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Research: Links to Articles On How to Simplify

Research, that is to say my investigation and study into what it means to “simplify” a design in drawing and painting.

Building A Knowledge Base.

Hi!  Over the past few months, I’ve been looking for articles on the topic of simplification.  That is, I’ve been trying to find out what simplification is all about.  You see, I figure that if I am to lead a class or workshop on the subject, I ought to have a solid foundation of knowledge.

Research on How to Simplify: Cool Kitty - Variation On A Theme

Article Search.

It hasn’t been easy finding articles.  Rather, the research process has been slow, especially at first.  Sometimes, though, one article leads to another relevant article and, eventually, another.  So, the idea, then, is to plod through and keep looking.

That being said, I have found several references that I like.  In other cases, with books, for example, I can see “simplify” in the index.  But, I have yet to read the all documents.

I Like Research!

And, the fun thing?  Yes, research can be fun.  One gets to expand one’s horizons and meet interesting people through their writings.  Also, the artists represented include realism to abstraction; photography, drawing and painting!

Research Into How To Simplify: Spice Kitty - Variation on a Theme

Links To Articles.

One additional note.  Several of these links have books, online classes, etc.  The purpose is not to advocate or promote the books or classes.  Rather, to share bits of insight on simplification.

So, in not any particular order, here are some links and references to articles on how to simplify.

1.  Mitchell Albala.

Mr. Albala is an artist and instructor working in the Pacific Northwest.

From Mitchell Albala’s blog:  “Any good landscape painting I’ve ever done was also simple”, https://blog.mitchalbala.com/the-not-so-simple-art-of-simplification/

Quote:  The ability to simplify means to eliminate the unnecessary so that the necessary may speak. – Hans Hoffman

From Mitchell Albala’s book, Landscape Painting.  Simplification and Massing: Learn to reduce nature’s complexity by looking beneath the surface of a subject to discover the form’s basic masses and shapes.

Research: How To Simplify: KittyKitty Simplified Pattern

2.  Website:  Composition Study.

Though the purpose of this website is to be a resource for photographers, I think that the information is relevant to any visual artist.  There is one article specifically on simplification: http://compositionstudy.com/simplification/

The author includes a wonderful example of simplification in a black and white photograph.

3.  Johannes Vloothuis.

Via Artistnetwork.com, “5 Art Composition Tips:  How to Simplify a Busy Painting”; useful tips and examples!

4.  The Virtual Instructor.

This short article and video focusing on simplifying by seeing the underlying shape and form of the subject.

Drawing 101 – Simplify For Success.

5.  John Burton: Organizing Chaos.

From Tucson Art Academy On Line, a short video from artist John Burton.   He discusses how he organizes a complex scene.  Its all about seeing shapes; working large to small, and leaving the details to last.  I recommend this short video:  Three Key Steps to Simplifying A Complex Scene.

6.  Keene Wilson.

Mr. Wilson’s article “Design and Composition: Practical Advice for the Advanced Artist” is compilation of notes from the artist on design and composition.  Embedded in the many of the notes are tips on how to enhance and simplify your design.  And, you are rewarded as you read down the page where you find an entire paragraph titled “Simplify”.  This might be an article you want to book mark and come back to!

Research: Variation On A Theme

7.  Miles G. Batts.

One of my favorite artists is Miles G. Batts.  He has a paragraph specifically on simplification on page 68 of  his book “The Complete Guide to Creative Watercolor”.

8.  Linda Kemp.

Another favorite artist, Linda Kemp has a book available titled “Simplifying Design & Color for Artists”.

9.  Tom Hoffman.

An artist I admire from the Pacific Northwest, Mr. Hoffman has a book out plus teaches.  I have not read his book, but I frequent a blog he uses for some of his watercolor classes.  It seems to me that simplification and how to do it are topics imbedded in his instructions.  I find the blog useful.

10.  Frank Eber.

Artist Frank Eber, another fine artist whose work I admire has a blog with several excellent articles that include the subject of simplification.  All are worthy reads and provide insight to the painting process and simplification in particular.

Research on How To Simplify: Variations On A Theme, KittyKitty Red Alert

11.  Mark Alan Anderson, “Just Sketching” Blog.

I like Mr. Anderson’s articles.  To elaborate, I find the practical, accessible and useful.  Its about the practice of drawing and sketching.  So, I’ll list a couple of articles that apply directly to the topic of simplification.

