Living the artist’s life

John Quincy Adams Ward, 1887 Pach Brothers/Archives of American Art/Smithsonian Institution

For centuries artists have been confronted with the fundamental question of how to provide for physical necessities. Few occupations have the potential for so little monetary compensation in proportion to what the person offers up. Himself. After all, if art is to be good, it requires emotional and physical commitment. But creating good art does not guarantee that the artist will not have to worry about the basic necessities of life. By the time you “make it”, if you ever do, it’s not before many hours and materials have been invested.  Because of this conundrum, artists have long been attracted to sketchy neighborhoods where rent is cheap and the landlord won’t complain about the property being “vandalized”. I admit, I used to fantasize sometimes about living in Greenwhich Village when I was a kid. There is a certain romanticism about creating art amidst the grit and grime of a bustling city

New York Magazine had a write up on their website with a wonderful slideshow, showing the digs of artists over the decades that made New York City their home.  Often, they went without heat and hot water and lived in buildings that would normally be deemed unsafe for habitation.  All for the sake of the artist’s life: To live to create.

The Artist’s Life: Close Up

Joe Fig examines the artist’s life close up in his book, Inside the Painters Studio. I’ve checked the book out at the library twice and it’s fascinating to see the materials, works-in-progress and whether or not an artist is neat or messy. What’s even more impressive, is Joe Fig’s own work. His miniature table sculptures of the different artists he has interviewed are so detailed, you forget you’re looking at a replica.

Ryan McGinness 12.5"x17.5"x17" Joefig.com

Chuck Close 24"x31"x42" joefig.com

Photography that changes lives

 

 

I came across Echwalu Photography on the freshly pressed page here on WordPress.com and I was immediately drawn in by the high resolution, candid shots. Echwalu is a freelance photographer with Reuters who chronicles his travels to Uganda. Every photograph tells a story and sometimes the stories are hard to imagine.  Echwalu makes an effort to help the people whose personal stories he tells to the world, by offering readers the opportunity to make donations. I was particularly drawn in by the story of Abwot Nancy . She was abducted when she was 7 years old and forced to live with a cruel man as her husband. Her and other girls who were abducted were forced to carry guns, steal and do unimaginable things, otherwise they would be killed.  A few years later, Abwot was able to escape during fighting. But not without suffering a gunshot wound to her lower lip.  Because of donations from readers, Abwot will have the sewing machine that she needs to make money as a tailor.

Alternate Worlds: Interview with environmental concept artist, Noah Bradley

Did you go to art school? How has it influenced your work?

Art schools, actually. RISD & VCU, mainly (I graduated from the latter). Art school definitely had an influence on my work… but I would say that it was more a time of personal exploration and growth than one of following a curriculum to success. I see far too many art students going to school and doing the assignment, expecting to come out of it with all the skills to make it as an artist. You have to study on your own and make it happen for yourself. It ain’t easy, but it’s definitely possible.

How long did it take you to decide what kind of art you wanted to make?

Quite a while! For a long time I wanted to do character concept art, like everyone else out there. But a couple years I took a shot at doing environments and discovered–much to my own great surprise–that I loved it. There was a fullfillment in doing environment paintings that I hadn’t found in character work. I stuck with it and before long I had gotten to a professional level with them. Now they’re all I get hired for (though I am working to expand a bit).

Do you have a creative process?

Definitely, though it does change a bit, as needed. Nearly everything starts in the sketchbook as a messy thumbnail, then a full-color sketch in Photoshop (which could probably be called a speed painting in all reality), and lastly a finished painting. Sometimes I skimp on the prep work for a piece, but I usually end up kicking myself for that. It helps to have a solid foundation to build a picture off of.

What inspires you?

A lot. Nature, artists, movies (I love movies), books, etc. Oh, and student loans. Those things inspire the hell out of me.

Who are your favorite artists?

Albert Bierstadt, Thomas Moran, George Inness, Sargent, Rubens, Rembrandt, and so on and so forth forever. And that’s only the dead guys. Don’t get me started on all of the living artists that are way better than me.

Do you have any artistic goals?

To be the best artist I can possibly be. I have more tangible goals as well, of course. In the short term, I’m looking to return to traditional media for my professional work. I get tired of sitting in front of a computer all day and I miss the feel of a paintbrush in my hand.

A single artistic tool you would take with you to a desert Island, excluding a computer

Pencil & paper. Nothing quite like it.

Do you have any advice for aspiring artists?

Work really, really, insanely, ridiculously absurdly hard. Be smart. Don’t neglect the business side of art. Don’t aim for the bottom of the industry–shoot for the very top. Have a phenomenal portfolio and show it to the right people. Oh, and have fun.

