Romantic Figurative Artist and Author of Evolution Through Art
Author: Michael Newberry
Past professor of painting, life-drawing, and composition at Otis College of Art and Design. I live the artist's life in Idyllwild, California. Frida is my doggy companion. Watch for my forthcoming book, “Evolution Through Art” later in 2020.
Charcoal drawing is 30,000 years old and marks the dawn of humankind. When drawn on great paper is one of the easiest and most rewarding techniques in all visual art. It is perfect for the beginner because it quickly conveys the image; mistakes are easily corrected, and it naturally enhances light effects. It holds challenges to expert artists as well: it lends itself to the extremes of the freedom of action drawing or insanely subtle realism.
Rives BFK paper.
Kneaded eraser, Pink Pearl eraser. Optional, a drawing eraser.
6 B charcoal pencils. Generals.
Flat compressed charcoal stick, soft. Alpha Color is a good brand.
Portfolio Cachet, 20 x 26 inches. It is lightweight and doubles as an excellent drawing board.
Shop Mechanics Paper Towels (hardware stores).
Sennelier charcoal or pastel fixative.
Glassine paper, to protect your finished drawing.
Exacto knife, for sharpening the charcoal pencil.
Cast shadow is an essential complement to painting light. Let’s see how Dali, a master of cast shadow, does it.
Dali, Young Virgin Autosodomized by Her Own Chastity, 1954
There are different types of shadows and a cast shadow is one in which it falls from an object. A good example of it is when you are walking on a sunny day and your shadow is tagging along, you wave and it waves back.
Barney Follows in the Wake of the Anti-Art Aesthetic of the Dadaists
My review of a one-day visit to the Guggenheim’s Matthew Barney’s Cremaster Cycle, June 2003.
The Cremaster Cycle exhibition is a project of five films with some of the sets and props that have doubled as installations. A few unique mediums he works with are tapioca and Vaseline. A cremaster is the involuntary muscle that creates the rising and falling of the scrotum.
Jerry Saltz, art critic for the Village Voice, comments that he has loved everything Barney has done since a 1990 group show: “Suddenly, this 22-year-old appeared naked, in a videotape, climbing ropes, then lowering himself over a wedge of Vaseline and applying dollops of it to his body.” He continues: “Since then, Barney has been able to do no wrong by me, which is exactly the kind of unequivocal wet kiss from a critic I hate.”
Figurative sculptors spend most of their time focused on the best way to present the figure. For painters, there is a lot to learn from how sculptors often bring out the big abstract form of the figure. Seeing one perspective offered by the photo of the sculpture will serve our purpose. Our goal is to look for the abstract shape of the body. When working with a model, it is always good for painters to shift your position so that you can find the best view that accents the big form.
Expressing artistic vision, aside from all of the technical stuff, is really no more difficult than a child, left to his imagination, creating a little universe out of paper and crayon.
On the other side of the spectrum, da Vinci and Michelangelo went beyond the confines of being craftsmen to establishing themselves as artist-creators. What they did was simply do what the child does, but on an advanced level, thereby dramatically elevating the furthest reaches of art.
There is a newly-discovered version of the legend of Pandora’s Box. In this third version insanity, despair, and hatred had overrun the world and Pandora, driven by a sense of hope, opened the box by unlocking it with a key. Out from the box rose up all the glories of humanity and they spread throughout the world with undiminished splendor. Pandora discovered that the glories had never disappeared, but it was humankind that had lost the key to identifying the magnificence that lay before them.
The form of art and its function in human life are central to the debate between postmodern art and art. In the first two parts of this series I essayed 1) how postmodern art shocks your epistemological processes through its anti-art means, and 2) how it shocks your psychological processes by expressing disturbing content as the ends. Along these lines, I will go deeper in examining the theoretical basis of postmodern art and then, I would like to show you that an alternative to postmodern art exists, today, in the here and now.