from crayon box to powering my soul… color defines me

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Agnes, Ad, & Yayoi

As I’ve mentioned in my last couple of blogs, I have been taking an online course through Coursera.org  Today I finished In the Studio: Postwar Abstract Painting so I want to talk about Weeks 6, 7 and 8: Agnes, Ad & Yayoi, all artists I had not heard of before, shame on me! Agnes Martin, Ad Reinhardt, and Yayoi Kusama, what fun it was to experiment with their styles of abstract expressionism.

Agnes Martin was known for her geometric shapes and grids.

Ad Reinhardt was known for his black paintings.

And Yayoi Kusama was known for her polka dots, installations, performance art, and infinity nets.

Currently, I am working on another piece inspired by Yayoi Kusama’s style but using brighter colors as she has in many of her other works:

More on my attempts in the next blog, plus my final assignments. Have a golden day!

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More In The Studio

My latest studio exercise from the class I’m taking through  http://www.coursera.org is to learn and paint in the style of Jackson Pollock, humorously nicknamed “Jack the Dripper”. His No. 1A created from oil and enamel on canvas in 1948 is shown (at left below). My exploration resulted with this interpretation of his process (at right below):

Jackson Pollock No. 1A, 1948, oil and enamel on canvas

Jackson Pollock Exercise by Carla Bange, 2017

 

 

 

 

 

 

 

 

Pollock started out inspired by American Indian sand paintings, which can be seen in his impressive The She-Wolf (see it here: https://www.moma.org/collection/works/78719 ). Once he relocated to New York, he focused on his “poured paintings” which are much more recognizable as his work. I learned that he used enamels, like house paint, which probably helped his action paintings which he created by moving around all sides of a huge canvas spread across his barn floor. My efforts, using thinned down acrylic paints, resulted more in drips and drops than flowing strings of paint. I really enjoy watching Ed Harris, the actor. So when he did such an amazing job portraying the artist in Pollock, the movie released in 2000, I was already familiar with the sweeping gestural movements of Pollock’s brushes. I was, however, unaware that he embedded trinkets in his work, such as nails, coins, buttons, and even cigarette buttes in his work Full Fathom Five (see it here: https://www.moma.org/collection/works/79070).

Next up was Mark Rothko. Art History 101 and 102 courses were my favorite classes in college. We were required to attend an art show, a play, a musical, and to write critiques. I’m not sure any of us truly knew what we were doing critiquing famous works but I imagine reading our papers was very enlightening, as well as entertaining, to the instructors. Standing in the Sheldon Art Museum on the University of Nebraska – Lincoln campus looking at a Mark Rothko original for the first time stayed with me over 40 years later! At the time, I felt the need to equate the work to something familiar and recognizable. Was it a landscape or a sunset, a field or the sea? Now I understand that abstract art is less about a relating it to something concrete and known and more about relating it to an emotion and feeling.

I used similar colors in the studio exercise I made with acrylic paints on a 24 x 36 inch canvas. When I stood back I realized that I had neglected to try to round the corners of my shaded rectangles which float on a red background. Rothko didn’t let others watch him work, so it is uncertain how many coats of paint he applied or what techniques he used for his smudged edges.

I did try my hand at using oil paints in the Rothko style, but on a much smaller scale. I found the streaking nature of thinned oil paint to be disappointing to work with. The upside is that I can say I tried it!

Look for more from the class as I continue to explore in upcoming blogs…


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In the Studio with a MOMA MOOC

The second course I signed up for on Coursera.org is much more experiential than the Learning How to Learn (LHTL) course I wrote about 2 posts ago. I took a leap and signed up for “In the Studio: Postwar Abstract Painting”. We’re exploring the Abstract Expressionists of the New York School. I knew 2 of the artists by name, the rest are new to me, which is exciting. I still think about my favorite undergrad classes: Art History 101 and 102, which pushed us to experience an onstage presentation, a play, a musical, an operetta, an art show, sculpture, and architecture.

Forty years later, I am studying art again. Through my latest class at http://www.coursera.org we have learned a bit about Barnett Newman, who’s pieces were huge, often 18 feet in length (at left below). My exploration resulted with this interpretation of his process I call “Grounded” (at right below):

Newman made what he called “zips” and I practiced a couple of different types of zips on my much smaller version (11 x 14″). The course instructor is Corey D’Augustine, artist and curator at MOMA. I naively presumed this studio exercise would be simple; Corey made it look easy, however I was surprised at how difficult it is to try to ensure your lines are straight. I used all acrylics: Raw sienna covers the entire canvas, then I taped the left zip and covered everything with yellow ochre. Next I taped the 2 right zips. I mixed Payne’s gray with Titanium white & gloss medium for the thicker of the two stripes and use straight-from-the-tube Payne’s gray for the thinnest stripe or zip. Finally, I used Naples yellow with palette knife for far right imperfect edged and textured zip.

Next up was Willem de Kooning. I think his work is interesting because it changed so much over the years; there is not one phase of his work that I can readily conclude is de Kooning’s style.

