the hardest tasks artists have. We become so invested in the making of it that it's hard to take an objective view. I guess that's why we hate to let a work pass out of our possession too soon before we've had time to really get to know it with some of the intimate attachment dissolved.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGUHo6T1FSzCqpCYK6LcyDtAb4oTssRK2ZXujWW1uTpgpl3-UKZ2KPZWgM-hBfubem9HQxrOYlCsOhSJ-pFJSabLajlgsNoBAC3b_oYY35B297WDXfV25xILHW84WbxcDmaW2JlshTduk/s1600/o&b+on+wall+b4+revampof++blue.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGUHo6T1FSzCqpCYK6LcyDtAb4oTssRK2ZXujWW1uTpgpl3-UKZ2KPZWgM-hBfubem9HQxrOYlCsOhSJ-pFJSabLajlgsNoBAC3b_oYY35B297WDXfV25xILHW84WbxcDmaW2JlshTduk/s1600/o&b+on+wall+b4+revampof++blue.JPG" height="460" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Two panels as originally finished. But, wait, that's not all.</td></tr>
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<b><span style="color: #741b47;">MAKING A PAIR</span></b><br />
The reason I bring up looking is that when in the studio, looking can lead to revision. I was going to say "usually" leads to revision, but that doesn't always happen. When making a pair, I think I can use the <i>usually </i>because there's always some back and forth that has to take place to make them contrast, agree or complete one another. In the case of the pair above, I didn't think they were really complementing each other, so I decided to make some changes.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoBh_8nyb08dkQZt4Bfns_tCe6i1LjZ1o_VebTJxpXejZJYX_aAm_rKvwGiBum-lB4E9CKva3XoXxwCBHZBOu-9K6NtvWEofZkxNj_lfY9M7S4yHgXr4lnk-pmwU4fawJJVeYhwOeRtms/s1600/Revised+blue+in+%233.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoBh_8nyb08dkQZt4Bfns_tCe6i1LjZ1o_VebTJxpXejZJYX_aAm_rKvwGiBum-lB4E9CKva3XoXxwCBHZBOu-9K6NtvWEofZkxNj_lfY9M7S4yHgXr4lnk-pmwU4fawJJVeYhwOeRtms/s1600/Revised+blue+in+%233.JPG" height="640" width="486" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The first change I made was to separate the deeper blue from the lighter in the new panel.<br />
I thought this corresponded better with the deep blue section in the second panel.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp6shJfXvNxrj_bNMiuJC41_bDP8cRCmGHTp_zjvsu_gcfvFHCqDzFGZjTpEm4lot5W5Erl3eMTzOgbQZGBdSMbDcC2pz_VeANjK9DfFIdPNsd3Rc9DPD3Ha4WlVct-YMia4tBCe9BhDs/s1600/Pair+after+blue+revision.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp6shJfXvNxrj_bNMiuJC41_bDP8cRCmGHTp_zjvsu_gcfvFHCqDzFGZjTpEm4lot5W5Erl3eMTzOgbQZGBdSMbDcC2pz_VeANjK9DfFIdPNsd3Rc9DPD3Ha4WlVct-YMia4tBCe9BhDs/s1600/Pair+after+blue+revision.JPG" height="432" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here's the pair after I revised the blue in the left panel. I thought <i>that </i>panel was much more interesting<br />
than the one on the right, so, even though it meant a LOT of work, I went for it.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6bFhnREppLENGq_2ymieVN2Bz6NhmaDSJq3LpKGFYSdIE84MOrg103wZhyphenhyphenyf0hB4MReYwkiQqwkOaeLnodTH-I1E1aA2E5tRvnwgsDBhvxM7eNU7FnfMCi-MV9T0rso6Qs7G-_T-cp1I/s1600/Trying+out+black+placement.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6bFhnREppLENGq_2ymieVN2Bz6NhmaDSJq3LpKGFYSdIE84MOrg103wZhyphenhyphenyf0hB4MReYwkiQqwkOaeLnodTH-I1E1aA2E5tRvnwgsDBhvxM7eNU7FnfMCi-MV9T0rso6Qs7G-_T-cp1I/s1600/Trying+out+black+placement.JPG" height="464" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Trying out placement of another dark blue section in the right panel using tarpaper.</td></tr>
