Hood River, OR - sunshine finally after escaping the Portland Marine Layer. I had to drive 70 miles inland to get it though. Lavender Valley Farm was a great spot to paint, very friendly, lots to see. The best thing about painting for the Lavender Festival was being out of town, having nothing required of me but to paint. It's so easy to get distracted at home with other things. But, this is my job. I resolve to just punch the clock and paint!
Saturday, July 11, 2009
Wednesday, July 8, 2009
Lavender Festival
Mark David Larsen at workI'm up in Portland participating in the Oregon Lavender Festival - Plein Air Painting events. Today I painted at Blue Heron Herbary and coincidentally the Portland Plein Air Painters were having a paint out there as well.
Labels:
art show,
contemporary artist,
flowers,
garden produce,
landscape,
my work,
oregon,
painting,
Plein air,
travel
Saturday, July 4, 2009
Plein Air at Valley View Orchard
Labels:
Ashland OR,
food,
garden produce,
landscape,
my work,
oregon,
painting,
Plein air
Wednesday, July 1, 2009
Flowers again
Asiatic LiliesI love this 16" x 20" inch size for painting flowers. Life size or nearly. I'm working on some more today. A commission - pink roses. I've got to get them while the roses still have life in them. I'm sorry I missed the heirloom varieties - they come and go in minutes in late May. I was too busy then - so it goes sometimes.
Wednesday, June 17, 2009
Sketching at Tease


I just got back from Denver and San Francisco, I have museum review posts to prepare, but in the meantime, here's some sketches from fun little event last night - sketching with the Ashland artists club (not really a club) at Tease in Ashland.
Thursday, June 11, 2009
Denver Art Museum - Review
I've avoided blogging lately because I knew wanted to do this post on the Denver Art Museum, and I told myself I'd wait until I had time to do it justice - there was so much to see and talk about! I'll do my best now.
I visited my mother in Denver earlier this month, and naturally took the time to visit their art museum. The city of Denver is clean, well built, on an easy grid - it's different from the cities on the west coast I'm familiar with. Everything is so big and spread out here. They have more money for public focused projects, too. The museum is designed by an architect - modern and crazy looking. I'm not personally a fan; it looks great from the outside, but it's a very weird experience inside (some paintings were even hung on angled walls).

As far as DAM goes, it's more accessible to the public and consequently filled with people, and lots of children. Portland and San Francisco art museums are virtually child free, and in fact very quiet in general. In Denver, on a Tuesday, the museum was full - all ages. Each gallery had a small study and interactive library full of books relating to the exhibitions. They also employed grouped art in unusual ways. Instead of grouping everything by time and place, there were several sections with titles like: Portraits, Still Life, Landscape, and in them there were paintings from many times and places. In every section of the museum there were little games for kids (and adults) to play relating to the exhibition. For instance beside the special exhibition of Psychedelic Rock Posters from San Francisco, there was a room furnished like the time period and people could write their 60's concert experiences in a book, make kaleidoscope like light shows etc. In the Native American Galleries you could design beaded vests made from various magnets, in the African Gallery kids could play computerized drums (at low volume).
The highlight of Denver, being the capital of the West, was of course the Western Art. Particularly memorable was a Fechin portait of a Mexican Cowboy, a John Sloan, and once again, Denver is doing something I've never seen - including contemporary representational works in a museum. I haven't honestly seen many museums, but in every one I've been in, the contemporary work is limited to the post post modern heavily conceptual type. Clyde Aspevig's landscape was notable, and there were many others. Robert Henri's Tom Po Qui was a great painting, and especially inspiring to me was his quote: "I was not interested in those people to sentimentalize over them, to mourn over the fact that we have destroyed the Indian. I do not wish to explain these people, I do not wish to preach through them, I only want to find whatever of the great spirit there is in the Southwest." I love that - humanity not politics. I so agree.

