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| Well Known Cleveland, Ohio artist Lawrence Baker has words of advice for other artists, using himself as an example. |
| Colored Pencil Artwork Gains Credibility By Cynthia Knox |
_________________________________________________________________________________________________________________________________________
The three artwork pieces here, L to R: “Scentsation”, “Contemplating Heaven”, and
“Garden of Eden” are colored pencil works that I created.
“Garden of Eden” are colored pencil works that I created.
////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
| Creating 3-D Art from Paper By Francene Levinson |
The 3 works above are 3-dimensional paper forms created by the artist
Museum Directors Peter Baldaia and Paula Tognarelli to Jury the 2012 Spring/Summer Show
AJAS continues its tradition of attracting accomplished,
professional jurists.
The two jurists carry impressive credentials: Peter Baldaia is Director of
Curatorial Affairs at the Huntsville Museum of Art in Huntsville, Alabama;
Paula Tognarelli is Executive Director of the Griffin Museum of Photography
in Winchester, Massachusetts.
professional jurists.
The two jurists carry impressive credentials: Peter Baldaia is Director of
Curatorial Affairs at the Huntsville Museum of Art in Huntsville, Alabama;
Paula Tognarelli is Executive Director of the Griffin Museum of Photography
in Winchester, Massachusetts.
Peter Baldaia holds an M.A.in Art
History from Boston University after
receiving his undergraduate degree at
Rhode Island College in Providence.
He also holds a diploma in Museum
Studies from Boston University with
earlier studies at the Rhode Island
School of Design.
He is the former Curator of Exhibitions
History from Boston University after
receiving his undergraduate degree at
Rhode Island College in Providence.
He also holds a diploma in Museum
Studies from Boston University with
earlier studies at the Rhode Island
School of Design.
He is the former Curator of Exhibitions
Peter Baldaia
PaulaTognarelli holds an M.S. in Arts
Administration from Boston University, is a
graduate of the New England School of
Photography, and is a current candidate for her
Masters in Education at Lesley University in
Cambridge, Massachusetts.
The Griffin Museum produces 60 exhibitons
annually. She has juried and curated
exhibitions internationally including American
Administration from Boston University, is a
graduate of the New England School of
Photography, and is a current candidate for her
Masters in Education at Lesley University in
Cambridge, Massachusetts.
The Griffin Museum produces 60 exhibitons
annually. She has juried and curated
exhibitions internationally including American
__________________________________________________________________________
"Look for art exhibitions where the jury is composed of art
educators, curators, critics, and gallery directors."
educators, curators, critics, and gallery directors."
I remember the trips from Jacksonville, Florida to Savannah, Georgia.
These were usually trips to visit family. Of course, I had other family in the
South. For some reason, I remember the rides in the back of the car. The
car was a green 1953 Chevrolet. We would get up early in the morning and
ride in the car until we reached our destination.
I understand now there were legitimate reasons for a black family to start
the trip early in the morning before light. This time was the early 1950’s.
Some of those reasons (I realized years later) were that my parents did not
want to be harassed by white policemen along the way. Also, it was a good
thing to know that if you did have to stop along the way to buy something it
was an establishment that was friendly to black people. This is the way I
interpreted these family trips in the South for black families. As a small
child, I would sit in the back of the moving car and stare out of the window.
During those lengthy drives, I would become transfixed in time. I would
lose sight of time. The time no longer became an issue. It almost became
hallucinatory. Though obviously I was moving; the panoramic view became
stationary. I was immersed in the setting. My mind became locked in
some kind of distance within space. I felt that I could walk within that
space.
I think this is the period of my life that set me on the path as a visual artist.
I became more in tune with my environment. I looked at elements of my
environment with a kind of new insight. I paid more attention.
Of course; there were other moments and issues that have become a part
of me. I hope my work has and is reflecting of those positive moments and
issues.
Because of education I was able to come in touch with basic principles of
art and theory. With education I have learned about some of the variations
in how artists approach their work. Of course; there were other moments
and issues that have become a part of me. I hope my work has and is
reflecting of those positive moments and issues.
These were usually trips to visit family. Of course, I had other family in the
South. For some reason, I remember the rides in the back of the car. The
car was a green 1953 Chevrolet. We would get up early in the morning and
ride in the car until we reached our destination.
I understand now there were legitimate reasons for a black family to start
the trip early in the morning before light. This time was the early 1950’s.
