Showing posts with label Graham Nickson. Show all posts
Showing posts with label Graham Nickson. Show all posts

Friday, November 2, 2012

Skies

After the many glorious days of cloudless skies and brilliant sunshine, today was cloudy and grey. A bit of a shock, in a way. The change in the light and the sense of space was marked.

Skies, for an artist involved in any depiction of the natural world, are so important. Their role in setting a tone, a mood in any painting or drawing, is key. As a child of Africa, where the vast skies arch brilliant and endless, I love the wide vistas across the salt water mashes of coastal Georgia because here too, the sky is so expansive. Such views allow a sense of liberty, an expansiveness of soul that are allied to a sense of the infinite vastness of nature, of space and those countless galaxies far beyond our world. All these feelings are often filtered through the art one creates, in spite of oneself. In essence, it is "painting about something", versus "painting something". Whether the something is the light, the space, or much more complex philosophical concepts, the sky is central to the art making.

John Constable believed that the sky was "the key note, the standard of scale, and the chief organ of sentiment" in a landscape painting. This 1824 Seascape Study with Rain Cloud, (on the left), a plein air study on paper is an example of his famed quick art done to record skies and weather conditions. The right hand painting is the famed Deadham Vale 1802 depiction of rural England, where Constable used the sky to set the whole tone of the landscape, to flood it with northern light and give it a gentle expansiveness that is memorable.

Despite the ever-increasing divorce between man and nature that we are witnessing today, there are still many artists who are enthralled - nay, obsessed - by skies and the wonders of light, clouds and atmospheric effects. Graham Nickson, the British-American artist who is Dean at the New York Studio School since 1988, had a wonderful exhibition at the Jill Newhouse Gallery in 2009, entitled "Italian Skies".
This is one of his Italian sky paintings, Sarageto III, 2008 (courtesy of Jill Newhouse Gallery)

Another artist who has done some marvellous series of sky paintings is Jeffrey Lewis, who teaches are at Auburn University. He works in encaustic, and his series of paintings are lyrical in the extreme.
One such painting is Towards Ontario, Eventide, shown on the left hand side , courtesy of the artist.
He speaks eloquently about the emotions that theses skies inspire in him and what he seeks to convey in his paintings.
Photography too is a wonderful medium to celebrate skies, the light that emanates from them, and thus also the passage of time. One artist who has devoted much of her life to exploration of these subjects is Erika Blumenfeld, a Guggenheim Fellow and photographer. She discourses at length about such research and work in a recent fascinating interview with Art Interview, and clearly shares the same deep awareness of skies and their influence on all of us below their domes.

Friday, September 21, 2012

Celebrating Drawing

It used to be that drawing and drawing exhibitions were almost a rarity, not too many years ago. Now, wonderfully, it seems to be the opposite situation.

I thought about these contrasts when I read that Pat Steir, a pioneer in redefining drawing in America, is having a 25-year retrospective at the Neuberger Museum, Purchase, NY. Pat Steir: Drawing out of Line was first shown at the Rhode Island School of Design and has just opened at the Neuberger, until mid-December. I remember seeing her huge wave drawings back in the eighties. Impressive in size and even more impressive in their energy and vigour, they were done on long rolls of paper attached together. Steir made her abstract, flowing marks almost in dance movements, using her whole body, to attain a powerful fluidity that was very individual. Yet there was something about this motion of the drawings that brought one back to Hokusai's waves, as if both artists were tapping into underlying forces of nature. Steir dared to do things differently and redefine what drawing was all about, whether it was later depicting waterfalls almost by force of sheer gravity, or returning to minimal line in her most recent work.

In another reminder of how important drawing has become to so many people today - just check out the Web for Internet-driven group drawing events such as Urban Sketches , SketchCrawl or Drawing Day 2010 - I read with amusement an article entitled "Naked All Night" in the September 2010 issue of American Artist. Like the Drawing Marathons run for a number of years by Graham Nickson at the New York Studio School, Pratt Institute, in Brooklyn, NY, has apparently been running an annual Draw-a-Thon for the last 22 years, during which some 550 people turned up to draw for seven hours, all night. Seven drawing studios, six drummers, pizza and soda and lots of enthusiasm for artists of all stripes... and apparently about 200 people lasted through the whole night. That is an eloquent testimony to today's state of drawing, I'd say!