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There is a huge Sargent exhibition at the Metropolitan Museum, and I had been hoping all year to get up there and see it. I was just about to give up because of health and logistics, but I felt better several days in a row and decided to just go for it last minute. It was SUCH a good decision. And I was lucky to be flexible and able to go last minute. I spent Monday to Friday in New York, home on Saturday, and I just drank in art. I went ahead and joined the Met both to support a great museum and so I could go in and out at will. And hopefully I'll go back again and use it some more in the next year.
The Sargent show was great, a wide selection of work from the earlier part of his career, the part where he was based in Paris. He was ridiculously prolific, and there were many I'd never even seen reproductions of. There were a bunch in private collections but also old friends I've seen in other places in other years.
I found benches and sat and sketched a good bit, also just sat and looked deeply. The gallery sketches are all Derwent Inktense pencils. The NY museums have a pencil only policy, and I love the Inktense ones because they have more depth and saturation than most pencils. They're made with ink instead of watercolor, and when you put a little water on them (I usually use a water brush for a blender), they really pop. I tend to get in the habit of drawing with fountain pens at home, so it's fun to mix up texture and use the pencils sometime.
I enjoyed drawing people with the art a few times, including that first full length portrait of the doctor in the super saturated red. After lunch I went back in and drew the Daughters of Edward Droit, one of my favorite Sargent portraits anywhere (aside from Lady Agnew in the Scottish National Gallery). I had seen it in Boston a decade ago and been completely blown away by the composition as well as the beauty of the brushstrokes. I drew it straight up, just looking deeply and enjoying the painting.
The Sargent show was great, a wide selection of work from the earlier part of his career, the part where he was based in Paris. He was ridiculously prolific, and there were many I'd never even seen reproductions of. There were a bunch in private collections but also old friends I've seen in other places in other years.
I found benches and sat and sketched a good bit, also just sat and looked deeply. The gallery sketches are all Derwent Inktense pencils. The NY museums have a pencil only policy, and I love the Inktense ones because they have more depth and saturation than most pencils. They're made with ink instead of watercolor, and when you put a little water on them (I usually use a water brush for a blender), they really pop. I tend to get in the habit of drawing with fountain pens at home, so it's fun to mix up texture and use the pencils sometime.
I enjoyed drawing people with the art a few times, including that first full length portrait of the doctor in the super saturated red. After lunch I went back in and drew the Daughters of Edward Droit, one of my favorite Sargent portraits anywhere (aside from Lady Agnew in the Scottish National Gallery). I had seen it in Boston a decade ago and been completely blown away by the composition as well as the beauty of the brushstrokes. I drew it straight up, just looking deeply and enjoying the painting.
Toward the end of the day I wandered through the American wing and saw a father and son in blue stripes and checks hanging out in front of an orange Helen Frankenthaler. It was a wonderful sight. It took me a couple of minutes to get out my book and pencils, so it's a super fast sketch as they moved on out, but I was happy with feel of it.
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The High Museum in Atlanta has an exhibition of Georgia O’Keefe’s New York era paintings, a broad selection of her work, but clearly (above) I was drawn to the skyscrapers. I highly recommend the show to anyone who can get there. I had a whirlwind trip. I’d pondered going before the snow, and clearly that was a bad idea. Then I thought about going next week, but the forecast when I checked looked ominous again, so Monday morning over breakfast I decided that that was the day. I had scouted out a garage apartment in walking distance of the High that was only available until Thursday, so I made the reservation at 7:30, threw some things in the car, and was out by 9:00.
I’ve been feeling for a while that I was stuck in a long covid rut, partly from fatigue, partly because of a fear of reinfection, and partly because it became very easy and comfortable to stay home. Having learned covid strongly disagrees with my particular biology, I’m still masking in public and miss the dancing I used to do. But I chose Explore as my word of the year and set myself a task to go somewhere new each month, even if it’s close to home. Museums are great because they’re not too crowded, and there isn’t that focus on food and drink, plus they feed my soul. I loved my Crystal Bridges/Nelson Atkinson trip last fall, and I’d like to do some more museum visits. I been once to the High around college age, but it’s been so long that I counted it as a new place. Piedmont Park certainly was. As with my fall trip, I brought along food, stayed within walking distance of the museum, and never moved the car (more key in Atlanta than some places). I went to the museum both mornings but walked in the park afterwards (and even the first night I got in). That rhythm of walking and looking at art and sketching really feeds my creativity. I also saw two old friends I hadn’t seen since before covid, which feeds my soul.
I did three museum sketches, two park sketches, and one early morning full moon sketch off my tiny balcony. There was a lovely large table and good light in the apartment too, and I did a bunch of Henry in the snow sketches while I was there too. Trips often get my sketching into overdrive. I’m working on a new graphic essay, maybe even a book, from my photos of him in the snow. It was an excellent three night getaway, and I’m so grateful I could just go.
