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32nd Annual Nancy Hanks Lecture

Watch the Americans for the Arts 2019 Nancy Hanks Lecture on Arts and Public Policy, featuring Rita Moreno, Supreme Court Justice Sonia Sotomayor, and Tony-Award winner Brian Stokes Mitchell.

Arnot’s 76th Regional

A couple weeks ago, I was pleased to deliver two still lifes to the Arnot Art Museum for the 76th Regional Exhibition. The show will run from March 16 through June 14. My two contributions are Breakfast with Golden Raspberries and Begonias and Dahlias.

Made in Southern Oregon – NEW Event in Central Point this May!

Save the date and support the artists, performers and vendors participating in this brand new event, sponsored by City of Central Point Parks & Recreation! Be there! Downtown Pine Street on May 18, 2019 from 12:00 pm (noon) to 7:00 pm.

Download (PDF, Unknown)

Made in Southern Oregon Seeks Local Vendors

CALL TO ARTISTS FOR MADE IN SOUTHERN OREGON

Made in Southern Oregon

Made in Southern Oregon was created to highlight all the wonderful makers in Southern Oregon. From Art, Leather Goods, Woodworking, Welding, Food, Drinks, Jewelry and much more, there is something for everyone! Come join us for this one of a kind event on Pine Street in Downtown Central Point. This is a brand new event for Central Point!

Details

Date & Time: Saturday May 18th from 12-7pm
Location: Pine Street – between 1st and 4th Street

Vendors

Want to join our event? We are looking for fun, creative and Southern Oregon-located vendors to be apart of our new event. The cost is $50 for each space with power and water not included. For more details please contact Nikki Petersen at [email protected] or 541.664.3321 x234

Celtic Art Show 2019 and Irish Breakfast Tea #2

Celtic: Referring to Northwest Europe where Celtic culture and language survive.

Annual Celtic Celebration.

Greetings!

It is that time again.  That is, it is almost time for the Rogue Gallery and Art Center’s Celtic Celebration’s Art Show in Medford, OR.  Not surprisingly, the Celtic Celebration coincides with St. Patrick’s Day.  The Celtic Celebration is also a fund raising event for the gallery.

Celtic Celebration Art Show: Irish Breakfast Tea 2, Watercolor

I have participated before in the celebration’s art show and thought I would do a painting once again.  You see, it is fun trying to figure out how to fit a theme.  Plus, I thoroughly enjoy seeing what other artists create.

Previous Entries.

Back to the previous entries, one was the first “Irish Breakfast Tea” and the other was “Irish Maiden”.  Since I have continued to work with coffee and tea themed compositions, I figured I would try another tea cup version.  This time, I added a milk pitcher because it is my understanding that “Irish Breakfast Tea” is often served with milk.  Plus, the milk pitcher is a fun shape.  One more thing, you might notice a little bit of symbolism too.  Look for the shamrock and triskele.  And, so we have “Irish Breakfast Tea 2”.

Irish Breakfast Tea

The Details.

The Celtic Celebration Art Show is on display currently on display through March 22nd at the Rogue Gallery and Art Center, 40 South Bartlett in downtown Medford OR.  The public art reception is this Friday, March 15th from 5:30 pm to 8:00 pm.

The Celtic Celebration Event is held on Sunday, March 17, from 5:30pm to 7:30pm, also at the Rogue Gallery and Art Center.  It includes music, food, a singing competition and the art show.  For more information about the event and tickets, please see their website, www.roguegallery.org.

In the meantime, I hope that you enjoy “Irish Breakfast Tea 2”.  One more thing, yes, I do enjoy the flavor of Irish breakfast tea.

Celtic Celebration Irish Maiden

 

 

The post Celtic Art Show 2019 and Irish Breakfast Tea #2 appeared first on Margaret Stermer-Cox.