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<b><span style="color: #741b47;">SEEKING BALANCE</span></b><br />
I thought the pair looked imbalanced because of the darker sections and that the right panel could use a horizontally-placed dark. I had a few ideas of where the new section could go, but I decided to just try out a couple using a piece of tarpaper to give me a visual. The image above is not right: the dark section is too low and too narrow.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoJvq8yl-RKnUYBkPrXbdLvK_p8YUu0BYjyPnSBIdHlsPMDqEDMRvIbNptdmo_mHq_IBz323TvIbq8CojUp5UPG8cJAoXQ0W95HqtTJoToAPTy96Z5Yce6hlIweInjT102XN1Pv9w8WD0/s1600/o&b+elements+removed.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoJvq8yl-RKnUYBkPrXbdLvK_p8YUu0BYjyPnSBIdHlsPMDqEDMRvIbNptdmo_mHq_IBz323TvIbq8CojUp5UPG8cJAoXQ0W95HqtTJoToAPTy96Z5Yce6hlIweInjT102XN1Pv9w8WD0/s1600/o&b+elements+removed.JPG" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Once I decided where the section should go, I had a lot of work ahead.</td></tr>
</tbody></table>
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<b><span style="color: #741b47;">REVISION AFTER COMPLETION</span></b><br />
Or - Well, I <i>thought </i>it was completed! Since the right panel was fully tacked and painted, I had to dig out each tack one by one, remove the elements and then scrape the wax off the panel. You can see the ghost tracks of elements I took off and my implements of choice. In the plastic container are tacks with wax on them. But that's another story.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirLM10F-FWly7ZiURDQEc2Iq2tdDIYPKJIRHaxv0BKihf3414GE1iDUh8pB3YOG8GcuaxKp3xnSL90zvo7NR8jKJFOhTtgDOjjjXKxogzM_o200hQJ3MdkIrp9vIOHHaMp92M4GMkyu5M/s1600/o&b+completed+Saturday.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirLM10F-FWly7ZiURDQEc2Iq2tdDIYPKJIRHaxv0BKihf3414GE1iDUh8pB3YOG8GcuaxKp3xnSL90zvo7NR8jKJFOhTtgDOjjjXKxogzM_o200hQJ3MdkIrp9vIOHHaMp92M4GMkyu5M/s1600/o&b+completed+Saturday.JPG" height="440" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The final panels - except that the one on the left needs to be fully tacked and painted.</td></tr>
</tbody></table>
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<b><span style="color: #741b47;">THE FINAL, FINAL REVISION</span></b><br />
What I was looking for in the final revision is a pair that went well together but were two strong panels individually. They needed to balance when combined and also balance on their own. Adding a strip of copper to the one on the right tied in the two, I thought. Now besides having to tack in and paint the left panel, I have to add some occasional copper elements within the color blocks. I also need more interspersed copper in the right panel. You know that saying about a woman's work never being done?<br />
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<b><span style="color: #741b47;">TUNE IN NEXT WEEK</span></b><br />
I hope you'll find a post from me.Nancy Natalehttp://www.blogger.com/profile/03325421420384484035noreply@blogger.com2tag:blogger.com,1999:blog-1356384539479896321.post-91361187247877299512014-08-17T00:48:00.000-04:002014-08-17T00:48:28.330-04:00Last Week In The Studio - Part 1: August 17, 2014<div class="separator" style="clear: both; text-align: center;">
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In an effort to get myself to make regular posts, I'm going to try posting weekly reports on what's happening in my studio. I plan to call the posts "LAST WEEK IN THE STUDIO". I'm not sure if I can keep it up, but here's #1 in what I hope will be a series. This one is playing catch up from the week before last. I'll post Part 2 this weekend.<br />
