JUNE/JULY 2009 Monthly Newsletter

FEDERATION OF CANADIAN ARTISTS

South Okanagan-Similkameen Chapter

113 - 437 Martin Street, Box 154
Penticton, BC V2A 5L1
http://www.fca-sos.ca

HAPPY SUMMER DAYS!
CHALLENGE YOURSELF
VISUALIZE AND CREATE
ALL THERE IS TO SEE

REPORT FROM THE CHAIR: Kate Kimberley

Welcome to Debbie Sherwin a new member from Osoyoos.
Our Exhibition Committee has been hard at work organizing our three upcoming shows. I do hope the membership will make a huge effort to participate in these shows. We are so fortunate to have so many great locations to showcase our art. I would like to encourage all 'Active" members to start thinking about the Juried show in Osoyoos. We have 47 active members and it would be wonderful to receive a submission from all of you.
Our Chapter was well represented at Starry Starry Night on Saturday, great work everyone. What an amazing venue, sitting by the water, eating supper in the Japanese garden on a gorgeous summer evening.
Please feel free to call me if you have any questions of concerns at 250 492 4481. Happy painting!

Kate Kimberley

IMPORTANT DATES TO REMEMBER - The monthly meetings
Mark your calendars!

All programs start after meetings around 11:00 am -see you there!

No August Meeting

September 12th - General Meeting at 10 am
October 3rd - General Meeting at 10 am
November 7th - General Meeting at 10 am

No December Meeting

DON'T FORGET OUR WONDERFUL WEBSITE - www.fca-sos.ca

WHICH INCLUDES OUR GREAT LIBRARY OF ART BOOKS JUST WAITING FOR YOU TO BROWSE THROUGH!

A WARM WELCOME TO OUR NEW MEMBERS :

*Please pick up a “New members information booklet” at the next meeting*

The following people have volunteered to be “Mentors” and will help new members navigate the world of the Federation of Canadian Artists

If you think you might like to have a mentor, please contact one of the following volunteers. They look forward to hearing from you.

George Traicheff ~ Sandra Albo

Upcoming shows in Vancouver FCA gallery

Federation of Canadian Artists - 2008

A REMINDER TO ALL MEMBERS OF UPCOMING EVENTS.

Summer Gallery
June 23 - August 16, 2009
* Application package due: April 2, 2009
* Paintings due: June 18, 2009

· 10 to 20 members will be selected by the Standards Committee to participate for the summer season. Application forms are available on-line or at the Federation Gallery. Open to Active & Signature members.

Painting on the Edge
August 18 - September 6, 2009
* Entry deadline: June 5, 2009
* Paintings due: August 14, 2009

· POTE 7th Annual International Open juried exhibition - any medium, any subject, $8,000 in prizes!! A full color catalogue will accompany the show. Porspectus available on-line and at the Federation gallery.

* Thursday August 20, 2009 (6:00pm to 8:00pm): POTE opening reception & awards presentation at Federation Gallery*

2nd FCA Member Group Show
September 8 - 20, 2009
* Application due: January 22, 2009
* Paintings due: September 3, 2009

· Open to Active & Signature members. Individual applicants must submit an image list and eight images. Applications will be juried by the standards committee.

A Bird, A Stone, A Letter
September 22 - October 4, 2009
* Entry deadline: August 6, 2009
* Paintings due: September 10, 2009

· Any subject, any medium, any style. Open to Active & Signature members.

Invition Show
October 6 - 18, 2009
Curated Show
* Paintings due: October 2, 2009

· A selection of SFCA members will be Invited to participate in this curated exhibition - the theme has not been determined yet.

3rd FCA Member Group Show
October 20 - November 1, 2009
* Application due: January 22, 2009
* Paintings due: October 16 , 2009

· Open to Active & Signature members. Individual applicants must submit an image list and eight images. Applications will be juried by the standards committee.

Chapters Show
November 3 - 15, 2009
* Entry deadline: September 24, 2009
* Paintings due: October 30, 2009

· Annual exhibition of works from FCA chapter members only. Images from Canada. Open to Active & Signature members.

