Artful Life Live An
Magazine Be Inspired!
We Visit Conservator Mark Lewis and the Chrysler Museum of Art Plus: Denver's Art District on Santa Fe
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Live An Artful Life Magazine TM
Visit us at LiveAnArtfulLifeMagazine.com
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to our readers Realizing a dream come true is a pretty big thing and certainly something to be thankful for. This is our third issue for 2014, all in the second half of the year and we told ourselves we would not over think this process until we had this third issue created. In many ways we have let the universe bring us our stories with the only real intent of inspiring all of you who celebrate creativity. The process has worked flawlessly and the inspirational story pipeline for 2015 is fast developing to the point where we now know we will release 5 issues next year. While home is Virginia, inspiration and creativity are everywhere and so we will be too. In this issue we go from the Chrysler Museum of Art in Norfolk, Virginia to Denver, Colorado for a peek at public art and the Art District on Santa Fe. We meet Mark Lewis, conservator of the Chrysler Museum, Jane Guthridge of Denver and take in a performance with Charlotte Potter and her talented team of glass blowers. Our contributing writers come through again with motivational stories and we will be growing in this area for 2015 for our far reaching goal of inspiring you to Live An Artful Life! We would like to ask that you let us know how we are doing? You can friend us and leave comments on Facebook and Pinterest and most of all share us with friends and family everywhere. If you have an inspirational story you think we need to know, please feel free to touch base. Most of all let’s all give thanks to creative and inspirational thinking, for what would this world be like without ideas? Be inspired! Live An Artful Life, Tom Neel
The Chrysler Museum's exhibit "Worn To Be Wild" has a fun interactive display sponsored by Harley Davidson. Here I am with a few of my freinds.
features
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18
12
Mark Lewis Conservator
Chrysler Museum of Art Norfolk, Virginia
Art History, Chemistry, Studio Art
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Art a Mile High
We visit Denver's Art District on Santa Fe Photos of Smith Creek off the Elizabeth River near the Chrysler Museum of Art, Norfolk, VA. 4 |
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also
inside 30
Get Fired Up!
8
Mindful Living
with Dr. Monica Neel The art of doodling
By Tom Neel
Glass as performance art
36
Jane Guthridge
32
Life Coach
By Kim Tapper
We are ALL creative !
By Tom Neel
The fearless creator
51
The Artist’s Perspective By Tom Neel
Creative longeivity
Artful Life
Live An
™
Magazine
PUBLISHER, EDITOR Tom Neel tneel@LiveAnArtfulLifeMagazine.com PUBLISHER, ASSOCIATE EDITOR AND GRAPHIC DESIGN Linda Neel lneel@LiveAnArtfulMagazine.com ADVERTISING 540-253-9797 CONTRIBUTORS Dr. Monica L. Neel, Psy.D Kim Tapper, Life Coach, ACC, CPCC PHOTO CREDITS We wish to thank the following people for the wonderful photos used in this issue. Tom Neel
ON THE COVER
Mark Lewis, Conservator at the Chryler Museum of Art standing beside Charles W. Hawthorne's "Spring Morning"
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SUBMISSIONS Live An Artful Life Magazine welcomes article submissions by email to submissions@ LiveAnArtfulLifeMagazine.com. Please include contact information. COPYRIGHT 2014 Live An Artful Life Inc. All rights reserved. No portion of this publication may be copied or reprinted without written permission from the Editor. Live An Artful Life is a registerd trademark of Live An Artful Life Inc. Live An Artful Life Inc P.O. Box 163 6474 Main Street The Plains, VA 20198
Are you a teacher of the arts? Live An Artful Life™ Magazine will create an online nationwide listing source for the public to find instructors, classes and schools starting with the March 2015 issue. If you teach PAINTING, SCULPTING, DANCE, MUSIC, POTTERY, GLASS BLOWING, WOOD TURNING or any of the arts or art related genres we want to list your contact information. The Creative Arts Source Guide will be advertised in each issue of Live An Artful Life Magazine™ with a full page ad that will direct your prospective students to the online guide. The guide will be sorted by genre, state, alphabetical listing. Contact Linda at LNeel@LiveAnArtfulLifeMagazine.com for more details. 540-253-9797
MINDFUL LIVING By Monica Neel, Psy.D Do you ever doodle? You know…the little scrib-
in aimless drawing. This point was put to test in
bles on the side of your notes that, in school, were
a study conducted by Jackie Andrade (2010) who
likely looked upon with scorn by your teachers. I
assessed attention and memory function of 40
have vivid memories of drawing on my notebook
individuals. Findings indicate that participants
covers, margins, or even my hand while sitting in
who doodled while listening to an audio message
class during my school years. During meetings,
recalled 29% more information than those who
I still find myself sketching little swirls or shaded
did not doodle. The investigator hypothesized
geometric patterns on the side of my notes as I
that doodling actually enhanced concentration
listen to the agenda at hand. The word “doodle”
on an auditory task by maintaining arousal at an
is thought to have been derived from the German
optimal level, thus preventing boredom or day-
word “dudeltopf ” meaning “simpleton.” When it
dreaming.
first appeared in the English language during the
The value of doodling may be even more pro-
17th century, a doodle referred to a fool or silly
nounced for individuals with symptoms of At-
person, as in the classic tune Yankee Doodle. The
tention Deficit/Hyperactivity Disorder (ADHD).
connotations are clearly negative! But are they
It has been noted that physical activity, includ-
correct?
ing doodling, can mimic the effects of typical ADHD medications by increasing levels of the neurotransmitters dopamine and norepinephrine. Doodling is considered a form of “fidgeting,” any mindless activities that one can do
Often associated with boredom, doodling was historically thought to be a sign of daydreaming and NOT paying attention. The longstanding assumption about doodling is that an individual can’t possibly be paying attention when engaged 8 |
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while focusing attention on an alternate primary task. Particularly with individuals diagnosed with ADHD, it is thought that activities which engage only one mode of information processing are insufficient to hold the person’s attention. To compensate, an individual may independently
engage in a simultaneous activity, such
Brown further coined the term in-
as doodling, to stimulate the brain suf-
fo-doodling which is an intentional
ficiently to support focused attention on
means of tracking auditory or text-based
the primary task. In all cases, it is most effective
information, and creating graphic and text im-
when the “fidget” uses a sense other than the one
ages to clarify and display complex information.
required for the primary task. Examplesiinclude
There is evidence that there is a shift in Corporate
doodling while listening to a conference call, lis-
America to shed their reliance on technology and
tening to music while reading a book, or chewing
get back to basics with a resurging reliance on
gum while taking a test.
sticky notes, colored pens, and dry erase boards.
