I have been drawing recently with sumi ink and wash using brushes and pens of various kinds. Some are reed pens that I cut from the stems from an old hydrangea bush. I wanted a tool to use with the ink that had more of the feel of charcoal in contact with the support, as opposed to the brush which has a softer feel in point of contact. It occurred to me that something like the tool pictured here might be made using these stems and a section of fabric that could absorb ink. I was surprised at how well this works, the fabric will absorb a large amount of ink, and so it is possible to draw for a longer time before recharging with ink. I’ve made these in a variety of sizes, but even using one size it is possible to get a variety of marks. One drawback in that after prolonged use, the fabric begins to fray, but is easily replaced. Click on the image here to view a sequence of steps for the construction of the tool.
Susan Larsen, for the Archives of American Art, interviews Richard Diebenkorn, 1985 May 1-1987 Dec. 15
“Diebenkorn speaks of his family background and early life; his education and his service in the Marine Corps; his introduction to modernism; his early abstract work; the formation of the Bay Area figurative school and the relationship between art in New York and in the Bay Area; teaching; critical and public reaction to his work; important exhibitions of his work; vacillating between the figurative and the abstract in his painting; his working methods. He recalls Daniel Mendelowitz, Erle Loran, Raymond Jonson, David Park, and Elmer Bischoff.”
Image: Richard Diebenkorn, “Reclining Nude – Pink Stripe”, 1962.
art·work results from a desire to rethink how my activity as an artist may be represented in a way that is more satisfying. It is opening all the doors to the rooms in the house. The old hierarchy is out.
The plan is to present both the work of the studio and the research and discoveries related to my work, as well as the art that evolves from these activities.
I have pulled in existing content from drawingprocess.com, editing some of the posts and deleting others, before closing that site.
Whitney describes the role that drawing has played in leading the development of his art.
Julian Schnabel talks about his paintings, process and materials, and how art has been a part of life from his youth to the present.
Notations: Contemporary Drawing as Idea and Process, a website for the exhibition Notations, curated by Meredith Malone for the Kemper Art Museum September 14, 2012, to January 7, 2013.
The focus is on the variety of drawing practices used by artists making Minimal and Conceptual art in the 1960’s and 70’s.
A beautiful exhibition of paintings and drawings by Robert De Niro Sr. at D. C. Moore. The color in these paintings is striking, and they look much better first hand than in any reproductions I have seen. “Inspiring” is a good word to describe these works. De Niro has not had the attention he deserves from the official art world institutions and press, although painters have always been aware of and have valued his work. I hope this exhibition will help to remedy the situation, because I would like to have more opportunities to see both his paintings and drawings.
Rice paper with sumi ink, watercolor, and dry pigments mixed into acrylic gel. The acrylic paint used here is zinc white pigment mixed with a matte acrylic gel, poured onto the paper and then manipulated with various tools.
Typically I am working on a series of drawings based on a set of related ideas, and then cutting and tearing those into sections and repositioning the parts from one or more drawings to make each collage. I use an acid free glue stick for the adhesive, and may run a collage through a printing press to make sure the pieces are firmly pressed together before adding paint.
I have been working with James McElhinney on a new website for his work, just launched, McElhinneyart.com. James teaches at the Art Students League, has a new publication of his sketchbooks in print and a series of interviews with artists and art historians for the Archives of American Art and Newington Cropsey Cultural Studies Center.
The Artists Documentation Program interviews artists in order to gain a better understanding of their materials, working techniques, and intent for the conservation of their works. The interviews, conducted by conservators, with Jasper Johns, Richard Serra, Brice Marden, Frank Stella, Cy Twombly, John Currin, and many others, are informal and often revealing of the artist’s intention, process, and personality.
Newington-Cropsey Cultural Studies Center interviews include Jack Beal, Wolf Kahn, Will Barnet, Audrey Flack, Donald Kuspit and other artists and writers identified with traditional forms and craft. The interviews focus on how the careers and work of the artists are situated within the larger social and art historical contexts of their time.
Drawing with Henry Finkelstein at the Art Students League on Sunday mornings.
James L. McElhinney’s drawing class at the Art Students League typically begins with several twenty minute sessions of thirty second and two minute poses, and then finishes with longer poses. I usually go in with a simple idea or problem related to the drawing in mind, and the short pose format presents an opportunity to practice different approaches to use of materials, composition or style, much in the way a musician might use repetition to refine the shape a musical phrase.
Late afternoon sketch sessions at the Art Students League, short poses, 1 to 20 minutes in duration. These are vine charcoal. I like the space that the accumulating residue of previous drawings creates as I continue to work on each sheet of paper until I get something that works.