They have work by Eakins as well. - I adore Eakins and loved seeing his work in person. (Singing Cowboy)

They have work by Eakins as well. - I adore Eakins and loved seeing his work in person. (Singing Cowboy)
Chanet Lane - by Andrew Dansburg (My and my mother's particular favorite piece in the Western group)
I did notice, however, that every painting, every artifact, every sculpture seems to have been chosen for it's sex appeal - figuratively speaking - they're all very splashy, easy to access. Other museums certainly are more scholarly in their acquisitions process. At a certain point, perhaps it is a weakness, but THANK YOU DENVER for engaging the general public in the visual arts!!!!! People in general lack art exposure and education and museums like this go a long way to make a place for people like me who work as artists full time.
There was a lot more to see and talk about, but sadly - (this is a major beef I have with museums) - I cannot find images online of my favorite pieces and the gift shop had mostly postcards of work that is in other museums. When I go to a museum, I want to be able to be able to blog about it! They make it so hard. I did buy the little Highlights From the Collection - Denver Art Museum booklet - but their highlights weren't necessarily my highlights.
Post Script - Interesting - On the flight home I was reading ART news magazine and inside was an article on art museums attempts to bring people in.
There was a lot more to see and talk about, but sadly - (this is a major beef I have with museums) - I cannot find images online of my favorite pieces and the gift shop had mostly postcards of work that is in other museums. When I go to a museum, I want to be able to be able to blog about it! They make it so hard. I did buy the little Highlights From the Collection - Denver Art Museum booklet - but their highlights weren't necessarily my highlights.
Post Script - Interesting - On the flight home I was reading ART news magazine and inside was an article on art museums attempts to bring people in.
Monday, June 1, 2009
Get Out There and Collect Some Art!
It is such a delight, especially as an artist, to visit someones home and see their art collections. People have wonderful stories about how it was acquired, and what it means for them. Yet, often times you'll go into someone's home and find cheap prints etc or worse - blank space on peoples walls. Now, I know we all work for a living and original art can be expensive, but I think the larger problem is that people are often intimidated by art. We can all find some way to add thought and character to our space without hurting ourselves financially. So, in an effort to encourage everyone to get more comfortable, at least with the idea of collecting art, today I offer some unsolicited advice for people who are ready to find some art to live with.
First: Find out what you like. Look at as much art as possible. Go to all the art walks, fairs, museums, galleries you can manage. Think in terms of collecting art for a lifetime -and to be a caretaker until the next generation takes over. Avoid fads - but if you found you have faddish works, hang onto them until it becomes charming and retro. Everything gets cool again.
Be Engaging -- While you're looking at as much art as possible, seek opportunities to meet some artists. Artists generally love creating - and they get really good at that aspect of their craft and have a hard time marketing and promoting themselves. It's a dream come true if you seek out, ask around, spot something interesting in a restaurant and look up the artist website and seek to contact them directly. That's really cool for them- and it's fun for the collector too. You might even be able to arrange to visit an artist in their studio, learn about the process, see a lot of available work that you wouldn't otherwise see.
Be open minded -- avoid having an exact idea of what you're looking for, be ready to discover something unexpected. Keep this in mind if you're ever thinking of commissioning a piece. If you give the artist maximum freedom and minimum guidelines, you're more likely to get something fresh, alive and special. If you can picture exactly what you want - go to art school and learn to make it yourself.
Be Persistent and Patient -- You may not find something that strikes you for a while, but you will, keep trying. There's no reason to rush, but if you find something that makes your heart beat, get it now.
Be Discerning and Educated -- I believe art should last for several generations. There are numerous fabulous exceptions, of course, but there is something very special about having something that will age well and you can give the future. So when you do find something you like, ask questions: What did they do to ensure this artwork will be durable? How was this created? What materials were used? When you do buy a piece, write all this information down and save it in a file, including the year it was made, a description of the piece, the location it was made in, maybe where the artist studied, what kind of schooling they had. Get lots of information, it makes your artwork more precious.
Bargain - it's easier if you deal with the artist directly. Ask to make payments - this works directly with the artist and with galleries
Be Realistic -- You may be nervous about spending money on something like art, so avoid little pitfalls that can cost you money like unframed art. It's often a very good price, but a decent framing job costs a lot more than you might think - if you're buying art from emerging artists sometimes you'll spend more on the frame than on the piece itself. And NO you probably can't frame it yourself!