12.  Stephen Berry.

Tip:  Try smaller reference photos, such as from a cell phone. Helps you see the big shapes!  From “10 Tips to Help You Improve On Your Own”.

13.  Me!

Some of my other articles about simplifying:

About The Paintings.

The paintings shown in this article are part of my “KittyKitty” series started in 2009.  One of my favorite ways of doing research, whether or not I want to simplify, is to do a “variation on a theme”.  Put another way, working in series gives the artist an opportunity to see first hand how changes influence design.  Plus, its great fun!

Research Variation On Theme: Totally Modern Kitty

 

#simplify #simplifyyourpainting #watercolorpainting

The post Research: Links to Articles On How to Simplify appeared first on Margaret Stermer-Cox.

Embodiments of Life

Still Life, Gillian Pedersen-Krag

There’s a funny and moving scene in Amadeus where Mozart defends his music for The Marriage of Figaro. His monarch cites good reasons for prohibiting a performance of the story: it’s immoral, degenerate and revolutionary in spirit. (The movie suggests that some might have thought of Mozart’s own personal life in those terms, on occasion.) The king fears that a performance of the opera might inspire insurrection.  France is on the verge of political chaos. Austria worries about the contagion. Yet Mozart dismisses all of these considerations, and his fervor about what he’s done in his composition is entirely about the formal brilliance of his work: the libretto may be subversive, disruptive and potentially violent, but his music is the embodiment of harmony and order. He’s living on an entirely different plane from those around him, playing a glass bead game with notes, striving for transcendent harmonies, merging many voices into one melody, with a passion for conveying nothing more than the quick joy of life itself.

The king: “Figaro is a bad play. It stirs up hatred between the classes.”

Mozart: “Sire, there is nothing like that in the piece. I hate politics. The end of the second act for example. It starts out as a simple duet. Just a husband and wife, quarreling. Suddenly, the wife’s scheming little maid comes in, duet turns into trio. Then the husband’s valet comes in. Trio turns into quartet. Then the stupid old gardener comes in. Quartet turns into quintet. On and on. Sextet, septet, octet. How long do you think I can sustain that, your majesty? Twenty minutes. If that many people talk at the same time, it’s noise. Only opera can do this. But with opera, with music, you can have twenty individuals talking at the same time and it’s not noise, it’s a perfect harmony.

For him, it isn’t what anyone in the opera is saying that matters. What matters is the magic of music’s arithmetic, the way layer upon layer of separate sounds can be woven together into a complete whole—how one becomes two and two becomes three. And of course that’s what endures. No one today who gets goose bumps listening to that opera’s overture cares that it might have sparked a revolution. We’re filled with the bliss of Mozart’s genius, not the libretto’s comically subversive message.

For me, Mozart’s struggle is similar to the struggle of representational painters who realize that they are wrestling with physical materials in an effort to create an image that answers to certain entirely formal needs—and therefore to convey, through perception alone, an awareness that has little to do with imparting ideas or thoughts. The formal qualities work in a way that doesn’t depend on what they can be construed to mean. A painting has little or nothing to say about life; instead, it embodies life directly.

Even without the need to mean something that can be extracted through analysis, representational work faces another challenge. Paint’s abstract qualities—color, value, texture—still need to evoke a roughly recognizable world. Color has to serve representation in a way similar to the way Mozart’s music works with the burden and opportunities of his libretto. (In the movie, Mozart couldn’t care less whether or not his story is vaudeville or Greek tragedy or conventionally meaningful at all; the narrative merely gives him an excuse to channel delight and joy through sound in a purely physical way.)

Having rewatched this movie recently, I was reminded of these polarities when I drove down to Village Gallery in Cazenovia this past weekend to listen to Gillian Pederson-Krag speak for an hour about her painting. I was eager to see her paintings and meet her ever since I’d caught a glimpse of her work in Baltimore a few years ago at an exhibition of perceptual painting curated by Matt Klos. In Annapolis, Pederson-Krag’s painting hung appropriately alongside examples from Rackstraw Downes, Edwin Dickenson, Charles Hawthorne, and many other great painters who worked mostly in a perceptual mode.