I’ve been feeling for a while that I was stuck in a long covid rut, partly from fatigue, partly because of a fear of reinfection, and partly because it became very easy and comfortable to stay home. Having learned covid strongly disagrees with my particular biology, I’m still masking in public and miss the dancing I used to do. But I chose Explore as my word of the year and set myself a task to go somewhere new each month, even if it’s close to home. Museums are great because they’re not too crowded, and there isn’t that focus on food and drink, plus they feed my soul. I loved my Crystal Bridges/Nelson Atkinson trip last fall, and I’d like to do some more museum visits. I been once to the High around college age, but it’s been so long that I counted it as a new place. Piedmont Park certainly was. As with my fall trip, I brought along food, stayed within walking distance of the museum, and never moved the car (more key in Atlanta than some places). I went to the museum both mornings but walked in the park afterwards (and even the first night I got in). That rhythm of walking and looking at art and sketching really feeds my creativity. I also saw two old friends I hadn’t seen since before covid, which feeds my soul.
I did three museum sketches, two park sketches, and one early morning full moon sketch off my tiny balcony. There was a lovely large table and good light in the apartment too, and I did a bunch of Henry in the snow sketches while I was there too. Trips often get my sketching into overdrive. I’m working on a new graphic essay, maybe even a book, from my photos of him in the snow. It was an excellent three night getaway, and I’m so grateful I could just go.
I also met the coolest museum guard Theresa who walks around with a tiny sketchbook and draws the art as she’s guarding. I loved talking to her both days.
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We had a very short lived morning at the Pink Palace Crafts Fair today. About 10 people showed up to tour it. I hadn’t finished my tea before they wisely called in for the day. But it won’t be raining tomorrow, so we’ll be there Saturday/Sunday. Memphis, dig out your favorite Music Fest mud boots and come see us!
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Every show I do I get a last minute wild hare to do some extra project to go with it. For WAMA it was doing an entire show catalog called Hints of Gladness. This time, with the show hanging on Monday, it was a much more manageable project. I had kept the artist statement quite brief, and I decided to typeset it and print a small edition of handmade ones. Most of the fonts I have are limited in the numbers of letters, but this Parsons 30 point set had JUST enough letters and was a lovely size to show up in a frame and hold its own space. It has the added delight of the fancy, super high ascenders (the "ls" and "hs" that reach up well above normal height), so I used them for the first line before going back to the normal set for the rest of the paragraph. It was a satisfying one day project, and this morning
I will get it in a frame and have it ready to hang with the rest of the show on Monday. I've also carved and printed a small gallery card for folks coming through the museum to pick up and have my information available. This is one of the handful that print two tone when I add a second color once the first is established. I love the variegated effect. I usually get three or four of these before the inks blend to a solid color again, so most of the cards will be a little less wild, but I always love these the best.
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I'm so excited to be having a show with Melissa Bridgman again, our first since the pandemic started. Notice the new venue, at Melissa's studio, for those of you who have come to mine over the years.
First, though, this coming Saturday is the Tsunami Artist Market. A quick pop-up on Saturday morning, July 29 from 9-12. Come by the farmers market a couple of blocks away, the chef's market in front of Tsunami, and us in the side lot. A fun Saturday morning!
First, though, this coming Saturday is the Tsunami Artist Market. A quick pop-up on Saturday morning, July 29 from 9-12. Come by the farmers market a couple of blocks away, the chef's market in front of Tsunami, and us in the side lot. A fun Saturday morning!
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Sarah Dutton does the marketing for Walter Anderson Museum of Art (she created the entire video about the show I shared earlier), and she kindly took some highly professional photos of my exhibition hanging in their beautiful space. I'm so grateful to have this record of the show, and she also, so generously, took a bunch of me as well. I have a new head shot I'm happy with, and some fun ones in the show itself (though honestly, I should learn to just look in the mirror first and check my shirt/hair/whatever else might be slightly askew -- maybe I'll learn eventually).
Anyway, aren't these lovely??
Anyway, aren't these lovely??
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I celebrated delivering my new show by sketching lots and also buying a new "I HAD A SHOW AT WAMA" tea set that will forever hold these happy memories for me. I had gone to Shearwater Pottery just looking for a cream pitcher, since I'd recently broken one of my favorites. But of course I ended up with a teapot too. Actually not "of course" -- teapots are hard to make, and they don't always have them in stock. This blue/green/grey glaze was so gorgeous I couldn't resist. In an added bonus, when I got it home, I found that my new favorite tea infuser fits EXACTLY into the hole with the lid going just inside it, so it's my easiest to use teapot of all the ones I now have. (Lots of them, sadly, are too narrow for my infuser, so I use them less than I used to, but I do still rotate through them for joy.).
Speaking of joy, they got my show up on the walls before I left, so I sat in the gallery and did a celebratory sketch of it. So much joy.
