The beauty of the Los Angeles Art Show is its accessibility to a wide range of investors and visitors. Despite a significant showing of international galleries, this years show was distinctly LA in all its eclectic glory. Visitors reveled in over the top performance art played out in all corners of the venue. Artists were on hand to generously share their artistic process and gallery directors were affable and welcoming. It was essentially an LA party with some pretty decent art on show. With that in mind my picks this year are distinctly SoCal* with my star pick of the show being the only exception.

No piece spells SoCal more than California artist, Jason Avery’s Xanax and Cola. As mid century styling takes center stage in design circles, this piece captures the low-slung California ranch house with the confidently cool LA girl taking center stage. It was no surprise seeing a sold sticker on this piece early in the show.

Mexican born LA import, Miguel Osuna’s ‘Suggested Serving’ is a beautifully kinetic work painted in a pearlescent blue oil pigment. There is fluidity to his brushwork that is hypnotic as the reflections of light play on the shapes he creates. Alongside other exhibiting artists, he was on hand to interact with his audience, a valuable an oft-missing element at these shows.

Julio Reyes is an important artist who creates important work. LA born and raised, many of his works capture the soul of the city’s residents, people who persevere through adversity, sorrow and uncertainty. ‘The Falconer’ is a stunningly crafted work with its mix of realism and abstract, its balance of color and a narrative evoked by its subject matter. This work took center stage in a quality lineup at Arcadia Contemporary this year. Good news for LA is that Arcadia is in the process of migrating to the city from New York. 

Los Angeles is the beneficiary to a vast diaspora of immigrant artists in and around the city. One such artist is Russian born Zhenya Gershman. Her large-scale portraiture is created with the perfect blend of classical technique and modern attitude. Her exquisite use of light and shadow in ‘Bereshit’ speaks to her vast knowledge and study of the Dutch master, Rembrandt.

Andy Burgess drew in the crowds with his group of hard edge, graphic studies of California homes. In 'California Cool' (as in all his works) each color is carefully rendered in vivid brights alongside meticulously assigned neutrals. His color vocabulary is impressive especially in his depiction of water. 

The work of Malcolm T. Liepke has graced the LA art scene for many years. A prolific artist, he is a fixture at the show every year. The gesture, flow and mastery of color in ‘Cover Up’ had this artist resisting a powerful urge to bring the work home.

Set apart and on the periphery of the exhibit, as if somehow disconnected from the show was ‘The Poacher’, a large-scale work by Swedish born, Odd Nerdrum. I have studied his work for years. So it was with immense pleasure that I got to study one up close. In my opinion he is the closest artist we have to a modern day Rembrandt. For me, from a purely artist’s point of view and differentiated from the SoCal vein of this blog, it was the star of the show.

The beauty of the LA Art Show is that it has something for everyone. In many ways it echoes the diversity and inclusivity of its host city, as it seamlessly blends modern/contemporary and vintage art in one venue. The Show exhibits both marginal and skillful artworks alongside the other and keeps crowds of all ages coming back for more each year.

 * SoCal – (Southern California)

In amongst the twenty art shows featured in and around Miami's art week, was the gem that is Context, a show dedicated to emerging and mid career artists. Unlike the tony Art Basel where the serious art viewer has to wade through loads of exorbitantly priced, heavily marketed investment art in order to find the gems, it was great to see a show exhibiting the work of artists steeped in core skills, something that has been somewhat absent in contemporary and modern art over the last century.

Blank Space Art put on an impressive showing of Seung Mo Park’s sculptural wire pieces. At around 9ft tall, the large scale, ethereal wire mesh portrait ‘Maya’ stole the show. The wire is cut in layers and creates a mesh that appears like a delicate fabric. Coupled with his wire thread sculptural figures, Seung Mo Park is both master sculptor and craftsman.  

 Katrin Gunther, represented by Berlin based Wichtendahl Galerie gave the viewer large scale, constructivist urban landscapes that can best be described as ordered chaos. Compositionally flawless, the narrative reveals itself in the disparate content of elements within the structure of the work.

Jonathan Levine Gallery exhibited the wonderful work of Brad Kunkle. He perfectly meshes a background in core skills with a conceptual approach that gives his body of work a surrealistic edge. In ‘Unseen’ he effectively uses metallic leaf without overwhelming the work; thereby giving the viewer the feeling of a living work as the light plays off the leaf.

Born in 1985, Leah Yerpe is one of a great group of younger artists emerging with solid drawing skills. She skillfully weaves this knowledge into compositions rich in form, giving the observer multiple insights into her subject’s state of mind. To say that these works are beautifully rendered is an understatement. The graphite and ink work are perfect. Leah is represented by Anna Zorina Gallery in New York.

Axis Gallery introduced the viewer to South African born photographer Graeme Williams. The theme of his work is revealed in a cohesive series’ that is best viewed as a group. The work displayed below is from his ‘ A City Refracted’ series. It speaks to a socially fractured society, where groups of people lead separate lives based on cultural, economic and ethnic identities. He is that rare breed of photographer who is able to capture the essence of his subject matter without resorting to digital manipulation.

Other notable works were the gentle innocence captured in Francois Bard’s, ‘ Far Away’; Pezhman’s ‘Seraph’ where exquisite digital photographic manipulation is combined with textural elements that make the work kinetic; and the meditative minimalism of the young Acya Koseogullari’s untitled black and white piece.

My picks for this show lean heavily toward skill based work highlighting the figure, portrait and works in black and white. This speaks to a personal yearning to see the art world move away from what I see as the intellectual con that ‘anything’ can be considered fine art.

