expressive

Mural painting


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Wednesday afternoon art students worked on our outdoor mural.

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Everyone enjoyed adding to the ongoing mural in front of the Art Junction.

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It’s fun to see the various changes that take place in our little outdoor mural.

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The students really enjoy having the freedom to express themselves in an outdoor setting that is visible to the public.

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Here is a detail of the students’ work.

 

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Mural painting


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One of the projects at Art Camp this summer was mural painting.

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Everyone focused on circular shapes with their favorite color.

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There were many thoughtful ideas created in our mural.

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It was great to work cooperatively in creating this outdoor art.

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Everyone had the opportunity to be very expressive with paint and brush.

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I was very happy with the students’ final work on our murals this year!

Expressive painting -week 2


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Everyone was busy this week beginning to put their ideas on canvas.

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Everyone is exploring new ideas and materials.

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It’s great to see the level of intensity and concentration as everyone seeks to bring their ideas to life on canvas.

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The expressive painting class is off to a great start this summer.  It will be fun to see where their ideas go in the next few weeks!

Expressive painting class -week 4


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Week four found the painting group exploring new methods of painting.

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It was very exciting to see the group become engaged in the creative process and push their paintings into exciting new areas.

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This has been a very exciting class to teach.  I’ve enjoyed their imagination and spirit of adventure in painting.

‘Buy Local’ Gets Creative


CSA1-articleLargeMINNEAPOLIS-ST. PAUL Drew Peterson’s prints and Liz Miller’s collages were among the art for members of this C.S.A., for community-supported art.

Published: August 4, 2013  By

PITTSBURGH — For years, Barbara Johnstone, a professor of linguistics at Carnegie Mellon University here, bought shares in a C.S.A. — a community-supported agriculture program — and picked up her occasional bags of tubers or tomatoes or whatever the member farms were harvesting. Her farm shares eventually lapsed. (“Too much kale,” she said.) But on a recent summer evening, she showed up at a C.S.A. pickup location downtown and walked out carrying a brown paper bag filled with a completely different kind of produce. It was no good for eating, but it was just as homegrown and sustainable as what she used to get: contemporary art, fresh out of local studios.

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“It’s kind of like Christmas in the middle of July,” said Ms. Johnstone, who had just gone through her bag to see what her $350 share had bought. The answer was a Surrealistic aluminum sculpture (of a pig’s jawbone, by William Kofmehl III), a print (a deadpan image appropriated from a lawn-care book, by Kim Beck) and a ceramic piece (partly about slavery, by Alexi Morrissey). Without even having to change the abbreviation, the C.S.A. idea has fully made the leap from agriculture to art. After the first program started four years ago in Minnesota, demonstrating that the concept worked just as well for art lovers as for locavores, community-supported art programs are popping up all over the country: in Pittsburgh, now in its first year; Miami; Brooklyn; Lincoln, Neb.; Fargo, N.D.

csa2-popupJeff Swensen for The New York Times

PITTSBURGH Blaine Siegel, right, an organizer of the C.S.A. at the Space gallery, presents local art by Alexi Morrissey to a shareholder.

The goal, borrowed from the world of small farms, is a deeper-than-commerce connection between people who make things and people who buy them. The art programs are designed to be self-supporting: Money from shares is used to pay the artists, who are usually chosen by a jury, to produce a small work in an edition of 50 or however many shares have been sold. The shareholders are often taking a leap of faith. They don’t know in advance what the artists will make and find out only at the pickup events, which are as much about getting to know the artists as collecting the fruits of their shares.

The C.S.A.’s have flourished in larger cities as a kind of organic alternative to the dominance of the commercial gallery system and in smaller places as a way to make up for the dearth of galleries, as a means of helping emerging artists and attracting people who are interested in art but feel they have neither the means nor the connections to collect it.

“A lot of our people who bought shares have virtually no real experience with contemporary art,” said Dayna Del Val, executive director of the Arts Partnership in Fargo, which began a C.S.A. last year, selling 50 shares at $300 each for pieces from nine local artists. “They’re going to a big-box store and buying prints of Monet’s ‘Water Lilies,’ if they have anything.”

Since the idea was set in motion in 2010 by Springboard for the Arts, a St. Paul nonprofit organization, and mnartists.org, an online database of Minnesota artists, it has taken on new personalities as it has migrated.

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C.S.A. shareholders in Minneapolis look at their take, by Areca Roe and Danielle Everine.

In Philadelphia, a folk-art C.S.A. has sprung up in addition to a more conventional contemporary art program. In Lincoln — where the mayor bought a C.S.A. share — an original piece of poetry by Ted Kooser, a former poet laureate of the United States, is among this year’s offerings. In Pittsburgh, where that C.S.A. was started by four friends in the city’s art world, there is also a performing-arts version, founded this year, in which plays, concerts and other events are created specially for the shareholders. In Michigan, a combined art-food C.S.A. is in the works.

