Kathryn Arnold works in her studio in San Francisco. It is a large space with a skywell that keeps track of the time. Her work contains two intertwining veins. One is filled with large, colorful oils on canvas. The other vein includes drawings that are black and white mixed media works on paper. Both display the density and layered mark-making that points to artistic process and content.
Kathryn Arnold’s Artist Statement:
“The paintings are a result of intuitive nonobjective processes and contain my search for visual “magic.” The sense of touch and chaotic energy of color and marks play an important role in building up layers that function to create an encompassing, enveloping field and bewildering space. The grid at times becomes a reference point and the intrinsic relating of parts form poetry; an interplay between subjective and objective realities.”
Kathryn Arnold has an MFA degree, exhibits nationally in galleries, universities and art centers, and is a recipient of several fellowships, grants and awards, including an NEA Regional Fellowship. Kathryn’s work is included in numerous public and private collections.
View the artist’s extensive portfolio of paintings on the her website http://www.kathrynarnold.com/
Many art lovers recognize the work of an artist by artistic style or the recurring themes that the artist continues to explore. Some may even refer to these things as part of the artist’s brand. More often you will hear the term series used by artists. Many artists who do work in series that explore variations of composition, repeating pattern, recurring design elements, signature color palette or technique, will say that they feel fortunate to have a series going. This is what every artist hopes will develop as they work in their studio.
Artworks in series have become a standard of art-making practice among successful artists–so much so that many gallerist and art collectors expect to see artists’ work available in one or more ongoing series.
New York City artist Barbara Rachko describes working in a series as feeling natural and authentic to her. She shares some perceptive insights– “working in series mimics the… gradual way that our lives unfold, the way we slowly evolve and change over the years.” She describes how every paintings that she works on has a lesson to teach. Once completed she can look at each finished piece and see how her ideas have progressed a step or two further.
Visit Barbara Rachko’s website to view more images of her work– www.barbararachko.com
Read more on why Barbara Rachko works in series, on her blog Colored Dust, at: www.barbararachkoscoloreddust.com
In Barbara Rachko’s Domestic Threats series of pastel-on-sandpaper paintings, the artist uses Mexican folk art—masks, carved wooden animals, papier mâché figures, and toys—in a lively blend of reality and fantasy.
Other blog articles on this artist:
Agent X is currently showing several of his works in an exhibition at the SoHo Gallery for Digital Art, New York City and is a featured artist at ArtLA. In 2011, he was a Semi-Finalist in the New York Art Marathon, and featured in several art publications and positively reviewed in Arte Fuse and The Grid. View more work below and on the artist’s www.agentxart.com, in his See.me portfolio , and in this PDF of Available works.
Influenced by artists such as Takashi Murakami, Romare Bearden, Jean-Michel Basquiat and Robert Rauschenberg, Agent X creates experimental, multimedia collages, paintings, and 2D artwork. His work is an amalgamation of diverse cultures, past, present and future, and his signature collage street intellectualism is a commentary on the urban experience. The phenomena of pop culture, technology, fashion, music, politics, and race are central to his practice of designing experimental works.
Agent X’s work is influenced by pop culture from the 1920′s to the present. This inspiration led him to create multimedia works incorporating iconic imagery from genre magazines from the past eighty years. By adding paint and other nontraditional and found materials, Agent X creates unique surfaces that transcend any particular era.
How To Expand Your Artist News into Multi Blog Posts and Interactions: The Leslie Parke Print Project
When Leslie Parke realized that her oil paintings on linen canvas of highly detailed kitchen and dining treasures, trees, and trash–yes trash that she turns into stunningly beautiful images–would be perfect for prints, she took on a new project to turn one her paintings into a print edition using traditional printmaking techniques. She also turned the project into multiple opportunities to expand her blog posts, newsletter communications, and interactions with her readers and followers by gaining their feedback along the way–all of which she titled The Print Project.
Janet’s Shelf, © Leslie Parke
The overall goal of Leslie’s The Print Project writings …” was to help my readers learn something about printmaking, understand the process and history a little, and to give them a context in which to gauge what I was doing. The general public is not aware of the work and expense that goes into making a print. The better informed the collector is the better collector they become. They have more confidence and can talk about their purchases.”