In a world where almost anything posing as art is acceptable, it is refreshing to stand back and applaud the artists who have spent years perfecting drawing and painting skills in the traditional classical academies. Although well regarded in representational art circles, they often take a back seat to the hype surrounding the practitioners of conceptual contemporary art.  

Stephen Gjertson has spent years educating the public on the mission of the classical realists.  In ‘Sentinels’ he beautifully captures a segment of the American family where a resolute older brother keeps guard over his younger sibling. The work echoes American childhood games while channeling American history and the second amendment.

It was D. Jeffrey Mims ‘India’ that inspired me to pursue life-drawing classes. It is a great example of mastery in figure and  portrait. Seeing his work up close is a lesson in structure, brushwork and composition and every single piece he does is impeccable. He is the founder and director of the The Academy of Classical Design.

Steven Levin creates a diverse body of work. Although trained extensively in the atelier tradition, one is reminded of the great American artist Edward Hopper in some of Steven’s work including ‘Coming and Going 2’ that captures the ‘nocturnal emptiness’ of the scene. What makes his work exciting is that he does break out of the classical mold and creates some distinctly modern pieces.

Accomplished in landscape and figure, it is Jeffrey T. Larson’s still life compositions that truly set this artist apart. ‘Reflections’ is one of many stunning examples of his work where his technical ability is enhanced by sublime color choices and a whimsical composition.

Kamille Corry, European trained and a former student of D. Jeffrey Mims is accomplished in portrait, still life and floral works. However, her ability to capture and celebrate the sensuous beauty of the female form in all shapes and sizes is where her work truly shines.

The continuance of the atelier tradition relies on the notion that the student becomes the teacher. Stephen Bauman, like many of the artists profiled, continues that tradition by teaching at one of the satellite locations of the Florence Academy of Art. His imaginative realism paintings carry a 21st century sensibility and an uncanny connection to the soul.

As art schools continue to dismiss the discipline of academy training and students flock to the conceptual art programs, the ateliers face an uphill battle attracting students’ patient enough to put the time in to learn solid drawing and painting skills. What will never change is the respect for the skills of the academy trained artists and their ability to create beautiful art that will undoubtedly stand the test of time. 

To find a comprehensive list of traditional ateliers go to https://artrenewal.org/pages/ateliers.php

Drive me through any region in the world and I will find art. The winding roads from Eugene, Oregon down the southern Oregon coast into Mendocino County, California, provided the backdrop for this collection of artwork. The art is as varied and eclectic as the roads travelled, from depictions of the unspoiled natural beauty of the region to the artwork on show in local galleries, online and in museums.

There is no greater artform than the beauty of the natural world. It seems that the more beautiful the location, the more difficult it is for artists to capture the scene with the same dramatic impact.  The sculptural sea stacks dotting the beach at Bandon, Oregon stand as giant sentinels facing the vast Pacific Ocean. Photographer Christopher Soukup artfully captures the mysterious and soulful majesty of the sea stack known as Wizard’s Hat. His creation of a black and white silhouette combined with the isolation of the rock heightens the grandeur and presence of this otherworldy natural sculpture.

The Decorative Arts are arguably one of the most ignored genres in the art world. In a world cluttered with throwaway furniture, Victor Dinovi’s creations in various exotic woods are a feast for the senses. His Tete-a-Tete double seat bench combines fluid and delicate lines yet is built strong enough to serve its purpose of good seating. Victor is both master artist and craftsman whose work deserves exhibition in our finest museums.  http://www.victordinovi.com

Walking through the giant redwood forests evokes a sense of man’s smallness in comparison to these statuesque columns. *Harry Pollitt’s brilliant redwood sculpture ‘Infinity Rising’ gives life back to a once felled redwood, organically enhancing its form with sinuous muscles as if pushing new growth. www.pollittstudio.com.

An impromptu coffee break in Gold Beach, Oregon brought me face to face with Elmo Williams photograph ‘Strong Shoulders’.  The simple image of a strong, masculine man gently carrying his daughter on his shoulders spoke to the importance of the father, daughter bond; one that is too often missing in a daughter’s life. While drinking my coffee an older gentleman at another table caught my attention. It was only when researching the photographer once home, that I realized that the gentleman was **Elmo Williams, now 102 years old. How I wish I had known to ask him about the story behind the photograph. (Mr Williams has no website hence the posting of my research photo).

Stumbling upon the University of Oregon’s Jordan Schnitzer Museum of Art in Eugene was a highlight of the trip. Thoughtfully curated, it features extensive holdings in historic and contemporary art including sizable and important Asian collections and is a must see for anyone visiting the city. It was here that I discovered American photographer, Brett Weston (1911-1993).  His 1972 composition of pine needles and snow is one of many thoughtful abstracts available for viewing at www.jsma@uoregon.edu or www.brettwestonarchive.com

Eugene resident, Olga Volchkova’s The Nature of Religion series initially takes us into the bygone world of religious icon painting – precise, skillful and detailed. Look a little closer and the viewer is drawn into her respectfully irreverent compositions, where she takes the tradition of icon painting in a modern direction. In Saint Hops, the artist draws on her Russian roots where beer is often paired with crawfish. She further adds the pretzel to draw on the American experience of pairing beer and pretzels. Visit www.jsma.uoregon.edu or her website www.olgalaxy.com to explore more of these modern iconographic gems. Each piece is equally delightful and exquisitely rendered.

