How did Degas change the way artists used oil paint? 🤔 pic.twitter.com/jPEQPq86lC
— National Gallery (@NationalGallery) February 15, 2024
Showing posts with label artists. Show all posts
Showing posts with label artists. Show all posts
Thursday, February 15, 2024
How did Degas change the way artists used oil paint?
Friday, June 16, 2023
Friday, April 14, 2023
From a Passerby
Spotted one of my favorite local artists @greggchadwick displayed At LA Union Station pic.twitter.com/aZMV7gVSau
— Theo Marshall (@ImTheoMarshall) April 14, 2023
Wednesday, March 08, 2023
Unwrapping the Mysteries of The Other Art Fair
Pleased to let you know that tomorrow, March 9, 2023 from 12 noon to 1pm as part of @18thstreetarts ongoing Professional Development Series, I will discuss applying for and hosting a booth at The Other Art Fair. Please join me as I describe what it is like to host a booth at The Other Art Fair, what you need to do to apply, costs involved, and some hints on best practices for hosting your own booth.
Artists in residence at 18th Street Arts Center, get the Zoom link in the Artist Portal.
Borderless members, get the Zoom link on Patreon or on the Borderless membership portal. More on joining Borderless for as little as $5 at this link -
Hope to see you via Zoom tomorrow!
#art #TheOtherArt Fair #SantaMonicaArts #GreggChadwick #18thStreetArtsCenter #contemporaryart
Tuesday, November 28, 2017
Thank You Clark Hulings Fund
For the past year, I was honored to be a fellow in the Clark Hulings Fund Business Accelerator Program. With no financial cost to myself, I was able to dig deep and learn how to keep my art business thriving. I have recently learned that I was chosen to be an Executive Fellow at CHF for 2018. The Clark Hulings Fund is helping me learn how to take my Mystery Train Exhibition on tour. The Executive Fellows will receive the services of CHF to rewrite the fellow’s Investment Grade Proposal (IGP) for capitalization and underwriting to get it to the point CHF can pitch it to potential funders. Meanwhile CHF expects the fellow to continue executing on their project, and collaborating with CHF with monthly field reports and meetings, along with marketing assistance given to the fellow. Please join me for the journey ahead.
Link to my recent Clark Hulings Fund podcast with Daniel DiGriz.
Please Support on Giving Tuesday: https://www.facebook.com/donate/155732628511917/155732638511916/
Thursday, September 07, 2017
Happy 100th Birthday Jacob Lawrence!
by Gregg Chadwick
100 years ago today, the seminal artist Jacob Lawrence was born in Atlantic City, New Jersey. When Lawrence was in his teens his family moved to Harlem in New York City, where he studied art with Charles Alston at the Harlem Art Workshop.
When Lawrence graduated from the American Artists School in New York he became a participant in the WPA Federal Art Project. The young artist broke new ground in 1941 with The Migration Series which garnered national attention.
I find the video below from the Phillips Collection in which Lawrence discusses The Migration Series fascinating:
During World War II, while in the United States Coast Guard, first as a public relations specialist on the USS Sea Cloud, and then as a combat artist on the USS Gen. Richardson, Lawrence created a series of artworks documenting his vantage point on the war.
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| Jacob Lawrence No. 2 Control Panel, Nerve Center of Ship, gouache and watercolor on board Collection USCG Museum |
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| Shipmates and Jacob Lawrence with one of the paintings he made while serving in the US Coast Guard during WWII. |
After the war Lawrence was invited by Josef Albers to teach painting at Black Mountain College. Lawrence's exposure to Albers’ Bauhaus-inspired theories and teaching methods greatly influenced his artistic explorations. Lawrence wrote, “When you teach, it stimulates you; you’re forced to crystallize your own thinking … you’re forced to formalize your own theories so that you may communicate them to the students … you go back to your studio and think about this again.”
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Faculty of the 1946 Black Mountain College Summer Art Institute, including Jacob Lawrence and his wife Gwendolyn Knight Lawrence Black Mountain College Museum + Arts Center collection |
In 1949, Lawrence and his wife Gwendolyn returned to New York where Lawrence continued to paint. Lawrence, aware of his depression, checked himself into Hillside Hospital in Queens, where he stayed for 11 months and painted as an inpatient.