Some of those reasons (I realized years later) were that my parents did not
want to be harassed by white policemen along the way. Also, it was a good
thing to know that if you did have to stop along the way to buy something it
was an establishment that was friendly to black people. This is the way I
interpreted these family trips in the South for black families. As a small
child, I would sit in the back of the moving car and stare out of the window.
During those lengthy drives, I would become transfixed in time. I would
lose sight of time. The time no longer became an issue. It almost became
hallucinatory. Though obviously I was moving; the panoramic view became
stationary. I was immersed in the setting. My mind became locked in
some kind of distance within space. I felt that I could walk within that
space.
I think this is the period of my life that set me on the path as a visual artist.
I became more in tune with my environment. I looked at elements of my
environment with a kind of new insight. I paid more attention.
Of course; there were other moments and issues that have become a part
of me. I hope my work has and is reflecting of those positive moments and
issues.
Because of education I was able to come in touch with basic principles of
art and theory. With education I have learned about some of the variations
in how artists approach their work. Of course; there were other moments
and issues that have become a part of me. I hope my work has and is
reflecting of those positive moments and issues.
Photo's Image of the Year and the Lishui International Photography Festival in
Lishui, China. She is a regular participant in national and local portfolio
reviews, and featured speaker at photography events and conferences
including MacWorld, Boston and the Seybold Conferences. She has been a
panelist for the Massachusetts Cultural Council's Photography Fellowships
and is a nominator for the Prix Pictet in Geneva, Switzerland. Paula is a past
member of the Xerox Technical Advisory Board and a current member of the
advisory board of the New England School of Photography.
Lishui, China. She is a regular participant in national and local portfolio
reviews, and featured speaker at photography events and conferences
including MacWorld, Boston and the Seybold Conferences. She has been a
panelist for the Massachusetts Cultural Council's Photography Fellowships
and is a nominator for the Prix Pictet in Geneva, Switzerland. Paula is a past
member of the Xerox Technical Advisory Board and a current member of the
advisory board of the New England School of Photography.
| Articles for Artists |
Museum, and was a curator at the Fuller Craft Museum (formerly Fuller
Museum of Art), Brockton, Massachusetts. Peter has experience as a
jurist in many professional art shows hosted by state and university
venues.
Museum of Art), Brockton, Massachusetts. Peter has experience as a
jurist in many professional art shows hosted by state and university
venues.
PaulaTognarelli
| Bridging the Gap Between Artists and Museums |
Many art museums and galleries host juried exhibitions
to recognize emerging artists, promote art education, and
introduce the public to the dynamic evolution of art history.
Not all emerging artists gain the recognition they desire or
deserve. Curators and critics can miss worthy artists who
later win respect. This disconnect is not new. The struggle
for lifetime recognition has even troubled art celebrities
including James Whistler, Vincent Van Gogh, Vermeer,
and Amedeo Modigliani.
Audience disconnects can cause artists to question the
value of exhibitions. Yet the exercise of making application
and attending exhibitions remains a worthy one.
to recognize emerging artists, promote art education, and
introduce the public to the dynamic evolution of art history.
Not all emerging artists gain the recognition they desire or
deserve. Curators and critics can miss worthy artists who
later win respect. This disconnect is not new. The struggle
for lifetime recognition has even troubled art celebrities
including James Whistler, Vincent Van Gogh, Vermeer,
and Amedeo Modigliani.
Audience disconnects can cause artists to question the
value of exhibitions. Yet the exercise of making application
and attending exhibitions remains a worthy one.
And several practices can enhance the probability of attracting juried art audiences
and provide comfort when artwork is rejected.
1. Write your bio as if you were deceased. Use the structured format in museum
catalogs. Include your birth year, birthplace, academic credentials, exhibition
history, life altering reference points, and stylistic evolution. Avoid self assigned
poetic descriptions. Include published quotes from respected critics when possible.
If you record famous artists who influence your work, then specify which aesthetic
you incorporate and which you reject.
2. Enter as many juried exhibitions as possible. Look for art exhibitions where the
jury is composed of art educators, curators, critics, and gallery directors. An online
presence is an advantage. Many museums, galleries, and collectors review the
exhibitions and prizes on artist resumes. And exhibitions can create a following; so
distribute business cards and solicit names to build a mailing list. Treat each
exhibition, not as a mere event, but as a sequential step in an audience-building
process.
3. Treat Failure as information. When you do not win acceptance or a prize,
maintain the worth of the competition. Study the differential attributes of prize
winning works for possible inclusion in your work or rejection by choice, not
capability. Do not always assume that prize winning works are better works of art.
