Collagraph Prints-New Work

Across the Wilderness

Printmaking is versatile with so many ways to create. Lately I've been creating in the collagraphy medium which as the name implies is the bringing together of a variety of materials to make a printing plate. I've just posted five new works in my gallery section, all created with different substrates and materials. A bit of plaster here, some cork there, strips of varnished balsa wood, good old PVA glue with sawdust in it! Collagraphy is probably my favorite way of making prints and often bringing in woodcut, or lino, monotypes as the image evolves. Endless possibilities. 

The print pictured here is "Across the Wilderness." The plate was created with a variety of materials resembling dried vegetation, sand and rough surface land adjacent to a copse of woods. 

Printmaking is What I Do. . .

White Line Woodcut

What do I mean whan I say I am an artist whose medium is printmaking? I recently developed a page for my website explaining the printmaking processes I most often employ in creating my work. Those are relief printmaking including wood and linocuts, white-line-woodblock and collagraphy. 

I invite you to my "About Printmaking" page to learn more, where you'll find an explanation and example of the particular process. 

And, of course, to see more examples, visit my gallery too! 

Art as Social Commentary

Earth is Sum of its Parts with Strings Attached

As the environmental crisis gains traction, I am re-publishing a blog post of January 2011. Although, my focus in art is printmaking, I have also created some textile art,  one of which featured in this post. Your comments are welcome:

Social commentary has been expressed in art forms back to cave drawings.  Social movements, war, politics, religion, oppression and more have been given a point of view and voice with brush, pen, film, theatre and many other mediums. Think of John Lennon's "Imagine", Dorothea Lange’s photography of the Great Depression, Charles Dickens,  or the art of children in concentration camps, just to name a few examples. 

Recently I watched the first in a six part, documentary series about poverty worldwide on Link TV entitled "The Price of Cotton." The documentary, filmed in Mali and Texas, relates the story of cotton farmers in Mali, trying to gain access to markets juxtaposed to a Texas producer whose fate is in the hands of the American market system. In both instances, the small, non-corporate farmer falls victim to a system that serves the large agri-business system worldwide. 

The cotton farmers in Mali are unable to compete in the market due to the price set by World Trade Organization (WTO). The family farmer in Texas is dependent on farm subsidies to remain in business - subsidies that will likely soon be discontinued.  Farm policies favor the corporate farmers worldwide. There is no cohesive policy within any country or countries to stabilize the farm sector. 

In my textile art piece, "Earth is the Sum of its Parts....with Strings Attached," my intention was to reflect the disconnect and disregard of nations to the impact of  their policies on the environment and people in other parts of the world. Policies are implemented by Governments to serve interests within their own boundaries, ignoring the resulting consequences to other nations, their environment, economies and people. 

The documentary, “The Price of Cotton*,” shows clearly the influence of powerful nations in setting world prices and markets for cotton has affected already impoverished African farmers, and now hits back to the American family farmer too. It also shows the power of art in the form of documentary to tell a story. 

*"The Price of Cotton", as well as the other documentaries in the poverty series can be viewed on Link TV online. 

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Your comments are welcome! Do you make social commentary with your art? What commentary in art form has moved you to action or informed? 

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Changing the World Through Art and Photography

Robin Sagara writes the blog, "Working Creatively Blog" and with her kind permission, I've re-posted one here. Robin is a terrific marketing person, specializing in helping. And Robin shares with many artists, a love of the natural world. Here's her post: "Changing the World Through Art and Photography":

Guardians of the Everglades - a project with an inescapable message: The Everglades ecosystem is unique, necessary for our health and should be preserved. They aim to bring its beauty and importance to people all over the world through the lives of the ten Living Legends who are the Guardians of the Everglades. Breathtaking photos from conservation photographer Connie Bransilver and photographic artist Clyde Butcher, classic portraits of the ten Guardians by painter Nicholas Petrucci.

The first exhibit opened December 7th (and runs through January 30th) at the Museum of Florida Art and Culture, SFCC in Avon Park, FL. Check the schedule for more info/events. (Image: Clyde Buther ©Nicholas Petrucci www.NicholasPetrucci.com. Image: Everglades Prairie ©Connie Bransilver www.ConnieBransilver.com)

Then check out this TED video: Yann Arthus-Bertrand captures fragile Earth in wide-angle. "In this image-filled talk, Yann Arthus-Bertrand displays his three most recent projects on humanity and our habitat -- stunning aerial photographs in his series 'The Earth From Above,' personal interviews from around the globe featured in his web project '6 billion Others,' and his...movie, "Home," which documents human impact on the environment through breathtaking video."

From the Working Creatively Blog.

New Woodblock Work

Indigo Vase

Saturday, November 10th

I'm writing from the Art on the Prairie Show in Perry, Iowa....still time to enjoy the show which continues tomorrow, November 11th. 

Shown here is one of my new white line woodcut prints I'm exhibiting in my booth. This piece is "Indigo Vase" carved on a piece of basswood, watercolor on BFK paper. It is matted and under plexiglass and measures 11 x 19.5". You can find this woodblock print in my gallery. 

Why Host an Art Show?

Art on the Prairie

In my last blog, I wrote about the upcoming "Art on the Prairie" Show happening November 10-11 in Perry, Iowa. This event showcases the artists of many mediums from visual arts to musicians and poets too. Artists will be set up in six locations around the town square including the historic and restored Hotel Pattee.

But who's behind this show and why? Shows are often organized by professional organizations as income producers and/or to promote their members and of course their organization. Some art shows, festivals or fairs are put together by a small group to promote themselves. Or an individual may do an exhibition hosted by a gallery and some artists are doing such on their own. Now in Perry, Iowa, four women, all involved in art, wanted to host a show for Iowa artists and use the format of that show to promote and educate about art. Making big bucks was not the motivation. 

The four women of the initial "brainstorming and creating group" - Mary Nichols, Jen Heins, Jenny Ecklund, Carolyn Guay- each had some artists in mind and were committed to giving more talented Iowa artists an opportunity to show their work. The also wanted to reach across the spectrum of art to include not only visual arts, but also music, poetry and writing. Then they had this wild idea of interactive art, especially targeted at children. The show didn't come to reality overnight, but was planned carefully and certainly with dedication to the concept. 

