Mid-Session Critique

On Tuesday, June 1, we will have a mid-session critique over the series in-progress. A group critique for the series will be different than ones for specified assignments. Because individual work on unique ideas and each person will be presenting his or her work to the group. It's a good idea to be prepared to talk about your ideas, how the series has progressed or changed, and what you think the next step might be. The following are some things to think about in preparation for discussion of your work.

• Are enough time and commitment being put into the work?

Remember, at least seven hours per week should be devoted to this.

• Is a clear direction emerging, or do you sense several different possible directions?

If several, what are they? Which one makes the most sense to you and why?

• Does the size of the work and the media being used seem to be working with the ideas?

The scale of the works should speak volumes about your idea.

• Are there signs of a breakthrough or are surprising new directions emerging?

Are these good surprises (possible potential for development) or bad surprises (unforeseen problems or contradictions)?

• Is the work invigorating, that is, dos it excite you?

Do you feel fully engaged with it? Would you rather be working on your series than just about anything else? Does the work interest other people (your audience)?

Summer Series

I hope you're all giving your series some thought over the weekend. Please don't procrastinate on this, it's not the kind of project that can be hammered out the weekend before it's due. Basing the process on your previous drawing experience is important, and focusing on an idea for your series will take some time and effort and involve decisions on many levels. The information I've passed out to you along with the examples of some past bodies of work should help you in your journey.

Why do you think it's important to work in a series of related drawings? First, staying with an idea or theme over a period of time helps us to establish a definite and considered attitude in our work as possibilities in the subject are discovered. It is that attitude and the possibilities that are pursued that distinguishes one artist's work from another. Look at the examples again, the differences between Hillary Brace's Clouds and Nate Stormer's still life drawings on one of the handouts. Both have a remarkably contrasting attitudes, and they are both powerful bodies of work.

Work that remains on the surface of an idea only goes where many other artists have been before. If you're considering portraits, for example, look at other contemporary artists who explore that idea, such as John Currin, or Zak Smith, (be careful with Smith's web site, he gets a little saucy at times) or even the modern painter, Alice Neel. There are very distinct attitude about the same subject. However, if you push your ideas in a focused direction, you will get to a place in your work that you didn't realize existed.

In short, working in a series often will lead you to drawings that you never would have created otherwise. Drawings that will communicate your ideas, insights, feelings, your gut responses in greater depth. With this level of involvement it stands to reason that you ill have more invested in your series that in the three days per week class sessions because you will determine the direction. So don't just remain on the surface of your idea.

Some other interesting series to look at and consider, Stephen Talisnik, and Mark Milloff's Moby Dick series.

It is important to look at an artist's work as a body of related pieces in order to discover the influences, sources materials, processes, expressions, and use of media. Whatever your idea, spend some time looking (Google it) and see how other artists, especially contemporary artists, have dealt with the same subject. It will help you to find your way, the honest way of your expression.

Have a good weekend.

Summer I Drawing

The first summer session begins on Tuesday, six weeks of intensive drawing. Like last summer's very successful 'series' project, we will again work on developing individual serial images based on individual ideas, and the only themes are commitment and imagination.

The four images above are by Hilary Brace. They are each created with charcoal on frosted mylar, with the largest dimensions being roughly 3.5" x 9". Although they are all small in scale, the sensation of space is immense. The drawings have a sense of the real, capturing the forms of nature. However, they are invented images and the compositions were built from imagination. Even if these views had been drawn from specific places, the shifting formations of clouds would never look the same for long; each scene would ultimately be clarified in the mind's eye of the artist.

Brace drew skies, mist, and clouds; nevertheless, the real subject is invented light, dramatized with chiaroscuro and atmospheric perspective. Light and dark values compose each image. They are created reductively by erasing into the darks of the charcoal.

Some issues and ideas concerning a series:

Artists work with the ideas that have meaning for them on a personal and/or societal level.

The time period in which the work was done often determines relevant social issues that influence the artistss attitude in their drawings.

As an artist you must move beyond exercises, connecting your drawings with personal concern and stylistic approach.