What are your favorite online resources?

Too many to count. I’m active on ConceptArt.org, so I have to plug that. There are also hundreds of other blogs I follow which provide me with daily information and inspiration.

See more on Noah’s website 

September 11th: art, artifacts and remembrance

On September 11th, I was living  in Raleigh, North Carolina,  just waking up, with sleep still in my eyes. The phone rang. It was my mother in Upstate New York telling me that there was a plane sticking out of one of the World Trade Towers. I thought it was a small plane and turned on the t.v in time to see the second plane hit the second tower. It was hard to sleep after seeing the towers come down and imagining the horror and loss many people experienced that day.

It’s an understatement to say that our lives have changed since then. We adapted as humans tend to do. But not without the realization that a certain innocence was lost and it would never be recovered.

I didn’t want to write anything about September 11th, but reading the news and browsing the web at the end of my day, I came across some interesting examples of how people have used artistic expression to cope with profound lost.

Amalie Flynn was just blocks from the twin towers when they were attacked. Last year, on September 11th 2010, she embarked on a writing project that would end of the same day the following year. Everyday she posted her poetic and sobering reflections on her experience during that tragic day.

The New York Times interviewed 8 artists of various disciplines about how 9/11 has affected and informed their work.

The Smithsonian Institute provided visitors with a close up view of 9/11 artifacts that were recovered from the sites of the terror attacks. Common items like seat belts, a squeegee used to break through drywall and a cell phone used by then Mayor of New York City, Rudy Guiliani, were sobering reminders that unimaginable had really happened.

The 9/11 Digital Archive has a collection of media from 9/11, including stories, images, emails, documents, sounds and videos. In 2003, The Library of Congress accepted the digital archive into its collection, insuring its preservation.

Smithsonian Museum Day: Go to the museum for free and get inspired

High Museum of art, Image courtesy of http://www.iald.org

Growing up  in New York City I had the fortune of taking many class trips to the Museum.  I remember seeing a mixed media piece at the Whitney Museum when I was around 10 or so. I didn’t know people made things like that and were recognized as artists. It made an indelible impression on my already creative mind.

Where I live in Atlanta, The High Museum has a free day every first Saturday of the month.  Once, I was able to see a Monet exhibition, which was only for patrons who purchased tickets, because we came right before closing. When you see Monet in person, you understand why he is such a celebrated artist. Art must be experienced, to be truly appreciated.

On September 24th, 2011 The Smithsonian will be sponsoring a free museum day. Thousands of museums all over the country will be participating. If y0ur pockets are not so deep these days, this is the time to go and experience celebrated and respected art and artifacts of history. You even get to bring one guest along.  Visit the Smithsonian site and look up your state and city and find out what museums are participating. Once you register your email address, the printable ticket will be sent to your inbox. Go get inspired!

Salvage Art: Wow to cows

Miina Akkijyrkka  is not just a name that’s hard to pronounce. It’s the name of a Finnish sculpture who seems to have a thing for cows. I came across her work on another blog and I just had to share. I’m absolutely gaga over anything re-purposed and recycled.  What amazes me even more is the scale of her work.

Unbelievable art: Seeing is not always believing

Do you always believe what you see? I saw this program a few weeks ago on how human beings see and how this knowledge aids illusionists. We really see with our brains more than our eyes. Our eyes feed a bit of information to our brains and then our brains make up the rest.  So it might be more accurate to say that, “Believing is seeing.” We see what we expect to see.

These artists have succeeded in creating alternate worlds that trick the human mind into believing.

Alexa Meade

I first discovered Alexa Meade on Flickr and I was blown away by her paintings.  She takes realism out of it’s box and paints a human model in acrylic.  My favorite part of what she does are the installations and public appearances when people are able to come into contact with this live art.

Ron Mueck

Ron Mueck is an Australian born hyper-realistic sculpture. Hyper-realism looks like what it sounds like; Even more real, then real.

Ron Mueck

Kurt Wenner

Kurt Wenner is an Artist and Architect who invented the art form known as 3-D street painting. He was inspired by anamorphism, a technique used in frescoed ceilings to create the illusion of height and depth.

Kurt Wenner

Candid art: Peering into a child’s world

Remember your childhood bedroom? Whether you were fortunate enough to have your own, or shared space with siblings, your room was your own personal kingdom. The only place in the world you could call the shots and even make up your own arbitrary rules.  One could learn a lot about a child by looking at their bedroom. James Mollison thought so too. He spent over 3 years photographing where children sleep, from rural Africa to posh 5th avenue.  Some children were desperately poor, even homeless. But this photographic journal allows the viewer to connect with a child and perhaps think of their own childhood or children or perhaps,  just of their own humanity.