Rather, consider the possibility that jurors favored a particular aesthetic, style,
region, or audience.
4. Strive for excellence in a mediocre art era. American artists inhabit a populist
mass market culture that indulges mediocrity, instant gratification, and gross
ignorance of the God given intelligence behind visual art.
and provide comfort when artwork is rejected.
1. Write your bio as if you were deceased. Use the structured format in museum
catalogs. Include your birth year, birthplace, academic credentials, exhibition
history, life altering reference points, and stylistic evolution. Avoid self assigned
poetic descriptions. Include published quotes from respected critics when possible.
If you record famous artists who influence your work, then specify which aesthetic
you incorporate and which you reject.
2. Enter as many juried exhibitions as possible. Look for art exhibitions where the
jury is composed of art educators, curators, critics, and gallery directors. An online
presence is an advantage. Many museums, galleries, and collectors review the
exhibitions and prizes on artist resumes. And exhibitions can create a following; so
distribute business cards and solicit names to build a mailing list. Treat each
exhibition, not as a mere event, but as a sequential step in an audience-building
process.
3. Treat Failure as information. When you do not win acceptance or a prize,
maintain the worth of the competition. Study the differential attributes of prize
winning works for possible inclusion in your work or rejection by choice, not
capability. Do not always assume that prize winning works are better works of art.
Rather, consider the possibility that jurors favored a particular aesthetic, style,
region, or audience.
4. Strive for excellence in a mediocre art era. American artists inhabit a populist
mass market culture that indulges mediocrity, instant gratification, and gross
ignorance of the God given intelligence behind visual art.
By Michele L. Bechtell - Director of the Madison Museum of Fine Art, Madison, Ga
////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
Michele L. Bechtell
Hopefully a globally depressed economy, weariness of widespread financial
irresponsibility and unsustainable public debt may reset the aesthetic clock to
raise awareness that visual art is worthy of the pursuit of excellence.
5. Be honest. What type of art do you create? Is it powerful contemplative art? Or
is it decorative? There is no shame in declaring your works as solely intended to
decorate a room or hotel lobby.
There is prosperity for artists in the decorative arts industry. Many talented artists
convert walls, windows, and floors into a pleasing aesthetic experience using a
variety of media. So, embrace your style and look for the proper audience and
market.
Are you essentially a graphic designer? Are you an illustrator? Are you a
photographer? And if so, what kind?
irresponsibility and unsustainable public debt may reset the aesthetic clock to
raise awareness that visual art is worthy of the pursuit of excellence.
5. Be honest. What type of art do you create? Is it powerful contemplative art? Or
is it decorative? There is no shame in declaring your works as solely intended to
decorate a room or hotel lobby.
There is prosperity for artists in the decorative arts industry. Many talented artists
convert walls, windows, and floors into a pleasing aesthetic experience using a
variety of media. So, embrace your style and look for the proper audience and
market.
Are you essentially a graphic designer? Are you an illustrator? Are you a
photographer? And if so, what kind?
Present your work to the appropriate audience. If you are seeking recognition as a
fine art artist, beware. No serious collector or art museum wants an imitation of an
earlier artist. The audience for imitations is the decoration industry. There is
something different about a “fine art” artist. Fine art exudes a rarefied essence, a
rigor, an intriguing pulse, a mesmerizing atmosphere, a unique “je ne sais quoi”
that differentiates it from decorative art.
6. Avoid an attitude of entitlement. The early 21st century is marked by a broad
feeling of entitlement in many aspects of American community life. And art is no
exception. A syndicated column in a local newspaper recently admonished readers
with an obligation to buy art from local artists because they are struggling. That is
nonsense. Most everyone strives for recognition in his or her profession, and art is
no exception.
Activity doesn’t guarantee an audience or income even for art masters. Many
Sunday painters are not fine artists. For the fine art artist, art is a passion and a
calling. It cannot be stopped by way of poverty, public rejection, critical review, or
adoration.
True artists more often suffer despair when they cannot achieve a desired artistic
effect than worry about public appeal. Many artists support their art work through
independent means.
fine art artist, beware. No serious collector or art museum wants an imitation of an
earlier artist. The audience for imitations is the decoration industry. There is
something different about a “fine art” artist. Fine art exudes a rarefied essence, a
rigor, an intriguing pulse, a mesmerizing atmosphere, a unique “je ne sais quoi”
that differentiates it from decorative art.
