As a city girl, I enjoy street art. It's like a treasure hunt sometimes--you're waiting at a stoplight and notice a cool sticker on the back of the one way sign; a trash can has a mural painted all over it; someone covers a wall in stickers of birds. Now I'm not advocating graffiti (and some people don't differentiate between the two, but I do). There's a difference, at least to me: graffiti is destructive and malicious (ex: gang tags), whereas I see street art more as trying to beautify or say something about the surrounding urban landscape.
I've tried my hand at street art before. I'm an advocate for non-damaging projects--I like doing things that people can pick up and take home with them. The Doily Street Art series was about 50 quick paintings I did on cardboard. It was really fun to scatter them around Minneapolis, and hope that someone was happy to get a free painting.
My project this year I've dubbed the Doily Ninjas. I received about 100 of these human shaped wood pieces from a manufacturer who had a client decide midway through that he wasn't going to pay. I've had a lot of fun painting them in vivid color and crazy patterns. I'll be deploying my brightly hued ninjas around town this summer. They will also be left at pit stops around the USA as my sisters and I embark on a two week road trip in the next couple days. Hopefully my street art army will bring a few smiles as they pop up in different locales.
Saturday, May 21, 2011
Saturday, May 14, 2011
Art Tip #7: Get a different view
Get a different perspective on things.
My 16-year-old, showering adverse, video game playing, Funyun eating, Mountain Dew drinking brother, Andrew, is my go-to art critic. Seems a bit strange, doesn't it? At first glance, yes. But I love asking his opinions about my paintings. Why? He's the perfect impartial art critic. Andrew doesn't care about impressing me, he doesn't give a rip about color theory, he's not concerned about who my artistic influences are...he just tells me what he sees and his honest thoughts. He's not afraid to tell me something looks bad.
A typical exchange goes something like this: "Art Critic Andrew, what do you think?" (said in a sing-song voice as I bounce into our computer room where my brother is bathed in the light of the Internet) Andrew glances at the painting in my hand, "Nice colors. It needs something in that corner." Me: "I thought so too. Thanks." And I head back around the corner to my "studio."
Seriously, it's that fast. He's got a great eye for detail and an instinctive sense for balanced compositions. We don't need to discuss art theory or go into long winded discussion about my material choices (though I don't mind doing that!). Andrew gives me a different perspective on my artwork. He helps me step out of my own head and look at a painting with fresh eyes. He's obviously not ignorant (I drag him to art museums as frequently as I can) and appreciates art. He's smart and has an inquisitive mind, so he can ask me questions I wouldn't necessarily think of.
The worst thing for an artist is to never hear criticism. Receiving nothing but compliments and head patting only serves to make you lazy mentally and creatively. Surrounding yourself with people who repeat your own opinions is very dull and unhelpful. It's hard to deal with at first, but critiques (even the harsh ones) help you see and deal with your weak areas. Andrew's not afraid to point out that I've used the same colors in multiple paintings, or that a piece definitely needs more fine tuning. Make sure you have at least one person who's not afraid to tell you like it is.
My 16-year-old, showering adverse, video game playing, Funyun eating, Mountain Dew drinking brother, Andrew, is my go-to art critic. Seems a bit strange, doesn't it? At first glance, yes. But I love asking his opinions about my paintings. Why? He's the perfect impartial art critic. Andrew doesn't care about impressing me, he doesn't give a rip about color theory, he's not concerned about who my artistic influences are...he just tells me what he sees and his honest thoughts. He's not afraid to tell me something looks bad.
A typical exchange goes something like this: "Art Critic Andrew, what do you think?" (said in a sing-song voice as I bounce into our computer room where my brother is bathed in the light of the Internet) Andrew glances at the painting in my hand, "Nice colors. It needs something in that corner." Me: "I thought so too. Thanks." And I head back around the corner to my "studio."
Seriously, it's that fast. He's got a great eye for detail and an instinctive sense for balanced compositions. We don't need to discuss art theory or go into long winded discussion about my material choices (though I don't mind doing that!). Andrew gives me a different perspective on my artwork. He helps me step out of my own head and look at a painting with fresh eyes. He's obviously not ignorant (I drag him to art museums as frequently as I can) and appreciates art. He's smart and has an inquisitive mind, so he can ask me questions I wouldn't necessarily think of.
The worst thing for an artist is to never hear criticism. Receiving nothing but compliments and head patting only serves to make you lazy mentally and creatively. Surrounding yourself with people who repeat your own opinions is very dull and unhelpful. It's hard to deal with at first, but critiques (even the harsh ones) help you see and deal with your weak areas. Andrew's not afraid to point out that I've used the same colors in multiple paintings, or that a piece definitely needs more fine tuning. Make sure you have at least one person who's not afraid to tell you like it is.
