Live An Artful Life Magazine Issue 3 by Live An Artful Life Magazine

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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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 letâ&#x20AC;&#x2122;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

Mark Lewis Conservator

Chrysler Museum of Art Norfolk, Virginia

Art History, Chemistry, Studio Art

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 |

also

inside 30

Get Fired Up!

Mindful Living

with Dr. Monica Neel The art of doodling

By Tom Neel

Glass as performance art

Jane Guthridge

Life Coach

By Kim Tapper

We are ALL creative !

By Tom Neel

The fearless creator

The Artistâ&#x20AC;&#x2122;s Perspective By Tom Neel

Creative longeivity

Artful Life

Live An

â&#x201E;˘

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 |

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

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June 27, 28 & 2

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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 Museumâ&#x20AC;&#x2122;s Website) 12 |

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.

14 |

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!

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.”

20 |

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?

[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

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 |

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 |

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,

26 |

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 canâ&#x20AC;&#x2122;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.

masterâ&#x20AC;&#x2122;s work on an easel in front of you, just 28 |

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

â&#x20AC;˘

"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

30 |

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

32 |

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:

34 |

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-

36 |

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 |

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 |

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 |

44 |

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 youâ&#x20AC;&#x2122;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 "â&#x20AC;Ś 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 thatâ&#x20AC;&#x2122;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 |

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 |

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 ™

MAGAZINE

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BECOME A CHARTER MEMBER! Live An Artful Life Magazine is a free publication with an optional supportive Membership! In addition to 4 inspiring issues . . . First year members will receive a special color, charter member’s only branded hat (a $25. value), additional member only accessed content, special product offers and support of the arts through our “Give An Artful Life” program!

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50 |

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 |

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

Live

An Artful G A L L E R Y

Life®

Fine Art Fine Craft Made in America Located one hour west of Washington D. C., just off I-66 at Exit 31 in the beautiful Virginia counryside. The Plains is a quant little town with great restaurants and minutes away from over 20 wineries.

6 4 7 4 M a i n S t r e e t , T h e P l a i n s , Va 2 0 1 9 8 540-253-9797 • LiveAnArtfulLife.com