The initial committee went to a variety of art shows and venues and approached artists they admired and asked if they'd be interested in showing at their Perry show. They talked with artists they individually knew who had talent and had produced exceptional work, but had never shown! Some they had to really coax. When ready they put out the word through their own networks. And finally, about a year later, with a plan in place, a grant secured, community sponsorship committed the show came into being.

Art on the Prairie is now in its third year and is a huge success. The show is quite festive taking place in six locations all around Perry's historic town square.  Artisans of all art mediums are on hand to show and talk with attendees about their work. Everywhere there is music, you can relax, sit a spell and hear a poem or enjoy an author reading. Art on the Prairie is truly unique and certainly worth a trip to Perry, Iowa on November 10-11th. What you will notice, too, is that the atmosphere, the ambiance you feel at this show reflects the intent and dream of the women behind it. Well done!

Art on the Prairie Show

Art on the Prairie is a fabulous show that happens November 10 - 11th in Perry, Iowa. The event celebrates the works of artists in many mediums from visual arts to musicians and poets too. Artists will be set up in six locations around the town square including the historic and restored Hotel Pattee.

Now in it's third year, Art on the Prairie is organized by a group of artisans in the area who endeavor, and succeed, in bringing a selection of over one hundred, top rate artists to show their work in a festive and well run show. There are interactive projects too for a children's learning experience in a variety of art forms. Listen to the music, hear a lovely poem and browse the booths of printers, painters, metal and woodworkers, weavers, potters, sculptors and stained glass.  

I am very pleased to have been selected this year as one of the artists for Art on the Prairie. You'll find me in the "Canistea Room" at Hotel Pattee. Please stop by and say hello! I will be showing my hand-pulled prints in linocuts, woodcuts and white line woodblock technique, as well as monotypes. 

Visit my gallery here to see my printmaking art. Thanks! 

Reflection of Us.....

University Press Published Books

The demise of the books, newspapers and more mediums of the printed word has been a big topic in recent times. Just this week, great alarm has been sounded over the impact of Amazon.com on the purveyors of books around the nation. It is alarming, yes, but wait, what part do we the consumers play in the trend? It's not just about the easy shopping the web offers. It's more about the quality and content of what is available now ...and what is disappearing quickly. So it's about us...our culture...which is a reflection of us.

In a recent article in  Guernica Magazine, a journal of arts and politics, writer Leah Carroll gives us the alarming news that the University of Missouri announced in June that they will close their university press department. This has happened at many other universities around the USA. University Presses at universities were established to publish faculty work and topics of regional interest. These are scholarly works, important for the history they record, advancement of ideas, telling of societal change, movements and the people involved documenting our culture and history. This includes the arts in every medium. For example, the University of Missouri University Press published an outstanding work on Langston Hughes, considered a classic today, and more works on the civil rights movements. 

The budget portion to sustain University Presses is small compared to the funds allotted to America's passion for university sports. And there's the rub-to bring in the money to fund the university budget, the school must give the people what they want. And they want football more than good books of scholarly work it seems. That's certainly a reflection of our culture. What do we really want to read, watch, do, see? 

Perhaps a group of graduate students in sociology or a university professor has been working on a research study for decades on the demise of print publishing, even the content and quality of same. It probably speaks to the evolvement of hyper-consumerism, mindless and isolated electronic devices activities, even the craze for high violence level and extremely loud Hollywood movies - all the same plot...if there is one. This incredible piece of scholarship has no doubt documented the "dumbing-down" of public education, which of course would impact what is being read...or not. But alas, we probably won't see such a report, at least not from a University Press. Check Amazon.com -- maybe they have it...in a e-book edition maybe?

White Line Woodblock Prints

White Line Woodcut Print

Creating woodblock or lino prints in multiple colors requires exacting scale and registration. So I was delighted to find the "white line" woodblock printmaking technique. 

The white line technique was developed with a small colony of printmaking artists living in Provincetown, MA, who formed the group, Provincetown Printers, in 1916. Blanche Lazzell (1878-1956) is perhaps the most well-known of the printers. Lazzell's colorful, woodblock prints in the white line technique are to be found in major museums and private collections today. Grace Martin Taylor (1903-1995), joined with Lazzell and others at Provincetown in further developing the white line technique. 

The white line process starts with transferring one's image/design onto a wood block. The outline of each section or image detail is then carved with a knife, leaving a thin v-shaped groove. Paper of choice is set in registration with the block so that it will lay over the block multiple times in the same alignment. Then each section is hand painted with watercolor (or ink of choice). The paper is laid over the block and handpressed with a baren to that newly painted section. As watercolors dry quickly, only a small area can be painted, then pressed to ensure good transfer. 

The print shown here is my recent work in white line woodblock technique. You will find more in my gallery--and there is more to come! 

Bonnie Samuel's Etsy Shop is Open

Apple a Day...

I've just opened an Etsy shop, featuring exclusively my print art work. Printmakers from 'round the world have created "teams" and promotion for original prints and I am happy to join them on Etsy. Of course, I will sell my work there, but many of the Etsy printmakers are doing a great job or educating about the nature of printmaking in its various forms, history and clearly distinguishing original prints from the giclee and other copies of art prevalent on the market. This is important! 

With the opening of my Etsy shop, I am featuring some recent work in white line woodblock prints (Apple a Day....yellow featured here), linocuts and some monotypes too. The shop is under my name, "BonnieSamuel". Click here to browse around!

Print Exchange for the Cure

Strolling

The 2nd Annual Print Exchange for the Cure Auction is on Ebay! Twenty printmakers, including myself, are participating with print work donated to raise funds for research for the Leukemia & Lymphoma Society. 

There have been several components of this fundraiser, organized by Sarah Francis at the University of Dallas. So far, Sarah and her group have raised a great deal of money for this worthy cause. Now, the last phase of the project is the auctioning of twenty prints on Ebay and I invite you to visit the auction and enjoy the prints. It's a grand opportunity for you to own a fabulous print and help those battling blood cancers. 

About print exchanges...printmakers of all levels of skill, like to participate in exchanges as it's an opportunity to show your work in a variety of venues and receive a designated number of prints from those entered in the exchange. Requirements for size and number of prints and sometimes the theme, are set by the sponsor. All prints may be exhibited at a venue or a jurer may select from the whole for a specific show or exhibit. Usually, each printmaker participating, will receive a selection of the prints for their own collections. 