On view now at Village Gallery are her latest landscapes and still lifes, a genre in which she has made color her primary concern. With landscape, she somehow, marvelously, uses a much more restricted palette to evoke feeling and intuition from scenes that feel like remembered dreams even as they are also precise representations of either enclosed wooded bowers or expansive beaches that serve as the threshold to endless open space. In both still life and landscape, she does what Fairfield Porter strove to do: depict the world just as it is, while seeming to make it slightly more beautiful. That sounds like a cosmetic procedure, but Porter added a stipulation that a painting is beautiful because it contains a mystery, not because it hews to some pre-conceived notion of what’s lovely. The paradox of this aim toward beauty is that every vital painting has to rediscover what the terms are, how beauty can be disclosed in a fresh way. For Pederson-Krag it arrives through the struggle to achieve this with color—often despite the demands of representation. (Porter shrugged off many of those demands as a needless surrender to a work ethic, keeping his brushwork simple and often very loose, turning his shadows sometimes into pure hues; his thesis about Eakins was that the earlier American painter submitted to assiduous realism in an effort to make painting feel more like work than play, trying to convince himself he was actually working for a living rather than indulging himself in art. Porter, on the other hand, was determined to keep his choices more unpredictable, regardless of whether or not he worked just as hard in the end.)

Pederson-Krag’s brief description of her central contest, the tug-of-war between color and representation, for me, was the pivot around which everything else in her talk revolved. She spoke of how every artist has to find his or her own “door” into painting, a foothold from which all of the work springs. She opened a book about Cezanne and walked around showing her little audience the painter’s early, unrecognizable, melodramatic depictions of murder and rape—you could see how he essentially realized who he was when he discovered that the paint mattered more than what it depicted, and thus how he, and only he, could make a painting. As she pointed out: he discovered who he wanted to be as he discovered how to paint. For him the door into painting was the hope of making a field of color evoke geometric form and volume without losing the sense of brilliant open-air light—pushing toward pure abstraction in formal terms, while still evoking a partly recognizable world involuntarily distorted in an individually original way. What’s amazing about Cezanne is that the increased complexity of color in his work, compared to the green and blue world he was rendering, doesn’t feel arbitrary, but has its own inner necessity, in Kandinsky’s phrase.

Countless painters are engaged in that same effort now. This effort to fashion a truce between pure color and the way the world actually looks, when it works, can reveal feelings, moods and intuitions, what used to be called a sensibility, opening up an entire world of visual intelligence that isn’t about intellectual content. In a way, a painting is about nothing but itself, even though when it works it triggers in the viewer a long sequence of insights and experiences, opening up a fresh way to behold a familiar world. A great painting doesn’t mean something; instead it evokes a world. The problem with most of what’s said about painting is that, of necessity, it usually ignores this central work visual art is engaged in and instead tries to translate the work into intellectual terms. Analyzing art, speaking about painting, invariably conceptualizes what’s happening, even though visual art is able to bypass the intellect entirely, and embody, as Porter said, a mystery inaccessible to theory. (Don’t look to Banksy for this, for example: what he’s doing, and so many artists who have something to say, is perfectly clear.) The mystery isn’t something occult or strange or rare: it’s simply an awareness of life so familiar and intimate—and anterior to thought—that it becomes invisible in daily experience until a painting makes it feel new by making it visible again. The point of painting is to manifest what’s there in life from minute to minute but is so omnipresent it’s inaccessible to conscious observation. Peterson-Krag put it this way: the beauty a painting achieves is both surprising and familiar. It’s a slightly different way of saying “surprising and yet inevitable.” And she echoed another of Porter’s observations when she said, “It enables you to see something familiar as if for the first time.”

That’s precisely the paradox at the heart of painting: to enable you to recognize something that feels entirely fresh and new.  If you recognize it, it can’t really be new, and yet that’s how it feels.  Habit falls away and the most ordinary things become fascinating again when represented effectively in paint: looking at a great painting is liberating. The difficulty of painting, and of any creative work, is that there is no way to keep doing this reliably, despite all of the repeatable working methods a painter can master—beauty emerges as a byproduct of the struggle, as unpredictable to the painter as it is to the viewer.

