Deep, happy, exhalation—spring is here!
I recently delivered fresh work to Louisa Gould Gallery on the Vineyard. She is currently hanging her first show of the season, including my new work, and then plans a big 15th anniversary show with a reception mid-summer. Here are a few of my additions to the gallery walls:
In other shore news, I am very pleased to announce new representation on Nantucket at the Thomas Henry Gallery. I am still working on the pieces that will be delivered in early June, but here is a sneak preview:
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My solo show at Thompson Giroux Gallery in Chatham, NY, Atlas/Hudson River Valley, was very well received. I will continue updating the blog post on the show to label what has been been purchased, as the gallery has kept many pieces for follow-up viewing and acquisition. I have also labeled with a G the pieces still at the gallery.
Most of my spring sales have naturally come from this Chatham show, and have included oils, a pastel, monotypes, and a collage—a nice affirmation for all of these explorations. Here a is a handful of examples:
Sold, happily, as a pair:
This show was a wonderful experience for me from every standpoint. Parting words from them when I was done with pick-up—after expressing my deep appreciation for how well-handled every aspect of our interaction was—“happy artist, happy gallery”.
Those works that have returned to my studio are back on my available work post, as well a number of other pieces:
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Iconic Cloud recently came back to me and I just touched it up, brightening both hillside and sky. I’ve done that a few times recently—must be a shift in my mood.
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Here is a schedule of my workshops in Woodstock, Nantucket, and Provincetown. My color-mixing workshop has become very popular with painters of all levels and styles, so some version of that is being offered in the three locales.
I will participate in the Shandaken Studio Tour July 21-22. More on this as it approaches—it is such a pleasure for me to set up my studio as a gallery and host visitors both new and known.
Moving forward, a September show at Julie Heller East in Provincetown and the Luminous Landscape at Albert Shahinian Fine Art in Rhinebeck later in the fall. Plus some as yet unknown opportunities will likely arise, as they usually do…
Hello all, happy oncoming 2018! I have quite a lot to report in this year-end update, both from 2017 and about events on the schedule so far for the coming year.
Many folks have asked me to send out a save-the-date for my Atlas/Hudson River Valley show opening on Match 31 at the Thompson Giroux Gallery in Chatham New York. I’ll do a separate email soon so that it’s easy to find in the inbox, but here on my blog I can talk about the exhibition in more detail.
This will be the first full-size installation of one of my Atlas Project-themed exhibitions. Later themes might be Atlas/Cape Cod or Atlas/Forms of Water, but I an delighted to be launching this within my own Hudson River Valley/Catskills, both as the theme and the locale of the show. Included will be monoprints, mixed media/collages, and pastels along with the oils, and the Site Map that explains it all.
The Site Map is an integral part of an Atlas Project installation, a map of the show itself which includes tiny monoprints of all of the oil paintings in the show overlaid on a collaged map of the Hudson River Valley. It includes numbered map tacks that show the locales of the scenes depicted; river towns and bridges and a key to the map and the show.
This map will have to be finished and photographed at the last minute, when I am sure of exactly which oil paintings are going into the show.
A side panel is Mapping Memory/Wildlife of Particular Interest that includes lino-monoprints and some text of my associated personal memories. Three panel extensions coming asymmetrically off the right side and top and bottom of the main map include a collage/lino/mono of the upper Hudson, the source of the river in the Adirondaks; another of Hudson Canyon, which continues out to sea from New York Harbor for 400 miles; and a third comprised of short discussion and collage/prints of three local trees endangered by climate change.
New Blog Post
In current news, I have recently published a blog post on the intersecting themes of teaching, independent studio practice, and group dynamic for the artist:
I welcome any comments on the post!
Many Things Nantucket
In January I will again be part of an exchange between artists of Woodstock and Nantucket, this time to take place at the Woodstock School of Art. We will be working together for three days in the graphics studio; doing a few studio visits and looking at the historical connection between the two arts colonies; eating and schmoozing. (What could be better?)
Part I of this exchange took place in September at the Artists Association of Nantucket with a show of the four Woodstock-area artists seen below, who had all taught and/or done a residency there:
The plan was for the four of us to show up for a closing reception and artist’s talk on September 23rd, and my plan was to to do a tour of the Cape and Islands with my husband, starting in Provincetown, checking in with and delivering to or picking up from my three galleries in the area.
Just as we were coming onto the Cape Tropical Storm Jose was approaching the area, causing concern over the Cape bridges closing as well as cancelled ferries. From Provincetown we saw some amazing sights during the storm, particularly the surf from the high dunes on Longnook Beach.
We had a ferry reservation to continue on to Martha’s Vineyard, and from there I had another res for the fast ferry to Nantucket a day later.
