MARILYN UNVEILED!!!!


THE MARILYN PROJECT

Doesn’t she look great!!!!!  This is the end result of what The Atlanta Collage Society  called The Marilyn Project.  In celebration of what is commonly considered the 100th year anniversary of collage used in fine art, we put together this collage last week at The Museum of Design in Atlanta in conjunction with The Art Partners – High Museum of Art .

The collage measures 8 ft. x 8 ft. and is made up of 841 individual collages mounted on a 3×3 inch canvas.   There were approximately 70 people involved in this, ranging in age from 7 to 70!

While this “performance” was only for one evening, we are sure Marilyn will make other appearances around town!

IS SOCIAL MEDIA REALLY IMPORTANT TO ARTISTS?

Helen De Ramus on Social Media

I was honored to have been asked to sit on a panel for the Women’s Caucus for Art of Georgia .   This was organized by Corlia Kock, and consisted of artists Marilynn Brandenburger, Anita Stewart and Helen De Ramus.  

Because of my background as a media buyer, I have been researching this for awhile, and I no longer consider social media a phenomen, but it is here to stay!  I decided to use this approach for my portion of the afternoon.  The following are some statistics I found after researching for a couple of weeks.  Because the research is varied and is changes from day to day, I would approach these numbers as estimates.  (To prove a point, when I began this, Coca-cola was the most popular brand on Facebook with 31 million fans, it is now over 49 million!)

FACEBOOK – this is the most visited website on the planet, it hit ONE TRILLION views on 6/30/2011.  More people are on Facebook than there are cars on the road.

  • The average posts has a lifeline of three hours
  • Most people spend 20 minutes or less at a time on Facebook
  • 50% check in daily
  • There are 2.7 billion “likes” each day (and I found some statistics that had this over 3 billion!)
  • 20 million apps are installed a day
  • 23% check in at least 5x a day
  • average user had 130 friends, and likes 80 pagesthere are 30 billion pieces of content shared every month

TWITTER

  • There are 190 Million tweets each day
  • 11 new accounts are created every second, over 1 million a day
  • 59% of users have been on less than a year
  • 76% of users post, in 2010 it was only 47%
  • Average user has 115 followers

 

Marilynn Brandenburger giving her presentation

 

I gave statistics about Pinterest and You Tube also.   But, some other statistics I found interesting were the fastest growing segment is 45-54 year old, and 33% of all Americans over the age of 55 are on social media.

Also, 57% of people that talk to people online would rather talk to them online than in person!

What does this mean to artists?  I believe it is something to learn and take seriously.  I believe the recent Olympics are a testament to this, as the word “Olympic” was tweeted 4 million times in the first week of the Olympics, and NBCOlympics.com had 1.1 billion page visits the first 10 days!!!!

The internet is full of articles regarding the power of “like” (read one I wrote in 2011 here), the power of sharing – there is alot out there about this!

I will follow up this blog with another blog about the power of like, and the importance of your “about” page!

 

 

CELEBRATE 100 YEARS OF COLLAGE

LANCE CARLSON

©LANCE CARLSON

This year, 2012, marks one hundred years since Georges Braque and Pablo Picasso made their first collages, introducing this medium into the world of Fine Art. But, what is collage?  from the French word, coller, meaning to glue.  The Webster dictionary defines collage as “an artistic composition made of various materials (as paper, cloth, or wood) glued onto a surface.”

Actually, collage dates back to the time of the invention of paper in China, around 200 BC.  Caligraphers began using it in 10th century Japan to apply paper when writing poems. Collage appears in medieval Europe when gold leaf panels were applied to Gothic catherdrals, and gemstones were applied to religious icons, images and coats of arms. But, after that, it was used primarily by hobbyists for things such as photo albums and books. However, most art authorities agree that artists began using collage as a technique with the advent of modernism.  By adding glued on patches of paper, Braque and Picasso added a new perspective to their paintings when these patches became  integrated into the painting. This gave artists a new found freedom of expression, allowing them unfound freedoms to experiment by adding new elements within the frame they were working with. Braque started the concept of collage by applying it to charcoal drawings, and Picasso possibly used it first in paintings.   Braque began by purchasing  a roll of simulated oak-grain wallpaper and began by cutting out pieces and applying them to the drawings.

Georges Braque 1913

Next, Picasso embedded an piece of oil cloth with a chair-cane design onto a painting, and the world of art was off and running

Pable Picasso

Artists began added newspaper, colored paper, cloth, basically anything that caught their attention.   They began added things such as sand and coffee to their paint to create texture.  Many artists even cut of pieces of their work they weren’t happy with and applying using these in new art.

Collage also also extends to 3d work, often referred to as assemblages.  In recent years, photomontage and digital collages have become popular.

