Hi All,
So, LANDdraw will be this Saturday (May 3rd) at FLUX FACTORY! We will be getting to Flux around 2 p.m.
Flux Factory is an amazing and fun arts collective out of Queens. Their space has been bought up by the MTA through eminent domain, and as their time there ends they have decided to build a shanty town... on the roof!
Their roof overlooks the Manhattan skyline.
I cannot imagine a more picturesque, or more LANDdraw worthy spot!
Directions to Flux Factory are in this link. I recommend the "Neighborhood Walk" in their directions.
Feel free to email me for my phone number. Don't get nervous - and don't be scared! The area is quite safe. Plus, you'll go by El Shater - one of my favorite grocers in the city. Their schwarma sandwich is to DIE for - not to mention their array of amazing deserts :)
Thursday, May 1, 2008
Tuesday, April 8, 2008
LANDdraw #3 Reminder & Time Change
Hey all,
LandDRAW #3 is this weekend, Saturday April 12th! One little change, we'll be meeting at 12 and going until 1:45, instead of meeting at 1:00. Otherwise, everything stays the same.
Hope to see you at the lovely Hearnshead Ladies Pavillion!
LandDRAW #3 is this weekend, Saturday April 12th! One little change, we'll be meeting at 12 and going until 1:45, instead of meeting at 1:00. Otherwise, everything stays the same.
Hope to see you at the lovely Hearnshead Ladies Pavillion!
Saturday, March 15, 2008
LandDraw 3 - April 12
I am soooooo sorry for the delay - but LIFE has overwhelmed me! Months ago we planned a trip to Vermont to see my father - which got snowed out. So, we moved it to the 29th of March when the next LANDdraw was already scheduled. So, now, we will resume April 12.
Fortunately, I've already picked out a place: The Ladies Pavilion at Hernshead in Central Park.
The Ladies Pavilion is a Victorian Pavilion of wood and wrought iron. It sits on the edge of the Lake, around 77th street on the west side of the park, on a little peninsula. It has a fantastic view of the lake, with a backdrop of the Ramble, and beyond that, the buildings of the East Side. It is truly stunning. It is mostly used in summer as a wedding destination - in fact, on July 13th of this year, I will be getting married there! It is in celebration that I'd like to take a little time to draw what I see there, before the wedding season kicks in to high gear.
We will meet at 1 p.m. at the 77th Street entrance to Central Park. At 1:15 or so, we'll stroll over to the Pavilion. We'll probably be there until 3 or 3:30 if you'd like to come late. I hope to see lots of you there!
View Larger Map
Fortunately, I've already picked out a place: The Ladies Pavilion at Hernshead in Central Park.
The Ladies Pavilion is a Victorian Pavilion of wood and wrought iron. It sits on the edge of the Lake, around 77th street on the west side of the park, on a little peninsula. It has a fantastic view of the lake, with a backdrop of the Ramble, and beyond that, the buildings of the East Side. It is truly stunning. It is mostly used in summer as a wedding destination - in fact, on July 13th of this year, I will be getting married there! It is in celebration that I'd like to take a little time to draw what I see there, before the wedding season kicks in to high gear.
We will meet at 1 p.m. at the 77th Street entrance to Central Park. At 1:15 or so, we'll stroll over to the Pavilion. We'll probably be there until 3 or 3:30 if you'd like to come late. I hope to see lots of you there!
View Larger Map
Thursday, February 14, 2008
LANDdraw Suspended
So, I am suspending LANDdraw until March 15th. I am taking the first part of the licensing exam for Landscape Architecture (the LARE it's called) and it's a real ass kicker. For the next four weeks I'm coming home and studying for a bit every night, and need my weekends for long study sessions as well.
I figure this is OK as most people who have expressed interest in joining me for LANDdraw, are interested for when we can go outside, instead of drawing inside.
So, until then, look for random posts on interesting artists - and an announcement for March 15th!
I figure this is OK as most people who have expressed interest in joining me for LANDdraw, are interested for when we can go outside, instead of drawing inside.
