This piece is about 8" x 10" and my influence was topographic maps.
There is a very interesting article published by the New York Times called Tight Times Loosen Creativity. The NY Times put out a call for artists to share how the economy is affecting their lives and work. The author, Robin Pogrebin, discusses how the downturn has, in fact, contributed to an upturn in creativity. Basically, artists who did work for specific clients and no longer have that income, are being freed to do new and their own artwork. Of course, all is not sunshine and roses as everyone has to make some money to pay the bills. They work at odd jobs, many of them teaching, and one young man (who they profile in a video) works at the Philadelphia Museum of Art and makes $12K per year. He is very upbeat and positive about the future, as are many of the artists profiled. One works a typical 9-5 job but does it to be able to go to Spain every year for 5 weeks to paint.
How about you? How has the economy affected you as an artist?
Preparatory Drawing; graphite on watercolor paper; 22" x 30"; 2008; © Rebecca Howdeshell
I love basketry. I know how to make a coiled, plaited or twilled basket and know the effort that goes into being able to control the material and produce a well done basket. I also love the line of the form and the shadows that produce those astounding secondary (shadow) lines.
Jerry Bleem is a fiber artist who makes 3D forms. His artwork is very formal yet he uses a lot of found materials and when you get close you also see that it is comprised of thousands of staples. I was fortunate to see his work in person at a show curated by Amie, Traversing Fibers.
Wade, fish scales and staples, h: 14.8 x w: 16.5 x d: 11.5 in, © Jerry Bleem
Above two images, The Heart is a Mouth; found papers, staples; 1992 © Jerry Bleem
Above two images, Parable, found paper, thread, staples; 21 1/2" x 24 3/4" x 16"; 2005, © Jerry Bleem
Bleem is teaching at the School of the Art Institute of Chicago this summer. A friend of mine is lucky enough to be going and taking his class.
I was reading dear ada the other day (a wonderful blog, by the way, highly recommended as well) and found a link to a flickr set of antique kimonos from Neville Trickett. I’ve posted a sampling below:
Lesli Robertson is an amazing artist, a very accomplished weaver and someone who I admire tremendously. She has no fear when it comes to weaving and instilled that attitude in her students. If you wanted to try something, she would encourage us to “go for it” with comments such as “it’s all good.” Not everything would work out perfectly for us, but in every single instance I got the weaving finished and learned a lot about yarns, warping and how to produce the beautiful open weaves that I love so much.
Above two images are Re-position, concrete, graphite
© Lesli Robertson, 2008-2009
Above two images, Begin with 8 equal parts, Mixed media © Lesli Robertson, 2009
Nkata Series, Mixed Media, © Lesli Robertson, 2009
Interchange II, Handwoven cotton, rock; commissioned Kiganda raffia and banana stem basket from Namutebi Margret, © Lesli Robertson, 2006-2007
Abiding Delicacy, Handwoven cotton, concrete, fiber reactive dyes; concrete Installation, © Lesli Robertson, 2006
Lesli’s work is influenced by her travels, she has made four trips to Uganda and has lectured and written about her interaction with the people and materials (such as bark cloth) of Uganda.