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Sherie’ Franssen

Hell, rising from a thousand thrones, oil on canvas, 77″ x 77″, Dolby Chadwick

Watercolor & Ink Studies – Just For Fun

Introduction.

Hi!  I’d like to simply share a couple of watercolor studies.  

Watercolor Studies: A Pear and its shadow

Why Do Studies.

There are several reasons why I like doing these studies.  Here are a few reasons that come immediately to mind.

  • Focus:  One has to pay attention when working with watercolor.  The paint moves and I like to take advantage of the paint’s nature.  However, it can get away from me if I’m not paying attention!
  • Fun:  Its watercolor, for the same reason you have to focus: it moves.  
  • Muscle memory.  These studies help develop the skills of observation and brush control.  Doing them often enables me to remember what to do when faced with paper, paint and water.
  • Draw & Paint.  I get to work on both drawing and painting skill sets!  What could be better?

About the Subject Matter.

The subject matter was inspired by the October list of prompts by the website “Doodlewash®”.   There is a list for every day in October, just as a prompt in case you are grappling with what to draw.  

For October 20th, the prompt was “pears”; no problem, I have some pears ripening so I drew and painted one.  

But, the prompt for October 21st was “corn”.  My husband and I already ate up the candy corn.  And, we don’t have any ears of corn in the refrigerator.  What to do?

Aha!  I have a bottle of “Corn Huskers Lotion” sitting on my kitchen sink counter!  Sounds like “corn” to me.

So, tomorrow’s prompt is “barn”; I don’t live in a barn or have one.  So, what to do?  My thinking cap is on; I like this sort of thing.

watercolor studies : Corn Huskers Lotion

Adding Ink.

Oh, by the way, this month is also “Inktober™“.  I thought it would be fun to add some ink today, hence the inking around my “Corn Huskers Lotion” bottle.

In any case, I hope you enjoy the watercolor sketches.  Thanks!

#WorldWatercolorGroup #Inktober2017

 

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The post Watercolor & Ink Studies – Just For Fun appeared first on Margaret Stermer-Cox.

Art Reception at the Rogue Gallery on October 20, 2017

Art Reception at the Rogue Gallery on October 20, 2017

Alx Fox Sunrise Through the Mist Abstract Acrylic on Canvas, 36" x 36"

Alx Fox Sunrise Through the Mist

Main Gallery exhibit:

Elements: Earth, Water, Fire, Wind, Eleanor Erskine, Alx Fox, Zelpha Hutton, Keith Johnson, and Dan Tilden

Exhibit date: September 29 – November 10, 2017

 Artists in this exhibit explore the classical idea of the elements: earth, water, fire, and wind. Described as the simplest essential parts of all things, the four elements have fascinated artists throughout history. Printmaker Eleanor Erskine, sculptor Dan Tilden, and abstract painters Alx Fox, Zelpha Hutton, and Keith Johnson uniquely create artwork reflecting this concept of the natural world.

Eleanor H.  Erskine received a BFA in Painting/Printmaking from the Kansas City Art Institute and a MFA in Printmaking with special focus in Sculpture from the Cranbrook Academy of Art.  She has taught at Maine College of Art, Kansas City Art Institute, Chautauqua Institute, Penland School of Crafts, and Portland State University.

Medford artist, Alx Fox is an abstract expressionist painter who is driven by her passion for self-expression through bold blended colors and distinctive textures. She studied photography, art history and design at Barat College, Lake Forest, Ill.

Zelpha Hutton was an art teacher for twenty nine years and owned Paisley Yarn Shop in Ashland for twenty three years. Her paintings are a reflection of her personal experiences, the spirit of a landscape or imaginary narration. She resides in Central Point.

Keith Johnson received a Bachelor’s of Art and a Masters of Art from the California College of Arts and Crafts. He has been an active painter and printmaker for over five decades. His painting process he describes as “letting go and allowing the paint to develop its own life and its own voice”. Keith lives in Jacksonville.

Ashland artist, Dan Tilden has a passion for woodworking. Using the natural features from the tree, he turns hollow vessels, pots, and bowls on a wood lathe to create an elegant shape while keeping the piece in the most natural state possible. Using a natural edge opening, drying wet wood to warp and move, and using a knot or void in the shape adds character to the piece and lets the piece “speak for itself”.

 

Elm Burl by Dan Tilden

Dan Tilden’s Elm Burl

 

Community Gallery Exhibit

In the Community Gallery

A Moment in Time: Paintings by Trisha Stricklin

 October 13 – November 17, 2017

Ashland artist Trisha Stricklin’s still life, landscape and figurative paintings are rendered sensitively and accurately in high contrast, vibrant colors.

Trisha Stricklin was born and raised in the San Joaquin Valley of California. She received a Bachelor of Fine Arts Degree the California College of Arts and Crafts. For twenty five years, she worked in San Francisco as a designer/art director and illustrator with companies such as the Sharper Image, Smith and Hawken, Gumps, and Williams Sonoma. She moved to the Rogue Valley in 2004 and continued her commercial work. She now devotes most of her time to painting. She describes her oil paintings as “impressionistic realism.” She states, “I strive to produce an accurate rendering of my subject, but not every detail needs to be presented.  There is a place for full detail, and there is a place for space and simplicity.”