It's a Wrap!

The final critique consisted of four groups evaluating the drawings of four drawing enthusiasts with no group critiquing their own members. This is the second time I have employed this process in a group critique and it was, again, successful. Each member of each group was a designated spokes person and presented a brief analysis of one of the drawings. It presents a creatively healthy situation in which the person being critiqued listens to comments, responds to those comments, and then the whole group briefly discusses their reaction to that interaction. They all seemed to be very honest and constructive in their impressions, and the use of the studio vocabulary was honed even further. It also allowed those who tend to be more reserved to feel comfortable, maybe empowered, to stand up before everyone else and present their group's impressions and suggestions. Below are a few of the final projects. My photographic abilities were severely hampered by defected batteries, so please bear with the under/over exposures. Trust me, they really look much better than what is represented here, but at least you'll get an idea.

Sadie's drawing was based on the "worm's eye view" of orchids and some drapery and furnishings. She executed it in graphite and really pushed the value range into a convincing illusory space.

Natasha did a self-portrait with mask, also with graphite. This shot, as well as Sadie's, is darker that the actual piece, but she did a fine job capturing the mystery inherent with this particular project.

Jennifer also took the idea of a self-portrait with mask by using a camera as the mast. It was an inventive approach to the idea of a mask, and well executed.

Adam took the worm's eye view of a curio cabinet, looking up through the glass shelves and the objects sitting on those shelves. Adam's approach is very soft due to his process of pushing graphite and then refining details.

So the spring semester is now over and we're about to head into first summer session. A condensed six weeks session of in- and out-of-class beginning to advanced drawing projects that I hope will prepare everyone for continued study in drawing as well as the other creative avenues they wish to explore. Drawing is about design and composition, it's about ideational fluency and expanding critical thinking, it's the essence of most art forms. See you soon.

Fine Arts Open House

The Dirt Bags Art Club is hosting the 2nd annual IUS Fine Arts Department open house on Friday evening from 6:00-8:00. Please bring in a few drawings to hang in the drawing studio, your out-of-class projects would be great for this. Bring your friends and family. It was a blast last year going from studio to studio seeing what everyone was creating. Good music and food, and creative fellowship. Hope you can make it. Click on the image above to see the particulars of the event.

BFA Graduating Senior Exhibition

Rob Woolley and Sara Jones have been "immersed" in preparing for their BFA Thesis exhibition. It opens on Thursday in the Barr Gallery from 5:00 - 7:00. We will be meeting at the gallery instead of the studio for the first 45 minutes or so. Anyone else out there not in class at that time should also come check out this excellent exhibition. It continues until May 26.

The Alternative Self-Portrait

Below are some examples of the spring 2010 Basic Drawing class's Alternative Self-Portraits. A variety of interpretations exploring self identity.

In Stephanie's drawing, she uses black charcoal with some white added in for detail and textural differences. She place the objects that had "sentimental" value to her under a bed, crammed into a tight space and then shot a photo from which to work. Although she still has a few more details to add, the composition works well for a "worm's-eye" view of the situation.

Sadie also incorporated books into her drawing, and once the suggestion of the book's titles are added to the spines, the concept of identity will become even stronger, as they will relate to Sadie's connection to the earth, spirituality, and creativity.

Natahsa's drawing captures the more flamboyant side of her personality by including vintage clothing that she likes to wear on occasion. She used pastels and colored pencils, and the layering of the colors and marks make for a very energetic surface.

Jennifer's drawing shows a "woman on the go" as someone stated during our critique. A still-life of personal objects that relate to her life and family, all situated on the passenger seat of her automobile. She used graphite and a very creative approach to replicating textures by embossing into the paper and then drawing over those textures.

Adam's drawing evoked a sense of mystery as he peered into a 'junk-drawer' filled with things he didn't even remember having. Part of the mystery of the drawing is the absence of some detail and an abbreviation of observation relative to some forms, and acute focus on others.

We're going to finish up our critique tonight with a new batch of drawings that weren't able to make it through the haze of spring break. Stay tuned....