Tag: art

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In the Studio with Linda Sue Price

by Kristine Schomaker

What does a day in your art practice look like?

If I’m in the studio facing no deadline, I practice tube bending with the intention of developing my skill level and exploring the possibilities of how I can bend a tube. Tube bending is a learned skill that requires learning many nuances—is the glass hot enough? is it evenly heated? is enough glass heated to make the bend? After the glass is heated, you have about five seconds to bend it before it cools down too much to move any further. Room temperature affects the process as well. It’s harder to heat the glass in cold weather or with an air conditioner blowing.

If I’m in the studio facing a deadline, my first step is to review my inventory of already bent tubes to determine if there is inventory I want to use in a piece or as a model/inspiration for bending new tubes in different colors. Generally, I have an idea of where I want to go and am looking for shapes that speak to that. Then I figure out how I’m going to put them together and what my background is going to be. I try to work on two or three pieces at a time so that when I’m waiting for something to dry on one piece, I can work on a different piece. It seems at times like the work will never get done and then one day everything is complete.

What is your medium of choice? Why?

I’ve always loved the glow of neon. Then in 2005, I took a neon class from the Museum of Neon Art. I was hooked. I had two years of art school and then worked in video production for many years. I learned After Effects and created motion graphics for show titles. There is a connection between neon and video/motion graphics. Both have limited color palettes, animate and have similar methods in assembly because of the wiring involved. I learned how to read schematics to hook up video systems and that carried over to reading schematics in order to wire the neon pieces. Both also often require making adjustments to balance light levels and both are enhanced by the use of texture.

Why is art important to you?

Making art and looking at art is energizing. I love the passion of contemporary artists, what they create, the media they explore and the techniques they develop. I enjoy the process of communicating and exploring ways to do that. I like learning about the motivations of other artists and how they express it. It is invigorating.

What influences your work?

Everything. I read, listen and feel the world around me. My current motivation is to “practice random kindness and senseless acts of beauty” inspired by a quote from Anne Herbert in her essay Handy Tips on how to behave at the death of the World. Whole Earth Review, 1995. Republished Sun Magazine, March 2019.

What is the most challenging part about being an artist?

Staying focused. Giving myself the time to explore and not just chase deadlines. Maintaining a balanced life.

What advice would you give your younger self?

Be fearless and don’t be sensitive to not getting into a juried show. Early on I did a very political piece for a juried political show. I wasn’t accepted but my art friends were. I was super disappointed. I was really proud of the piece. It was raw and to the point but before it’s time. A lot of my early work was like that and then twenty years later people started responding to the work.

What do you do to keep yourself motivated and interested in your work?

I listen to and read about other artists from a wide variety of fields including comedy, theater, musicians, authors, painters, photographers, etc. The CBC—Canada’s version of NPR—is a primary resource, as is NPR’s Fresh Air and the Art and Cake blog. I’ve discovered that creatives are passionate people. That is really inspiring and motivating.

What’s next for you in the future?

I want to try and incorporate more technology into my art. I want to mix video and neon which will be challenging because of the light levels.

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In the Studio with Betzi Stein

By Kristine Schomaker

 

What does a day in your art practice look like?

There is no typical day. As I deal with chronic fatigue, it totally depends on how I am feeling physically and the amount of energy available to me. Ideally, since I have the most energy in the morning, I go into my studio after breakfast and paint for a few hours. Middle of the day is a wash energy wise. Often, I get a second wind and am able to paint at night before bed.

What is your medium of choice? Why?

I paint in acrylic on canvas or panel. Before converting the bedroom of my condo into my studio, I used to make my art in a corner of the room, which was fine when I worked in colored pencil and ink. But when I started to paint, I knew I wouldn’t be able to tolerate the fumes and toxicity of oils so I chose to use acrylic. Over time, I have learned to love the challenge of making this medium work for me, even in the summer when the heat dries the paint almost before it hits the canvas!

Why is art important to you?

Art gives me PURPOSE, especially at this point in my life at age 74. As a younger person, I lived a wild and crazy life — it was the 60’s after all—moving away from home to Berkeley, followed by 2 years in Europe on my own, I was finally able to experience the freedom to live and explore life as I chose to live it without my parents hovering over me — Ultimately, after my divorce and needing to make a living, I became a massage therapist and my focus shifted away from making art. But I do realize that sculpting live bodies rather than the clay I used in college, kept me tuned in to the creative side of myself. However, I used to wish sometimes that I had the drive that many artists seemed to have but there were other things that motivated me then and I accept that. Now, I realize, I’m attempting to make up for lost time and feel a focused passion to create my art and participate as best I can.