The beauty of traveling the open road is being open to whatever the journey brings, without expectation or preconceived notions. Finding this eclectic group of artists who have captured the spirit of this beautiful region in all its quiet beauty has been a joy.

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___________________________________________________*Harry Pollitto found the redwood for this piece in Ohio at a barn sale. The wood most likely came from California. Given that this particular blog is about travel, I found it interesting that this piece of redwood had travelled so far from its origins.

**Elmo Williams is well known as a film editor for movies such as The Vikings, 20,000 Leagues Under The Sea and High Noon for which he won an academy award.

Few animal artists get to the heart of their subject more effectively than Southern Californian artist, Peggy Ludington. She speaks of developing a spiritual connection with the creatures she paints, a connection most often visible in the eyes of her subject. As with most of Peggy's works, 'Flight Lesson' tells a story that keeps the viewer guessing and coming back for more.

Finding quality artwork on the web is not easy but well worth the search when an artist of the caliber of British artist, Pippa Young pops up. She effortlessly combines a classical aesthetic with modern elements, giving her work an enviable level of depth in both skill and creativity. Pippa consistently produces work that I would like to take home. ‘Approaching Entropy’ was my first introduction to her work and one that continues to delight. 

Purchasing quality prints or giclees from artists is an affordable way to own artworks that speak to the soul. James Jean, both multi talented artist and marketing powerhouse has introduced 48 hour sales of signed, limited edition illustrations, as he did recently with ‘Pescados’. For a hundred dollars it was great to purchase a signed print with the added benefit of knowing that it will never be reproduced again.

Emerging artist Anette Power produces works that speaks to both family and the Southern California coastal experience. An artist who works tirelessly at honing her craft and marketing her work, my expectation is that collectors of Anette's work will steadily gain momentum. Her painting ‘Good Knight’ invokes the joy of a child on a summer vacation and the permission to stay up late. The interplay of language and image gives this work an added dimension; in this case night/knight that is symbolized beautifully in the image of the chess piece.

An introduction to the photography of Howard Ehrlich came through an exhibition at a local art guild, an often overlooked but affordable way to view and purchase art, most often with the added benefit of meeting the artist in person. Howard’s work ‘Tim#1’ balances the technically proficient composition of the work with a sensitive handling of the subject. The idea that when the chips are down, skills built up over a lifetime can provide respite, speaks volumes in this depiction of ‘Tim’.

My favorite piece of the year is ‘Rediscover, Not Recreate’, by South African born photographer, Johnson Tsoku Maela. This piece was showcased in a previous blogpost, The Autumn Art Scene in Cape Town, South Africa. This evocative portrait resonates on multiple levels culturally and reaches far beyond its African theme. With a limited edition of 5 and affordably priced, it a welcome addition to my collection. Find Johnson on Instagram at Tsocu.

I discovered an abstract work online titled ‘Falaises Noires’ by French artist Frank De Blok a couple of years ago. It is a painting that keeps me coming back for one more look. Personally it resonates more on a technical than emotional level. However, occasionally that is enough of a reward on investment. 

A truth best taken to heart is that the majority of investments in art are unlikely to appreciate in financial value over time and inexpensive, mass-produced works do nothing more than fill space. However, investing in a piece of artwork that resonates personally, will with each viewing pay back on a daily basis with years of enjoyment; thereby feeding the soul.

Please contact the above artists directly through their websites, emails or galleries to make enquiries regarding purchases, shipping costs and possible commissions. 

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At some point in the future I would like to showcase the favorite works of my readers, both art lovers and artists. Please email me with an uploaded image and description of why a particular piece of art speaks to you personally. Submissions can be sent to my email at cindyyeomanfineart@gmail.com.

A few years ago, while attending classes, I witnessed breathtaking, weekly figure drawing demonstrations by American illustrator, comic book artist and teacher Glen Orbik. Within twenty minutes he would produce masterful pieces of work. One day, feeling hopelessly inadequate as an artist, I pulled him aside and asked if it was possible for me to ever reach the level of skill he had demonstrated. Without hesitation, he replied that it was possible, but boiled down to ‘time put in’ - Sage advice that I neglect more than I follow. As a result, I still find myself reverently in awe and envy of the great masters of drawing both classical and contemporary for the ‘time put in’ honing their drawing skills. 

Taking classes with Glen Orbik completely changed my approach to drawing the figure and instilled in me a deep appreciation of the artists/illustrators working in animation and comic book art. I had previously taken classes that stuck to a very traditional, classical approach to drawing the figure. The comic book/animation illustrators take that classical training and exaggerate it, giving it a dynamism, attitude and energy that take the figure to another level. 

That being said, the purely classical masters both past and present continue to inspire me and remind me that oftentimes doing drawing study's before launching into a painting will often result in a better composition. Here forth is a sampling of a few of my many favorites. The brilliant Italian Renaissance artists’ Raphael 1483-1520 and Leonardo Da Vinci 1452-1519 as well as German born, Albrecht Durer 1471-1528.

The dynamic and sensual work of Flemish artist, Peter Paul Rubens 1577-1640

 The wonderful figures and portraits of US based classical artists’ and teachers D. Jeffrey Mims and Juliette Aristedes.

I can’t get enough of the contemporary works of artists’ James Jean and Carl Krull right now.

James Jean is the poster boy for ‘time put in’ when it comes to his craft, from practicing and producing numerous works in his Moleskin sketchbook, creating major paintings and murals, self publishing books and by fuelling a solid marketing engine. Follow him on Instagram for surreal, illustrative gems that will take your breath away. He also has a number of videos on youtube. 

