Monthly Archives: March 2015

Art 1 – Still life painting – Due 4/16


Watch the following conversation with artist Angus Wilson about still life painting:

and the short video of his still life paintings:

For your sketchbook notes, comment on the following three points:

1.  Two points about still life painting that you find of interest.

2.  Two techniques from Wilson’s work that you will try in your still life painting  (color, composition, or style).

3.  Describe in detail the painting  you like the best and explain why you like it more than the others.

The next two paintings you will work on in class will be still lifes. The first painting (whole-sheet) will be based on your realism drawing from the fall semester. Your second painting (half-sheet) will be more exaggerated and stylized as Wilson’s work, but also based on observation from life.

This week your hour sketchbook drawing is preparation for that second painting that we will do in class after spring break.

For sketchbook, spend one hour drawing from objects that you select and set up, in the style of Angus Wilson. (You may also want to take and print a small photo of your still life arrangement for your reference.) You may use color or just take notes on the color scheme you intend to use.


Art 3 – Hung Liu, Christopher Brown, working with photographs for memory and history – 3/23


Watch the video on Hung Liu and make notes in your sketchbook listing the ways in which she uses photography and makes it different than simply copying or reproducing an image. How does she transform the photograph into something painterly and meaningful. How does she make it her own?


As you visit the sites below, make notes in your sketchbook looking for answers to the following questions:

How does Christopher Brown use photography in his paintings and why does he choose historic photos?

What are his visual concerns in his paintings and what are his emotional or conceptual concerns?

What is he trying to do or say with his paintings?

Christopher Brown painting

Brushing Up on History

(The following interview makes the most sense in the context of the images you viewed at his website.)

Interview with Christopher Brown

Art 2 – Jennifer Bartlett and the Divided Picture Plane – 3/23


Look at the link below to Jennifer Bartlett’s work at the Richard Gray Gallery.  Read her biography and look at the works Amagansett Diptych (#2)  and other works, #s 1-6, listed at the left at the site.  Also at this site, scroll down and look at the paintings in the exhibition, New Works #s 1-7.  Make note in your sketchbook which work at this site (that uses the divided picture plane or grid) is your favorite and explain why.

Jennifer Bartlett – Richard Gray Gallery

Read about her series of 200 drawings (In the Garden) and make sure you google images: In the Garden Jennifer Bartlett.

Think about and jot down a few notes about why it is considered a “tour de force” .

In the Garden by Jennifer Bartlett

The following two articles give insights about the artist, her work habits,  her aesthetics, and her context in late 20th century and contemporary art history.

After reading these 2 articles, List in your sketchbook 2 important art historical concepts and 2 important concepts for the practicing artist (aesthetic tendencies or studio art practices.)

Jennifer Bartlett Retrospective

Jennifer Bartlett – a visit

In your next studio project, In The Garden On the Rooftop, embrace the attitude in the description about Bartlett.

“Remaining true to her vision of painting as a never­ending associative construction that always leaves open connections to other ideas, Bartlett continues to experiment, always willing to subvert and unsettle the seeming happiness and simplicity of her imagery and words.”



Art 1 – glazing with transparencies and “learning to see” – due 3/26


overlaying transparent color glazes

In your sketchbook notes, respond to the following three questions:

1. Which of the following tips from the site below do you find most important in your exploration of the transparent painting process? Explain why in the context of one of your paintings.

tips on transparent glazing

2. What did you learn from the short article below about painting in transparent glazes and how will you apply it to your current painting?

painting in glazes in acrylics

Here’s a great quote from Black Horse Art Supply blurb on artist Carolyn Anderson:

“Interpreting visual reality should be about exploration and not just an attempt at re-creation. Great art is dependent on observation and strong visual elements. Learning to see and compare visual information is a process of growth and exploration. A drawing of a tree done by a child and an adult are not much different from one another. The difference lies in the complexity of the painting and the artist’s ability to notice nuance and variation and to organize and edit that information into a personal expression. Craft without creativity is only part of the equation. Painting is about learning to see – and hopefully, sharing how we see and what is visually important to us, with others.”

3. What can you find in the quote above that applies to your process of painting and discovery in the paintings you have done so far in class?

For your interest, here are some of Anderson’s paintings from her website:

Carolyn Anderson

For sketchbook, spend an hour drawing various landscapes from personal photos or other image sources (show foreground, middleground, and background). Or, take advantage of the great weather and head outdoors to sketch several views of a landscape site.

Photo 1 – Photo Quality, Henri Cartier-Bresson, Martine Franck,


We have briefly looked at Cartier-Bresson’s work in looking at important photographers and iconic photos (remember the puddle jump, the “decisive moment”?).  We will now look more closely at some discussion about his work.  Read the following article about a past retrospective in Paris and the insights into his work. (If the link takes you to google first, then follow it from there.)

Henri Cartier-Bresson

Read through several of the posts at the next blog (return to view more over the course of the next 2 weeks for more insights).  Pay attention to comments about the myth of the decisive moment, the use of contact sheets, his name during the war as a cover for Jewish photographers, Magnum photography, etc.  Feel free to go to other sites for biographical overviews of him if you want. You may also want to look more at the history of Magnum, a photo agency founded by Cartier-Bresson and other photographers in Paris in 1947 so they could have a greater voice in the use and promotion of their photos.  According to Cartier-Bresson: “Magnum is a community of thought, a shared human quality, a curiosity about what is going on in the world, a respect for what is going on and a desire to transcribe it visually.”

Henri Cartier-Bresson Iconic Photos

Martine Franck an important Magnum photographer and also was Cartier-Bresson’s second wife.  Unlike Cartier-Bresson, she often made significant alterations in the darkroom on photos. The following is a discussion of her personality and work, despite often being in Cartier-Bresson’s shadow.

Martine Franck

View her full portfolio at the Magnum site, paying careful attention to the compositions and deep blacks in some of her work, moving the photos to greater abstraction and impact.

Martine Franck’s Magnum portfolio

In thinking about the upcoming art show, come up with your own list 3-5 elements that are the most important for your work as a photographer, after you read the following 2 lists.

12 elements of award winning photos

6 elements of award winning photos

Your page minimum pre-roll journal should include your responses and ideas about these two photographers as well as you 3-5 evaluative criteria.

The next roll will include work that is inspired by Cartier-Bresson and Franck as well as fulfilling your 3-5 criteria.