Making a mark: Interview with artist, David Collier

Bob Dylan

When did you first know you were an artist?

In the past I was uncomfortable with that title. I think it took until my third year of art school before I fully realized my passion was for the visual arts, and it was something I wanted to devote all my energy into. That was when I became an artist. Although looking back, I think I was considered an artist by others long before that, even in elementary school as the kid who was always drawing.

Did you go to art school? If so, what was the most valuable thing you learned?

I attended the Nova Scotia College of Art and Design University (NSCADU), graduating in 2006 with a Bachelor of Fine Arts, Minor in Drawing. Of all the valuable things that I learned during my time there, the most important thing was to constantly challenge myself with experimentation. Experimenting with ideas and mark-making became essential to my development and confidence.

Narrative

How long did it take to prepare for your first exhibition?

My first exhibition was my solo Grad Exhibition at NSCADU.  The exhibition consisted of four large abstract mixed media pieces that were created over a period of about a year. There were also several busy weeks leading up to opening night, involving printing and distributing invitations, preparing refreshments, and finalizing any details on my pieces.

Do you have a creative process?

Not specifically. Lately I’ve been working towards a representational body of work, so I’ve been obsessively collecting source images from wherever I can find them, to eventually compile, collage, and sketch out a composition. Sometimes a piece can be realized immediately, but lately I’m requiring a greater amount of time to develop pieces, which I think is a product of tackling more serious subject matter.

Mike Duke

How would you describe your work?

My work varies from one series to another, so I have difficulty categorizing it. At art school I had a strong interest in texture and abstraction, influenced by the natural patterns of entropy. I’ve also done a lot of figurative works, from simple line drawings, to more complicated, layered mixed media pieces. Some of it could be described as illustration, while my mixed media pieces are more textured visually, with a broader variety of mark-making and are more at home in a fine arts setting/gallery.
What inspires you?

I’m inspired by everything and anything: nature, people, conversations, books, history, music, and other artists producing really engaging work.  I absorb as much as I can, process it, and take what I need. Being around other artists, discussing art, discussing color, discussing ideas is something that makes me want to jump into my studio get busy. I also feel that art is a valuable tool for social change, and could and should be used to educate and inform an audience. That being said, I’ve recently been inspired by an exposure to a variety of social issues (consumerism, war, political accountability, and environmental issues), and am attempting to address them in a new body of work.

Andy Warhol

Who are your favorite artists?

Ed Pien, Kris Kuksi, John Copeland, Angela Grossman, Graeme Patterson, Eaun Uglow, Jenny Saville, Osvaldo Ramirez Castillo….there’s plenty of others too, it depends who I’m looking at or what’s going on in my life. I’m sometimes equally inspired by artists in other fields, authors, musicians, and film makers.

Do you have any artistic goals?

It would be wonderful to support myself through my art, but I’ve realized that the art community is very competitive, and unfortunately often commercially-driven and not very transparent. I will always be producing art, and know that there will always be an audience who truly appreciate what I’m trying to do. For now, that’s enough.

Evening Towers

What advice would you give to aspiring artists trying to make it?

Be prolific. Go to art openings, go to artist talks, become involved, volunteer, do whatever it takes to participate in your local art community; you’d be surprised at the people you’ll meet, and the opportunities it’ll open.

Find David’s work in his Etsy Shop, and also his website: www.davidcollier.ca.

Art on the edge of insanity: Molly Crabapple’s week in hell

 

I believe some of the best art is the kind that involves the public. I found Molly Crabapple’s project on kickstarter.com and now I’m sorry I didn’t contribute before it became fully funded. Molly will be locking herself in a New York City hotel room for one week , where each wall will be covered with paper.  Her task will be spend each day, covering the walls with drawings, pushing her mind, body and over 200 sharpies markers to the limit. Contributors get to watch a live streaming video of the art experiment that will take place sometime in September 2011. More generous contributors will even get to own an original piece cut from the final work, up to 30×132 inches. Crabapple is also partnering with a filmmaker and a  documentary  will be in the works.

frustrated with the traditional and extremely rigid route of grant-seeking in the art world, Crabapple decided to make her art more accessible and literally get the public involved in funding.  Looking at an artist of her caliber, it’s hard to imagine that she would have trouble getting a foot in the door with arts organizations, but this is often the reality.

The internet is not only changing the way artists interact with patrons, but also how wide their reach is. This opens up so many doors of opportunity for funding projects and building an audience. I would love to see more projects like Crabapple’s, that take place in real time and allow the public to watch art and creativity unfold.

See Molly Crabapple’s work at Mollycrabapple.com