In this exchange, "Print Exchange for the Cure," the donated prints are on exhibit through June at the Upper Gallery at the University of Texas. And each printmaker will receive a packet of 10 prints, which I'm so looking forward to...building my collection! 

Please treat yourself and take a look at all the prints at http://tinyurl.com/7zdc4vp. 

Art for the Masses...in Vending Machines!

Bonnie's Art-O-Mat label

Can't afford to buy art at Sotheby's, but dream of being a collector? Well, now you can. Beautiful, imaginative, top tier original art in all forms are indeed available at the Smithsonian American Art Museum, Chicago Cultural Center, The Cosmopolitan in Las Vegas , The Whitney Museum of American Art in NY and many other locations including upscale hotels, libraries and even Whole Foods. Just look for the cigarette vending machines at these locales. The brand, Art-O-Mat. 

This ingenius way of making art affordable to anyone is the brainchild of Clark Whittington. In June of 1997 Clark loaded some of his own art into the slots of a recently banned cigarette machine and managed to get it placed in a local cafe in Winston-Salem. Art-O-Mat was born. And the machine is still in that cafe. Now there are about 400 contributing artists, selling their original works of art through the Art-O-Mat's ninety plus vending machines nationwide. "Venue owners who have welcomed Art-O-Mat to their shops, museums, cultural centers and more, see the vending machines as art installations, not trinket sellers" says Clark. 

Refurbished and fancied up old vending machines around the US and Canada too, hold small pieces of art - the size of a pack of cigarettes actually. Paintings, prints, textile works, or other unique pieces that will fit in a specific size box. You, the connoisseur of art put your money - $5- in the slot, pick a piece of art and pull the lever (great fun) and it falls gently to the base of the machine for you to collect and admire. 

Clark Whittington says, "Art-O-Mat is moving forward and growing in large part because of the talented artists participating. They see this not just as an opportunity for themselves, but as a collaborative effort to promote art and creativity." Clark also noted that Art-O-Mat is always on the look-out for new artists to include in the project. Find out about the application process at http://www.artomat.org.

I'm pleased to be one of the many artists whose work is available in Art-O-Mat's vending machines, joining the purveyors of affordable art earlier this year. We artists enclose info about ourselves with the art and ask that buyers let us know where our work ends up geographically, which is fun to know and even nicer when you get an email such as this: 

Hello Bonnie,I just wanted to send you a quick note to let you know that I am the proud owner of one of your prints from an art o mat at the cosmopolitan casino on the Las Vegas strip.  The art o mat there is for sure the machine with the best odds in the house (couldn't resist).
My partner and I usually buy one piece from an art o mat whenever we see one on our travels.  I bought this one in particular as gift for her as she was not traveling with me.  Currently it sits sweetly on top of our thermostat in our living room in Portland, OR.
Thanks for sharing your art in an affordable and creative way.  You prints were in the machine on the bottom row second to the left! SC

The writer of this lovely email also included a picture of the Art-O-Mat vending machine at the Cosmopolitan in Las Vegas where he bought my art.

Donating Art - Maybe You'll Get Discovered!!

"Pinks," Monotype

Artists frequently receive requests to donate a piece of their art to charity fundraisers, civic or non-profit groups. ‘Lucky you’ is the message—just give a piece of your creative work for display or auction and it will be terrific exposure for you as an artist!

Such was the case recently on Cape Cod. The Barnstable Municipal Airport, Hyannis, approached local artists, requesting art to adorn the new airport space. A wonderful opportunity said the Airport Arts Task Force for artists to get “exposure.” An insult, say the artists! Well, says the Task Force, the work actually would be just be on loan and insurance up to a certain level would be provided….but value beyond that level would be the liability of the artist. Some deal, huh. 

Susan Vaughn, journalist and reporter for “Wicked Local/Barnstable” which is part of The Register, Cape Cod’s weekly newspaper since the 1830’s, has been meeting with local artists, who received the Airport Task Force's request through the Arts Foundation of Cape Cod. Vaughn cites on the artists’ grievances and concerns related to the airport’s request. Certainly “donating one’s art” is not a new issue for artists, but this time the artists decided on a more constructive approach to resolve the issue. 

Vaughn reports that the artists see a huge disconnect between the business, civic leadership and community artisans. But in fact, a large percentage of revenue supporting the area is generated by the cultural offerings. The Cape is an arts destination, the artists say, with wonderful art fairs, galleries, music and theatre. 

Times are tough right now for everyone say the artists, many who readily admit to lacking business and marketing expertise. They may be talented, exceptional artists, but getting their work before the buyer is the missing piece. The artists of the Cape Foundation group have brainstormed and come up with a variety of approaches for making the airport situation a win-win community-artists relationship that may reap benefits for all. 

So how does the story end? Its evolving actually and showing promise for some “creative” solutions. Reporter, Susan Vaughn, says artists, community leaders and the Airport Task Force are talking, have come up with some action plans and ideas for future cooperative and beneficial projects too. 

Printmaker: Finding One's Groove

Sunflower

We artists sometimes experience an epiphany of sorts, the Aha! moment, related to the direction, medium or subject matter of our artistic expression. For sometime now, I've been totally immersed in the study and practice of printmaking, concentrating on intaglio methods and monotypes. Gradually, my studio has transformed to a print shop with the addition of an etching press, printing inks, beautiful papers and other materials needed for creating prints. I've also studied with a master printmaker which has been invaluable and exciting too. It all feels right. 

After classes, study and lots of studio practice and technique development (never ending, I think!), it's time to show some of my print work. Here on my beautifully redesigned website*, Bonnie Samuel, Printmaker, are some of my new works on the "Prints On Paper" page. There you will see examples of linocuts or relief prints and monotypes, which is a painterly process in printmaking. Check back again soon, as there are several prints to come, some combining processes. 

*Thanks to Robin Sagara, marketing specialist for A.C.T., for her outstanding design work on my website. 

New Venue for me--Vending Machines!

My print work, I'm pleased to report, has been accepted by Art-O-Mat, a project of "Artists in Cellophane" which began in 1997. Details in my next blog post. In the meantime, if you happened to be at an art museum and spot a vending machine that looks like an old cigarette vending machine (it is), take a look at art therein! 

