Promising begining

Just had our first session with Neil this morning and his outline of what he hopes to cover this semester seemed to cover so many of the elements that I hoped we would be covering. Which is wonderful...mind you we did have to put out details into his IPad, which was a bit of a challenge for some of us non apple types.
Yesterday I had another apple problem when I was trying to access my other blog, the one where I display my art and perhaps began to appreciate how apple computers are not at all friends with my blog as it has been reset on the basis of suggestions of Google. If I had any idea how to return to the earlier setting I would, but I don't

What I would like to get out of third year of my Visual Arts Degree

Overall, by the end of the year I would like to think I was in a position to consistently have my art works accepted as suitable for sale from reputable selling locations...not necessarily merely galleries as such but places from where people buy art.

• It would be good if during the year there were some painting workshops like I was expecting last year but which never did, but I suspect they will not eventuate this year either.

• I do sort of realise that my ability to draw/paint "things" is not  enough and I need to add a heightened level of interpretation into my works, particularly my painting, I am quite happy for my drawing to continue to be essentially me being a draftsman.

• How to present works for exhibition and sale is something I hope is gone into in some depth. It seems me that creating a work is in so many ways the easy bit...how to turn it into something that a person or people may want to and can live with... matts, glass, frames, hanging, where, for how long etc are other important issues which I really need to learn properly...it is time for me to move on from Cheap as Chips, Chicken Feed frames, even if they will continue to have a role for my commissioned dogs, motorbikes, houses etc.

• A greater understanding of producing series of works based on a theme...what is required thematically for an "exhibition", how many is enough? And what does that mean for "one off" inspirations?

• Size is still an issue with which  I have not really come to grips.  Even though I have been persuaded to do larger works, not really large but larger than I would usually  do, I suspect I am still seeing my art in terms of lounge rooms. 

• Use of technology for painters  perhaps as opposed to photographers, for printing, selling on the internet, etc 

• A probable move to Tassie at the end of the year is in some ways an underlying issue which I do see as relevant to  how I approach this year.

There are probably other things that will be added to this, but that will do for the moment.

Artscape ABC121.2.2010 Ochre and Ink

About The Program

Ochre And Ink tells the extraordinary story of artist Zhou Xiaoping and his inspiring 23-year collaboration with Aboriginal artists in outback Australia. With elements of humour, controversy and tragedy, this film follows Xiaoping as he develops from an enthusiastic but naive young man into an engaging and passionate character who has established genuine friendships with many Aboriginal people.

Trained as a traditional Chinese brush painter in Anhui Province, Xiaoping arrived in Australia in 1988 knowing almost nothing about the country. On a whim, he travelled to the heart of the outback where he was surprised to see Aboriginal people for the first time. He became fascinated by their art and culture, and they welcomed him into their communities where the artists showed him their techniques of painting with ochre on bark.

Now Xiaoping is visiting the famous artist Johnny Bulunbulun and his family, working on paintings for a major exhibition to be held in Beijing, on the theme of the 300-year trade in trepang (sea cucumber) from the Aboriginal people of northern Australia via Macassan traders to China.

Johnny is keen to travel to China for the exhibition; but tragically, he dies before he can make the journey. Instead, Johnny's wife and son attend the exhibition opening at the imposing Capital Museum in Beijing and perform an emotional ceremony in his honour.

http://www.abc.net.au/tv/guide/abc1/201202/programs/DO1023H001D2012-02-21T220101.htm?program=Artscape%3A%20Ochre%20and%20Ink

another thought for this years major topic

A series of "snippets of Tassie"-- 20 or so 5x7 water colours trying to capture the essence of Siss and Steve's trip.
Possibly not quite as intent on accuracy, yes I know it is my "skill" but  trying to move away somewhat from that element. Which could be a bit of a challenge pour moi.
Perhaps the first painting exercise from the trip, as opposed to my pen and ink drawings of things which will, I am fairly certain, aim for accuracy, that is just what my pencil and ink drawing is all about.
The bigger works which would come later.

Max Angus on Mildura

While in Tassie I was given a book, Max Angus 40 years of Painting.  (published in 1979)  Tasmanians at least will know Max and his art, mainly landscape water colours and drawings.  A quote from page 10  "In September 1946 I staged my first one-man exhibition at Sedon Galleries in Melbourne. The art critic of the Sun News Pictorial wrote 'Max Angus is a master of the medium. He has a serene and delicate style. . .' I returned to Hobart assured it seemed of a successful career. The following year I was invited to show in Mildura. A high school teacher had seen my exhibition in Melbourne. Tremendous publicity, a four column newspaper review complete with photographs, did not stave off disaster. The Mayor, a quiet dignified man, who opened the exhibition spoke to an audience of three people. I was, I believe ten or fifteen years too early. There was no public gallery that I remember, but one of the clubs boasted the longest drinking bar in the world."

