By Barron Storey
“Illustration is a popular art. In order to be effective illustration must be "get able," comprehensible or have and impact upon or solicit a response from, large numbers of people, not just graphically sophisticated people but all types of people who are reasonable enough. Erase this elitism from your mindset, "When you get down to it illustrators are really working for other illustrators." As a regular human being you are in a really good place to experience life in a way that is relevant to share with other regular human beings. Don't worry about not being "special enough". The source of interesting pictures is LIFE. Life is a function of experience (your experience is your life) the type of experience which is most influential to artists and illustrators and their public is visual. Visual experience is called seeing. Do you see what I mean? Picture making is a way of sharing visual experience. People see in terms of pictures. This fact is primary, very basic. Asking your viewer to get your message thorough a design statement is a bit like speaking to a person in a clever code, though sometimes effective it is best to be aware of the basic communication power of pictures. Try to say things in your pictures that come out of your own knowledge and experience and mean it! Always be aware of how your picture would look to another person. Try to reach an audience of intelligent interested people who may or may not be graphically sophisticated. When your picture is complete do an objective "read out" to determine its apparent meaning. Watch out for associate trade off. Your picture even if effective will lose communication power if it reminds your viewer of something else to a degree that distracting. Viewing time consideration: realize that your work will be viewed for a rather short period of time and must make its point quickly. (fine art like, architecture presumes an ongoing relationship with people) Illustration like theater, is "here and then its gone," must come across before the page is turned. Trends and basic techniques used in films, literature, music television, theater, dance, ect. are relevant to illustration and deserve study. Basics such as identifiable leading roles, protagonists antagonist conflict, continued building to a climax, creating tension and resolving it, montage like quick cutting, basic emotional themes: Love, ambition, hate, envy, pride, pathos, ect.”
El Friso fue creado para la XIV Exposición de la Secession vienesa de 1902, organizada en torno a la estatua de Beethoven esculpida por Max Klinger y es una gran composición articulada en una serie de episodios simbólicos sobre la salvación de la humanidad a través del arte —la estética profesada por los secesionistas- hasta culminar en la alegría y felicidad más puras: el Coro de los ángeles del Paraíso. Para el Friso, Klimt se inspiró en la interpretación de la Novena Sinfonía que hizo Richard Wagner en 1846 y en la letra del Himno a la alegría de Schiller, al que Beethoven puso música en el coro que cierra la obra.
El Museo Reina Sofía acoge hasta el 5 de enero una retrospectiva de la artista estadounidense Nancy Spero (Cleveland, Ohio, 1926). La muestra, organizada junto con el Museo d'Art Contemporani de Barcelona (MACBA), donde ha sido expuesta recientemente, intenta subrayar todos los aspectos fundamentales de la obra de una de las pioneras del arte feminista y de la escena contestataria de Nueva York de los años 60 y 70.
East Coast meets West Coast as 13 established and mid-career artists come together for the first time in scenic Los Gatos, California. Inspired by New York Abstract Expressionism and sharing common threads with Bay Area Figurative innovators, this unique exhibit brings both original and multi-cultural voices together for a once-in-a-lifetime bi-coastal dialogue. Two years in the making and soon to be a part of Bay Area art history!
Much of the Clare Menck´s work can be described as extremely personal - even autobiographical. She has the ability to transform a random subject, such as an ordinary cottage on a dusty corner, or a simple still-life on an old table, into a nostalgic and spellbinding scene. Clare's current solo "Paintings of Objects" concentrates on still-lifes and interiors. The objects she chooses have a characteristic quirkiness about them and speak of a world of personal associations, which in a strange way turns them into a kind of self-portraiture. Clare invites the viewer to explore her inner world in terms of the 'fetishes' she fondles with her paintbrush.
Kim Frohsin comments: “I just stopped in 1999. It just wasn’t there, and ever since I’ve worked on paper, and I’ve gone really small.” If all her art is autobiographical, what does that say about her? “I’m working my way back to big. I just have to make sure I have something to say,” she says cryptically. While her latest series doesn’t exactly include giant-sized pieces, they are definitely larger than what she had been doing, and there is something more - seemingly a new attitude. She thinks about that for a moment. “Attitude,” she says with an exaggerated southern drawl and just a hint of grin. “Yes, I think that is true - a new attitude.”