“I think it has worked in part because lots of places are already familiar with farm C.S.A.’s,” said Dennis Scholl, who oversees the national arts program for the Knight Foundation, which has provided support to art C.S.A.’s, including early seed money to help create a guidebook used by people in many cities to set up their programs. “Here, instead of getting a basket of carrots or zucchini, you get a basket of artworks,” he said.

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Laura Zabel, the executive director of Springboard for the Arts, said that a lot of thinking went into the particulars of the program, so it would have the same grass-roots potential as farm C.S.A.’s. The price, usually annual, for the shares, she said, was set so that it would be “high enough to promise to the artists that some of these people will have the ability to continue buying their work going forward, but low enough so a lot people feel like they can afford it.”

Prices range from $450 for a share in Miami to as low as $50 a share in a craft-art program in Flint, Mich. An art and design C.S.A., which organizers plan to get under way in Brooklyn in the fall, will charge $500 a share, with partial shares available.

There were some initial worries about whether established collectors would become involved and buy multiple shares as a way to place relatively inexpensive bets on up-and-coming artists, Ms. Zabel said. But the programs are appearing to remain fairly uncorrupted that way. They tend chiefly to attract young people, she said, and those whom “I would describe as my parents,” she said. “Their children are grown and gone, and they’re kind of interested in reinvesting in their community and getting involved with something.”

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In Pittsburgh, about 30 buyers arrived on a recent sunny summer evening at Space gallery, a nonprofit that inhabits what was once a downtown video pornography store, to find their shares waiting for them on large tables, in nice brown paper bags with the question “Do You Know Where Your Art Comes From?” printed on the side. (One of the pieces from an earlier share pickup, by the artist Lenka Clayton, took the concept of local to a new level: framed swatches of a plum-colored shirt once owned by Andy Warhol, native son.)

Rupam Sharan, a gastroenterologist, and his wife, Serena, heard about the program on public radio. “We’re interested in contemporary art, but haven’t started a collection yet,” Dr. Sharan said. “This is us getting our feet wet.”

Ms. Beck, the artist who made the print borrowed from an old lawn-care book, said she was interested in the program because the dynamic was so different from gallery shows. “There’s that beautiful thing about looking at art and loving it so much you want it, and of course normally you know you can’t have it,” said Ms. Beck, who lives in Pittsburgh and New York City. “But here all these people know they can. And they’ve already paid for it, so there’s no pressure.”

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What happens if the shareholders don’t like the pieces? “People sometimes ask us that when they come to the pickups, but we’ve never had anyone come back to complain,” said Casey Droege, a local artist and one of the Pittsburgh program’s founders. Last year in Fargo, a local artist, Jill Johnson, contributed an eerie wax-figure piece that shareholders did not know quite what to make of. This year she returned with something equally idiosyncratic but slightly more accessible: a painting made with Jell-O powder. “If you’re from here,” Ms. Del Val said, “you know Jell-O. “There isn’t a church around here that doesn’t serve a lot of Jell-O at potlucks.”

http://www.nytimes.com/2013/08/05/arts/design/buy-local-gets-creative.html

Expressive painting class -week 3


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The third week of our painting class was very fun to watch and experience as the participants immersed themselves in the creative process.

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Many different techniques were tried, explored and developed this week.

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It was great to experience all of the creative energy as the participants went into action working on their paintings.

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What an Arts Education Meant to Me


gravityby Anna Musky-Goldwyn

http://www.huffingtonpost.com/anna-muskygoldwyn/what-an-arts-education-meant_b_3641930.html?utm_hp_ref=tw

I recently started volunteering at an LA-based non-profit called P.S. ARTS that brings funded arts education to various Los Angeles public school districts. Art classes in school have always felt like a very special and necessary thing and with all of the cuts we see these days around the country, it gave me a little bit of solace to know there was an organization out there trying to remedy that gap. On getting involved, one of the things they asked me about was what my arts education meant to me. I started to contemplate that and it seemed like this vast array of color and enthusiasm that I would never be able to navigate. But then when I started to narrow it down a bit, I came to the obvious, and important conclusion, that without an arts education, I would not be the person I am today.

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It’s hard to think about where it all began — the decision to be an artist, of sorts, for the rest of my life. I can link it back to so many things, but one of my earliest memories pops into mind. When I was in preschool, we did a production of Henny Penny (‘the sky is falling, the sky is falling’). True to my nature, I was a bit grumpy when I found out I would only have the small role of being one of the baby foxes, while my other friends got to play the leads. I was four, so forgive me if my memory of it isn’t sharp, but even though I was just a baby fox, not a goose, not a hen, I felt this enormous sense of ownership of the play, of my role, of being in this show that took place in our tiny classroom in the basement of a New Jersey townhouse. I would not relent, I would not mess up, I would not forget my lines. Even though I respected the roles of my classmates and teachers, as much as any four-year-old can comprehend that idea of that, I felt that this play was mine and it has thus stuck in my mind almost twenty years later.