Finally, Be Patient -- don't try to collect a life times worth of treasures all at once, buy one or two things a year - you can buy better quality that way and your collection can grow with you.
When you've purchased artwork -- Never hang your artwork anywhere it will receive direct sunlight - everything fades eventually or be exposed to steamy moisture. Avoid sudden changes in temperature and humidity. This can cause warping, cracking, separation of the parts.
When moving - pack it very carefully. Insure it when shipping, photograph it for your renters or homeowners insurance, store the photos and value info online somewhere - and not in your home.
Yay for art!
First: Find out what you like. Look at as much art as possible. Go to all the art walks, fairs, museums, galleries you can manage. Think in terms of collecting art for a lifetime -and to be a caretaker until the next generation takes over. Avoid fads - but if you found you have faddish works, hang onto them until it becomes charming and retro. Everything gets cool again.
Be Engaging -- While you're looking at as much art as possible, seek opportunities to meet some artists. Artists generally love creating - and they get really good at that aspect of their craft and have a hard time marketing and promoting themselves. It's a dream come true if you seek out, ask around, spot something interesting in a restaurant and look up the artist website and seek to contact them directly. That's really cool for them- and it's fun for the collector too. You might even be able to arrange to visit an artist in their studio, learn about the process, see a lot of available work that you wouldn't otherwise see.
Be open minded -- avoid having an exact idea of what you're looking for, be ready to discover something unexpected. Keep this in mind if you're ever thinking of commissioning a piece. If you give the artist maximum freedom and minimum guidelines, you're more likely to get something fresh, alive and special. If you can picture exactly what you want - go to art school and learn to make it yourself.
Be Persistent and Patient -- You may not find something that strikes you for a while, but you will, keep trying. There's no reason to rush, but if you find something that makes your heart beat, get it now.
Be Discerning and Educated -- I believe art should last for several generations. There are numerous fabulous exceptions, of course, but there is something very special about having something that will age well and you can give the future. So when you do find something you like, ask questions: What did they do to ensure this artwork will be durable? How was this created? What materials were used? When you do buy a piece, write all this information down and save it in a file, including the year it was made, a description of the piece, the location it was made in, maybe where the artist studied, what kind of schooling they had. Get lots of information, it makes your artwork more precious.
Bargain - it's easier if you deal with the artist directly. Ask to make payments - this works directly with the artist and with galleries
Be Realistic -- You may be nervous about spending money on something like art, so avoid little pitfalls that can cost you money like unframed art. It's often a very good price, but a decent framing job costs a lot more than you might think - if you're buying art from emerging artists sometimes you'll spend more on the frame than on the piece itself. And NO you probably can't frame it yourself!
Finally, Be Patient -- don't try to collect a life times worth of treasures all at once, buy one or two things a year - you can buy better quality that way and your collection can grow with you.
When you've purchased artwork -- Never hang your artwork anywhere it will receive direct sunlight - everything fades eventually or be exposed to steamy moisture. Avoid sudden changes in temperature and humidity. This can cause warping, cracking, separation of the parts.
When moving - pack it very carefully. Insure it when shipping, photograph it for your renters or homeowners insurance, store the photos and value info online somewhere - and not in your home.
Yay for art!
Friday, May 29, 2009
Inspiring Artists at PAM - Review of Portland Art Museum, 2009
I've been to the Portland Art Museum countless times. I've toured the permanent collection so much, that I felt I must have seen everything they rotate by now. So, I almost didn't go while in the Rose City last week. But, I feel so at home in art museums that I decided to go - even if it would just be a quick whirl - with focus on the wonderful Gilkey Center (PAM's house for the most amazing collection of prints).
I skipped the Asian and the European Silver - and hit the 18th, 19th and early 20th century paintings. There I found new life in paintings I'd already seen - particularly this Julian Alden Weir - The Spreading Oak - it's huge 39 x 50 inches and has thick brushstokes, like rough chiseled wood. It's so natural and beautiful. It inspired me to work larger someday.