When Leslie Parke decided to write these The Print Project blog posts and newsletters, she felt she had something to talk about. “I am an experienced artist, but have very limited experience with printmaking. Here was a chance for me to share the experience as I, too, made discoveries about the medium. My thought was, I would give my contacts a heads up that this is what I was doing, then when they saw The Print Project in the heading of my email newsletters they could take a look or not depending on their interest.”
What Leslie discovered is that non-artists are just as fascinated with the printmaking processes as artists. Leslie’s idea was to use her blog and newsletters to allow others to see the development of her printmaking process as it unfolded in real time. “For those seriously interested, on my blog I gave them background into ways that other artists used prints,” Leslie said. “Some of my contacts are collectors, some are artists and others are just interested observers. My thought was the more informed they were the more confident they would feel when looking at my work. They would know how it evolved and all the work that went into creating it. I cannot report whether or not this will make a difference in the number of pieces collected. But whenever I run into someone who receives the newsletter, they engage with me right away about the project. ”
To start off The Print Project, Leslie’s first blog post was on selecting one of her paintings to turn into a print. In her newsletter she asked–”Is there a painting of mine you would like to see re-imagined in print? I was thinking of working with the tree paintings, but I would be interested in what you think. Drop me a line if you have a suggestions.” Later she would turn her request for feedback into a full newsletter (copied below).
Another of her blog posts was on Creating Four Color Lithographic Plates, complete with a YouTube video showing the materials and methods she used to create the layers necessary for her four color lithograph.
Leslie wrote blog posts on the history of printmaking–from ancient times to the original Pop art era–writing about Hokusai, Monet and Roy Lichtenstein prints which incorporate art images, another post on the prints of Matisse, one on the prints of Joseph Raffael and Bonnard, and another on the printmaking of Robert Motherwell and Helen Frankenthaler--all artists she admires and identifies with in some way.
She also blogged on a contemporary example of an artist creating prints in our present time: The Print Project: Shepard Fairey — Harmony & Discord: A Layered approach to prints, that also contains a fascinating video of Shepard Fairey at work inside Pace Editions in New York City.
To update the progress of her printmaking, Leslie sent out a newsletter–The Print Project: Off to the Printers.
Then to encourage interactions and gain feedback, Leslie sent this newsletter to her mailing list:
Dolls, Masks, Zombies, Devils, Skulls and Day of the Dead Skeletons in the Pastel Paintings of Barbara Rachko
To say that her pastel paintings are skillful is truly an understatement! New York City artist Barbara Rachko has perfected her artistic style working from her large collection of Mexican and Guatemalan folk art – masks, carved wooden animals, papier mâché figures, and toys – to create pastel paintings that combine reality and fantasy and depict personal narratives.
If you are wondering how this artist achieves such fine detail and a photographic quality in her pastel paintings, you can find out more about her techniques by following her blog appropriately named Colored Dust. The artist also share a lot about her art-making on her Facebook page, which you can Like to follow her there.
The multi-talented Barbara is a gifted photographic artist as well, and currently represented by the New York City art gallery HP Garcia.
Today we are featuring two paintings in Haiku Threads, a new series by Marian Yap, a San Francisco Bay Area artist.
Marian says: “The green one is titled Celadon, the red one is titled Cinnabar. Celadon green and cinnabar red are colors that appear frequently in Chinese fine arts, architecture, furniture, ceramics and textiles. My work is generally abstract and I paint on canvas and paper. I also do printmaking– primarily monotypes. Let me know if you would like more information. Thanks, and keep up the good work!”
View more of Marian’s color abstractions on her website
Widely acclaimed for both abstract and figurative paintings, Dennis Hare has exhibited in numerous shows, including Allan Stone Gallery, New York, Campbell-Thiebaud Gallery, San Francisco, Hackett-Freedman Gallery, San Francisco, Crocker Art Museum, Sacramento, the Bolinas Art Museum, the University Gallery, University of the South, TN. In this documentary, Hare describes his progression from representational painting to abstract assemblage and mixed media work.