Musings….

Suppose this were true of art? Can someone, for example, in the 21^st century strictly “translate” and faithfully recreate a masterwork of the 17^th century? Possibly true for Turner who was born in the 18^th century and died at the beginning of the Industrial Revolution. Yet consider this— the Masters painted, for the most part in silence to be only disturbed, certainly, by the sounds of “nature.” Their studio space, and even the plein air painting of the industrial 19^th century would not have had the backdrop of airplanes, cars, etc., and the ever-present cell phone or ipod. Now that an artist can be so entertained or soothed by choice is the background of an electronic age going to produce a new art form? Are we subconsciously influenced by other sensory input? Intriguing to wonder what has, or may be emerging – totally rad. Carol Vail

“Rain, Steam, and Speed” by J.M.W.Turner 1844

From Canada (and beyond), with love.

side, apart from her art studies. Since she was 14 Alina has been working in many different fields to help children. She currently teaches at the art center, “Palette”. When I asked Alina what other things she liked to do she answered with a smile, ”Cooking, cleaning, writing, camping, reading, meeting new people and of course "painting". Then she added. “In the future, I hope to become a good painter and a good teacher. My saying is, "Stay positive, and dance!” And good luck to you, PAFA people! PAFA is a living dream!!!”

Alina Osipov

Nobody will know if you don’t….

Here’s the question --- “Do you journal? Do you have a blog? Are you, in other words, leaving a record of the development of your work?” In 120 years will there be anything left behind to describe your artistic decisions? Everyone is familiar with Jackson Pollack’s creative process because of the iconic film of him drip painting but will there be such a permanent record of electronic emails and tweets? Is it important? Before you decide go visit the website of the Van Gogh Museum and sample some of his letters. These are more than chatty reports on his daily life for his letters

“I thought you had to give up a lot for art, and you did. It required complete concentration.

Page 4 of 8

Danny Ray Quillin, a portrait sketch.

and the Eakins traditions brought Danny to the Academy where he can be seen carrying around a book of Sargent’s early portraits. Now bring up the darks: A nephew and brother-in-law were killed in car accidents only a couple years apart. Add in highlights: he’s from Missouri, has tattoo, and he’s impulsive. Don’t ‘finish’ but re-state the above only changing or adding to complete the major shape/gesture: architect student & fine artist. It’s a likeness--- It’s Danny Ray Quillin. Has painted murals & indoor scenes for private individuals.

What hath Jobs wrought?

Technophobes will be glad to hear from its designer, Steve Sprang that, “It has a low barrier to entry.” Kyle Spence, a 4^th year architecture student says he uses it, ”…to sketch out … my preliminary designs…. It’s portable, and when you don’t have pen and paper and you want something you can email to yourself, you have a digital copy of it.” Go to washingtonpost.com/style to see a video about using the application and to submit your own iPhone work.

It also required that whatever money you had had to be put into art materials.” Alice Neel 1900-1984

	Verum Gaudium Res Severa Serious joy found on a bus to New York
				“The only sensible way to regard the art life is that it is a privilege you are willing to pay for….” Robert Henri 1865-1929

Mike strips myth from Modeling.
						Newsletter Title
					shape, size or build. Otherwise I imagine it would be tough. For instance, there are times when certain students are not drawing me when most of the class is. If you’re not confident that you’re ok you could quickly become self-conscious.” We asked him if he could give us an example of what he meant and he laughed a bit saying, “ I remember that happened to me when I first started posing. I smile about it now to think that I got my feelings hurt a bit when I saw some were ignoring me. But I also knew I was a good model for the pose and was doing my best to make it work so It wasn’t long before I realized those students had an issue I couldn’t do anything about, for example, maybe they just preferred a female model.” It was interesting to us, as artists, that Mike, as the model, did pay attention not only to us but also often to the lesson. “80 to 90% of the time, I do listen, especially when I’m posing in an anatomy class. (Cont. on page 8)
	Van Dyck (cont. from page 3)
			“Drawing’s 1st priority,” says Van Dyck, tossing his wisdom to the class with the alacrity that he gives to his drawing, “is unifying the abstract ‘shape/gesture’.’ ‘Emphasize this!” he urges. (Because) “The form unfolds from it, and the smaller shapes grow from its development. Let all the information be the product of this engagement with your gesture/motif. I know, I know. You guys want to put in an eyebrow over here. Then when you do you think, “Oh, now I’ve got to put the other eyebrow in, and, I guess while I’m at it I’ll add the nose.” That’s how you lose sympathy for the way forms connect and fit together from your primary
				“The living model is the privileged seat of feeling. The model must mark you, awaken in you an emotion which you seek in turn to express.” Henri Matisse