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<span style="color: #4c1130;">WHERE WAS i?</span><br />
At the beginning of July, right after I finished the work for my <a href="http://www.ardengallery.com/gallery-artists/nancy-natale/">Arden Gallery show</a>, I began making two orange and blue panels for another show (to be announced) later in the year. Each panel was 48" H x 36" W. There were four main colors: light blue, medium blue, dark blue and orange. (As I realized afterwards, these are colors that we usually see in the sky everyday so they have a familiar feeling.) I also used some copper pieces to add highlights. (By the way, you can click on the photos to make them even bigger.)<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAOr41CTuBa8YAce3tdmDkenKv4YKdUxJEe-nn7E-YSp1fvALI8Y5G6yijIa3KWZlrJJA_vQwpgqdfA5noRGpKpLAYaPd6YNT1wbZXIKQVEzE3hyaO2SZXDjmUO1W_x75nxUPpbAdENx8/s1600/o+&+b+head+on.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAOr41CTuBa8YAce3tdmDkenKv4YKdUxJEe-nn7E-YSp1fvALI8Y5G6yijIa3KWZlrJJA_vQwpgqdfA5noRGpKpLAYaPd6YNT1wbZXIKQVEzE3hyaO2SZXDjmUO1W_x75nxUPpbAdENx8/s1600/o+&+b+head+on.jpg" height="406" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here are the first two panels before their finishing coat of encaustic paint.</td></tr>
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I made pretty basic geometric layouts on each of them and thought I was way ahead of schedule, but I ran into trouble after I painted the final coat of encaustic on the first panel.<br />
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<span style="color: #4c1130;">UH-OH!</span><br />
When I painted the first panel, I used encaustic paint that was pretty much the same color as that of the individual elements. This resulted in the elements losing their individual importance and sort of visually sinking into a block of color. I did not like it. My motto is more: "Gritty, not Pretty," and this was too pretty and static looking for me. So my choice was either to paint the second panel with the same colors or to paint it all one color and give up the idea of showing the two panels together. After some agonizing and kicking myself, I chose the second course.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLyGbWwWW9skUyLmsnN2IH1c35zRKHDnsjd55l2O2Y7vTvph38AWYrmHXSRs5pK8orExD_4KfJcqcWAF96blf9kaq_HxOJTlF8DjKx7luIuWrvHwXCvxJIOtP6QCepqEHCLx0nEjYKyXQ/s1600/Comparison+of+two+painted+works.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLyGbWwWW9skUyLmsnN2IH1c35zRKHDnsjd55l2O2Y7vTvph38AWYrmHXSRs5pK8orExD_4KfJcqcWAF96blf9kaq_HxOJTlF8DjKx7luIuWrvHwXCvxJIOtP6QCepqEHCLx0nEjYKyXQ/s1600/Comparison+of+two+painted+works.jpg" height="408" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here are the first two painted panels, with the four different encaustic colors on the left and the one <br />
dark blue paint on the right. You can see how the elements are more distinct on the right panel.<br />
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This was where I left off last week. I had one completed panel and had to make another one to go with it.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK1ucDFMnA4ZTueys61ye1jlk_y6HJh0Vzs5oabWiwluCKW1lKIBbE1WswoQwb2HmW0oydnKbG-tlbaFrFmKuKfCww4MycWFBGLEalUZIMpbpygy3WI1UP3D0bCQ7d9iATUiGdYp_hY8s/s1600/Single+blue+&+orange+painted+with+dark+paint.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK1ucDFMnA4ZTueys61ye1jlk_y6HJh0Vzs5oabWiwluCKW1lKIBbE1WswoQwb2HmW0oydnKbG-tlbaFrFmKuKfCww4MycWFBGLEalUZIMpbpygy3WI1UP3D0bCQ7d9iATUiGdYp_hY8s/s1600/Single+blue+&+orange+painted+with+dark+paint.jpg" height="640" width="490" /></a></div>