Small Painting Salon
November 17 - December 6, 2009
* Entry deadline: October 1, 2009
* Paintings due: November 12, 2009

· Image no larger then 165 square inches, any subject, any medium (including original prints). Open to Active & Signature members.

Spilsbury Medal Show
December 8 - 24, 2009
* AFCA Entry deadline: October 15, 2009
* Paintings due: December 3, 2009

· Annual Signature members prize competition. Any subject, any medium. Open to Signature members.

December 11, 2009 ~ 6:00pm - 9:00pm: Annual Christmas Party and Spilsbury Medals & Silver Pin presentations at Federation Gallery

Register online at www.artists.ca, by phone at 604-681-8534 or in person at Federation Gallery (Tuesday to Sunday between lOam - 4pm)

EXHIBITION COMMITTEE

2009 - Exhibitions in the valley

The show at Leir House is up and running. Thank-you to Jack Deppisch, David deGruchy, and Art Moore, our hanging committee.

Our show at Handworks Gallery, "Pre Summer Amble", June 2nd to 28th in Oliver was very successful as we had had six sales. Congratulations to Sandra Albo, Barb Hofer, Grace Shaw, Dona Smithson, Karel Doruyter and Sharon Leonard.

We have 6 shows lined up for 2009. Four non juried shows and two juried shows. All are listed on our SOS Chapter website at www.fca-sos.ca . Artists are encouraged to contact Brad to be included on our website.

Karel has found some additional jurors for shows. More information to follow.

The exhibition committee is working on a show called "Small, Smaller, Smallest" at the Tumbleweed Gallery for sometime in November. This would be a non-juried show. More info to follow in a fan-out. It was suggested that all paintings be of the same size(s) and be the same price.

Here's an Exhibition list in a glance:

"Summer Sensations "
July 9 - August 6, 2009
* Carol Munro won the Best In Show Award
* Nancy Gray and Johanna Nott both won Honorable Mention AwardsA

· This was a juried show at Leir House in Penticton.

"De-Vine Creations"
August 6 to November 3, 2009
* Entry deadline: July 11 2009
* Paintings due: August 4, 2009

· This is a non-juried show that will be at Langs Winery in Naramada. There are only 20 spots available for this Vineyard themed show and they have been filled. Paintings to be hung on August 4th at 1pm.

"Artists Perceptions"
August 24 - September 6, 2009
* Entry deadline: August 15, 2009
* Paintings due: August 24, 2009

· This is a non-juried show that will be at Tinhorn Creek Winery in Oliver. This two week show requires artists to be in attendance. There is a 10% commission on sales. Hanging is 8am, Monday August 24th and take down is 9am September 7th 2009.

"Serendipity"
October 10 - October 31, 2009
* Entry deadline: TBA
* Paintings due: TBA

· This is a juried show that will be at the Osoyoos Gallery. More infomation to follow

"Art Visions 2009 FCA Open National Show"

Call for Entries
Over $6,500 in Cash Awards!

The Central Okanagan Chapter is pleased to announce the Art Visions 2009 FCA Open National Show application is now available on-line at www.artvisions.ca, and we would be happy to receive your application. We look forward to hearing from all of you as we plan another exciting show.

Event Date
Oct 9 - Oct 23 2009

Entry Fee
$20.00 per entry (non-refundable)

Event Location
Hambleton Gallery
Turtle Island Gallery
Gallery 421
RCA Galleria
Kelowna, BC

Application Deadline
August 15, 2009

Reception and Cash Awards presented at a ceremony Friday October 9, 7 - 9PM at the Rotary Centre for Arts, Kelowna BC

For more information & entry form go to
The Arts Visions 2009 Website www.artvisions.ca

WORKSHOP COMMITTEE

~ Workshop suggestion, (1), would be a two-day workshop by Bonnie Roberts called "Fix It" where you bring in paintings that require some changes or fixing.