Speaking of joy, they got my show up on the walls before I left, so I sat in the gallery and did a celebratory sketch of it. So much joy.
I also sketched this tall tree that I've been wanting to do a print of. It's good to have sketches as well as just photos to work from, though both are helpful in different ways, especially for more detailed subjects. And I'm adding in a second vertical that I did at my opening weekend to balance it out. My mom's three best friends have shown up for me at all the truly important passages of my life, acting as her proxies. They couldn't be at the museum in person, but they sent these gorgeous flowers to mark the occasion, and I couldn't be more grateful.
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This month has been so non-stop that I have most of a sketchbook finished and almost no scans done until today. I put snapshots on site up on my social media and sometimes here, but the scans show the sketches so much more clearly. Here are a batch from the beginning of the month when I got to stay in this lovely artist cottage at WAMA. I take down my traveling teapot and electric tea kettle and have breakfast (and lunch and sometimes dinner) on the little balcony. It's a beautiful, peaceful place to stay.
Driving down that trip my art delivery day was February 28. The day before Mardi Gras. So I got to pick up an actual king cake on my way in to town. They are SO much better down on the coast. The Memphis versions I've tried have been very pale imitations, even though we're a good food town overall. So here's my king cake along with my travel teapot. All the essentials.
Driving down that trip my art delivery day was February 28. The day before Mardi Gras. So I got to pick up an actual king cake on my way in to town. They are SO much better down on the coast. The Memphis versions I've tried have been very pale imitations, even though we're a good food town overall. So here's my king cake along with my travel teapot. All the essentials.
I admire the artists who do full on collage. I've always felt that mine look more like 4th grade projects. But with this sketchbook, I've been making small movements in a multi-media direction, pasting in bits of ephemera that evoke the moment. The king cake label was one, and this lovely card from a kind friend is another. I got called up to the front of the museum while I was there, and a longtime friend had seen me down there delivering art on fb and actually sent me flowers to celebrate that moment. It meant so much. They sat with me on my little balcony and nodded gently in the back of my hatchback as I drove back home to Memphis.
I always try to draw flowers when I'm lucky enough to get them. They are a gorgeous but ephemeral gift, and having them in my sketchbook helps me remember the moment and the beauty long after the original flowers have faded.
I always try to draw flowers when I'm lucky enough to get them. They are a gorgeous but ephemeral gift, and having them in my sketchbook helps me remember the moment and the beauty long after the original flowers have faded.
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Y’all. I got this email from WAMA, and seeing my work side by side with Anderson’s made me tear up. I finished putting hardware on the very last framed piece today, and it’s all feeling very real and a little bit overwhelming in the best possible way.
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Y'all, WAMA has made a gorgeous website for my exhibition! I couldn't be more pleased. Above is a screenshot of the top of it, but to navigate the images and read all the text about the show and see photos of me working, click here. They are doing a beautiful job on every aspect of this show, and I can't wait to see it hanging in their space. I deliver art on Feb. 28th, and I have 20 of 21 prints framed.
I'm partway through mounting all the pieces (20 watercolors plus text bits) for the separate graphic essay about Mr. Darcy that will hang in a separate space. It's their first time hanging just mounted art instead of framed, their first graphic essay, and their first time hanging in a salon style (a more informal, collage style grouping). I'm so grateful they're trusting me to do this new thing for them. Mattie Codling, the curator, had asked me if I wanted to write a bit of story about Mr. Darcy to go with his print in the show, knowing what a large part of my art making he had been to me. I told her I would love to and that I also had this graphic essay about his last couple of months called Daffodil Season. It doesn't go with the formal print exhibition, but she found a separate space for it in the museum and is diving into this new thing. I have so appreciated her enthusiasm and support in the two years preparing for this show. It will be special to honor Mr. Darcy in this way, and I think anyone who loves and loses a beloved companion will resonate with it. Anderson had a number of animals he spent time with and painted and called familiars, so it's appropriate for his museum to honor these muses.
I'm partway through mounting all the pieces (20 watercolors plus text bits) for the separate graphic essay about Mr. Darcy that will hang in a separate space. It's their first time hanging just mounted art instead of framed, their first graphic essay, and their first time hanging in a salon style (a more informal, collage style grouping). I'm so grateful they're trusting me to do this new thing for them. Mattie Codling, the curator, had asked me if I wanted to write a bit of story about Mr. Darcy to go with his print in the show, knowing what a large part of my art making he had been to me. I told her I would love to and that I also had this graphic essay about his last couple of months called Daffodil Season. It doesn't go with the formal print exhibition, but she found a separate space for it in the museum and is diving into this new thing. I have so appreciated her enthusiasm and support in the two years preparing for this show. It will be special to honor Mr. Darcy in this way, and I think anyone who loves and loses a beloved companion will resonate with it. Anderson had a number of animals he spent time with and painted and called familiars, so it's appropriate for his museum to honor these muses.