Refreshments by Harry and David will be served at the reception on October 20, from 5:00 – 8:00 pm.

 Call the Rogue Gallery & Art Center 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.

For those of you who have been eyeing these particular prints,…

For those of you who have been eyeing these particular prints, here’s a heads up that there are only a few left in my limited edition run. Five of the beetle and three of the Passion flower. I won’t be making more so get em while you can! 💜
www.michelleanderstshop.com

Grand Jury prize finalist

Breakfast With Golden Raspberries, oil on linen, 22″ x 46″

I was humbly surprised to be informed recently that I’m a finalist for the Manifest Grand Jury Prize, with a cash award of $2,500, which will be bestowed on the best single work exhibited in the entire 13th season at Manifest Gallery. This means the organization’s panel picked Breakfast with Golden Raspberries as the best work in its particular exhibit earlier this year. The final award will involve the contribution of as many as 20 jurors and the few dozen works under consideration will have been culled from more than 15,000 entries to all of the Manifest shows throughout the past season.

Here’s a summary of the process from the notification:

I’m writing to notify you that, now that our 13th season has concluded (and we’ve gotten #14 off to a good start) we’re launching the final stage of the Manifest Grand Jury Prize for your exhibition season, and your work is among the finalists to be considered.
Since we announced the MGJP partway through the season you may or may not be aware of all it entails. Rest assured, there is little you will have to do, although we hope you’ll chat about it in your networks, share your success to this stage, and, if you win, shout it from the rooftops. If you would like further information and background, rather than belabor it  here, I’ll ask that you read up on the prize at http://www.manifestgallery.org/about/awards/grand_jury_prize.
In short, your works were scored the highest by our jury (either alone or tied with others) in the exhibition in which you participated. The entire pool of works, out of many hundred we exhibited across 30 exhibits during the season, are those which did likewise. This pool comprises approximately 40 works.
I’m delighted to have gotten this recognition for a painting that won awards in two other shows last year, including a best in show at Marin MOCA.
I recently told Jim Hall, at Oxford Gallery, that I loved this painting. He laughed and said, “If you do say so yourself.” I laughed along with him, because what I really meant is that there is nothing in this painting that bugs me. To say I love it is, in my lexicon, essentially to say it doesn’t trouble me. (It’s a little more than that, but not much.) Normally, in almost every painting I complete, something continues to bother me about it, something I am at a loss for how to fix–or too cowardly to risk messing up the painting by attempting to fix it. In this painting there is nothing that needs fixing, and that’s a very rare quality in one of my paintings. In a painting I’m finishing now, another small still life with a patterned bowl–I keep going back to them–I’m very happy and surprised by much of the canvas, but one particular area of the background continues to bother me. It doesn’t look wrong or bad, but something in it just subliminally nags at me as not quite right. It’s fine, and few other people would see anything amiss, but something about those distant kitchen cabinets keeps asking for adjustment. I went after it this morning but even as I completed the amendment, I was wondering how to neutralize, just slightly, the color of that sector. As Sam Kinison said so immortally, it never ends.
Sometimes it does end, though–as with this award winner. No matter how often I look at it, I know it’s done. And nothing about it bugs me.

Thiebaud, part 2

Two Paint Cans, Wayne Thiebaud

More Thiebaud, on how he isn’t and was never a Pop artist, is self-taught, and doesn’t trust art that’s rooted in ideas, from another book published in the same year as the one in the last post, Realists at Work, John Arthur, Watson-Guptill, New York, 1983:

You’ve described yourself as a self-taught painter. Does that mean you didn’t study painting?

No. I started as a sign painter and did fashion illustration, furniture drawing, lettering, and cartooning without going to school. At twenty-eight or twenty-nine, when I went back to college, I got credit for most art courses by special examination by that time I had exhibits, Army experience, and so on. I have courses on my record showing I studied painting and drawing, but those were generally by challenge; they just gave me grades. I took art history, courses like the psychology of art, lots of art education courses, but no formal training.

I believe I saw your rows of pies in Life magazine in the early sixties. Your work kept getting linked with Pop Art at that time, which I thought was a bit of a distortion. Much of Pop Art relied on the look of mechanical processes and played down the effect of the hand.

If anything, my interest was the opposite, more out of the tradition of Velazquez, Manet, to Eakins, through people like Jasper John and Richard Diebenkorn, for whom the signature gesture is central.

When I painted the first row of pies, I can remember sitting and laughing—sort of a silly relief—“Now I have flipped out!” The one thing that allowed me to do that was having been a cartoonist. I did one and thought, “That’s really crazy, but no one is going to look at these things anyway, so what the heck.”

Some people have talked about the irony in my work and the idea terrifies me. That’s something I’m not interested in on a conscious level, and the reason I’m not is because that kind of explication of an idea vitiates its power. If I were using what intelligence I have to be ironic, I couldn’t be smart enough for myself. I would be disappointed, and I’m generally disappointed in irony for that very reason. It seems self-explanatory and anticipatory in a way that never interests me. The reason I don’t like classical surrealism if there is such a thing, is that it seems already to have arrived before you’ve seen it. Even a good painter like Magritte—his ideas put me off.