What influences your work?

I always say that people are my muse. I get an immediate “hit” when I see someone whose energy or appearance just feels extraordinary, makes me laugh, touches my heart or pisses me off. If I’m lucky enough to get a candid photo, I know that I’ll need to paint that person eventually.

It’s impossible not to be affected by the troubled times in which we live, however, I choose to create art that makes me smile rather than brings me to tears, but who knows, one day I may be moved to express my outrage and compassion in a visual way through my art. I surprise myself often!

April’s Hair

What is the most challenging part about being an artist.

I am the most resistant to keeping up with the administrative tasks of being an artist. Here’s a partial list of my backlog: updating my website, writing and sending out regular newsletters, entering shows, applying to residencies, keeping track of my art, getting organized!!! I also know I would be better served by spending more time connecting with other artists regularly on social media and in person, and getting out to more galleries and networking, but I have a tendency to isolate, so that is an ongoing challenge. Bottom line, the hardest thing for me to be consistent about is believing in myself and my abilities.

What advice would you give your younger self?

If I tried to advise my younger self, I’d end up feeling remorseful. I’d much rather focus on the present, but I’d probably tell myself to keep making art regardless of the circumstances of my life.

What do you do to keep yourself motivated and interested in your work.

I wake up and attempt to banish the demons. Then I get to work.

What’s next for you in the future.

I’ll be having my first solo show (ever!) at TAG Gallery in November 2020. I’m excited about becoming a member of TAG because I’ll be learning about and participating in the running of the gallery. I’ll also be participating in regular group shows at TAG.

I’m also thrilled that “Lustful Daydreaming”, my painting of Kristine Schomaker for her Perceive Me project, just showed at Cal State LA and will be traveling to at least six different venues in California!

I am currently in a show at TAG Gallery titled “Post Modern Reactions” through March 14th. In January 2021, I’ll be participating in the Women Painters West 100th Year Celebration at the Brand Library.

Trying to make the most of my time left on the planet.

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In the Studio with Debbie Korbel

by Kristine Schomaker

What does a day in your art practice look like?

It depends whether I am in the studio or out gathering materials for my assemblage pieces. If I am in the studio, I may spend many hours sculpting or working on the patinas. Or, I may be laying out pieces for an assemblage sculpture, then drilling, wiring, gluing, etc. I often don’t get things placed exactly as I want them on the first try, so it may take me two or three attempts before I move on to the next piece.

All this is punctuated by intermittent socializing, coffee-drinking, candy-eating, daydreaming and talking on the phone. And of course, there is always the task of trying to keep a million and one things organized—so tidying my studio (ugh) does have to happen at regular intervals so that I don’t kill myself tripping over things.

What do you wish to accomplish with your art?

I guess there are a few things I’d like to accomplish—some easy, some not so much. Of primary importance to me is to communicate with others on a level that is not superficial—to share my thoughts and feelings—and to have others understand and hopefully relate to those thoughts and feelings, perhaps recognizing something of themselves in the work. It is a non-verbal way for me to say, “See, I am just like you. I love, hate, suffer, laugh, etc. at the same things you do.” It is a quick way to connect with people on an emotional level—it is a barrier -breaker. I feel successful when people warm-up to me because they relate/like/ see value in/enjoy what I have created.

How has your art evolved over the years?

I am still trying not to be self-conscious, not to censor myself based on what others may think of me when they look at my art. Some of the art I make is risqué and I never really know if what I make will be well-received.

Do you ever find yourself limited by the materials that you have available?

No, not really.

What is the most challenging part about being an artist?

Self-doubt is certainly up near the top of the list–which is, I suspect, one of the more challenging things for people trying to succeed in any field.

Do you have a specific audience in mind for your work?

Those that aren’t easily offended.

What are your words of wisdom for someone starting out in your field?

Believe in yourself. Don’t wait for someone to give you permission to be an artist—you’ll never get it. Just make the art. Apply to shows. Get out there—see what happens. The worst that will happen is you will make some nice friends who are weird like you!

What’s next for you in the future?

I will be in two museum shows so far this year, MOAH and The Booth Museum and several independent gallery shows. Lots of hard work and hopefully a bit of glory.

