Katherine Kean Fine Art

Smoothing Out the Wrinkles

2012-02-20T08:38:00.000-08:00

I’m feeling celebratory this week. A painting that has been a problem child from day one is now starting to take shape. It is a modular painting. By that I mean it is composed of two canvases, a 40 x 60" placed above an 8 x 60". I’m using oil - primed linen, always a little difficult, but this time it was as if the linen was resistant to my every effort - everything except extreme patience. I stretched, waited, tightened, waited, smoothed and adjusted and retightened, over and over, coaxing the linen to flatten out. For a few weeks stretching linen became my number one preoccupation. One night I literally had nightmares about going to the studio to try to paint on surfaces made up of origami folds. What a relief to wake up! What a relief to see this painting co-operating at last.
Here are a couple of detail views from different sections:

As an imaginary composition there have been a lot of adjustments to get the balance and motion of the birds right and then to make sure the top and the bottom sections are cohesive.
It has a way to go yet, but has at last entered fun to work on territory.
Have you ever had a project that seemed to resist all your efforts?

Save the Date Upcoming Exhibition: Murmuration

2012-02-13T07:05:00.000-08:00

Bird By Bird 6 ©2012 Katherine Kean
oil on linen 8 x 8"

April 24 - May 19, 2012

M U R M U R A T I O N

TAG Gallery, Bergamot Station

2525 Michigan Avenue, Unit D3

Santa Monica, CA 90404

Hours: Tuesday - Saturday 11am -5pm

Sundays noon - 4pm

An online sneak preview of the exhibition will be available to email subscribers. Sign up is here.

The Long and Short: A Selection of Artist Videos

2012-02-09T07:32:00.000-08:00

I recently gathered some friends and watched The Art of Failure, a full length documentary about painter Chuck Connelly's rise and fall - and what he eventually came up with to deal with it. His rants, which were filmed over a 5 year period, I found difficult to watch. The parts that show him painting are fascinating, and as you can tell from the clip above, lots of his work is shown. Daniel Slotnik described his work for the NY Times as, "a blend of Goya and Rockwell", others have labeled him as a die hard neo-expressionist.

Here's a link to an excerpt:

http://www.youtube.com/watch?v=7Ex74Z_BaUE

The video above, of artist Riusuke Fukahori, shows some wonderful brushwork in progress, plus a sophisticated layering technique. And if you stick around there's quite a change in scale at the end.

Along with being amazed with his work, I also discovered a great tip in this Gottfried Helnwein clip. Watch how he uses the back of his glove to wipe or store paint while working. I've since started doing this myself and it's a great time saver.

Facebook Page

2012-02-06T07:38:00.001-08:00

I'm back to posting after a quick hiatus. I took a little time away to work on my Facebook Page. I've had it for awhile, but hadn't been updating regularly, so I took a little time to get it into shape. Please feel free to come have a look and if you "Like", to join the conversation. You can find it here, and you don't even have to be a Facebook member to visit.

Buy Local, Think International: Group Exhibition

2012-01-03T08:22:00.000-08:00

Marsh Labyrinth © 2011 Katherine Kean
oil on linen 30 x 24"

I'll have one painting in a group exhibition, starting today at TAG Gallery, Bergamot Station:

Buy Local, Think International
January 3 - 28, 2012
Opening Reception: Saturday, January 7, 2012, 5-8 PM

TAG Gallery, Bergamot Station
2525 Michigan Ave. D-3
Santa Monica, California 90404

Hours: Tuesday - Saturday 11am - 5pm
Sundays: noon - 4pm
310-829-9556

Wrapping Up

2011-12-30T09:49:00.000-08:00

Clouds, Birds 8 in progress

oil on linen 8 x 8"

I'm putting final touches on this years work while thinking back over the year. In my studio 2011 work adds up to 36 paintings, 5 group exhibitions, and 3 awards. The biggest challenge, of pulling myself together to go to Scotland to paint, had also the biggest rewards in a fantastic experience, new friendships and wonderful memories.

I'm updating my online resumes and remembering art world losses this year; Leonora Carrington, Cy Twombly and just recently, Helen Frankenthaler. A more complete list here.

I'm still assembling resolutions and goals for 2012. Perhaps a goal will be to double how many paintings I paint or take more painting trips. To aid artists in reaching their exhibition goals, gallerist and artist adviser Sylvia White has posted a list of opportunities for artists, more than one for each day of the month.

What are your goals for the new year?

Happy Holidays!

2011-12-23T08:04:00.000-08:00

Wishing peace and joy to all.

I'm excited just knowing that the daylight is beginning to last longer.

And More Birds

2011-12-19T06:55:00.000-08:00

Clouds, Birds 5 in progress

oil on linen 8 x 8"

There is an advantage to working on these paintings right now. Because of their small size they are easy to illuminate with artificial light. Another plus I've found to painting in winter is that the studio is so cold at night that any paints left out on the palette stay fresh. I can never get away with leaving paint out in the summer!

More Birds

2011-12-13T07:37:00.000-08:00

Clouds, Birds 4 in progress

oil on linen 8 x 8"

Here's another in the birds flocking series.Since these are small I can often work on two or three in a day, building up layers, and then setting them aside to dry while I go on to others.

Meanwhile a 40 x 60 inch linen is stretched and toned and will be dry enough to work on this week. It was having odd puckering issues, but now, to my relief,it has finally flattened out.

A Burst of Color: Holiday Greeting Cards

2011-12-05T07:24:00.000-08:00

Leading a selection of Holiday Greeting Cards available through
Zazzle is one with bright red orange against blue grey.

Discounts and specials abound at Zazzle and at Zazzle you don't have to buy multiples of the same card to receive a quantity discount. You'll receive a quantity discount on any order of 10 or more cards.

Assembling a Series

2011-11-29T08:17:00.000-08:00

oil on linen 8 x 8" each

Here are the first three of a series of twelve small square paintings of clouds and flocking birds. I've been working on many diptychs, triptychs, and modular paintings lately. A group of modular paintings can have the visual impact of a single large scale piece but has built in portability and versatility. Much of the time I've found that paintings in a grouping can be completely rearranged while still working together as a whole.

My 7 Links

2011-11-22T08:48:00.000-08:00

I'm honored to be chosen by local artist Kathryn Hansen to take part in the My 7 Links Project.

For this project each blogger selects one post to fit each of seven categories and then nominates up to 5 more bloggers to do the same, and so on, and so on,.as a way of "uniting bloggers (from all sectors) in a joint venture."

Here goes:

Most Popular Post

The Top Eleven Artists That I Have Found To Be a Large Influence

These are the artists, both historical and contemporary that I've selected as being highly influential to me.

Most Controversial Post

Vegan Art Supplies

Not many of my posts seem to be controversial, but I think this one has ruffled the most feathers.

Most Helpful Post

Artwork Inventory Form This seems the one that I get the most thanks for.

Most Surprisingly Successful Post Ten Highlights From My Dream Resume: A Surreakist Game

I knew this post was a shot in the dark, it was delightful to get a response!

Most Neglected Post

Rain Catcher

Maybe it's the title, or that there isn't an image that goes with this, or maybe this level of water conservation is just an odd quirk of my own.

Post I'm Most Proud Of
Art's Influence on Motion Picture Design
It's a series of posts about how art has influenced motion pictures. This one about Andrew Wyeth is one of the series of six posts.

Most Beautiful Post
Storm Clouds Over Lava Fields
We all know that beauty is in the eye (or mind, or heart0 of the beholder, so you tell me, it could be this one, or maybe another....

The bloggers I have chosen to nominate are:

Lynne Windsor
I took Lynne's painting workshop in Scotland this fall and had the time of my life. And Lynne has recently been studying for an advanced degree in printmaking.. Her artwork is beautiful and I'm finding following along with her explorations to be fascinating.

Dianne Poinski
I met Dianne online, although she has roots in my neighborhood. She is a photographer who creates works of art, hand coloring her photographs. She also generously shares her process through teaching, writing, and on her blog.

Beth Rommel
I also met Beth online.I find the artwork on her blog to be colorful and fun and it has a story telling element to it that grabs my attention. See if you don't find the same.

Thanks Kathryn for choosing me to take part!

Little New

2011-11-14T11:09:00.000-08:00

Clouds Trees Barn in progress
©2011 Katherine Kean
8 x 6" oil on linen

Sky Trees Sheep in progress
©2011 Katherine Kean
6 x 6" oil on linen

I've been working on finishing the paintings for my next exhibition and hoping to complete them by the end of the year. However I couldn't wait to start on some paintings of Scotland. Here are two small beginnings, above.

Not much else is new. I'm about halfway or so through restoring the photos that I lost. It has been going smoothly, so I don't expect it will take too much longer, especially now that I've learned how to work around a couple of things that have changed with Blogger since Google took over.

Photo Foibles

2011-11-07T07:56:00.000-08:00

I was all set to follow up to Kathryn Hansen's post My 7 Links, when I experienced an internet mishap. While editing my Google + profile I noticed pages and pages of old photos displayed. They seemed irrelevant and I couldn't see a method to limit their visability. However I did see a delete button and decided to use it. The usual warning appeared, "are you sure, cannot be restored" etc. I was sure - and I still am - I do not want those photos on that profile and so I clicked yes to delete and thought no more about it...until the next day when I saw that everywhere on my blog where a photo used to be was this :

It turns out that Google + has linked all of their platforms together, which includes both Blogger and Picassa web albums, so deleting the album in one place deletes it everywhere.Seven years of images were removed. Fortunately I have almost all, if not all of the photos I deleted and I can replace them one by one. I've already taken care of about 10 % of this. I really feel for the people who have uploaded directly from cell phones and other ways that may not have a hard drive copy.

I will address the My 7 Links concept in a future post. With so much material missing, right now doesn't seem like the best time for a review..

Fall in New England: Wind and Rain and Snow (???) Oh My!

2011-11-01T22:42:00.000-07:00

Geese in the Blackstone River Valley, New England

I managed a quick trip to New England - dare I say a whirlwind trip? No, I better not. While hoping to catch some transitional color, in the past week it feels as if I have experienced every type of weather. Rain and fog in Los Angeles turned into warm and sun, followed by rain in New England which turmed into bright, sunny blue skies. The blue skies were quickly replaced with rain and snow and wind - and lots of it! We were lucky, managing to be on the road on the brightest of days and arriving ahead of the storm to stay cozy and warm inside during the worst of the squall. The sun the next day was strong enough to melt any snow that may have been an obstacle to the return trip. Not all were so lucky, many people had power outages or experienced travel delays and it was probably not much fun for children to go trick or treating with mittens and boots and heavy coats.

While I was assured that I was not seeing the best of it, I was happy with the foliage I got to see and the combination of leafy and bare branches. I like the smoky effect produced by the layers of leafless trees, punctuated here and there with bursts of color and that I could see the structure of the forest and varieties of tree height.

Work in Progress: Murmuration

2011-10-24T08:48:00.000-07:00

Murmuration in progress © 2011 Katherine Kean
oil on linen triptych 48 x 126" overall

Here is what the large triptych taking up all the breathing room in my studio looks like at the moment- click on the image to see it enlarged. It will be getting a few more layers and I suspect the bird formations will change somewhat, but I'm not going to say in what way just yet. What I will say is that I'm glad that I did most of this painting during the longer days. At this time of year my studio seems a little darker every day and I have to start depending more and more on artificial light.

And Then the Cows Came Home

2011-10-19T08:34:00.000-07:00

Part of the fun of painting outdoors is experiencing first hand all the elements of nature. This includes weather, light, insects, and animals.On one of the fairest days while painting in Scotland we went to the Tweed River and set up on a private road by a farm. It was really an excellent location with a view of the river and hills, but off the main road and sheltered from the wind. The farmer, riding an all terrain vehicle, was just bringing a few cows through as we arrived and gave his permission for us to be there. He mentioned that the rest of the herd still in the pasture would likely be curious and want to watch us. As we set up our easels we did indeed notice quite a few cows clustering by the gate peering at us, wondering I'm sure, just what we were up to. However, when we approached them to take a picture they all turned and quickly shuffled off - apparently camera shy.

