Now showing at the Lost Dog Cafe

Three Musicians -- oils on canvas, 16 x 20 in.
Three Musicians — oils on canvas, 16 x 20 in.

It’s been a couple of years since I last showed at the Lost Dog Cafe in Binghamton, NY. Although it’s awkward for people to look at the art when there are diners at the tables (and there are always diners at the tables in the Lost Dog!), it’s a lovely space, with three distinct exhibit areas, each with a nice hanging system. So this morning I parked my car full of art in front of their door, hauled my goods in, and set to work. This is the last time I’ll exhibit my Unlikely Dance series for a while, I think. But it looks wonderful in the Lost Dog space, as I knew it would, along with a couple of studies for the series and two new dance-themed pieces — The Grove and Three Musicians.

This First Friday night I’ll be in the Lost Dog Lounge holding forth at Meet the Artist (or so I imagine; this will be my very first Meet experience). And this month I’ll have a good excuse to have lunch and perhaps a dinner at the Dog — yummy!

I also have a few pieces in a November group show with the Fine Arts Society of the Southern Tier, at the Krembs Gallery, UHS/Binghamton General Hospital, not shown here.

 

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My work and words, featured in my favorite art supply catalog!

DickBlick2014-15-p17

Well, hot-diggety — my artwork and my endorsement are featured in the new 2014-2015 annual Blick Studio catalog! One of my other pieces was shown, without endorsement, in the Spring 2014 catalog supplement — not too shabby either — but this one’s quite a thrill. Featured is Unlikely Dance: Golden Clouds (30 x 48 in., oil on canvas), and yes, it WAS painted with Blick Oil Colors. I’ve always loved Blick — have dealt with them both personally and professionally for nearly forty years — but now more than ever! Looking forward to receiving it in the mail. (You can request one for yourself, here.)

Blick_spring2014-p68
My painting Morris Dance: Half-Gyp (20 x 16 in., oil on canvas) was shown, without endorsement, in the framing and matting section of the Spring 2014 Blick Studio catalog supplement — not too shabby either!

An emerging new process, and The Joy of Dancing

KwanYin and Chrysanthemums, 20x16 in., oils on canvas
KwanYin and Chrysanthemums, 20×16 in., oils on canvas

Two weeks and two days ago I had eye-muscle surgery. Nothing scarier for an artist than eye surgery, except maybe encroaching blindness. I’ve had this wonky left eye, which tracked upward and to the left of my right eye, since I was a kid. All along there were murmurings about the possibility of corrective surgery, but as time went on either the opthamologist was discouraging it or I was avoiding it. Prism arrangements in my glasses lenses brought the disparate images together, until recently. My optometrist encouraged me to see a specialist about the surgery — for real — because the maxxed-out prisms were no longer adequate to the task and he was concerned that my right eye would lose sight to the dominant and errant left. I’d already lost some depth perception, and had a growing cataract in the right eye. So I did it. Quite a do, and I’m still recovering. My eye is still not tracking quite properly all the time, but the surgeon said it would take six weeks to heal so I’m still hoping it’ll all straighten out. Meanwhile the cataract in the right eye has grown significantly in density, so that’s scheduled for surgery in May.

Hasn’t stopped me from painting, however — in fact, I’ve been quite productive. In my last post I talked about a paint-together still life session with Mary Robertson and Jan Wood (just before my surgery), and I’ve finished the painting I started that day, Kwan Yin and Chrysanthemums. Using a process new to me, I painted in semi-transparent glazes (mixed colors thinned with oil/resin medium) over my initial underpainting, saving the lightest lights and darkest darks for last. I love the result. So I started another — Henry and Rebecca — and have worked on a couple of earlier underpainted pieces, Demeter and Rebecca.

Demeter 04 -- almost finished!
Demeter 04 — almost finished!

 

Rebecca 03 -- progress!
Rebecca 03 — progress!

 

Henry and Rebecca 02 -- first color glazes
Henry and Rebecca 02 — first color glazes

These last two had given me problems due to my use of Turpenoid Natural for thinning the paint in the underpainting, but they did finally dry and I’m quite pleased with their progress. I’m close to finishing Demeter, thanks to a lovely paint-together session at Mary’s studio today.

This painting in transparent layers over a show-through underpainting has intrigued me for some time, and although I’d tried it before, to a limited extent, I’m finding it really freeing as an overall technique, That, plus saving the lightest lights and darkest darks for last — a lesson from John Singer Sargent — and I’m in a whole different ballfield than before: one I like a lot.