shape/gesture!” Stay in the gesture! That’s how to prioritize. In your drawing- look to be surprised, look for clues that are more interesting than your own (pre-conceived) thoughts. This is the language I’m arguing for you to adopt…better than a dutiful copying of what is in front of you. (Then)… as you move forward with your drawing you’re not just “adding stuff” (i.e. details.) At the end of the day you want something that has a singularity of presentation.” And that is how I caught Peter Van Dyck breaking and entering. Catch him if you can!

“It’s not easy to arrive at a conception of a whole which is constructed from parts belonging to different dimensions but art is such a whole. Paul Klee

only dim bells don’t worry. These artists are thrown together here as the visual equivalent of a mash-up. I forced myself to read the lives of those whose art I do not “get” and was rewarded with insights into art marketing and how they otherwise managed their careers, not to mention being out right amazed at their behavior! They are all fascinating individuals with stories to tell that may very well inform your own artistic journey.

Sweet Tweet(s)

Twitter, that strange internet space where people express themselves in single bursts of 140 characters or less, has been caught up into American capitalism, and along with Facebook, My Space and the like, has come under the definition of “Social Marketing”. Everyone knows that nothing beats “word-of-mouth” for bringing customers to your door but what about “word-of-keyboard”? The case is being made by the undeniable fact of how Twitter is being used that your web “friends”, be they true friends or not, can be and are being your best salesmen.

Lynda.com, the online software training company, has a new release called, ”Social Media Marketing with Face book and Twitter.” (Release #6, on the left of homepage) Topics (don’t laugh) include: “Tweeting Strategically”, ‘Attracting followers”, “Cross-promoting your Twitter feed,” and (my favorite) “Getting re-Tweeted” (I hope that doesn’t hurt!) Look it up, and maybe you’ll be among the first to let your friends do your marketing. .

						Mafa, Page 8 of 8
		Talent Overrated?
			Who hasn’t in class looked over their shoulder at another student’s work and had the thought, “I wish I was that talented!” Well, we were all wrong. To paraphrase Mae West, “Talent had nothing to do with it!” There are two battles going on in any academic environment. The expected, public one of learning the given lesson and the internal, private one of assessing one’s own progress and dealing with the doubt that inevitably comes along with that self-evaluation. Geoff Colvin’s book, Talent is Overrated, What really separates world-class				performers from everybody else. (ISBN 978-1-59184-224-8) is an eye-opener for any student. It doesn’t just offer hope that one can succeed in a chosen field regardless of so-called “talent”, it tells one how, and backs up the telling with case study after case study. The evidence, as they say, is incontrovertible, and a good thing too, for the common wisdom about talent is wrong across the board, and worse, damaging to anyone whose skills are not precocious, which by the way, is most of us.
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A publication for the institutionalized art student.
			Mike & modeling, cont. from page 6
					“I’m a full-time Certified Massage Therapist,” Mike explained, “and the art class information compliments my own knowledge about the human body. This knowledge I use everyday in my work.” Again Mike’s remark reinforces Steinhart’s contention that the droll, flippant stereotypes about life modeling, don’t fit anymore, if they ever did. Mike’s thoughtful and serious involvement with modeling leads us to the issue of respect. Mike wanted us to know he believes Pafa students show respect. ” It’s a strong point here.“ “I
								think the students take art and the art model seriously.” We hope this article reinforces such respect that is so necessary between artist and model for creating art from life.