Better belated than too soon

He was experiencing one of man’s keenest but least understood drives–information compulsion. –Tom Wolfe, Bonfire of the Vanities

I devote myself to painting, and then writing about painting, and I deposit any checks that come my way when someone buys one of my paintings, but I’ve never strategized any of it as a career.  I do have a career, but it isn’t the point, that’s all. It seems like a way of warping the whole activity into something it isn’t. A CV resembles a parasitical, invasive life form, imported from the world of business, the way sparrows were brought to North America from Europe. I’m a professional artist, but that term seems almost an oxymoron, and I don’t really think of myself as professional (except for my diligence at the easel) any more than Socrates would have thought of himself as a professional philosopher or Jeremiah Johnson a professional badass. I always think of Van Gogh when I imagine the system in which artists now vie to get onto a career track–prestigious MFA, straight to prominent gallery, applications for grants and residencies, keeping a running tally of awards, all of it as dutiful as the path of a white collar organization man in the Fifties. I keep my CV fresh, I list my awards and summarize my shows and sales. Yet it feels as if I’m applying for a job as a comptroller whenever I submit my CV upon request. Where would Vermeer have found himself in this system? Imagine his exhibition history. After a lifetime of work he’d have had enough for one big solo show at Zwirner, with maybe some other artist to fill out the adjacent space. 

My work always takes more time than I would like, but at that constraining pace I know I’m doing good work. The more I become committed to my best possible work, the less new work I have to show, though I’m starting to find ways to shave a little time from the process and actually do more during a day of painting, which is nearly every day of the week.

This puts me into a bind as far as hewing to the ostensible necessity of building a social media following. (In book publishing, this has become brutal. Publishers more and more have no interest in authors who don’t have a following.) As much as I like it—Instagram is the only social media I really use with any regularity, other than this blog which is social only in its availability to anyone. I recognize social media as yet another “professional” taskmaster even though it’s promoted as a service. If you are already known and have a serious following, it can be extremely useful, as is Twitter, which I don’t use at all. If I were far more famous, I would enjoy posting almost anything that seemed worth photographing on Instagram just as a way of being open about who I am. But I’m not, and Instagram isn’t going to get me there. The companies that own these platforms want you to think they will get you there. It’s a lie to make social media feel compulsory, in both senses of the word. They want people to feel irresistibly drawn to them but they also want the stream of content to begin to feel like a duty, an obligation, a necessity. Social media uses FOMO, the fear of missing out, to drive most users (sounds like “drug user” doesn’t it?) to work harder and harder to build a following and get likes, but all of social media has an inherent Catch-22. You need to have a following already by other means to even get noticed, which means there’s no way to gain followers unless you already have them. There are always rare exceptions as in the case of emergent YouTube stars, but any kind of time devoted to Instagram is better spent in front of an easel.

I like Instagram. It’s a quick way to catch up on what others are doing. And I enjoy sharing art that moves me. But when I really want to work as slowly as I need to work, it becomes a specter. My feed sits there neglected, smirking at me. So this year I’ve decided to post little of my work on Instagram—while continuing to post art-related things, including the work of others—because I’m immersing myself in a long series of paintings, variations on one subject, and each painting will take between one and two months to finish. I may do the same next year as well. If Instagram really worked in bringing me serious followers–which in turn would bring my work to the attention of people who would love it–then I would feel more incentive to reveal what I’m doing as it progresses. Novelists don’t serialize their work anymore, as Dickens did. Why should artists let everyone see what they’re doing before a possible solo show? I’ve never sold anything I’ve posted on social media—almost all of my sales have been through Oxford Gallery at this point. And my sales have been steady enough that it’s actually a challenge to assemble a solo show at regular intervals. So I’ve begun to question why I should show anything from this current project before the entire group of paintings is finished. It isn’t that each individual painting won’t stand on its own, but they will gain considerably when they are viewed together–the consistencies and differences among the paintings will put each individual one into perspective. In other words, I’m working toward a solo show more integrated any I’ve had in the past and I’d like to see most or all of it assembled before I show anyone what I’m doing, as I’m doing it. 

I’m not the only one dubious about Instagram. On Quora, from November last year, there’s a nicely succinct expression of the truth about this platform now. Here is the commentary in full. I notice this is a serious Quora contributor, with 2.2 million views. (Social media, even Quora, is filled with these cues that prompt popularity-seeking behavior, which to me is the opposite of what should be driving a painter.) The question she’s answering is: why do I keep getting new followers on Instagram but the total number of followers on my profile doesn’t go up? The answer to this question demonstrates that for the vast majority of people Instagram, like Facebook, is little more than a way to exchange images and comments with people you already know. If you see someone whose following has risen dramatically over a short period of time, either they’ve just come out of nowhere to be given a retrospective at the Whitney or almost none of those followers are real:

Zoe Larkin, Recovering Instagram addict.

Answered Nov 24, 2018 · Author has 199 answers and 2.2m answer views

Don’t make the mistake of thinking that any new follower you get is a permanent follower that is somehow committed to your account and will be a follower for life.