6. Avoid an attitude of entitlement. The early 21st century is marked by a broad
feeling of entitlement in many aspects of American community life. And art is no
exception. A syndicated column in a local newspaper recently admonished readers
with an obligation to buy art from local artists because they are struggling. That is
nonsense. Most everyone strives for recognition in his or her profession, and art is
no exception.
Activity doesn’t guarantee an audience or income even for art masters. Many
Sunday painters are not fine artists. For the fine art artist, art is a passion and a
calling. It cannot be stopped by way of poverty, public rejection, critical review, or
adoration.
True artists more often suffer despair when they cannot achieve a desired artistic
effect than worry about public appeal. Many artists support their art work through
independent means.
7. Develop a signature aesthetic. Are you doing something different than other
artists, not for sensationalism but grounded in a unique artistic vision? During
academic training, all apples look like apples. And many artists can imitate
historic styles.
However, most museums and discerning collectors seek more. They are intrigued
when, after much practice and experimentation, the unique seed of an art genius
bursts forth in a signature “artistic voice.” It is that revolutionary uniqueness that
helps define an art master generations later. So find your unique aesthetic
fingerprint.
8. Confront your fears. Many visual art masters did not bask in the adulation of
peers and public. Rather, in pursuit of their vision, they sometimes offended their
audience. Artists like James Whistler, Eugene Delacroix, Eduard Manet, Claude
Monet, Vincent Van Gogh, and Jackson Pollock challenged artistic perceptions of
their era.
So be brave. Push to break through stylistic fears, perceived technical
challenges, or taboo subjects that intrigue you, not for the shock value, but
because you are compelled to create.
9. Go to Museums, Live in Museums. There are reasons that certain artists and
their creations withstand the test of time and are celebrated across decades and
centuries. World class art history museums celebrate the artists and original
artworks that defined and redefined human history.
Find an original work you admire or dislike and enter a virtual dialogue with the art
master. Take your sketch pad to the museum and experiment. Create a homage
to the art master. Attempt to reproduce an admirable visual attribute. Reinterpret
a work in your terms and artistic vision.
Above all, look, see, and reflect. Breathe though your eyes and celebrate your
artistic gift as part of the cultural continuum of man’s history.
© 2011. The American Juried Art Salon
============================================================
artists, not for sensationalism but grounded in a unique artistic vision? During
academic training, all apples look like apples. And many artists can imitate
historic styles.
However, most museums and discerning collectors seek more. They are intrigued
when, after much practice and experimentation, the unique seed of an art genius
bursts forth in a signature “artistic voice.” It is that revolutionary uniqueness that
helps define an art master generations later. So find your unique aesthetic
fingerprint.
8. Confront your fears. Many visual art masters did not bask in the adulation of
peers and public. Rather, in pursuit of their vision, they sometimes offended their
audience. Artists like James Whistler, Eugene Delacroix, Eduard Manet, Claude
Monet, Vincent Van Gogh, and Jackson Pollock challenged artistic perceptions of
their era.
So be brave. Push to break through stylistic fears, perceived technical
challenges, or taboo subjects that intrigue you, not for the shock value, but
because you are compelled to create.
9. Go to Museums, Live in Museums. There are reasons that certain artists and
their creations withstand the test of time and are celebrated across decades and
centuries. World class art history museums celebrate the artists and original
artworks that defined and redefined human history.
Find an original work you admire or dislike and enter a virtual dialogue with the art
master. Take your sketch pad to the museum and experiment. Create a homage
to the art master. Attempt to reproduce an admirable visual attribute. Reinterpret
a work in your terms and artistic vision.
Above all, look, see, and reflect. Breathe though your eyes and celebrate your
artistic gift as part of the cultural continuum of man’s history.
© 2011. The American Juried Art Salon
============================================================
Michele L. Bechtell has over 20 years experience in art brokering, art appraising,
and art education. She currently serves as Director of the Madison Museum of
Fine Art, a juror for the American Juried Art Salon, art appraiser, and a court
certified expert witness in art related matters.
and art education. She currently serves as Director of the Madison Museum of
Fine Art, a juror for the American Juried Art Salon, art appraiser, and a court
certified expert witness in art related matters.