So, when Braque and Picasso began gluing paper on their paintings, they opened a whole new art world to anybody that wants to experiment!

To celebrate, the following events are coming up in Atlanta

The Marilyn Project – The Atlanta Collage Society will put together an 8’x8′ collage consisting of 841 pieces on 9/13 at MODA, sponsored by The Art Partners with the High Museum of Art. click HERE for details.

I will be doing a collage demonstration – at the Atlanta Arts Festival, 9/15 – 16.

 

©vickiemartin.net
Fighting Fire With Fire 5×7

ART-O-MAT – Don’t Go Around Artless

 

 

I don’t remember where or when I first heard about the Art-O-Mat, but I do know I was very intrigued from the beginning.  It is the brainchild of Clark Whittington, and has been in operation since 1997.  In short, these are refurbished cigarette vending machines that sell original art for $5.00.  There are over 100 of them throughout the country with over 400 artists involved.

Well, after seeing on at the Whitney Museum in New York, I was hooked.  I wanted to be involved in this.  So – I sent off for a block of wood the size of a pack of a pack of cigarettes and submitted a prototype.  I was excited to be accepted.

So – now I have started my 50 pieces to send to Winston Salem.  As of this writing, I have completed two layers, which is a good beginning.  I am keeping a log to keep up with what goes into each one.  At this point – I have used gesso, collage and salt – and am letting some of them dry with netting and bubble wrap.  I will number each piece so anyone that purchases a piece will be able to email me and I will be able to tell them the materials in there piece.

See, I use alot of different materials for texture.  Salt is just the beginning, as I’ve used coffee, tea – and most lately gunpowder – which I burn.

I hope to finish this project within by the end of the month and send them off.  I have no idea at this point where they will end up.  As I submitted my series of  dresses, I wouldn’t mind if they ended up in a wedding chapel in Las Vegas!

Look them up on FACEBOOK

HAPPY BIRTHDAY MARC CHAGALL!

“When Matisse dies, Chagall will be the only painter left that understands what color really is”  – Pablo Picasso

I And The Village 1911

 

Art critic Robert Hughes said Chagall was “the quintessential Jewish artist of the twentieth century”. He is considered one of the most successful artists of the 20th century.  An early modernist, he created works in many mediums, including painting,  illustrations, stained glass, stage sets, and fine art prints to name a few.

Born Moishe Shagal in Belarus, he was the oldest of nine children of a very close knit Jewish family.  Images from his happy childhood appear in his work throughout his lifetime.

In 1910 he moved to Paris and stayed there for four years.  In 1914 he returned home, married, and initially supported the Russian revolution.  He was appointed Commisar of Fine Arts for Vitebsk and established a progressive art school.  But the infighting at the academy and political pressures forced him out.

The Chagall’s then moved to Moscow and he became the artist for the Moscow Yiddish State Theater and taught art in a Jewish orphanage.  But, he eventually returned to Paris and became a French citizen in 1937.  Because of the Nazi occupation of France, he fled to the US and stayed there until 1948.

The painting shown above is the inspiration for the 1964 musical Fiddler on the Roof.  The original Broadway set designer was Boris Aronson, who worked with Chagall at the Moscow Yiddish Theater.

The painting is considered Cubist – with vibrant colors of red, green and blue.  To me it is dreamlike, with goats, farmers, a violinist (Chagall played the violin) and houses, some of which are upside down.  The foreground has a green-faced man wearing a cross staring directly at a goat – which has another goat superimposed being milked.  In the background are houses, an Orthodox Church and a man dressed in black.

The small and large circles are said to represent three revolutions; the earth’s revolution around the sun, the moon’s revolution around the earth, and the sun’s revolution.  Some believe the small circle in the lower left-hand corner represents an eclipse.

This powerful painting can be seen at the Museum of Modern Art in New York City.

Here are some quotes from Chagall:

“Great art picks up where nature ends”

“If I create from the heart, nearly everything works; if from the head, almost nothing.”

“The dignity of the artist lies in his duty of keeping awake the sense of wonder in the world. In this long vigil he often has to vary his methods of stimulation; but in this long vigil he is also himself striving against a continual tendency to sleep.”

“Work isn’t to make money; you work to justify life.”

 

 

The Artist’s Resume – How Much to Edit


Remember when you were first beginning your art career and building your resume?   Most of us were excited to be displaying our work in public and jumped at almost any opportunity – right?

gunpowder series 5×7

Well,  I am redoing my website, (in fact, this is my first post on my new blog!) and I have looked at my resume very closely.    What should you leave on and what should you take off?   I have spent the last several nights googling this and reading many blogs that address what to include in your list of exhibitions – which is the first part of the resume usually – do you agree?