Monday, May 9, 2011
Art Tip #6: Don't give up
Don't extinguish their passions.
One of the saddest things I encountered when I was in college: students who were majoring in a subject because it was "practical" and not because they really wanted to study it. I heard many fellow students confess that they'd rather study something else, but Business/Psychology/English/Graphic Design was "more practical" and would get them a job. Um, okay? One of the main reasons that many weren't majoring in what they really wanted to study was their parents. "My parents won't pay for my education if I study something else. They say I won't get a 'real' job." Well-meaning advice that leads nowhere. If your kid is truly passionate about something, encourage that pursuit! To them, it is practical, because if they love it, they'll work at it with all their strength.
I had many people tell me I should study graphic design in college, so I could get a "real job." I was asked often, "What are you going to do with a studio arts degree?"
Guess what? I don't like doing graphic design! I'm not interested in sitting at a desk all day, making stuff on a computer. I don't enjoy doing computer programming, web design or working on tight deadlines. I love making things with my hands, getting paint all over my face, taking months to turn layers of random things into objects of beauty. If I had been a graphic design major, I would have probably dropped out. But I studied what I truly loved, and I kept at it even when I felt like giving up, because I knew it's what I truly want to do. And my parents didn't try to get me to choose another major "more practical" than studio art. I appreciate so much what they said, "Pick something and stick with it." They told me to work hard and excel in whatever field I chose.
Graphic designers are a dime a dozen these days--you really have to be amazing and multi-talented to stand out (like my friend, Reed). I have always wanted to focus on the studio arts, and I will have a career in it because it's what I truly love. My parents encouraged me to pursue that passion, rather than focusing on practicality alone.
One of the saddest things I encountered when I was in college: students who were majoring in a subject because it was "practical" and not because they really wanted to study it. I heard many fellow students confess that they'd rather study something else, but Business/Psychology/English/Graphic Design was "more practical" and would get them a job. Um, okay? One of the main reasons that many weren't majoring in what they really wanted to study was their parents. "My parents won't pay for my education if I study something else. They say I won't get a 'real' job." Well-meaning advice that leads nowhere. If your kid is truly passionate about something, encourage that pursuit! To them, it is practical, because if they love it, they'll work at it with all their strength.
I had many people tell me I should study graphic design in college, so I could get a "real job." I was asked often, "What are you going to do with a studio arts degree?"
Guess what? I don't like doing graphic design! I'm not interested in sitting at a desk all day, making stuff on a computer. I don't enjoy doing computer programming, web design or working on tight deadlines. I love making things with my hands, getting paint all over my face, taking months to turn layers of random things into objects of beauty. If I had been a graphic design major, I would have probably dropped out. But I studied what I truly loved, and I kept at it even when I felt like giving up, because I knew it's what I truly want to do. And my parents didn't try to get me to choose another major "more practical" than studio art. I appreciate so much what they said, "Pick something and stick with it." They told me to work hard and excel in whatever field I chose.
Graphic designers are a dime a dozen these days--you really have to be amazing and multi-talented to stand out (like my friend, Reed). I have always wanted to focus on the studio arts, and I will have a career in it because it's what I truly love. My parents encouraged me to pursue that passion, rather than focusing on practicality alone.
Saturday, May 7, 2011
Field Trip: Walker Open Field
The Walker inaugurated Open Field last summer, and it was a huge hit. Unfortunately I never let you, my lovely reader, know about it until it was pretty much over. This year I thought I'd give you a little heads up so you can work Open Field into your summer plans. It's free, it's fun and there's something for everyone.
I wrote about one of the Open Field activities last August. I'm not sure if they'll be doing the Scavenger Hunt again this year, but I hope so.
My favorite event was the weekly Drawing Club, held right outside the Walker's doors:
"Come doodle, sketch, or paint during weekly sessions hosted by local artists to add to a pool of collectively created artworks. Art supplies are provided on large tables in shaded areas of the outdoor Open Lounge. Start a new drawing or select one in progress from the table. Slide it back into the pool, pass it around, and alter, edit or amend it until the group declares it complete. All ages, abilities, and aesthetics welcome."
I tried to go as often as I could, because I had so much fun. They provide all the materials--you provide the artwork. All kinds of people show up, you're outside enjoying the sunshine, you get to take part in a community art project, and you might make a few friends along the way. It was cool to go back every week and see drawings I'd worked on before be changed and transformed by others' ideas. At the end of the summer, they put all the completed pictures into books and those are now in the Walker's permanent collection.
So you could make a day of it: Have a picnic on the hill overlooking the Sculpture Garden, followed by some artsy fun with Drawing Club, then cool off from the summer sun afterward as you wander a few galleries. All for the price of parking for a few hours in the Walker parking ramp, which is quite reasonable (bonus: it's a short walk back to your vehicle at the end of the day, and your car doesn't sit and bake in the sun all afternoon).