~ Workshop suggestion, (2), a workshop with Ron M Stacy from Summerland, cost about $250.00 per person. Ron has a website at www.stacystudios.com

~ Workshop suggestion, (3), this would be a workshop in Acrylic with Calum Cameron. This would be in 2010 and cost about $250.00 per person. Calum lives in Mexico. You can view his work on his website at www.artistvacations.com. Details to follow.

If anyone is interested in any of these three workshop suggestions please email Grace Shaw or Sharon Leonard.

~ The Osoyoos Painters and Potters present a fall workshop, September 25th, 26th & 27th 2009, in Acrylics with Jennifer Bowman. There is space for 12 participants at a cost of $250.00 each. All monies are to be paid by August 15th, (Post dated cheques accepted). No refunds after this date unless a replacement person found. Jennifer's work can be viewed at www.jenniferbowman.com. Please email or call Sharon Leonard at 250-495-2019 to register. A supply list can be emailed to interested persons. NOTE: Sharon will be away until July 25 2009. Location of courses to follow - Osoyoos or Oliver.

~ 5-Day Outdoor Painting Workshop in Golden, BC from September 8 to 12. Jerry Markham (President of the Kelowna chapter) is holding a 5-day workshop September 8th to 12th at Beaverfoot Lodge, just east of Golden, BC. Nestled in a wilderness valley adjacent to YoHo National Park, amidst giant spruce trees and peaceful meadows, the Beaverfoot Lodge offers beautiful mountain scenery, a relaxing atmosphere, comfortable rooms and home cooking. Visit www.beaverfootlodge.com for more information. In this 5-day workshop, Jerry will take you plein air painting amongst the fall season colours blanketing the majestic Rocky Mountain landscape. You will receive group and one-on-one instruction as well as valuable insight into what Jerry has learned over the years. You will be painting in the field every day accompanied by demonstrations, critiques, and instruction on the fundamentals of painting including composition, value, edges and color. More details at www.jerrymarkham.com.

~ Suzanne Northcott Workshop in Baja, Mexico: · This fall Angela Ritchie Ace Camps is thrilled to announce a week of adventure, culture and education with Suzanne Northcott in the southern Baja , Mexico . Join us for an art travel workshop near the charming and artistic town of Todos Santos , located one hour from Cabo San Lucas, on the west coast of the Baja Peninsula. From November 7th to November 14th, 2009 our group will take up residence at the El Pescadero beach house minutes from the San Pedrito surf break and miles of Pacific Ocean views. This glamping and boutique hotel experience entices a playful, nurturing and supportive environment where exploration is encouraged. We will paint in plein air and adventure through the southern tip of the Baja. Suzanne Northcott: www.suzannenorthcott.ca/

~ Workshop suggestions? email Sharon Leonard at saleonard@persona.ca

BITS & PIECES

~ There was a presentation to Carol Munro of "Best Of Show" for her painting 'Interruptions', in the show "Summer Sensations" at Leir House.

~ Heidi Lambert, our Chapter liaison, responded to our concerns about the $300.00 cost to jury a Chapter show. The FCA adopted the change. We have 47 active members and need more participation in our juried shows. That way the cost could be kept to a minimum per artist.

~ Dale Matthews has a show at Red Rooster in August. Opening reception is August 9th from 1pm to 3pm. Dale also has a show in August at "Art Studio and Gallery: Unique" in Naramata.

~ Prema Harris from Tumbleweed Gallery gave a presentation on framing. Prema also gave out a form that members of the FCA-SOS could fill out and give back to her that would allow our members to receive a discount on framing at her shop. Thank-you Prema.

~ George Traicheff & Angie McIntosh were 2 of 17 artists whose work from a plein aire session in Pentiction, were donated to the Penticton Art Gallery for their fund raiser, Starry Starry Night.

~ Ramona Swift wrote about a workshop, scheduled for the August long weekend in Winfield, by artists David Alexander & Rodney Konopaki. Check with Brad Hills for details from the meeting minutes.