Author Sunni Brown has expanded on the con-
Facebook, Inc. is embodying this concept by en-
cept of doodling in a whole new way with her
couraging visual note taking to spark creative
book, The Doodle Revolution (2014). She suggests
thinking.
that doodles can be powerful ways for all people
graphic recorders AKA “professional doodlers,”
to organize information in a
consultants who sketch what is discussed during
visual way, thus facilitating un-
meetings to keep attendees engaged and provide
derstanding and memory. Ac-
a graphic depiction of content discussed in team
cording to Brown, doodling en-
meetings.
Other companies like Zappos hire
hances comprehension, increases retention and
The implications of this shift are exciting and
recall, increases creative thinking, and improves
easy to incorporate. For those in leadership roles,
listening skills. This philosophy references dual
consider the possibility of encouraging doo-
coding theory which suggests cognitive produc-
dling and the incorporation of graphic recording
tivity is enhanced when at least two modalities of
during your meetings. If you doodle, continue to
learning are engaged (auditory, visual, kinesthet-
do so! If you haven’t doodled (perhaps for fear of
ic, etc.). In her Doodle Revolutionary Manifesto,
getting your knuckles cracked by a teachers rul-
Brown redefines the historically negative conno-
er), give it a try. It may have a greater pay off than
tation of doodling to highlight doodling as the
you would have anticipated.
use of spontaneous marks or drawings that support thinking, creativity, problem-solving, and innovation.
em iere Don’t m iss the pr al of the ne w m us ic
Mission
Helping people face, navigate, and overcome life’s
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June 27, 28 & 2
Live An Artful Life
Hats
challenges using the therapeutic arts.
15 S. Madison Street Midd leb u rg, VA 20117 T: (540) 687-6740
w w w.aplacetobeva.org
New book “Behind The Label” By Kim Tapper
Available online at A Place to Be and Mascot Books
For your artful lifestyle! Complete with the Live An Artful Life logo embroidered on the front and “Live An Artful Life” embroidered in script on both sides. 100% brushed cotton twill with a self-fabric closure and adjustable D-ring slider that hides for a neat look. Colors are Stone with Burgundy stitching, Ice Blue with Navy stitching and Tangerine with Cream stitching.
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Linda magically shows the way to the Chrysler Museum of Art!
CHRYSLER MUSEUM of ART
Norfolk, Virginia's Natural Harbor for Art . . . and Conservation! by Tom Neel
Walter Chrysler Jr., while a 14-year-old boarding school student, bought his first painting, a small watercolor of a nude. A dorm master, believing no proper young man should have a nude in his room, confiscated and destroyed the painting. The kicker? The destroyed painting was a Renoir! (From the Chrysler Museum’s Website) 12 |
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W
hen most of the nation, if not the
collector of art and fine objects from a very young
world, hears the word Chrysler,
age, an appreciation somewhat influenced by his
it thinks of one thing - automo-
wealthy father. But Walter Jr. would show more
biles. But anywhere near the naval city of Norfolk,
passion than many, amassing one of the finest
Virginia they think about their priceless gem, the
and may I say, diverse collections, over his seven
Chrysler Museum of Art. It is therefore, sort of
decade long run. It is said of his diversity, that
ironic that I’m an artist and writer whose father
he “bought against fashion” and your imperative
happened to have worked at a Chrysler dealer-
visit to this museum will not disappoint on this
ship, I owned a 1965 Chrysler 300 and one of my
very point. Room by glorious room, the Chrysler
closest friends is
Museum so visually
a retired engineer
displays
for Chrysler. Thus
to be an emotional
proving the apple
and yes, savvy col-
doesn’t fall far from
lector. I can only
the tree and I’m
imagine that he was
here visiting this
having serious fun
orchard once again.
in the process! He
In a sense, this is
also bought large
a museum which
works of art and
could have end-
so the very scale of
Chrysler
ed up almost anywhere, if not for and at least in
the museum’s artistic contents feels wonderfully
part, the navy itself. You see Water Chrysler Jr.,
grand and yet, the museum itself feels intimate.
the son of Water P. Chrysler, who of course gave
Chrysler was also a man of glass and his vast glass
the automotive company its name, volunteered
collection of some 8,000 pieces clearly enhances
and became a naval pilot during World War II.
the museum’s overall collection and brand to-
During this time his officer training brought him
day. It also means a glass enthusiast could easily
to Norfolk where he met and married his wife
spend an entire day on that visual consumption
Jean Ester Outland, a native of the seaport city.
alone, and if you want more, there’s the Chrysler
Chrysler had already established himself as a
Museum’s Glass Studio right next door. More on
One of five rooms dedicated to contemporary art.
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that in the pages to come!
comes on the fresh, newly reopened doorstep of a
Perhaps the best part of a visit to the Chrys-
massive 24 million dollar, 17 month long renova-
ler Museum of Art is its ability to be friendly. It
tion and expansion of this museum. The expan-
welcomes visitors to experience a collection with
sion itself makes room for more of what Chrysler
Southern hospitality and it doesn’t feel institutionalized or cold. Sure, there is a powerful surveillance system in place, but there are not uniformed guards as we know them. Instead there are Museum Hosts, which along with also being watchful eyes, are docents, but even more so, what I feel are experience enhancers. They can help you find your way, answer questions about the art, but most important, you can tell each just wants you to have a good time and appreciates your visit. Go see for yourself and you’ll see what I mean. Getting back to its naval tie. The fabulous art deco Chrysler Building in New York City, which served as Chrysler’s company headquarters, was sold in the mid 1950’s. At this time, Chrysler Jr. retired and moved his collection to Provincetown, MA., but his continued devotion to collecting, in time, needed a much larger and dedicated space. In the end, he and his wife’s continual ties to Norfolk had him accept an offer from the city in 1971 to essentially refashion and reconstruct
"Red Drops", cast glass, 2004, by Vladimira Klumpar
the Norfolk Museum of Arts and Sciences into
collected to be seen by you and I, and the reno-
the Chrysler Museum of Art.
vation keeps an old building intact for years to
Fast forward some forty years later and my visit
come. Again, I love the irony, because conserva-
tion is the reason for my visit. A museum build-
humidity control, art conservation around the
ing has many rolls, esthetic presentation and the
globe is an important ongoing part of the survival
security of art among them. But most important
of centuries old artifacts. Please join me as we go
is its roll in the preservation of art and even with
behind the scenes to learn about conservation at
all of the state of the art, light, temperature and
the Chrysler Museum of Art.
One of the many second floor galleries, this one featuring European and American Art, 19th & 20th century.
Detail: "The Artists' Wives", 1885, Oil on Canvas, James Jacques Joseph Tissot 16 |
Please tell them Live An Artful Life Magazine sent you!
Copyright Live An Artful Life Inc All rights reserved.
WORN TO BE WILD THE BLACK LEATHER JACKET On view until Jan 4, 2015
An exhibition that celebrates the black leather jacket as art and features jackets as worn by military aviators, renegade bikers, rock 'n' rollers and movie stars! It was great fun and shows the museum's creative side.