My MONA Tour

  If you go to  http://mona.net.au/theo/  and type in my email address smars@hotkey.net.au when it tells you to you can probably hopefully see my MONA tour of 5th February along with all the other things I didn't click on my O device while going past, along with all the ones I didn't see because as much as I enjoy MONA more than  two or so hours and it becomes a bit overwhelming.
But it is definitely yet another reason why a trip to Tassie at least once a year, for those who are not living there yet, is so important.

More New Yorker articles

Haarlem  Schufle  The fast world of Frans Hals by Peter Schjeldahl 8 August 2011
(NEWYORKER.COM/GO/LETSSEE
Slideshow: Peter Schjeldahl on Frans Hals)

Alice's Wonderland  A Walmat heiress builds a museum Rebecca Mead p28  27 June 2011

Life Studies What I  learned when I learned to draw. Adam Gopnik p56                  "               enjoyed this
(NEWYORKER.COM/VIDEO  A visit with Adam Gopnik's drawing teacher)

GET OUT OF TOWN  Has the celebration of Cities gone too far?  Nicholas Lemann p76    "
actually a planning article but important nevertheless  discussion in part of Richard Florida's works,
(NEWYORKER.COM/GO/OUTLOUD  A conversation with Nicholas Lemann)

AT THE GALLERIES grandaughter Eric Konigsberg p46 13&20 June 2011
 re a stolen Picasso returned (stolen from his grand daughter)

THE ARTISTIC LIFE A little bit famous Ariel Levy p21 4 July 2011 short article about Rene Ricard's first solo exhibition in New York for 20 years

FUTURISM Cory Arcangel plays around with Technology  Andrea K. Scott p30 30 May 2011

INSIDE STORY Lonely Men of the nineteenth century  Peter Schjeldahl p84  2 May 2011
NEWYORKER.COM/GO/LETSSEE Peter Schjeldahl narrates a slide show

FEARING THE WORST Angst in New Japanese Art Peter Schjeldahl p112 28 March 2011   NEWYORKER.COM    Slideshow Schjeldahl on new Japanese art

SHAPES OF THINGS After Kazimir Malevich  Peter Schjeldahl  p76  14 March 2011
NEWYORKER.COM  Schjeldhl on Malevich

I won't go back any further than that, all future New Yorker references will be from current issues.

Russel Drysdale Exhibition

Just heard a fabulous interview with the curator of a new Russel Drysdale exhibition (drawings) currently in Sydney.
On Radio National 10.00am 20 Feb...definitely worth checking out
http://www.abc.net.au/radionational/programs/booksandartsdaily/russell-drysdale2cthe-drawings/3839606

Some New Yorker articles etc. I enjoyed

A review of "Velazquez and the Surrender of Breda: The Making of a Masterpiece" written by Henry Holt  by Peter Schjeldahl in New Yorker Jan 2 2012 is a great read.

"In the Picture"  An artists global experiment to help people be seen  by Raffi Khatchadourian  about French artist known as JR working in the favela of Brazil  New Yorker 28 November 2011 p56 is an absolute must read  on so many levels

This is a photo of part of the work "Women are Heroes"

In the same issue "The Painting on the Wall" Diego Riviera in New York  review by Peter Schjeldahl p84 explores his political position and his art

"Old and New" The re-opening of the Islamic wing of the Met by Peter Schjeldahl  p88 Nov 7 2011 is a short but worthwhile read. Two quotes "Through it all, one thing remains constant: the Koran"   &  ""Photographs must substitute for the premier Islamic art-- architecture--"

"Bare Naked Ladies" the obsessions of Degas by Peter Schjeldahl p94 Oct 17 2011 re a show at the Museum of Fine Arts in Boston is a short (2 page) good read.

When the Towers Fell P21 Sept 12 2011by David Remnick has two wonderful little before and after sketches "Skechbook by Matteo Pericoli" which I just love

Our Far-Flug Correspondents "The March of the Strandbeests" Theo Jansen's wind powered sculpture by Ian Frazier p54 Sept 5 2011 is an enjoyable read

That's enough for today, I will go back through earlier issues as I have the time and are in the mood.