I also enjoyed the Childe Hassam, Pissarro and another stunner by Julian Alden Weir. The Hassam reminds me I want to paint a landscape that feels like you're in it - with the ground below and the clouds above, not just in the distance. I get caught up looking so intently ahead, that I sometimes miss creating a space for viewers to dive into. The Pissarro had such lovely tonal control, although my scanner automatically dials up the contrast, so the effect I loved is missing in this scanned postcard. In the original painting, all the values were so compressed, so close, light, like it really looks outside. And finally the Ice Cutters by Weir is just great. so simple.
PAM is set up like and Art History text, in times past I've skipped the Rome - Renaissance - Baroque - Romantic - Pre Impressionist Sections - and I really shouldn't have. Although the Rome - Renaissance - Baroque was boring, I loved their collection of paintings from the 18th and
19th Century. (I wish I'd have taken some photos, I couldn't find most of the ones I liked online) Anyway they have this gorgeous Corot. They also have an awful Bouguereau. I hate that guys work more every day. He sold his soul at the crossroads - for sure.
My main goal was always to get to the Gilkey center - but it wasnt' to be, yet, I wound through the maze and found myself in the modernist side. Starting with the impressionists (where the Pissarro was) and moving up into post- impressionists, modernists, post modern and contemporary pieces. Now the contemporary section had some neat stuff - Fairfield Porter and my new favorite Horatio Torres (the pics shown are not the pieces at PAM - once again unable to find them on the web) - but I don't care to see anything involving a Television - hate that crap, and so much of their contemporary collection looked like mucous to me. A huge encaustic of snot, a huge painting of blood and puss. Disgusting. A huge painting of creepy naked women crawling around with goats head on. I wish I had photos of these to share as well. (with me pretending to vomit next to them). So, I'm an equal opportunity hater - I hate sappy, soulless Bouguereau and I hate goopy soulless apocalyptic sludge.




So I could feel my time running out, my husband and daughter had decided to visit Finnegan's - super fun toy store near by and I knew they wouldn't stay forever, so I skipped the regional section with Pacific Northwest Paintings (sadly) and I skipped the Native American Art, and the Native South American Art and made a beeline for the Gilkey Center - the holy grail of my quest. And I was not disappointed. Beth Van Hoesen truly inspired me. A female printmaker from Northern California whose subjects included portrait, still life of flowers, food, animals, nude figures, landscapes. She has a very pointed matter of fact way of looking at her subjects, sometimes illustrative, but always soulfull. I love how her works often convey a wholeness - not just beautiful, more than that. I'm still mulling over my connection to her work. My husband called to say they were parked outside, so I had to hurry, I couldn't take it in in the way I wanted to. I rushed to the gift shop to buy a book or postcard of Van Hoesen's work and was disappointed to find the magic lost in the books available. In the show it was so rich and wonderful, the books were boring and lifeless. Oh well, such is life. In my internet research I found that for you art collectors out there, her work is very affordable. I saw prices ranging $650 - $5000. Not bad.

So the fact remains that PAM has a lot to offer for me, even after so many trips. I left wanting more. Hopefully I can get back sometime this summer.
I skipped the Asian and the European Silver - and hit the 18th, 19th and early 20th century paintings. There I found new life in paintings I'd already seen - particularly this Julian Alden Weir - The Spreading Oak - it's huge 39 x 50 inches and has thick brushstokes, like rough chiseled wood. It's so natural and beautiful. It inspired me to work larger someday.
I also enjoyed the Childe Hassam, Pissarro and another stunner by Julian Alden Weir. The Hassam reminds me I want to paint a landscape that feels like you're in it - with the ground below and the clouds above, not just in the distance. I get caught up looking so intently ahead, that I sometimes miss creating a space for viewers to dive into. The Pissarro had such lovely tonal control, although my scanner automatically dials up the contrast, so the effect I loved is missing in this scanned postcard. In the original painting, all the values were so compressed, so close, light, like it really looks outside. And finally the Ice Cutters by Weir is just great. so simple.