MARK LEWIS ~
CONSERVATOR CHRYSLER MUSEUM of ART By Tom Neel
Art history, chemisty, studio art ~ "You really need to know these three things to do this work." Mark Lewis
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If Walter Chrysler Jr. was the parent of his col-
Some pieces will travel on exhibition elsewhere
lection, my host Mark Lewis is certainly the one
throughout the United States and the world. Mark
caring for his children! As the museum’s conser-
himself, in late September, accompanied one of
vator for the last 14 years, it’s Mark’s roll to see
the museum’s Renoir paintings to the Musée
that which Chrysler assembled remains clean, in-
du Luxembourg, in Paris. In turn, he is on the
tact and preserved. Remember, this museum and
receiving end as I write this, of Thomas Cole’s
others like it have thousands of objects to care for,
“Voyage of Life” on loan from Munson Williams
so Mark has his hands full.
Proctor Arts Institute in Utica, New York. While a museum’s curator essentially “takes
Walter Chrysler’s father once approached him while he was admiring the art on the walls of their home. “Son, they are yours to enjoy only for a brief period of time. … Fundamentally they and all things like them must belong to everyone, and the best of them will become public property in museums throughout the country." (From the Chrysler Museum’s website)
care” in the overall management of the museum’s collection, the registrar is the caretaker who keeps track of every piece of it, its complete history and in turn, works with conservators like Mark Lew-
It is also always my hope with the creation of
is who is the hands on part of the team. Conserva-
this magazine to show that there are many forms
tors not only repair damage they are preventative
of artistic endeavors and opportunities and Mark
specialists who keep damage from occurring by
Lewis is a great example of the range in those
way of constant structural and chemical assess-
endeavors. For without Mark and other conser-
ments. Conservators are not simply artists who
vators like him around the world, much of what
know a little more than others about painting.
you see in museums today would not have even
They are graduates with degrees in conservation,
remained in existence. Time takes its toll, even
with a deep knowledge of art history, chemistry
on cared for treasures such as these.
and studio art. Mark makes the point that, “You
Behind the walls of a museum’s public area there’s a world less polished, where corridors
really need to understand those three things to do this work.”
have a backstage feel. Here there are paintings
Those three things couldn’t be more apparent
and objects waiting for their turn to take the
as Mark leads me to his workspace, a large room
stage in performances of rotated exhibition. All
that is part library, part laboratory and part studio.
the while, each item is cataloged and cared for.
Mark’s lab, as he refers to it, is well equipped
to cover a wide range of tasks. There’s a spray
painting’s frame as well. But as a need arises
booth for safely applying varnishes, easels to
for a different specialist, it is Mark who sees to
handle any size painting, as well lab equipment
the right specialist being contracted and oversees
for extensive testing as needed. Mark explains
that treatment or repair.
that conservators, as within medicine, tend to
Mark and I find ourselves very quickly coming
be specialized and his specialty leans towards
to one of the deeper questions about conserva-
painting, where with others it may be sculpture,
tion; should something even be restored or not
glass, photographs or paper, and so each conser-
and if so, how much? These items are relics and
vator has their own discipline. Mark also has a
a newness about them is not really the goal, but
solid background in wood working and furni-
he explains this very question is part of “an ongo-
ture repair which allows him to also work on a
ing dialog between conservators and curators.”
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Perhaps leaving damage on a 1000 year old
or, do we need to keep this instrument playable?
sculpture is best...or not? It seems to be the one
Is that its purpose? Is the airplane’s purpose to
area open for interpretation in museums around
fly, no matter what its historical significance is?
the globe and so it makes sense that when they
How much do we need to compromise authen-
are making these decisions, they look at what is
ticity of original parts in making it safe to func-
happening with all the pieces by that artist, not
tion?” Of course artwork has a less complicated
just at the one piece they have in their possession.
function, but this is the (why or why not) part
It’s a fascinating topic and complex by its very
of the equation in Mark’s roll as a conservator
nature as there are both opinions and historical
and why first, a conservator’s knowledge of art
responsibility in play here.
history is so important. Not just art history, but
In my past, during the 1970’s and early 80’s, I
the individual history of each piece of art he and
maintained a collection of classic Ferrari Automo-
anyone else, touches. Now for the how part of
biles. Many of these cars raced, but others were
what he does.
among the best street examples found worldwide
Chemistry is next. Mark explains that, “These
and at that time a good amount of them were
objects are all made of things and what are the na-
original. Fast forward to today and many have
ture of those materials, the elements that go into
been restored and some will note, possibly over
making a painting?” As an artist myself, I think
restored, looking far more gem like then they
Mark’s job becomes vastly more interesting with
originally did. But there’s a mechanical aspect
that question. Artists create and where Mark
to this too and what it takes to keep something
may trade off some of his creativity in his roll as
running when old parts have failed. Mark makes
a conservator, but he makes it up for it in being
a great example of this with historic airplanes
a skilled detective. It’s his job to not only know
being able to fly or not? But he makes an even
where a painting or object has been throughout
better museum example with that of a rare musi-
its life, but also exactly what it is made of. This
cal instrument by saying, ”Is this more important
instantly takes me back to the must see 1998 film,
as a unique artifact, with as much originality as
“The Red Violin”. Rent it and I think you’ll get a
possible and if it’s fragile and ready to fall apart
brilliant, theatrical and visual sense of what Mark
[that’s okay], it’s original, we can learn from it,
does for a living.
study it and know it hasn’t been monkeyed with,
Mark continues his explanation while pointing
at a painting on his easel, “That particular paint-
Science helps them determine this.
ing is on a wooden panel. So, what holds wood
I asked Mark from a conservator’s standpoint,
together? What causes wood to fall apart? How is
if there was a point in art’s history where a sig-
the wood prepared to be a painting support?
nificant change of some kind occurred?
He
[a support is the term for that which sup-
quickly offered a good example of the Mid 19th
ports the paint, what it is painted on]
century, for two very specific reasons. First,
How was the paint made? What
the American portrait painter John G. Rand,
are the binders? [binders create
a Charleston native while living in London in
adhesion] Are they organic
1841, thought of putting paint in a collapsible
materials and if organic
tin tube. This invention preserved paint in a
[made from plants] how do we clean it? How the pH affects the wood? How will it affect the pigments [color], the binders, how will it affect the coatings [varnishes]? So chemistry ends up being a big part of un-
way that never before allowed artists to
go
outside and paint from nature, which as Mark explains, was a really hard thing to do before this time. This is basically the birth of painting
derstanding how you preserve something, even if
en plein air!
you don’t touch it.” [and] “What amount of light
air - or outside] But more
is appropriate, what temperature and humidity
tantly, I have read that Renoir
will affect its long term preservation?”
out colors in tubes, there would be no Cézanne,
While certainly a part of a conservator’s detective work is knowing what materials were
[in open imporsaid,
“With-
no Monet, no Pissarro and no impressionism.” Now those are some pretty important words.