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Jacob Lawrence Depression Tempera and Watercolor on Paper 1950 22 3/4"x31" Whitney Museum |
After many years in New York, in 1970 Lawrence and Knight moved to Seattle when he was invited to teach at the University of Washington. Lawrence was an art professor at UW until his retirement in 1986. He continued painting until just a few weeks before his death in June 2000 at the age of eighty-two. Lawrence's last commissioned public work, the mosaic mural New York in Transit, was installed in October 2001 in the Times Square subway station in New York City.
Lawrence's powerful artworks grace numerous collections including the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum, and the Brooklyn Museum. The vibrant paintings of Jacob Lawrence tell stories of liberation, resistance, and resilience.
More:
Why the Works of Visionary Artist Jacob Lawrence Still Resonate a Century After His Birth
Thursday, July 20, 2017
A Compassionate Lens: Art Through the Eyes of Gregg Chadwick
I enjoyed this chat with Stephanie Case. Recorded in my studio, it provides a hint of the theme of compassion that runs through my artwork. - Thanks for listening.
Saturday, December 05, 2015
Great Read: Portraits: John Berger on Artists
Really enjoying John Berger's new book which collects many of his perceptive pieces on art and artists.
John Berger’s Portraits shows how art teaches us to see: http://www.slate.com/articles/arts/books/2015/12/john_berger_s_portraits_reviewed.html?wpsrc=sh_all_dt_tw_top … via @slate
Tuesday, September 11, 2012
Tomorrow and Thursday in Nor Cal: The Painted Word Book Tour
I am honored to announce the publication of my latest collaboration with the author Phil Cousineau:
The Painted Word.
The Painted Word.
Sixty-three of my artworks are included in this new volume.
Book Tour Dates - All Are Welcome & All Events are Free. I will bring a group of the artworks included in the book to each event listed below:
In Northern California:
51 Tamal Vista Blvd | Corte Madera, California
Wednesday, September 12, 2012, 7:00 PM (Art by Gregg Chadwick Courtesy The Sandra Lee Gallery, San Francisco)
City Lights Booksellers | 261 Columbus Avenue | San Francisco, California
Thursday, September 13, 2012, 7:00 PM (Art by Gregg Chadwick Courtesy The Sandra Lee Gallery, San Francisco)
In Southern California:
Phil Cousineau and Gregg Chadwick on The Painted Word at Warwick's Books | 7812 Girard Avenue | La Jolla, California
Wednesday, November 7, 2012, 7:30 PM
Phil Cousineau and Gregg Chadwick on The Painted Word | Book Soup | 8818 Sunset Blvd West | Hollywood, California
Thursday, November 8, 2012, 7:00 PM
NEW BOOK: The Painted Word By Phil Cousineau and Gregg Chadwick
"When Phil Cousineau and Gregg Chadwick join creative forces it is an important event. This historic collaboration shines with fresh insights into both language and art."
— Alexander Eliot, author of 300 Years of American Painting and The Global Myths
— Alexander Eliot, author of 300 Years of American Painting and The Global Myths
Notes on the Artwork In The Painted Word
When I was young, the form of words—the way they looked— intrigued me and I often wondered what it would be like to look at a word and not be able to read or understand it. In essence, I wondered about the indecipherable mystery behind the word. The artworks I have created for The Painted Word take that sense of mystery into the world of paint and image.
Each creation began with that wonderful, slippery stuff that never wants to be tamed or pinned down: paint. Specifically, I use oil paint for its historical resonance and also because of its liquid origins in the oil pressed from flax. From this plant comes both linseed oil, which is mixed with dry powdered pigments to create oil paint, and linen, which traditionally has been used as the surface that oils are painted upon. Whenever I unroll a new bolt of linen in my studio a rich fragrance reminis- cent of a newly cut field fills the room.
I find that freshly stretched paintings waiting for their first touch of color invite the mystery of life and creation. The word stories written by Phil Cousineau opened up a similar sense of wonder. Like the words, each tube of paint also brought its history into the room. Color names are words steeped in myth and meaning. Lapis Lazuli evokes dangerous treks along the Silk Road into Afghanistan that brought this exquisite blue stone into the workshops of Renaissance artists. The pigment was so expensive and so important it was often reserved for coloring the heavens and Mary’s garments. A separate clause in the artist’s contract would dictate how much the client would pay for the Lapis Lazuli in addition to the amount paid for the artist’s services. Other colors weren’t so dear but were still rich in lore. Burnt Sienna is a warm brown earth pigment that was dug up in the fields surrounding Siena, Italy. Cinnabar, a brilliant red originally found in minerals veined with mercury, also made its way along the Silk Road from its source in China. I used all three of these colors in many of the paintings in The Painted Word.