 

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On Success: Tips for Artists

For whatever your definition of success is

 

Shoebox PR’s manifesto for surviving in the Art World

Find your community or make one
Patience and perseverance
Be easy to work with
Follow Directions
Show Up!
Get Involved
Generosity begets Generosity
Be brave
Be authentic
Make bad art (Thanks Kiel!)
Read/Research – keep looking at art and keep learning about art
Follow-up
Have meaningful experiences
produce good quality and original work
Learn to say no
Don’t be afraid to ask, you may get a yes
“The Only Rule is Work”
You be you – Stay true to your vision and yourself
Compete only with yourself
Keep working (hard)
Stay humble
Consider your endgame (goals, goals, goals)
Be open to the twists and turns on your career path
You can’t sell art if you don’t show your art
Learn to live with rejection. It is not you, it’s them.

Practical info for artists:

Have the best photos possible of your work for submissions
– No reflections, angles, shadows
– make sure the coloring in the photo matches the actual artwork

Use Facebook and Instagram to its fullest potential

Have a mailing list and send out newsletters quarterly

Check your emails/texts/FB messages daily and answer immediately, especially if it pertains to your work.

Have your work ready to hang when dropping it off at the gallery AND have all of the info/paperwork signed and filled out.

Meet Deadlines and promote the shows you are in on social media and in your newsletters.

Support your artist friends, galleries, institutions either by going to the openings, visiting/studio visits during business hours or following and engaging on social media.

Build a large body of work(s) for several shows. Be ready when you are invited to show.

Start a blog on your website to help drive people to your website.

Surround yourself with supportive people

Perfect your elevator speech about your work. Learn to talk about your art in an easy and articulate manner. Be honest, humble, meaningful. Be a storyteller for your work.

Once you set a price for your work, you can never lowe that price. be responsible when pricing your work. Do you want to get it out into the world or keep it close to the vest and only sell limited pieces for more money?

Business outreach is critical – be proactive and follow-up

Have all of your supporting materials, CV, BIO, Artist Statement ready to go at a moments notice. If you don’t have a professional artist statement, hire someone to write it.

Make it easy to buy – have a square reader with you at all times, or venmo AND a price list on your phone. When someone asks you for a price, you can easily look it up.

Pay attention to detail

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John Waiblinger

Solo Exhibition

The Beauty of Men*

Artwalk Preview:
Thursday 10/11 7-9pm

Opening Reception:
Saturday 10/13 6-9pm

Art Talk with Prof. Gregory Mattson
Saturday 10/20 130-3pm

Los Angeles Center for Digital Art
104 East 4th Street
Los Angeles Ca 90013

*An Iconography of Desire

 

John Waiblinger is a new media artist who explores masculinity and desire through his Post Photography compositions. Hailing from an academic background with degrees in English, Women’s Studies and Library Science, Waiblinger redefined himself as an artist in his early 60’s, first exhibiting work at the Los Angeles Center for Digital Arts.

The Beauty of Men* (an iconography of desire) is Waiblinger’s first solo show, appropriately taking place at the gallery in which he first showed his work. His work presents men he has appropriated via their pornographic performance and reconstructs then within the realm of his imagination.These images combined with his own photographs portray a masculinity that celebrates softness and intimacy that he believes creates a tension between the normative and the transgressive. Waiblinger states that his intent is “to investigate and illustrate how such juxtaposition can broaden perceptions and understanding of masculinity.”

Waiblinger uses his fixation on the beauty of men to transfigure the carnal into his own embodiments of adoration and celebration.

BIO:
John Waiblinger is a new media artist who explores masculinity and desire through his Post Photography compositions. Hailing from an academic background with degrees in English, Women’s Studies and Library Science, Waiblinger redefined himself as an artist in his early 60s, first exhibiting his work at the Los Angeles Center for Digital Art (LACDA) in 2014. Since then he has continued to exhibit in galleries and has established a small group of collectors. His most recent work was a collaborative installation project with artist Sean Yang at the Cerritos College Fine Arts Department focused on the “coming out process”. Waiblinger is a member artist of LACDA and was accepted as a member of the Los Angeles Art Association this year.

