Artery
December 2013 Vol. 13 No. 3
Hall Groat II
“Drawing with Paintbrush”
Body & Soul MAD Museum
$6.00 US
“One of the most extraordinary experiences of my life. Both simple and intricate and most of all, beautiful.�
Artery 13.3
Artery When Drawing and Painting Become Compatible
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Drawing with Paintbrush
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Body & Soul
New International Ceramics
24 DaphnĂŠ Corregan, Smeared Face (2012), Terracota, wood
Art Therapy Helps Mental Patients Unmask Conflicts
Helping Patients Heal Through the Arts
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75 Sergei Isupov, The Orchard (2012) Porcelain
Artery December 2013
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Hall Groat II “ When Drawing and Painting Become Compatible� When I was a teenager, I had a private instructor. He taught me how to draw before a standing easel. He was very academic and demanded accuracy. He used large paper and charcoal sticks. Usually he would require lines indicating the position of objects from one point to another in drawing a still life set-up. This would be a way of measuring angles and distances. He had me do drills drawing round objects using only straight lines. Imagine drawing a ball by laboriously cutting straight lines around it with a charcoal stick till it looked round. My whole composition was constructed by using straight lines. This resulted in strong drawing and the transition into painting was made much easier. He wanted me to do homework in drawing and this is where I drew the line. He dismissed me after several weeks realizing I was a lazy student. It was his lessons drummed into my head that have stayed with me 12
Human Heart with Brain, Original Oil on canvas
for a lifetime. When I am painting,my mind is still interpreting the subject matter into straight lines. When I am painting the drawing is still inside my head although it is always revealed in the construction of the painting. The mind and spirit along with years of practice form a synthesis allowing you to paint your way to freedom. Artery 13.3
“Drawing with Paintbrush” When you are a painter you learn to indicate subject matter with a brush in a thin wash whereby you can make corrections and alterations. Its a way of visualizing your work in an atmospheric way. The problem with drawing out your subject first and then painting is somewhat like a kid following the lines in a coloring book. The Artery December 2013
drawing may inhibit your ability to paint. However, in the British Water Color Society it was a tradition to draw your entire subject first and then apply your watercolors thinly allowing the artist to see the drawing as he worked. Very few artists embrace this dated approach but may please those who require guide lines— so if you are a tim-
id soul and afraid to attack your painting with expressive brush work — follow the lines.
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Teresa Gironès, VĂctima [Victim], 2012 Stoneware, porcelain 29 15/16 x 15 3/4 x 11 in.
Myriam Mechita, Treasure Island, Sevres, 2011 Treasure Island, Myriam Mechita, Sevres, 2011
Body & Soul
New International Ceramics
September 24, 2013 to March 4, 2014
Artery 13.3
The exhibition will highlight approximately 25 international artists who came to clay as painters, draughtsmen, or sculptors. Many are being shown for the first time in the United States. The range and quality of the works will make this exhibition engaging and provocative, and will bring this special area of creativity into a much-deserved focus. This exhibition is organized and curated by Wendy Tarlow Kaplan with the advisement of Laurent de Verneuil, Martin S. Kaplan, and by David McFadden, William and Mildred Lasdon Chief Curator at the Museum of Arts and Design. Major support for Body & Soul: New International Ceramics is provided by George Abrams, Kate and Gerald Chertavian, Chubb Insurance, Friends of Contemporary Ceramics, the Glassman Family Fund at the Boston Foundation, Hunt Alternatives Fund, Nancy Klavans, Cheryl and Philip Milstein, David and Susan Rockefeller, Michael and Karen Rotenberg, Shepherd Kaplan LLC, Lisbeth Tarlow, five anonymous donors, with additional support from a group of private donors. Artery December 2013
Marc Alberghina, Saint SÊbastien A, Earthenware, 31 1/2 x 55 1/8 x 23 5/8 in. Marlène Mocquet, La Nature Sort de la Bouche, stoneware, 1932px x 1277px
In recent years, the human figure has returned to center stage in the work of artists around the world. Body & Soul: New International Ceramics underscores the power of the figure to convey strong emotions, and also to the accessibility of the ceramic medium. Through clay the figure becomes the catalyst for addressing the emotional impact of contemporary pressures that confront our society today. Each work, inspired by a personal incident or symbolic tale, expresses a deep emotional identity, contrasting societal, political, and personal views on themes such as anxiety, bias, mortality and memory.
Chris Antemann Lust & Gluttony, Porcelain 10 3/4 x 25 3/4 x 11 1/2 in.
About the Exhibition
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