I just ate my still life!

It was mixed with some flour, brown sugar, vanilla, stuffed between a double pie shell and was delicious. 

Happy 2013!

Wassily Kandinsky.  Composition V 1911.

According to Inventing Abstraction curator Leah Dickerman at MOMA in New York, after hearing Arnold Schönberg’s Second String Quartet, artist Wassily Kandinsky painted Impression 3 (Concert) [pictured above] and invited the composer to exhibit his own painting’s with Kandinsky’s Blue Rider group.  According to Dickerman, Schönberg’s Second String Quartet, brought Kandinsky into the realm of abstraction in his art. 

Part of the exhibit is a revealing “social graph” of Kandinsky and his compadres of the time.  Be sure to click on each name as you browse the graphic as its interactive with pieces of art influences by the artist’s peers. 

It is noteworthy to view abstract art in the early 20th Century through this lens as it clearly delineates abstract art as a conglomeration of music, art, and poetry as opposed to an autonomous conception of one artist.

In partnership with MOMA, WQXR of New York has put together a playlist illuminating the musical influences of music on this genre of abstract artists.

And the best for last, give yourself a treat and listen to this fantastic interview with Leah Dickerman on the Modern Art Notes Podcast to enjoy this topic from start to finish.  To see what amazing combustive artistry comes forth from you, here is  Arnold Schönberg’s String Quartet No. 2.

Michael Accorsi is an artist, painter working from his studio in Northern California. He writes about art on his Plotlines art blog on Tumblr. Connect with Michael on Facebook and Twitter as well.  Subscribe to his studio newsletter here. 

Expand your newsletter and blog followers today with some of my suggestions below.  The volume of marketing from small businesses working from home is exploding, so don’t be shy, get out there and be proud of your amazing work and ideas.

Obvious Stuff:

•    Plugins for your Facebook, next newsletter, referral process (word of mouth #1),
•    Make sure the url is the direct subscription page at the bottom of every post.  See sample:  LINK
•    Put in your signature for your email.  Same url as above.
•    Provide newsletter history or archive link (see your email client). 
•    Timing - frequent and informative, not too often.
•    Don’t sell, inspire and inform your clients. 
•    Have frequent updates and direction.  Tell readers what’s coming in future newsletters.

Offer Freebies

•    Decorating, lighting house, creating still life with decor
•    Color!  New, fresh combinations: Experiments you have tried in your work.
•    Free postcard, print card or sample - autograph and thank client.
•    Painting giveaway
•    Free Product - art or decor related
•    eBook articles:  that compile to a larger book: Offer a tease (sample paragraph, partial list)…
•    Tangible Prize… take a picture of the product.  Make it fun and yes, its completely worth the cost! 

Make it Interactive:

•    Guest Write ups:  Tell me about your memories from France and Italy (when promoting art from that region).
•    Contests:  Guess this artist, have a survey (Survey Monkey) and gather important information from your customers.
•    How To’s & Techniques - what are you learning?  Share it!
•    Breaking News… local shows, exhibits, other artists.
•    Guest Blogger: Have a client, colleague write a full segment.
•    Social Media How to…cool updates, new features on social media.
•    Thank and write feedback for comments and follow ups.
•    Ask Questions at the end of the post - post answers in next newsletter.
•    Have clients help provide a name for a piece up for auction.

Reach Out:

• Post on content related forums, blogs, etc. frequently, put url in (if permitted) or in your signature for forum. (This step is a bit of a drag as you will most likely have to create an account for each forum, many times a forum may have a waiting period until you are able to post.)  The upside?  Your are pinpointing and reaching your direct topical audience directly and for free!
• Get out and meet people, go to shows, support other artists, classes, museums, and public events. 
• Promote and contribute to charity:  Hurricane Sandy, School of the Blind, Helping victims.  Always good to be community building.
• The best for last - Surprise your followers!  Do something fun, crazy, sell a painting, video yourself delivering the money to a charity.  Provide bloopers of funny mistakes and mishaps making a video. 

Do you have suggestions to add to this list?  If so, post below or email them to me and I’ll add your suggestions so others can have a nice list to work from. 

Receive more updates and jubulations on my newsletter.  :)  And send yours back!  Who knows, I may send you a free art card. 

by Michael Accorsi

On June 2nd, Oakland ProArts Gallery gallery helped host East Bay Open Studios which promoted the work of over 400 artists from Fremont to Richmond. The event was fantastic. Garages, studios, houses, apartments, warehouses were full of art. Seemingly, every street and alley had something vibrant and creative happening. It validated the cliche Art is the only thing left in the world as it brought people together.

