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The Artist's
Palette
Recently I came across a website that
I knew I'd have to share with you. I was looking for blogs about
art, did I really say that? Anyway in my wanderings I found
http://painters-table.com/
This site has blogs that include Artist Blogs, Art
Writers and Critics, Arts Magazines and Websites, News Media and Art
School Blogs. I've even gone as far as to include it in my startup
when I log on to my computer.
This brings me to the second part of this discussion.
Do you know that you can set your browser up to show as many web
page tabs on start up as you would like. Mine is set to show Google,
my mail page, Painters-Table and now G-Plus. To do this all you need
to do is open the pages you want in seperate tabs, go to the drop
down menu 'tools' and select options, general, use current pages.
That's it!
Robert Motherwell
Product Questions and Answers
What
can you do with a bunch of packing peanuts, a mat knife and a plastic coffee
container
That's simple, make a brush tote. I am forever finding my
brushes laying around the easel or a work table.
This is because
they have usually fallen out of the jar I put them in. No more,
now I take empty coffee containers (and in my house they are
plentiful) and I fill them a third of the way with packing
peanuts. Now take a mat knife cut some large holes in the lid and there you have it.
Not pretty, but way more practical then anything else I've found.
Watercolor Artist magazine is the definitive source for inspiration and
instruction for water-based medic artists. Find articles on technique how-to,
art news and expert tips in each issue of Watercolor Artist magazine.
 
Title: Artists in Oils
Free Artist Directory
Link:
http://www.artistsinoils.com
Description: Artists in
Oils is a free Art & Artist Directory
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Woven Sculpture
As an Art Form
By Judith Schwartz
Although associated primarily with fabric and
two-dimensional swaths of cloth, weaving as a medium provides a large range of
possibilities for sculpture. Designing three-dimensional scenes and
free-standing woven sculptures challenges the weaver on two levels: the artistic
challenge of design, color and texture creation and the technical challenge of
creating a sculpture from soft materials.
I began three dimensional weaving some 15 years ago with a small natural
addition to a 2-dimensional wall hanging. It led me to thinking about a weaving
with multiple layers of warp to create a deep picture and a greater
3-dimensional effect. In recent years this has led me closer and closer to
free-standing woven sculpture.
I am, by the way, a purely amateur weaver who simply loves the medium. The maxim
that has guided me was provided by a friend. Having searched the mighty internet
to find the technical instructions for what I wanted to do, I realized that no
one else seems to be doing what I was attempting to do, so I had no "teacher".
My friend came along and said "If the methods aren't available, you have to
invent your own". And so I have.
Every art form has its technical demands, and weaving certainly has its own. The
weaver has to be able to create a taut warp on which to weave his creation. In
ancient times the tautness was aided by tying stone loom weights onto the warp
strings. I've used this method, among others, with my latest weaving. Having
found a number of ancient weights in the fields around my home where a
prehistoric village once stood (I live in Israel where archeology keeps popping
out of the ground around you), I put them to 21st century use.
Let me start by saying I rarely use a loom. I work primarily with a simple
wooden frame that anyone can nail together and that achieves the necessary
tautness for the warp. When I began weaving with multiple warp layers, the
technical problems were easily solved. By using a frame that was 2 or more
inches deep, I could drill holes in the top and bottom for each warp level as I
added it. I planned the basic picture I wanted to achieve by drawing the parts
of the scene that would be on each warp layer on small sheets of cellophane and
placing one transparent sheet on top of another to see how it would look as a
completed item. By the way, I can't draw at all! So my sketches were simply
supplements to what I saw in my head. The plans of course vary as the work
progresses, but the basic idea is there as a guide. Only a portion of the total
scene is, of course, on each warp layer.
I found in most cases that working from back to front was easiest, though I had
to vary this at times to get the right perspective (perspective is the most
difficult part for me since the only art instruction I've had in my life was as
an 8 year old). Perseverance sometimes takes over where learned perspective
fails.
My newest challenge is free-standing or hanging sculpture. The first technical
problem is how to hold the warp taut for a 3 dimensional sculpture, and for this
I asked an ironworker in town to build me a three dimensional frame to use as a
"loom". This 3-D frame should allow me to attach the warp strings in whatever
direction I want the sculpture to go. A future article or website can go into
how this works...once it does!
My suggestion to other weavers? Feel free to do what your imagination tells you,
whether it's impossible or not. Use whatever materials you can get. Wool is hard
to come by these days in the area where I live, so I use synthetic yarns as well
as wool, string, ropes, raw wool, nylon stockings...whatever. I also don't feel
sinful if I add a bit of crochet or embroidery here and there...sometimes even
macramé. In museum catalogues it's called "assorted stitchery". That term
equates with "feel free".