Danish born Carl Krull’s painstaking line work is a feast for the senses. He creates incredible time-lapse videos of most of his work that speak to ‘time put in’ and skill of this artist. These can be found on his website, www.carlkrull.dk.

The works of these amazing artists and the lasting legacy of the wonderful teacher that was Glen Orbik has inspired me to spend my summer putting in the time to hone my drawing skills under the guidance of drawing manuals created by Glen Vilppu, Michael D. Mattesi, and Anthony Ryder. The hope is that I will have the fortitude to go beyond the summer and put in the time necessary to reach a greater level of skill. I hope all artists who read this blog will join me in this endeavor.

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Books:

Vilppu Drawing Manual by Glenn Vilppu

Force – Dynamic Life Drawing for Animators by Michael D. Mattesi

The Artists Complete Guide to Figure Drawing by Anthony Ryder

Lessons in Classical Drawing – Essential Techniques from Inside the Atelier by Juliette Aristedes

Xenograph by James Jean (Coming out in September 2015)

Johnson Tsoku Maela’s photographic piece, ‘Rediscover, not Recreate’ at first reads as a distinctly South African work, depicting what appears to be a young male stripping away the mud that would have covered his body during the month long Xhosa male initiation ceremony.  However, there is a universal quality to the work that is relatable to everyone who has wanted to redirect or rediscover his or her life’s path.

Deborah Bell’s ‘Return of the Gods: The Ancient Ones’ installation took my breath away. The larger than life bronze sculptures presented the viewer with figures depicting a melting pot of ancient populations, thereby creating a universal being. It was this blend of varied features that gave this installation a distinctly modern feel. An internationally recognized sculptor and painter, Deborah Bell has works displayed in major museums around the world including the Smithsonian in Washington DC. She is the quintessential artist’s artist who manages to achieve the perfect balance of skill and creativity in her work, neither leaning too heavily on either side.

The work of Zimbabwean born Dan Halter initially lulls the viewer into the ‘How did he do that?’ category, with the paper of each work cut into very thin strips and then masterfully woven together again. However, in light of the ongoing Xenophobia in South Africa and the migrant crisis around the world, the piece entitled ‘The Map is Not the Territory’, is gut wrenchingly powerful and immediately takes the viewer away from the artistic process. (For my readers unfamiliar with the region, Beit Bridge is a Zimbabwean/South African border crossing).

 A young art school graduate and strong emerging talent, Mawande Ka Zenzile is a thoughtful artist, who possesses a strong intellectual creativity. He presents work in traditional mediums mixed with local organic elements and creates derivative pieces that boldly confront the viewer thereby cementing these images in the psyche.  His work ‘Untitled: Gothic’ is one such piece.  

I would be remiss in not including the powerhouse that is Dr Elbe Coetzee. Author of two books on South African craftwork, she has spent the past 21 years establishing Mogalakwena Craft Art, working with local women in the fast modernizing, rural Limpopo Province. Through the medium of embroidery, the women of this area have (without interference) over the past two decades, created large scale, distinctly African artworks, that depict a vibrant visual history of life and culture in the area. These historically important works conquer the communication barrier created by South Africa’s eleven official languages and beyond. Hopefully this vast collection of works will be museum bound in the future.

 I came across Richard Scott's 'naive pop art' some years back and initially dismissed his work as too commercial. However, over the years his images have stuck in my mind and as time has passed, I have found myself drawn to his work. It is light, sexy, fun, uplifting, unforgettable and superbly executed. And for this reason, I have included this work from a private collection in his ‘HFM Girls’ series. 

Other notables include the following two artists:

A lot of South African artwork is presented with a deep narrative, as is often the expectation of artists in the established art world. Although I love a good story, I prefer to let works of art speak to me in their own way. The overall theme I drew from viewing some of these works (and many not presented here) was that with information now available globally through the internet and easy travel, there is a desire for national barriers and boundaries to give way to a universal state of being.

 My thanks to Marlene Weepner who patiently waited while I conducted my interviews and who was both my driver and second set of eyes during this Cape Town art tour.

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‘I have just seen a Rembrandt and have goose bumps all over,’ said my father, while on a visit to the Louvre in Paris. I was thirteen years old at the time and didn’t quite get what was so special about the Dutch Master. Instead, I was drawn to the naïve works of Henri Rousseau’s wildlife peeking through vivid green foliage. Undeterred, he talked me through Rembrandt’s ability to capture light, his brushwork and various compositional elements. Upon my return home to South Africa, he encouraged my love of the naïve artists and presented me with Oto Bihalji-Merin’s book, Modern Primitives. I spent the better part of high school poring over the hundreds of plates in the book. This was not an isolated occurrence. My exposure to art, antiquities and exquisite design by my father started very early in my life and has continued well into my adult life.

Every type of museum in South Africa, from Natural History to Art was covered multiple times from the moment I could walk. Many times, my father had to drag me kicking and screaming. However, once there, I was mesmerized by the features of the stuffed wildlife, recreated Bushman scenes, military uniforms and human skeletons. In addition to the international masters, the Art museums introduced me to wonderful South African painters like Irma Stern and Jacobus Pierneef both of whom I did not appreciate at the time but whose talent I have since come to revere. These visits created a longing within me to draw and paint, a skill that seemed both magical and impossible but inevitably had to be explored, hence setting the stage for my journey into the art world. By insisting that I visit these institutions, my Father presented me with new worlds and images that fired my imagination.