available to an artist at that time in history, the
As well, before this time artists were limited to
instruments of modern science are also at their
a dozen or so colors. So second, with the tube
fingertips. Mark points out, “What are the ana-
came an increase in the chemistry of color mak-
lytical tools that help you discern between lead
ing, the dyes and pigments, many which were
white, titanium white, zinc white, chalk white?”
synthetic, but turned out to be very favorable for
22 |
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this use. This Mark says, “… had a gigantic im-
Glass still takes a team of apprentices working
pact on the range of colors artist’s had to choose
with a master and vice versa.
from.” Mixing paint also took up a big part of
The greatest point in this knowledge though, is
an artist’s time, often requiring assistants and so
what conservators like Mark might see or discov-
there was now also more time to paint.
er when working with a piece of art and how we
Well,
thank you very much Mr. Rand!
might think of many of those old masters, which
The time saving part of this also opens up a dis-
by description in this context, is really foremost -
cussion about about how painting itself and the
a person qualified to teach an apprentice. It seems
creation of painting has changed. We think of
in the case of a conservator’s exploration, there
painting today as being a rather solitary vocation.
can be much hidden behind that master’s sig-
An artist and their materials alone at work, but
nature. I’m told that many of these apprentices
Mark points out that it wasn’t historically that
were tasked with making copies of a work as part
way. Painting required a team to be, as he puts it,
of an artist’s commissioning process and in some
commercially successful. “So you would have as-
cases today, it is only those examples which still
sistants that you would train to paint and your ap-
exist. Mark tells me, “There are 17 or 18 known
prentices would study with you and the first thing
Penitent Magdalene, by Titian painted late in his
they learned was how to clean up the studio, help
career and they are all a little bit different, but
you with whatever and then how to grind paint
they were all from the same design or drawing.”
by hand, pigment, oil, grind, grind,” says Mark
Further he says, “But he probably turned some
who then further explains, unlike today, “And
over to his assistants, or did a little or a lot him-
then you would have multiple people working on
self or did it all himself or [laughingly] after he
a single work of art.” The artist would be the art
was dead the cartoon [cartoons were originally
director, having several working on the painting,
preparatory drawings] was still around and they
including himself and then as Mark puts it, “Sign
[the assistants] said, we have a hit here and were
his name on the bottom - or not.” Then when it
still taking orders!”
was time an apprentice would apply to the guild
In the swirling questions of who actually
to become a master himself. In these modern
worked on many of these masterpieces, Mark
times I think of the world of blowing or making
sights da Vinci as an exception, because he left
glass as a good comparison to those days of old.
his finger prints all over his work, in the glaz-
es and such. “He used his fingers more than he
It doesn’t stop there, they also use microscopic
probably used a brush.” Mark explains that this
cross sectioning of tiny chips of paint and other
has only been discerned through modern digital
techniques of their trade, many which have been
photography, 300 mega pixel cameras which can
adapted to their use from other industries.
scan a painting and through this they’ve been
In my conversation with Mark, one thing he
able to learn important things like the Mona Lisa
mentioned which made perfect sense, but wasn’t
actually having eye brows! But with information
something I had given much thought to, is that
such as this and cross referencing, historians and
the life of paint is one thing, but canvas life is
conservators are able to gather facts which allow
another. While many paintings were painted on
them to compare other works
wood, which has its own unique
of art in question, to an artist’s
characteristic issues, canvas is
known body of work.
cellulose [cotton or linen] cloth
Other tools of his trade see more than skin deep!
and by its nature has a life span
Radi-
he says, of about 100 years. As
ography uses X-rays to view
he puts it, “So it doesn’t matter
below the surface, through the
if there’s a great painting on it,
painting and its support. Using
it starts falling apart.” So, what
different light or energy and
people have done for about 400
wave lengths, these tools are
years now is glue a new piece
sophisticated enough to see under the paint, the
of fabric on the back called the lining and now
grounds used and sketches an artist used, as well
the strength is in that new piece of fabric. The
as restoration that may have occurred throughout
good news is that this artwork we enjoy would
its history. I asked Mark about that and he tells
not be around if this wasn’t done. The unfor-
me restoration has been going on for many years
tunate news is the ways in which they did this
and so knowing what you are actually working
years ago required ironing and so many of these
on before you touch it is imperative. So, where
paintings don’t look as they did when first paint-
even the best digital photography allows them to
ed centuries ago because they’ve flattened the
see deep into the cover of a book, so to speak,
brush strokes right out of them.
radiography allows them to read the book within. 24 |
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The third and final part of what a conservator
Ellen Nigro - National Endowment for the Humanities (NEH) Fellow in Conservation. Chrysler Museum of Art started an intern program which takes students who are finishing or about to enter graduate school, and they spend time there learning more about conservation. Ellen has an under graduate degree from the University of Delaware, which is one of the few under graduate degree programs in conservation in the country. This means Ellen got the background needed in art history, chemistry and studio art, so she has all the prerequisites, plus the 500 hours of hands on experience you need to even qualify to apply to graduate school, of which Mark tells me there are only three in the country - NYU, University of Delaware and Buffalo. These are the three schools which he points out, if you want to study the types of things museums collect. Mark’s path to being a conservator was just as extensive with schooling and internships, although his included other life experiences along the way, such as working with antiques, before his final decision to become a conservator. needs to know, along with art history and chem-
not so fast. The Chrysler Museum owns an inter-
istry, is studio art or the knowledge of how artists
esting Picasso painting (below) which was paint-
go about making the things they make. This is
ed in the 1920’s for a Mardi Gras ball in Paris.
the part where Mark will say that theory is great,
As Mark tells it, “It was just sort of painted as
but you need go out in the field and learn from
a theater curtain. It was a backdrop for a really
the individual artwork itself and each work is unique. He says, “The experiences, the technology, the theory, all come to play in understanding, but it’s sort of a mystery and a riddle, that each artwork holds and you have to sort that out and figure out what can you do, what can you not do, what you should do, what you should not do and that’s where the history, the chemistry, your understanding of how art is made, the studio art, all come to into play in with those decisions.” One of those major decisions can be as seemingly simple as what paint to use for a repair It’s so easy to think, use oil on an oil painting. Ah,
wealthy friend for this theater production they
and now you can’t do anything about it."
were putting on.” At about 12 X 8 feet, after-
So, what’s a conservator to do? Well for one,
wards it was just stored away and not given much
both Mark and Ellen point to the use of Gamblin
thought. Twenty years goes by and Picasso’s
Conservation Colors and an example being alde-
popularity had grown, so they decide they should
hyde resins. Not only are these paints lightfast,
restore it and sell it. As Picasso had never signed
meaning that they will age well. They are also
it, they wanted him to do this as well. It was
reversible, which means if they ever don’t match
sent to his studio and other things were done to it
they can be removed and it can be done without
during that time and then eventually it makes its
harming the original paint itself. They actually
way to America, Chrysler purchased it and other
have many systems to choose from and so you
touch ups were done along the way and all of
can see how chemistry is an on going and essen-
these things done over time, age differently.
tial part of the field of conservation. http://www.