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This piece was finished except for fusing the final coat of encaustic and giving a final coat of paint to the sides. However, it did not stay that way, as you will see in the next blog post.<br />
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<span style="color: #4c1130;">To be continued...</span><br />
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Nancy Natalehttp://www.blogger.com/profile/03325421420384484035noreply@blogger.com4tag:blogger.com,1999:blog-1356384539479896321.post-13952070128871575062014-08-10T21:49:00.000-04:002014-08-10T21:49:03.178-04:00"Reflections and Shadows" at Arden Gallery, Boston<i>NOTE: I am starting NEW ART IN THE STUDIO because I wanted to change the blog layout without affecting all the posts in the original Art in the Studio blog that I began in 2008. If you want to read some of those posts, here is the <a href="http://artinthestudio.blogspot.com/">link</a>.</i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5nLoMvJGmLLBU1wWFHugr3sdphhUgIGhEa9qqJrLA2MHw_HyFixdUGySZuMHMunv7s3WrZ8SGSTPyOKCpE4YwZo-csv6EzlgrqI3KIoSKHC3Cy4WA26r90eBruKEqdrEhXOohoi379p4/s1600/Cropped+Selfie+with+Red+Pair.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5nLoMvJGmLLBU1wWFHugr3sdphhUgIGhEa9qqJrLA2MHw_HyFixdUGySZuMHMunv7s3WrZ8SGSTPyOKCpE4YwZo-csv6EzlgrqI3KIoSKHC3Cy4WA26r90eBruKEqdrEhXOohoi379p4/s1600/Cropped+Selfie+with+Red+Pair.jpg" height="356" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here I am at Arden Gallery with the somewhat distorted "Red Pair." I look like I just had a Hollywood facial, but I think it was the lighting. (iPhone photo by Greg Wright)</td></tr>
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<h3>
<span style="color: #0b5394;"><b><i>Reflections and Shadows</i></b> at <a href="http://www.ardengallery.com/gallery-artists/nancy-natale/">Arden Gallery</a>, Boston, August 5 - 30</span></h3>
Arden Gallery is presenting a small solo show of my work during the month of August. Here are a few images of the installation and of the work in process in my studio.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6LDQLitsUXd738pA_qYefJOIG070MeXw5LyV7jldi1cwQZndajn9ScR3tPx-Aj4MoAJ8SMwEIxOWpjq6sphzjw4mH-xiSawT93Fvua2fu_PgTtxdjtb5lgYDr47JUArjXvasEIcaFsnc/s1600/Arden+8-14+red+blue+300.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6LDQLitsUXd738pA_qYefJOIG070MeXw5LyV7jldi1cwQZndajn9ScR3tPx-Aj4MoAJ8SMwEIxOWpjq6sphzjw4mH-xiSawT93Fvua2fu_PgTtxdjtb5lgYDr47JUArjXvasEIcaFsnc/s1600/Arden+8-14+red+blue+300.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Installation shot at Arden: Left are the <i>Red Pair, Cugat</i> on left and <i>Montalban </i>on right, each 24" x 24". <br />
Painting on the right is <i>Shimmer</i>, 48" x 36". (The sculpture in the center is by Michelle Knox.)</td></tr>
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<h4>
About My Work </h4>
First of all, about my work in general: I am drawn to making order out of chaos and that order usually takes a geometric form. I love juxtaposition, materiality, color, and the challenge of compositional problems.<br />