We all went back to work, eventually settling down to paint, working as quickly as possible in case the weather decided to change. When we next looked up, right behind us the whole herd had returned. They must have tip toed silently up behind us, for now they were all lined up at the gate staring intently while we painted. Perhaps these were special ninja cattle, because I never heard a sound.

Later on we saw that further down the path there were cows coming from the other direction and since we were set up directly in their way it seemed wise to break down our easel set ups and get ourselves out of the way. It was about time to go anyway, so we quickly commenced capping and stowing paint tubes, wiping off brushes, packing up paintings, and folding up our tripods. Cows it seems, are not only stealthy, but in spite of their size move quickly, because quite soon a large grey one was right there before us. Did I mention how large cows are? Rose, who was closest, reassured the cow as she packed up her things, that we would soon be out of the way. The grey cow waited, shifting her weight from side to side and occasionally swishing her tail. At last we were completely packed up and able to move aside to let the grey cow by. What did she do then? She turned around and walked back the way she had come.

Wrap Em Up, Ship Em Out

2011-10-10T08:42:00.000-07:00

I was caught by surprise when returning from my trip to learn that Paint America had been trying to get in touch about delivery of artwork to Saint Louis for exhibition. I had to drop everything and scramble to get the work shipped out. Fortunately the organizers of the exhibition had arranged for a discount to the artists on AirFloat Systems lined strong boxes. I really like using these boxes to ship because they give me great confidence that the artwork will arrive undamaged.

As soon as the boxes arrived I wrapped the framed paintings with plastic pallet wrap to prevent dings in the frames or scratches on the paintings' surfaces. Then I created a custom sized pocket for each painting - easy to do in the pre-perforated foam - I didn't even need a knife. Then I sealed the boxes and took them to the Post Office during the first downpour of the season. I got soaked! But no matter. The people at the Post Office gave me a stack of paper towels. I dried off my packages and then sent them on their way. All three boxes were delivered to the Jefferson National Expansion Monument within 24 hours.

This leg of the Paint the Parks 2011 traveling exhibition will be on exhibit through January 9, 2012.

Beautiful Scotland

2011-10-04T08:29:00.000-07:00

I returned last week from traveling to Scotland to take part in Lynne Windsor's workshop. Lynne scouted a number of beautiful locations to paint, each one more spectacular then the rest.

Since this was my first visit to the U.K. I wasn't sure what to expect. Many people told me to bring lots of warm clothing, however I didn't want to go overboard on the packing since I also had to bring an easel and art supplies. The layers I brought served well. The weather was variable, to say the least, but never extremely hot or extremely cold. Sometimes it rained and sometimes it was windy, while others times it was sunny and mild. It all suited me just fine, being the big fan of weather that I am.

The workshop was wonderful. Lynne started with a demo, explaining her process as she painted, while we watched, took notes, and asked questions. Each day we painted either outdoors en plein air, or in the studio, depending on the weather. In between painting we had the opportunity to get lots of photos - there seemed to be limitless opportunities. The skies were gorgeous and constantly changing, illuminating various aspects of the landscape, while flocks of sheep arranged themselves in pleasing patterns. I had so much fun, learned plenty, and will benefit from seeing things in a new way.

More on this to come. In the meantime Lynne has posted several photos on her blog..

Preparing Plein Air Panels

2011-09-26T07:46:00.000-07:00

While considering what to bring on a painting trip I looked at buying plein air panels to paint on. They tend to be light and small - great for carrying and it seems a good idea keep luggage weight as low as possible while traveling. And since there are slots to carry thin panels built into my painting box, I might as well use them. My other criteria were that they be quality material, archival, and cruelty free. In other words I wanted oil primed linen mounted on a board - not on a paper or foam product. Inexpensive would be nice also!

I finally found what seemed like the perfect product, oil primed linen, mounted on a board. I ordered a half dozen. They arrived and as I was about to tear into the plastic wrapping, I noticed that the label stated "primed with rabbit skin glue". Fortunately the supplier agreed to take them back. I never did find the product with the exact specifications I wanted, but I did find Art Boards Plein Air - Archival Mounting Panels. These are a thin maple board coated with a heat activated reversible archival adhesive. I have plenty of small pieces of oil primed linen - trims left over from stretching larger surfaces, so using these I've tried them out and I'm happy to say they are quite easy to use. The boards need to be briefly heated: two minutes at 250 degrees - an oven works great - then press the linen (or canvas, or paper, or whatever you are using) to the adhesive surface while it cools. Once it has cooled to about 150 degrees or so, the bond is made. I also tried the reversal to see if it really worked - and it does. All you need to do is reheat the panel and while it is still warm the linen lifts right off.

I used mini clips to press the edges of the linen to the adhesive surface.

I'll also bring along some pieces of unstretched linen to tape or clip to a board as I work that I can stretch back in the studio.

On the Easel, On the Wall, On the Floor

2011-09-20T08:53:00.000-07:00

Marsh Path in progress Katherine Kean
48 x 48" oil on linen

Here's a sneak peek at the works in progress in the studio. The painting above just barely fits on the easel, while the two triptychs below are being painted as they hang on or lean against the wall. The larger is 10 1/2 feet wide, and the smaller one is 6 feet wide.

What Happens When You Don't Pick the Artichoke

2011-09-13T08:38:00.000-07:00

The part of the artichoke that we eat is a flower bud, so if you don't pick the artichoke it goes on to blossom.

I sometimes find it difficult to decide whether to have a feast for the eyes or plate. This year I left one bud to flower. I can't get over the color.

While I was taking these photographs one bee after another visited this flower. They each climbed all the way in through the purple to the middle and then climbed back out and went on their way.

Something Old or Something New: Which to Exhibit in a Group Show?

2011-09-06T08:42:00.000-07:00

Dreaming ©2007 Katherine Kean
oil on canvas 24 x 18"

In deciding what to put into a group exhibition, some of the decision making may already be done for you. Many times when one is invited to a group exhibition there is already a theme in place, which will limit your options. It could be as general as a small works show or as specific as work with the color red. Also group shows tend to impose size restrictions such as nothing larger than 24 x 30".

There are often other rules - only work completed during the past 12 months, or two years, or three, or only works on paper.

Recently a friend was considering whether to exhibit an older piece that he already knew was a strong work, or something from a brand new series still forming. My advice:

There are pros and cons to both. I'd probably go with the new work as long as you have the strength of vision to not be put off if you don't like the feedback. I sometimes "protect" new work until I feel it's strong enough on it's own and my idea of the direction it's going is well established. I've had the experience of selling really new work that I actually would have benefited from keeping around in the studio while I worked on the rest of the series. While I was happy to have a sale, it felt like a little setback to not have it for a little longer to refer to.

On the other hand, positive support can energize you and exhibiting can be a good way to see if a piece stands on it's own, apart from the series. Also, if you're not going to be making more of your older work it probably won't help you much to create a big demand for it - unless you have plenty left over that you'd like to sell. But, take the venue into account - sometimes it feels better to show something that you already know is really strong.

What would you do in the same situation? Would you show something old or something new?

Shorter, Warmer Days

2011-08-30T08:04:00.000-07:00

Passing Through - in progress ©2011 Katherine Kean
24 x 36" oil on linen on panel

Besides working in the studio, the past week has found me picking work up from various summer shows. Easy enough, yet time consuming - balancing the galleries' hours with traffic. Picking up from Shoshana Wayne was a snap - no traffic, plenty of parking, no line, no problem with paperwork, no problem all around. Nothing at all like the installation day.

I'm very aware that the days have started getting shorter. Because of my travel plans, and knowing that seeing new places can change the direction I've been working in, I'm attempting to finish everything that I started during the past two months. The one above is almost there (you can see it's beginnings here) , a large landscape is more than halfway, but an even larger triptych - 10 1/2 feet wide - is barely started with just a graduated color ground applied. But, we have our summer heat now, so the garden and the hills are not the tempting distractions they were a few days ago, and everything will dry quickly.

Mid-Summer

2011-08-15T08:27:00.000-07:00

Connect the Drops -SOLD ©2011 Katherine Kean
oil on linen 12 x 16"

I'm balancing enjoying summer "leisure" - and nearly perfect weather - with painting and getting ready for fall. I'm preparing for a trip to Scotland for a painting workshop. So far, I've equipped myself with a lightweight tripod and pochade box. The pochade box holds paint, palette, and brushes, has slots to hold small panels and fits in my suitcase. The tripod works well with the box and my camera. Because airlines charge so much now for baggage or extra weight this works out economically. My old French Easel, though beautiful, is heavy, and setting it up sometimes feels like teaching a new born giraffe to stand for the first time.

In the garden the grapes have come early and I've managed to save some from the wildlife to eat myself. I found some reusable nylon shopping bags that I slip over the bunches and tie. The mesh is fine enough to keep out the animals, but still allows light and air in. I also have squash, lettuce, chard, asparagus, arugula, and artichokes this year. I cannot grow beans - literally, not metaphorically - which is puzzling because they used to be the easiest for me to grow. I'm surprised to still have lettuce so late in the season, but I'm not complaining at all!

I delivered El Matador: Silhouette, Shadow, Reflection to TAG Gallery. The painting above, Connect the Drops, sold there last weekend. This week I"ll be in the studio making new work.

In the Top 100: Paint the Parks 2011

2011-08-08T09:04:00.000-07:00

oil on linen 20 x 30"

Three of my paintings have been chosen to be included in the Top 100 picks of Paint America's 2011 Paint the Parks competition. Rapidly Changing Conditions, above is included in the Top 100 main category and the two paintings below, Maine: Tides, Rocks and Vent are both in the Top 100 mini category for paintings that are 180 square inches or less.

PaintAmerica’s “Paint the Parks” is an open international artists’ juried competition with proceeds to help fund the PaintAmerica mission of supporting the visual arts and artists across the country. A portion of proceeds from “Paint the Parks” will be contributed to the National Parks Foundation and the PaintAmerica Scholarship Fund.

Paintings in this competition must depict one of our nation's 390 areas supervised by the National Park Service.Rapidly Changing Conditions and Vent portray Hawaii's Volcanoes National Park, while Maine: Tides, Rocks represents Acadia National Park.

oil on linen 8 x 10"

oil on linen 10 x 10"

El Matador: Silhouette, Shadow, Reflection

2011-08-02T08:27:00.000-07:00

oil on linen 8 x 10"

I worked hard to keep this simple, if that makes any sense. What I mean is it would have been easy for me to become obsessed with defining the many fascinating intricacies of the craggy boulder and overlapping wave forms. However, I resisted, instead mostly allowing the main silhouettes and shadow shapes and the strong blood orange color to carry the mood. Could I go further with the simplification? Probably, yes. Next time.

Now, as August and the summer heat arrives, would be an excellent time to visit this beach.

Looking at Chain Letter

2011-07-30T09:20:00.000-07:00

I used to have a recurring dream. It was at a time in my life when although I was working in a creative position, I wasn't having the opportunity to express myself authentically. In the dream I had discovered a building full of odd things. Perhaps this was an abandoned manufacturing warehouse, for everywhere there were fascinating objects or discarded toys and each had a story to tell, or represented an idea, or evoked a feeling, or sang, shimmered, glowed, or lit up. In my dream the discovery of this forgotten place was like finding a secret treasure trove and one of the best parts was that it seemed to just go on and on, one room opening to another. Each time I had this dream I would find something new.

Viewing the installation of Chain Letter at Shoshana Wayne Gallery reminds me of this dream.

http://youtu.be/aVncSWHm3Zk

Chain Letter Los Angeles Installation

2011-07-23T11:28:00.000-07:00

Line of cars at the Cloverfield exit on the 10 Freeway

After wavering on the idea - like many I dislike crowds and lines and traffic - and wondered what work would I want to put into a show so anonymous and so crowded? I decided to at least try to install a small piece of artwork in the Chain Letter Los Angeles edition at Shoshana Wayne Gallery at Bergamot Station. I also had the privelege of installing on behalf of two artists who could not be there in person that day, yet reserving the option of bailing out if it was too much.