Mark uses this Picasso example to note that us-
conservationcolors.com/stability.html
ing oil to repair or restore a damaged work of art originally painted in oil can have its drawbacks. First, it’s not reversible without damaging the original work itself. Even though one may think that oil is totally polymerized, the interaction between the two, [the new and old paint] any solvents you use to remove that repair later in time, open the risk of harming the original artist work. As he puts it, “You are painting yourself into a corner that you can’t get out of because you can’t undo what you’ve done if you make a mis-
As mentioned when talking about renovation of
take. Second, getting back to these things aging
the Chrysler Museum building itself, Mark makes
differently, the new paint will now have to also
it a point to note, “One of the most important
go through its own changes over time that the
parts of preservation is creating a stable environ-
original paint already has experienced and there-
ment, protecting it [the art] from light, from heat,
fore you can have things that no longer match
fluctuations in humidity, from bugs, from water,
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Copyright Live An Artful Life Inc All rights reserved.
from fire, I mean there are really things that speed
Mark’s eyes will see it first. He notes in their
up the breakdown of these natural materials.”
documentation, “much like a medical file”, that
Much thought and certainly funding went into
the varnish hadn’t been touched in over 20 years.
the state of the art HVAC system for this building
They also used ultra violet light (black light) to
and details on temperature, humidity and other
photograph it and he shares a photos showing dark
important information is at the fingertips of Mark
areas of decades past restoration. Mark points out
and others
that in the window, the brown patch is actually the wood Hawthorne painted
who monitor these rooms full of art and the information is recorded as well.
on show-
While in Mark’s lab it was impossible to miss
ing through. In this case, it is a plywood and its
“Spring Morning” by Charles W. Hawthorne (Jan.
grain can be seen in the surface of the painting,
1872 - Nov. 1930), which also has been known
which I thought in its own way added to the char-
as “Summer Millinery” from the book titled -
acter of the piece. Mark says, “He [Hawthorne]
“Hawthorne Retrospective”. Hawthorne was an
used the color of wood as a tone in the composi-
American portrait painter who founded the Cape
tion, maybe to compliment her skin tone”. In any
Cod School of Art and this particular painting I
event, this is a piece that has experienced resto-
felt offered refreshing uses of color to aid both its
ration over the years and Mark, with Ellen, will
composition and narrative. As paintings rotate,
make sure it is fine before going on exhibit.
some going to other exhibits, it is Alex Mann, the
During my visit much was talked about and
museum’s curator of American Art, that would
seen. Being a conservator is a fascinating vo-
make sure that other paintings like this have their
cation, one which artists who might also enjoy
turn to be seen by you.
chemistry should look more closely into. It also
So it’s going out on view, but before it does,
seems very gratifying and there’s an intimacy
Mark Lews and Ellen Nigro with Charles W. Hawthorne's "Summer Morning"
with working so closely with very special art.
as the artist once did. To not only experience its
Many of us, especially artists, view these works
allure, but its scale and minute detail. Then, just
of art only at arms length and extract feeling and
imagine your place in history as you keep it in
technique from there. The conservator, dare I
good repair.
say, holds them close. It is one thing to see the
I can’t thank Mark Lewis and the Chrysler Mu-
work of a master in its frame on the wall of a mu-
seum of Art enough, for their hospitality and al-
seum. It is certainly another to see a frameless
lowing me to bring you this story.
master’s work on an easel in front of you, just 28 |
Copyright Live An Artful Life Inc All rights reserved.
The landscape painter in me.... can not help but thinking there was a time when the masterful work of our greatest landscape painters was celebrated in epic fashion, and as I'm seen here standing beside Albert Bierstadt's "The Emerald Pool", it is easy to see why. At a time before television and radio, much less the internet, ruled our attention, this was a show! Depicting the White Mountains of new Hampshire, situated on the Peabody River near Mt. Washington, it seems Bierstadt worked on this roughly 6 foot tall by 10 foot wide painting a year before completing it in 1870. Oh my heart be still, as its grand panaramic scale allows you to believe you can step right into it. The Chrysler Museum of Art is blessed with large scale works of art like this masterpiece and even a few special pieces like this make it worth your trip! Tom
•
"GET FIRED UP!" CHRYSLER MUSEUM of ART G L A S S
S T U D I O
Hot words from the Chrysler Museum of Art
the Glass Studio’s - Third Thursday performances.
Glass Studio! One of the unexpected treats of our
Billed as After Hours Fun, the Glass Studio
visit to the Chrysler Museum was visiting their
comes alive with live music, drinks, food and best
free standing glass studio adjacent to the muse-
of all - GLASS AS PERFORMANCE ART! On
um’s main building. The Glass Studio’s mission
the night we attended I’m guessing 150 enthusi-
is as an educational facility which supports the
astic attendees waited in line like they were going
museum’s collection.
to see a rock star and Charlotte Potter and her team did not disappoint. As Potter became the ringmaster for the greatest glass show on earth, her heels and feathered earrings no less, didn’t hinder her from getting in the action. I should mention that Charlotte’s sister is Grace Potter, as in Grace Potter and the Nocturnals, so performing runs in the family. On our night the performance was a magic show, all spun around the fairly complex and might I say, high temp dangerous nature of creating in glass. With music by Joe Hamm with Qa-
Manager and programming Director - Char-
dabra playing, the team, working with scorching
lotte Potter, leads an experienced team of admin-
furnaces and the glowing molten material, then
istrators, staff instructors, faculty and assistants
threw a magic show into the mix by FLAMBEAU
who all play part in educational private and group
(AKA Eddie Bernard). What began with a delib-
classes, workshops and studio assistantship pro-
erate amount of corniness, truly became a “Holly
grams. But the dazzlement comes monthly with
smokes was that cool” performance … or did I
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mean to say hot?!! Either way, it was very visu-
Thursday of the month, so plan your visit to the
al, very creative and very fun! Bravo to Char-
Chrysler Museum of Art accordingly. For more
lotte and her team! Performances are each Third
information visit - Chrysler.org/glass-studio/
Life Coach By Kim Tapper Love-Grace-Aliveness-Trust-Radiance-
ger, my aches and pains, what this person thought
Connection-Joy-Presence-Light
of me, what that person said, what that other person didn’t say, what I should do or shouldn’t do,
What do you feel when you read these words? What do you think about?
why I’m good enough or not good enough, and on it goes. It’s exhausting and energy sucking; a
I think about living, what it means to be human
sure way to stay stagnant in life! Not to mention
and fully alive with purpose and passion and in-
all the energy I then spend trying to bring my-
finite love of all that is. The problem is, I don’t live
self back to center to clear my mind and connect
that as fully as I’d like on an every day basis. Most
back to my higher self who chooses to live in love,
days I wake up and aim for this – for grace to ra-
wonder and joy.