Meanwhile, my first long drive alone since surgery was the hundred-mile trip to Ithaca and back, to help take down the Joy of Dancing exhibit at the Tompkins County Public Library, where my Unlikely Dance series was the cornerstone. What a wonderful space, and wonderful show. My thanks once again to Sally Grubb, Scottish Country and contra dancer, exhibit coordinator at TCPL, and curator of this show. I got some photos before we disassembled it. A wonderful review of the show is here.

To Be Published… Soon!

Morris 1: Half-Gyp is one of the images requested by both Blick and Vestal Life. 20 x 16 in., oils on canvas
Morris 1: Half-Gyp is one of the images requested by both Blick and Vestal Life. 20 x 16 in., oils on canvas. It will be in my December show at RiverRead Books, 5 Court St., Binghamton

Through entirely separate channels, my work is soon to be published in two different commercial venues.

Vestal Life Magazine
Vestal Life Magazine

The first is Vestal Life, a full-color ad-supported magazine put out by a Philadelphia-area publisher.

Their publication manager called the Broome County Arts Council, who suggested a story on my Unlikely Dance project and the exhibit in the gallery space there — so I’ve sent a write-up and photos to VL for the December issue. (What a great support system BCAC is for their members.)

Sample page from Dick Blick
Sample page from a Blick catalog — this is a treatment similar to what I’ll get in the spring catalog.

Then the creative director for Dick Blick, my longtime favorite mail-order and web-based art supplier, emailed in response to some sort of survey form I’d filled out; in return for an endorsement of their house-brand oil paints (which I use, and ARE great — no problem with that endorsement) my words, artwork, name, and website address will be shown in conjunction with some of their products in their spring catalog supplement. (She requested specific images she’d found on my Fine Art America site.) How cool is THAT?! Very exciting!

Completed Unlikely Dance series premieres at the Broome County Arts Council

Unlikely Dance at BCAC
Unlikely Dance, hung in the small gallery at the Broome County Arts Council

In the days leading up to it, I wasn’t sure I could pull it off, either artistically or socially. I had six large paintings to show for a year and a half of work, but they seemed dwarfed by even the smaller gallery at the Broome County Arts Council. Due to personnel changes at the BCAC I was hanging the show myself, but suddenly felt unequal to the task. Earlier there had been scheduling and communications misunderstandings. And I’m not good at schmoozing. In short, I succeeded in making myself crazy-anxious about November First Friday’s BCAC opening night of Unlikely Dance.

But now November 1 has come and gone, and the opening came off beautifully — well attended despite the many other Binghamton First Friday events happening all over town, fun, and yes, I believe I was reasonably socially adept. There were old friends, newer friends, Facebook followers, family members, the director of the funding foundation, and some simply interested people I’d never met before; there were dancers who’d been my models, dancers who knew my models, a high school friend/classmate I hadn’t seen since then, models I’ve drawn at the Windsor figure drawing sessions, supportive artist friends, and my GP doc.

Ballyclare dancers at the opening
Several of the Ballyclare Irish Dancers showed up, and wanted a photo with “their” painting. Photo courtesy of Sharon Ball / BCAC
My husband Leo heeded my call for chips and salsa and showed up in the nick of time to save the day, keeping the food table from going bare (those incredible cookies from the Gallaghers went REALLY fast!).

That morning I’d managed to edit and upload high-res photos of each of the paintings so they were available as prints and cards on my Fine Art America site, and then to put together a handout flyer about myself and the grant, including a hard-copy order form for people not comfortable with shopping online. (I encourage you to order directly from Fine Art America.)

At the suggestion of BCAC director Sharon Ball, I’d matted, framed, and hung some studies for the paintings, and they not only filled out the space but seemed to truly interest onlookers, and sparked a lot of conversation. In fact, one of the small studies is already sold — to a morris dance and Facebook friend who’s been a great support throughout this process. And he made sure to tell me EXACTLY what he liked about each painting. In fact, I was surprised and pleased by the number of people who felt compelled to lead me to their favorite pieces and tell me just what they liked about them. I have always avoided the artists at solo openings — not sure why, but I think I’m afraid I’ll over-participate, or talk about myself rather than their shows — but from now on I’ll try not to draw back like that. I love talking about my work, and I must assume other artists do too.

And did I mention the ego/approval rush of the whole thing? And the ribbon-tied garlic bouquet? And the date-night out afterwards with my sweetie? Yeah, those were really good too.

Next up: two or three new, smaller dance paintings — the start of a new, unfunded series on a recent English Country dance — to round out my December show at RiverRead Books. Then, in January, Unlikely Dance moves on to Ithaca, and from there to the Community Foundation for South Central New York.
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The “Unlikely Dance” project was made possible by a grant from the Artists Fund of the Community Foundation for South Central New York, facilitated by the Broome County Arts Council.