Three of the four artists did manage to get on Cape, or in my case, to Martha’s Vineyard, and then reschedule ferries to arrive for our reception at the AAN. We suffered a rocky crossing and then enjoyed a lovely evening of spirited discussion and camaraderie.
I also arrived in time to pay a visit to my new gallery on Nantucket, Thomas Henry Gallery. I am looking forward to painting some large, open seascape and marsh imagery for the 2018 season there:
My residency at the Artists Association of Nantucket in February was one of the highlights of 2017 for me, beautifully intensive and key in advancing the rubric for my Atlas Project:
The below was my second prototype for a site map for a grouping of Atlas Project work. From here I was able to take what works best (the monotype thumbnails of paintings that I had done) and change things that I didn’t (particularly the text) for the next map, for Atlas/Hudson River Valley. I would also love to return to Nantucket for a more fleshed-out exploration of of the theme.
Fall Studio Demonstrations
This fall I did three second-Saturday demo/open studios, starting in October. During the first I worked on small oil-on-paper pieces, like this:
The below I developed during the November demo, which had the theme of working large in oil. I had a nice group who I can only describe as riveted, watching for about two and a half hours while I painted and explained. Then the mood shifted to jolly when I called for a break and lively conversation ensued over a glass of wine.
The slightly textured surface of this piece is something I love to do every so often, allowing a little more of the underpainting to show through, creating a subtle vibration.
Here is a link to the video created by the Woodstock School of Art from a painting demonstration that I did there a few summers back:
For the last demo, in December, I worked in pastel, completing both of these during the two afternoons:
Other Highlights from 2017
I had a successful show last winter/spring with my gallery of 20 years, Albert Shahinian Fine Art in Rhinebeck. It is such a pleasure to work with Albert and Joanna, who are also friends and neighbors in our Hudson Valley arts community.
Here is a link to my post on the show, updated to label pieces that sold later in the year, as well as those that went during the show (the others are, of course, still available):
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In April I went to Florida to do a large painting for my friends Karen and Len:
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During my third year with Louisa Gould Gallery and my 18th or so showing on the Vineyard, we had the kind of year that the artist really looks for. I had some relaxing off-season visits that gave us more time to connect. The crazy Cape and Islands tour in September with Hurricane Jose was followed by several days of sun/fog/sun/fog, rolling in and out, that had even islanders exclaiming. This started as I was leaving Nantucket on the ferry, included a wild rainbow at sea, and continued into the next day while I photographed favorite and new locales on MV and Chappy with my husband. There will be paintings to follow!
This piece, which I delivered to LGG the next month, was of a moment just after the fog cleared.
In 2017 Louisa and I sold work big, medium, and small and in a range of palettes and formats. When this happens, I feel truly appreciated and at home in the gallery. The below are a few that found new homes since my last post.
Older Favorites Find New Homes
In the past several months I have been delighted to see a number of pieces that, despite generating admiration, have lingered too long in gallery or studio leave my walls for others:
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The Luminous Landscape at Albert Shahinian Fine Art continues through the month of January, closing with a last reception on January 27th. I have several pieces in the show and many more in inventory, accessible for viewing. I look forward to the reception, which is also a 20th-year anniversary party, an opportunity to enjoy the warmth of our arts community during the winter months.
En Masse, the dynamic small works show at Thompson Giroux Gallery in Chatham, NY, continues to January 7th. They have been generating anticipation for my spring show with the many small works they have of mine seeded throughout the gallery, as well as larger pieces in inventory. One of my last sales of 2017 was Blue Tidal Pool, one of my favorite paintings from the past decade:
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I have a new workshop at the Woodstock School of Art, rescheduled for March 3rd-4th. The theme, somewhat more descriptive than my workshops that emphasize formal elements, is for students to create a suite of paintings of the four seasons.
Many representational painters explore a zone on the spectrum of realism, on one end, and very abstracted imagery, on the other. I have often emphasized the abstract in my teaching, feeling that the go-to for landscape painters early on is to try to copy everything they see within a scene. So my approach is to encourage students to think instead about the needs of the painting, inventing an image that is not a copy but a new reality.
In the past year I have been closely examining my connection to place through my Atlas Project. The theme of this new workshop, more descriptive than abstract, may have emerged from these musings. That said, students will be focusing their attention, with my help, on all of those formal elements in order to create compelling, personal paintings.
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I look forward to a focused, productive year ahead. We have much work to do on the national level, and also need our creative retreats more than ever. I hope you enjoy yours, and am filled with gratitude that you have supported mine. ♥
Lately I have been musing about how, as teacher and mentor, my ongoing job is to instruct and support, while my long-term goal is to nurture the confidence that leads to independence. The ability to solve one’s own creative problems springs from having the integrated information, skill set, and resoluteness to do so. By facilitating all of this, the teacher’s job is to work one’s self out of a job.