diate from me and for my ego (my fearful self) to
Much as we like to think we’re doing ourselves
remain in check while my soul (my higher self)
a favor trying to control, justify, or micromanage
gets on with the business of truly living. Meaning
all the elements of our lives, it takes far more en-
I aim to be kind to all, non-judgmental, deeply
ergy to fight what is rather than to just go with
creative, soulful, passionate and noticing beauty
the flow. Followers of yoga, meditation and oth-
all around me and in all people and things.
er mindfulness practices have known about the
But so often I find before I even finish my first
benefits of calming the mind and opening the
conversation of the day that my ego has taken
heart for centuries. They speak of releasing our
over again. And let me be clear in defining ego
attachments, our reactions to things, of getting
here: that’s the part of us that feels insecure, or
out of our own way, spending more time in awe
jealous, or scared; the part that wonders what’s
and gratitude for what shows up and letting all
going to happen next and tries to control circum-
experiences serve as teachers along our journey.
stances to ensure that outcome. It’s the part that
In addition to those practices, one other tool that
says “no” faster than “yes.” My ego self spends
takes me directly there, to the center of my soul,
time complaining of the temperature, of my hun-
is creativity. When I’m in the flow of creating
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Copyright Live An Artful Life Inc All rights reserved.
my mind is quiet and my heart is open. For me,
dergarten when you finger-painted? Or when
that’s generally when writing or choreographing.
you played make believe with your dolls or your
At my best I am in a position of receiving that
racecars or dinosaurs? Remember in elementa-
allows the art to flow through me – quite literally
ry school when you had to write your first poem
the feeling people describe as being a vessel for
for class? When you built something in wood-
the work to pass through. At my worst, I over
working? Or built a fort? Or when you prob-
think it, approach it with a cluttered mind, and
lem solved for anything at all and got creative in
my ego takes over wondering what this piece will
thinking of a solution? As a kid you were creative
turn out like, what people will think, why bother
all the time, drawing upon your inner unencum-
doing it, etc. Just as it is in all life pursuits, when
bered imagination. As adults that might look
we get out of our own way and let things flow we
a little different but it is still present and can be
"Our mind is like a muscle and if we don’t give it a rest from all our worries, to-do lists and plans, then we will burn ourselves out and live only a surface life day to day." achieve more, learn more, create more but when
tapped into if you give yourself a chance. If you
we let our mind and ego rule we squash, limit
make more space for that to find its way back into
and often miss the beauty and possibilities that
your life, it will carry forward into all that you do.
are present right in front of us.
Our mind is like a muscle and if we don’t give it
We all have access to our creative selves; it is a
a rest from all our worries, to-do lists and plans,
gift given at birth. Let me say that again: we are
then we will burn ourselves out and live only a
ALL creative. I can’t tell you how often over my
surface life day to day. Dig deeper. Find what
years as both a dancer/choreographer and as a
nurtures your soul.
Life Coach that people have made a huge point to
Recently while walking and looking at the glo-
tell me how uncreative they are. “Oh, I’m not an
rious fall foliage I heard a faint yet distinct call in-
artist,” “I’m not talented,” “I am so not a creative
side myself to paint. I ignored it. “I don’t paint,”
person!” Art and creativity are not domains for
I said. But the voice persisted…paint. I contin-
professionals alone. In fact, remember in Kin-
ued to ignore it for a few weeks. “I can’t paint
what I’m seeing in my head anyhow, it will look
a canvas and some beginner kid paints laughing
horrible.” And then the voice became an urge, a
while I did so. What was I doing? I then let them
visceral feeling that I need to use my full body to
sit there for another few weeks. But the urge grew
express something that was trying to get out. I fi-
even stronger. Finally one day I carved out the
nally thought what do I have to lose? So I bought
space, pulled out my paints and settled in. I had
The spark that lies inside is your spark of truth Fan it to bright flames; illuminate the blueprint of your soul . . .
no idea what I was making but as I began to let go
can paint well – unless mud colored mess is your
and let the urge drive me forward I felt my mind
thing – but I did find myself smiling the whole
relax and my body sink into a sort of reverie. It
time. And at peace. And totally relaxed. When I
didn’t matter what was on the canvas. I promise
completed it, I was radiating. I literally felt light-
you this story doesn’t end with me finding out I
er. And then these words came:
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Copyright Live An Artful Life Inc All rights reserved.
The spark that lies inside is your spark of truth Fan it to bright flames; illuminate the blueprint of your soul Hear what calls when you quiet your mind and listen with your full awareness All that you need is there. You are the builder of this house but you must follow the blueprints laid out in your soul. Do not build someone else’s. Notice all the special intricacies, they are yours and yours alone. When you’re stuck or lost, return to the prints and find guidance there. Do not worry about storms or setbacks, This house has no deadline Storms will come and go leaving behind lessons in their wake As might some crewmembers too. This is all part of the design. Keep open your doors to all who pass through - treat each with awe and love. And when your flame gets low again Stop and take a breath Inhale all the wonders of the world - the many who came before you Exhale into the present moment - right here, right now! And then return to your blueprints. See something there that you’ve been overlooking Hear that small voice inside whispering you onwards, pointing to what’s next, The spark that lies inside is your spark of truth Fan it to bright flames; illuminate the blueprint of your soul This is who you’re meant to be. During this holiday season take time to listen to
see what you’ve missed that begs to be expressed.
what is calling you forth. What needs to be creat-
What do you need to create next? Who/what is
ed in your life right now? What needs to be dis-
holding you back? Who/what would help you as
carded? Look to the blueprint of your soul and
you build? Happy building and happy holidays!
Jane Guthridge: The Fearless Creator By Tom Neel
I like fearless artists and while she may not
successful graphic artist accounts for a lot and
agree with this description, Jane Guthridge cer-
the mention of pretty much her whole family
tainly has artistic confidence. From her fash-
being engineers, explains what must be a fam-
ionable downtown studio, Denver artist Jane
ily gene. You see, while Guthridge is a master
Guthridge seems to approach her artwork as part
at encaustic and encaustic monotype, [saturating
designer, part fabricator and with creative pro-
translucent rice paper using melted beeswax],
totypical vision. Twenty-five years as a highly
she has no fear in exploring all materials or pro-
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Copyright Live An Artful Life Inc All rights reserved.
cesses to achieve a desired effect in creating her
Brissago, Switzerland and then later attended
artwork inspired by nature.
the Art Students League of Denver. She shares
An artist’s studio also helps foster their cre-
that her degree covered fine art and profession-
ativity and Jane’s has that urban modern feel
al arts, but she majored in graphic design and
of trendy meets exposed brick. What’s not to
this was the path she first followed. But she ex-
love? Jane greets me wearing an apron and no
plains, “The difference between graphic design
she doesn’t look like she’s about to make dinner.