The Unlikely Dance series: finished, and soon to be shown!

Unlikely Dance: Roundabout - 30 x 48 in., oils on canvas
Unlikely Dance: Roundabout – 30 x 48 in., oils on canvas

Finally, I’ve finished the Unlikely Dance series — and what a journey it’s been: a year and a half of learn-as-you go planning and painting! Except for the first one I’ve started each piece with a growing sense of confidence, only to be waylaid by an obstacle or three in the form of illness, competing time demands, technical issues, composition, lighting, line…

In the case of Unlikely Dance: Roundabout, the first issue was naming; I didn’t have the piece finally composed when the call came for a list of exhibit information. Knowing at least what dance figures I was using, I called it “Unlikely Dance: Velveteen,” for the velveteen waistcoats the figures wear. But, unhappy with the provisional visual context, I decided to change from Cutler Gardens to a shoot in downtown Binghamton’s courthouse square, and settled on the new traffic circle as an unlikely — and visually interesting — dance site. The light was wonderful, and shot specifically to match the angle of the sun in the original photos of the figures. So I renamed it “Unlikely Dance: Roundabout,” for a nice dance-like reference. That caused some confusion about the exhibit name… but all is well now, and the show is scheduled to open on First Friday, November 1.

Skintones palette for Roundabout
Skintones palette for Roundabout – warm lights and cool shadows

On the painting end of things, the primary challenge of this piece was the composition, which proved to be overly heavy on the right side. The angles of the figures #2 and #3, the mass of the neoclassical bank building on the right, and the unstable curved line of the traffic circle’s edge all conspired to rotate and lean in that direction; I actually found myself tilting my head when I looked at it. The darker buildings and the cloud formation on the left were meant to counterbalance that effect, but they seemed to be outweighed.

Fortunately, a darkening of left-hand elements, a lightening of the right-hand elements, a few added or revised stabilizing vertical elements (the bank window, the central figure’s spindle, the end of the cloud formation, a subtle color trail in the sky) worked pretty well without spoiling the dynamics. It’s all a lot easier to say than it was to do, but I’m happy with it now.

So: the exhibit! The culminating show of this grant-funded painting project will be in the gallery space at the Broome County Arts Council, 81 State St., Suite 501, in Binghamton. Along with the complete series of finished paintings, I’ll be showing studies and preparatory materials with each piece. Read more about it here!

Now I have to get all those smaller materials matted and framed — and in some cases, ready to show — and get print-quality photos of all the paintings in the series, to post for sale in my online shops in time for the show.

Here’s the progression of “Roundabout” as it went together:


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The “Unlikely Dance” project was made possible by a grant from the Artists Fund of the Community Foundation for South Central New York, facilitated by the Broome County Arts Council.

Down to the wire with Unlikely Dance

Unlikely Dance: Confluence, 30 x 48 in., oils on canvas
Unlikely Dance: Confluence, 30 x 48 in., oils on canvas

My Unlikely Dance grant period is over on November 1; today is October 2, and I have one more painting to do. Yes — it’s deadline time again. In fact, I have a solo show of the completed grant-funded Unlikely Dance series OPENING on November 1 (details on that to come). That means I really have to have this last painting finished by the 24th so it’s dry when I hang the show on the 29th and 30th. Yikes. Work steadily, and hope that everything comes together well — that’s my plan.

It’s the second part of that plan that didn’t work on the piece I just finished (above), and I blame the Pre-Raphaelites. You know the Pre-Raphaelites, that super-sincere, uber-romantic, technically amazing group of 19th century English artists? I’ve loved them since my college days, when my second-generation abstract expressionist instructors were horrified by that forbidden love. I wrote papers on the Pre-Raphs. I collected books on them. I hung prints of their works on my walls. Meanwhile, over the last 15 or 20 years, they’ve become enormously popular in the mainstream. Oh, it’s gorgeous, schlocky stuff, and I still love it. But it’s not where I’m going with my own work. What happened was, after I’d done the underpainting of Unlikely Dance #5 – Confluence – I was unsure of how to proceed with the foliage of the tree, both on the trunk and over the figures. So I pulled an art book from the shelf to consult… a book called “The English Dreamers,” a collection of Pre-Raph and related works.