Three dimensional and sculptural weaving can demand your full range of emotions,
can provide as many frustrations as other art forms, and as many challenges, and
in the end can bring the satisfaction of accomplishing something that is truly
beautiful. My walls seem to agree with me, as do visitors who happen by my home.
I suggest to the "everyone" who's out there to try it as an art form...and visit
my website if you want to see how mine came out. By the way, I'd also be happy
to hear from you!
To see the actual weaving, feel free to drop in to
http://sites.google.com/site/wovensculpture.
Article Source: http://EzineArticles.com/?expert=Judith_Schwartz
http://EzineArticles.com/
?Woven-Sculpture-As-an-Art-Form&id=1955091
Looking for Art Contests and Exhibition opportunities?
http://www.artdeadlineslist.com/
http://www.artshow.com/
juriedshows/
http://www.theartlist.com/
http://www.artshow.com/
juriedshows/page5.html
Artguide: Artforum’s free directory to the
international art world, listing art fairs, auctions, and current gallery and
museum shows in more than 400 cities.
www.artforum.com/guide
Feel free to forward this newsletter to your friends. As you know,
the bulletin is free and meant to inform and to promote the arts. (We never
share your info.) People can sign up for newsletters themselves here;
ARTCORE
NEWSLETTER
 A comprehensive guide to oil painting practice and
technique, this reference offers an informative A-to-Z section of valuable
skills such as how to build up a painting and how to make brushwork describe
forms and textures--as well as a wealth of stimulating ideas for the canvas,
including combining oil paints with other media, mixing paint with sand and
sawdust, and applying it with such tools as knives, rags, or even the fingers.
The second half of the book shows all the techniques in context. Illustrated
with a gallery of paintings by well-known artists and full of detailed,
step-by-step demonstrations, the guide shows how each artist applies knowledge
of oil painting techniques to the interpretation of a subject, whether
landscape, portrait, or still life.
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Featured Interview
Louise P. Sloane
Louise P. Sloane has been actively engaged in
the studio as an abstract painter since 1974. Her work focuses on
geometric
forms, grids, repetitive motifs and lushly layered color
with a
fascination with mark making as a fundamental principal. Ms. Sloane says,
"My goal has been to create objects with presence: Paintings that can be seen at
their basic physical appearance and appreciated at face value."
Recently I've had the opportunity to ask some questions that help us to
understand how the artist has reduced
language
and image to their symbolic essence.
When did you first start to
realize that you were on the path to becoming an artist?
When I was a small child growing up during the early
1950’s there was an interactive television show called
“winky dink”. My
experience with personal expression began there, when my visual responses didn’t
match the program and I was happy with what I had created. From then on, all I
wanted to do was make art.
What is the primary medium you
work with and why?
For over 15 years I worked solely with beeswax and
pure pigment powders. I was enthralled with the luminosity and textures created
as well as the wonderful aromas of melting wax in the studio. This medium is
difficult to store and transport, as well as demanding huge chunks of time just
to get started. During the mid 1980’s I began to develop my usage of acrylic
polymers which would free up my time for actual painting over manufacturing of
materials.
Tell us about your style of
art and how you have developed this visual voice?
The visual language of my paintings embraces the
legacies of reductive and minimalist ideologies, while celebrating the beauty of
color, and the human connection to mark making.
What projects or pieces are you working on now?
Since 2004 I have been deeply engrossed in painting
intense, vibrant color fields accentuated by highly textured surfaces. The
square as a repetitive motif along with the grid provide structure for the work.
Although this internal structure is formal, the work continues to accentuate
the human nature of writing through the flaws and imperfections of a handmade
pattern. The use of personally meaningful text transcribed onto my substrate
provides me with a powerful textural imagery. In tandem with these paintings, I
have been working on textural color studies painted primarily upon tyvec,
exploring the imperfections of surface and energy.
What advice would you give
other artist about being an artist?
I think that a huge part of being an artist is keeping
an open mind, and being supportive of other artists work. Visiting other artists
studios and exhibits with a generosity of spirit and positive response, helps to
provide forward momentum for all.
Visit Louise's website to see more
of her outstanding work. You will also be able to read about her amazing visual
concepts.
http://www.louisepsloane.com/
GerberLife Grow-up Plan - Child Life Insurance
An Incredible
American Collage Artist Named Robert Rauschenberg
By
Jeremy Fitz
In 1947, while in the United States Marine Corps
he discovered his own aptitude for sketching and
fascination with the artistic manifestation of every
day objects and people. Immediately after leaving
the Marine Corps, Rauschenberg studied paintings in
Paris. In less than a year he moved to live in North
Carolina, in which the country's most visionary
artists were educating at Black Mountain College.
