Appreciating the Labor of Artists

Rainy urban landscape, photograph by
Michael Wayne

I have some new artwork which I have been admiring greatly and it occurs to me that Labor Day is the perfect time to sing the praises of artists and their work. What other "product" can you purchase and it requires nothing else to be effective? You find a place for it and voila! at any time you can enjoy the vision of that artist and be reminded of the enchantment of the world. This is the number one reason why I appreciate the work of artists: I am able to see the world through their eyes.

Marco Logsdon's beautiful abstract landscape on the right;
the woodgrain glowing through the resin interplays
wonderfully with the painted woodgrain on
Ron Isaacs's piece

      You don't have to start planning on buying Image.2 or uploading software for its continued effectiveness.  True, you might have to frame the work or re-paint your walls from time to time, but otherwise, you have the complete package forever and ever--no subscription required!

Work by Christina Brannock-Wanter exhibited in the
Not Big show at the MS Rezny Studio/Gallery

Artists are small business people and we can expect to pay a fair price for their work so they can earn a decent living.  In exchange, we receive a priceless contribution to our everyday lives.

Walking sticks by Larry Mitchell

       I also appreciate the work of artisans like Larry Mitchell. He makes walking sticks. They are beautiful and they work! I use his walking sticks on my treks through the woods of Kentucky. 

Portrait of Jacob by Eric Johnson

Now that our nest is empty, I am particularly enjoying the portrait of our son, Jacob, by Eric Johnson (ericjohnsonartist.com)





Okay, perhaps it is kind of self-serving to praise artists, since I am one. And I do encourage you to buy my work! Part of my work as an artist is making a home. And I consider homemakers to be artists, too. You have to use a lot of the same skills. We should not short-shift the place of beauty in the home.

Carly relaxing under an arrangement of art:
Ron Isaacs reigns at the top. My work in-between,
the work in the middle is entitled: An Honest Day's Work
On the sofa, quilt by my mother-in-law, Alice Johnson.
Home is where the art is!

Thanks to all the artists in my life. Keep on working and Happy Labor Day!

Revealing the Enchantment

Sunset at Forest Retreat

Recently, my friend Meg has been waxing enthusiastic about a substantial volume, A History of American Tonalism: 1880 - 1920 by David A Cleveland. So enlivened was she by the book that she brought it to the One Day Wonder Workshop where we turned page after page, each with wondrous images.  It made me think; what is it about tonalist paintings that grabs me so? The answer I always come back to is that the tonalist painters recognized the essential truth that our everyday world is enchanted.  You don't have to be in the middle of a magical forest to experience this. You can be drawing a curtain at dusk and notice the dogwood blazing bronzy-gold against cool evening shadows. Enchantment is there everyday for all of us. Perhaps the tonalists focus on the most fleeting times of day, especially dusk and the most fleeting season, Autumn, but these charmed sights exist for all but the most imprisoned to enjoy.

       Lately, I have also been musing over why I am so taken with teaching. My classes and workshops are organized around using watercolor and pastel to make paintings.  It is rewarding to witness people, who are often dismissive of their abilities, create something which expresses their own keen sense of beauty.  Their own particular gifts shine: deft drafting, dynamic design, luminous color or rich texture. Much of the time, it is something indescribable. Without exception, there has been some aspect of each participant's work that touched me. Everyone's vision is different, and there it is on display in their paintings. I love helping people reveal their enchanting vision of our world!

Notes:
A History of American Tonalism: 1880 - 1920, David A. Cleveland, Hudson Hills Press, 2010


I am teaching classes at the M S Rezny Studio/Gallery, 903 Manchester Street, Distillery District, Lexington, KY:

One Day Wonder Workshop, Saturday, September 15, 2012, 10:30 am - :300 pm. $75

Experimenting with Watercolor & Pastel, Thursdays, September 27 through October 18, 2012, 1:30 - 3:30 pm, $145 for 4 sessions.

All art materials are supplied and included in the class fee.  Just come with an open mind and some photos to work from. Limited to 10 people.  A check reserves your spot.  For more information and registration:  msrezny.com or kathyreesjohnson.com, or e-mail: kathyreesjohnson@gmail.com.

Come out to play!