I’m so easily unconsciously influenced by others’ work I love — it amazes me sometimes. It just happens, somehow — images come off the ends of my brushes, with no conscious thought of the original on my part, that reflect some art I’ve recently seen. (Take for example the Della Francesca-looking face, far right, in Unlikely Dance: Golden Clouds, which appeared just after I’d seen “Piero Della Francesca in America” at the Frick.) So Confluence turned itself into a Pre-Raph imitation: pretty, detailed, and without visual impact of any kind. I loved it — until I suddenly hated it.

I despaired. I combed the internet for clues. I discussed on Facebook. But in the end, I went back to Degas, and then, for some reason, to John Singer Sargent. I own books on Degas, but not on Sargent, so I went to the public library and borrowed a couple. I’ve seen and admired more of his work recently, thanks to a Facebook page called I Require Art, but knew little about him except that he was American, turn-of-the-century (19th to 20th), and had painted Portrait of Madame X, that wonderful profile portrait we had to learn in art history. He was a master of “bravado brushwork,” (his idol, Diego Velazquez, was, as well) and that’s what I was after. Degas was never as consistent as Sargent, so I spent a couple of days perusing Sargent… and it worked. As I posted on my professional page on FB, “Confluence 18 – finished at last! John Singer Sargent certainly had a thing or two to teach me, this time around. Clarified the light source, punched up the contrast, simplified many elements, changed a head. I could go on…”

So now I’ll go on. Here’s what got straightened around:

1. In the first place, I’d made a composition with four equal figures, and that’s a no-no. Three, yes. Five, yes. Not four. I realized that in my previous paintings of four figures, I’d singled out one in some way, so it read as three plus one, rather than four. How to do that here?

The Daughters of Edward Darley Boit, by John Singer Sargent 1882
The Daughters of Edward Darley Boit, by John Singer Sargent 1882

After a couple of days with my library books, I turned back to Sargent’s portrait of four young girls — The Daughters of Edward Darley Boit — and noted how he’d not only singled out the sitting figure for that necessary “three-plus-one” compositional effect, but also set them in varying degrees of light , with one girl barely visible in the shadows.

2. I’d gotten far too detailed and democratic with the tree on the left, and it was a distraction. So I painted a dark glaze, made with a brownish “mother grey,*” over the tree trunk, and then over the foremost figure, which overlapped the tree. This solved the problem of visual clutter, of singling out one of the four figures, AND of the next —

3. My light source wasn’t clearly defined. I had light falling on the back of the left-most figure (#1), on the backs of the two right-most figures (#3 and #4), and on the face of the second-from left figure (#2). The face of figure #4 was also in multi-directional light, and I had dappled light falling through the foliage onto the grass.

My current palette, clockwise from left: titanium white, cadmium yellow light, cadmium yellow medium, cadmium red, alizarin crimson, cobalt violet, ultramarine blue, cobalt blue, viridian, sap green, burnt umber, burnt sienna, raw sienna
My current palette, clockwise from left: titanium white, cadmium yellow light, cadmium yellow medium, cadmium red, alizarin crimson, cobalt violet, ultramarine blue, cobalt blue, viridian, sap green, burnt umber, burnt sienna, raw sienna. *Mother grey is made up of all of these colors mixed together. This preserves and promotes color harmony within the painting.

With the dark glaze on the figure #1 and the tree, one of my light sources went away. With a change of head on figure #4 and a diminution of highlights in the figures’ black dresses, the light became more defined and less ambiguous. And with a slight shading of figure #2’s face, that ambiguity gave way. I also gave the piece more contrast, mostly by making the darks darker — divisions between rocks, the underside of the waterway under the bridge, and the barely-visible rocks under the water on the right.

And I think it all worked. I have impact. I have definition. And I have two weeks left to paint Unlikely Dance: Velveteen! I can do it.

The “Unlikely Dance” project was made possible by a grant from the Artists Fund of the Community Foundation for South Central New York
To follow my progress in Unlikely Dance, just click on the “Unlikely Dance” link under TOPICS, on the left of any page in this blog.

Carousel Day, Two Biennials, and another Unlikely Dance finished

Unlikely Dance: Beethoven Oaks
Unlikely Dance: Beethoven Oaks – 30 x 48 in., oils on canvas

Got a lot to catch up on, here!

I’ve been back to the Roberson Regional twice, but both times was so bowled over by the art I neglected to take photos. I didn’t win any awards, but I’m honored to have work in such a superb show. That’s award enough! The show runs through October.

July 27 was Johnson City Carousel Day, my village festival — instead of setting up for on-the-spot portraits, which seem not to be very popular anymore (I made a living with them when I was in my early twenties), I worked on a demo painting… between tying things down and retrieving things the wind had blown down.