Experience has taught me to avoid Michigan Avenue when traveling to Bergamot on any day that there might be an unusually large crowd, so I parked north of Olympic in a paid structure and walked a block and a half. Fortunately the three artworks I carried were very small. I arrived shortly after 10 am to see a line that ran from the gallery door east, then south, and then west alomg the perimeters of the complex. I took my place at the end behind a man with a dog named Pete (or maybe the man's name was Pete and the dog's name was Buddy) and started filling in the submission forms for the artwork using my Kindle as a writing surface. The sun came out from behind the morning haze all too soon, so I opened my umbrella for shade.

The line kept slowly moving, friends and acquaintances arrived and took their places in line both behind and ahead. Information circulated and by 11:15 or so we learned that the gallery was full. I was surprised. I'd read on the Chain Letter Facebook page that the stacking of artwork might occur and I was picturing a vast pile of work, so how could it be a pile already? They opened a second space, a smaller space, perhaps we would be in that space so we waited. Some people bailed out. I stayed, the man with the dog named Pete stayed, the woman ahead of us who had lived in Ohio stayed. We muttered to each other that we must be diehards. The line inched forward. The man with the dog went for a sandwhich and water for his dog and returned. Information came around about a third space opening and we were getting closer to the head of the line. When I finally got there the woman at the desk said "Thank you for waiting" which made me laugh. She numbered my submission forms and gave me three corresponding numbered yellow stickers for the art and told me to install in D2 since the work was small. The larger pieces were being sent to the third space in F1. My work is number 761. It was 1:15 pm when I left. Almost a thousand more pieces were installed after.

Many people documented the process, links below.

http://www.youtube.com/watch?v=Y11yWTK5Dlo

http://www.youtube.com/watch?v=UN8fkjO5NPc

Summertime and Chain Letter

2011-07-19T09:48:00.000-07:00

The 405 closure - and successful early reopening is behind us. I can't help it if some civic pride creeps into my voice - I'm so amazed at how well a huge city full of car dependent people managed to make Carmageddon a non event. The road ahead is clear for another kind of gridlock happening this weekend at Bergamot Station. I will be participating in two group shows; the Summertime show at TAG Gallery, featuring the work of 40 artists and across the parking lot at Shoshana Wayne, Chain Letter will also open, featuring the work of ....well, hundreds, if not thousands of artists.

The premise behind Chain Letter is that 10 artists were invited and instructed to each invite 10 artists they admire and so on, and on, and on. The work will be installed on the floor, possibly stacked, so I'm choosing to bring something small and sturdy to contribute. I'll leave it to you to imagine what kind of traffic nightmare could occur as everyone descends on the gallery on Friday the 22nd to install and again on Saturday the 23rd for the opening.

This event has already started in several other cities. An account of how it went in Boston can be found on Joanne Mattera's blog.

Synthetic Paint Brushes

2011-07-11T08:26:00.000-07:00

24 x 36" oil on linen on panel

Since removing animal products from my diet, I've learned more about all the ways that animals are used and abused to make not only food, but cosmetics, clothing, shoes, furniture, and even art supplies, As I wrote about here, I started to research new products to replace the non-vegan supplies I've come to rely on all these years. I'd been taught that the best brush for an artists must be a natural bristle brush, preferably a sable. No longer willing to buy and use a brush derived from killing animals, not to mention abhoring the cruel trapping and farming practices, I started looking for a synthetic substitute.

The first brushes I tried out were okay, far better then the ones made years ago, but just not quite as responsive as the natural bristles I've become used to. I've wondered if I would have to learn to make do and adjust my painting style accordingly. Whenever I'm in an art store I look at what they are offering in the synthetic bristle category and recently while browsing in a Utrecht store, I picked up a synthetic mongoose brush made by the Princeton Art & Brush Company. I didn't have high expectations and didn't even try it out for some time. It just sat there on the easel shelf, all clean and new.

Then the other day when I was about to begin painting the numerous twisty branches in the painting started above I decided to try it out and what do you know - it was fantastic! It did everything I would expect from a natural bristle brush. It carried a good load of paint, so I could start out on a long, broad stroke, follow through all the twists and turns and end with a fine point.

This one was a number 6 round. What a joy to paint with. The next time I'm buying brushes I plan on getting some more.

New Work

2011-07-05T07:53:00.000-07:00

I've updated my website with new paintings. I finally got the "stay inside" weather I needed, just not in the form I expected. This year we had a spectacular spring with regular rain and a nice mixture of sunny and overcast days, not too hot, not too cold. The garden displayed a sequence of color for the entire season, daffodils, hyacinths, foxglove, amaryllis, allium, jasmine, hydrangeas, gardenias, and roses. A nice treat considering how many seasons past the flowers have come out only to be withered and blown away by Santa Anas. But not this year. This year it was just too nice to be inside and working on websites when the weather was so perfect for digging and trimming and mulching (and sneezing). It finally came to an end, right on schedule by the calendar, with a heat wave - just too hot to garden or hike, but perfect for staying inside and working on websites.

When the weather is fine

2011-06-28T08:29:00.000-07:00

I find this time of year the best for painting. The days are long and there is plenty of light.On warm days my studio is always cool and inviting and I have a freshly stretched 48 x 48" linen ready to paint.

The drawing above combines a typical view of the sky from my house together with a marsh field from Cape Cod. These elements together male a place that doesn't exist, but could be almost anywhere.

You can still see raindrops...

2011-06-22T09:42:00.000-07:00

Happy Summer! My Quarterly newsletter has been sent out. If you've missed it, you can see it here, or you can sign up to receive it by email by visiting the link below:

What Do you Listen to While You're Working?

2011-06-17T07:44:00.000-07:00

What do you listen to while you're making artwork? Is it music, the TV, the radio, your pet snoring, or maybe silence? I've learned that for me it's often helpful to have something in the background to keep my left brain occupied.

I have a television in my studio. It's placed slightly behind me, not to watch, but to hear. Too often it's tuned to news channels. I find the news compelling during natural disasters, but close to unwatchable during election years. Too often it's too depressing to leave on for very long.

I've recently rediscovered audible books. I've had books on tape in the past and now get books from Audible.com to listen to on a Kindle. I'm currently listening to The Time Traveler's Wife. Even though I've seen the movie version it's fun to hear it read aloud by Fred Berman and Phoebe Strole. Having two voices reading from the two perspectives of the story keeps it fresh and makes it more entertaining. I find it interesting also to notice the words that are chosen; how the words that are describing scenes that I can see in my head as a result of the movie differs from the words that
I'd use - and how the images in my head change as a result of these other words, even though it is the same story. This process reminds me of how large a part choices play in all art forms and how often what is left out may be as important as what is included.

Energy and Art:Part Two

2011-06-07T08:21:00.000-07:00

Separation Anxiety work in progress ©2011 Katherine Kean
oil on linen triptych 18 x 42" overall

With a little time, listening, to music, watching a movie, or reading a book can change your mood. Artwork can also effect your mood, often instantly - something to keep in mind when choosing art and considering where to place it.

There may be places in your home that you want to maintain as a soothing sanctuary, so you might want to hang art there that conveys tranquility and calm. Places where you entertain or create may call for something that sparkles or energizes. In places where you do business you might want artwork that reminds you of abundance. A traditional Feng Shui choice might be images of birds – the birds representing opportunities and good news, and the more of them the better.

Color as well as content play a role as well and the effects these have will vary from person to person. What may be a soothing sage green to me, or an uplifting red, may seem a sickly or irritating shade to another. We all see color differently, so let how it makes you feel be a determining factor.

I believe that there is no value in adopting a belief unless it serves you well to believe it. Symbols may have cultural meaning as well, whether you consider a dragon lucky or threatening may depend on beliefs you were brought up with and haven't changed as well as experiences you've had. There is no need to change what you already consider auspicious – it’s easier to go with the flow. Just consider whether you are attracting or repelling energy, even, or especially, if it is on a subconscious level.

Summer Show: Tell Us a Story

2011-06-02T08:14:00.000-07:00

Counting Raindrops © 2010 Katherine Kean
oil on linen 12 x 16"

I'm pleased to say that Counting Raindrops has been included in Segil Fine Art Source's Summer Show "Tell Us a Story". The premise of the exhibition is that each painting, whether whimsical, emotional, or purely narrative, should tell a story. The story must be original, but may be either real or imagined. The story, in 100 words or less, will be displayed alongside the painting.

The show runs from June 18 through August 20, 2011, with a reception on Saturday, June 18 from 5-7pm. Segil Fine Art is located at 110 West Lime Avenue, Old Town Monrovia, California 91016. The gallery hours are Tuesday through Saturday 1:00 -6:00 pm.

Expanding My List of Influences

2011-05-31T08:54:00.000-07:00

Slow Release of the Day © 2009 Katherine Kean
oil on linen 18 x 36"

A couple of years ago I posted a list of the top eleven artists that I felt had the biggest influence on my work. A top ten list would be a much rounder number I know, but I just coldn't narrow it down that far. Now, I'd like to expand on that list with some additional artists that I've been looking at more carefully over the past few months, and add these seven to the first eleven. Some of these artists' works relate to each other and some do not, so, in no particular order:

Dwight Tryon Graceful, and simultaneously ethereal and grounded.

George Innes Rich and mysterious, his paintings allow your mind to create what isn't painted, while hinting at more.

Andrew Wyeth Beautiful browns that are almost monochromatic - images are stark in composition, yet rendered in detail, and have the ability to draw you into their story.

Lawren S. Harris Harris's paintings seem to seek out a spiritual essence in nature, allowing anything extraneous to this experience to seem to drop away.

Emily Carr I should have realized earlier that I couldn't have Goergia O'Keeffe and Agnes Pelton without adding Emily Carr. Her work also seems related to Charles Burchfield's. She seems to paint the wind.

Frederick Judd Waugh Known Best as a marine painter, he understands the physicality of the sea and powerfully conveys the experience of it.

Kaii Higashiyama Simulataneously grand and simple, his paintings are bold while holding a profound sense of quiet.

In looking over both lists I can see certain characteristics held in common. A strong affinity for nature is apparent, as well as the sense of mood. Technically, all of these artists combine softness and gradations with bold contrasts, shapes and composition. Values are key and so is a feeling for drama, even when it's a quiet grandeur.

New Painting: Between the Drops

2011-05-23T07:42:00.000-07:00

Between the Drops ©2011 Katherine Kean
12 x 16" oil on linen

This is third in the series that includes Counting Raindrops, and Connect the Drops. I was drawn to paint the subtle geometric patterns left by the drops as they fell and reformed again after being swiped by the wiper blades. Just when I think I'm done with raindrops - bet then they are a lot of fun to paint.

The sequence below depicts the progression of this painting from under painting to conclusion.

The under painting in warm colors to show through behind the cooler top layers. Approximate values and drawing are layed in. The first color layer - still plenty of under painting showing through. The values are well established.

An additional color layer using cooler colors and more grays. Also starting to define the pathways the drops will follow. The drops are the last to paint. Oddly enough I don't have a preconceived way of approaching them. Sometimes I make a dark spot and then add highlights, other times I make a bright spot and then outline it with the dark.

Holding it Together on a Diptych, Triptych, or Modular Painting

2011-05-19T07:28:00.000-07:00

On the Edge

oil on two canvases

42 x 12"

A diptych in art consists of any two panels presented side by side. Traditionally these two pieces would be hinged together. In contemporary art it's not uncommon to see the panels simply hanging side by side, sometimes with a bit of space between. A triptych is made up of three panels, side by side by side.

When there are panels placed one above the other, or in larger, more complex groupings, it is then called modular art. In some works, pieces can be added or removed, or rearranged, to create a new piece of artwork.

There is an advantage to modular work. The smaller sections that make up a large piece can be transported more easily than a single large painting.

When I'm working on a diptych, a triptych, or a modular piece I use C-Clampsto connect the panels. This way I can easily move around the multiple panels that make up one work as an entire unit, making it easy to take off the easel during drying time.