~ ARTS COUNCIL NEWS

~ Submitted By Thea Haubrich:

Third Annual International Encaustic Conference at Montserrat College of Art.
Link for the Conference is: http://montserratencausticconference.blogspot.com/

This annual event is founded and organized by Joanne Mattera. Joanne is represented with her Encaustic paintings in galleries around the States, including Arden Gallery in Boston. She is the author of The Art of Encaustic Painting, which is certainly the bible of everyone painting with beeswax.

This year I attended the conference for the first time and it was a phenomenal experience. More than 200 artists from all over the States, Canada and several European countries attended.

The Conference ran over three days, featured over 50 workshops, talks, panel discussions and demonstrations about all things Encaustic. Some of the presentations I attended included ideas for teachers, painting representational image, Encaustic still life, photography/paper and Encaustic. And I had to miss so many of the other fabulous workshops, as 6 events ran simultaneously for each time slot for three days.

4 different juried exhibitions and one "rogue" one, put on by two artists in their hotel rooms (!), accompanied the Conference.

~

Needless to say I came back with my head spinning and dozens of business cards of the people I met.

One of the excellent "spin-offs" was the networking. I recently joined the IEA, International Encaustic Artists organization and was asked to open a Canadian Chapter of the organization and serve as an editor for their newly developed Newsletter. It's certainly a great honour and ties in beautifully with my vision of promoting Encaustic and networking with all artists working in Encaustic.

Thea Haubrich, July 2009
http://encausticart.ning.com/

~ For a great selection of 'calls for submission' see Opus newsletter: www.opusframing.com

Choose Your Style
(An informal look at art movements),
This is it...its over, we're done

NEXT MONTH…THE TEST! … (had you going there for a second though, didn't I!)

Realism: (1850 - 1880)

Realism is defined by the accurate, unembellished, and detailed depiction of nature or contemporary life. The movement prefers an observation of physical appearance rather than imagination or idealization. In this sense, Realism can be found in movements of many other centuries.

The mid 19th century Realist movement chose to paint common, ordinary, sometimes ugly images rather than the stiff, conventional pictures favored by upper-class society. It was an opposition to the traditional approach to Neoclassicism and the drama of Romanticism. Furthermore, advocates of the style were no longer preoccupied with the expectations of the Salons, Academies, or other art institutions. Realists strived to paint scenes as they actually appeared. Often the artists depicted ugly and common subjects that normally alluded to a social, political, or moral message. Never really becoming a solid, unified movement, the closest Realist group was the Barbizon School of landscape painting, headed by Corot and Millet in France. American realists included Thomas Eakins and Henry Ossawa Tanner, who both studied in France. Realism was influential in the development of many later movements including The Ash Can School, the American Scene Painters, and much later Contemporary Realism.

Regionalism: (1930 - 1945)

The American Regionalism movement, also known as the American Scene Painters, began during the Great Depression in the 1930's. The movement is divided into two groups of artists with different approaches. The Social Realists were devoted to depicting the social troubles of the suffering urban lower class. The Regionalists painted more positive subjects, hoping to lead the nation out of the depression by providing hope for a better future. This group often painted midwestern rural scenes with themes of hard work and self-preservation.

Renaissance: (1400 - 1600)

The Renaissance began in Italy because of its location in the middle of the Mediterranean Sea. It became a center of commerce between Europe and Eurasia, thus a Cultural Diffusion point between the Europeans and the Muslims. Also, Italy was home to many wealthy families, willing to finance education. The Medici family ruled Florence and advocated the arts and sciences. These aristocrats among others would pay people to learn and create for them, spreading knowledge into the lower classes. With this rebirth of intellect came the greater interest in Ancient Greek and Roman culture that inspired the revival of Classicism.