An antique dealer by trade, our home was filled with exquisite antiques and art. On buying trips abroad, I was encouraged to pick out antiques or works of art that I thought had merit. Invariably, the objects d’art I picked out had major flaws. However, without judgment, the pros and cons of each piece was explained in detail by my father….the graceful turn of the legs on a table, the patina of a particular species of wood, the origins and age of the object or artist. Through the years he developed in me a discerning eye and an appreciation of quality craftsmanship and artistic merit.

Books rich in artistic images lined the bookshelves in our home. As a result, many of the major art museums around the world that I have visited as an adult present the originals of artworks that I have known since I was a child. Van Gogh’s Blue Irises, Da Vinci’s Girl With An Ermine, Monet’s cathedrals, Dali, Rubens, Picasso……the list is endless. Through books, my Father would introduce me to a school of painting that was not represented in South African collections. One of these was a book on the Pre-Raphaelite painters that provided me with many years of inspiration.

Now, in his mid 80’s and in failing health, my Father continues to inspire and educate me visually. As an artist, it is his opinion and critique that carries the most weight. He understands the value of providing support to those pursuing artistic endeavors; fully aware of the struggle it takes to be an artist. He has both been a patron of artists and generous in passing on his monumental knowledge of antiquities to many dealers and collectors around the world.

Most of all, as a parent, he took the time to introduce his daughter to a world of unimaginable beauty from the best craftsmen and artists through the centuries and as such created an environment that has enabled visual images to take root in my memory and flourish in my own artwork. Through his careful nurturing of the arts he provided the building blocks to my achieving artistic maturity.

I am happy to say that on a recent visit to the Louvre, I too felt the goose bumps when coming face to face with the Rembrandts. 

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The Grand Palais in Paris provided a magnificent venue for the 2015 Art Paris Art Fair, the light-filled roofline bathing the works in filtered light. The artwork showcased at the Fair was exclusively modern and contemporary, with a strong showing of photographic and contemporary 2D works using traditional mediums. Encouragingly, the exhibition provided a platform for a multicultural group of younger artists that I believe accounts for this exhibition being rich in works carrying a strong narrative voice.

Li Baoxun, a young artist from China with a background in watercolor creates powerful large-scale narrative pieces in oil. Depicting businessmen in tones of gray, the viewer is drawn into the banality of these lives and their pursuit of success and power. The tiny pops of color are striking and carry a symbolism that powers the imagination.

The work of Franco-Iranian photographer Niloufar Banisadr gives the viewer deep insight into the struggle of Muslim women torn between the desire for modernity while coping with the expectation of conforming within a traditional construct.  ‘Lettre de Mado’ is a beautifully personal photographic composite of the artist and a letter from her grandmother that talks to her life in Iran.

Following on my personal fascination with portraiture this year is the work of artist/photographer Zhang Wei. It is hard to showcase just one piece and I highly recommend a visit to his site www.zhangwei-art.com to get a full sense of the quality of his work. For this blog I have chosen his piece mimicking my favorite Leonardo Da Vinci work, Lady with an Ermine. I am definitely seeing a trend in artists working off the compositions of Old Masters or giving a modern twist to old classics.

In the ‘How did he do that?’ category is the work of Cambodian born Chan Dany. Look closely and you will notice that this entire piece is composed of pencil sharpening remnants attached to a wood background. The execution is flawless.

 It was gratifying to see a number of black and white works in charcoal and graphite. This work by Mu Xue is rendered in charcoal on recycled paper. Much of this series was created while listening to music and the movement and depth in the piece is captivating. Out of all the work represented, this was the one I most wanted to hang on my wall.

 Other notables are the sculptures of Wang Keping. Through what appears to be minimal manipulation of materials the artist is able to create voluptuous, sensual works that are truly striking. In addition, the solo exhibition of works in oil by seasoned artist Jean-Pierre Ruel was also a feast for the eyes in both color and composition.

 I am always looking for works that bring a sense of fun and whimsy. The composite work of Paolo Ventura is not only fun compositionally, it brings together a variety of techniques blending a hand painted background with photographic components artfully composited together.  Additionally, ‘Sexy Windows’ by the aforementioned Niloufar Banisadr added lightness to what was a very serious showing of her work.

Overall, the show appealed to a variety of contemporary tastes and despite numerous works carrying a narrative of struggle, there was a counterbalance of lightness and positivity that made for an interesting show. As a postnote, I would be remiss in minimizing the narrative of struggle in so many pieces of work. Although I am not able to show all these works here, the message was loud and clear; that there is a sense of powerlessness and an inability to navigate a way in both the macro and micro environments in which people find themselves. 

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For more information on the Art Paris Art Fair go to www.artparis.com

‘Where do you get your inspiration?’ is the question I get asked most when people view drawings from my surrealism series. Follow up queries run the gamut of how I plan the composition, how I start, points of reference for the works and a request for teaching of my process. This blog intends to answer some of these questions.

I started out these drawings as an interesting way to practice my drawing skills, which I believe, is integral to becoming a better artist. As such, each drawing is started with no expectations and hence no judgment on its outcome.

Inspiration comes from a variety of sources and takes many forms. When my mind is at its most creative, I close my eyes and draw lines and shapes, concentrating on flow and rhythm. The shapes dictate how the theme will develop. What usually emerges is a composition that comes from deep within the unconscious mind and carries an autobiographical language. In this frame of mind I will draw from memory rather than use a reference image. Many drawing rules such as perspective are discarded but keeping the thought of maintaining a cohesive composition is always in play. ‘Will to Thrive’ was created in this manner. It is highly autobiographical. After developing PTSD as a result of a car accident my drawing took me back to Africa, the ever-struggling continent of my birth. The drawing developed into a series of vignettes that present ‘choices’ of mustering a ‘Will To Thrive’ on both a personal and macro scale.

