WELLS RESERVE AT LAUDHOLM SCULPTURE EXHIBIT

Hanging around Wells Reserve at Laudholm

We are exploring Maine and after a search on the ipad for things to do came across Laudholm located in Wells. There are a myriad of short walking trails with sculptures of all sorts along the way. The sculptures are on display through the summer and all are for sale.  

"Chickens"  by Lise Becu

 "Coyotes"  by Wendy Klemperer

 "Free Range Sculpture"  by Eugene Koch

 "Dragonfly"  by Digby Veevers-Carter

 "Vulture"  by Patrick Plourde

 "Of Course It's Safe"  by John Wilkinson

 "Owl Rising"  by Andreas von Huene

 "Castle"  by Constance Rush

I even spotted a hooked rug at the antique show held on the grounds.  Couldn't have asked for a better day.

ADDING WOOL TO A QUILT WORK

"Structure 1" in progress , approximately 48" X 36",  Lori LaBerge  2017

I have been restructuring one of the pieces I began work on at Penland. It was a piece I just wasn't happy with as it looked too pretty. Various blacks and a textured wool were placed on top of and around the cotton section until I arrived at the above. Much more my style.

Here is the piece before:

This was my first time working with no plan, just stitching pieces together. As I always have a design planned, even if just in my head, this threw me off my game. It's just not right. The top was straighter leading down to the slanting of the lower section. This created a lack of balance. Why is the lower section crooked? No real reason there besides experimentation. Not working. 

The colors were lacking the contrast I was looking for. The piece was, also, just too feminine for me. After putting the work aside for a while, I pulled it out this week and decided a strong black would lead to what I was looking for. 

Rough close-up on studio floor

I started by cutting the piece where the lower slant began. I am now ready to create two pieces. The next step was placing dark gray textured strips across the piece. This gave an architectural feel. 

The next step was adding the edges. I continued with an overdyed black wool which worked well, but needed something. A textured wool was brought in to add to the feeling of structure. A plain black wool can barely be noticed directly below the cotton section. It is differentiated from the darker dyed black when you see the work up close.

The black was extended on the left hand side to give the work some space. The piece is now strong and stands well on its own. Now to see how the wool and cotton react to each other when stitched together. 

THOUGHTS ON WOMEN IN THE ARTS

In reference to the works I posted from my visit to The Broad, a comment was made questioning "Why are they all men?". Good question. The works posted were by artists I have enjoyed and/or studied in college and beyond and they are all by men. A visit to The Broad's website and a search under the collection link will show they have a good selection of works by women. 

With a background in Art History, I can name quite a few women artists. However, when I asked some people without an art background how many they could name the list came up short (Georgia O'Keefe and Mary Cassatt topped the list and pretty much ended it) and they did not recognize at least three quarters of the names I mentioned.

 "Identity Unknown: Rediscovering Seven American Women Artists" by Donna Seaman

I love looking at art whether done by a man or a woman. I have juried art into shows by both men and women and have never known before hand whether the work was done by a man or a woman. I am interested in the art. Period. I have been in all women shows and have been one of few women in shows.

I find myself questioning all women shows at times. If men are at the top of the art world, shouldn't we be working toward showing our work beside theirs? If there is one thing I've learned from my husband, national rifle champion in 1991, multiple medal winner and coach of the U.S. team for eight years, it is to look toward those in front of you, watch and learn from them be it man or woman.

 "Ninth Street Women" by Mary Gabriel

Art should be an even playing field, but is it? The upper end of the art world has been moving slowly toward including more women in high end galleries and museum collections. At that level, art is a financial issue. Artists who are well-known tend to lead to large ticket sales. Ticket sales pay the bills. Will people go see women artists if, from my experience, they can't even name a handful of them?

"In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States" by Ilene Susan Fort and Tere Arcq

If women's artwork is to get the recognition it deserves it needs to be supported and promoted. Museums need to be aware people are interested in women artists. Artwork by women needs to be purchased by top collectors. Women artists need resources to get their art out there.

 "Creating Their Own Image: The History of African American Women Artists" by Lisa E. Farrington

 "The Reckoning: Women Artists of the New Millennium" by Eleanor Heartney

So what can we do to help those women near the top of the art world so that they can pave the way for others? 

1.  Study work by current top women artists. Choose a few you really like and write them or go to one of their exhibits. Tell them how you relate to their work. Encourage them.

2.  Go to exhibits by women artists.

2.  Stop at the museum desk and ask about female artists. Are there any plans for solo exhibits of women artists in the future.

3.  Write to galleries after a solo exhibit by a woman artist or after seeing individual works by women.

4.  Write to magazines who have articles on women artists. Make sure you focus on the work, not just the artist being female.

"Shadow Weave: Chiral Fret Wave" by Tauba Auerbach

A woven canvas work by Tauba Auerbach photographed during our visit to The Broad.

I would like to thank the writer of last week's comment. 

A VISIT TO THE BROAD MUSEUM IN LOS ANGELES

We spent the past week in Los Angeles for my daughter's graduation from Loyola Law School. She took some time to show us around the city and knowing me like she does chose The Broad (rhymes with road). The museum is beautifully designed leading to my taking some photos of the setting rather than of just the works themselves. Enjoy!