and fine art is; one, that you’re telling someone
She looks purposeful, an artist who plans on ac-
else’s story with graphic design and with fine art
complishing more than an interview with me on
you’re telling your own and I don’t think I had a
Jane in her studio with triptych from her series "The Space Between" on wall. this day and I like that.
story to tell then.” (She laughs) “I had to live a
Graduating with her Bachelor of Arts degree
little to figure out what I wanted to say.” I think
from Kent State University, Jane continued her
this is a very important point, especially for new
studies with Armin Hoffman and Paul Rand in
artists, because all too often they think it’s all
about learning technique and forget that it’s real-
with a number of galleries, but also corporations
ly about expressing yourself.
and the agents who represent them. In this light,
Jane had some beginnings as an oil pastel
her work has enjoyed worldly representation
landscape painter, but with time she “became
and corporate acquisition which includes such
more and more interested in the light between
notables as Charles Schwab, Ritz Carlton and
the trees …zooming in to the point where it be-
Kaiser Permanente. She also teaches classes and
comes abstract.” Jane shows me that her work,
workshops. Jane shares, “I think every time you
“... is based on dappled light patterns that are on
teach someone you learn something. Just some
the ground that come from trees.” And she ob-
odd little thing.”
viously searched for the medium to best repre-
Growing up in Rockford, Illinois, Jane met her
sent that story she had been waiting to tell. “En-
husband while attending Kent State University,
caustic captures and holds light in such a unique
after which the two of them traveled for three
way, that’s why I was drawn to it.
months and finally ended up in
It has a very sensual quality, but it
Denver. The mile-high city offers
also just holds light in a very dif-
a unique artistic balance, allow-
ferent way.” While encaustic is
ing Jane to have her studio right
certainly one foundation of Jane’s
downtown near Denver’s Art Dis-
creative expression, she’s prefers
trict on Santa Fe and as she put it,
not to be labeled with the medi-
“In an hour you’ll be in the middle
um and this is where I think her fearlessness comes in. She’s not
Pools of Light - 13
of nowhere, that’s why we picked it.” This allows Guthridge to cre-
anchored to any medium, but rather sees herself
ate in her studio environment, but to easily head
purely an artist.
to the hills [mountains] for nature’s inspiration.
From her transition to fine art less than 10
“I think as an artist you sort of look at the world
years ago, Jane needed to not only find her way
differently”, says Jane, who speaks of looking
through the business of art, but even exactly
at something as simple as a flower as a thing of
how to present her work. She spent almost 3
pattern and color, not just a garden ornament.
years alone developing her framing. Her suc-
Circling back to her family of engineers and
cess comes from determination and taking the
that fearlessness, I see in her approach as one of
right steps to move forward. Not only working
trying different things. Jane offers that, “I’m kind
38 |
Copyright Live An Artful Life Inc All rights reserved.
of scientific.” She one time even makes refer-
and translucent feel to the pattern and color. A
ence to her work by saying, “These are all my
multimedia artist to be sure and Jane’s latest se-
experiments.” Jane also very much works in
ries called “The Space Between”, offers its own
a way of series, such as her “Water”, “Ghost
set of fresh ideas and with little doubt that Jane
Ranch” and “Asia Series”. Her series “Pools of
Guthridge will stop there. Inspiration rewarded
Light”, uses a process of layered Dura-lar cut
by artistic confidence!
with a wood burning tool, archival inkjet and en-
For more information visit Jane Guthridge
caustic on mulberry paper which achieves both dimension and shape, but offers a soft, frosted
Pools of Light - 9
Art a Mile High DENVER, COLORADO By Tom Neel
40 |
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A is one which will enlighten you to a visit to the mile-high city of Denver
city’s approach to public art and the art scene it supports. Some urban areas do very little artistically and yet Denver rarely misses a chance to showcase creativity with examples never hard to find. Even a short drive on I-25, the main north/ south highway, would make it impossible not to see miles of what I’m talking about. The concrete walls which line many of an inner city’s highways, Denver used as an artistic support for narrative textured images, repeating themselves on both sides of the highway. If you wonder if it’s worth it, well, I can only say I think it is, as subliminally or not, there’s a sort of less hurried pace and a warmer feeling about the road. I-25 has some very scenic mountain views anyway and this just complements that natural beauty. In a sense it’s like dining at a nice restaurant with nothing on the walls or one which is adorned with art. One feels empty, the other complements the food and your experience. This is Denver’s way and where I think pictures are worth a thousand words, it makes sense to just show you rather than tell you, starting with the message itself plastered right on their public transportation system! ART MOVES YOU! Yes it most certainly does!
42 |
Copyright Live An Artful Life Inc All rights reserved.
44 |
Copyright Live An Artful Life Inc All rights reserved.
Now a city that has such an artistic philosophy is bound to have a strong arts scene and this city most certainly does. One of the places you’ll find that scene is on its western side along Santa Fe Drive. The Art District on Santa Fe defines itself as that which is "‌ dedicated to promoting public awareness of Santa Fe Drive as a unique art and cultural district, and furthering the arts and art education in the metropolitan community." The district has been featured nationally as an arts destination with First Friday attendances in the 5,000 range coming to support its 60-plus creative industry members.
For a first-time visitor to Denver and Santa Fe Drive, I hope my description will relieve at least a little of what might be called a surprise. This is an area that’s been redefining itself constantly. It is dynamic, very much active. Completely urban, it is at this point unpolished and imperfect
and the surrounding blocks are the same. Santa
Melissa Snow, a native of Denver, during travels
Fe Drive is an inner city boulevard with inner
in South America. After then moving to Den-
city character, where a mishmash of building
ver fourteen years ago, he began developing his
uses still exist. If you arrive thinking you’ll find
art career which he laughingly blames, but I’m
a beautiful gallery lined avenue, you’ll be sorely
sure lovingly credits his wife for. Beginning with
disappointed. But if you allow its industrial roots
a studio and then opening their original Space
to support its creative surge, you’ll be delighted.
Gallery along Santa Fe Drive in 2003, the expe-
This is a place where you don’t judge a book by
rience seems to have served them well. At that
its cover, get to know what sits below the skin
time there was no art district, just mixed use re-
and you’ll find its blossoming personality.
tail and vacant warehouses, but on the plus side
One such personality is that of Michael Bur-
Burnett credits the small handful that came be-
nett, owner and curator of SPACE GALLERY.
fore him including Spark Gallery, Denver’s oldest
Michael, a native of Edinburgh, Scotland, is
cooperative gallery which opened in 1979, and
schooled in art and met his wife and partner
Jeanie King’s Fresh Art Gallery among others.
46 |
Copyright Live An Artful Life Inc All rights reserved.