The following is what I found most artists feel should be included in the resume:

  • Contact information
  • Education – if it is art related.  Artist residencies.
  • Awards and Honors – and include any cash prizes awarded
  • Solo Exhibitions – but if you only have one, but it in the “select exhibitions” schedule
  • Juried shows – can be a separate category – Show, Title, Gallery, City and State, Exhibition date – and juror (which unfortunately I didn’t keep)
  • Group exhibitions – this is where the editing really comes – do you want to include every show you had in a coffee shop?   I think it depends on what you are trying to accomplish.   I have changed this category to invitational shows, and decided to leave everything else out.
  • Bibliography – which is pretty much anything written about you.  Blogs and online press can be included if you are lacking in there.
  • and you can then include things that apply to you, like Related Professional Experience.  You can list talks you have given, demonstrations given, things like that.

gunpowder series 5×7

In looking around on the internet, I found several postings by galleriests what they were looking for.  Many of them say more than 4-6 events a year will scream “over exposure”, unless you are showing in places that are held in high regard.

Also, many don’t recommend including auctions you have donated too – UNLESS it carries curatorial weight.  Remember the work is usually only displayed for a few hours.

Also, many galleriest recognize the names of the many “pay to play” galleries out there, or vanity galleries.   Don’t bother including these – unless it is all you have!  Savvy gallery owners see through this ploy to make your resume appear larger.

So, I struggled with my resume – I only included solo shows, curated shows and invitational shows.  I did not include group shows where everyone that submits get in.  It isn’t complete yet, I still have to include groups I am in, publications I have appeared in – so I welcome any critiques!

I know this is a very subjective subject, and I know it can change from submission to submission, depending on what you are trying to achieve.   I welcome comments and ideas, agreements or disagreements!   I would love to hear other artists opinons.

 

 

DRESS CODE

Aphrodite, 36×48 on canvas

There is a language of clothing and every dress tells a story. Working with layer upon layer, I expose things hidden by scraping top layers off, or melt layers together by using fire.  Even though the dress is disembodied, it seems to move in a space of it’s own. A dress is worn not only to protect the wearer from the universe, but it often defines individuality.  The many layers are symbolic of both the psychological and the physical layers today’s women carry with them.

TUESDAYS MARKETING TIP

CONSISTENCY

 

This Tuesday’s topic is consistency.   Consistency is defined by Dictionary.com as “the steadfast adherence to the same principles”.  I know, I know – it could be confused as being boring, being stuck, not growing etc.  These two quotes illustrate this:

“A foolish consistency is the hobgobblin of small minds.” Emerson
“Consistency is the last refuge of the imagination.” Oscar Wilde

But, when it comes to your both making and marketing your artwork, you should be exercising consistency of some sort.

Let’s start with your art – – if you are at the point where you want to get your work out there, you have reached the point where you must have a consistent body of work, meaning the artwork will be recognized as being by the same hand.   Every gallery will tell you that.  Working in a series is very important, so important that artist Lisa Call has begun teaching a very successful on-line class called Working in a Series

Next up – your promotional pieces.   There should be consistency within all of your material.  You should use the same font on your cards, in your newsletter, etc.  The banner on your blog, your newsletter and your facebook page should be the same.  (OK – I’m in the midst of redesigning mine, and when completed within the week, all will have the same banner). 

And, last but not least, social media!   Strive to blog consistently.   That is why I began the Tuesdays Marketing Tips – to have a consistent schedule.  I am striving to be on a regular schedule of posting the same day of the weeks, two times a week, but I continue writing when the mood strikes me.  This is a work in progress.  Another thing about blogging, consistently leave comments on other blogs – that is like leaving a calling card around the internet! 

If you have a newsletter, send it out with consistency also.

Right now, I’m researching and trying to learn more about blogging and facebook fan pages.  I will share what I learn here. 

THE ORLY PLANE CRASH

THE DAY ATLANTA STOOD STILL

Headline of the paper after the fateful crash
Fifty years ago today, on June 3, 1962,  the art community in Atlanta was forever changed.  After a three week trip to Europe, members of the Atlanta Art Association were returning home to Atlanta on a chartered plane.  The plane crashed on takeoff, killing all but two stewardesses.  At the time, it was the worst single plane crash in history.

“It was the Titanic of our city.  When it happened, it took a lot of leaders, important people at the time.” says Ann Uhry Abrams, author of Explosion at Orly, The Disaster that Transformed Atlanta”.  The group included artists, civic leaders, heads of businesses, overall, an influential group.  They had traveled to Europe partly for pleasure, but also to show the city had a commitment to culture.