Kentucky's True Colors

Want to play with watercolor and pastel? Or simply try your hand at making art?  Come join us for these classes:

One Day Wonder Workshop:  Saturday, September 15, 2012; 10:30 am - 3 pm, $75

Experimenting with Watercolor & Pastel:
Thursdays, September 27 through October 18, 2012; 1:30 - 3:30 pm; $145 for 4 sessions

The workshop and classes will be held at the
M S Rezny Studio/Gallery, 903 Manchester Street, in Lexington's Distillery District.  All art materials are supplied and included in the class fee.  Students of all abilities are most welcome. Just come with an open mind and reference photos (images that you want to paint.)

For more information and registration: msrezny.com or kathyreesjohnson.com

e-mail:  kathyreesjohnson@gmail.com         Hope to see you in class!

Taking on Goliath

Sheep and spring lambs

I am always a little puzzled when people qualify their desire to take an art class by saying: "I must warn you, I have no experience!" (Or they don't know how to draw, paint, use watercolors or pastels, etc. etc. etc...)  I thought that was the point of taking a class: to learn something or try something new! The other thing that I notice is that there is a notion that one may not express themselves artistically without a full arsenal of techniques, color theories and compositional strategies.

    So, I perked up earlier this summer when the story of David and Goliath was read at church (St. Peter's Episcopal Church in Paris, KY.)  The young shepherd, David, is reluctantly selected to take on the champion Philistine, Goliath.  The Israelites are dubious about David's abilities. Saul insists on cloaking David in heavy armor that is much to big for him. The armor is so heavy that David is not able to walk! David removes the bronze helmet, coat of mail and sword and instead places five smooth stones in his shepherd's bag and has his sling in hand. And there you have it, the recipe for success for David and, I believe, the way for success for would be artists.

      Often, folks who have finally gathered the nerve to try creating become paralyzed trying to remember all the rules and theories. They can't move, just like David in the armor.  Perhaps it is more important to go into battle with the tools you are already comfortable using. We all use our hands and our eyes and we can start there.  Even David makes a case for his abilities by talking about his experience as a shepherd, keeping lambs safe from lions and bears. I suspect that most people actually have fairly well developed color theories from their own experience of creating homes. They also know a great deal about composition and their own preferences.

    This is not to say that there is no place for the diligent study of the elements of fine art. There is; particularly for young people.  But for people who are coming to art a little later, why not use the tools you know; for which you have a second nature affinity. Simply think about training your eyes and your hands to create from your own perspective.

   

Art of the Landscape

Kentucky colors at Floracliff

We were driving back from a wedding in Illinois with me at the wheel and my co-travellers enjoying a sweet snooze; so I was alone with the landscape and the radio.  The scene was not my usual one. As far as I could see, wind turbines were arranged at all angles to catch the wind, which was blowing strongly over the broadly and subtly undulating land. How perfect it was that, right then, Aaron Copland's The Tender Land was offered up on the radio. I had a sound track for my traveling visuals because the music and the landscape went hand-in-hand. Driving home to Kentucky, I was struck once again by how art and landscape are profoundly intertwined.

    For a long time,  Kentucky has been celebrated for producing gifted writers. Now and then, there is a renewed noting of this phenomenon. The landscape is often credited for inspiring writing and just as often it is asked why this is so. The connection is so fundamental that it is acknowledged without explanation.

Meg Shaw and the newly acquired work by Dobree Adams

    Writers are not the only artists inspired by the Kentucky landscape. Visual artists also claim the landscape as primary inspiration (I am one of them.) If you would like to experience the Kentucky landscape in art, you can do so by visiting the Lucille Little Fine Arts Library & Learning Center on the University of Kentucky campus. Head of the Little Library, Meg Shaw, has developed a wonderful collection of art created mostly by Kentucky artists. Most recently,
the library has acquired work by well-known fiber artist, Dobree Adams.  Her weaving reminds me of the classic Kentucky colors of redbud violet and cedar green. (Please see my blog: Kentucky's True Colors 3-27-12.)  Adams has a fascination with the landscape.  She states on her website (www.dobreeadams.com):  "I never tire of watching and recording how the light falls on the hills behind our river bottom, of how the light creates layers of trees and mist and fog." You can see this is her weaving.

Russell Weedman over the copiers 

 Speaking of rivers, Russell Weedman, an art professor at the University of the Cumberlands was influenced by the Cumberland and other rivers for a series "Rivers and Encroaching Shadows" (Heike Pickett Gallery, 2002.)  Weedman used the triptych format to express concerns for the environment and nature.  The connection between the artist and his place is evident.