He explains that his old space was 8,000 square feet with many attributes, but he felt and had
them flourish, and I think Denver should consider this.
been advised over the years that at some point
Michael Burnett is savvy though and knows his
to get ahead, buying, not renting, made sense for
space could offer something more than a place
the long run. That two year process of finding
to exhibit fine art, including his own. Utilization
a lot, designing and building his new gallery lo-
can be key to survival of such a large space and
cated at 400 Santa Fe Drive, came to fruition for
therefore nestled above and below the gallery’s
its grand opening on May 22, 2014. The Owen
massive mezzanine are the Diaz Group - offering
Beard design won best New Art Building by
modern furniture, artist Sangeeta Reddy, plus
Denver Westword.
the offices and studio for
Beginning with a
Burnett himself. But it
steel kit, Beard trans-
doesn’t stop there. The
formed the structure
main gallery space itself
into a piece of artwork
is completely rentable for
itself.
The 10,000
events with an extensive
square foot space of
price list available on-
Space Gallery serves
line. All of these things
its name well. It’s nou-
contribute to the gal-
veau-industrial design
lery’s health and bottom
and materials application is modern and actually
line in what may be the future of high rent and/
quite fitting for the area. Frankly, it may be as
or property expenses and development costs.
much of a showcase to the arts district itself, as
I asked Michael about his years during the re-
it is to the artists it represents. I can’t imagine
cession and life today. He shared that while slow
followers not taking notice and this is of course
they also had one of their best years and we both
how architectural trends begin. I asked Michael
agreed the art market is strong now. "Denver is
if the city compensated their investment efforts
coming into itself and for the first time in a long
with a tax incentive and was told that he tried
time, people are really spending money and I
and was turned down. Tax incentives don’t halt
think part of it is our green economy and a lot
entrepreneurial action, but they sure can make
of money is being pumped in from the medical
marijuana industry. A lot of people are moving
can be found among the 40 or so artists Space
here just because the quality of life is so nice, re-
Gallery represents. His work utilizes the applica-
tiring from California and New York and they
tion of epoxy resin which gives the surface and
want somewhere else to be. People are deciding
applied paint what I will call a somewhat mold-
to move here from the two coasts and those peo-
ed-texture feel. It’s done in what feels to be an
ple may be a lot more cultured." Michael goes on
organized design fashion rather than an impasto
to share that about a third of the art his gallery
approach and nets a somewhat fabric sample re-
sells is shipped out of state and there seems to be
sult. When I mention some level of narrative in
a strong corporate following as well.
what feels like he’s representing nature, he tells
While Space Gallery’s new facility is spacious
me that he doesn’t really do this in a calculated
and can handle just about any-
manner but says, "To me its like
thing that could be thrown at
all the experiences I have hik-
it art-wise in scale, it also does
ing in the mountains with the
have the ability to keep you do-
kids, the switchbacks, the rain,
ing what it was intended to do
the leaves falling." We agree as
- look at art. That is to say, its
artists that these things seem to
scale certainly doesn’t go unno-
come out in your art.
ticed, but after taking it in, it al-
For me personally, meeting a
lows you to visualize artwork in
fellow creative type with a busi-
an uncluttered manner. I think
ness mind is always a great ex-
in time, as it becomes less brand new, possibly
perience, and if you’re in Denver, please do your-
the use of plants and such (it could have trees)
self a favor and make a point of doing the same.
will soften things a bit. Possibly the only drawback to a space this size is that it might be difficult for the average purchaser to visualize the art on display as it would be in their home or office, but it’s a small hurdle in what is an amazing vision. Michael Burnett is still an artist whose work 48 |
Copyright Live An Artful Life Inc All rights reserved.
For more information visit Space Gallery.
LINDA NEEL
The passion for pattern and color
Contemporary Fine Art
“Citrus” Mixed Media, 16” X 50” X 1.5”
LindaNeel.com ~ Art@LindaNeel.com ~ 540-364-4401
Live An Artful Life ™
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The Artist’s Perspective By Tom Neel
As we wind down 2014 and another year passes,
ascend again.
this is the time of year I really start looking close-
I think not only the most creative artists, but the
ly at the next year and what I want from it. As
happiest ones, continually seek new ground, rein-
an artist, one thing I always intend is for creative
vention, rejuvenation, growth, broaden scope and
longevity and happiness. This, by the way, is not
challenges. As an example for myself, I know one
just about working a long time, but rather to be
thing I’ve developed is a love of larger scale. This
creatively expressing myself a long time and so
doesn’t necessarily mean the story or the narra-
far, so good.
tive has to become more complex, but the story’s
Creativity though, is both a learning process and an evolutionary one. As we learn more we natu-
visual impact does and so I continually develop this. This is an evolutionary growth.
rally evolve, but as we age we also naturally evolve
But there can also be revolutionary growth as
in our perspective of life and this in turn, affects
well, where by what comes out of you is not fa-
our creative expression as much as anything. Life
miliar. It’s not like changing subject matter while
and certainly time itself moves differently as we
maintaining your style. I’m talking about more
age and creative expression and our personal feel-
radical transformations where you have become
ings about it, move right along with it.
unrecognizable in your new work. Frankly, if you
There are those who have lived very uncreative
are a professional, this revolutionary departure
lives that all of a sudden feel a deep burning de-
may leave your collector base scratching their
sire for it and go on a creative treasure hunt later
heads, but it may be necessary for your voice and
in life. This can be much like learning a new lan-
satisfaction as an artist. Art should feel like free-
guage and unless kept fun, can stop them in their
dom, not shackles and chains.
tracks too or become very rewarding. But there
Your longevity as any type of an artist may also
are others who have been creative their whole life
have to do with your commercial success and
in one form or another, that seek a new flight of
what you have become known for. I think collec-
stairs and some have been stuck on a staircase
tors expect growth too. They may not wish for
landing, progression-less for years and want to
radical change, but I don’t think they celebrate
stagnation either. Write a hit song and your audi-
self anti-growth and creative growth is the key to
ence is always going to want to hear it, but with
creative longevity. Give yourself goals of growth
growth comes new hits and even broadened nos-
and forward looking objectives for your creative
talgic appeal.
expression and as these final weeks of 2014 fly by
As you look towards next year and your artistic future, try to look where your are going and not
and that new year arrives, it will bring a more natural renewal and creative flow.
where you are. Fixation on where you are is in it-
THOMAS NEEL F I N E A RT
The Piedmont’s Premier Landscape Painter
“Not A Sound", oil on canvas, 24” X 48”
One of the most collected and commissioned fine artists of the Piedmont region of Virginia, with paintings throughout America and abroad. All works are beautifully framed and locally delivered or shipped. We invite you to visit our website or call for more information.
ThomasNeel.com • Studio 540-364-4401 52 |
Copyright Live An Artful Life Inc All rights reserved.
LINDA NEEL
The passion for pattern and color
Contemporary Fine Art
“Crisscross"
Mixed Media, 16” X 16” X 1.5”
LindaNeel.com ~ Art@LindaNeel.com ~ 540-364-4401
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An Artful G A L L E R Y
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