Parts of the Angeles Forest Reopen - Today!

2011-05-16T06:33:00.000-07:00

Although Hghwway 2 into the Angeles National Forest remains closed, today, two and a half years after the Station Fire, larger portions of the forest and many popular trails will reopen.

A word to the wise: many of the trails may not be in good shape. There may be washed out areas, rock slides, and fallen trees. Many trails will be different and many fire roads have yet to be graded.

Respect any trail closure signs you come across - although these trails are in the newly opened areas of the forest, some individual trails may still be posted as closed. For the sake of forest recovery and for your safety stay off those trails.

A list of the openings:

Brown Mountain (to the saddle)

Gabrielino (JPL to Paul Little)

Gabrielino (Switzers to Redbox to Chantry)

Bear Canyon Trail

Sam Merrill Trail

Castle Canyon Trail

Sunset Ridge Trail

Mt. Lowe West Trail

Idlehour Trail

Kenyon Devore Trail

Rim Trail

Sturtevant Trail

Santa Clara Divide Truck Trail (Dillon Divide to Mt. Gleason to Three Points)

Chilao Loop/Mt. Hillyer

Vetter Road

Silver Mocassin

Shortcut

Valley Forge

Mt. Lukens road (once the highway opens)

Earl Canyon

Haines Canyon

Doc Larsen

What remains closed? In the map above, everything within the blue border line is still closed. This includes:

Strawberry Peak,

Tom Sloan

Dawn Mine

Upper Brown Mountain (Saddle to the Summit/Ken Burton)

Ken Burton

Gabrielino from Switzers to Paul Little

Grizzly Flat

Hoyt

Stone Canyon

Condor Peak Trail

Trail Canyon

Alder Creek

Colby Canyon

Josephine

Mueller Tunnel

I've heard that the parts of the forest have been open for awhile have been very crowded. It will be nice to be able to spread out a little.

More info here: http://arcadia.patch.com/articles/graphic-reopened-areas-of-the-angeles-national-forest-2#photo-6051345

The Forest Service map with zoom capability can be found here:http://maps.fs.fed.us/stationfire/

Be careful and happy hiking!

Sold: Coastal Pines Overlook I

2011-05-09T11:49:00.000-07:00

Coastal Pines Overlook I ©2011 Katherine Kean
oil on linen 6 x 6"

I spent all of yesterday afternoon at the emergency vet with my dog Bear. Somehow he got a foxtail in his ear, even though he was indoors at the time. There was quite a wait with lots of pets coming in needing immediate care. The wait was so long that Bear fell asleep under my chair. I've never seen him so relaxed in a vet's office before. What's more, I looked up to see someone I know coming through the door - a lovely woman that I've worked with over the years. She and her dog were experiencing their own canine medical emergency. We used the long wait to catch up.

Our turn finally came. The vet got the foxtail out we went happily on our way. Once home, I found a message on the phone from the gallery saying that Coastal Pines Overlook I had sold.

What is Your Most Used Color?

2011-05-02T08:18:00.000-07:00

Marsh Labyrinth work in progress ©2011 Katherine Kean
30 x 24" oil on linen

Other than white, which may be the most used color for many painters, what is the the most often used color on your palette? For me it's a toss up between Ultramarine Blue and Cadmium Orange. I use both of them a lot in mixing. The blue is obvious in the end results, but the Cadmium Orange might be a surprise. Not only do I use it a lot in under painting, but I just get something out of looking at it. Is there such a thing as a "color high"?

Fresh Off the Easel: Connect the Drops

2011-04-25T07:57:00.000-07:00

Connect the Drops ©2011 Katherine Kean
12 x 16" oil on linen

I've had no lack of inspiration for rainy day paintings this year! This is the second one in a series, the first can be found here. I like the contrast between the soft, misty background and the sharpness of the drips.

While working on these I came across the saying, "No one raindrop thinks it caused the flood", which some say describes the mindset that brings about the social phenomenon called "diffusion of responsibility"; related to these other social phenomena; design by committee, the bystander effect, and the Nuremberg Defense. However, couldn't it also mean cooperation, gathering together to accomplish a common goal, or achieving something otherwise out of reach for a single individual?

New Glass Palette

2011-04-21T08:50:00.000-07:00

I've used this round glass palette for quite a while. I believe it's original purpose was meant to be as a table topper. It's heavy and thick, about 16" in diameter, and the edges are beveled and smooth. There is nothing wrong with it other than it seems a little bit small when I'm working on a larger canvas.

For my new palette I'm using a glass kitchen counter protector. It has a crinkly surfaced top, but the bottom is smooth, so I flipped it over. It also has smooth beveled edges. There were little silicon pads on the bottom four corners which I found easy to scrape off - really easy, I just lifted an edge with a fingernail and then they just peeled off. I then stuck them on the other side - the side that was the top and is now the new bottom. The rectangle fits well on the table next to my easel and provides a lot more room for mixing. Here it is, below, in use.

The colors at the moment, from the lower left corner and moving clockwise, are as follows: Titanium White, Hansa Yellow Deep, Cadmium Orange, Quindracinode Red, Venetian Red, Raw Sienna, Raw Umber, Grey Green, Olive Greem, Terre Verte, Cerulean Blue, Cobalt Blue, Ultramarine Blue, and Mars Black.

Japan Earthquake Relief Fundraiser - Saturday, April 23

2011-04-16T11:12:00.000-07:00

I'm participating in this fundraiser with TAG Gallery and the U.S. Japan Council Earthquake Relief Fund. The event begins at 11am and continues all day, concluding with a reception from 4-6pm. I have donated three paintings towards this effort, from which 50% of proceeds will go directly to non governmental organization projects in the devastated Tohoku region of Japan.

DVDs For and About Art and Artists: Jeremy Lipking's The Portrait Sketch

2011-04-05T07:43:00.000-07:00

Recently I had a few artists over and we watched Jeremy Lipking's two hour demonstration of a portrait sketch on DVD. In the DVD Lipking paints a profile of his wife Danielle. As demos go the production value on this is high. We loved that there was an inset view of the model at times throughout so we can see what the artist sees as he paints. The demonstration is divided into chapters: Introductions, Materials, Blocking In, Painting Eyes, Nose, Lips, Ear, Hair and so on. He says very little as he goes, clearly absorbed in his work, however there is an alternate version with ongoing commentary with Tony Pro, the producer and an artist in his own right. Also included on the DVD is a written listing of materials; his palette, panels, and brushes. a selection of paintings and a bio written by Michael Zakian. I always find it a little bit magical to watch a painting unfold. It was even more fun with friends and a few snacks.

Waiting For the Sun

2011-03-28T12:04:00.000-07:00

Amber Lightfall

oil on linen

15 x 40

After days and days of rain, the sun has come out at last. It's still chilly, but promises to warm up. I grabbed the opportunity while it rained to get inside work finished. During my document updating I re-discovered the "read aloud" feature of Acrobat PDF files. I found that if I used it to read back to me that I could see how text such as my artist statement did or did not flow. In the past I've asked a friend to read it to me, or recorded my own voice on my message service. The digital voice gives a new variation.I also found it a useful tool to use in proof reading. An error read alound seems to stand out more to me than what I might catch when visually skimming over text.

Welcoming Spring With Buckets of Rain

2011-03-22T12:45:00.000-07:00

Most of the weekend and on into the first day of spring brought lots of rain to Los Angeles - very fitting as this is World Water Day. All the downpour filled my rain barrels to the brim and the time indoors gave me a chance to finish my taxes and update my website with a few small changes.

This week I sent out my quarterly newsletter, wishing everyone a happy spring. You can view my newsletter here, or sign up for it to be sent to your inbox by clicking on the link below.

Enjoy your fresh water and happy spring!

A Very Busy Ring of Fire

2011-03-14T07:54:00.000-07:00

Coastal Pines Overlook II ©2011 Katherine Kean
oil on linen 6 x 6"

The weather here has warmed up allowing for improved drying time. Together with the longer days, that's good news for painters. I've been able to make progress on new paintings and finish this pair. These are imaginary scenes reminiscent of the California Coast near Big Sur. Although they weren't intended as such, they can work together as a diptych, yet I prefer them to be separate.

If there's a competition for our attention, it seems to me that Nature continues to win. It hasn't been a month since an earthquake in Christchurch, New Zealand. As I was updating webcam information to post about the newest eruptions of Kilauea in Hawaii, the 8.9 earthquake hit Japan, followed by the massive tsunami. Just before the quake activity Japan's Shinmoedake volcano also began erupting again.

In Hawaii, the world's youngest and maybe most active volcano, which has been erupting continuously since 1983, has developed a new fissure developed between the Pu'u 'O'o and Napau craters on Kilauea. Here is a temporary camera set up to record the new fissure eruption which started on the afternoon of March 5, 2011 about 2 km WSW of Puʻu ʻŌʻō Crater. This panorama is a composite of eight images from a research camera positioned on the north rim of Puʻu ʻŌʻō's crater.

Coastal Pines Overlook I ©2011 Katherine Kean
oil on linen 6 x 6"

Just as it is difficult to comprehend the magnitude of destruction that parts of the world have been experiencing, the images broadcast over the Internet and the airwaves have been unbelievable as well, including the most recent coming from Japan.

In the midst of it I was grateful to find this list of charities on Charity Navigator that are organizing relief efforts. The opportunity to contribute something to help out aids me in feeling a little less powerless.

Rain, and Cold, and... Snow?

2011-03-01T08:10:00.000-08:00

The sun has returned after the past week's winter weather of rain, cold, and snow. When I mention local snow I usually refer to the snow that is visible on the mountains close by, seen, but not felt. This past weekend it snowed right here, on me, on my house, on my budding fruit trees and yard. It didn't stick for long, but it's proximity made it feel appropriate to be working on this pair of rainy day paintings.

These have three or four layers now with plenty more to come. There is still lots of under painting color showing through on each, which I plan to retain. I like the surprise of tiny specks of vivid gold or red poking through the more sober greys.

Raindrops 2 Underpainting work in progress

Raindrops 3 Underpainting work in progress

I've been happily observing the days getting longer. Having more daylight to paint by has been great. Yet, it's still cold, so even though the days are longer there isn't enough sunlight to make up for the heat lost during the winter. The cold has made for slo-o-o-w drying time. Under paintings that I started last week are still tacky. Paintings, still sticky, that need final glazes continue hanging in limbo. Since I must wait for paintings to dry in order to work on, I continue to start on fresh ones. So for now, the studio is getting quite full!
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Webcams: A Tool for Artists?

2011-02-22T08:45:00.000-08:00

Last week, while planning to go to El Matador in an attempt to catch the winter storm I encountered the obstacle of not knowing what the conditions would be over there, while I was over here. I had weather forecasts, but I wanted more specific knowledge and only afterward did I think that I should have checked a Malibu webcam to find out live conditions in advance of the drive. A search turned up several beach cams for various coastal areas in Southern California.

In looking around there seem to be webcams all over, making it easier to see weather conditions, visibility, and even the progression of fall foliage, or volcanic eruptions. This page is a National Park and Recreation Area webcam locator: It has links to recreation areas, volcanoes, monuments, seashores and parks.

Try this webcam in the fall for views of changing foliage from Mt. Washington in New Hampshire .

There are webcams in places that a regular Google Street View will not take you to and it seems to me that this may be an excellent way for landscape artists to check out new places to paint.

I found webcams in Alaska, New Zealand, and South Africa (always live and wild) . Not so many in China, but I'm still looking.

This seems like a useful tool not only for painters, but also for photographers, hikers, birders, and other wildlife enthusiasts, to name just a few. Have you ever used a webcam to check out a destination before a trip?

Sea and Rocks

2011-02-19T09:19:00.000-08:00

Maine Tides Study ©2011 Katherine Kean
oil on linen 8 x 10"

Here is the final, more or less, of the Maine tide and rock study.The overall color of the rocks hasn't really changed much from the initial lay in- for those who were concerned about that.