A wall devoted to Anna and Harland Hubbard

 

  A significant project of Meg's has been to inventory the work of Harland Hubbard, celebrated back-to-the land artist. He is known as Kentucky's Thoreau (although he outlasted Thoreau's Walden experiment by about four decades.) Hubbard's life at Payne Hollow was better known than his art work. Meg has worked hard  to find and document paintings by Hubbard. The Little Library has five watercolor paintings by the artist, featuring the river landscape.  You can experience a bit of Harlan Hubbard's life just by visiting the library.

     There is a lot more art to see at the Little Library (and some books, too!)  Even the artwork that does not overtly depict the landscape has a palpable sense of Kentucky, especially in the story-telling component.  Right now, there is a fine display of Artist Books. Have a look and experience Kentucky from an artist's point of view. 

Foggy Mountain Breakdown

Fog along Abbo's Alley, Sewanee

I am working toward an exhibit featuring trees and in the process, new materials are coming into play.  Actually, both of these things are inspired by Mary Rezny.  She presented a workshop recently where we worked with two types of photograms and Mary told us how she uses the photograms to create her evocative multi-media pieces. On top of the photograms (which are developed using dark room chemicals) Mary ads texture and then color with oil paint. The work is finished with Dorland's Wax Medium.  I gave oil paint and the wax medium a try and found both to be quite intriguing. The wax can be used with oil paint, which actually cuts drying time. As a sort of varnish, the wax levels out the surface and protects all the materials underneath.

Crimson and Clover

To the right is the piece that I created from my photogram made at Mary's workshop. I used a spackling compound to create the texture, a continuation of the photo's image into the surrounding border, as instructed.  Mary Rezny used actual plant material in some of her work, so I was inspired to add my Earth Day four-leaf clover to my work.  The photogram was of a sprig of humongous clover and some poinsettia leaves. I call it Crimson and Clover. With that in mind, I used crimson and green oil paints, modified with ochre. I don't have a lot of experience with oil paints and I was astounded with their malleable quality. I knew I wanted to use them some more. The wax medium provided further encouragement because it adds further flexibility to the medium (and makes for easier clean-up.) 

   Then I saw an article in The Artist's Magazine which combined acrylic with oil pastel and that inspired me to try the painting above. The foggy image cried out for a glaze of oil and wax medium. I started with an acrylic underpainting and then added the oil glazes and details with oil pastel.  After the oil is completely dry, I'll add a varnish with the wax, which should give just the right luminosity for the foggy scene that  Sewanee is so famous for!

    This painting and others will be part of an exhibit at Mary Rezny's studio/gallery in the month of August. Mary came up with the title: Out of the Woods. I'll have more on this as the details are firmed up. 

Vacation Eyes Encore

May's Lick, KY home of the Asparagus Festival

Brad with his fossil art

       Over the weekend, I was able to enjoy a return visit to the Asparagus Festival in May's Lick, KY. Last year, I was accompanied by Mary and it was fun to witness her charmed reaction to a place so close to home (please see Seeing the Home Turf with Vacation Eyes, 5/25/11).  This year, I was solo and in sort of a hurry (which is blinding for vacation eyes) but I made sure that I got some photos so I can share the unique and lovely quality of May's Lick and the Asparagus Festival.

Musicians accompany the art competition 

     I have been enjoying asparagus this spring. It came on early, so there has been a month of fine eating even before the festival.  My fossil art friend, Brad, has been participating in the art competition at the Asparagus Festival and he had a terrific idea for this year's entry.

Larry found a selection of quirky sticks. Brad envisioned them as Guiness Record holders for asparagus (forked, number of heads, twisty and cherry.)  He created AsparaGuiness.  I was not able to discreetly photograph his work in place. But I do have a pre-assembly photo (that includes Brad!) Larry also provided the beautiful cedar slice base.  Brilliant! Even with the wonderfulness of it all, Brad did not repeat the victorious outcome of last year, when his entry Whale Food came home with the blue ribbon.

Devilishly clever AsparaGuiness

Larry and his special walking sticks (simply the best!)

It was a fine day for the festival, which goes from 10 am to 10 pm. There was music everywhere. There was an oompah band just outside the Presbyterian church, where the competition was exhibited, along with archival asparagus art work and all things asparagus in general. Inside the church, a folk duet was singing and strumming along.  When I left the church, a featured band was amplified at the main music venue. It was truly and appropriately a festival atmosphere.

The oompah band

    I bought two pounds of beautiful asparagus and stopped by to check on Brad and his fossil art and Larry with his walking sticks. I bought another walking stick so that I will always have one handy for a walk in the woods. Larry's are the best!  All in all, this a festival to enjoy, even if it is so close to home.