…… changes happen so fast today the sky seems larger and more luminous river waters are gray then silver and finally blue again fallen leaves protect what is underneath they find their way into my kitchen today, wrapped in a coat I ate my lunch outside one flash of sunlight came and went and the thought of winter made me both happy and sad in the evening I went out on the front deck after…
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Numbering my ACEO art cards was up to a number ending in 13, so instead of creating one ACEO with that number I am doing a mini series of Halloween original collage art cards. I’ve completed the first 6 in this series, and not sure how many I’ll cont…
Continue reading Art of Jillian Crider 2013-10-02 15:13:00
Artist Art Journal Sketchbook Diary 4×6 – Unique, OOAK. Butterfly Inspirational images throughout. I started it – you finish it and make it your own. Butterfly by DreamyPapers, $15.95 This is my 6th journal in this series. https://www.etsy.com/listin…
Continue reading OOAK Butterfly themed Art Journal/Sketchbook. 6th in my series.
Well, they really aren’t mixed together but, they are dancing around on the same journal pages. And, so these journal pages come into being …Some of you have gathered early this year may not be the most comfortable period in my life … readjusting o…
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I made this, especially for other artists. I started it – you ‘complete’ it … an Artist’s Art Journal Sketchbook & Journal/Diary 4×6". Inspirational – recycled and new papers collage flower images from art magazines + many extras and surprises + ACEO blanks. Add or remove pages, depending on your mood or need. Store notes and ideas and sketches/paintings all in one place! Available on
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Leah Oates interviews artist William Crump about his work and process.
Crump comments: “The first thing I do when approaching these paintings, is to try and leave all distraction outside of the studio. It’s about keeping my focus and discipline. There are times when I want to dive in head first, but that can lead to not seeing your work with a critical eye. I spend a lot of time arranging and rearranging the materials I work with until something new happens. Experimenting with new materials has been key for me lately. Cut glass or wrapped linen. The older I get, the more time I spend with my work, I realize I’m not as interested in what the viewer thinks. I remember reading about Albert Oehlen wanting to be taken seriously as the decade changed and his work shifted. That struck a chord with me. If anything is brought into the studio with me it’s just that, ‘Take your work seriously, think about the long road.’ This approach has been more rewarding and has led to a broader exploration in my practice. I just keep trying to push myself, and my ideas into a new place.”
Continue reading William Crump: Interview
My residual retreat memories juggled with my annual birthday collage creates pages in contrast.It was the final day at the retreat when one of my participants began feeling ill. We were blessed to have a retired nurse within our lil’ family group and t…
Continue reading Visits to a Hospital and a Birthday
William Eckhardt Kohler reviews the exhibition Matt Bollinger: Bed on the Floor at Zürcher Studio, New York, on view through April 28, 2013.
Kohler writes that the works in the show (which include an installation and collage works) address “the theme of despair and loss… a slow moving katabasis; the dystopic descent of bottoming out, depression and loss of social standing. Robert Bly, in his book Iron John, calls this the ‘Road of Ashes.’ In mythology katabasis refers to the heroic descent into the Underworld. [Bollinger's] images however are firmly placed within familiar this-worldy narratives and contexts of cheap beer, homelessness chain link fences and empty lots full of rubbish.”
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Michael Spens writes about the exhibition Schwitters In Britain at Tate Britain, London, on view through May 12, 2013.
Spens notes that “the remarkable thing about Kurt Schwitters at the period of major setbacks was his stoicism, which seemed never to fail… Concepts of dislocation however became prevalent in his work… In the core of Kurt Schwitters’ life lay a humanist ethos, expressed in the series of Merzbau, as much as in the sculptures, and as in the minutiae of the collages: reflections on the unpredictability of urban life as much as in the incidental portraits and landscapes and always graced with humility. To revisit the Hutte in Norway is to be reminded of the elemental content in Schwitters’ creativity, of the spirituality of his relation to landscape. The Lake District replicated this environment.”
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