As an Instagrammer of 3 years, I can tell you that a majority of new followers (maybe even as much as 95% or higher) are just following you because they’ve allowed a bot to follow all accounts that use a certain hashtag, or follow a certain other user (or follow users according to some other parameters they’ve set).

You’re being targeted because you fit into a certain perceived demographic, not usually because this real account has actually seen your work and somehow been so completely in awe of it that they just had to give you a follow.

Whether or not you follow them back, it makes no difference. They are programmed to unfollow everyone they followed within a set period of time, so they can go ahead and follow the next batch of 1,000, 2,000 accounts or whatever. (It just has to be under 7,500 as per Instagram’s limitations).

So let’s say the bot unfollows everyone one week after the initial follow. Your new followers you picked up today are still following you in a week, but followers from last week have now unfollowed you.

These days Instagram has just grown so big, with so many content creators out there, that the days of standing out as a new account by just having informative, engaging, attractive content are gone. The days when you would get genuine comments and new followers from an admiring public are likewise gone the way of the Betamax.

In my opinion, the only way that accounts experience growth is by having absolutely extraordinary content that literally no-one else in their niche is doing, or by follow/unfollow with one of the many bot systems. What worked in early 2018 doesn’t work in late 2018. What works now won’t work in 2019.

The new advice is don’t get transfixed on the numbers. Engagement is meant to be more important, but I agree it’s hard to get high (or even any) engagement when not many accounts follow you, and your stuff isn’t being shown to those that do.

So I’m going to continue to follow the artists I like and click or comment on their posts, but I will be delaying posts of of my own work at least for this project. I’m actually excited about what I’m doing, but I want to keep my powder dry. Meanwhile, I’ll keep passing along, as I do here, anyone else’s work that looks beautiful with the praise so much of it deserves.

The Word-Painting Project

Many moons ago, in a land far, far away, my life completely changed. I had been working for two years in Germany, living an art-filled but spirit-empty life. On a whim, I took the train to Switzerland to a theological commune my parents had told me about. 
You could say I had my mountain-top experience on a literal mountain top. There in the Alps, my life did a complete reset, and I started on a what would become my journey of art + word + spirit.
At the time, I didn’t know how much I needed to be encouraged that there was something beyond my current circumstances—something more. (In fact, I wrote & illustrated a children’s book inspired by that journey.) 
In early June, I’ll be back in Switzerland to teach poetry. Afterward, I’m returning to that alpine village and taking a 10-day creativity retreat—my own personal pilgrimage. But this time around, I’d like to invite you to share the journey. Specifically, I’d like to share a little project of encouragement….
The Word-Painting Project
Do you ever wish a bit of encouragement would just arrive on your doorstep? Consider this an invitation to receive some!
During 10 days in June, I’ll create 10 word-paintings in watercolor & ink. Though I don’t yet know exactly what they’ll be, I know that they’ll be inspired by taking heart. (You can see a similar idea by checking out the watercolor/micropoetry pieces I created while at a writing residency last fall.) 
Once I’m back home, I’ll make archival, matte, 5” x 5” postcard prints of the originals. 
Sign up for the project, and I’ll sign, hand-address, & mail the postcards to you—one per week, for 10 weeks. You’ll get a tangible word of encouragement in your mailbox—your actual snail-mailbox!
Cost: $25 to addresses within the US ($30 outside the US)
You can also order the project as a gift for someone else—just send me their mailing address. 
And as a fun finale: the project will conclude with a poetry reading & art reception to display the originals in San Francisco mid-August (more details on that event to come). 
Sign up online: 
~Go to annaelkins.com
~Click the $ sign at the top of the page. 
~In the “description” field, write the option(s) you’d like & your mailing address and/or the recipient’s address.
~In the “amount” field, enter the total for your desired batch of word-painting projects.
Or sign up with snail mail:
~Send a check—along with your choice(s) & address—to: 
Anna Elkins | PO Box 509 | Jacksonville, OR 97530
It’s encouraging to know that something good is on its way to us. Here’s to anticipating summer goodness! 


Rogue Gallery March 2019 Exhibits

www.roguegallery.org 40 South Bartlett Street Medford Oregon 97501 541-772-8118

Main Gallery Exhibit

 Adventures in Experience: Imaginative Works by Dianne Jean Erickson & Barbara Martin

March 1 – April 12, 2019

Reception, Friday, March 15, 5:30 – 8:00 pm

Portland artists, Dianne Jean Erickson and Barbara Martin create highly imaginative contemporary works.  Erickson creates encaustic monotypes and mixed media prints. Martin uses acrylic, oil pastel and pencil in her mixed media paintings. Their work is infused with energy and expression.