Earler this week I spent the end of an afternoon with a friend at El Matador Beach. We've had a series of storms in Southern California after a spell of almost summery weather. The plan was to catch the end of a storm breaking up, or the beginning of another gathering strength just at sunset. El Matador has wonderful rock formations scattered about and the low angle of the sun with clouds would have added to the drama. However, even though it was dark and ominous up here in the foothills, by the time we got to the coast, though windy and cold, it was bright and sunny. It was beautiful that way too of course and at that time of day the colors of the rocks, the sand, and the water kept changing. Well worth the visit. There will be other opportunities to catch stormy conditions coming up, or so I hear.

Underpainting Again

2011-02-15T11:15:00.000-08:00

Raindrops 2 Underpainting work in progress

Raindrops 3 Undeprpainting work in progress

I'm following up last weeks server problems with online backup challenges this week. I use an online backup service so that there's one less thing to worry about in the event of a fire or other disaster. This week I've been deleting unnecessary files, such as the multiple copies I seem to collect of artwork images that end up in various folders on my hard drive. I thought that with all the deleting that my backup storage would increase. There was one more step I had to follow to make more room, but I didn't know what it was. I got in touch with Norton and they fixed it remotely, which was fun to watch as well as informative. Now it all seems to be working well again, yay!

Above are a couple of vivid underpaintings. I've been experimenting with Gamblin's new fast drying alkyds for underpainting. These alkyd oil colors dry within 18 - 24 hours. I like the idea of cutting drying time while retaining a good bond with the subsequent paint layers. I've already painted over the two underpaintings above and while they dry I'll be working on other things.

Small Scale Sun, Sea, and Skies

2011-02-08T09:03:00.000-08:00

Maine-Tides Study in progress 8 x 10" oil on linen
©2011 Katherine Kean

Clouds-Sun 6 x 6" graphite on paper

Clouds-Sun Pastel Study in progress 7 x 7"

At the top is the first color layer on a small study of the tides against rocks on the coast of Maine. As much as I like the color of the rocks I can see that I'll be toning it down.

I'm thinking of a small painting from the next two studies. I haven't worked with pastel in a long time, but heard about pan pastels and had to try them out. I like how painterly the pastels are - compared to graphite, although I miss the detail. I think in paint all those discrepancies will work themselves out.

I'm determined to finish several paintings that I've picked out by the end of the month, barring any technical difficulties. Today I've had quite the delay with email. My account was shut down and then reactivated. For some mysterious reason this involves sending things all over the world to various servers and takes many, many hours. Nobody has been able to explain to me the reason and I'd love to know!

Marine Oil Paintings Blog

2011-02-01T07:57:00.000-08:00

24 x 30" oil on linen

I am pleased and honored to be included in the Marine Oil Painting Blog this week. The Marine Oil Painting Blog is a frequently updated collection of seascapes, coastal scenes and marine artwork from both the contemporary and historical domains. Including, but not limited to Homer, Waugh, Aivazovsky, Friedrich and many artists who are new to me; I find it a wonderful growing reference resource for artists and for art lovers.

Two Sketches From Cape Cod

2011-01-26T08:25:00.000-08:00

There is a lot to see, draw, and paint, in and around Cape Cod, Massachusetts. I came back with some ideas from a visit there last summer that I'm now having the opportunity to flesh out.

This first drawing is of an abandoned island on the Canal. Even though it was a pleasant, sunny day, this island managed to have it's own cloud and give a mysterious impression. The island was abandoned after the property was vandalized and is now for sale. From my perspective it didn't seem very far from land, but one would still need a boat to come and go.

Dune Grasses - House 4 x 6" graphite on paper
©2011 Katherine Kean

This view had a decidedly Hopper/Wyeth feeling to it, if that's even possible. I have an underpainting started on this one. It'll be interesting to see where it goes.

Energy and Art: Part One

2011-01-21T07:15:00.000-08:00

On an earlier post of Boat – Marsh, Diane Hoeptner made the astute comment that it would be considered important in Feng Shui to have the boat sailing inward to the home – not situated so it appears to be sailing out of a door or window. It’s about directing the energy where it would be most beneficial.

Without going into all of the mechanics of Feng Shui, which uses both astronomy and geography to align with the flow of energy - especially in the situation of buildings in the environment. This entire system is beyond the scope of this post, but we can take a piece of it and look at the logic of one of the ways the energy of artwork affects us.

Your brain has a system called the Reticular Activation System that acts as a filter between your subconscious and your conscious. What you see goes right to your subconscious, however when you deliberately choose an image you make it easier for your brain to pick it out from loads of daily sensory input and bring it straight to the surface. From there you will begin to be more aware of circumstances, ideas, relevant information and so on that align to the image. So the more reminders you have of “your ship coming in” the more your brain will seek out ways to bring it into your reality – all the more so if the mental picture is accompanied by intense feelings. This is one of the reasons it is helpful to surround yourself with artwork and images that can help the flow of energy in this way.

Above is the first color layer on this study for a much larger painting. I'm going to make sure that I keep this ship in the correct orientation. I'm still waiting for my shipload of fresh canvases to arrive!

Fond Family Open Space

2011-01-17T07:01:00.000-08:00

"Everyone needs beauty as well as bread, places to play and pray, where nature heals and give strength to body and soul alike." — John Muir

I had the pleasure recently of hiking within the Fond Family Open Space. This is a parcel of land in the Verdugo Mountains, about 500 acres in size, purchased by the Fond Land Preservation Foundation and set aside as a preserve and as a deterrent to future development. Although this is private land, from dawn until dusk it is open for the public.

I was hiking with a large group of 50 or so people and a handful of dogs. We entered the trail from an easement in Shadow Hills and hiked from west to east, nearly to the 210 Freeway. I've always admired the view when driving past this land on the freeway. It was fun to be in the vista for a switch.

The trail we followed stayed on the ridge, granting spectacular views in every direction, and a couple I may like to paint. While most of the group continued on, a half dozen of us turned back earlier. As easy to follow as the trail appeared heading out, on the return trip there were a few turns in the trail and at least one that I might have made the wrong decision about taking. While not a disaster, as civilization is all around, it would likely have ended somewhere far from the car, thus completely undermining the whole purpose of returning earlier.

More information about the area can be found at the Fond Family Open Space website. I'm looking forward to returning there soon.

Vegan Art Supplies

2011-01-10T06:26:00.000-08:00

Marsh - Boat graphite on paper 4 x 6"

This drawing is being worked into a painting. I may have decided to change the direction of the boat, perhaps because it's the start of a new year, it feels like it should be sailing out instead of in.

One of the changes that I've decided to make in 2011 is to seek out and use vegan Art Supplies. At first glance this doesn't seem to be too much of a challenge, but a closer look reveals animal products used in a variety of products that I would not have thought of. Brushes made from animal fur and paint named "bone black" are obvious. Bone black is a component of Gamblin's Van Dyke Brown, Ivory Black, Asphaltum, Portland Greys, and Payn's Grey. Gamblin's website lists the ingredients used in their paints. That the sizing used in my favorite Arches watercolor papers includes gelatin derived from animals is sad news. I had been using their watercolor paper for both drawing and watercolor and I'm still looking for something to replace it with. I've heard that both Strathmore and Yupo use no animal products when they manufacture their papers. For drawing I might consider using Arches cover stock, which has no sizing.

The good news is that these days good synthetic brushes are available, so there's really no need for animals to be captured or killed to make a brush. I was also concerned that the oil primed linen that I like might be sized with rabbit skin glue. However it is not. Signature Canvas, who supplies my favorite painting surfaces considers rabbit skin glue as too unstable in humidity changes to use on linen, so they size instead with a synthetic glue. The gesso that they use for acrylic priming is also a kind that does not include any animal products.

New Year, New Waves, and Artwork Shipping

2011-01-04T07:05:00.000-08:00

I've had the desire to make larger artwork, and I also appreciate convenience, which may be why I've been looking at making modular artwork, such as triptychs and diptychs, as they are called when placed side by side. When they are stacked one above the other it is simply called a modular piece.

Size is a consideration, not only in storage, but also in shipping. There are size restrctions to what can be shipped through UPS, FedEx, and the USPS. There are also insurance limits. Fedex will only insure up to $500.00 and UPS up to $1,000.00. The US Postal Service does not seem to have the same qualms about insuring artwork for shipment.

I recently sent artwork across the country and chose USPS just for this reason. I got a strongbox from the Airfloat company. This is basically an art/mirror box such as those sold at Uline, but Airfloat had the better price.

It is a lined box with perforated foam that is easy to cut to conform to the artwork, so that the art rides in a cushioned support. I ordered the version that has a reinforced lining to resist punctures. The boxes are strong and lightweight and reusable. Between the strongbox and the insurance I had confidence. I needed that confidence when soon after the box was picked up it mysteriously dropped out of the tracking system and for two days was "lost."

I've had a history of ups and downs with the Postal Service. Once, I was told that my 4 1/4 x 6" postcard announcements were too big, resulting in a surreal tug of war across the counter as I tried unsuccessfully to take them back. Another time the mailman could not find my house to deliver a package and so just dropped it by the side of the road. On the upside every claim I've ever had has been settled swiftly and completely.

In this case I called customer service and got trapped in one of those voicemail loops where the system kept asking for the label number; which when entered instructed me to contact the sender, which happened to be me. It was a voice system and I ended up yelling "No!" and "Help!" at every option, another surreal moment until an actual person eventually picked up and took down my information.

As the day wore on and the package was not found I was having very negative thoughts and not sure what to do. As it became evening I decided that there wasn't much I could do, at least not until the next day and so I put the Post Office, labels, tracking, and insurance out of my mind. Around 8:30pm the phone rang. It was the Post Office, calling to say not to worry. No, they hadn't found my package, but were sure it would turn up soon. It was suggested that I call the Post Office on the other end and ask if they'd seen it. This seemed a little too easy but this is exactly what I did the next day. Miraculously, or so it seemed at this point, they had all the label and tracking info, told me it was on the truck and would be delivered momentarily, and it was.

Will I use USPS again for shipping? It looks like I will, at least for anything valued at over $1,000.00. Have you ever shipped artwork? If so, what service did you use and what shipping materials, and was it a good experience?

Annual Group Exhibition at TAG Gallery

2010-12-27T07:28:00.000-08:00

I have one painting in this exhibition that starts December 28 and runs through January 22. The reception will be Saturday afternoon, January 8 from 3 - 6 pm. This should be early enough in the day to avoid the traffic jams that can occur on Michigan and in the parking lot from so many galleries holding simultaneous openings. The gallery will stay open until 8pm on that evening and will be open from noon to 4pm on Sundays, as well as during the regular Tuesday through Saturday hours of 11am - 5pm.

Happy Holidays - Happy Winter Solstice

2010-12-21T07:38:00.000-08:00

I'm emerging from an epic cold that's been with me for a little over two weeks. It couldn't have come at a better time as I've been looking forward to a little "down" time and I was relatively free of obligations. Still, it's nice to be able to breathe without coughing and I never did master the new, cough into your elbow protocol. I understand the principle, but I think my arm is too long, so I end up coughing at my elbow, allowing the germs to escape all over, which is what we are trying to avoid, right?

Outside the rain is relentless - up to an inch an hour, hour after hour, causing problems for all sorts of people and flooding my mailbox. This means that the holiday cards that were waiting to be picked up were soaked and had to be thrown out and redone. Now my mail waits inside a plastic envelope within a tarped mailbox.

So, with all of this going on, why am I celebrating? Today is the shortest day of the year. After today the hours of sunlight grow longer, and the light grows stronger, and there will be more natural light to paint by and this thought makes me very happy.

This is not to say that I've been minding the shortened days that much. It's been a good time to dream, and to count my blessings. I've enjoyed home improvements, new kittens, painting breakthroughs, sales and new collectors, travel and connections, and friends; both vintage and new. It has been a good year.

Birds, Branches, and Torn Edges

2010-12-08T08:10:00.000-08:00

Separation Anxiety work in progress graphite 4 x 12"

Between Holiday shopping, card writing, parties, and some artwork shipping (more on that later), I found some time to squeeze in this drawing. I've been captivated with the patterns that birds make in the air when they are flocking and roosting, and even more so with the bare branches starting to appear.