Out of this grief,  the citizens of Atlanta realized something needed to be done to memorialize the crash victims.  They knew the tiny museum located in an old house needed to be improved.  Ground was broken on the fourth anniversary of the crash for the Memorial Arts Center.   It opened in 1968, and was the first arts center that housed both visual and performing arts in the same venue, which included the Atlanta College of Art (now part of SCAD, Savannah College of Art and Design), The Atlanta Symphony Orchestra and the High Museum of Art.  The Alliance Theatre was added in 1970, and in 2005 Young Audiences was added.   This addition ensures the PreK-12 programs will serve more than one million children annually, the largest base of an arts center in the country.

It was renamed the Woodruff Arts Center in 1982 to honor the great benefactor, Robert W. Woodruff, also known in Atlanta as Mr. Anonymous.  

The French government donated Rodin’s “The Shade” to the High Museum in memory of the crash victims.  It now stands outside with the names of all the victims surrounding it.  The crash victims had seen Whistler’s Mother at the Louvre,   In a gesture of goodwill, the Louvre loaned the painting to the museum in the fall of 1962 – it’s first appearance in the US.

The High Museum now holds more than 11,000 works of art in its permanent collection


Rodin’s The Shade outside the Woodruff Arts Center

Some other facts:

33 children were left without parents after the crash
Martin Luther King and Harry Belafonte cancelled a sit-in in downtown Atlanta as a concilliatory gesture for the grieving families.
Andy Warhol painted his first “disaster painting” 129 Die in Jet, based on the cover of the New York Mirror the day after the crash.
The plane was known at the Chateau de Sully
The High Museum is named for the High family that donated their home to the museum in 1926.




SEEING RED

 

 

 

Every once in a while I see or read something that really gets under my skin and makes me want  to learn more.  This happened recently upon seeing a production of the play RED in Atlanta, with Mark Rothko in the center.   This is not a review of the play (even though I thoroughly enjoyed it), but some of the things I learned from reading about both the play and Rothko.
 
RED is a two person play set in the late 1950’s when Rothko was painting his murals for the Four Seasons in New York.  If you don’t know this story, Rothko accepted a commission to paint a series of murals for the Four Season’s Restaurant, located in the Seagrams Building on Park Avenue designed by Mies Van Der Rohe and Philip Johnson.  Rothko completed 40 paintings, three series in dark red and brown and even altered his horizontal format to vertical to go with the columns, walls, and windows in the restaurant.  After a trip to Europe and a visit to the restaurant, he abruptly changed his mind and returned the $35,000 (roughly two million dollars today) he’d been given for the paintings.   He kept them in storage until 1968, and they now hang in the Tate Modern in London, a museum in Tokyo, and the National Gallery of Art  in Washington D.C.

He never fully explained this decision, but many felt after visiting the restaurant, he found it pretentious and not the best place to view his meditative paintings.  He was quoted as saying they would end up in a space “where the richest bastards in New York will come and feed and show off” (told to a Harper’s Bazaar editor).
 
The play was written by John Logan, who also co-wrote The Gladiator, Rango, and most recently Hugo. After seeing the paintings at the Tate that were  intended for the Four Seasons, Logan was inspired to pen the play.  He was in London finishing up the screenplay for Sweeney Todd and found “they had a vibrancy, a severe and somber power to them”.
During the play, Rothko quotes Nietzche and  Freud   He talked about commercialism and how Dali and Picasso would sign menus to make money – even after he had accepted a $35,000 commission.
 
The play portrayed Rothko as a hard drinker, heavy smoker, and an intellectual with disdain for lesser minds, in short – an egomaniac.  
 
The rectangles floating  – often using a palette of red and brown and black –  were meant to be seen in a contemplative environment, not on the walls of a restaurant where people went to see and be seen.
 
Rothko suffered from depression, and ended up committing suicide in 1970.   Surprisingly, his suicide coincided to the day the murals arrived at the Tate Modern in London.
 
I admit to downloading the play and re-reading it later.  I wondered how much of the dialogue came from Rothko’s own writings – because his spirit was there.  Some of the quotes I remembered and have read in reviews were:
 
“Selling a painting is like sending a blind child into a room of razor blades” – which showed he had a vulnerable side.  
“One day the black will swallow the red.”
The murals are “a continuous narrative, each a new chapter”.
Painting is  “10% putting on paint, 90% waiting”.
“You cannot be an artist until you are civilized.  You cannot be civilized until you learn.”
 
In reading about Rothko’s paintings, the word repeated is “pulsates”.  As Rothko himself said:
“The fact that people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions…the people who weep before my pictures are having the same religious experience I had when painting them.  And if you say you are moved only by their color relationships then you miss the point.” 

What have you seen or read lately that inspired you to learn more about the subject or person?