Summer Art Adventure

Being an art student, I have had opportunities to study in different environments and have new experiences to help inform my body of work. Last Summer I went to Paris for 4 weeks and studied the great Art Movements of France as well as visited museums daily and keep a sketchbook / journal of the daily events. Plus I kept you all apprised of my activities with the ever-playful “Picture a Day” posts (which I plan to continue this summer). It was a great honor and exciting adventure for me. This summer I will also be studying art in a faraway land. The exotic locale this year is Fresno.

Yes. Fresno.

It may not seem like much, this healthy sized city smack dab in the center of California, but it is home to the CSU Summer Arts program which offers intensive classes for CSU students and alumni to further their artistic studies. The program offers students one-on-one conversations with successful artists and critics about how to grow their work. There are seminars and studios for everyone to just buckle down and make art, whether that is studio art, music, theater, dance, etc. It is an opportunity to focus on your art form without the daily distractions. A rare luxury.

Fresno is beyond HOT in the summertime. Every correspondence spends at least a paragraph trying to prepare students for this heat. It is also not exactly known to be a hub of excitement, a far cry from my beloved Paris with its monuments, museums, and sidewalk cafés. But there is one thing about Fresno which makes it one of the most important and exciting places for artists.

Fresno State was the home of the Feminist Art Movement and the first Feminist Art studies program. Headed in 1970 by Judy Chicago and pushing the boundaries of the art world. It is an absolute honor to be on the same campus as those brave women who boldly created a new academic program and raised questions about equity in art. Fresno State fostered an environment for women to act creatively and create works that not only were artistically challenging, but socially challenging as well. The program eventually relocated to California Institute of the Arts in 1971 where it attracted national media coverage with their project, WOMANHOUSE. This particular piece stands out as one of the most important works of contemporary art. I am thankful for the groundbreaking work of these brave ladies from Fresno State (and CalArts). Without the work they did in the 1970s there may not have been as many opportunities for me as a female artist.

So upon first glance, my Summer Art Adventure doesn't seem like much… but knowing the history and how that connects to me as an artist has just made Fresno seem a lot more exciting.

xx

**keep an eye out for my picture-a-day posts from Fresno this summer!

What’s the story?

The past few days I’ve been going crazy. My professor assigned a narrative painting for our next major project. She gave us only one day between classes to come up with a narrative, sketch, find resource images, and purchase our materials to stretch canvas in class. As you know from my previous entry, I have quite a commute to get any real art supplies … and I work full-time, so that means I can only go in the evenings… and I have children so either they come with me, or I find a babysitter. Not an easy task to complete in such a short period of time.

But it wasn’t the materials that had me so agitated. (Despite the traffic and hassle of going so far out of my way, Utrecht Art Supply in Los Angeles never lets me down.) It was the narrative itself that was weighing heavily on me and affecting everything I did. The point of narrative painting is to tell a story, or at least to hint at one.

One of the most famous artists of this genre is the slice-of-all-American-apple-pie Norman Rockwell. His scenes depicted idealized life in America, each one telling a quaint story with a simple action or expression on the faces of his subjects. Narrative paintings are illustrative and communicative yet the finalized product is intended to be seen hanging on a wall, rather than in print. This is the basic differentiation of Illustration / Communication Arts and Studio / Fine Arts… but I digress.

So what it comes down to is this: What is my story? What am I trying to say as an artist?

I could just create a “slice of life” moment a la Rockwell. Say, a family at dinner or children at play, but I wanted to do something more meaningful. Something personal. Something with teeth.

Some of my biggest art heroes spoke out through their work. Manet used wit to expose and shock the French aristocracy with Olympia. Louise Bourgeois created monstrous sculptures that were representations of struggles in her childhood. Cindy Sherman photographed herself as all the iconic idealized women in art and film to question their place in our culture.

24 hours to have an idea of what I am to paint and what I am trying to say as an artist. I ask, can anyone work like this? In a frenzy of sketches and collages used from my image hoarding… er… collecting I came up with different scenarios for my composition. I worried that this wasn’t really enough to go on, but I had deadlines and my artistic crisis is not an excuse for tardiness.

Franticly I arrive in class with a sketchbook with chicken scratch layouts with pages and scraps of images from my collection and 5 foot stretcher bars under my arms. I made it just in time for the meeting with my professor. After a long discussion with her and sharing my ideas, sketches, and images I have finally come up with a concept. It is something very personal yet vague enough to allow the viewer to create their own story.

In the end, I met the deadline, but it made me wonder… do other artists go through these same struggles? Do we all grapple with finding a way to be true to our artistic selves while still meeting the demands of the professional side of art?

“I am not what I am, I am what I do with my hands.”

Louise Bourgeois died yesterday, she was 98.

The art world feels the loss of such a creative force. A woman who created art her entire life without recognition until she was in her seventies. A woman who said, “I believe that not being picked up by the market was a blessing in disguise. It allowed me to work undisturbed, at my own pace and in my own way.” A woman who cared for her family while creating art for herself. A woman who threw the roast out the window when her family did not rush to the dinner table to show gratitude for the meal she prepared. A woman who represented the United States at the Venice Biennale in 1993. A woman who used artwork to explore the deepest parts of her psyche. A woman who showed great courage, strength and force, eventhough she appeared petite and frail outwardly.

I could go on to discuss her tumultuous childhood, her move from France to America with her husband, how she has grown as an artist over her long and eventful life. But why? All you have to do is look at her artwork. Every piece is personal; every piece represents a feeling and a moment in her life.

Her magnificent life continues in her prolific and magnificent body of work.

* photo of Louise Bourgeois by Annie Leibovitz, [source: www.nytimes.com]