Richard Diebenkorn  "Ocean Park #90"

 Peter Halley  "Collision Circuit"

Robert Rauschenberg  "Combine" with Jasper John's "Flag" in background and John's "Watchman" on the right

 Ellsworth Kelly  "Green, Blue, Red" with a section of "Blue, Red" on the right

 Roy Lichtenstein  "Femme d'Alger"

 Oscar Murillo  "Trade Today"

 Albert Oehlen  "Ziggy Stardust"

 Mark Tansey  "Wake"

Robert Therrien  "Under the Table"

 Andy Warhol  "Single Elvis" , "Campbell's Soup Can", "Torn Campbell's Soup Can" and "Two Marilyns"

 Jeff Koons  "Balloon Dog (Blue)"

Jean-Michel Basquiat  "Untitled" and "Horn Players"

For more information on the museum and photos of the collection go to The Broad.

EXPLORING THE TRIANGLE

As yet untitled sketch for artwork created while looking at rooftops,  Lori LaBerge  2017

Some of my recent work has consisted more and more of triangular shapes.Three recent sketches include the form. It was interesting to work on how the triangles relate to each other and the shapes around them. The rectangular bar entering from the right breaks into the bottom of the larger triangle creating depth. The smaller triangle could be viewed as abutting the triangle with the circle or could merely be seen as a section of a triangle peeking out from behind it. 

 as yet untitled sketch for artwork,  Lori LaBerge  2017

The above sketch was also based on buildings and skyline. Trying to avoid depth in the final artwork would be difficult. The sketch, in similarity to the first sketch, already appears to have depth due to overlapping shapes.

as yet untitled sketch for artwork,  Lori LaBerge  2017

The work above was developed from trees in various yards. The straight lines are a division of property. Variance of triangle shapes add interest while color and hooking direction will add more to the work as it develops. The line lengths need to be varied more.

 Architecture makes extensive use of isosceles and equilateral triangles due to their strength.  Each of a triangle's sides act as support for the other sides.

While in Scotland a few years ago we visited the Star Pyramid near Stirling Castle. The pyramid consists of four triangular sides made of sandstone. There are marble bible pages on each side and the structure is sometimes referred to as the Martyr's Pyramid. A chamber was created inside the pyramid before it was completed where a Bible and the Confession of Faith (the beliefs of the Reformed church) were placed.

 A ceiling forming both isosceles(above and below center) and equilateral triangles (on sides)

Two triangular rooftops at either end of a structure

If you wish to explore triangles and architecture more, enjoy some amazing examples by scrolling through Yellowstone  here.

ABSTRACT GEOMETRIC INFLUENCED BY LIGHT

In progress work,  "Intersection",  14" X 14" Lori LaBerge  2017

There is still a little tweaking, but hooking on "Intersection" is done. A metal bar will be placed across the top and a decision will be made whether or not to place metal over the light orange-yellow. 

The work is based on a sketch done looking down on an intersection glowing with sunlight. To portray the spot where light was shining the lt. yellow/orange values and the lt. gray values were placed next to each other, bringing the eye directly to these areas. The light area was then surrounded by gradually darkening grays.

The wool colors behind the orange-yellow and green consisted of black, two dark grays, four medium grays and three lt. grays.

The work consists of values, much as nature does.  

While taking daily breaks from the studio, I couldn't help but notice the abrupt changes occurring in the landscape.

Bright whites and a touch of red among the green on one day led to...

the whites perishing and orange arriving a few days later.

I thought about how the contrast of the white against the green creates a wonderful contrast and how a few days later one would need to use some imagination to visualize the same effect.  The diagonal triangular shape of the white could lead to an interesting abstract piece.

THE ALLURE OF SHADOWS IN ART

In progress work of "Sunrise, Sunset"   Lori LaBerge 2017

Ten shadows measuring 6" X 6" each have been hooked. They now need edge finishing and will be stitched to industrial felt. They will measure 11" X 14" each when completed.

It was not until I began working with plein air studies that I became fascinated with shadows. I did not want to portray them as realistic works. I pictured them as abstract works, important as themselves and not necessarily related to the specific object creating the shadow.

The abstract presentation allows the viewer to imagine what the object was that created the shadow. Some of the squares were created from outdoor sketches and others were chosen from photos I had taken.

Section to be included in "Sunrise, Sunset",  Lori LaBerge  2017

The more I explore grids the more I like the idea of creating multiple small works that are meant to be hung together. This is like gestalt theory where the whole is greater than the sum of its parts. These small works become more intriguing to me when placed together. What are their relationships? 

Another question that arises is whether placement matters or not. I believe it does. The squares may be changed from the arrangement above, or they may not. When the work is in the final stages I will decide which pieces will be placed next to others.

Section to be included in "Sunrise, Sunset",  Lori LaBerge  2017

It is important to take photos of work. It gives you another look at what you are creating. The first thing I noticed in the photo of the ten together was that the first two on the top look like a continuation of each other, as do the first bottom two.  Do I want that to happen? If so, why do the others break from that mold? I do like the two cream color works being placed as the first and the tenth works, as if they frame in the rest of the work. 

I will be discussing this subject during the plein air class at Green Mtn. Rug School in June.

Go ahead and explore some shadows, take photos, make sketches and think about their shapes.