I am a colored pencil artist who has learned how to take a few pencils and a piece
of drawing paper and turn out something respectable as a finished product. A
great deal of practice and excellent instruction from Ann Kullberg, Lee Hammond,
and Barbara Edidin, all leaders in the colored pencil world, have enabled me to
enjoy some success with this medium. Colored pencils used to be for grade
school artists and hobbyists. Now, however, they have found their way into
galleries, commercial art departments, and high end private collections. The
Colored Pencil Society of America has made great strides in raising awareness of
colored pencil artwork and sponsors juried competitions that feature exceptional
artists and their masterpieces.
of drawing paper and turn out something respectable as a finished product. A
great deal of practice and excellent instruction from Ann Kullberg, Lee Hammond,
and Barbara Edidin, all leaders in the colored pencil world, have enabled me to
enjoy some success with this medium. Colored pencils used to be for grade
school artists and hobbyists. Now, however, they have found their way into
galleries, commercial art departments, and high end private collections. The
Colored Pencil Society of America has made great strides in raising awareness of
colored pencil artwork and sponsors juried competitions that feature exceptional
artists and their masterpieces.
There are two basic colored pencil styles. The first appears to be more of a
drawing. It is looser, the strokes are obvious, and there is more texture evident.
The second style and my personal preference reflects a more painterly finish.
Layer upon layer is applied, and a technique called “burnishing” is used to bring
colors up to a high gloss. This combined with a very detailed technical approach
can transform a colored pencil “drawing” into a painting despite the dry medium.
(Think pastel paintings here.)
Drawing and painting in colored pencil is extremely easy to learn! There are many
how-to books on the market, and I have benefited greatly from those sold by
Walter Foster Publishing (www.walterfoster.com).
drawing. It is looser, the strokes are obvious, and there is more texture evident.
The second style and my personal preference reflects a more painterly finish.
Layer upon layer is applied, and a technique called “burnishing” is used to bring
colors up to a high gloss. This combined with a very detailed technical approach
can transform a colored pencil “drawing” into a painting despite the dry medium.
(Think pastel paintings here.)
Drawing and painting in colored pencil is extremely easy to learn! There are many
how-to books on the market, and I have benefited greatly from those sold by
Walter Foster Publishing (www.walterfoster.com).
In fact, I was honored to be chosen to author two of them with the most recent
one being Colored Pencil Basics, which is soon to be released. This art medium
is affordable, portable, and enjoyable. You can start with a simple object and
learn shading techniques and color blending. This could lead up to a complicated
project such as a still life, landscape, or a portrait. The possibilities are endless!
My camera and all things beautiful are my inspiration.
There is never a day that I’m not working on something new and exciting, whether
it is a single rose or a horse portrait with full background. I strongly encourage
you to explore this relatively new medium and enjoy creating something new and
uniquely beautiful!
one being Colored Pencil Basics, which is soon to be released. This art medium
is affordable, portable, and enjoyable. You can start with a simple object and
learn shading techniques and color blending. This could lead up to a complicated
project such as a still life, landscape, or a portrait. The possibilities are endless!
My camera and all things beautiful are my inspiration.
There is never a day that I’m not working on something new and exciting, whether
it is a single rose or a horse portrait with full background. I strongly encourage
you to explore this relatively new medium and enjoy creating something new and
uniquely beautiful!
“We entrust our dreams to the fragility of paper…”
I am a contemporary artist expanding upon the time-honored medium of complex
paper folding to find new forms of expression.
"The discovery of Chinese “Zhe Zhi” modular paper folding was a shared cultural
experience taught to me by one of my Florida middle school art students. It was
taught to him by his grandmother. Working in this ancient paper folding medium
allows me to create my own unique sculptural forms that give a singular voice to
the unity of many.
My abstract sculptural style is based on revealing the dynamic lines of various
organic forms including plant life, ocean life, and birds. Natural forms allow me to
explore their architecture, as well as their hidden mathematical beauty. I use
multiple folded pieces of paper to do this. Each folded paper unit becomes a
point that creates the topology of changing planes. The original Chinese paper
folding technique I use is called Zhe Zhi.
paper folding to find new forms of expression.
"The discovery of Chinese “Zhe Zhi” modular paper folding was a shared cultural
experience taught to me by one of my Florida middle school art students. It was
taught to him by his grandmother. Working in this ancient paper folding medium
allows me to create my own unique sculptural forms that give a singular voice to
the unity of many.
My abstract sculptural style is based on revealing the dynamic lines of various
organic forms including plant life, ocean life, and birds. Natural forms allow me to
explore their architecture, as well as their hidden mathematical beauty. I use
multiple folded pieces of paper to do this. Each folded paper unit becomes a
point that creates the topology of changing planes. The original Chinese paper
folding technique I use is called Zhe Zhi.