From still life to still life, Pederson-Krag works to establish a varied range of colors that fill the entire visual field established by the painting—nearly every patch of color in the painting serves a purpose, leaving no room for negative space. Even a wall behind a little green end table bears a pattern—a tactic Zoey Frank uses to the same effect in her still lifes. The eye moves around the canvas comfortably but doesn’t fix itself on any particular item as a focal point, but instead apprehends the light, and the entire composition, as a whole. This approach makes the surface of the painting, the paint itself, as important as what it depicts. Her struggle is to compose an image in color, using the hue of various source objects to create a design—balancing the flat design against the challenge of creating a three-dimensional space—while attempting at the same time to unify the image into a coherent whole and a consistent sense of light.

This, for me, is what she meant when I asked her at what point in her life color became her central concern:

I have always struggled with it. I think it’s the most powerful element in the painting. When I’m really moved by a painting it’s usually the color. I’m always looking for color and warmth. Many objects have a character to them, but they don’t have a color opportunity. When I’m painting, the color always diminishes. I’m always diminishing the color so I always exaggerate it (early on) because I know it’s going to disappear. As I work into things, the color diminishes and I tend to resolve things with value. In that landscape (pointing to one of her pieces on the wall), I tried to make it about color but in the end I could only make it work with a value statement, which is the little element of light (shining through at the center of the painting). (The parenthetical remarks are mine.)

What I think she meant was that she designs a painting as a composition of pure color. In a still life, her objects are carefully chosen and arranged, chosen in part for their color, not simply “found” sitting on a surface in her environment. Her intent is to create a pattern of hues on the surface of the canvas by depicting what she has assembled. She begins with a focus on the relationships among the various colors she’s enabled herself to put down on the surface, through her arrangement of objects, but eventually she gets to the point where she can’t ignore the painting’s lack of unity, so she gradually shifts to a concern with lights and darks, in an effort to create a unified whole. And that inevitably dilutes and obscures the color and pulls her away from what prompted her to paint in the first place. When the painting works, even when it works beautifully, as her paintings all do, it’s a wistful truce between color and value. I’ve always considered this contest between value and color the price of perceptual painting, or any sort of representational work whose primary motive is color. There’s a trade-off in how the demands of representation mute a painter’s opportunities with color. At some level, you’re stuck wrestling with how the world actually looks: it’s mostly green and blue and brown, and it’s full of shadows. Anyone who wants to work primarily with color and, at the same time, create an image that looks remotely the way the world actually looks is living under the yoke of conflicting demands. It’s why it’s easy for a representational colorist looks toward Stella or Noland with envy.

What’s remarkable about Pederson-Krag is that she succeeds so impressively and her final colors become subtle, not dull, in a lustrous way. Though Matt Klos suggested to me, on my visit to Baltimore, that perceptual painting descends mostly from Impressionism, Pederson-Krag’s effort ends up creating images that look Tonalist in their disengagement from the immediate present, in the way they hint at loss and memory and the past, a timeless evanescence, as it were, while still feeling entirely alive and unpredictable in the colors that emerge from her tenacious determination not to obscure the fact that she’s fashioning a field of paint, not simply tricking the eye entirely into forgetting the paint in favor of what it depicts. If I were a collector, I would have bought more than one of her still lifes, but her landscapes have taken her to an even more rarified level and in some ways are more amazing. In them, she achieves a remarkable sense of reality, in a severely restricted range of colors, even while, up close, the images are literally layered visibly into a stucco-like surface of paint—a surface I told her reminded me of Braque. I marvel at the landscapes, because though I can conjecture my way, as a painter, from the blank canvas to the final image in some of her still lifes, even repeated viewing of the landscapes left me baffled about how she got from a white stretch of cloth to the painting hanging on the wall: those scenes embodied yet another level of mystery that kept me coming back to look at them in vain for a clue about how she’d made them.

Come Into My Studio! October 13th & 14th, 11-5PM – Dana Feagin Art

 

 

Stop in and see me, and the other amazing artist spaces, during the Ashland Open Studio Tour from 11AM-5PM this Saturday and Sunday. I will be painting, chatting with visitors, and showing off my mini studio remodel which reclaimed a storage space to make room for my expanded bunny family. Yes, I am a frequent foster failure and now share my space with five lagomorphs! Original artwork, prints, cards and Kat’s and my book “Love Rhymes with Everything; animal ruminations through poetry and paintings” will be available for purchase with all proceeds benefitting Sanctuary One. Maps of all artist locations are available online and at all Ashland galleries. This event is free to the public and a fun way to spend the day – even if you just visit a couple studios.If you complete an attendance card and leave it at the last studio you visit, you will be entered to win a raffle for 2 free tickets to A Taste of Ashland in the spring or $100 off local art!