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"Art and Issues Blog" will post a couple times a month, covering my art journey, but more often articles on "art as social commentary." You can subscribe via RSS, of course, or sign up here and I will email you a link as posts are published. Comments are always welcome and some posts have indeed generated some great discussion and exchange of ideas. 

Social Media as Art Promotion....or not?

So I'm taking a little survey here about how, you as an artist, evaluate the effectiveness of social media in your own marketing. I'm certainly not asking for your trade secerts, but your assessment of social media's value, or not, to your promotion and sales. This little survey is for those of you who have stats or some kind of tracking on your website that gives you a picture of how well your posts on Facebook, Twitter, or Linkedin serve you. 

This query comes after a year of my own tracking both online activity and offline promotion through a stats system. Share your thoughts: 

1. Do you utilize, if at all, sites such as Facebook, Twitter, Linkedin or other various "art forums" to promote or brand yourself as an artist? If you do, what elements on those sites seems to work best for you? For example on Facebook, do your website visitors come from your profile, biz page or Networked blogs? 

2. Do you have a newsletter and publish it regularly? Is your mailing list growing because of social media? Are you finding it harder to get sign ups now since everyone online has a newsletter too? (I know, loaded question....)

3. Do you blog? Helpful?

4. Do you feel you are reaching the clientele, galleries or prospects you think likely client prospects? Or do you find you've made contacts with other artists, built a sometimes helpful network, found some resources, maybe made a few sales?

5. As result of your analysis, have you or will change how you use social media?  

I hope you will share your views on social media as a tool in your marketing. Thanks!

Art of the Revolution

Matt Taibli, "Rolling Stone"

Dear Readers,

Revolutions and protests have through history sparked art in some form and Wall Street has history in this regard.  Currently, the participants in OWS have put forth a vast amount of visuals reflecting the guts of the movement, the fears and determination too. Cartoons, signs, photography, film, graphics, drawings and prose now reflect the voice, strength and determination of OWS worldwide. Some of this creative outpouring will become iconic images of the 2011 Revolution of the 99%. And there is more to come no doubt. 

I pass along an excellent study, found online, authored by Lana Swartz, PhD Student at USC, Annenberg and Dr. Alison Troupe, Clinical Associate Professor, also at USC, entitled: "Visual Culture of the Occupation: One Month and Counting." Swartz and Troupe have compiled a historical look at the art and visual expressions from protest movements back to many others related to inequities. In her introduction, Ms Swartz says, "Since September 17, the Occupy Wall Street movement has produced an overwhelming array of visuals, offering a significant lens on the movement itself, its ties to history, its divergent voices, perspectives and styles, as well as its multiple distribution channels from mainstream outlets to social media. Despite the criticism from experts who do not necessarily see much potential in Occupy’s “brand,” the visual aspects of the protest clearly have impact and traction. "

OWS is evolving and definitely growing and with it, documentation in visuals, music, theatre and the written word. Stay tuned for more. 

Precarious Balance

Precarious Balance

The balance of life is often precarious! My newest work is inspired by the rock walls built by the Irish that hold their form and strength through all. Acrylic on canvas substrate with addition of various mediums for texture. 

I've recently "re-created" three textile art pieces. Working in acylics, using the various mediums brought ideas of how to improve the dimensionality and enhance the themes of my previous works. "Blue Flowers", Earth is the Sum of Its Parts...", and "Canyon Sunset" all have been revamped, given a new look, enhanced in their presentation. Using gel mediums, dimensional aspects are more prominent in "Blue Flowers," for example. Shadowing, areas of emphasis have more definition in "Earth is" and "Canyon Sunset", and colors are more intense with my application of gloss gels. 

These three artworks are now mounted on panel with framing, ready for hanging. With several layers of gel medium, they are also sealed,  eliminating the usual concern about dust and damage to textile art surfaces. 

You'll find these three pieces, "new and improved!", at http://bonniesamuelartist.com/artworks in the Textile & Mixed Media category.

The Strength of Women

Congo Strength

Eve Ensler, playwright and social activist, has established City of Joy in the Republic of Congo. My latest work, pictured here, was inspired by Eve's project, and the courage and strength of the Congolese women.

As readers know, my blog and most often my artwork is social commentary. Eve Ensler has long been one of my heriones. Her advocacy for the rights and equality of women is long standing and life changing for many. When visiting the Congo, she learned of the atrocities by men, often soldiers, violently raping, sometimes killing, 440,000 women and girls over the last decade. Eve also found that the rest of the world had taken no action to stop the violence. None.

The City of Joy facility and village opened this spring in Bukava in the Republic of Congo. Made a reality by Eve Ensler's tireless determination, and V-Day.org, in partnership with the Panzi Foundation and support of UNICEF, City of Joy is actually owned and led by Congolese women.  Women in residence will regain their strength physically and mentally with meaningful support, literacy and educational offerings to prepare them to go back to their communities as leaders who help move other women to their own places of power and achievement. 

My artwork, "Congo Strength", depicts a women whose eyes tell us she will survive, she will be whole and she will lead. She will live by the words of Eve Ensler, "Women will heal and turn their pain to power." 

Politics of Anti-Arts

"The Fleet's In." Paul Cadmus, '34

A few weeks ago I wrote about the mural project of the WPA under President Roosevelt. In researching for the article, I could find no compilation of all the murals or even much about the various other WPA art programs during the 1930's. Curious. Of course, many of the murals have been destroyed as old post offices and government buildings came down and new ones replaced them. But why is there no documentation of all these works of art? I would suggest that politics played a role, as we see today in ongoing the ongoing anti-National Public Radio debate. 

Politicians, the morality police or aspiring mind controllers have through history, used art to illustrate the decadence of the artist mind, Bohemians all to be sure, and the immoral influence of their work. Diego Rivera's mural work in the US was extremely controversial during the thirties, as were many of the works of many American artists in the WPA projects. Some WPA mural plans were censored by governmental officials who directed the subject content be changed. Prospective murals subjects, as well interpretation, were indeed reviewed before the artist could actually paint!