Our daily lives, however ordinary are a great source of inspiration. ‘Playlist’ was created while watching my son playing his guitar. Initially I was taken with the beauty of the instrument and how it could be stylized in a drawing. To flesh out the rest of the drawing I questioned my son on his favorite songs. I will leave the observer to figure them out. Music has movement so it was important to give the lines and shapes as much curve and dynamism as possible. As a post note to the music theme, lyrics and poems provide a wealth of inspiration. The words will usually provide the visual images needed for a composition.

There are days when it seems that the creative button in my mind is completely turned off. I have found that rather than give in to the funk that results from the doubt and fear that the creativity will never return to me, I force myself to pick up a pencil and look for a reference photo of an object that I am not able to draw from memory or subject matter that needs practice (which is basically everything). ‘We Are Small In Comparison’ was created during a dry creative spell. I started with the wingspan of the bird. At these times it is not unusual for the very act of drawing to feel labored and difficult. However, I have found that perseverance usually pays off and at some point the mind and pencil start to flow in harmony and a theme develops. While drawing the feathers I was overwhelmed by the vast creativity manifested in the complex visual beauty of the natural world.

The teacher in me would say to start out small with no expectations, judgment or attachment. Use any of the inspirations above and let the pencil flow. Keep the pencil light in your hand. Use your opposite hand or close your eyes if you have to. If your drawing skills are lacking or your visual memory is low, stay with simple shapes. Encourage movement in your line. Every shape and line should connect to another in some way. This will keep the viewer’s eye from veering out of your composition. Think of creating vignettes or a variety of scenes within the same overall composition. However, let the large shapes fill your page before getting into the details even if you don’t know what images will ultimately manifest on the paper. Let your narrative take you as far as your drawing skills allow and then fake it if you feel you can get away with it.

Last but not least draw for YOURSELF! If you are a perfectionist, you will not achieve the wonder of what transfers from mind to pencil to paper and the result will be frustration and disappointment. Let go of that! Resist the urge to set out drawing something that you can show to others. Not every composition is going to work but if you allow your unconscious mind to manifest itself you will be awed by what you put on paper and surprised by what bubbles to the surface. When you are done, put the work aside and let it sit for a week or two. Come back to it with fresh eyes and refine it if you want to, or cut out and keep pieces of the composition that you like (paste them on a greeting card or put in a frame) as I did with ‘Inclusion” and throw away the rest. If you approach these works as practice drawings rather than works of art, this should be easy. If they turn out well, enjoy the results.

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The annual Masters of the American West Fine Art show at the Autry Museum in Los Angeles, hands down represents the gold standard as the finest exhibition of contemporary painters of the American West.  Although the works diverge greatly in style, each piece projects the soul of the American West, taking the viewer to a time and place, be it recognizable, mythical or historic. I chose to ignore the awards presented to various artists and focus on what personally captured my attention from both a viewer and artist’s point of view.

The star of the show for me is Southern California based artist Jeremy Lipking. He stands as one of the younger members of this elite group of painters and brings a fresh approach to the genre. Known for his figurative work, it is gratifying to see him add more landscape work to his portfolio. He possesses that rare ability to combine preciseness in his painting style while working with a softness of stroke that pulls the viewer deeply into the mood of his work.

It is no surprise that the artwork of Bill Anton creates buzz. His subject matter and composoiton is evocatively masculine yet appeals to both a male and female audience. My belief is that he draws a female audience by way of a technique that carries a softer and looser style, thereby evoking the romanticism of the American cowboy.

Chinese born Mian Situ never fails to impress. An immigrant to the United States in 1998, he superbly captures the historical Chinese immigrant experience in his work. Nothing is more gratifying than an artist who brings a narrative with the technical skill to match. His work carries an historical importance that makes this artist a national treasure.

Jay Moore’s ‘Calm Bay At Taggert Lake’ takes the prize for the ‘How did he do that?’ category. The outstandingly rendered water and underwater rocks in this painting made this humble artist bow in reverence. Breathtaking in every way!

Other notables are James Morgan’s, Early Spring Sandhill Cranes that carry an almost illustrative minimalism, Calvin Liang’s wonderful rendering of rocks and light in A view from Catalina and Andrew Peters Santa Ynez Mountains, that captures the light so exquisitely both on the mountains and trees.

My picks may seem incomplete without any reference to the abundance of sculpture represented at the show but my eye was clearly drawn to the paintings, especially those that captured the precise softness of either dawning or fading light, thus enabling the viewer to feel the physical sensation of weather emanating from the work.

 Autry Museum - Exhibition Hours

The Masters of the American West Fine Art Exhibition and Sale is open to the public Tuesday through Friday, 10:00 a.m. to 4:00 p.m., and Saturday and Sunday, 10:00 a.m. to 5:00 p.m. The Autry is closed on Mondays except for Presidents’ Day, Monday, February 16.