This type of folk art is modular in nature. However, I use it as a fine art sculptural
medium; my work contains many more folded pieces of paper than the original
Chinese folk art. When creating abstract paper sculpture I use as many as 6500
pieces of folded color acid-free paper, bonded with acid-free glue. "
Creating abstract contemporary sculpture from flat paper is a challenge that
consistently reveals the architectural power of paper.
Inspiration
Upon being introduced to this unique modular Chinese paper technique, I
researched it further and discovered its ancient origins. Buddhist monks
introduced paper as they travelled across Asia, ultimately introducing paper to
Japan around 750A.D. The Japanese took paper making to heart and ultimately
coined the generic word for paper folding, “Origami”. The ancient “Zhe Zhi”
Chinese modular paper folding technique was introduced to the West for the very
first time in 1993. That is when Chinese immigrant artists were captured off the
ship, “The Golden Venture." The unique paper folk art they created while in an
American prison served as my inspiration to explore this medium. The paper
sculpture I now create attempts to honor these immigrants’ struggle for freedom.
My art reflects the fragility and the strength of both paper and the universal
struggle for freedom.
“We entrust our dreams to the fragility of paper…” said a Chinese immigrant.
For a fresh art experience create a paper sculpture today.
Here are patterns & instructions for you!
medium; my work contains many more folded pieces of paper than the original
Chinese folk art. When creating abstract paper sculpture I use as many as 6500
pieces of folded color acid-free paper, bonded with acid-free glue. "
Creating abstract contemporary sculpture from flat paper is a challenge that
consistently reveals the architectural power of paper.
Inspiration
Upon being introduced to this unique modular Chinese paper technique, I
researched it further and discovered its ancient origins. Buddhist monks
introduced paper as they travelled across Asia, ultimately introducing paper to
Japan around 750A.D. The Japanese took paper making to heart and ultimately
coined the generic word for paper folding, “Origami”. The ancient “Zhe Zhi”
Chinese modular paper folding technique was introduced to the West for the very
first time in 1993. That is when Chinese immigrant artists were captured off the
ship, “The Golden Venture." The unique paper folk art they created while in an
American prison served as my inspiration to explore this medium. The paper
sculpture I now create attempts to honor these immigrants’ struggle for freedom.
My art reflects the fragility and the strength of both paper and the universal
struggle for freedom.
“We entrust our dreams to the fragility of paper…” said a Chinese immigrant.
For a fresh art experience create a paper sculpture today.
Here are patterns & instructions for you!
| _______________________________________________________________ |
Readers: Ready to try your hand at creating art with colored pencils?
Patterns & instructions are here
Patterns & instructions are here
"The more successful artist advice was always the same:
“You must be your own person and artist.”
“You must be your own person and artist.”
Lawrence Baker recently retired
after teaching art for 30 years in
the Cleveland, Ohio school
system. His art career has been
the subject of numerous
exhibitions in Northern Ohio art
galleries and museums. He
writes us the following article:
after teaching art for 30 years in
the Cleveland, Ohio school
system. His art career has been
the subject of numerous
exhibitions in Northern Ohio art
galleries and museums. He
writes us the following article:
Artist Lawrence Baker in his studio
Cartoons and old movies...
My approach to painting was influenced by watching cartoons and lots of
what I considered classic movies of the mid 20th century. Who can forget
“Withering Heights” with Sir Lawrence Olivier, and the “Third Man” with
Joseph Cotton and Orson Wells? Watching cartoons and old movies
elevated my spirit. I was transcended. My meager and drab existence did
not exist for me. A method through the viewing of cartoons and classic
movies became a part of me. Tom and Jerry cartoons and old movies such
as “The Maltese Falcon” with Humphrey Bogart were important for me.
Cartoons which used such basic shapes in creating characters were so
simple as an idea and implied so much; a minimalism of artistic projection.
I strive to paint with the simplicity and clarity of cartoons, as well as to
induce the expressive qualities of the classic movies.
Other than simplicity and clarity there are the invigorating problems of
painting which artists know only too well: principles of design, mood, focal
point, composition, etc. We solve these problems by drawing from a rich
emotional layering of experience.
After 30 years of teaching I have retired. I'm not sure what that word
implies. Like most artists I know that I'll never retire from creating art. After
all, there are a multitude of problems to solve .....
Lawrence Baker, M.F.A.