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Bill Finewood

These are small, beautifully executed landscapes by Bill Finewood, currently on view in “Methods Change but the Spirit is the Same”, at the Insalaco-Williams Gallery 34, Finger Lakes Community College. It’s a great overview of his work in different mediums and styles throughout his career. These oils were stand outs in composition, color and handling of the medium, resonant with the unique light of a particular time of day and season. The show also includes a marvelously tactile and detailed drawing of a rabbit, a bit of an homage to Durer’s famous and incomparable one.

Alumni Spotlight: Victoria CATALINA

Victoria Catalina brought her creative activism and graphic artist skills to C4AA’s 2016 Art Action Academy in Dublin, working to decriminalize sex work and workers, and has been working as a graphic designer and illustrator since then, often going back to sex worker rights and other activist themes in personal and commercial projects. Catalina has been designing for the Dutch sex workers union PROUD, and P&G292, a health organisation for sex workers in Amsterdam, among other collaborations.

Arts Action Fund PAC Supports Lizzie Fletcher of Texas

The Arts Action Fund PAC was proud to support congressional candidate Lizzie Fletcher (D-TX-7).

Oregon is one of the “Lucky 13” Pro-Arts States

Hi Friend of Arts and Culture in Oregon:

I’m pleased to share that Oregon is one of the “Lucky 13” states in the nation in which all 5 of our U.S. House members and both of our Senators received excellent pro-arts grades in the 2018 Congressional Arts Report Card published by the Americans for the Arts ACTION Fund.  Even better news:  Congresswoman Suzanne Bonamici was the only Member of Congress to receive a perfect score!

Congress currently appropriates just 47 cents per person to support the arts across the country.  Yet a majority of Americans agree that Congress should double funding for the arts to $1 per person.  We still have work to do both at the state and federal level and Oregon’s Cultural Advocacy Coalition is here to help raise visibility of the cultural sector and to advocate for deeper access to the arts for all Oregonians.

Please join us in thanking the Oregon congressional delegation for their strong support!

Best — Sue Hildick

PS – Showing I’m a rookie, my last email blast was my first at the Coalition and contained a broken link.  Here is the photo it was supposed to have.  I look forward to meeting you!


Cultural Advocacy Coalition of Oregon   

October 2018 Art Presence Newsletter

OCTOBER  2018   NEWSLETTER

A R T    E N H A N C I N G    C O M M U N I T Y
Pumpkin Field
by
Walt Wirfs
Pear
by
Carol DeKorte
Abstract
by
Patrick Beste
Barn Owl
by
Katharine Gracey
Cornfield
by
Judy Buswell
The Cuckoo Oracle
by
Leona Sewitsky
Hunter Moon
by
Phillip Young
Vampy Moon
by
Katharine Gracey
Witch
by
Tom Glassman
Light
by
Sue Bennett
The Perfect Day
by
Mark Daucher
Witch Quilt
by
Charlotte Wirfs
Raven
by
Tony Laenen
Bewitched Garden Handbook
by
Leona Sewitsky
Self-Portrait
by
Dan Mish
Come and Visit Jacksonville Art Presence Art Center
on the grounds of the Historic Courthouse
206 Fifth Street, Jacksonville, OR 97530
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Copyright © 2018 Art Presence Art Center, All rights reserved.
www.art-presence.org.

Our mailing address is:

Art Presence Art Center

206 North 5th Street
P.O. Box 185

JacksonvilleOR 97530

New Pastel Exhibit, Woodblock Print Workshop at Rogue Gallery

Oct 3 2018 artblast Marilyn Hurst
Detail of ASHLAND CREEK IN AUTUMN – pastel, Marilyn Hurst

NEW EXHIBIT IN THE COMMUNITY GALLERY

IN THE COMMUNITY GALLERY

Southern Oregon Impressions
by Marilyn Hurst

October 5-November 16, 2018

Hurst Marilyn The Grand Giant Sequoia
THE GRAND GIANT SEQUOIA – pastel, Marilyn Hurst

Reception:  Friday, October 19, 5:00-8:00 pm

Southern Oregon artist Marilyn Hurst finds inspiration for her paintings in various subjects like a peaceful landscape, beautiful flowers or the character of an old barn. She works primarily in pastel and watercolor.