4700 Western Heritage Way, Los Angeles, CA 90027-1462 Phone: 323.667.2000

For those unable to visit the exhibition, a full list of artists and pieces available for viewing, go to: 

http://theautry.org/masters-of-the-american-west-2015/participating-artists-2015 

 To View the 2015 catalogue - www.laartshow.com 

One of my favorite exhibitions of the year is the annual LA Art Show that kicked off this week at the Los Angeles Convention Center. The show seamlessly blends vintage, modern and contemporary works in one place and as such provides something for everyone. For the collector, the exhibition serves as an introduction to artists and gives good insight into what work is current. For the artist, the huge array of works provides a wealth of inspiration and a sense of what is selling. For me, the exhibition is a candy shop of delights and I always come away with a handful of works that inspire, move or challenge me.

Vincent Xeus

Eva In Pursuit

30” x 20” Oil

www.vincentxeus.com

Vincent Xeus is a gifted portrait artist. What drew me to this particular work is how he has created a classic portrait and infused it with a modern aesthetic. Overall, it was gratifying to see so many classical and representational artists in this exhibition making a move to incorporate modern elements into their work while still retaining a classic style. It would be great to see more of the many masterful representational painters both figurative and landscape moving in this direction.

Johan Andersson

Girl Holding Gucci Bag

Oil on Canvas

122x101cm

www.artunified.com

Johan describes his Brand For Life series as ‘a reminder of the realities and effects of our consumerism………….seeking to challenge perspectives by juxtaposing western branding to a wider story’. Much of the soul of his work lays in the eyes of his subjects, often children. Despite the challenge these works throw at the viewer, there is nothing depressing about these portraits. There is a strength of character that shines through his subjects.

Jeff Robb

Unnatural Causes

Lenticular Photographic Print

www.jeffrobb.com

Jeff Robb’s holographic prints lose some of their magic on the printed page. However, his work is extraordinary in person. Each block of nudes appears in 3D in small scale. Tastefully posed, the figures appear trapped in the blocks and create a stunning pattern when viewed from a distance. These works have that “How did he do that?’ response that keep one guessing for days.

Carol Sears

Waranora

Oil on Canvas

Represented by Coagula Curatorial

www.coagulacuratorial.com

It is clear when seeing Carol’s work that she has a strong representational-illustrative background that translates beautifully into her large-scale abstract works. A good abstract artist creates works that keep telling a story year after year, thereby keeping the viewer engaged over a long period of time. Her prodigious and varied use of line does exactly that. Carol is also a brilliant colorist whether sticking to a somewhat monochromatic palette or using a mix of brighter hues.

Chong-il Woo.

Digital Archival Print

Josean dynasty royal family series empress No.1, 2010

The digital works in recent years have come a long way. Gone are the low resolution, pixelated prints of the past. Like much of the portraiture at the exhibition, it is large in scale and speaks to the current trend in home interiors for these works.

As I look at my list of ‘picks’ for the 2015 LA Art Show, I see a strong pull toward portraiture. I believe that this pull is due to the fresh approach so many artists are giving to modern portraiture by moving away from the stuffy and staid portraits of the past. Portraiture at last has become cool again.

To add a bit of whimsy to that point, I have added a piece by Romina Ressia below.

Romina Ressia

Popcorn

Archival Pigment Print

www.arcadiacontemporary.com

Creating Works That Challenge The Viewer

By Cindy Yeoman

 Artists that create and publish work that challenge the viewer to search inward need to develop a pretty thick skin. Challenge, by definition invites debate and confrontation. Who can forget the iconic ‘I want you for the US Army’ poster challenging young men to enlist in both World War I and II. http://en.wikipedia.org/wiki/Uncle_Sam  

The horrors of the Vietnam War captured by Nick Ut’s iconic photograph of the naked young girl published in Life magazine in 1972 challenged the most ardent supporters and idle bystanders of the War to look inward.

 http://en.wikipedia.org/wiki/Nick_Ut

Banksy’s poignant graffiti covers a wide variety of topics from global warming to views of the future challenging the viewer to wake up and look outward.

 http://banksy.co.uk/out.asp

The artist intends to make the viewer uncomfortable and elicit a response, judgment and a call to action. This puts the artist in a very vulnerable position who in return risks being judged. However, there is also something inherently gratifying in creating such works. Not only has the artist made a deep visual and internal connection to the subject matter, but has through the work taken a very public stand on a particular topic.

As an artist, I like to use current events that hit a nerve and translate that energy into works of art.

 Ferguson, Missouri – Lest We Forget, is a very graphic digital composite. The piece was created in response to the police shooting of Michael Brown in Ferguson, Missouri. To a country becoming desensitized to the plight of African American males and other minorities as it pertains to the use of deadly force and harassment by law enforcement, this piece encourages the viewer to see the vulnerability of these men and take action.  The man’s face is not visible suggesting a lack of connection to the individual. However, the violence he faces is graphically clear. His torso suggests power and strength but the arm guarding his chest suggests a very real vulnerability.

 Whalewatch, an illustrative abstract in oil was created in response to watching the movie Blackfish that brings to bare the plight of whales kept in captivity at Sea World in San Diego. Its message is subtle but hopefully hits a nerve.

 The Women is an illustrative abstract in oil, celebrating and supporting the idea of gay couples and gay marriage. 

Surviving Artists Block

 The imagination is quiet. The studio door remains closed. Any distraction from creating new work is welcomed. Eventually the blues set in with the internal suggestion that the creative spark may be forever lost. This is artists block, a time when many artists pack up their tools for good or take long breaks in creating new work. Artists block is going to happen to most artists. It is something that should be expected. Therefore it makes sense to have a plan in place in order to survive the ordeal without giving up or taking a long hiatus from the creative process.