Pictured here is one such such mural depicting sailors wolf whistling at some pretty girls who in turn were enjoying the attention. Artist Paul Cadmus's "The Fleet's In" is an oil on canvas, painted in 1934. The painting was selected for inclusion in show of PWAP art the Corcoran Gallery of Art, prompting a viewer to write an irate and indigent letter to The Evening Star (WDC). "It reflected unfairly on the men of the navy," said the Secretary of the Navy in response and "The Fleet's In" was removed from the exhibition. The painting was "stored" in various places, certainly not in public, until 1981 when the Navy had it restored. (Find an interesting chronology of this episode at http://www.history.navy.mil/ac/cadmus/cadmus.htm.

In fact, President Roosevelt's detractors used the immorality of the arts created in the WPA project as anti-Roosevelt campaign fodder. Didn't work though.  

Local Artists Showcased at Gallery event June 9th

Population Density

Walnut Street Gallery, Ankeny Iowa, in conjunction with the Ankeny Chamber of Commerce is hosting an evening at the Gallery with local artists, great music and yummy foods too! Join us Thursday, June 9th, 4-6 pm at 301 SW Walnut Street in Ankeny, IA.

I am very pleased to be represented by Walnut Street Gallery and participating in this event. Seven area artists will be on hand to talk with visitors about their artwork. Come and see some fantastic artwork in different mediums, meet and talk with the artist too. Represented are Angela Meron, Bonnie Samuel, Doug Fletcher, Liz DeCleene, Mark Stoltenberg, Michael Glaser, Noelle Gibbons. Come and enjoy the arts! Some fabulous door prizes too. 

WPA Art Murals

When I go to the Ames, Iowa Post Office, I don't mind standing in line. Adorning one wall of the old building is a mural painted by artist, Lowell Houser in 1938. Houser was commissioned to paint this mural by the Federal Art Project, division of the Roosevelt Administration's Works Progress Administration (WPA). The painting, "Evolution of Corn," is an oil on canvas depicting the history of corn from Mayan times to the farmer of the 1930's. 

The WPA Federal Project One (a division of the WPA) during the 1930's included work programs for artists of all genres. Artists, actors, musicians, writers, and playwrights left the big city theaters and elite galleries to work and teach in schools,  the community centers and parks of America. People who had never been to a play or concert or been to a gallery were enjoying the arts in small towns and rural community across America-for the most part free. For people struggling during the Depression, the experience and exposure to the arts touched people emotionally and intellectually. Thousands of artists were employed by FPA and over 225,000 works of art were created for the American people. 

The Mural Project in particular was accessible to people everywhere as the murals were installed in post offices, other Federal buildings, schools, libraries, city halls and airports. Institutions commissioned these works, agreeing to pay for the materials and paints, while the artists were paid by Federal Project One. Not only were thousands of artists thus employed, but local craftsmen and workers were put to work as well in the preparation of walls and structures needed to produce the large and magnificent murals. Themes for the murals were often nationalistic in nature, but also depicting America's cultural history, agrarian scenes, and everyday life. 

There were about 2500 magnificent murals created in public spaces across America, many still exist today. Grant Wood, John Stuart Curry, Francis Robert White, Thomas Hart Benton were just a few of the artists creating murals under the WPA art project. Check out the old post offices near you-maybe you'll find a mural and start mailing by snail mail instead of email. 

*Sources: The Institute for Cultural Democracy online; General Services Administration website; wikipedia; Nick Taylor's book, "American-Made".

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Art Messaging: Social Realism Art

"Sharecropper" Elizabeth Catlett

Does your art make a statement, revealing your passions, interests, view of the world? Back in the 1930’s a movement of “social realism art” emerged (not to be confused with socialist realism). Artists revealed their advocacy for social justice and the plight of those suffering economic devastation during the depression years.  Many were activists and teachers who then had opportunity to take their message even further. For others, their view of society was born of values instilled by upbringing and education. Artists who themselves experienced social inequities were also inspired to paint, write, create plays and music with a message. 

The list of notable artists who used their art to raise social consciousness on issues about which they were passionate is very long and includes painters, sculptors, photographers, writers, playwrights, musicians, and poets. Here’s a sampling of artists of the 1930's, some more recent:

Elizabeth Catlett, granddaughter of American slaves, is a sculptor and printmaker. She was the first black to receive a MFA in sculptor (1940) at the University of Iowa. The intention of her work was to show the dignity of African Americans despite the hardships and injustices they suffered. Her work, “Sharecropper” is pictured above in this post. 

Diego Rivera, 20^th century Mexican painter well-known for his fresco mural paintings that reflected his concern for the impact of technology on human development. He painted his murals in public places, in Mexico and the United States, where the common man would have access to his message. 

Pablo Picasso’s “Guernica” is still revered today as a classic anti-war statement. In this work, Picasso depicts the devastation of war to people, animals and buildings and created in response to the 1937 Spanish Civil War when German and Italian warplanes, at the behest of Spain’s national forces, bombed Guernica, Spain. A tapestry copy of this work hangs at the UN Security Council.

George Segal, (1924-2000) another American sculptor whose work in bronze “Depression Bread Line” tells the haunting story of the 1930’s. Segal completed this work in 1991. He was known for his work portraying human values and the toll of economic turmoil on working people. George Segal received the National Medal of Honor for his life's work in 1999. 

Certainly, John Steinbeck’s “Grapes of Wrath” and other works reflect the times of human struggles and despair. Woody Guthrie’s now classic songs also told the story, but were also uplifting and hopeful. Maya Angelou's writings brought awareness and understanding of blacks in America to millions through her stories of struggle and triumph too. John Lennon's "Imagine" became the theme song for the anti-war movement. The list of artists revealing their own views and passions in their art is endless and worldwide.

More next week on this theme.....

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Julie McCullough, Found Objects Art

Julie McCullough Found Object Art

Julie McCullough is an internationally known doll artist. Since there are many variations in the genre, I should further define Julie's work as very inspired, mystical, often times whimsical, always tells a story. Her company is Magic Threads and from her studio in Urbandale, Iowa, comes a wide array of intricate, imaginative creations, as well as doll patterns for those who want to try their skills at this artform. 

Over the last year, Julie has added another facet to her product line and that is "found objects art." Many artists today are incorporating discarded junk, treasures from the tool box and antique vendors into their art, but again Julie's work is top drawer and guaranteed to bring a smile to your face. 