I used the same color palette as Corey did in the studio exercise video. I couldn’t find Titanium Buff so I tried to create my own flesh tone; it is a bit darker and pinker than I expected. This is my first experience using oils and I liked mixing in linseed oil, varnish, and mineral spirits, even water. My favorite parts of the de Kooning process were the charcoal pencil and the removing processes, like scraping, scratching, and rubbing off with turpentine on a rag… love that look! On the downside, I hated the clean up process of oils. I’m a messy artist and my hands were covered in oil paint. I just threw away my yogurt cup “bowls” and inexpensive brushes. I think I’ll stick with acrylics for future studio exercises. I like the final result, but am clueless as to whether it’s “finished”! I named it “Macaw” for the colors and textures.

Look for more from the class as I continue to explore in upcoming blogs…


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It’s Vintage!

When my mom moved back to Omaha to live with my sister and her family, the enormous task of cleaning house ensued, and the constant questioning, “Do you want this? or this? or this?” or “Maybe your sister wants this.” Many of the items brought forward for decision-making including the handmade items I had gifted her with over the past half century. Some I passed on. Some I had long forgotten, had a good laugh over, but still passed on. A couple I had forgotten and kept with a big Cheshire cat grin.  These two are ones I kept, had professionally dry cleaned, chose new mats and frames, and waited.

The results are in and I’ve found a bit of empty wall space to show them off. Made over 40 years ago. The first and only needlepoint canvases I made myself. Long before there were Michael’s Crafts Stores, Lee Wards out of Elgin, IL, was where I worked part-time during senior high school. One of my re-loved projects was from an introductory class which taught us a variety of needlepoint stitches and the other from a holiday DIY kit. If vintage is classified as anything over 25 years, then these two pieces certainly qualify:

 

Learning needlepoint stitches, the cat in blues and purples, Lee Wards Craft Store class, circa 1976

 

Poinsettia stained glass needlepoint kit, circa 1978


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Learning How to Learn

I am currently taking an online 4-week MOOC (Massive Open Online Courses) course titled Learning How to Learn. Through UCSD and Coursera https://www.coursera.org/learn/learning-how-to-learn/  I am working to learn new and unique methods for learning another language. As my Final Project for this course, I created a journal with these methods to allow me to have a handy reference point for helping me to learn. Here is the link to the video where I review this journal:

https://goo.gl/photos/KUxUJ2tm4o4MkUGE8

Many thanks goes to my friend, designer Suzy West for given me pointers on creating a video (my first!) as well as being my camerawoman behind the scenes!

For a closer view of these pages, I’ve added photographs of each journal page below:

 


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The Block Home Generation

I’ve purchased my plane tickets, reserved a rental car and am thinking ahead to my trip to Omaha, Nebraska, for my high school reunion this summer. It’s been quite a while since I’ve been back there. Many of my friends will return, too, from all points of the U.S. where we’ve scattered to over the past decades. I’m looking forward to reconnecting and laughing hysterically over shared memories. I guess it’s my plans for summer vacation that have me thinking about growing up in the Midwest and how different it is growing up, just about any place, these days, years later. My older brother returned more recently and he and I were talking about the changes. GoogleEarth shows us the home we lived in for so many years and I am surprised by a couple of things. First, the house seems so much smaller. Of course, I was a child, so some of that is a perspective thing. Second, and what my brother commented on, is how all of the trees have grown. I remember that we started out with a row of poplar trees that defined the back property line. And there was the weeping willow in the back yard separating our neighbor’s back door two-step stoop from our clothesline. Plus we had some bushes alongside the front of the house.

After several years, our father planted some new trees in a few random spots in our yard. I never understood why he chose those locations. I thought it made the yard more difficult to mow and when they moved, the front yard was no longer the best on the block for yard games like Red Rover. When we lived there, you could see the entire neighborhood from the freeway. Now, decades later, the trees have grown, taken root and are all you can see for miles and miles. I was in second grade when we moved into that home and it was, in the late 1960’s, on the outskirts of the city. Now, that house is literally in the middle of town as the city has grown and spread out enveloping smaller nearby suburbs.

There is a FB group titled Forgotten Omaha which I’ve joined because people will post old photos of the Omaha I remember. I asked the group whether anyone had a photo of a Block Home sign. Not the kind of block home you would get as the result if you did a Google search, which would show a block design for a house or a separating wall made of glass blocks or decorative cement blocks.  There was much discussion about Block Homes where a window sign designated that there was adult help available in the neighborhood if you needed to get away from a bully or were simply lost. Before there were McGruff houses, neighborhood safe houses were called Block Homes.  Our neighbor across the street was a Block Home. Of course, this, too, was during a time when leaving the doors unlocked in your house was not uncommon.


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Online auction Maria Pace-Wynters’ work

These three (two originals, Frida and Georgia and one fine art reproduction, Picasso) will be available May 3 during the online auction ‘Ode To A Famous Artist’ with Heartful Soul Artist Collective. There are so many great painting in this upcoming auction, you do not want to miss it. Join us here to take part […]

via Frida, Georgia and Picasso (just hanging out) — Maria Pace-Wynters