Cleveland, Ohio
© 2011
what I considered classic movies of the mid 20th century. Who can forget
“Withering Heights” with Sir Lawrence Olivier, and the “Third Man” with
Joseph Cotton and Orson Wells? Watching cartoons and old movies
elevated my spirit. I was transcended. My meager and drab existence did
not exist for me. A method through the viewing of cartoons and classic
movies became a part of me. Tom and Jerry cartoons and old movies such
as “The Maltese Falcon” with Humphrey Bogart were important for me.
Cartoons which used such basic shapes in creating characters were so
simple as an idea and implied so much; a minimalism of artistic projection.
I strive to paint with the simplicity and clarity of cartoons, as well as to
induce the expressive qualities of the classic movies.
Other than simplicity and clarity there are the invigorating problems of
painting which artists know only too well: principles of design, mood, focal
point, composition, etc. We solve these problems by drawing from a rich
emotional layering of experience.
After 30 years of teaching I have retired. I'm not sure what that word
implies. Like most artists I know that I'll never retire from creating art. After
all, there are a multitude of problems to solve .....
Lawrence Baker, M.F.A.
Cleveland, Ohio
© 2011
Inclination, 26 x 40
Decaying Landscape, 26 x 40
Resulting Discovery, 26 x 40, graphite
Some artist are trained. Others are not. Our desire to categorize or
organize our arts and artists is a part of the Western culture. The hope is
that these artists are reflective of the periods of time. That is not always
the case. Some artists chose not to associate themselves with the
masses of the period.
I have met and held discussions with some prominent and more
successful artists than myself. In particular, I once had a long discussion
about art with Alex Katz, an artist of the Contemporary Period. Other
artists that I looked to for inspiration in my desire to succeed in art were
Fairfield Porter, Vincent VanGogh and Jacob Lawrence.
The more successful artist advice was always the same. “You must be
your own person and artist.” The meaning of this to me was; "your
concept or idea should be expressed as strongly as possible
in your work." I have always tried to adhere to these basic principles. In
maturity I see myself as having come full circle. My fixed medium at this
point is graphite. I am focusing on aspects of landscape drawing. This is
to a degree the same kind of views that hypnotized me as a child. The
subject matter is the same kind that so intrigued me as a child. I am now
trying to convey that kind of mental envelopment to the viewer.
I work with a combination of large flats of graphite, and pencil-shaped
graphite.
As with many artists, my work has evolved. I have a long history of doing
figure painting. My paintings tend to use the figure as part of the subject
matter, both as primary and secondary sources, as well as a combination
of the two for the subject matter. I am concerned with the total design
which includes the effects on the viewer. The method of color usage is
important. Ranges attributed to particular colors help to convey ideas and
emotions as well as evoking emotion through sources of illumination.
The arrangement of color shapes creates volume. Volume becomes form.
All forms have been subject to a plethora of emphasis, although my
approach is to intensify viewer emotions by use of implied simplification.
organize our arts and artists is a part of the Western culture. The hope is
that these artists are reflective of the periods of time. That is not always
the case. Some artists chose not to associate themselves with the
masses of the period.
I have met and held discussions with some prominent and more
successful artists than myself. In particular, I once had a long discussion
about art with Alex Katz, an artist of the Contemporary Period. Other
artists that I looked to for inspiration in my desire to succeed in art were
Fairfield Porter, Vincent VanGogh and Jacob Lawrence.
The more successful artist advice was always the same. “You must be
your own person and artist.” The meaning of this to me was; "your
concept or idea should be expressed as strongly as possible
in your work." I have always tried to adhere to these basic principles. In
maturity I see myself as having come full circle. My fixed medium at this
point is graphite. I am focusing on aspects of landscape drawing. This is
to a degree the same kind of views that hypnotized me as a child. The
subject matter is the same kind that so intrigued me as a child. I am now
trying to convey that kind of mental envelopment to the viewer.
I work with a combination of large flats of graphite, and pencil-shaped
graphite.
As with many artists, my work has evolved. I have a long history of doing
figure painting. My paintings tend to use the figure as part of the subject
matter, both as primary and secondary sources, as well as a combination
of the two for the subject matter. I am concerned with the total design
which includes the effects on the viewer. The method of color usage is
important. Ranges attributed to particular colors help to convey ideas and
emotions as well as evoking emotion through sources of illumination.
The arrangement of color shapes creates volume. Volume becomes form.
All forms have been subject to a plethora of emphasis, although my
approach is to intensify viewer emotions by use of implied simplification.