This week, KCCI TV in Des Moines, Iowa interviewed Julie McCullough in her studio. So watch this video and enjoy the journey through this artist's creative space: Julie McCullough on KCCI TV

My newsletter, also from my website here, emails once or twice a month, announces new artwork, events or exhibitions of interest, and current blog topics. It is also short and sweet! 

Let's connect!  You can also find me on Facebook, Linkedin, and Twitter .

Economic Devastation Art

Detroit: photographers Marchand & Meffre

French photographers, Yves Marchand and Roman Meffre, have created a stunning reality check on the impact of economic downturns in our lives. The artful eyes of these two photographers capture the devastation, the ruin of lives in the images of crumbling structures that once were the pride of a community. You will not get far into this book without grabbing for the Kleenex. 

The book is The Ruins of Detroit. From the artists' website, here is their statement about this work: 

"Ruins are the visible symbols and landmarks of our societies 
and their changes, small pieces of history in suspension.

"The state of ruin is essentially a temporary situation that happens at 
some point, the volatile result of change of era and the fall of empires.
This fragility, the time elapsed but even so running fast, lead us to watch them one very last time : 
being dismayed, or admire, making us wondering about the permanence of things.

"Photography appeared to us as a modest way 
to keep a little bit of this ephemeral state."

The Ruins of Detroit was published by Steidl, May 2010. The authors website has many photographs from the book. 

Painting, but Different

Path of Gold

My website, Bonnie Samuel Artist, sits on the host platform of Fine Art Studio Online. The majority of artists who use this platform are painters in traditional mediums-oil, acylic, watercolor. There are just a few of us "textile artists" who have FASO websites. Recently, I've been asked to describe my art medium. 

Textile art takes many forms, but all have to do with creating with fabric or on it.  For my part, I paint on silk primarily, either wearables or art where silk is the canvas. But I also like to create my own art cloth, which becomes a piece of art in itself or combined with mixed media and other art cloth as an art piece. Visit my gallery to see various examples of my silk art and textile art.

Most are familiar and understand silk art, but I'll describe the process of creating a piece of textile art. Keep in mind, there are many variances in materials, applications and technique, as well as outcomes in textile art! I'll use one of my own art pieces to illustrate, "Path of Gold."

First, I created the art cloth using the silk screen process, using a design of organic shapes as a template. Thickened dyes were used to silk screen, that is push the dye through the screen and template onto the cloth. On this particular cloth I screened on multiple layers with 3 different colors. This particular dye (MX Procion) requires heat processing (about 24 hours), then washing, drying.

If you look closely at the picture of "Path of Gold", you'll see it appears to be in sections. It is. I cut up the cloth, then rearranged and reassembled by sewing together, carefully aligning and adding in some accents of orange fabric. Next I used a technique called free motion stitching to accent some of the shapes in the cloth. To achieve a more textured appearance, the cloth is mounted on cotton batting before stitching. 

The theme of the piece, "Path of Gold," is portrayed by the circular free motion stitching in blue that meanders through the cloth. The circles were then filled with gold paint.  The frame was created with muslin I painted and attached to the perimeter. I added sculpted flowers also made from the muslin. 

This art piece involved several processes and techniques, as well as time. While there are many techniques and materials used by textile artists, my preference is paint on cloth as my foundation.  

Haitian Youth Paint a New Country

Artist Islande Henry, Haiti

Art reflects back to us every aspect of life. Art interprets. Art inspires. Art heals. Beverly Bell, author, social activitist, and associate fellow of the Institute for Policy Studies, wrote the following article about a Haitian youth art program. 

Article by Beverly Bell* and reprinted with permission. 

Art as Social Commentary #2

Reuters/Amr Abdallah Dalsh. February '11

What photo taken during the Egyptian protests will become the iconic image for the historic people's demonstration? Will one of the many press photographers in Tahrir Square see his/her work become the or one of the photographs to win recognition for capturing the essence of the protests? Perhaps this photographer will see his work on the cover of the NYT or major press in the Middle East. 

The American Civil War is said to be the most photographed event in history. The imagery is haunting with the stark realities of conflict as captured by the eye of the photographer. No doubt many pictures taken then and since have not lived on and one reason is that the photograph didn't tell us a story. Those photographs that now hang in museums or fill books are the work of artists who with camera painted their canvas. 

The picture above was taken by Amr Abdallah Dalsh, Reuters New Service, at Tahrir Square in Cairo. Another, which has already found it's place as a symbol for the movement was taken by Goran Tamasevic, also with Reuters News Service. You'll find this as the profile picture on the Facebook page credited with generating the Egyptian protests, which is "We are all Khaled Said" 

Art as Social Commentary

Earth is the Sum of Its Parts, with Strings Attached

Social commentary has been expressed in art forms back to cave drawings.  Social movements, war, politics, religion, oppression and more have been given a point of view and voice with brush, pen, film, theatre and many other mediums. Think of John Lennon's "Imagine", Dorothea Lange’s photography of the Great Depression, Charles Dickens,  or the art of children in concentration camps, just to name a few examples. 

Recently I watched the first in a six part, documentary series about poverty worldwide on Link TV entitled "The Price of Cotton." The documentary, filmed in Mali and Texas, relates the story of cotton farmers in Mali, trying to gain access to markets juxtaposed to a Texas producer whose fate is in the hands of the American market system. In both instances, the small, non-corporate farmer falls victim to a system that serves the large agri-business system worldwide. 

The cotton farmers in Mali are unable to compete in the market due to the price set by World Trade Organization (WTO). The family farmer in Texas is dependent on farm subsidies to remain in business - subsidies that will likely soon be discontinued.  Farm policies favor the corporate farmers worldwide. There is no cohesive policy within any country or countries to stabilize the farm sector. 

In my textile art piece, "Earth is the Sum of its Parts....with Strings Attached," my intention was to reflect the disconnect and disregard of nations to the impact of  their policies on the environment and people in other parts of the world. Policies are implemented by Governments to serve interests within their own boundaries, ignoring the resulting consequences to other nations, their environment, economies and people. 