ROGUE GALLERY’S 2018 ANNUAL AUCTION

postcard front 2018
Puttin’ on the Glitz
Saturday, October 20, 2018, 5pm

at the Rogue Valley Country Club
2660 Hillcrest Road, Medford
The annual auction is our biggest fundraiser and a great night of fun, food, music and deals!

This special evening includes a cocktail hour, a sit down dinner, swing dancers with music by “Band du Pays Swing” (listen to them HERE>>.

There will be both a live auction with a professionial auctioner and a silent auction. The items include art and collectibles, wine tours, cultural events, family adventures, restuarant gift certificates, local items and trip packages. Plus there will be a members’ art exhibit.

It is a festive way to support the gallery. Tickets $65

Buy your Tickets HERE>>

Learn from a World Class Printmaker
Walt Padgett

Woodblock Printmaking with Walt Padgett 

4 Sessions, Thursdays, 11am-3pm,
October 25, through November 15, 2018

Woodblock Prints have been created for centuries to capture a variety of subject matter. Using influences from cultures of the West and the East, this class will explore various techniques for creating timeless woodblock prints.

Walt Padgett earned his BFA and MFA from Florida State University. He was one of the original staff members of Rogue Community College, where he taught for over 30 years and served as the Art Department Chairman for twelve. He studied Japanese woodblock printmaking in Japan. Mr. Padgett has received many awards for his works in painting, sculpture, and printmaking, including the Takanabe Town Mayor’s Prize for a woodblock print exhibited at the Takanabe Museum (Kyushu, Japan). See his website at waltpadgett.com. See the materials list HERE>>

MEMBERS $290, NON-MEMBERS $300

To Register, call (541) 772-8118 or come by the gallery Tuesday – Friday,
10am-5pm & Saturday 11am-3pm or register on our website HERE>>

Follow Rogue Gallery & Art Center
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Please “like” Rogue Gallery & Art Center on Facebook and follow us on
Twitter, Pinterest, and Instagram.

Call the Gallery for more info: (541) 772-8118

Check out more fun activities at: www.roguegallery.org

The Rogue Gallery & Art Center is the Rogue Valley’s premier non-profit community art center founded in 1960 to promote and nurture the visual arts in the Rogue Valley. The Art Center showcases emerging and established artists, presents fine crafts by area artisans, and offers a broad range of visual art classes and workshops for all ages.

Rogue Gallery & Art Center is located in downtown Medford at 40 South Bartlett Street. The hours of operation are Tuesday through Friday from 10 a.m. to 5 p.m. and Saturday from 11 a.m. to 3 p.m. We are open every third Friday until 8:00pm.

Ashland Gallery Association October 2018 Exhibits & Events

Join us for the  
Ashland Gallery Association
First Friday Art Walk

Ashland’s year-round celebration of 
Visual Arts culture!

 Exhibit openings and artist receptions
October 5th from 5 to 8 PM  
Stroll the galleries downtown & the Historic Railroad District.  
Enjoy this free community event filled with
a diverse array of artwork,
artist demonstrations, live music, refreshments and lively conversation!   

Pick up a Gallery Tour Map at any member gallery or download the October Art Walk map off our website.

For more about all of our member exhibits visit: www.ashlandgalleries.com

Here is a sampling of our October exhibits & special events…


Art & Soul Gallery
Mountains and More, Paintings by Carla Griffin

 
“It is my desire to awaken in the viewer the delight that arises from careful observation.”  Carla J Griffin, PSO
Carla presents her exquisite, realistic Oil and Pastel paintings.  Her expressive landscapes depict the world through her observations and vision.  Carla’s works will be exhibited through the month of October.  Please join us for a festive opening on First Friday, October 5, from 5-8 PM.
Carla has won numerous local awards for her art including Painting of the Year from Southern Oregon Society of Artists and Best of Show from the Josephine County Artists Association. Griffin has also been accepted into four Pastel Society of Oregon’s judged shows with awards in two of them and is now a Signature member. The Pastel Society of the West Coast also accepted an entry from Griffin.
Image caption: Carla Griffin, “Smith Rock”, painting
 
Art & Soul 20th Birthday Celebration
We will celebrate bringing Fine Art to Ashland and the surrounding communities on Friday, October 26, from 5-8 PM.  Join us for birthday cake, wine, music and of course fine art!