The Italian Renaissance is divided into three major phases: Early, High, and Late Renaissance. The Early Renaissance was lead by sculptor Donatello, architect Filippo Brunelleschi, and painter Masaccio. They began the movement on the foundations that development and progress was integral to the evolution and survival of the arts. They found their inspiration form antiquity, creating realistic figures that portrayed personality and behavior. They focused on the laws of proportion for architecture, the human body, and space. The term Early Renaissance encompasses most 15th century art. The High Renaissance sought to create a generalized style of art that focused on drama, physical presence, and balance. The major artists of this period were Leonardo Da Vinci, Donato Bramante, Michelangelo, Raphael, and Titian. The period lasted only a short time from 1495 to 1520. The Late Renaissance was put into motion by the sack of Rome in 1527, forcing artists to relocate to other artistic centers in Italy, France, and Spain. During this time, anti-classical sentiments began to emerge, eventually developing into the Mannerist movement.

Throughout the Renaissance period, artists first began to experiment with oil-based paints, mixing powdered pigments with linseed oil. The slow-drying nature of the medium allowed the painter to edit his work for several months. Perspective and attention to light became important to artists, as well as architectural accuracy in backgrounds. Popular subject matter included Biblical characters and subjects from Greek and Roman mythology. Renaissance art placed a large emphasis on the importance of the Madonna in art. Taking inspiration from classical Roman and Greek art, Renaissance artist were also interested in the human body, particularly the nude. They attempted to idealize the human form and were shown in physical perfection and purity with expression and unique personality. During this period, the gap dividing other creative thinkers such as poets, essayists, philosophers and scientists from artists began to decrease. All of there people were seen as visionaries and began to share ideas and learn from each other.

Rococo: (1700 - 1760)

Based in France, Rococo was a decorative style most often used in interior design, painting, architecture, and sculpture. Normally associated with the reign of King Louis XV, the movement actually began in the 17th century. With the rise of the middle class, the death of Louis XIV at this time, the high society in Paris became the pinnacle of fashion. Louis XIV was succeed by the Duke of Orleans in 1715, who was know for enjoying the privileges of his office, moving social life away from the formal courts and into salons. This attitude was continued with the following reign of Louis XV. Rococo was manifested out of this new era of thought where society abandoned the formality of the earlier years and began pursuing personal amusement and happiness. One of the first Rococo painters was Jean-Antoine Watteau, whose work began to epitomize the movement with its idyllic and charming approach. Another artist that represented the Rococo period was Francois Boucher, who created paintings and designed tapestries for the French royalty and nobility.

The term Rococo was derived from the French word, rocaille, meaning rock and shell garden ornamentation. The style appealed to the senses rather than intellect, stressing beauty over depth. The movement portrayed the life of the aristocracy, preferring themes of romance, mythology, fantasy, every day life to historical or religious subject matter. Rococo was a light, ornamental, and elaborate style of art, identified by elegant and detailed ornamentation and the use of curved, asymmetrical forms. Other elements of the style included graceful movement, playful use of line, and delicate coloring. Dominated by feminine taste and influence, the lively colors and playful subject matter made it suitable for interior decoration. The Rococo style was also used in portraiture and furniture and tapestry design.

The Rococo style is sometimes considered to be the end of the Baroque period and was eventually replaced by Neoclassicism during the American and French Revolutions at the end of the eighteenth century.

Romanticism: (1800 - 1850)

The Romantic Movement spread from art into literature and philosophy. It emphasized emotional, spontaneous and imaginative approaches. In the visual arts, Romanticism came to signify the departure from classical forms and an emphasis on emotional and spiritual themes. Caused by the sudden social changes that occurred during the French Revolution and the Napoleonic era, Romanticism was formed as a revolt against Neoclassicism and its emphasis on order, harmony, balance, idealization, and rationality. Romanticism began in Germany and England in the 1770's, and had spread throughout Europe by the 1820's. Not long after, its influence had spread overseas to the United States.