Rauschenberg undertook studies under Josef Albers,
who stressed layout as being a discipline, and
Rauschenberg believed he needed such education. He
mentioned that Albers has been the teacher most
important to his development. There Rauschenberg
began what was to be an artistic revolution. Soon,
North Carolina country life would seem small and he
left for New York to make it as a painter. Amidst
the chaos and excitement of city lifestyle
Rauschenberg realized the total extent of what he
can provide for painting.
Rauschenberg's enthusiasm with regard to pop
culture and his own rejection of the tension and
seriousness of the Abstract Expressionists led him
to search for an alternative way of painting.
Rauschenberg found his signature method by embracing
items traditionally outside of the artist's reach.
About 1950 Rauschenberg began to paint his
all-white, then all-black, artwork. From these
ascetic exercises in total minimalism Rauschenberg
turned to creating giant, abundantly distinctive and
colored collage-assemblages. In 1958, at the time of
his very first solo exhibition, his work had moved
right from abstract painting to drawings to what he
classified as "combines." These combines intended to
exhibit both the discovering and developing of
mixtures in three-dimensional collage, which
cemented his place in art history.
Rauschenberg's best-known and most audacious
combines would be the "Bed" and "Monogram".
Concerning his artwork he explained: "Painting
relates to both art and existence which in turn he
tried to act in the space between the two." This
pioneering altered the course of modern art. The
idea of combining and of noticing combinations of
objects and images has always been at the core of
Rauschenberg's work. As Pop Art blossomed in the
'60s, Rauschenberg averted from three-dimensional
combines and began to work in two dimensions, making
use of magazine photographs of current happenings to
produce silk-screen prints.
In 1958, he had an exhibition in New York City
that skyrocketed him to prominence, and his awesome
works of art quickly entered the collections of
every single large museum in America and abroad. Not
satisfied with cultivating his career as a painter,
in 1963 he toured with the Merce Cunningham Dance
Theater as an active player. In 1964 Rauschenberg
got first prize at the Venice Biennale. In the late
1960s he concentrated on developing compilation of
silk-screen prints as well as lithographs.
From the mid 60's through the seventies, this
collage artist carried on the experimentation in
prints by printing onto aluminum, moving plexiglass
disks, clothes, and other surfaces. He challenged
the view of the artist by assembling engineers to
aid in producing portions technologically made to
incorporate the viewer as an active player in the
work. During the late eighties, he created the
Rauschenberg Overseas Cultural Exchange which was
established to expand cultural ties. In every single
nation he visited, he will make art and then leave
one piece behind. Rauschenberg continued his
experimentation, concentrating mostly on collage as
well as new approaches to transfer images. In 1994,
the World Federation of United Nations Associations
chose his painting to appear on a stamp. In 1998,
The Guggenheim Museum put together its biggest
exhibition ever with four hundred works by
Rauschenberg, showcasing the breadth and wonder of
his work.
We usually put the words "boring" and "art"
together but a
collage
artist will change the way you think about art.
A
mixed media painting can show the wonders of
mixed media art that many of us has yet to discover.
Unleash the inner Picasso in you.
Article Source:
http://EzineArticles.com/?expert=Jeremy_Fitz
http://EzineArticles.com/?An-Incredible-American-Collage-Artist-Named-Robert-Rauschenberg&id=5322
ArtCore is Looking For
Artists/Writers!
Are you an Artist that enjoys sharing tips or
lessons with beginners?
Are you interested in helping thousands of
artists improve their skills?
If so I would love to feature your lessons or
tips here in this newsletter.
This is a great opportunity to introduce
yourself and your artwork to our growing
community.
I am interested in lessons and tips on any
medium, including crafts. This includes oils,
acrylics, watercolor, pencil, colored pencil,
pastels, digital art, photography,collage and
anything else you may specialize in.
Lessons can be elaborate step by step demos with
pictures, videos, simple text based articles or
a collection of simple tips you have learned
about your particular medium over the years. The
more often you contribute, the more often you
will be seen.
If you are interested, please contact me
directly by clicking my name.
Don
Kolberg
The purchase of these ART Magazines and any other
products
displayed throughout, support the operation of ART CORE
Modern Painters is the definitive international source of commentary and
analysis of contemporary art and culture
Art Papers Magazine
One of the nation's most respected contemporary art magazines. The
only critical arts journal published in the
Southeast, ART PAPERS Magazine provides diverse and independent
perspectives within a dialogue of international contemporary art and culture.
 The Crafts Report is an essential part of every artist's business collection. This monthly magazine delivers tips and tricks on
everything from creating great photographs of artist's work to setting up a show
booth and handling legal issues that surround running a small business.
Essays by guest authors reflect the
opinions of the authors only and do not necessarily reflect the opinions of
Donald Kolberg or Art Core.
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Featured Interview
Louise P. Sloane
ARTICLES
What Is Art?
By
Liam Huston
Woven Sculpture As an Art Form
By Judith Schwartz
The Artists Palette
By
Donald
Kolberg
Artists and Art History.