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A few years ago I began a series I called The Running Stitch because of the strong horizontal organization that reminded me of the way small stitches appear on a textile. Instead of sewing, I construct this work with elements that I cut from various found and prepared materials such as: books, record albums, packaging, treated metal, rubber, and paintings on cardstock that I prepare for the purpose or recycle from old works on paper. I attach the elements to wooden panels using tacks, hundreds of tacks. Yes, I had a grandfather who was a blacksmith. Did I inherit the blacksmith gene? I have my suspicions.<br />
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I began thinking of this series as a collection of memories, organized not consecutively or to relate a narrative, but rather as strokes of paint on a canvas. Memory jumps around sometimes and juxtaposes yesterday's movie with the crush you had on a movie star at age 12. I like surprises, weird combinations, hidden text, and lush color. My medium of choice, in addition to the elements, is encaustic paint, applied to the work in a liquid state and then fused to the panel with a heated tool called a shoe.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip-RtX1aK_1-B0xdjHKG6AydmTOYUusV8p_tr7fkAsCdXhAsGKLmx_oGFy-IbS_LPMjagRB7FdKqQ5v7kp6u2pqEwVqrNZDeWVNrisCgwny2EuzO4H9vklOPoUlmQHlGXMbmHPS4xsUYQ/s1600/shimmer+in+progress.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip-RtX1aK_1-B0xdjHKG6AydmTOYUusV8p_tr7fkAsCdXhAsGKLmx_oGFy-IbS_LPMjagRB7FdKqQ5v7kp6u2pqEwVqrNZDeWVNrisCgwny2EuzO4H9vklOPoUlmQHlGXMbmHPS4xsUYQ/s1600/shimmer+in+progress.JPG" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Shimmer </i>in progress: decisions, decisions.</td></tr>
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<h4>
How I Work</h4>
When I think about making a new work, I usually think COLOR first. I have bags of elements stored in the studio by color and I have bins of old books also sorted by color. If and when I need more of a particular color, I make paintings using ink and encaustic gesso that I will cut up as needed.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVnK4u_jndDhTyme4aHIopq7ziQUAJdJJUIDUqLXTlFf8mYzDp1M719ebK_bbup_ULsiony7-J2CBNcMfAREF8JTqSTk9u_95VRQCioiSnq1z_O2vC3g1VGohOlVBruPMEqCgwi_F287U/s1600/painting+for+shimmer.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVnK4u_jndDhTyme4aHIopq7ziQUAJdJJUIDUqLXTlFf8mYzDp1M719ebK_bbup_ULsiony7-J2CBNcMfAREF8JTqSTk9u_95VRQCioiSnq1z_O2vC3g1VGohOlVBruPMEqCgwi_F287U/s1600/painting+for+shimmer.JPG" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A painting I made to be cut up and used in <i>Shimmer</i></td></tr>
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Making work for this show began right after I returned from the Encaustic Conference in June. Trying to catch up with everything and get back in the studio groove was a little tough but I managed.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO1Rm5sxeJ9hfqBhDx9rnIOkArrEzTolRvTCr0_ZMgizui7bKcz-fa6YLxPOdLuPo6u5p0tNLRSfHbcBth57850OcLPwvTDUDdcCguWwJhuMu-N7m9wyxq3V99geTmjhMBgvHt0x9ZmGo/s1600/blue+man+in+shimmer.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO1Rm5sxeJ9hfqBhDx9rnIOkArrEzTolRvTCr0_ZMgizui7bKcz-fa6YLxPOdLuPo6u5p0tNLRSfHbcBth57850OcLPwvTDUDdcCguWwJhuMu-N7m9wyxq3V99geTmjhMBgvHt0x9ZmGo/s1600/blue+man+in+shimmer.JPG" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A little surprise in <i>Shimmer</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTKBj6r29i5CZxx_LfDYpaX6TFX4zgdv-TaJy9bcNO6K85n98OyIA4WJQNhaSXHOOcFnrUIAyTcUBBNU0cHGX05XZrDUopRpxhbhthPraDrhBmlhW71qN18JPOWjoDfiMTxw1V8OBuTtM/s1600/Arden+8-14+blue+++green+300.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTKBj6r29i5CZxx_LfDYpaX6TFX4zgdv-TaJy9bcNO6K85n98OyIA4WJQNhaSXHOOcFnrUIAyTcUBBNU0cHGX05XZrDUopRpxhbhthPraDrhBmlhW71qN18JPOWjoDfiMTxw1V8OBuTtM/s1600/Arden+8-14+blue+++green+300.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Installation shot at Arden Gallery, <i>Shimmer </i>left and <i>All Good Intentions</i>, 2013, 30" x 30" at right.</td></tr>