The movement focused on imagination, emotion, and freedom by way of subjectivity and individualism. Artists believed in spontaneity, freedom from boundaries and rules, and living a solitary life free from societal boundaries. Romantic artists believed that imagination was superior to reason and beauty. They loved and worshipped nature and were dedicated to examining human personality and moods. Romantics were inherently curious, investigating folk cultures, ethnic origins, the medieval era. They admired the genius and the hero, focusing on one's passion and inner struggle. Romantics also were interested in anything exotic, mysterious, remote, occult, and satanic. As a movement that began as an artistic and intellectual movement that rejected the traditional values of social structure and religion, it encouraged individualism, emotions, and nature.

Artists held personal spirit and creativity above formal training and saw the artistic process as a transcendental journey and spiritual awakening. Romantic techniques were developed to produce associations in the mind of the viewer. These foundations of the Romantic Movement were influential in the development of Symbolism and later Expressionism and Surrealism.

Social Realism: (1930 - 1945)

The American Regionalism movement, also known as the American Scene Painters, began during the Great Depression in the 1930's. The movement is divided into two groups of artists with different approaches. The Social Realists were devoted to depicting the social troubles of the suffering urban lower class. The Regionalists painted more positive subjects, hoping to lead the nation out of the depression by providing hope for a better future. This group often painted midwestern rural scenes with themes of hard work and self-preservation.

Superrealism: (1965 - 1975)

The Hyper-realism movement originated in the late sixties and early seventies when artists began producing paintings that appeared to be photographs. In painting, Hyper-realism is synonymous to Photo-Realism. Also know as Superrealism, the movement was most popular in the United States but spread to some parts of Western Europe. In the sculpture medium, artist often used casts of the human figure to create true-to-form.

Suprematism: (1913 - 1919)

Suprematism began in Russia in 1913 with the help of artist Kasimir Malevich. He introduced it to the public in 1915 with his manifesto and exhibition titled "0.10 The Last Futurist Exhibition" held in Petrograd. The Suprematist style aimed to eliminate all natural forms and favored flat geometric patterns that represented emotions rather than objects and supported pure aesthetic creativity. Malevich's art was produced with pure geometric shapes positioned to only initiate aesthetic feeling and held no allusions to anything social, political, or otherwise. Although the movement was mostly confined to painting, Suprematists used the theory to create textiles, typography, and architectural structures in addition to painting and sculpture. In 1918, Suprematism was replaced by Constructivism.

Surrealism: (1924 - 1955)

A literary and art movement inspired by Freudianism, Andre Breton founded Surrealism in Paris in 1924. Breton authored the Manifesto (Manifeste du surrealisme), which advocated the expression of imagination revealed in dreams. He later wrote two other manifestoes, published in 1930 and 1934. Surrealism was the successor the Dadaist movement and attracted many Dadaist artists. Other Surrealist origins came from painters such as Paolo Uccello, William Blake, and Odilon Redon. Its origins in literature were traced to French poets Baudelaire, Rimbaud, and Apollinaire and the literary side of the movement remained primarily in France. In the visual realm, Surrealism became popular in the 1920's and 30's with the help of internationally renowned painter, Salvador Dali.

Also similar to the 19th century Symbolist movement, Surrealism was based on the psychoanalytic theories of Sigmund Freud and Carl Jung, emphasizing imagination and subconscious imagery. Work usually contained realist imagery arranged in a nonsensical style in order to create a dreamlike state. Surrealist painting incorporated a lot of content and technique. Surrealism incorporated and celebrated the art of children and primitive art. They appreciated the innocent eye in that the untrained artist was more liberated to depict their actual imaginative ideas .

Artists used spontaneous techniques based on the "free association" concept, also called automatism, in which conscious control was surrendered to the unconscious mind. . The Surrealist movement can be divided into two groups of differing expressive methods, Automatism or "Absolute" Surrealism and Veristic Surrealism. While Automatism was focused on expressing subconscious ideas, Veristic Surrealists wanted to represent a connection between abstract and real material forms. In other words, Verists transformed objects from the real world in their paintings, while Automatists derived their imagery purely from spontaneous thought.

Surrealism paved the way for later movements such as Abstract Expressionism and the Magic Realism. Surrealism offered an alternative to geometric abstraction and kept expressive content alive in the 20th century.