Schneider Museum of Art
Fall Exhibitions

September 28th, 2018 – January 5th, 2019
Opening Thursday, September 27th, Museum Members and Volunteers VIP reception 4-5pm, General Public, 5-7pm

Entry Gallery:
Terrain: The Space Between from the Collections of Jordan D. Schnitzer and His Family Foundation. Featuring work by Vija Celmins, Judy Pfaff and Ed Ruscha

Main Gallery:
Field Burnsa solo exhibition by Patrick Collier
Heiter and Treehaven Galleries:
Outland Abouta two-person exhibition featuring Carl Diehl and Susan Murrell. Curated by Patrick Collier
 
The exhibitions will be complemented with First FridaysFREE Family Days and Tuesday Tours – drop in docent-led tours of the exhibition held every Tuesday at 12:30 PM.
 
Image caption: Patrick Collier, “Gate Burn”, digital print

SPECIAL EVENT!
Riding Beyond 
Healing HeArts – Breast Cancer Awareness and Fundraiser

 
Riding Beyond is a non-profit organiza­tion that opens doors to the future for breast cancer survi­vors through in-depth experiences in the horse/human connection.  In support of October Breast Cancer Awareness Month, local businesses will participate in this fundraiser by providing gifts for a raffle on First Friday and cash donation jars throughout October.
 
Ashland Art Center Collage Making Event
Ashland Art Center will host a collage making event: Horses and the HumanHeart, conducted by Riding Beyond participants and volunteers during October First Friday Art Walk.  Find out how horses provide life-changing benefits for the many after-effects of breast cancer treatment, often lingering for years. Hear stories from participants of their enthusiasm for the “miracles” that unfold for them. See videos of interactions with the horses. Create your own collage to take home the power of the horse to benefit your own life.

Find more information at ridingbeyond.org. This event is part of Riding Beyond’s city-wide public awareness campaign on October First Friday: Healing HeArts.
 
Participating Galleries and Businesses:
 
American Trails: Gifting a $50 gift certificate 
Ashland Art Center: Artists Gifts Basket; plus they are hosting the Collage Event
Ashland Art Works:  $50 gift certificate
*Be Cherished Salon:  Gift Basket
*Imani Institute of Cosmetology: Gift Basket
*KIXX : $50 gift certificate 
*Lark’s: (Medford) $100 gift certificate
Manzanita on Main: Barnwood framed Giclee by Texas artist Mary Gregory
Melanie Macinnes: 20% of all her art sold that evening
Platt-Anderson Cellars:  20% of sales October 5th; Gift Bag of Wine for raffle
Pony Expresso:  Coffee Gift Basket (needs a sign); plus donating 10% of their sales on Oct. 5th
POSH Organics: Skincare Boutique Spa: Gift Basket
*Sew Creative:  $50 gift card, including a private shopping experience after store hours for up to 5
*Strands Salon: Gift Basket
The Crown Jewel: a $35 gift certificate
Three Penny Mercantile: $50 gift certificate
*Umpqua Bank: wine and treats gift basket
Walton Art House: silver and gold ring with a moonstone (valued at $100) handcrafted by Denver artist, featured for the month of October

*These galleries/businesses are supporting the Healing HeArts event with a donation to be raffled off the evening of October 5th, although they will not be open for business during the hours of the First Friday Art Walk.

Ashland Art Works
Rogue Valley Views: Woodworking, Furniture, and Paintings
 

Visit us this month to see new offerings by painter Michael Gibson, who took inspiration from Oregon’s Bear Creek Wine Trail, and furniture maker John Weston, who uses woods found and sourced in the Rogue Valley. Come by and meet the artists at First Friday on October 5.
Michael’s style is unique and at the same time inspired by works of post-impressionist artists. For this show, he traveled Oregon’s Southernmost Bear Creek Wine Trail and painted views from the wineries. The oil paintings are on particleboard, which provides an interesting texture. Michael received his BFA from Houston Museum of Fine Arts. He has worked as a designer, art director and taught life drawing, illustration, painting, graphic design and photography at Art Institute of Houston and the Art Institute of Seattle.
 