So, until then, look for random posts on interesting artists - and an announcement for March 15th!
Wednesday, February 13, 2008
Artist - Andrew Schoultz & LANDdraw #3
I found another artist who's landscapes are intriguing - Andre Schoultz - a veteran skateboarder and graffiti artist.
I'm not particularly moved by his installations (though I like one part in particular), and even his "landscapes" aren't really "landscapes" in the traditional sense. He is not painting the landscape - but I find his technique to be very compelling, and I like the way he makes paint mimic ball point pen.
His landscapes are imaginary - but the stylistic vision would be fascinating when used in drawing the landscape.
As for LANDdraw 3 - I may or may not do it this week. I have ot research some new places to draw.
I'm not particularly moved by his installations (though I like one part in particular), and even his "landscapes" aren't really "landscapes" in the traditional sense. He is not painting the landscape - but I find his technique to be very compelling, and I like the way he makes paint mimic ball point pen.
His landscapes are imaginary - but the stylistic vision would be fascinating when used in drawing the landscape.
As for LANDdraw 3 - I may or may not do it this week. I have ot research some new places to draw.
Wednesday, February 6, 2008
Artist: Robert Mullinex
I haunt a couple of "art per day" sites. I love this form of exploring. I subscribe to a "plant of the day" site, and NASA's "Astronomy Picture of the Day" which is awesome in the original meaning of the word!
Today, a landscape painter named Robert Mullinex came up, and I was very moved by his work. His images of Northeastern secondary forest remind me of walking through the woods - not only in Ohio where he lives, but New Jersey, Massachusetts, parts of New York, and most of all, Connecticut. These are not idealized landscapes of virgin forest, but accurate depictions of what is forest now. And it still is beautiful and complex.
One thing I have been noticing while looking at current landscape painters, is how often they paint very small. Mr. Mullinex's work tends to be 5"x18", wide and short. Another painter I was looking at yesterday worked on what looked to be 8.5" x 11" board - the same size as a letter.
In last week's disasterous LANDdraw, I could not figure out what my view should be limited to. Because that's part of it - the limit of the edge of the page. How do I choose what in the VAST landscape to focus on? What tiny slice captures the sweep?
One of the things I like about Mr.Mullinex's work, is that he uses a tight view. On another site he says,
The camera only shows about sixty degrees (I think, please correct me if I am wrong!) of the visual field - a thin slice. Looking at his work, and the work of other artists, should help me in the field, to narrow my vision.
We speak often of the benefits of a large vision - landscape seems to be about the narrowing of that. That is, in my view, a good thing. In a time where are constantly urged to be more, to think big, and to "step outside the box" - landscape calls us to take a step back, and to really focus on the smaller view rather than the big picture. Landscape reminds us that we are not all conquering, that we are not the biggest thing out there. That call, that acceptance of smallness in a big world, becomes a way to balance the outsized demands that are placed on us - and to allow us the space to operate on the human scale, rather than a superhuman one.
Today, a landscape painter named Robert Mullinex came up, and I was very moved by his work. His images of Northeastern secondary forest remind me of walking through the woods - not only in Ohio where he lives, but New Jersey, Massachusetts, parts of New York, and most of all, Connecticut. These are not idealized landscapes of virgin forest, but accurate depictions of what is forest now. And it still is beautiful and complex.
One thing I have been noticing while looking at current landscape painters, is how often they paint very small. Mr. Mullinex's work tends to be 5"x18", wide and short. Another painter I was looking at yesterday worked on what looked to be 8.5" x 11" board - the same size as a letter.
In last week's disasterous LANDdraw, I could not figure out what my view should be limited to. Because that's part of it - the limit of the edge of the page. How do I choose what in the VAST landscape to focus on? What tiny slice captures the sweep?
One of the things I like about Mr.Mullinex's work, is that he uses a tight view. On another site he says,
I am interested in the relationship between photographic and hand-painted imagery in the perception of visual information.