Working on Cutler Maples at Johnson City Carousel Day. Photo courtesy of Darlene Clark Photography
Working on Cutler Maples at Johnson City Carousel Day. Photo courtesy of Darlene Clark Photography
It was a lovely day despite the wind, and again I won two prizes, one each for booth presentation and for my artwork. The demo painting was a lot of fun — I do enjoy teaching, and there was lots of interest. The kids were wonderful — full of questions and very impressed. Some said, “I want to paint too!” so I had to explain that these were grown-up paints, and not safe for kids to use. I’m so grateful for the help and good company of my friends at the next-door FASST (Fine Arts Society of the Southern Tier) booth, and of course for my sweetie, Leo, who fetched and carried and helped put up and take down the tent.

Spurred on by the submission deadline for a themed FASST exhibit at the Broome County Public Library, I finally finished Unlikely Dance: Beethoven Oaks on July 31… JUST in time. In fact it was still a bit tacky in spots when I dropped it off, despite having a fan on it for 48 hours, applying a hairdryer, and using a ton of Liquin drying medium in the last paint applications. It looks marvelous on the wall of that cavernous room. I had to remove it for a day to photograph it for printing, for a customer’s gift request (after editing the heck out of an on-site photoshoot and ending up with an unprintable image).

AND… today I received word that two of my paintings have been accepted for the Northeastern Biennial, in October! They’re Princess Royal and Puppet Parade. (The acceptance of Puppet Parade in particular is a sweet vindication, for me.)

PrincessRoyal, PuppetParade
Accepted for Northeastern Biennial Twenty Thirteen: Princess Royal and Puppet Parade, each 16 x 20 in., oils on canvas


The “Unlikely Dance” project was made possible by a grant from the Artists Fund of the Community Foundation for South Central New York

To follow my progress in Unlikely Dance, just click on the “Unlikely Dance” link under TOPICS, on the left of any page in this blog.

Binghamton July Fest 2013 — what a hoot!

The original art side of my booth
The original art side of my July Fest booth (not shown: cards, prints, and earrings). Photo thanks to Angela Cook.

It’s Wednesday, and I’m just now recovering from last weekend’s July Fest, the 51st year of Binghamton, New York’s downtown music, art, and community festival. What a hoot it was. Not a terribly profitable year for me or for many of those around me — though it was wonderfully so for a couple of my artist friends. But for many of us it’s as much a social and networking occasion as it is a sales venue. There were people from my high school class (FAR too long ago), Facebook friends I’d never actually met before, people who’d bought my work before, and many who hadn’t but loved it.
Artists in Action
“Artists in Action” booths on “Gorgeous” Washington Street – my booth was the third one down on the right. Photo thanks to Patti Schwartz
There were artist-friends and “neighbors” old and new who were both good company and mutually supportive. Dogs and children I adored and/or pitied. An appalling number of very fat people. Stressed-out but accommodating and helpful organizers (including Ron Sall, July Fest coordinator, who is every July Fest artist’s best friend).
Ron Sall (right, in orange shirt)
Ron Sall (right, in orange shirt) is the guy who pulls it all together. He well deserves the 2012 Heart of the Arts Award he received from the Broome County Arts Council! Photo thanks to Patti Schwartz.
The weather was hot, on Friday and Saturday, but brutal on Sunday. I had to leave early on Sunday anyway, due to a timing conflict with the Opening and Awards celebration of the Roberson Regional across the river, and although I hated abandoning my friends and the show, and disappointing Ron as well, I wouldn’t have been able to take the heat for much longer in any event. Thanks again to my volunteer “porters,” a lovely last-minute customer and two old dance friends who helped me haul all my stuff to the car, and of course to my sweet husband who leapt up at my last-minute phone call to come downtown and take my largest painting home separately so it wouldn’t get damaged. That large painting was Unlikely Dance: Entry Hall (visible at right in the photo at the top of the page), which got some rave reviews — including one from Marion Simpson, who is not known to give praise lightly, and another from Nancy Goff, whose own work I so admire. Pretty heady stuff!
Strollers on Court St.
Strollers on Court St. — the city closes three blocks of downtown Court St., plus a block each of cross streets Washington and State, for July Fest. Photo thanks to Patti Schwartz
It was altogether exhausting, and on Monday I was apparently still running on adrenaline when Mary Robertson and I met to re-do our storefront exhibit at 97 Court St. We were — almost literally — bouncing off the walls with laughter and fatigue.
On Tuesday afternoon I fell over for the rest of the day.

Next post on the Roberson Regional opening and show — a remarkable exhibit — but I’ll wait for that until next week, when I’ll have some photos to post.