 
Becoming a part of a cooperative of artists has inspired John Weston to stretch his woodworking and to combine form with function. His work is intended to provide generations of use and enjoyment. Mortise and tenon joinery, mitred splines, dowels, dovetails. and floating tenons are a few of his favorite construction techniques. John’s work consistently attempts to highlight the natural beauty found in selected pieces of lumber.  He collects unique pieces of lumber and finds enjoyment in sharing their beauty with others. When using exotic woods, he tries to purchase certified lumber that is harvested from tree farms. John’s greatest satisfaction comes from using woods native to Oregon.
 
Image caption: Michael Gibson, oil painting


Gallerie Karon
Faces, Hidden and Revealed

 
Masks, Puppets and Portraits
There are a couple of twists to the annual mask and puppet show this year at Gallerie Karon. We’ve added portraits to the mix that will include work by Robert Paulmenn, Pam Danielle, Brooks Garden Hauschild and Richard LeVitt among others.
 
The most unusual offering is from a private collection of vintage ventriloquist dummies. It’s rare to see a grouping like this and all for sale! Hand puppets are also in the evidence and many, many animals are represented.  We even have stringed marionettes! Our extensive mask collection comes from all over the world. It includes helmet, face and shoulder masks. (We have a few fun ones for Halloween wearing too!)
 
Image caption: Ventriloquist Dummy

SPECIAL EVENT!
Coming October 13th & 14th!
5th Annual Ashland Open Studio Tour

Free public event

Come Into Our Studios…
The Ashland Gallery Association sponsors the Ashland Open Studio Tour on the weekend of October 13th and 14th  from 11-5 PM.  The public is invited to tour the private studios of visual artists in our region, including Ashland, Phoenix and Talent. On this Studio Tour you will find exceptional artwork and are invited to see working studios and artworks in progress. This is a great chance to engage with the artists and ask questions about their work and individual creative processes. Demonstrations are scheduled throughout the two-day tour.
 
Visit www.ashlandost.com for more information and a map of the participating studios.
 Facebook : www.facebook.com/ashlandost
 Instagram : www.instagram.com/ashlandopenstudiotour
 


NEIGHBORING ART ORGANIZATION

Art du Jour Gallery
213 East Main Street, Medford, OR
770-3190 (Tues. – Sat., 10-4)

During the months of October and November, Debby Fisher’s work will be featured in the Salon and Millie Clarke will be the featured artist on the feature wall at Art du Jour Gallery, 213 E. Main in Medford. On Third Friday 9/21 music will be provided by the Minstrel Streams, 5-8 pm.

Debby Fisher received her art education from many venues majoring in art education at Indiana University of Pennsylvania, studying drawing at Virginia Commonwealth University, and a plethora of workshops along life’s journey. In the mid 90’s, after settling in Oregon with her family, Debby studied commercial art with Semyon Bilmes, who now leads Atelier Maui. After a time in the illustration business, she was drawn back to oil painting through the work of great artists, such as Michael Dudash and Chris Hopkins, who she had the privilege of connecting with and learning from through the Masterpiece Christian Artists Conferences.  Now doing commissioned pieces and gallery paintings that reflect the beauty God surrounds us with every day, her work is in many private collections across the country.

Millie Clarke is an acrylic abstract artist who enjoys using texture in her painting to achieve depth. She has always loved the paintings of Van Gogh and Picasso so she began copying on of each artist. She is still on an exploration to learn new methods and trying new materials.  Like my mentors, I became an abstract painter learning the meaning of the expression “The Agony and the Ecstasy”. The joy she feels comes from the unexpected surprises that arise from mixing colors and methods.  The agony comes at the beginning when she is looking at a blank canvas.  When asked, she says, “After all, I am an abstract artist, so new paintings come from my mind, my hands, and usually not from the things around me. I continue to learn by experimenting and seeking the counsel of other artists. I have embraced Pablo Piccasso’s philosophy, I am always doing that which I cannot do in order to learn how to do it.”

Image caption: Millie Clarke, “Marionette” acrylic painting
 

The Ashland Gallery Association is a non-profit organization dedicated to the promotion of the visual arts in our communities.