Symbolism: (1880 - 1895)

Symbolist painting emphasized fantasy and imagination in their depiction of objects. The artists of the movement often used metaphors and symbols to suggest a subject and favored mystical and occult themes. Influenced by Romanticism and the Pre-Raphaelite Brotherhood, the movement strived to depict the symbols of ideas. The movement originated in France and spread across Europe. Symbolists were opposed to the visual realism of the Impressionists and serious nature of the Industrial Age. Their aim was to portray mysterious and ambiguous interpretations of emotions and ideas by using unobvious symbols. Some artists, including Puvis de Chavannes, Moreau, and Redon, borrowed their imagery from Symbolist writings. These works would often contain grotesque and fantastical imagery such as severed heads, monsters, and spirits. In addition, their works sometimes contained references to the Bible and ancient myths. Other Symbolists took a more traditional approach, using lines and colors to produce emotional effects. The Symbolist movement was important to the development of the Surrealism.

Vorticism: (1912 - 1915)

English art movement, Vorticism is sometimes called the English version of Cubism. Founded by abstract artist Percy Wyndham Lewis, members of the movement focused on themes that incorporated modern machinery and industry. The movement was a mixture of Futurism and Cubism, lasting from 1912-1915. The movement began growing in 1913 when the Rebel Art Centre was founded, formed by Wyndham Lewis, Edward Wadsworth, Frederick Etchells, and Cuthbert Hamilton. The group's name lasted only several months, later re-titled Vorticism by Ezra Pound. Two Vorticist manifestoes were published in the movement's newspaper, Blast, in 1914 and 1915.

Vorticists rejected traditional academic institutions and looked to the future with fear. They recognized the power of technology, particularly the machine and anticipated that it would result in a bleak, purposeless life for humankind. Vorticism was the first English art movement dedicated to abstraction. Artists worked primarily in two-dimensional form, employed the fragmentation and multiple viewpoints of Cubism. Their work was defined with flat, bold colors, and simple geometric shapes.

Vorticism died out at the onset of World War I since many of its artists enlisted in the armed forces. In addition, there were disagreements within the group at the end of 1915 that also contributed to its demise.

… Thank you to our Sponsors …

~

How many times have you missed out on a workshop and later discovered it was practically designed just for you? Or, perhaps you've wound up in a session and wondered what you were doing there. As they say, different strokes for different folks-the first step is figuring out what type of artistic character you are.

(1) You work best when

a. you're in the comfort of your own space, observing a group demonstration. (3 points)
b. you're painting in a group. The more artists, the merrier! (1 point)
c. you're following your dreams, which, thankfully, you now have time to do. (4 points)
d. you're alone. You can't have people staring at you while you work or distracting you with their comments. (2 points)
e. you're studying with the hottest name in watercolor. oil, acrylic (5 points)

(2) When it comes to guidance

a. you need specific instruction. (4 points)
b. you pay very close attention. You don't want to miss anything the instructor has to offer! (5 points)
c. you take advice with a grain of salt-after all, you are the captain of your soul! (2 points)
d. you appreciate it, but won't ask for it. (3 points)
e. you follow the beat of your own drum. (1 point)

(3) When painting at an workshop, you often find yourself thinking

a. "What's my neighbor doing over there?" (1 point)
b. about your overall design. (2 points)
c. about your next stroke. (4 points)
d. that this style isn't at all what your previous instructor advised. (5 points)
e. "Is anyone watching me?" (3 points)

(4) Your autobiography would be titled

a. Finding Creativity Right Inside Your Studio. (2 points)
b. I Have Measured Out My Life in Painting Workshops. (5 points)
c. The Artist-Sponge: The Craft of Soaking in Creative Juices. (3 points)
d. Here I Go Again: New Subjects, New Techniques, New Life! (4 points)
e. Learning Together, Working Together. (1 point)