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Artist JT Burke known for his Paradise Circus interactive installation at the LA Art Show in 2015 to unveil new 53’ mural at Fabrik Projects in Culver City September 8th

Fabrik Projects
2636 S. La Cienega Blvd., Los Angeles, CA 90034

Home: Slider Only

http://jtburke.com/

In Paradisum Cantavit – (Google Latin for “The Paradise Crew”) – is a 53’ wide mural created by JT Burke that will be unveiled at Fabrik Projects Gallery on Saturday, September 8, opening day of the Los Angeles fall art season. This outdoor mural is composed of Burke’s original photos of vintage costume jewelry and brass figurines, assembled together digitally to create an eye-popping panorama of cheeky characters that are the inhabitants of his visionary world.

This highly detailed, large-scale image is an ambitious continuation of Burke’s series of images that envision Paradise as a beautiful myth and a concoction of human desire. His use of jewelry and ornamental objects as the building blocks of his joyous utopia ties together tangible objects from the human world with a vision of mankind’s ultimate beauty.

JT Burke is now represented by Fabrik Projects Gallery. In Paradisum Cantavit will remain on view through 2019.

About JT Burke

Jeffrey Thomas Burke received a BA from the University of California, Los Angeles in 1981, and an (hon)MS from Brooks Institute of Photography in 1999. His work has been exhibited in New York City, Bristol UK, Basel Switzerland, Barcelona Spain, Naples Italy and throughout Southern California. A former advertising photographer and commercial director, Burke was an early pioneer of digital capture and manipulation.

JT Burke lives and works in South Pasadena, CA.

About Fabrik Projects Gallery

Fabrik champions new ideas in contemporary art by providing a platform to nurture emerging and mid-career artists, enabling them to take risks.

Fabrik Projects Gallery
2636 S. La Cienega Blvd., Los Angeles, CA 90034
(310) 730-6074
HOURS
Tues. – Fri. 11am-5pm
Sat. 11am-6pm

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Artist Erika Lizée creates large-scale installation in Pierce College Solo Show

Erika Lizée
Gazing into the Great Unknown

August 27 – September 27, 2018
Reception: Thursday, September 13th, 6 – 8 pm

Pierce College Art Gallery
6201 Winnetka Ave.
Woodland Hills, CA 91371

https://www.erikalizee.com/

(Woodland Hills, California) – Please join us Thursday September 13th 6-8pm at the Pierce College Art Gallery for the reception of Erika Lizée’s Solo Exhibition. Lizée is a painter who creates illusion-based installations. Mysterious, biomorphic forms appear to exist within the walls of the gallery, while tendril-like elements expand and emerge into the physical space of the viewer. She imagines gallery walls as symbolic thresholds between different realms of existence, between life and death. The illusionistic quality of these installations also speaks to how perceptions and beliefs create reality.

The use of illusion in her work is important, as it gives rise to simultaneous feelings of wonder and uncertainty in viewers. For Lizée, it serves as a metaphor for how we can feel such awe for the beauty, complexity and interconnectedness of the world we live in, while also harboring intense feelings of doubt and anxiety surrounding the big questions of where we come from, what the purpose of our lives is and what happens when we eventually die.

Lizée has always been drawn to Plato’s Allegory of the Cave, which is a tale that considers how our perceptions of the world around us create what we believe to be real. When our perceptions change through experience, so do our concepts of what is real. In her installations, the use of illusionistic and sculptural paintings work in conjunction with actual light and shadow to create a transformative experience for viewers, as their perceptions shift with a greater understanding of the relationship between artistic materials and exhibition space.

The installations serve as a parallel for the journey of our personal and shared life experiences. Individually, each piece has its own inspirations, pulling from sacred geometry, nature and symbols of the feminine. Overall, these works speak to the deep-rooted questions we have always faced in relation to the existence of the universe and our role in it.

Erika Lizée was born in Chicago, Illinois, yet was raised in a tiny town in Northern Wisconsin. Much of her childhood was spent exploring the woods, swimming the lakes and climbing the snowdrifts of this serene part of the country. Her upbringing fostered a strong connection to the natural world, which remains an important aspect of Lizée’s life and artwork.

Ms. Lizée is an artist that creates site-specific, illusion-based installations with acrylic paint. Most recently, she has built installations within the Vita Art Center, Gallery 825, Launch LA, ArtShare LA, and the International Terminal at the Los Angeles International Airport (LAX). Her work has been featured in Juxtapoz, Beautiful/Decay, HiFructose, The Huffington Post and Beautiful Bizarre magazines.

Erika Lizée earned a BFA in Painting from UNC Asheville, and her MFA in Painting from CSU Northridge. She is a Professor of Art at Moorpark College, as well as the Director of the Moorpark College Art Gallery. She lives and works in the greater Los Angeles area.