Casino Art: Do the competitive shows
really matter or is it all a roll of the dice?
really matter or is it all a roll of the dice?
We have all heard it said that if your favorite work is not accepted in one
juried show, it could very well be accepted by another one because of
different judges, different viewpoints, different values, different attitudes.
There could be a spark of truth in that statement given judges of varied
educational backgrounds. But what happens when you have a group of
judges, all holding advanced degrees in the fine arts? Since our first hosted
show we have endeavored to answer that question. Here is what we found:
Based on five objective judging categories, each category being equally
weighted, we found an 85% agreement among jury members of what art
was to be accepted into a particular show. The judges did not know which
art they were viewing was part of this study, nor did they collaborate with
each other. In other words, there appeared to be a degree of confidence
that opinions based on consistent and verifiable data gave reliable and valid
results.
Is there a possibility that a successful artist who is self taught but lacks an
advanced fine arts degree could provide the same evaluative objectivity?
Undeniably true. Our thesis here is that art evaluations based on scholarly
research and previous directed study negate the roll-of-the-dice statement;
that you have greater judging reliability and validity when all the judges have
a common touchstone of reference. It is valid only if the judging measures
what it purports to measure; reliable only if it gives consistent results.
juried show, it could very well be accepted by another one because of
different judges, different viewpoints, different values, different attitudes.
There could be a spark of truth in that statement given judges of varied
educational backgrounds. But what happens when you have a group of
judges, all holding advanced degrees in the fine arts? Since our first hosted
show we have endeavored to answer that question. Here is what we found:
Based on five objective judging categories, each category being equally
weighted, we found an 85% agreement among jury members of what art
was to be accepted into a particular show. The judges did not know which
art they were viewing was part of this study, nor did they collaborate with
each other. In other words, there appeared to be a degree of confidence
that opinions based on consistent and verifiable data gave reliable and valid
results.
Is there a possibility that a successful artist who is self taught but lacks an
advanced fine arts degree could provide the same evaluative objectivity?
Undeniably true. Our thesis here is that art evaluations based on scholarly
research and previous directed study negate the roll-of-the-dice statement;
that you have greater judging reliability and validity when all the judges have
a common touchstone of reference. It is valid only if the judging measures
what it purports to measure; reliable only if it gives consistent results.
The art you enter into any of our shows is evaluated by judges holding
advanced degrees in the visual arts. The outcome of judging is not based on
chance. We use a well designed analytical model that was employed in our
85% reliability studies. Here is what we consider: Color/Value Usage;
Design/Composition; Content; Originality; Technique,
We use this analytical model when studying each entry, accepting only those
works that meet the highest criteria. If your work is not accepted we refer you to
the evaluation so you can keep improving and try again.
It's helpful to know the areas that jurists consider important for acceptance into
our shows. This knowledge can be a guide in self evaluation and can aid in
your submission selections. Still, each artist has his and her interpretation of
what is conceptually unique. It is that actualization of creating something
different that is motivationally involved within the artist, of what is being formed
on the substrate of attempted expression.
To dismiss such evaluation of uniqueness and expression as a "roll of the
dice" is not only mistaken, but is unfair to the artist participating in the show.
After all, that artist has invested a lot of time, money, labor, and dreams into
what he's entered; he deserves more than a cavalier remark that is akin to
placing his career on hold and advising him instead to consider the visual arts
as nothing more than a game of chance.
advanced degrees in the visual arts. The outcome of judging is not based on
chance. We use a well designed analytical model that was employed in our
85% reliability studies. Here is what we consider: Color/Value Usage;
Design/Composition; Content; Originality; Technique,
We use this analytical model when studying each entry, accepting only those
works that meet the highest criteria. If your work is not accepted we refer you to
the evaluation so you can keep improving and try again.
It's helpful to know the areas that jurists consider important for acceptance into
our shows. This knowledge can be a guide in self evaluation and can aid in
your submission selections. Still, each artist has his and her interpretation of
what is conceptually unique. It is that actualization of creating something
different that is motivationally involved within the artist, of what is being formed
on the substrate of attempted expression.
To dismiss such evaluation of uniqueness and expression as a "roll of the
dice" is not only mistaken, but is unfair to the artist participating in the show.
After all, that artist has invested a lot of time, money, labor, and dreams into
what he's entered; he deserves more than a cavalier remark that is akin to
placing his career on hold and advising him instead to consider the visual arts
as nothing more than a game of chance.
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