I wrote up a brief summary in an earlier blog post if you would like to read more.  Of the hundred or so artists that I saw at Open Studios, the expressive paintings of artist Paula Boas stood out with their movement and depth.  Artistically, her work reveals a sense of natural tension as elements of simplicity-complexity and competing styles of clean edges-expressive strokes vie for your attention. I had the pleasure to meet and interview Paula about her work - so sit back with a fruity summer drink and enjoy the colorful abstract paintings of Paula Boas.  

                                                 Spring IV, acrylic on Canvas, 36 x 36 in.

  “My works are expressions of motion created from handwriting. Each of the paintings start with examples of handwriting, the design of handwriting – the shapes, forms, type of line whether it’s bold, thin, the effect and our reaction to handwriting.”  

                                              Growth acrylic on Canvas, 36 x 36 in.

“In the work titled Growth I have multiple layers of handwriting and the movement of the letters, showing through. The object is to be able to see things coming up through the canvas underneath the painting surface.” “I tend to be non-objective in most of my work but like the painting Spring IV (above) - leaf symbolism gets into my work, I didn’t plan this, the painting kind of evolved this way. I like how the yellow green work the form of the leaf that comes across in this painting.” 

                              Underpainting for Floral Essence, acrylic on Canvas, 24 x 24 in.

An example of the process behind Paula’s work is shown in the photograph above, Underpainting for Floral Essence. Boas states, “I am interested in the visual effects of using text and script as line, shape or pattern. My lyrical works evolve as I reveal, obscure and re-expose layers of paint, script, graphite, and paper to create subtle yet complex surfaces. I start with an idea or color sense, but then improvisation takes over and the paintings move in new and sometimes unexpected directions.”

“In the painting Floral Essence I incorporated the word indubitably into to the painting as when I was working on this piece my nephew was using the word endlessly. I worked in more flowing shapes and movement, then quiet the painting, constantly eliminating.”

                                                 Floral Essence, acrylic on Canvas, 24 x 24 in.

“In the painting Escaping (pictured below), is another way of using form and shape in handwriting. Its an improvisational process - bright layers of paint, then I lift it through, you can’t paint that line the same way you can lift it out or scrape it.”

                                                 Escaping, acrylic on Canvas, 30 x 30 in.

  “In the painting Tranquil Message it’s about using the elements of the water’s edge. Bringing into it a lot of writing, pulling together a drawing point of sea to sky, all of these elements bring forth a sense of movement in their abstractions.”  

                                              Tranquil Message, acrylic on Canvas, 40 x 40 in.

As an artist what I appreciate the most about Boas’ work is her sense of balance and control with her media and subject matter. I studied her work for sometime prior to meeting with her, and felt the punctuated points of each painting. Abstract work communicates familiar and powerful messages that make our right brain work and search for explanation, clarity, and purpose. Paula Boas paintings give much to study - some improvisation and expressive movement, off-set with clean contrasting edges.  

                          Yellow Cello and a Bowl of Fruit, acrylic on Canvas, 30 x 30 in.

                                           Above, mixed media on Canvas, 24 x 24 in.

Paula Boas is a former engineer who has been painting for over seven years. Originally from Pittsburgh, Pennsylvania she studied engineering at the University of Maryland. Currently her work is available at Lafayette Gallery, Valley Art Gallery, and Art Conceptsin Walnut Creek. You can also contact her directly to beautify your home or business with one of her beautiful works of art.  

                                              Artist Paula Boas at East Bay Open Studios

                           On the Edge, acrylic on Canvas, 40 x 64 in. (background paintings)

Official Website of Paula Boas

Michael Accorsi is an artist, painter working from his studio in Northern California. He writes about art on his Plotlines art blog on Tumblr. Connect with Michael on Facebook and Twitter as well.

michaelaccorsi:

The Spectacular Work of Photographer Marissa McPeak

by Michael Accorsi

Recently, I saw the brilliant work of Bay Area photographer Marissa McPeak on a collaborative project in San Jose. I think over the time I worked with Marissa the camera was around her neck even during meals.

I was…

 Female Model, 24x30, Oil on Linen

by Michael Accorsi

Peruse Jason Juan’s expressive, figurative work with your favorite music playing and glass of wine - it’s an experience within itself. I had the opportunity to interview Jason this past week for EIL - enjoy!