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Here is a professional photo of Shimmer that shows more detail.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJPXDpS0hOWsGP_Kpa4qeQTm9fSMv-Vi8XFNA2wdxmFq1v_OUFOnXXSSib-EtE7PXSPHT2DOP-CRzYpuTy3Q-FF9auS5UZPpIkuRUmc0dX39R17EaKa_t011PFE7OsrGQW_iCXRKrJHHw/s1600/Shimmer_180_6x4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJPXDpS0hOWsGP_Kpa4qeQTm9fSMv-Vi8XFNA2wdxmFq1v_OUFOnXXSSib-EtE7PXSPHT2DOP-CRzYpuTy3Q-FF9auS5UZPpIkuRUmc0dX39R17EaKa_t011PFE7OsrGQW_iCXRKrJHHw/s1600/Shimmer_180_6x4.jpg" height="640" width="482" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Shimmer</i>, 2014, 48" x 36". Photographed by <a href="http://johnpolakphotography.com/pb/wp_c7b2dd37/wp_c7b2dd37.html">John Polak Photography</a>.</td></tr>
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After a marathon session of hammering tacks on this piece, I bought a new lighter weight hammer. It's made a big difference to my arm and my stamina.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8kJuzU1nLphd1xPH2hDoLGHROzZEqXR1xaOgIsQePcV5W3MPznmnGzgTxLQmabaSdhEf6FNexjvgDEErcRl7nF9CPUPaj5dIaHDSfyTWuswrPZ8_eZTyVj4qu5iaOEWoKPbnud4vJsPk/s1600/hammers.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8kJuzU1nLphd1xPH2hDoLGHROzZEqXR1xaOgIsQePcV5W3MPznmnGzgTxLQmabaSdhEf6FNexjvgDEErcRl7nF9CPUPaj5dIaHDSfyTWuswrPZ8_eZTyVj4qu5iaOEWoKPbnud4vJsPk/s1600/hammers.JPG" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Old one inherited from my father on left and new, lightweight one on left - <br />
on top of some paintings made for <i>Shimmer</i>.</td></tr>
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<h4>
Green Shade</h4>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpK59d-pCA2Jl1UVcsGhJGmCScgNCWibZWHCGcaqFOc0Rd8lB-B515O7KgWh_pY1VUe6haFSLpIc5glxKsCEE_K6bYfaeTwja4ftPzpPSuNLMEA6buo1W-eJQnsLd_UmZKeVTv0klow-4/s1600/GreenShade_180_6x6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpK59d-pCA2Jl1UVcsGhJGmCScgNCWibZWHCGcaqFOc0Rd8lB-B515O7KgWh_pY1VUe6haFSLpIc5glxKsCEE_K6bYfaeTwja4ftPzpPSuNLMEA6buo1W-eJQnsLd_UmZKeVTv0klow-4/s1600/GreenShade_180_6x6.jpg" height="640" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Green Shade</i>, 2014, 36" x 36"</td></tr>
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This green one was the next piece I made. I always like to put in a secondary color, in this case turquoise, along with the main focus. There are also slices of copper in this that reflect the light.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGj1RiThPd6zbjtPR7DEN_w3GwsowlltctxOe5oCxZQp8siM8AE9sDwM2kQm23ayIxr2z0wWF7OeLho3LscMzRVlrYh69PJ67RNxtKIwsdricrIu_h_6_mHbT_kP_XuvLKIIfk398zr8A/s1600/green+man+in+green+shade.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGj1RiThPd6zbjtPR7DEN_w3GwsowlltctxOe5oCxZQp8siM8AE9sDwM2kQm23ayIxr2z0wWF7OeLho3LscMzRVlrYh69PJ67RNxtKIwsdricrIu_h_6_mHbT_kP_XuvLKIIfk398zr8A/s1600/green+man+in+green+shade.JPG" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A little air freshener guy waiting for some tacks and paint in <i>Green Shade</i>.