The documentary, “The Price of Cotton*,” shows clearly the influence of powerful nations in setting world prices and markets for cotton has affected already impoverished African farmers, and now hits back to the American family farmer too. It also shows the power of art in the form of documentary to tell a story. 

*"The Price of Cotton", as well as the other documentaries in the poverty series can be viewed on Link TV online. 

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Your comments are welcome! Do you make social commentary with your art? What commentary in art form has moved you to action or informed? 

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The Art of African Grandmothers

"Wife Number Two" Sheila Mbaso

This is a story of African women who when faced with the devastation of AIDS in their families, turned to textile design skills of their culture to raise funds to support of their own grandchildren. This is also a story of women across the world reaching out to help.

Valerie Hearder, Canadian textile artist, happen to hear a radio interview with Stephen Lewis* about six years ago about the plight of the African Grandmothers working to support their grandchildren, orphaned by the AIDS epidemic. Determined to help, Valerie very soon created "African Threads," to help these women sell their beautiful embroidered art, which is both reflective of their culture and the impact of AIDS in Africa.

I asked Valerie Hearder to tell us more about the African Grandmothers. Here she tells us about a small sewing group of 15 women, "Isipethu", based in KwaZula Natal, South Africa. 

Valerie Hearder:  

"Thanks for asking about African Threads. I buy fairly traded goods from 8 women’s groups in Africa, all of them chosen for their beautiful quality work. I’d like to highlight one group that I’m fascinated with. 

" 'Isipethu' is Zulu for 'going to the fountain.' It’s the name of a small sewing group of about 15 women based in KwaZulu Natal, South Africa. I’ve been buying from this group since 2006 and visited with them in 2009. Several of the embroiderers have art pieces in collections in the U.S. and one, Cynthia Msibi, won a major South African art award in 2010. The majority of the women are single. All are supporting their extended families with their needle art, some supporting up to 13 people. 

"The small appliquéd and embroidered art pieces created by the Isipethu group as wall hangings, have a cohesive, recognizable style, but individually, each artist's work is distinctive. I am fascinated by their highly personal stories; a small handwritten statement is attached to each piece. The daily lives of these women is told through their art in cloth which serves as strong social commentary about contemporary life in KawZulu Natal. I’ve seen scenes of traditional healers, cultural ceremonies, soccer, rural life and domestic scenes that speak of both harmony and conflict. Sometimes I come across a piece that makes my heart skip a beat, such as 'Wife Number Two' by Sheila Mbaso. It’s 14” x 12”. (see photo insert above)

"It shows a bride in her flouncy dress with her groom wearing a ceremonial headdress. They are approaching a woman sitting on the orange woven mat. The scene is set in a rural  Zulu kraal (family compound) as depicted by the beehive shaped huts. However, the hand written story attached to this work revealed a darker element: 

Men are sometimes unfair. This man has left his wife and three children in the country. He has gone and married another woman. He spent all his money on the wedding rather than sending some to his first wife and children.

"Zulus have a polygamous society where men can have as many wives as they want if they can pay 'Loboloa', which is bride price in heads of cattle. This cultural right to polygamy, when combined with the HIV/AIDS virus, contributed to creating a “perfect storm” of conditions for the pandemic that has ravaged South Africa. Husbands working in the cities have girlfriends and second wives and then carry the deadly virus home to the rural areas. South Africa has one of the highest HIV/AIDS infection rates in Africa, as high as 50% in some areas. The consequences have been catastrophic.

 "Another heart-stopping textile showed women being beaten for attending HIV/AIDS education workshops because the men felt this threatened polygamy. Through their art, these women tell their stories of the culture in which they live, presented in a naïve, collage style in cheerful colours. 

"A number of textile artists have started collecting works from this group. Sally Sellers says of the works she has collected: 'I believe passionately that economic empowerment of women is key to affect fundamental change. Buying these textiles has been a way to give back to the women of South Africa twice – first buying their work on a fair trade basis and secondly by donating 15% of the profits back to the 'Grandmothers-to-Grandmothers Campaign.'

"Over the past 6 years African Threads has donated over $10,000 to support Grandmothers in Africa. I have many stories to tell about my visit to women’s groups in South Africa. Next time I’ll tell you how I was able to directly connect the 'Grandmothers-to-Grandmothers' organization in Canada with women’s sewing groups in South Africa in a project that put thousands of dollars into the women’s hands."

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You can find out more about the Isipetha group, and others, on Valerie Hearder’s African Threads website  www.africanthreads.ca

Valerie Hearder was born and raised in Durbon, South Africa. With her husband years later, she moved in 1983 to Nova Scotia. Valerie is an internationally known artist, teacher and author. She has also won numerous awards and recognition for her textile art quilts. In establishing "African Threads" Valerie has given back in a most meaningful way, using her own artistic and marketing skills to help artisans in Africa. In doing so, the world is able to connect and better understand another culture, devastation of HIV/AIDS and to know the beautiful traditional arts of a small village in Africa. 

Valerie’s blogs are http://threadlink.typepad.com/africanthreads/

 http://www.threadlink.typepad.com/ 

*Stephen Lewis is the former special envoy to the UN Secretary-General Kofi Annan

Indigenous Peoples Textile Art

Laotian Weaver

Through Facebook, I have met some very interesting people, many of whom are artists. There are three women who are particularly special for their humanitarism and also in their support of indigenous peoples' art. They are Ellen Agger and Alleson Kase, founders of TAMMACHAT Natural Textiles. The third is Valerie Hearder, founder of African Threads, who will be the subject of my next post. 

Ellen Agger and Alleson Kase founded TAMMACHAT Natural Textile as a fair trade, social enterprise to support  weavers and artisans in Thailand and Laos. These artisans are indigenous people who are carrying on the traditional arts of silk and cotton textile production creating beautiful fabrics and wearables.  "We founded TAMMACHAT Natural Textiles to bring together our interests and expertise in SE Asia travel, weaving, fair trade, photography and supporting women weavers in rural Thailand and Laos, " says Ellen Agger.

But Ellen and Alleson, who travel regularly to SE Asia, also believe that helping the artisans is also about raising consciousness about human rights and the environment. Says Ellen, "We believe that people impact human rights, communities and the environment with every purchase we make. So, it’s important that people have access to fairly traded and environmentally friendly products."