MA: Tell us a little about your art background and studio. Where do you do most of your work?

Jason Juan: I recently moved to Bay Area. The art scene is still new to me at this point. For the last nine years I lived in Seattle and worked with Eastside Artists Collaborative, Gage Academy of Art, and Art or Not Terminal. I learned a great deal at EAC which is run by Larine Chung. We started to incorporate windows with natural light to the settings which create the best quality of lighting on the subjects.  

                                               Artist, 12x16, Oil on Linen

Artist is a portrait of my artist friend. It is such a joy when a painting got done so smoothly and everything just feel right. If the setting and lighting are right, the painting is halfway done. When I was painting him, he was actually drawing as well until the last ten minutes I asked him to look at me so I could finish the eyes.

MA: Can you tell us the methods you use to start a large work?: (sketches, smaller mock-ups, etc.)

Jason Juan: Before I paint a large sized painting, I prepare a smaller oil sketch usually around 9”x 12” to 16”x20”, or Charcoal/Pencil sketch which is usually 8.5”x 11”. With large work, it has to be done in several stages. I prefer to paint straight for a few hours so the canvas is still wet or wait for another week until it totally dried so I can work on it again. Sometimes sandpaper is used in the process especially for the smooth area such as skin before I put another layer of paint. I also paint over my old work a lot if some of the abstract elements in the old work is something I was to help in the composition for the new painting.

                                            Temptation, 24x30, Oil on Linen

Temptation is a painting I developed from a quick sketch at one of my drawing sessions. The primary sketch is pictured below.

MA: What I enjoy about your figurative work is the interplay between realistic classical figurative work, then some interpretive contemporary twists and loose styles – how does this ability to have versatility work for you?

Jason Juan: I believe the contemporary twists and loose styles you saw in my paintings were from what I learn in Chinese calligraphy. Chinese calligraphy contains many elements which I feel has big connection with human figures, and sometimes I even feel they could be the same such as certain curve lines, compositions, and the power of the strokes.  

                                           Figure Sketch, carbon pencil on paper  

MA: Are there any contemporary artists that you admire or made impressions on your work?

Jason Juan: There are many contemporary artists who have inspired my work. Here are just few of them: Chuck Close, Lucian Freud, David Leffel, Jeremy Lipking, Nikolay Blokhin and Carl Jackson, who is one of my instructors in school, and he shared personal and painting experience with me while I was learning to draw between 2002-2005.

                                             The Light #3, 22x28, Oil on Canvas

MA: Where can interested collectors see and purchase you work?

Jason Juan: I worked on both traditional media and digital media. Waterhouse Gallery at Santa Barbara carry some of my oil paintings. Visit my blog or contact me for more detail info if you are interested in more paintings and limited archival paintings of my digital works.  

                                                                Jason Juan in his studio 

Jason Juan is a traditional and digital artist working in the San Francisco Bay area. After working for nine years in the Seattle art scene Juan is making an impression on contemporary artists across California. See more of his work and drop him a note on his blog.   Jason Juan website       

Michael Accorsi is an artist, painter working from his studio in Northern California. He writes about art on his blog Plotlines Art Journal. Connect with Michael on Facebook and Twitter as well.    

Artists Giving Back: School mural project on Navajo Reservation

by Michael Accorsi

Summer of 2005 an ambitious group of students and I ventured down to Tuba City, Arizona to volunteer and complete some service work projects in the summer education program on the Navajo Reservation.  We split into two groups one at Tuba City Primary, the other in Eagles Nest elementary school.

 
An amazing Navajo artist completed a beautiful mural in the center of the school so the administration of the school asked me to do a series of paintings to promote reading between the second and third grades which led to the library.  Almost like a small book within itself.

 
And I only had three days to complete the job.  The problem is the wall itself had to be repainted so I didn’t have fresh blocks of color against a weary tan wall.  Also, I really only had 3 colors, found a little yellow.  The good news - its hot in Tuba City and paint would dry in half the time.  I decided to make a dozen or so panels using a familiar cartoon character - Snoopy and the story of the Precious Present by Spencer Johnson. 

The book the precious present by Spencer Johnson is a book that my father gave to me as a sentimental gift.  It is a story I have utilized in the classroom and on trips and retreats with students.  Its a wonderful fireside story to read to kids of any age.
 