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq3za0Tru9sThzAZozTAFK1oLLc6h_BtiDk_PpQsNCheGlNQfl2e9x_m-qwl2_LH5eI6jrGHXLQZvMtKOYi8F9pyGoDRFSNEcUej0bsiqZq-hzqO5R6rIcLnAw7zdr5VrAHXsxbfesHRk/s1600/Arden+8-14+smalls+++green+300.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq3za0Tru9sThzAZozTAFK1oLLc6h_BtiDk_PpQsNCheGlNQfl2e9x_m-qwl2_LH5eI6jrGHXLQZvMtKOYi8F9pyGoDRFSNEcUej0bsiqZq-hzqO5R6rIcLnAw7zdr5VrAHXsxbfesHRk/s1600/Arden+8-14+smalls+++green+300.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here is <i>Green Shade</i> in the Arden installation on their lovely brown walls that seem to go with everything. <br />
The three small pieces on the left were painted earlier this year.</td></tr>
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<h4>
The <i>Red Pair</i>, <i>Cugat </i>and <i>Montalban</i></h4>
Bringing you full circle in my blog post and creative process, we arrive at the <i>Red Pair</i>, the last works I made for the Arden show.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO4_KY2-V-2cHeKq2tv0hs3rn2u1qt83FgRhFG6CAXxMsKHzMKSBndyFsL2NIUFaOvRF7Xp3SCZomiH-lsqUUfXBf9OmXuMzc5YGQPLVI391wGiwElubWhDd3NoFa2KczeYUbHkQgXciY/s1600/very+beginning+of+red+pair.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO4_KY2-V-2cHeKq2tv0hs3rn2u1qt83FgRhFG6CAXxMsKHzMKSBndyFsL2NIUFaOvRF7Xp3SCZomiH-lsqUUfXBf9OmXuMzc5YGQPLVI391wGiwElubWhDd3NoFa2KczeYUbHkQgXciY/s1600/very+beginning+of+red+pair.JPG" height="640" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here you see <i>Shimmer </i>and <i>Green Shade </i>hanging on the wall in my studio and the two <br />
gessoed panels that became the <i>Red Pair</i> in the foreground on the table.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCz_Pt9uGfamC59X0AmAP50ydKm9l1-6ZYYRCvpQumhARgL1iLBLk6kLriYrqQEseWCCQAKUAroP4ATd4VBnPcT4KgZJsVwfwzonC_xmi7QfL4Dku54BfPtzUIZ_3DeDbJewujuJj0OoQ/s1600/red+pair+in+progress.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCz_Pt9uGfamC59X0AmAP50ydKm9l1-6ZYYRCvpQumhARgL1iLBLk6kLriYrqQEseWCCQAKUAroP4ATd4VBnPcT4KgZJsVwfwzonC_xmi7QfL4Dku54BfPtzUIZ_3DeDbJewujuJj0OoQ/s1600/red+pair+in+progress.JPG" height="640" width="522" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Some of the elements laid out for these works. I was lucky to find two good Latin album covers<br />
in my stash - one by Xavier Cugat and the other by Ricardo Montalban. - lots of red.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSONgtoFC38ZAeU_v7ybikVjP_ceiggb0UjDh0nwxtZCkdFBtn9QS2spWWw8H0EARibemGe_BBYqC96LrByWH6YhnoK2zG5elKGIhbMd8hbNReX6ovo1pHPv3r4M4aaWuVLPxjBtY3ahk/s1600/Red+Pair+180+for+web+front+900+wode.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSONgtoFC38ZAeU_v7ybikVjP_ceiggb0UjDh0nwxtZCkdFBtn9QS2spWWw8H0EARibemGe_BBYqC96LrByWH6YhnoK2zG5elKGIhbMd8hbNReX6ovo1pHPv3r4M4aaWuVLPxjBtY3ahk/s1600/Red+Pair+180+for+web+front+900+wode.jpg" height="322" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The official portrait of <i>Montalban </i>and <i>Cugat, </i>each 24" x 24".</td></tr>
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I am hopeful that I will resume regular posts again in this new blog. I usually take on a post as if it were a graded assignment, but maybe I can ease up on myself a bit and feel free to omit the essay and concentrate on the images. I hope you will be there with me!<br />
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<br />Nancy Natalehttp://www.blogger.com/profile/03325421420384484035noreply@blogger.com2