Dianne Jean Erickson has a Bachelor’s of Fine Arts degree in Studio Art from Southern Oregon University. She is a founding member of the contemporary art group AMBUS. For a number of years she had a co-op gallery in Jacksonville then Medford. She has received numerous awards for her artwork and has exhibited throughout the West Coast. She resides in Portland. Dianne uses multiple mediums including, but not limited to, encaustic, acrylic, oil and cold wax, and collage. She works by intuition – a process of creating, figuring out what works, what to keep, and what to abandon. Dianne states, “Creating art energizes me, it’s a place where time is altered, where all my feelings and emotions appear at some time or another; pleased, tired, upbeat, excited, harried, surprised, and hopefully at some point, satisfied.”

Barbara Martin has a MBA as a certified creativity coach. Barbara has received numerous awards including a recent professional development grant from the Regional Arts and Culture Council of Oregon. She has exhibited throughout the Northwest. She describes her painting method as a “process of painting intuitively with many primordial (and sometimes surreal) connections flowing naturally into her work”. She finds further inspiration in repressed dreams and the natural world. The paintings in this exhibit are part of the ongoing “Super Ply and Friends” series and consist of black and white paintings on bare plywood. As a process painter, she allows each painting to develop organically so the character and context are not preplanned. Barbara has lived on three continents and in twelve states. She now lives in the Portland area.

left to right: Dianne Jean Erickson, Stripe Stack; Barbara Martin, Don’t Be The Bunny Reception: Friday, February 15, 5:30-8:00 pm Portland artists, Dianne Jean Erickson and Barbara Martin, create highly imaginative contemporary works. Erickson creates encaustic monotypes and mixed media prints. Martin uses acrylic, oil pastel and pencil in her mixed media paintings. Their work is infused with energy and expression.

Dianne Jean Erickson and Barbara Martin will be at the March 15, Third Friday art reception. Barbara Martin will do a demonstration of her unique process of painting.

Community Gallery New Exhibit

Celtic Art Exhibit at Rogue Gallery

The Art of the Celts

March 8 – March 22, 2019

Reception, Friday, March 15, 5:30 – 8:00 pm

 

The Rogue Gallery & Art Center celebrates the art of the Celts with this Irish themed art show. The Celtic culture has a long and rich tradition in music and art. This is our fourth annual Celtic Art Exhibit and includes seventeen artists who were inspired by the art of the Celts or by Ireland. Included in this exhibit are paintings in collage, fiber arts, mixed media, pen and ink, photography, and paintings in acrylic, gouache, oil, and watercolor. Exhibiting artists include Rachel Barrett, Violet Burton, Tom Glassman, Taylor Ann Hansen, Jennifer Ivey, Robert Keith, Silvia Kelly, Joan Kennedy, Jeanne LaRae, Mary Ann Schofield Macey, Anna May, Susan Murphey, Barbara Schack, Ginny Schaw, Pam Shay, Margaret Stermer-Cox, and Lori Taylor.

 

On St. Patrick’s Day, the Rogue Gallery will host a special evening event featuring Celtic art, music, and Irish food. Music includes “Pat O’Scannell and Friends” rendering traditional Irish music and the “Southern Oregon Scottish Bagpipe Band”. Tickets cost $35.00 and are limited. For tickets, please call 541-772-8118, visit the Rogue Gallery at 40 S. Bartlett St., or purchase online at www.roguegallery.org .

Refreshments from Harry & David will be served at the reception.

The Rogue Gallery & Art Center is a non-profit community art center, founded in 1960 to promote and support the arts in the Rogue Valley. The center exhibits a wide range of artistic styles and mediums from local and national artists. Programming includes art educational opportunities for children and adults. 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. Call (541)772-8118 for more info or visit www.roguegallery.org.

Masterpiece Christian Fine Arts Foundation ASCEND 2019

Are you endeavoring to become the best YOU as a young artist or musician? Mark your calendar now for June 17 – 21 and join us at

A West Coast Convergence of Young Artists & Musicians

Masterpiece Christian Fine Arts Foundation is partnering with The Story church in Ashland, OR to host ASCEND 2019, a four-day artist and musician conference in the heart of Ashland.  Young artists and musicians, ages 15-30, from up and down the West Coast will engage in great vision-building, inspiration, and technical instruction by an incredible team of professionally trained and experienced artists and musicians.  Participants will gather in morning and afternoon sessions in specific learning tracks, plus engage in morning and evening all group devotions and worship, inspiring featured speakers, and lunches and dinners.  This will be a week packed full of inspiring connection and unforgettable community!