The camera only shows about sixty degrees (I think, please correct me if I am wrong!) of the visual field - a thin slice. Looking at his work, and the work of other artists, should help me in the field, to narrow my vision.
We speak often of the benefits of a large vision - landscape seems to be about the narrowing of that. That is, in my view, a good thing. In a time where are constantly urged to be more, to think big, and to "step outside the box" - landscape calls us to take a step back, and to really focus on the smaller view rather than the big picture. Landscape reminds us that we are not all conquering, that we are not the biggest thing out there. That call, that acceptance of smallness in a big world, becomes a way to balance the outsized demands that are placed on us - and to allow us the space to operate on the human scale, rather than a superhuman one.
Saturday, February 2, 2008
LandDraw 2 - cut short
Hey All,
LANDdraw #2 was cut short by the beginnings of a wicked headache. I didn't see anyone else there drawing so I left around 1:40 and made my way home.
I'm not sure what to do for the next one. I'm thinking it might be best to go back to the museum, but am always open to suggestions. It's difficult now that it's still winter.
See you next time.
LANDdraw #2 was cut short by the beginnings of a wicked headache. I didn't see anyone else there drawing so I left around 1:40 and made my way home.
I'm not sure what to do for the next one. I'm thinking it might be best to go back to the museum, but am always open to suggestions. It's difficult now that it's still winter.
See you next time.
Friday, February 1, 2008
LANDdraw #2: The Winter Garden
The Winter Garden is an indoor public garden located at the World Financial Center. I'll be there from 1 p.m. to 3 or 3:30 p.m. on Saturday for LANDdraw. Look for the chick with dreads, glasses, and drawing!
I recommend using Hop Stop and Google Maps to help you find your way there! Please feel free to email me before then if you think you may need my number.
Hope to see you there!
I recommend using Hop Stop and Google Maps to help you find your way there! Please feel free to email me before then if you think you may need my number.
Hope to see you there!
Friday, January 25, 2008
Another conteporary artist
Browsing today I saw the work of Judith Youshock who uses a "combination of watercolor and batik". I'm not sure exactly what that means, but I rather like her landscapes. They have such a vibrant quality to them, simultaneously like fabric and stained glass or something. Really lovely.
I love seeing how very differently one can represent the landscape.
Do you have an artist LANDdraw might like to look at? Send me a link!
I love seeing how very differently one can represent the landscape.
Do you have an artist LANDdraw might like to look at? Send me a link!
Wednesday, January 23, 2008
LANDdraw #2 is coming!
Saturday, 2/2/08 is the second LANDdraw. Right now I am leaning towards the Winter Gardens downtown, but am open to suggestions of indoor places to draw in winter. Maybe that rotating bar above Times Square? Who knows?
Keep an eye on this space....
Keep an eye on this space....
Monday, January 21, 2008
LANDdraw Number 1
Saturday was the first LANDraw. No one but myself went, AFAIK, which is OK. I hope that at the next one I'll have a drawing partner, but if not, that is OK too. I'm really happy I went.
Today LANDraw convened (HA!) at the Met in the American Wing. When I got there I found that the upstairs had been closed and I thought that most of the paintings I wanted were inacessable to me - however they had opened up one of their storage type areas and people were wandering these long "halls" that were basically double sided glass cases of artworks. There were HUNDREDS of glass pieces and silver tankards, dozens of Colonial armoire's in various states of disrepair... and a bunch of paintings. It's a real privilege to be able to sit a few feet away from a Homer Winslow painting and so I drew his "Harvest Scene", c.1873. The glare on the glass got in my way. While drawing I began to have an inkling of exactly how hard this was going to be. Today I was working in vine charcoal and it was a good choice, forcing me to really think about blocks of light vs. dark. The painting in question was very dark, and so was difficult to draw, but I did and then I migrated after about 25 minutes.