This piece is not quite finished, but the changes are so slight you probably wouldn't be able to notice from a the low resolution photograph that you are seeing online. It is composed on three pieces of paper with torn edges and I plan to frame them together in one frame, floating (no mat), with a tiny separation between the three - hence the title. I actually enjoy tearing paper and I usually prefer the way it looks over cut paper.

On another note, would you believe that I just now found the spell checker on blogger? Now I have no excuses left for my typos!

Some Thoughts While Uninstalling an Art Exhibition

2010-11-29T07:32:00.000-08:00

An impromptu celebration of sparkling wine, cheese, crackers, veggies and hummus at the final hour, was followed by a quick and efficient de-installation that almost beat the coming rain.

Paintings uninstalled and loaded into cargo van, check

Hooks, nails, and wall labels removed, check

Lettering scraped off the wall, check

Guestbook picked up, check

Paintings unloaded (in the wind and rain), cargo van refueled and returned to U-Haul, check!

The opportunity to exhibit in a large space is sometimes the only time to get to see an entire body of work together at once. I didn't have much time to paint while the exhibition was up, but I’ve enjoyed the time to get to see the work and start to reflect on the direction it’ll be taking next.

I left over two feet of wall space between paintings, which seemed like ample room on paper and although I was satisfied with how it all looked once hung, after leaving for a day or two and them returning with a fresh eye, the space felt crowded to me. Perhaps that’s because I’ve been used to seeing everything in the studio, where space barely allows for seeing everything together. In the future I’d like to leave more room - enough so that when stepping back away from the larger paintings, the ones around it do not intrude on peripheral vision. I know of no rule of thumb for determining the amount of space needed, but it seems like 36” between the larger works, or even more, wouldn’t be too much.

I underestimated how many business cards, various print outs and price lists I needed. I had to keep replenishing them with what I thought would be ample quantities, and even so, I ran out of a couple of items on the last day. I am not complaining – and I am happy to be able add to my address book from those that left their information when coming to see the show.

Holiday Greeting Cards

2010-11-23T07:45:00.000-08:00

I've always liked Fine Art Cards and enjoy collecting them at museum gift shops and galleries and more recently online. I don't create cards from every painting that I do, but I have a few card designs available. The cards below are digital variations of original paintings. In this case, snowflake effects have been digitally added for a seasonal look.

These cards are printed by Zazzle. I like Zazzle for their very high quality and lightning fast service, and the added ability to personalize products to suit your needs, at no extra cost. The three cards below include a text greeting printed inside, which can be easily added to or altered with Zazzle's customization feature.

Autumn's Veil with Snowflakes by Katherine Kean

Counting Raindrops Variation by Katherine Kean

Holiday Still Place by Katherine Kean

I've watched this company grow and evolve in the print on demand marketplace, from a company that printed only cards and posters to one that prints stickers, buttons, shirts, postage stamps, binders and mousepads - just to mention a few. As an artist my experience with Zazzle has been encouraging. There is no fee or cost to the artist to upload an image and create a product. The print on demand service eliminates the need to invest in and maintain an inventory and Zazzle allows the artist to name their royalty percentage.

If you're an artist you might like to look into Zazzle's services. I'd be happy to answer any questions that I can based on my own experiences.

Questions Are Answered at TAG Gallery's Panel Discusion

2010-11-16T07:00:00.000-08:00

The Panel: Sally Jacobs, Katherine Kean, and Susie McKay Krieser

The Question and Answer Panel at TAG Gallery on Saturday was well attended. Microphones helped everyone to hear and TAG’s Director, Amy Lombardo, kept the discussion going. As the moderator, she could insure that nobody rambled on for too long, and for those of us who tend toward the laconic, she prompted more with further questions. There were also wonderful questions from the audience. A couple of questions were difficult to answer - as sometimes the best questions are. One was about the moods I am painting and whether they were of sadness, joy, excitement, or something else. I answered that they are multi layered and I had to say that if I could adequately convey all the nuances in words that the need to paint them wouldn't be as compelling.

Amy Lombardo addressing questions to the panel.

The questions about our three exhibitions alternated among the three of us as we passed the microphone back and forth. We were each asked about the advantages and disadvantages of our chosen medium, the answer for me is that I like the color, control and archival qualities of oil on linen and the biggest challenge is the drying time. Sally Jacobs (From the Ground Up) commented on the advantages and difficulties of working with botanicals - such as the fact that they age and decay, and Susie McKay Krieser (Building a Story) talked about the challenges of figurative subjects – of how she handles issues of positioning and the scale.

Susie McKay Krieser explaining working with models.

It was great to have such an attentive and intelligent audience and I really enjoyed myself. I am grateful to TAG’s gallery assistant Craig Best, who had the presence of mind to ask for my camera and take photos, which is why I am able to post a few of them here.

Atmospheric Question and Answer Panel

2010-11-11T08:01:00.000-08:00

Have you ever wondered why an artist might choose to work in the medium that they do, or what experiences in their lives might have been a turning point in their careers? This weekend you'll have the opportunity to find out the answers to these and other questions at our moderated Question and Answer Panel on Saturday, November 13th at 3pm at TAG Gallery in Santa Monica. I will be prsent, along with Susie McKay Krieser and Sally Jacobs.

TAG Gallery
Bergamot Station D3
2525 Michigan Avenue
Santa Monica, CA 90404

Gallery Hours: Tuesday -Saturday 11am - 5pm and Sunday from noon - 4pm.

Atmospheric Reception at TAG Gallery

2010-11-09T06:36:00.000-08:00

I took one photo before the reception started and then put the camera away and forgot all about it while spending the next three hours with guests. Thanks to everyone who came - there was a wonderful turn out! It was wonderful to see so many friends. I, of course, loved the feedback and I also got to introduce friends to other friends, which is one of my favorite things to do. For those who couldn't make it - don't despair - Saturday we're having a moderated Question and Answer Panel with Susie McKay Krieser, Sally Jacobs, and myself at 3pm. We're also staying open until 7pm on Friday evenings and are open on Sundays from noon until 4pm.

After all the running around I've been doing; delivering artwork, buying sparkling water and ice, buying more ice, getting my car towed to the shop (again!), this week I'm attempting to get back into a more normal routine. Today I spent some time in the studio cleaning one painting, and wiring and finishing the edges of another, getting it ready to ship. If all goes well, by next week I'll get back to doing some actual painting.

Atmospheric Installed and Open

2010-11-02T07:56:00.000-07:00

I got all the paintings delivered to the gallery and installed last weekend, and took a couple of photos of the process along the way.

I rented a cargo van from U Haul to accomodate the larger paintings. It was a very new van and handled better than any that I've used before, which was great. That used to be my least favorite part of having an exhibition.

Here is the mostly empty gallery, freshly patched and painted.

The paintings are carried inside and lined up where I think that they'll go.

After some suggestions from Ellen Starr, who has an amzing eye for how to hang an exhibit, the paintings are up on the wall and waiting for lettering. Not every painting got hung, and those that didn't fit are up in the stacks so that they are still available for viewing.

The lettering being installed for Sally Jacob's exhibition From the Ground Up.

Everything up on the walls, lighting adjusted, and ready for our first visitors.

The exhibition runs through November 27th and the gallery hours are Tuesday through Saturday from 11am - 5pm. The reception is Saturday, November 6th from 5 -8pm and the Question and Answer panel is Saturday, November 13th at 3pm. We'll also be open on Sundays from noon until 4pm along with several other galleries at Berganot Station.

Strange Growth and Zabrina's Close Call

2010-10-29T07:27:00.000-07:00

I’ve been noticing these growing in my garden this past season. When I first saw them, it was at the peak of summer when the Foxgloves were blooming and occasionally dropping their petals. These are about the same size and of a similar color. However, when I went to pick one up I realized that it was attached to the ground – and that it was actually something growing. It turns out to be something fairly common, called a stinkhorn. It's a fungus that grows out of an egg that is buried just underground. As if that isn't strange enough, it seems that certain varieties cause a tremendous stench when they let loose their spores, hence the name. Luckily these seem to be an odorless variety.

Bear and both cats were out with me while I was taking the above photo. I was focused on getting a clear image when Bear commenced alarm barking and rushed towards the fence. I looked up to see what the danger was and saw a coyote loping up the hill, and then another. It’s unusual to see them out during the day; especially so late- it was about 3pm. I looked around quickly to locate the cats. Tasha was right by my feet calmly chewing on grass, but Zabrina, who had been nearby a moment before was nowhere to be seen. I started up the steps toward the gate. I wanted to check for sure that she hadn’t gone over the fence toward the ravine when up she popped onto the top and stood on the edge of the fence with big, big eyes and a very bushy tail. She didn’t want to jump down and just remained nervously balanced on the edge. I realized that the coyotes might be just on the other side. I opened the gate and ran out, scaring them away and managed to get this shot in just as they disappeared over the edge of the ravine. Thanks goodness for Bear’s alertness. I hope Zabrina’s learned some wisdom from the close call.

TAG Gallery Interview

2010-10-26T07:37:00.000-07:00

TAG Gallery has a blog and has been running a series of interviews with exhibiting artists all year and this week it's my turn. I have been the interviewer many times in my life and I must admit it was a kick to answer someone else's questions!

If you've got the time, take a look at my interview on the TAG Gallery blog. Feel free to leave comments or ask more questions. I promise I'll be checking in often to respond.

Fall in Action

2010-10-14T07:37:00.000-07:00

Even though around here it seems the hottest weather has waited for September and October and that could make it seem like this is still summer, it is indeed the Fall season. How do I know? When I look at the ground it is covered with bits that have fallen off of trees; little pods, nuts, leaves, green olives, small twigs, larger branches. While I was out trimming the dried Sunflowers, all around me things were dropping. A plop here, a plunk there, as walnuts fell off the trees, one every few seconds. Loud crinkly flutters as plate sized Sycamore leaves drifted down to the ground. The squirrels were in a nut gathering daze, not caring that I, the two kittens, and the dog were a mere yard or two away.

I haven't been painting a lot this past week, since I've been attending to the details of prepping for the exhibit. I've just updated my website, adding new images and reorganizing a bit. I think I've simplified it and hopefully it will be easier to navigate - let me know what you think. Also, I just sent out an email blast this week about the Atmospheric Exhibition with all the key dates. If you did not receive one and would like to be notified of upcoming news and events, click here to join my mail list.

Atmospheric Exhibition - Save the Date

2010-10-07T07:24:00.000-07:00

Atmospheric opens in less than a month - November 2. The paintings are photographed and the cargo van reserved for delivery. The Press Releases have been sent out, the announcements printed. I hope that if you are in the Los Angles area in November that you'll be able to attend. Here are a few key dates and times:

Artist's Reception: Saturday, November 6th from 5-8pm

Artist's Question and Answer Panel: Saturday, November 13th at 3pm

TAG Gallery
Bergamot Station D3
2525 Michigan Avenue
Santa Monica, CA 90404

Gallery Hours: Tuesday -Saturday 11am-5pm

Extended Hours: the gallery will also remain open on
Friday evenings - November 5, 12, and 19 from 5pm - 7pm &
Sundays - November 7, 14, and 21 from 11am-3pm

Click here to preview selections from the exhibition.

Also showing:

Sally Jacobs From the Ground Up and Susie McKay Krieser Building a Story.

I hope to see you there!

Zabrina's Catch and Release Program: the Whole Story

2010-09-28T08:12:00.000-07:00

Last week Zabrina and Tashi turned one year old. Zabrina celebrated by catching her first bird. On this particular day I left the studio door open just enough so that the kittens could come and go. I was upstairs when I heard Zabrina's high pitched, little, squeaky meow. Wondering why she was in and crying I hurried down to the studio to find her standing over a lttle bird lying on it's back, feet up in the air, eyes closed. I assumed at first that it must be dead, but as I got closer I saw that it was still breathing. Gentle Zabrina, the likely suspect, seems to be lacking the killer instinct, and so far hunts just to play. I scooped Zabrina up and put her outside and closed the door. She squeaked in protest as I left her out while I went back to tend to the bird.