When I was young, the form of words—the way they looked— intrigued me and I often wondered what it would be like to look at a word and not be able to read or understand it. In essence, I wondered about the indecipherable mystery behind the word. The artworks I have created for The Painted Word take that sense of mystery into the world of paint and image.
Each creation began with that wonderful, slippery stuff that never wants to be tamed or pinned down: paint. Specifically, I use oil paint for its historical resonance and also because of its liquid origins in the oil pressed from flax. From this plant comes both linseed oil, which is mixed with dry powdered pigments to create oil paint, and linen, which traditionally has been used as the surface that oils are painted upon. Whenever I unroll a new bolt of linen in my studio a rich fragrance reminis- cent of a newly cut field fills the room.
I find that freshly stretched paintings waiting for their first touch of color invite the mystery of life and creation. The word stories written by Phil Cousineau opened up a similar sense of wonder. Like the words, each tube of paint also brought its history into the room. Color names are words steeped in myth and meaning. Lapis Lazuli evokes dangerous treks along the Silk Road into Afghanistan that brought this exquisite blue stone into the workshops of Renaissance artists. The pigment was so expensive and so important it was often reserved for coloring the heavens and Mary’s garments. A separate clause in the artist’s contract would dictate how much the client would pay for the Lapis Lazuli in addition to the amount paid for the artist’s services. Other colors weren’t so dear but were still rich in lore. Burnt Sienna is a warm brown earth pigment that was dug up in the fields surrounding Siena, Italy. Cinnabar, a brilliant red originally found in minerals veined with mercury, also made its way along the Silk Road from its source in China. I used all three of these colors in many of the paintings in The Painted Word.
Gregg Chadwick
(From The Painted Word, available in September 2012.
Published in the United States by Viva Editions, an imprint of Cleis Press, Inc., 2246 Sixth Street, Berkeley, California 94710.)
"If The Painted Word were a club act, I'd sit there drinking in Cousineau's revelations, tales and mythologies until they kicked me out of the joint. Reading this brew of etymology, history, lore, and pop connections, with lambent illustrations by Gregg Chadwick, is just as intoxicating. A Cousineau riff on a (passionately selected) word is like Mark Twain meets Coleridge meets Casey Stengel meets---well, everyone who's fun and informative, whether the riff is on autologophagist (someone who eats his/her words) or jack, which, believe me, the world-traveled Cousineau knows when it comes to language. "
—Arthur Plotnik, author of The Elements of Expression: Putting Thoughts Into Words
Monday, August 06, 2012
Vale Robert Hughes: Influential Author, Artlover and Art Critic Dies at 74
Robert Hughes in Salon, May 23, 1997
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| Robert Hughes in New York City - 1970's |
In a 1997 piece on "60 Minutes," correspondent Steve Kroft said to Robert Hughes that he was the most powerful art critic in the world. Hughes deftly avoided the moniker and described his job as being akin to being the most important beekeeper in the world and that his influence said more about Time magazine than it did about the importance of his writing. But Robert Hughes writing is important. For many of us it was the first real taste of the transcendence and power of great art. Since I discovered the art criticism of Robert Hughes in Time magazine when I was a teenager, I have eagerly awaited each of his new works. Robert's articles, books, and documentaries helped open the worlds of art and history to me. Robert wrote clearly about art, taking pains to avoid jargon and faddish arguments. Hughes expressed that he was drawn to artworks that explored the questions: "Why am I here? And what am I doing here?" This search for philosophical and metaphysical concepts underscored much of the great art that Hughes explored in his work and shared with us.
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| The Critic's Eyes Robert Hughes - 2008 |
Robert Hughes on 60 Minutes in 1997
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| Robert Hughes in Italy - 1960's |
The Mona Lisa Curse
Written and Presented by Robert Hughes
More At:
Robert Hughes Dies at 74: The New York Times
Hughes Views in Salon
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