You may be opposed to irony, Wayne, but not to wit.

No, I think wit is a very high form of attainment. Any kind of wit is one of the toughest things to do. Also, it’s one of the things that’s missing in so much of the art world. When you lose the capacity for a sense of humor in an art form, you lose a sense of perspective.

I was just talking to Harry Rand, who wrote a book on Gorky, about how, when you get so you can do something, you don’t want to do it anymore, and he said, “Yeah, that’s very hard, but I think one of the things that painters have to learn is that it’s all right once in a while to shoot fish in a barrel.”

 

Yummy Alliteration: Poets & Painters & Pie at Pennington Farms!

We couldn’t resist! Join us for a fun afternoon of playing with words & paints & Pennington’s signature “cutie pies.” You’ll leave with a finished 8″ x 10″ painting, a poem, and a tummy full of goodness. $95 for all supplies & pie & instruction. Email me to register: [email protected]

Thiebaud, part 1

Art history in its essence is an organic, growing, and changing discipline. It’s more like a private game refuge, a treasure of exotic and wonderful rare Art Beasts. And our interests continue to change as we find out more and more. It’s hard for me to recognize something like progress or evolutionary development, say in a Darwinian sense, in the development of art. For instance, though I’ve conscientiously studied his paintings for many years, I just can’t find anything new, conceptually, in Paul Cezanne. For me he’s just a damn good painter, who’s using practically every device, convention, and trick in a painting, but he was so terrific, so bright, so careful in trying to be true to his relationships, that the painting is different, not because of any invention, despite his beliefs, but because of the composite structure and complexity of his perceptions translated into paintings. 

–Wayne Thiebaud, from Art of the Real, edit. Mark Strand, Robert Hughes forward, Clarkson N. Potter, New York, 1983

In the fewest possible words, and his typically humble voice, Wayne Thiebaud here says nearly everything an artist needs to know about his or her relevance at any given place or time in the world of art. To wit: the historical sense of place and time don’t matter now. Everything is permitted; but only a few things are worthwhile. Thiebaud came to this realization after Arthur Danto did, but before Danto started talking much about it in 1995. By the 60s, when Thiebaud emerged by being mistakenly classified as a Pop artist, it became possible to do anything and call it art. There were no longer any limitations on what could be considered a work of art, something Duchamp asserted decades before, but it was a cynical declaration of freedom that didn’t flourish until the Pop artists adopted that same philosophical stance and liberated artists to do whatever they wished. The ironies embedded in Pop’s appropriations struck Danto as an integral part of the game, I think, but irony isn’t required and if anything it cheapens much of Pop and makes it far less interesting than it ought to be. (Don’t forget that Pop gave us Jim Dine.) It’s now entirely possible to paint like an Old Master without a postmodern smirk (some of Richter for example)—because the work has the same power now as it did hundreds of years ago. What Thiebaud is trying to say, and which remains difficult to articulate clearly, is that an authentic individuality matters more than any other consideration in art—and this individuality is infused into a painting subconsciously, not by choice. It’s about style, not stylization, as Susan Sontag said. Style is involuntary. A painting needs to be an extension, a replication not necessarily of something seen but of the wholeness of a painter’s identity, “the composite structure and complexity of his perceptions translated into paintings.” It has nothing to do with conceptual justifications or ideas or meanings and messages. A painting is more like a sacrament, a host for the life of the painter, than an expression of something a painter simply thinks up. It isn’t about thought, and it isn’t about hewing to anything but what an individual’s need to paint requires, which is something to be learned anew with each painting, something felt rather than known, discovered through act and instinct and a physical struggle with the qualities of paint.

Taffy #1

Taffy #1, Oil on Linen, 46″ x 46″

Standing Taffy

This cairn of taffy squeezes
into shapes that Hammersley,
Stella, or Matisse
might have liked, loopy
curves of subtle tones,
color contained, simple as a tune
or cream uncoiling into a cup.

Stacked, unstable acrobats
lean, and come near
to teetering onto stone.
There’s a timid cheer
in their defeated smiles
that spiral through caramel,
raspberry and peach,
those fields of foggy color
wrapped in wax
and twist-tied into chipper bows.

Sweets, created to melt
into fleet flavors,
no one can respect,
nor put to use,
signifying nil but the need to please.
Dimpled, dented, crumpled,
they sag as if under more
than the punished bulk
of one (or two) of their own.
Those wings will never fly, guys,
but you’re serenely ready
in the purity of your hues
to stand for nothing but what you are.

Autumn Workshops

Autumn Writing Workshops

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Sunday, October 22 & 

Sunday, November 12

2 – 5 pm

Jacksonville  

Cost: $20/workshop

Join us for an afternoon of inspiring prompts and new exercises in a supportive, encouraging environment. 
All writers, experience levels and genres welcome.
Workshops are self-contained. Come to either or both!
To register reply to this email or visit https://writersroomworkshops.com/register-for-a-workshop/