(5) The famous artist's quote that suits you best is

a. "I have Social Disease. I have to go out every night. If I stay home one night I start spreading rumors to my dogs." -Andy Warhol (1 point)
b. "The only time I feel alive is when I'm painting." -Vincent van Gogh (4 points)
c. "I paint for myself. I don't know how to do anything else, anyway. Also I have to earn my living, and
occupy myself." -Francis Bacon (2 points)
d. "Certainly, an artist wishes to raise himself intellectually as much as possible, but the man must remain obscure. The pleasure must be found in the work." -Paul Cezanne (3 points)
e. "Art is either plagiarism or revolution." -Paul Gauguin (5 points)

(6) In your watercolor, oil, acrylic dreams

a. you finally accomplish that subtle edge you've been attempting for two years and silently move on to the next challenge. (2 points)
b. the fabulous hosts of the water-color, oil, acrylic program at your local PBS station call you and invite you to join them in a televised painting demonstration. (5 points)
c. all of your friends are there and you're all painting all day and all night and all over the world. (1 point)
d. your kids come home to visit, see some of your work hanging in your studio, and tell you how proud they are of you. (4 points)
e. you discover the perfect copyright-free source photograph online and it galvanizes your entire painting career. (3 points)

(7) If you had a theme song, it would be

a. "I Don't Wanna Talk About It," by Rod Stewart. (3 points)
b. "Still Haven't Found What I'm Looking For," by U2. (5 points)
c. "It's My Life," by Bon Jovi. (4 points)
d. "All Together Now," by The Beatles. (1 point)
e. "I Am a Rock," by Simon & Garfunkel. (2 points)

(8) If you're not painting, you're most likely

a. enjoying a Woody Alien festival at the local art-house theater. (3 points)
b. pruning your prize bonsai. (2 points)
c. at a pilates class. (4 points)
d. gearing up for this weekend's charity ball. (5 points)
e. belting out your favorite new tune at a karaoke club. (1 point)

(9) If you could choose to have any superhero ability, it would be

a. the ability to time travel: Oh, the good 'ol days. (4 points)
b. invisibility: Better to see than be seen. (3 points)
c. X-ray vision: Let's get right to the heart of the matter. (2 points)
d. mind reading: I wonder if she likes the new direction I'm taking in my work? (1 point)
e. super hearing: What's that? So-and-so is demonstrating down the hall? (5 points)

(10) The one tool you can't live without in your studio is your

a. computer: There's lots of helpful information on the Web. (3 points)
b. tried-and-true kolinsky sable brush: You know when you've got a good thing going. (2 points)
c. cell phone: You've got to stay in touch. (1 point)
d. art magazine subscriptions: You have to keep up with the trends. (4 points)
e. credit card: How else are you going to fly off to Dallas this weekend for the J.M.W. Turner show? (5 points)

Who you are:

10-15 Points: The Groupie

Also known as the workshopaholic, the Groupie needs a collaborative group setting. This artist is the person to ask about a workshop you're interested in: Chances are, they've taken it. While they enjoy instructors' direction and comments, Groupies, blessed with the gift of gab, thrive on peer feedback and community. Their motive for attending workshops is support; they're the ones who will phone you in the wee hours of the morning when they can't figure out a passage in their paintings, or days in advance of the big show that's headed to town to invite you to the museum.

GOOD WORKSHOP OPTIONS: public art walking tours

16-20 Points: The One-Man Show

One is hardly the loneliest number for these artists, who don't have anything against community-they just work better flying solo. Whereas the best bang for the Groupie's workshop buck is the social aspect, the One-Man Show attends in order to to boost creativity. These independent thinkers consider the session an arts buffet: They'd prefer to grab the specific techniques they want, then go. One-Man Shows aren't into what their neighbors are saying or painting, and they most likely don't attend many workshops each year.

GOOD WORKSHOP OPTIONS: a one-day intensive, such as Life Painting

For a list of workshops near you and around the world, visit www.watercotorartistmagazine.com and click on Artists' Workshops.

Watercolor Artist | April 2008