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So what did I want to be when I grew up? I wanted to be that same kid I was at age four. I wanted ownership of something creative, to be proud of and responsible for something larger than myself. The various avenues that art classes throughout elementary, middle, and high school took me down led to unknown places with different people. They showed me skills I didn’t know I had, but more importantly, introduced me to as many ways I could imagine of expressing myself. It always sounded corny, ‘expressing yourself.’ Did I really need the help to say who I was, how I felt? The answer for most of us is, yes. We do. We need an immense amount of help to really get to the core of it, to find ourselves in a better, more secure place.

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There was a moment in middle school when I was asked to join an afterschool arts program. Now, who is to say how my middle school art teachers really judged that my artistic capacity was good enough for this program? But, it felt like a sort of validation, and I think for some reason validation proves important for anyone. Beyond this validation though, this program taught me what really matters about art — community. Living in a town where the cool thing was sports, where it was okay to be smart, but sometimes not quite as okay to be an artist or a theater kid, it felt like a gift to be with other preteens going through their awkward phase who were also into making things, telling stories, creating. There was no judgment from one another — okay there was some… But for the most part we had fun, we threw pottery and made dirty jokes. We painted on large canvases and ate bagels. It was the perfect environment for a middle-school artist. Things happened in this space that meant something to the thirteen-year-old me. I made one of my closest friends, I got to (proudly) turn down a boy who ‘asked me out’, I listened to cool bands on other kids’ mp3 players (pre-iPod), I felt like there was a little place for me in this weird conglomerate of students.

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That was what I wanted. That was what I always felt, from that point on, what I deserved as a creative person — other creative people. My arts education from an early age taught me that that was possible. When I started talking (not singing, talking) to myself in the shower, reciting made up exchanges of dialogue between two fictional people in my imagination, I suspected all hope was lost. When I started writing these weird things down, I was sure all hope was lost. I would be a writer. It took me a while to get to the point where I pursued it, but in a way I always knew. I didn’t mind writing essays, and when I would force myself to write in a journal I felt a sort of liberation. I went through my teenage years and into my early twenties always having a feeling about this, but never being quite certain. Now that I’ve committed, made up my mind, found myself extending my education to become a screenwriter, it all seems to clear. All I ever wanted was to feel like four-year-old me again. I wanted to be that baby fox, experience the excitement of storytelling. I wanted to recognize again what it felt like to have people surrounding me who don’t judge on who my friends are or what sport I play, but who want to read my writing, and in film school and in the larger scope of Los Angeles, I’ve found that. I want to tell stories. My chosen medium, for the time being, is through words and through imaginary people. But, having had the privilege to learn about and create all kinds of art as a kid, a teenager, and an adult, it’s clear that storytelling is universal, each us just needs to find our medium.

Follow Anna Musky-Goldwyn on Twitter: www.twitter.com/amuskygoldwyn

Expressive painting class -week 1


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The first session of the expressive painting class was lots of fun as participants met each other and became familiar with tools, materials, and our studio space.

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Looking to week 2, participants will add another layer to their image and begin to explore a theme or image(s) to add to their painting.

Summer camps and class


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The Art Junction announces:

2013 Summer Camps & Class

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Art Camp Jr.

Need some creativity in your summer?

Dates:  July 9-10, 2013      10 a.m.-12noon

Cost $15.00           Ages 6 -8         Class Size: 8-10 Students

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Sign up by 6/29/13       All Materials Provided

2 days of Painting, Drawing, Sculpture, Clay & Creative Explorations!

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Art Camp

Need some creativity in your summer break?

Dates:  July 16-18, 2013

10 a.m. -12noon   Cost $30.00  Ages 9-14

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Class Size: 8-12 Students     Sign up by 6/29/2013

All materials provided except students must provide their own shirt(s)

3 days of Tye-dye, Painting, Drawing, Sculpture & Exploring Art

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Expressive Painting

Explore painting with expression using acrylic paint.

Materials Needed: 16” x 20” canvas, basic acrylic paints, brushes, masking tape, towels.

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Cost $ 10.00 or  $25.00 with all materials provided

Dates: Tuesday, July 2 – Tuesday, August 6, 2013

5:30 – 6:30 p.m.

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Class size 4-8 participants ages 9  to 99

Sign up by 6/29/13

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For more information contact Kevin Casto at 419-935-3404 or email: theartjunction@yahoo.com

The Art Junction is located at 2634 Prairie Street New Haven, OH. Next to the New Haven United Methodist Church.

 

The Art Junction is a community-based art education program designed to bring gallery space, local art exhibitions, lessons and creative opportunities to the Willard area for adults, teens, seniors, and children to learn to create together a better community! For more information on this or future programs at The Art Junction contact Kevin Casto M.A., Director, at 419-935-3404, email theartjuction@yahoo.com or visit our blog https://theartjunctionwillardohio.wordpress.com