This year, they've changed Drawing Club to Thursdays 2pm-7pm, which is nice, because the Walker is free after 5pm on that day. The rest of the week you do have to pay to see the galleries (which can get a bit pricey when you have multiple kids in tow).
I wrote about one of the Open Field activities last August. I'm not sure if they'll be doing the Scavenger Hunt again this year, but I hope so.
My favorite event was the weekly Drawing Club, held right outside the Walker's doors:
"Come doodle, sketch, or paint during weekly sessions hosted by local artists to add to a pool of collectively created artworks. Art supplies are provided on large tables in shaded areas of the outdoor Open Lounge. Start a new drawing or select one in progress from the table. Slide it back into the pool, pass it around, and alter, edit or amend it until the group declares it complete. All ages, abilities, and aesthetics welcome."
I tried to go as often as I could, because I had so much fun. They provide all the materials--you provide the artwork. All kinds of people show up, you're outside enjoying the sunshine, you get to take part in a community art project, and you might make a few friends along the way. It was cool to go back every week and see drawings I'd worked on before be changed and transformed by others' ideas. At the end of the summer, they put all the completed pictures into books and those are now in the Walker's permanent collection.
So you could make a day of it: Have a picnic on the hill overlooking the Sculpture Garden, followed by some artsy fun with Drawing Club, then cool off from the summer sun afterward as you wander a few galleries. All for the price of parking for a few hours in the Walker parking ramp, which is quite reasonable (bonus: it's a short walk back to your vehicle at the end of the day, and your car doesn't sit and bake in the sun all afternoon).
This year, they've changed Drawing Club to Thursdays 2pm-7pm, which is nice, because the Walker is free after 5pm on that day. The rest of the week you do have to pay to see the galleries (which can get a bit pricey when you have multiple kids in tow).
Monday, May 2, 2011
Understanding Art History part 1
Any student of art history quickly realizes that every author has a bias and a spin they want to put on things. This can range from benign to fairly insidious. The author who merely wants to draw a bit more attention to a forgotten artist is one thing, but there are writers who filter the history of art through feminist, racial, sexual, revisionist lenses.
Now I'm not saying that we shouldn't focus on female artists or those of other races, but we shouldn't embrace a re-written, politically correct time line. The reason there are so many white males in our western art chronology is because that's who was mainly making art and having an impact on the wider art world. It's pretty likely that there were a lot more women creating art than are in the textbooks...but they didn't have the influence of their male contemporaries until recently in history.
It bothers me that some try to minimize certain artists' accomplishments and influence simply because they were white and male.We should rightly embrace new discoveries and artists that were forgotten but have recently been re-discovered. But we shouldn't discard those who really did have an impact simply because their race and gender isn't popular today. Re-writing art history in the name of tolerance and diversity is robbing students of a true understanding of what actually happened.
Another modern day trend is making too big a deal about an artist's sexuality in relation to their work. Yes, there were and are homosexual artists. But some writers can make sexuality the overarching focus of their study of a particular artist, even if that didn't affect the work in a major way. Authors interpret every single detail through a sexual lens, even when the artist themselves have said differently what their intentions were. Georgia O'Keefe is one such artist whose work has been over-sexualized by later critics. When they've been recorded, reading an artist's own words about the intentions for their work is very important.
Don't simply take someone's word for it merely because they've managed to get a book published containing their opinions.
Now I'm not saying that we shouldn't focus on female artists or those of other races, but we shouldn't embrace a re-written, politically correct time line. The reason there are so many white males in our western art chronology is because that's who was mainly making art and having an impact on the wider art world. It's pretty likely that there were a lot more women creating art than are in the textbooks...but they didn't have the influence of their male contemporaries until recently in history.
It bothers me that some try to minimize certain artists' accomplishments and influence simply because they were white and male.We should rightly embrace new discoveries and artists that were forgotten but have recently been re-discovered. But we shouldn't discard those who really did have an impact simply because their race and gender isn't popular today. Re-writing art history in the name of tolerance and diversity is robbing students of a true understanding of what actually happened.
Another modern day trend is making too big a deal about an artist's sexuality in relation to their work. Yes, there were and are homosexual artists. But some writers can make sexuality the overarching focus of their study of a particular artist, even if that didn't affect the work in a major way. Authors interpret every single detail through a sexual lens, even when the artist themselves have said differently what their intentions were. Georgia O'Keefe is one such artist whose work has been over-sexualized by later critics. When they've been recorded, reading an artist's own words about the intentions for their work is very important.
Don't simply take someone's word for it merely because they've managed to get a book published containing their opinions.
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