(above: Rhaspody in Orange by Frank Ordaz, Jim Wright by Ryan Moon, Chalk Art by Cathy Gallatin)
– STUDY TRACKS –
ENERGIZE THE INTERSECTION OF YOUR GIFTS AND YOUR FAITHENJOY THE CAMARADERIE OF OTHERS PURSUING EXCELLENCE IN THEIR CRAFT

SET YOUR SIGHT ON A NEW AND VIBRANT TRAJECTORY TO BECOME THE NEXT GENERATION OF INFLUENTIAL ARTISTS AND MUSICIANS

     ART       |       MUSIC

art
| Frank Ordaz |

Oil Painting: Figurative| Ryan Moon |
Oil Painting: Portraiture

| Cathy Gallatin
& Mera Oliveria |

Mural & Chalk Art

| Jennifer Garrett |
Digital Drawing/Art

With our team of highly experienced, professional artist instructors, you’ll gain a vast range of in-depth, inspirational teaching as you’re guided through these hands-on workshops and discover  a broad scope of technical skills, a brief history of the impact of Biblical art throughout history, and the impact artists can continue to have  in His story of reconciling people to Himself!

music
| Steve Hopkins & Matt Combe & Jeremy Oliveria |

Worship & Songwriting| Zachary Sprunger |
Keyboard/Piano

| Michael Farley |
Intermediate & Advanced Guitar

| Jennifer Davis |
Vocals

| Jim Abdo |
Recording Studio

Our team of Spirit-filled professional musicians and songwriters are collaborating to bring a rich learning experience to each individual student, as they will venture through the foundations of music, theory, technical skills, and the importance of music in bringing the Kingdom of God!

| SCHEDULE, LODGING, DETAILS |

Activities from 8:30 a.m. to 8:30 p.m.  Morning and evenings  devotions, worship, and featured speakers. Morning and afternoon specific track interests (i.e Oil Painting: Portraiture, Keyboard/Piano, etc). All lunches and dinners provided -breakfasts not included.  Ends Friday a.m. at 10:00 a.m.

COST

$260 — Early Registration before April 15
$250 — Register with a group before April 15 ($10 discount per person)
$280 — Registration after April 15
$270 — Register with a group after April 15 ($10 discount per person)

* Registration fee does not include lodging. See lodging recommendations below.

Masterpiece has reserved lodging at the Ashland Commons Hostel, just within walking distance to The Story. This accommodation is $40/night; reserve a place through the ASCEND 2019 registration form.
Alternatively, Masterpiece has also reserved a block of campsites at Emigrant Lake County Recreation Area, just a 15 minute drive from The Story. This accommodation option is $20/night per site for up to 8 guests–group sites are available. Mention group name ‘ASCEND 2019’ when reserving your place. Contact Emigrant Lake County Recreation Area to book a site (541) 774-8183.  Or reserve another fine Ashland lodging establishment of your choosing.

Please visit ascend2019.com for full information and details.
Contact us with any questions:
[email protected]
541.601.7496

SEE IT ALL & REGISTER! @ ASCEND 2019 WEBSITE
We hope to see you this summer at ASCEND 2019!

Sincerely,

JEANNE RANDALL
President & Founder
Masterpiece Christian Fine Arts Foundation

With XAVIER BRASSEUR
Head Pastor @The Story
And the entire Ascend 2019 Team

mcfineartsfoundation.org
[email protected]
541.601.7496

Free Drawing Demo at Central Art March 28th

Enjoy a 2-hour Demo Presented by Lupe Galvan, MFA This March!

Central
                                                          Art Logo

 

Lupe Galvan Free Drawing Demonstration

Thursday, March 28, 2019

 

Time: 1:30pm-3:30pm

Where: Classroom at Central Art

Fee: FREE (Pre-registration required)

 

In this free demo, Lupe will cover how to draw a head/face and then demonstrate the use of a limited color palette on toned paper. Techniques shown will include using a measuring system and landmarks to draw a face, and how using a limited color palette can actually be beneficial in understanding color and creating color harmony.

Call 541-773-1444 to pre-register, as space is limited. Learn more about Lupe’s art and career by visiting https://www.lupegalvan.com

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