PAM is set up like and Art History text, in times past I've skipped the Rome - Renaissance - Baroque - Romantic - Pre Impressionist Sections - and I really shouldn't have. Although the Rome - Renaissance - Baroque was boring, I loved their collection of paintings from the 18th and
19th Century. (I wish I'd have taken some photos, I couldn't find most of the ones I liked online) Anyway they have this gorgeous Corot. They also have an awful Bouguereau. I hate that guys work more every day. He sold his soul at the crossroads - for sure.
My main goal was always to get to the Gilkey center - but it wasnt' to be, yet, I wound through the maze and found myself in the modernist side. Starting with the impressionists (where the Pissarro was) and moving up into post- impressionists, modernists, post modern and contemporary pieces. Now the contemporary section had some neat stuff - Fairfield Porter and my new favorite Horatio Torres (the pics shown are not the pieces at PAM - once again unable to find them on the web) - but I don't care to see anything involving a Television - hate that crap, and so much of their contemporary collection looked like mucous to me. A huge encaustic of snot, a huge painting of blood and puss. Disgusting. A huge painting of creepy naked women crawling around with goats head on. I wish I had photos of these to share as well. (with me pretending to vomit next to them). So, I'm an equal opportunity hater - I hate sappy, soulless Bouguereau and I hate goopy soulless apocalyptic sludge.




So I could feel my time running out, my husband and daughter had decided to visit Finnegan's - super fun toy store near by and I knew they wouldn't stay forever, so I skipped the regional section with Pacific Northwest Paintings (sadly) and I skipped the Native American Art, and the Native South American Art and made a beeline for the Gilkey Center - the holy grail of my quest. And I was not disappointed. Beth Van Hoesen truly inspired me. A female printmaker from Northern California whose subjects included portrait, still life of flowers, food, animals, nude figures, landscapes. She has a very pointed matter of fact way of looking at her subjects, sometimes illustrative, but always soulfull. I love how her works often convey a wholeness - not just beautiful, more than that. I'm still mulling over my connection to her work. My husband called to say they were parked outside, so I had to hurry, I couldn't take it in in the way I wanted to. I rushed to the gift shop to buy a book or postcard of Van Hoesen's work and was disappointed to find the magic lost in the books available. In the show it was so rich and wonderful, the books were boring and lifeless. Oh well, such is life. In my internet research I found that for you art collectors out there, her work is very affordable. I saw prices ranging $650 - $5000. Not bad.
So the fact remains that PAM has a lot to offer for me, even after so many trips. I left wanting more. Hopefully I can get back sometime this summer.
Tuesday, May 19, 2009
Plein Air Painting -

I painted this last week (or the week before that) at the middle school my daughter attends. Schools are one of the best locations for plein air painting in town, they always have fields creating enough uncluttered space to have a view.
Spring is so lovely, the hills in the distance have the most lovely green. The owner of this fence was spotted me painting and rode over on his moped to see what I was up to. He was so excited that I was painting his fence and tree that he gave me a bottle of wine he'd been storing in the moped. Great, huh?
We'll I'm off to the big city (Portland) tomorrow. I have no idea what's on at the art museum - but I'll give it a whirl (Gilkey Center is the best part of that show). We're going to see Dolorean - a nifty singer songwriter who plays at Laurelthirst Public house on Wed nights. It should be fun.
Saturday, May 16, 2009
Resolution
I am going to do some experimenting. I'm going to do some painting without concern for the outcome. I'm going to play with focus; I'm going to use blurred peripheral vision for a painting - and then focus on one area. I'm going to thread my focus from the whole to the parts to the whole to the part to the whole to the part and finally to the whole instead of focusing on the whole, then the parts then the whole. Mainly I'm going to look at the whole a lot more when I'm painting. It's just a matter of training the neurons to travel certain pathways more frequently.
I also have an experimental idea for a self portrait that I'm not going to tell anyone about until it's done.
All this will have to happen later - next week I'm going out of town and won't be painting. I'll stop by a museum and visit some galleries, though.
I also have an experimental idea for a self portrait that I'm not going to tell anyone about until it's done.
All this will have to happen later - next week I'm going out of town and won't be painting. I'll stop by a museum and visit some galleries, though.
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