The little bird, mostly black with a black beak, except for a white belly and a bit of white trim on the wings, was still lying supine. It looked whole and unharmed, nothing broken, no bleeding, all feathers intact and unruffled. The heavy breathing continued and I could see the beak also gently opening and closing, but the eyes were till shut. I watched the bird breathe for awhile as I figured out what to do. I went and found a box. I didn't know yet if I would just be sheltering the bird for awhile or taking it to the vet, but I knew a box was the first step. I put on disposable gloves and was about to gently scoop up the bird. I hadn't yet touched it, but just came near with my hands when it suddenly jumped up, landing in one fluid motion in a standing position with wings partially outspread, eyes open, looking ready to fend me off. Both surprised, we stared at each other for a moment, then I placed the open end of the box over the bird. My plan was to slide a piece of cardboard under the box and carry the box with bird to a safe location. I inched the cardboard under, opened the top of the box to check on the bird, inched the cardboard some more, peeked at the bird, and on the third time that I opened the top flaps of the box the bird flew out and swept around the room coming to perch on top of the molding of the studio closet door.

At this point there was a choice for the bird. It could fly up the stairs and into the main part of the house where it might be difficult to get back out again, or it could go the other way and fly out the studio door. I quietly slid the studio door open and stood back out of the way. The bird flew into the air and made one circle of the studio and then found the door to the outside, chirping once at me on the way out.

I felt elated with the happy ending. I allowed the kittens back in, picked up the box that I never really needed, and got back to my day. Later I found that the little bird had left a little something behind. One lucky painting had been blessed with bird poo, probably during that circular flight around the room. I scrubbed at it with water, then Gamsol, and finally sandpaper and eventually got it all off. This week I will be retouching that spot. Small price to pay.

Autumn News

2010-09-22T08:06:00.000-07:00

Look, but don't touch! Poodle Dog Bush

I just sent out my Autumn Newletter. In it I wrote that it doesn't feel like Autumn to me, but like summer has finally arrived - it has been so cool and misty all summer up until the past few days. But I spoke too soon! I woke up to more cool, hazy, looks like it might drizzle any second weather. I'm enjoying it either way.

Sign up to receive my Email Newsletter or click here to view my current newsletter online.

It's hard to believe that around this time a year ago we were still waiting for the Station Fire to be put out. Most of the Angeles Forest has been closed since then, to give the forest and the wildlife a chance to recover. The original plan was to reopen September 30th, but I've been hearing that it might take a little longer, or that some parts may reopen and other parts will reopen later.

Here is a video from one camera outfitted with motion sensors placed to record wildlife. The camera survived the fire because it was in a stream and sheltered by a boulder.

Angeles Requiem from Tocho on Vimeo.

Something to watch out for when the forest is reopened is the poisonous Poodle Dog Bush. Cute name, pretty flower, but if you touch it you may get poison oak type symptoms: blistering, itching, and swelling. This plant prefers not to compete with other plants, so it takes advantage of all the space after a burn.

Cloud Sketches

2010-09-15T08:57:00.000-07:00

Here are a couple of sketches that have hopes of becomg paintings. I have my doubts about the street light on the left in the bottom sketch. I may leave it out - or at least not paint it in until the rest of the painting is finished. Or, it may become a tree, if I can find just the right tree to go in it's place. Or, perhaps the painting will stand on it's own without a streetlight or a tree to provide context.

I got a chance to pick up the postcard announcements for the Atmospheric exhibition from the printer yesterday. They are 5 x 7" and feature Converging Conditions of the front with my name, and all of the exhibit info on the back. If you would like one, email me your street address and I'll send it out to you.

And some fun news - I heard from ArtSlant that Counting Raindrops has been selected as a Showcase Winner in the 5th showcase contest for 2010.

Practical Advice for the Driven

2010-09-08T07:50:00.000-07:00

I recently received a copy of Accelerating on the Curves: The Artist’s Roadmap to Success. This newly published book from Katharine T. Carter and Associates is a guide to career development for fine artists. I find it helpful that it divides a career into three segments: local, regional, and national, with clearly delineated directions and matkers for knowing where one is and what to strive for next in the general scheme of things. How clear is it? In addition to directions, included are sample cover letters to galleries, just in case you've ever wondered what to say or how to introduce yourself, samples of Press Kits, samples of resumes laying out the correct chronological order, and so on. There are essays from seventeen art world professionals and a section devoted to resources for artists.

With 363 pages I've just begun to get into this book - jumping into the sections I need right away. Not cheap, but full of value, I believe that it is only available through this link at the current time.

Touring the Northeast Shoreline: Cape Cod and Mount Desert Island

2010-09-01T07:40:00.000-07:00

Acadia National Park on Mount Desert Island

I’m just back from a trip back east, visiting Cape Cod and Maine. The trip to Maine was quick, picking out highlights from this wonderful location, while barely scratching the surface of all there is to see. The weather was sunny and bright on arrival, then partly cloudy turning to rain the second day, finally stormy and pouring, giving way to clearing by the third day before departure. I love rain and clouds and I was mesmerized by the waves, as well as the beautiful contrast of color and shape between the stratified red rocks and blue green water.

Below is a colorfully clad group waiting to witness the Thunder Hole spectacle, when waves during high tide slam into an under water cavern causing a sound like thunder as the water collides with trapped air. Stairs lead all the way down to rocks near the very bottom, but the lowest area was closed off. The reason for this may be due to the tragedy that occurred last year when storm surging waves swept several visitors into the water.

Leaving the island.

Meanwhile back in Cape Cod the drizzly skies of a few days prior had cleared enough to make a canal tour worthwhile. Below are a couple of images: an abandoned island - I believe it is for sale. It is accessible by boat and you'd have to arrange to have drinking water delivered.

The Cape Cod Canal Railroad Bridge

Next followed a drive to the Cape Cod National Seashore to see beaches, marshes, and dunes and on the way back a visit to one of my favorite marshes while the tide was high, the weather clear, and at my favorite time of day, when the angle of the sun creates sparkle and depth.

Artist Statement: Revised and Updated

2010-08-24T07:59:00.000-07:00

It has been awhile since any updates to my artist statement have been made. To get started I followed the journaling process outlined in Alyson Stanfield's ebook. This process provided results and numerous insights available to be called on at any time. However, my resulting statement, although bearable, was a tongue twister. With the meaning unchanged and using largely the same language, the expert skills of a professional wordsmith smoothed out the bumps:

I am enchanted by the curl of a cloud as it unfolds across the sky, how the wind’s energy traces the edge of a storm. In turbulence or tranquility, my work explores the natural forces that surround us and shape our lives as they call to mind the fluctuations of our experience within life’s larger patterns.

By combining memory and observation, I reach for an essential mood as nature’s ever-changing forms are edited and rearranged. Paint, applied in layers of decreasing opacity followed by glazes made translucent with wax, allow for unexpected variations in color and tone. The viewer is thus invited to share experiences that engage the eye and evoke a state of mind.

This video of penguins in a zoo chasing a butterfly illustrates what the process of writing feels like to me: Penguins chasing a butterfly

Changing Conditions

2010-08-17T07:31:00.000-07:00

Although I am technically finished painting for my show, new images continue to come to mind. The painting above shows the Kilauea fumerole as the wind shifts direction scattering the ash and steam emanations. I love the shapes and patterns that the wind makes.

I've heard that the lava is flowing again and I hope to get a chance to go see sometime in the next few months. In the meantime I've been keeping up to date through the USGS Hawaiian Volcano Observatory page.

Here at home our amazing weather has shifted from a pattern of late season marine layers and cooler than normal temperatures to warmer, yet still nice, conditions. Maybe now the summer vegetables will make some more progress! In the meantime, I've been enjoying grapes, beans, greens, and an artichoke.

A Storm Building

2010-08-11T08:15:00.000-07:00

Here is a painting's progression from drawing to almost complete.

I took advantage of underpainting as a time to simplify shapes.

With each additional layer I've refined the color, making the grays with blue/green over painting. It can be difficult to see from this small image, but there is still a lot of underpainting showing through at this stage.

Almost done - I'll still be going in to add the smallest details.

A Storm Building 24 x 30" oil on linen

Role Reversal - Bloomingdale's Buys Artwork

2010-08-03T07:20:00.000-07:00

In a switch on their typical role as a retailer, Bloomingdale's has been buying artwork for display in their new store opening in Santa Monica at the end of the week.

The selection of work for this new collection was made using a "blind jury" process. Bloomindale's went to Crussell Fine Arts and an open call to artists was announced. Over 300 artists responded with over 1000 images, out of which a final 17 pieces were chosen - the identities of the artists were not revealed until the very end of the process. I'm happy to say that the painting above, First Day, is one of the pieces selected.

I remember how helpful reader comments and feedback were while I was working on this painting - your encouragement makes all the difference - thanks!

Counting Raindrops

2010-07-22T07:46:00.000-07:00

I'm developing this painting from a photo I took looking out the car window as I was driving home. The image wasn't shot during this past rainy season, but from a few years ago and has been sitting in my image file all the while waiting for it's time. I am fascinated with the way the drops from a fine drizzle sparkle on the windshield and the effect I feel it brings to an otherwise ordinary view.

I've painted as much as possible of the background before adding the drops, pretty much everything except the foreground drops which I've just started defining, starting with the larger ones. At first I found the definition of the drops a little startling, having as they do so much more focus then the rest of the scene, but I've adjusted to how it looks and having decided it is correct I'll go on to complete this treatment for the many, many remaining drops on the windshield. What's holding me back? I need to get some more tiny brushes. The ones I have are all worn out. Hopefully this week I'll get a chance to get to the art supply store.

Volcano Art Exhibition

2010-07-19T07:26:00.000-07:00

I learned about this exhibition from the Volcanism blog, it's called Volcano: Turner to Warhol featuring five centuries of volcano art, obviously including Turner and Warhol, among others, as well as a selection of work from Icelandic artists. If I were in the UK I'd definitely go see it.

Below is an excerpt from a corner installation by James P. Graham, called Iddu, which means Him in Sicialian dialect, created over a five year period upon the Stromboli volcano:

A review of the exhibition from the Gaurdian.

I just found and started following the Volcanism Blog last week and it has quickly become my place to go to for all things volcano.

Summer!

2010-07-07T06:42:00.000-07:00

Santa Monica Pier work in progress

12 x 16" oil on linen ☺2010 Katherine Kean

I count celebrating the Fourth of July as my final signal that summer is indeed here. I had made goals to have certain things complete for summer, so that I could relax and enjoy it and this included finishing essential repairs and upgrades on my house. This weekend was hectic. The painters seemed as intent as I to finish and did so late on Saturday. In fact they were still working on the details when I left for the evening. Finish they did and I spent much of Sunday moving things around to be ready in time to watch fireworks from the deck, although we did end up walking down the block for a better view - the trees are just too high these days to see over, which is fine with me!

By later that night, early on the fifth actually, it became apparent that everything had been just too much for Bear. Perhaps a combination of feeling like he was responsible for guarding the house from the painters all week, together with the fireworks - a big display and all the accompanying booming happening within 6 blocks of the house, all made him over anxious. When he wouldn't settle down, continuing to cry and bark periodically long after the fireworks were over, a late night trip to the emergency vet was necessary. There they checked him over and then gave him a sedative which calmed him down for the next twelve hours. He got the rest he needed - and so did I, and now he's back to his normal, sunny self.

Another Kind of Painting Project

2010-06-30T08:09:00.000-07:00

I've been semi imprisoned in my house this week, sealed in by plastic tarping and masking tape. The painters are here and the outside appearance of my house is changing as I write. Here are a couple of pictures that give you a glimpse of the changes so far.

The grapevines have filled in a lot since taking the before picture about two months ago so some of the painting of the railings may have to wait until fall. The painters have been doing a great job of painting around trees and flowers, going so far as to wrap up one of the floxglove flowers next to the house to keep it from being splattered.