Something particularly significant with The Precious Present and Navajo culture is Navajo people are keenly aware  of the living in the present - and maintaining a deep connection to time and tradition.  The traditional Navajo home the hogan has a door that faces east to pray and give homage to the rising Sun each day.  This serves as a fresh rejuvenating start to a new day and permits the troubles of yesterday to dissipate.
 
I altered how I portrayed the story to the Navajo children to incorporate some of these themes that are familiar and sacred within their culture.

 
People always want to know ways that they can help - either by sending donated items or money.  I always suggest to donate to Fr. Blaine Green at the Lady of Fatima Catholic church in Chinle, Arizona by Canyon de Chelly.  He facilitates two organizations that help Navajo people:  a clothing donation center and the Talbot House which provides support and help to those struggling with alcoholism on the reservation.  If you are interested in helping the church here is a link with their contact information.

Michael Accorsi is an artist and blogger in Northern California.  His oil paintings can be seen on his website.  Follow Michael on Twitter and on his studio Facebook page. 

Harry, 2007, Charcoal, pastel, acrylic on paper, 28 x 22 in [pictured above].

Painting is the primal impulse to mark. It’s a visual record of the mind, the body, and the human spirit. For me there’s an urgency to both create and destroy. Maybe it’s out of sheer frustration that I work. Maybe it’s just to satisfy a need to violate or to contradict. I’m not sure. There is a strong feeling though and I feel compelled to communicate this feeling.

Nuit #5

Concerning content and meaning in my art, I’m never quite sure. The work seems to be layered with different meanings. It primarily deals with vulnerability, fragility, and submission. It conjures up past images and emotions… feelings about the church, about nuns, relationships with my mother, with my wife, and other persons both male and female that all seem to play a part of each painting. And then there’s the surface, the physical quality of the work that eludes to decay, to violation, and to vulnerability.

Liar, 2008, Mixed Media on Panel, 24 x 24 in.

The surfaces of the paintings are like excavations, surfaces layered with a variety of materials… dry pigments, acrylics, tar, fabrics, oils, bonding agents, along with different clays dug from the Georgia soil. From these materials figurative images are unearthed. Their surfaces reveal the painting’s history, its process, and provide actual depth, both physically through build up and layering as well as emotional depth with destructive scarring.

Figure #75, 2007, mixed media on canvas, 72 x 72 in.

The works are an existential search for an abstract presence, an intuitive search into the unknown, a search for truth revealed through distortion and through exaggeration. I feel connected to the past, to a timeless tradition in art that has always been a primary concern of man…the expression of existence. It’s innate. It’s primal. It’s been there since the beginning and I too have become part of this search for meaning and identity through the creative process of art making.

l07 dymphna

Artist Bio Harry Paul Ally is recognized as one of the South’s finest painters. He has been a professor of drawing and painting at Valdosta State University in Georgia for more than 20 years. Harry Paul Ally has exhibited extensively in individual, group, and juried exhibitions since the 1970’s and has won numerous awards for his paintings across the nation. Harry Paul Ally utilizes a wide variety of materials - dry pigments, acrylics, tar, fabrics, oils, bonding agents, and different clays dug from the Georgia soil - “From these materials the figurative images are unearthed,” Ally states. “There is a markedly primitive feel to Harry Paul Ally’s work. Even with his raw figures, each canvas seems like a realistic moment in nature,” comments gallery owner, Bill Lowe.  

Harry Ally in his studio

  Hary Ally’s Website  

Michael Accorsi is an artist, painter working from his studio in Northern California. He writes about art on his blog Plotlines Art Journal. Connect with Michael on Facebook and Twitter as well.    

20 Tax Reminders for Artists:

                                                     Norman Rockwell’s Stockbridge studio

1.    Studio rent
2.    Art supplies
3.    Telephone/internet
4.    Cabs, subways, buses, tolls, parking
5.    Book, magazines, reference material
6.    Copying, printing
7.    Office supplies
8.    Promotional Materials: (Post cards, website)
9.    Film & processing
10.    Gas and electric
11.    Memberships (museums, professional organizations)
12.    Messengers, private mail carriers, postage (print from usps, paypal)
13.    Hanging fees, entry fees, framing
14.    Business insurance
15.    Tax preparation, legal fees
16.    Travel
17.    Business meals and entertainment
18.    Business gifts
19.    Equipment and software
20.    Cultural events/ museum entrance fees

If I forgot to list something or you have advise to help fellow artists, please reply below or email me, I’ll be sure to pass it on. Enjoy!

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