While looking for another painting, I discovered that the portion of the gallery *I* wanted was indeed open and so I sat myself down to draw Willard Metcalf's "After the Thaw", c.1922. This is a painting of a thawing wood/meadow landscape with a stream. I think this painting is the same place but from a different position and before the thaw. This painting was *extremely* difficult to draw. The whites appear very bright compared to the greens of the trees, and yet it is not at all stark. The white has various colors and shades, the greens, etc. Here I began to experiment with putting down the basic shapes of light and dark by taking off my glasses. This forces my eyes to revert to their naturally blurry state - and keeps my mind from interfering by not allowing me to be distracted by the details. This drawing was difficult but rewarding. I thought it was terrible at the museum but came home and find it to be an OK sketch, which is better than the sketch in my memory.
The last painting I drew was in the same gallery and I switched to a chair from the floor for it. I drew William Picknell's "The Banks of the Loing", c.1894-1897. The glasses technique worked very well with this painting and really forced me to strip everything down to the bare blocks. I was pleased most by the sketching of this one, but don't know how I feel about the final product. But I will keep playing with this "technique", I think it is a good one for me especially.
All in all this was a really valuable drawing day for me and I'm really glad I went. I was there for about 1.75 hours and was WIPED OUT afterwards.
I have some thoughts about the weirdness of drawing in public which I'll write on another time. I got home and got in bed for a few hours. I don't know if it was just the ass end of my cold that kicked my butt, or the intense concentration to draw, and keep the people gawking at me out of my perception, or just the fact of drawing like this for the first time in a long time.
I'm looking forward to the next one two weeks from now. Any indoor suggestions?!
Today LANDraw convened (HA!) at the Met in the American Wing. When I got there I found that the upstairs had been closed and I thought that most of the paintings I wanted were inacessable to me - however they had opened up one of their storage type areas and people were wandering these long "halls" that were basically double sided glass cases of artworks. There were HUNDREDS of glass pieces and silver tankards, dozens of Colonial armoire's in various states of disrepair... and a bunch of paintings. It's a real privilege to be able to sit a few feet away from a Homer Winslow painting and so I drew his "Harvest Scene", c.1873. The glare on the glass got in my way. While drawing I began to have an inkling of exactly how hard this was going to be. Today I was working in vine charcoal and it was a good choice, forcing me to really think about blocks of light vs. dark. The painting in question was very dark, and so was difficult to draw, but I did and then I migrated after about 25 minutes.
While looking for another painting, I discovered that the portion of the gallery *I* wanted was indeed open and so I sat myself down to draw Willard Metcalf's "After the Thaw", c.1922. This is a painting of a thawing wood/meadow landscape with a stream. I think this painting is the same place but from a different position and before the thaw. This painting was *extremely* difficult to draw. The whites appear very bright compared to the greens of the trees, and yet it is not at all stark. The white has various colors and shades, the greens, etc. Here I began to experiment with putting down the basic shapes of light and dark by taking off my glasses. This forces my eyes to revert to their naturally blurry state - and keeps my mind from interfering by not allowing me to be distracted by the details. This drawing was difficult but rewarding. I thought it was terrible at the museum but came home and find it to be an OK sketch, which is better than the sketch in my memory.
The last painting I drew was in the same gallery and I switched to a chair from the floor for it. I drew William Picknell's "The Banks of the Loing", c.1894-1897. The glasses technique worked very well with this painting and really forced me to strip everything down to the bare blocks. I was pleased most by the sketching of this one, but don't know how I feel about the final product. But I will keep playing with this "technique", I think it is a good one for me especially.
All in all this was a really valuable drawing day for me and I'm really glad I went. I was there for about 1.75 hours and was WIPED OUT afterwards.
I have some thoughts about the weirdness of drawing in public which I'll write on another time. I got home and got in bed for a few hours. I don't know if it was just the ass end of my cold that kicked my butt, or the intense concentration to draw, and keep the people gawking at me out of my perception, or just the fact of drawing like this for the first time in a long time.
I'm looking forward to the next one two weeks from now. Any indoor suggestions?!
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