I refer you to the TAMMACHAT Natural Textiles website to learn more. You will find resources and links to info about Fair Trade and the work of many other organizations who share their vision. And you will also find the TAMMACHAT shop with the beautiful silk and cotton fabrics and accessories made by the weavers of Laos and Thailand. The traditional designs, beautiful colors and masterful weaving makes each piece indeed a work of art. 

Chat and Forums online: worth your time?

Bonnie Samuel

A recent Linkedin discussion about effective use of social media and sales sites to sell and promote one's art brought some interesting insights. The majority of comments came from  artisans who have have planned their use of the internet judiciously and with success.  I noted that they did not mention the chat rooms, teams or forums as part of their e-commerce strategies. 

E-Commerce sites abound and most include "community", forums, and chit-chat. As for me, I have in the past involved myself in sites' forums or teams, such as on Etsy or Fine Art America, but in analyzing why and what benefit they have, I conclude really none. Some users spend time making comments and building community through chatting thinking that it will lead to sales...questionable.  Some sites do offer some subject specific discussion groups that actually offer useful information or boarden your scope of internet use. Linkedin is one of those where you find good discussions with other professionals. But then it's not a sales site per se. Certainly, many of us find "Fine Art Views" a great resource for our art careers. And "support" forums serve as handy references. 

Many of us who use the internet for marketing and promotion are using a combination of social media, blogs, and e-commerce sites. It is time consuming, but certainly doesn't have to be all consuming. I suggest having a plan and schedule for attending to your sites, such as check in times, sequence, cross referencing, blog entries, product updates and listings, newsletters, etc. Periodically evaluate the efficacy of your online presence. If one site seems not to be working over a 6 month period and isn't showing up in your stats, rethink using it. Be sure to allote time for research and tweaking as necessary. This is your marketing plan, which is a major component of your business plan. Review and tweak as needed.

Notice I didn't mention chat rooms or rah-rah for your team.  Again, analyze the why of what you do online. If there IS a forum that offers you good exposure that will build your image, decide how you will present yourself, how often and track the stats/feedback. Justify your time in other words. Of course, you will occassionally make a quick comment on another's good work or interesting comment, or respond to an article that you find helpful too. 

Using social media to image build and draw to one's sales site(s) is excellent marketing, but remember that what you say and put on those sights does reflect on you and your business side. Put your efforts into good presentation....and stay out of the chat rooms! One must have studio time remember. So what do you think?

On Textile Art in England...continued

Leisa Rich

A week ago I blogged on "My Observations on Textile Art in England," noting that the English are in a different place, a bit ahead of us here in the states. I posted this topic also on Linkedin where a lively discussion ensued. Art teacher and artist, Leisa Rich, offered the following thoughts with great links to textile art exhibitions and shows in the US. With Leisa's permission, here is her comment: 

"Thank you so much for starting this discussion. The textile, or fiber arts, has been a growing and important part of the art scene for decades in the U.S., going particularly strong over the last few years and gaining momentum as I write this. Recent exhibitions such as "Pricked: Extreme Embroidery" and "Radial Lace and Subversive Knitting" at the Museum of Art and Design in NYC, publications such as Fiberarts and Surface Design, important artists such as Magdalena Abakanowicz, Ann Hamilton, Mark Newport, Do Ho Suh....I could go on and on and on - there are so many fascinating artists working in new ways with old techniques and materials...as well as new! who have introduced the United States to the power of cloth, stitch, weave, dye, and more. 

I believe you noticed more in the U.K. because they value the contribution of a variety of methods, materials and mediums; we do not. Painting is "king" here in the states and we are egocentric in the art world as well as in life, religion, politics, food and more. While I study painters, sculptors, videographers, mixed media artists, photographers, printmakers, installation artists, performance artists, outsider artists, and more, as well as fiber artists, many painters I know...know painters.

"Fiber" art is gaining more and more importance, and so it should. It contributes in historical, social, and artistic ways that are crucially important to art. It is no longer your grandmother's quilt. As you can see, I am passionate about the topic...and thank goodness that other countries value it highly. The ball is in the U.S. court to keep growing awareness of this valuable art discipline, and it seems an active mandate among most of the fiber artists I know to gain awareness and recognition. There is room for just about everything...a melting pot of art!" 

Leisa Rich is herself an award winning textile artist and educator too. Beginning Winter, 2011, she begins a professorship at Savannah College of Art and Design, Atlanta- Fashion; Leisa also teaches at Callanwolde Fine Arts Center, The Galloway School and gives private classes in her studio; hosts workshops and art events. She serves on the Board of Directors for the Southeast Fiber Art Alliance. Recent State Rep for the Surface Design Association. Read more about Leisa Rich, her art and many accomplishments at http://www.monaleisa.com 

Observations on Textile Art in England

Population Density by Bonnie Samuel

Last year I visited England for three months and had a great time visiting galleries, art shows and museums steeped in the rich history of textiles in the Norfolk area. We also attended the annual London Craft Council show, "Origin," which featured beautiful handwovens, unique felted wearables, and textile art . 

What I found in England is that there are many, many accomplished textile artisans. The following website features some of the UK's and European textile artisans "across the pond." By no means, inclusive of all the artists in the UK, but an interesting website, giving a look at some of the talented textile artisans and their work. Studio 21, Textile Artists 

Here in the US we also have a good number of award winning and notable textile artisans. There are some differences though between the artists on either side of the pond. Well known American textile artist, author and teacher, Rayna Gillman made the following observations on her blog after her return from the annual huge quilt art show in Birmingham, England: 

1. Each year the exhibit is fresh - you don't see the same artists with almost identical pieces, year after year.  

2.  European quilts are, for the most part, abstract and non-representational. Reproducing a photo in cloth appears non-existent...and if anyone is doing it, those pieces are not in major gallery exhibits.

3.  There is a lot of experimentation with materials and ways of using them-......... add richness and texture and are integral to the piece.. Silk, wool, rayon, plastic, linen, cotton, polyester, taffeta, organza (not necessarily all in one piece).

Rayna Gillman noted some reasons that may explain the differences, one being that generally textile artists in the UK tend to work more individually, perhaps not as "club" and guild oriented as Americans. Whatever the reason for the differences observed, different places and influences perhaps, textile art as a known medium is growing and more and more appreciated as.....art. 

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