In this issue...
An Incredible
American Collage Artist Named Robert Rauschenberg
By
Jeremy Fitz
QUICK LOOK
literally a quick look at art that has grabbed
me in some way and that I think you should see.
Subscribe to ARTCORE here
Product Questions and
Answers
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What is art?
by
Liam Huston
It’s a fair question that all principals ask themselves, whether it
be the Artist that creates the work, the
Gallerist that exhibits it, or the Collector
that purchases it, the same question resonates
throughout, “What is Art?” In the past it has
been the Gallerist’s job to dictate taste, to
hone through a wide swath of work being
produced, selectively choosing who’s important
and viable, and who isn’t. To be fair, the
market still is determined in this manner, with
major galleries determining taste and focus for
collectors, affecting auction prices and the
value of contemporary and modern work. Beyond
the top 100 artists that compose this list,
there is a wide array of ‘everyone else’ so to
speak, that fight on a daily basis for some
small recognition and awareness within the
public’s eyes.
From a collectors perspective, there are many reasons to purchase
work, most very personal and not based on the
sense of commoditization we tend to hear so much
about. No two collectors are alike, nor should
they be categorized and discounted. The act of
collecting is a passion that is borne out of the
desire to discover perspective and insight from
the work of the artist, to live with another’s
vision. Yet, one of greatest difficulties that
a collector faces is the limiting scope of
geography, exposure, and access to great
galleries and young artists.
In many ways the entire dynamic of discovery has changed for
collectors, with all manner of work now being
made available through the internet, whether it
be directly from the artist, or through online
businesses that allow for repositories of work
to be listed, displayed and sold. One would
think this would be to every one's advantage,
mountains of work being offered without
barriers; yet the panacea is turning into a
nightmare for collectors. The freedom from
curation has created a messy and jumbled world,
one where vetting and limited exposure is no
longer encouraged due to the wish of the
operators of these various sites promoting
inventory over quality.
Which leads us back to the primary question, ‘What is art?’, with
the additional question being ‘Whom decides what
is art or not for the collector if the gallerist
is removed?’ Curation serves this single
purpose, exacting a surgical knife to that which
isn’t of cultural value, and preserving that
which is. If we are to see the expansion of
galleries into the online space, success will
only be found through the same care and focus of
selectivity of works that is exhibited within
the traditional gallery. Despite the temptation
to show anything and everything, the more is
better mentality, true value is found within
restraint and consistency. Collectors value the
eye of the gallerist, and will shun those that
wish to inundate, rather than truly innovate.
Liam Huston
Co Founder of The Opening
www.theopening.us
FREE DOWNLOADS
To get these books and lots more
join
Artist Daily it's free and you'll find
lots of great stuff. And by the way I get
NOTHING if you join. But I beleive it would be a
good idea.
Discover the tips and tricks to
painting outdoors with success. From practical
know-how from seasoned artists to beautiful
examples of outdoor painting artworks that are
sure to inspire, this free eBook on plein air
painting techniques will have you geared up and
ready to go for your next venture outside the
studio.
Still life painting insights and
demonstrations with Joe Gyurcsak.
If you have information about a contest, art opening, or an
exhibit review
email us at
artist@donaldkolberg.com
Don can be reached at
Don@donaldkolberg.com
 
There is an incredible
amount of art information on the web...no
duh!
I guess that's why I often end up wandering and
not writing about my art or others art. But
sometimes the wandering comes up with some very
interesting art stuff.
Here is a list of the top 10
art blogs of 2010 by Arts Media Contacts
Organization. I been through them and they are
pretty insightful so enjoy
blog.vandalog.com/
www.artsjournal.com/
www.guardian.co.uk/
artanddesign/jonathanjonesblog
www.theartnewspaper.com/fairs
cathedralofshit.wordpress.com/
1000wordsphotographymagazine.
blogspot.com/
http://selfselector.co.uk/
armaghoclock.wordpress.com/
http://www.artrabbit.com/
http://www.artfagcity.com/
And if that's not enough take a look at these
gems,
http://www.artcareer.net/2008/
100-must-see-art-blogs-of-every-form/
Quick
Look
These works are a selection of constructions in
encaustic, oil and casein on wood based on the
Golden Mean Proportion. They are this issues
Quick Look
These works have
been created by Astrid Fitzgerald who says,
"My artistic work has always been closely
aligned with my quest to uncover the nature of
reality. The important distinction I make at the
outset is that the work will not reflect the
mere appearance of nature, but rather its
underlying laws."
http://www.astridfitzgerald.com/
Master the art of watercolor
painting this this comprehensive and compact
guidebook. More than 100 step-by-step sequences
demonstrate how to paint a wide range of
subjects, including landscapes, buildings,
people and still life. Over 180,000 copies sold
worldwide.
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