Most teaching is done in a group setting, and then camaraderie, cross-pollination, and sometimes competition enter into the learning process. The group dynamic is both a draw and a distraction.
Artists most often work in the solitude of their studios, which can be a major adjustment for those new to the process who are struggling with issues of a steep learning curve, motivation, and self-confidence. Most of my students and mentees are fiercely drawn to art-making, but then wonder why they have a hard time getting into and spending time with their studio practice. This leads to the undermining fear that if they were the real deal, true artists, they would be consistently highly motivated. Or at least have the discipline to get on in there, no matter how they feel.
Drawn from conversation with many dozens of artists over the years, my observation is that a perceived lack of motivation is most often internal resistance that stems from very common fears: fear of failure, fear of success, and most of all, fear of meeting one’s self. And therein lies the importance of the solitary activity — meeting one’s self is the life work of an artist or thinker, and will rarely be accomplished in a group setting.
The habit of the studio lies, therefore, in the discipline. There are various ways to get yourself over the resistance, something that I discuss with students and mentees. And once you’ve done this a few hundred times, the resistance fades. For many years now, my studio positively beckons, but I do remember being in my 20s and having to summon willpower to leave my apartment and walk to my studio in Union Square in NYC, as happy as I was each and every time when I got there.
The downside to being alone in the studio is that artists are working in isolation to the point where they can get locked up inside their own heads, losing track of the commonality of our problems, aspirations, and fears. That is when the group camaraderie is needed — some honesty, some laughs, communication and idea-sharing on the subject that we hold dear.
What is too much solitary exploration, and what is too little?
This comes down to the varying needs and goals of the individual. Some students aspire to great heights of skill and originality; others might be engaged in open exploration of the path, seeing what evolves; and still others are in it simply for the process. These mindsets can also change over time. In all cases, progressing in skill and understanding is the process over the long term, and is the common denominator.
But how we, as teachers, deal with the differing needs of our students is key. It is all too easy to be problem-solver-in-chief. It is much harder to assess where each artist is in their process — a moving target — and provide what is needed, when it is needed.
This might be a lot or a little, perhaps just planting a small seed and encouraging the student to grow it. As the soup of information thickens for a particular artist, they need less advice and more reminders of what they already know, and sometimes a question in answer to their question is most productive.
Some folks do need more reassurance than others —i t is hard, for instance, to absorb information while in the throes of anxiety. And I have often had students who enter my workshops with plenty of ability and a healthy awareness of it, who are coming to me to kind of top off their information. There are always many variables.
Teaching in any form is as much about the student as it is about the subject matter, but the subject matter is the vehicle. An experienced tracker and tracking teacher once told me that his students arrive in the woods looking for transformation, but he focuses on the tracking and lets the transformation take care of itself. This tends to be my approach, especially with painting, which, as an activity, is a challenging and rich world of its own.
That said, my next blog post is going to be on a topic that comes up frequently with my students — how easy it is to get locked into a mental loop of running yourself down. My first yoga teacher used to call this the “crap tape”, a litany that we start reciting in our heads when the mood slides downward. So there are times when I am fully prepared to step aside from the subject at hand — painting or art career — and talk about this emotionally treacherous habit that undermines any endeavor.
Artists need to follow a quiet, solitary, ignore-distractions path when they set to work, even when they are in a group setting. Sometimes we can get into the zone more than others — no guilt or self-blame (avoiding the crap tape). But distractions are increasingly a way of life, and can become a habit that destroys focus, the fertile underpinning of creativity.
“‘All of humanity’s problems,” the French scientist and philosopher Blaise Pascal wrote in 1654, “stem from man’s inability to sit quietly in a room alone.” Three centuries later, the great Russian filmmaker Andrei Tarkovsky shared his single most urgent piece of advice to the young: learn to enjoy your own company. And yet today, in the golden age of solo living, Pascal’s words ring all the more urgently true and Tarkovsky’s counsel seems all the more unattainable. The age of Social Everything makes the art of solitude appear increasingly difficult to attain, even terrifying.”
~Maria Popova, Brain Pickings
Emersion in our chosen practice is what we need to ground ourselves so that ideas can flow. Following a creative thread takes time, thought, trial and error; the slow-food method of art-making. Through instruction and group learning, students can cultivate and enhance the habit of concentration. From needing substantial help from their teacher, they can progress to consulting their own thoughts and problem-solving toolkits.
We are ethically, as teachers, responsible not for creating a scenario where the student needs us forever and always, but for nurturing and informing each student according to their needs until they can, ideally, work independently.
It is bittersweet to see our students leave us to go it on their own. But we should be proud of that moment, the moment when, for a particular student, we have done our job well and made ourselves obsolete.
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See my blog post on creativity and happiness for more: https://scheeleart.wordpress.com/2014/12/10/creativity-and-happiness/