I did manage to find my way out on Saturday evening and went to the opening at TAG, featuring Carol Kleinman, Darlyn Susan Yee, and Betty Sheinbaum. It was an unexpectedly eventful evening as the power went out - not just for the gallery, but for the whole neighboring area of Santa Monica. It didn't stop people from coming and and looking at the artwork. A recent, small drawing of mine, Coastal Pines, was sold too, I'm happy to say, and to lovely people - what could be better?

Welcoming Summer with another Stormy Beach

2010-06-22T07:53:00.000-07:00

Above is a new underpainting of another stormy beach you can see the drawing for this painting here. This one's from Hawaii; the Big Island, and you can see the lava shelf formation that justs into the ocean on the left. I wonder if it's due to crashing on the hardened lava that makes the waves particularly loud, or if it's because the lava formations - which can be up to 50 feet in depth, trap and echo the sound. Whatever causes it, the effect is dramatic and thrilling.

I've just sent out my summer newsletter this week. If you'd like to stay up to date by receiving the newsletter by email click here to subscribe .

One Weekend: Two Exhibits

2010-06-15T07:15:00.000-07:00

The small painting above is showing some progress, just needing some final layers of glaze, as do some others in the studio. Meanwhile I feel like I've been everywhere this weekend. Saturday I found myself in Orange County to see the "Best" exhibit from Jeffrey Crussell Fine Art, including the work of 40 or so artists hung in an Eichler home. It was interesting seeing artwork in an environment that is closer to the way they might actually be displayed in a personal collection. Sunday I went to the "Studio Visions" exhibit at Linda Jacobson's Center for Art and Spirit in Venice, featuring paintings of the Venice Art Forum group. Also an alternative space, the intimate exhibit of paintings by eight artsists hung in a converted garage behind a private home. Roslyn from the Art, Tiles, and Mosaics Blog was there and took pictures that are now posted on her blog, so have a look.

West Adams Art in Historic Places Tour

2010-06-08T07:30:00.000-07:00

The historically interesting West Adams area of Los Angeles has Craftsman style bungalows, Victorian houses, cottages, and mansions. The West Adams Heritage Association tour on Saturday included 12 diverse locations. As if the architecture alone is not enough of a treat for the eye, each one featured contemporary artwork by local artists. In some cases the homes are owned by the artists represented. In others, the work of a few different artists were collected together. I've included some photos below. The photos are a bit random. Since I'm still nailing down what colors to paint my house I had a tendency to wander off photographing odd bits of trim and sections of homes where all the colors intersected, while missing more obvious photo opportunities. A list of all the artists whose work was displayed on the tour, along with samples of their work, can be found at the WAHA website.

Later on in the afternoon I had the pleasure to meet up with Dianne Poinski while she was in town. I've known Dianne through her blog for the past year of so, and it was a pleasure to meet her in person.

Happy Memorial Day

2010-05-31T08:09:00.000-07:00

This weekend does feel like the unofficial beginning of summer, having warmed up suddenly. Perhaps I can finally put away the space heater and take the winter comforter off the bed. Have a safe and happy Memorial Day.

Passing Through

2010-05-25T07:01:00.000-07:00

This drawing, of an imaginary migration, is headed for the gallery this week. I suspect I'll end up doing a larger version of this in oil since I've explored this theme more than once in the past and keep returning to it to try and discover a bit more.

On another note, one of my recent paintings has been accepted as a winner in the May Showcase Awards, which is Art Slant's online competition. You can see it on the Art Slant 3rd 2010 Showcase page of their website.

Saving Work Back: Pros and Cons

2010-05-18T06:31:00.000-07:00

In my last post I brought up the idea of saving work for any exhibitions on the near horizon. The pros and cons seem to break down like this:

Pros

· Having enough work to make a strong, coherent exhibit in terms of theme, style, and content.

· Not feeling pressured – some people work very well under pressure, in fact some people seem to need pressure to work at all. I’m the opposite, and in addition I need drying time.

· Having the time to promote the work. Some periodicals require 4 months lead time before publication. Publicity is good anytime, but even better if it occurs prior to the exhibtion.

Cons

· The work could get “stale”, considering that, depending on the artist, the first pieces of a series may have been started some time ago.

· Sales opportunities could be missed.

· Sold work could lead to “holes” in the exhibit, or an overall weak exhibit, which has a negative domino effect - a weak exhibit leaves a negative impression, may lead to bad reviews and word of mouth.

The end decision? For me it seems to be to follow up the sales and juried opportunities judiciously, avoiding overextending and to save work back up until a replacement is complete and in place to exhibit.

I’d love to hear from other artists on how you deal with this aspect of working towards an exhibition. Do you save work back?

Saving Work Back For a Show

2010-05-11T08:12:00.000-07:00

With an eye on the exhibit coming up in November I’ve been focused on completing a series of paintings. The series is largely finished, although I know I’ll continue to work and make new paintings that may fit in well with my current work and the theme for the exhibit. On the other hand it seems like I am hearing about a lot of interesting exhibit possibilities and getting calls for juried shows that my work might be suitable for. This always presents a query, should an artist hold work back for the upcoming exhibit? It could mean missing a potential sale, but on the other hand I feel that I need to know that I’ll have work available for the exhibit that’s already scheduled. I’m weighing the pros and cons of saving work back and will present what I come up with them in my next post. Thoughts, anyone?

Another Beach, Another Storm

2010-05-07T08:12:00.000-07:00

Another Beach, Another Storm sketch 8 x 10" pencil

I'm just getting started on the painting that this drawing is for. I became so fond of another recently completed painting, I wanted to do something with a similar feel right away. This one is much more complicated than the last, both in the clouds and in the water. There are many subtleties in the greys and the clouds are rolling and curling and carrying out all kinds of interesting manuevers. This drawing serves as a map for values and a guide for the motion and detail. I'm finding it interesting that at the actual location, the sea with the incoming waves felt very dynamic, while the sky, though not exactly calm, felt heavier and more stable compared to the water. In the drawing I feel the reverse - although that may change in the painting of it. Painting this is either going to drive me crazy or it's going to be a lot of fun!

Suburban Renewal

2010-05-04T07:12:00.000-07:00

Laze 10 x 8" oil on canvas

I'm bringing this small painting in to the gallery to hang in the loft area. This painting has been adjusted and then reworked and then readjusted and reworked again bringing it almost full circle back to where it started. I like the colors, the surprise of the blue on yellow, and this got me to exploring the effect of yellow in other work.

Speaking of color, I feel like I'm involved in an ongoing suburban renewal project. It started with a few minor repairs and then blossomed to include car repairs and inevitably having the car repainted. My car is old to begin with and it got sandblasted by the wind storms after the station fire with all the loose dirt and ash blowing off the mountains. It runs too well to trade in though so instead is getting tuned up and renovated. In the meantime I'm carless - except for rentals - for two weeks! It's a good thing I've got plenty to keep me busy in the studio.

My house is due to be painted too and I've been mulling over color choices. I'm leaning towards a deep, earthy green for the body, with dark crimson and warm white accents and trim. Every time I think I've got it all worked out I'll see another variation that I have to check out. There's still time for decisions though, because winter hasn't quite finished with us yet and there may still be rain.

Finding My Missing Cadmium Orange

2010-04-30T08:01:00.000-07:00

Last week when I reached for some cadmium orange paint and came up empty I was confused. I'd recently bought two tubes and I don't have any orange paintings, so where did it all go? The answer is qute simple, not that I realized until after looking high and low, through every paint drawer and box, and on every shelf that I might store back up art supplies. I use cadmium orange in underpainting, especially under green grasses like this marsh painting and also to mix darks. I mix it with ultramarine blue and a bit of alazarin to get a deep color that is nearly black, as in the new painting above. Fortunately I happened to be going by the art store the following day and I was able to restock, because one can't get cadmium orange from mixing cadmium red and cadmium yellow.

Some say we are lucky to still have the cadmium pigments to paint with. In the 90's legislation was proposed to ban all the cadmiums due to health and environmental hazards. Amid great outcry from the art community paint for artists' use was excepted from the ban. This article, from the Golden Paints website mentions that even though it is still allowed for art use, it may become increasingly difficult to find as widespread manufacture declines. I sure hope that isn't true.

Art Influenced by Film

2010-04-27T08:10:00.000-07:00

Having recently looked at how artwork has been an influence on motion picture design I thought it would be fun to turn it around and take a look at some artists whose work has been influenced by the movies.

Cindy Sherman comes to mind and her series Untitled Film Stills, a series of photographs, with herself as the subject acting out postwar cliches. The results look like movie stills or publicity pictures.

Another example is Alain Fleischer's Time Exposures. Fleischer explores the themes of time and movement in cinema and photography and the intersection of the two disciplines.

Another artist whose work pulls from motion pictures is Josie McCoy. McCoy's iconic portraits of perfect celebrities are painted with many layers, achieving a luminous effect not unlike what one gets from a screen image. The results are ethereal, highly objectified, and to me have a frailty, or fleeting quality.

Hitchcock seems to have had a profound influence on contemporary artists. This article about the touring exhibition NOTORIOUS MOMA (originated by the Museum of Modern Art Oxford) goes into this influence in detail.

Here is an article about a group exhibition commemorating the 10th anniversary of Kubrick's death: Taming Light. The exhibition includes painting, photography and illustration paying tribute to one of the pre-eminent filmmakers of the 20th Century, Stanley Kubrick.

Anime art comes from Japanese animation as well as the influence of animated Disney films. For the purpose of this post I'm applying the term anime as an influence for a wide range of contemporary art styles.

And apparently coming out in the fall is a George Lucas book, Star Wars: Visions which is a collection of artworks that pay tribute "to the worldwide inspiration that Star Wars has fostered for over three decades." Artists whose work is included are said to be: Amano, Allan R. Banks, Harley Brown, Gary Carter, James Christensen, Michael Coleman, Kinuko Craft, Jim Dietz, Phillipe Druillet, Donato Giancola, Ann Hanson, H. R. Giger, Daniel Greene, Ron Kleeman, Arantza Martinez, Syd Mead, Moebius, Paul Oxborough, Alex Ross, Anthony J. Ryder, Dolfi Stoki, William Stout, Dan Thompson, Julie Bell and Boris Vallejo, Scott Waddell, Yuqi Wang, and Jamie Wyeth.

Where the Lava Meets the Sea

2010-04-23T08:06:00.000-07:00

This is not that eruption. This drawing is of the steam plume that forms when the lava meets the sea, from the ongoing eruptions in Hawaii. From the National Park Service website, "The steam plume produced by lava entering the ocean contains fine lava fragments and an assortment of acid droplets."

I'm one of those people who cannot seem to get enough of the sights of natural phenomena, the shifts and events, including storms and volcanos. I'm not referring to images of destruction and loss, but the visual evidence of the energy released - the rolling, spinning, spilling, rising, and billowing force. I also find these phenomena challenging and fun to paint.

A Look Ahead

2010-04-20T07:31:00.000-07:00

This past month or so, I've been striking items off my To Do List right and left. Completed are all of the exterior repairs to my house; mostly siding - in addition to wear from the constant southwest exposure, a big wind picked up one of the closed patio umbrellas and thrust it into the side of the house, leaving a hole. I also had gate and deck repairs done. The garden is planted and producing; I've got peas and greens. Taxes are done, the brush is cut and ready for inspection - I hope that brush clearance inspection occurs before it rains again and everything re-grows. I even rehung a curtain rod that fell out of the wall during the residing project. It's up, but I'm having the dickens of a time getting the super glue off my fingers - just kidding! Sort of....

So here's a new list; a sneak preview of some upcoming posts:

1. Art Influenced by Motion Pictures - a switch on the recent series of Motion Picture Design Influenced by Art.

2. New sketches, recently completed paintings, and new work going to the gallery.

3. Holding work back for upcoming exhibits: pros and cons.

4. Where did all of my Cadmium Orange go? The mystery solved...

5. A further look at the effects of growing older on artists and their work.