 Give yourself a break but keep your hand in the game. Use this time to research, reach out, organize and explore without expectation or judgment:

 Research - The internet is rich with artwork and blogs on the artistic process as well as the vision of various artists. Reading these reminds the struggling artist that their block is not unique. Brush up on reading art books on technique without the expectation of putting these into practice.

 Reach out to other artists. Meet for coffee. Join a small group that paints together. Use this time to play and research rather than produce work that will make you feel vulnerable to those around you that are creatively intact. Join local art guilds that meet regularly and offer demonstrations.

 Organize your space. Get your catalog up to date. Photograph your work. Fix up your website. Order new business cards. Replace materials. Give yourself time and permission to meditate and clear life’s distractions.

 Explore art museums and exhibitions, get out your camera and take photos of unusual subject matter. Go and listen to art lectures in your community or local colleges. A wise therapist, Jacqueline Henderson suggests committing to creating small works no bigger than 3’ x 5” in any medium with no expectations. Do them with your eyes closed, opposite hand or set a time limit of 10 minutes or less. Put them away immediately with no judgment or attachment.

 Artists block is temporary. Internalize this fact and embrace the break in the creative process. Your creativity will come back and is likely to take you in a surprising and wonderful direction.

__________________________________________________________

 *Blocked is a painting that celebrates the idea of Artists Block. A doorway appears to lead nowhere. The steps in the foreground are slanted and are difficult to ascend, The blocks in the middle of the painting struggle to find form or dimension and seem to stick together in a solid mass. The vertical slopes at the top of the painting are sheer and appear impossible to climb. The open area at the top suggests an airy, open space behind the blocked wall hence a freedom beyond the block.

 Some great sites to research and explore:

http://www.saatchiart.com

http://500px.com 

http://www.juxtapoz.com

Personal thoughts on the work of Land Artist, Michelle Stuart – by Cindy Yeoman

 The idea of art that subtly and directly connects the viewer to place is a concept that is rarely explored in visual artistic expression. It is easy for artists to fall into a routine of creating works that strike a singular note; oil on canvas, watercolor, mixed media and the like. There may be some emotion or story attached to the piece but the direct connection to physical nature in time and place is missing. Michelle Stuart, a master of Land Art literally engages and incorporates the land into her work by lifting, pulling and imprinting surfaces. As a result the viewer gets the sense of being physically close to the land represented in the work.

 Much like the brass rubbings (frottage) done as children, Michelle Stuart has in the same manner created huge graphite imprints of landmasses in a variety of locations. These not only introduce the viewer to a specific place but also connect the viewer to a moment in time and to the fragility of nature.  An impression of the same mass in future years will by definition be different.

 Using a combination of photography and earth rubbed into rag paper placed side by side, she both introduces the viewer to an understandable visual context of the subject matter through the photograph and then takes the viewer further by giving us a tactile imprint of the land in the earth rubbing.

 She creates seed calendars that are graphically and decoratively exquisite. At first they appear no more than seeds trapped beneath squares of translucent paper. Looking further, they evoke a number of thoughts and emotions: the idea of being trapped in a moment in time, being unable to reach full potential. The seeds bleed around the edges almost like a last ditch attempt to propagate their species. Although the seeds are of the same species in a particular calendar they appear unique in appearance from one another giving the idea of nature having the ability to create uniqueness within species and pattern.

 Many of Michelle Stuart’s direct land works disappear over time and become blended into the land once again underscoring the fact that we are all transitory. This idea provides a valuable lesson to most artists who create works with a long lasting visual legacy in mind. The exercise of not attaching to work strips away ego and is an exercise well worth exploring for all artists. One has to believe that by producing artwork without legacy and preservation in mind, artistic expression would be freed to reveal the artists most authentic self.

 For more information on the work and upcoming exhibitions of Michelle Stuart’s work, visit her site at http://www.michellestuartstudio.com.

 Also check out the book; Michelle Stuart Drawn from Nature.

The image of the starving artist is as real today as it was hundreds of years ago. In a world bombarded by images and the relatively low cost of reproducing images, it is not uncommon for competent artists to amass large stores of unsold paintings or at worst give up creating art altogether. Others learn to play the commercial game, producing work that satisfies an audience rather than creating work that fulfills them personally. Art & Fear, a book by David Bayles and Ted  Orland, is a book that addresses the internal conflicts that plague so many artists. Chapter headings include words like, uncertainty, pretending, perfection, acceptance, approval, navigating the system, competition….to name a few. Most importantly, the authors address the importance of finding your own distinctive voice as an artist.

 The artist can expect to be punched in the gut with this book. The authors do not sugarcoat their words; “Virtually all artists spend some of their time (and some artists spend all of their time) producing work that no one else much cares about”.  Or, “The viewers concerns are not your concerns (although it’s dangerously easy to adopt their attitudes.) Their job is whatever it is:  to be moved by art, to be entertained by it, to make a killing off it, whatever. Your job is to learn to work on your work”.  Or, in talking about perfection; “You cling ever more tightly to what you already know you can do – away from risk and exploration, and possibly further from the work of your heart. You find reasons to procrastinate since to not work is to not make mistakes. Believing that artwork should be perfect, you gradually become convinced that you cannot make such work.” That being said, the authors effectively draw the artist back to their center reminding them of the reasons they create and giving them the tools to produce their own work in the face of so much internal and external adversity to what they do.

 This book is an essential reference during those times when the artist feels the niggling uncertainty of the value of their work.

I would love to hear your impressions of the book. Please email me with your thoughts at cindyyeomanfineart@gmail.com.