If you haven't shared your web site with the rest of us send it to me and I guarantee it will be in the next newsletter. Wouldn't you like 3100 of your peers to see what you're up to? C'mon - next month is your turn.


Web Sites

Virginia artist Lisa Tureson has a nice long resume which includes her passion for art and design.

Ginger Balizer-Hendler of Glen Head, NY works with mixed media and yes, chicken wire!

yup - another NY artist: Pat Hadley works in mixed media with themes about the environment, sense of place, and peace.

Milwaukee artist Audrey Dulmes paints with oils and soft pastels on canvas, paper, and board.

Ol' buddy and Colorado artist Marcy Silverstein's main subject matter is florals, still life and landscape paintings.

Impressionist painter Esther Williams started on the east coast and is now living and painting on the Left Coast.

NYC based artist (and Art Students League cohort) Judith Carlin has grown by leaps and bounds.

Miscellaneous

My wonderful sister Myrna sent me a link to a story 'For the Love of Forgery'. And client and friend Mary Li sent me a link to the most interesting story of a bartender in NY who, when not pouring drinks, sketches one customer after another.

Here's a request for NYC artists: I have a group of high school students coming in from Thailand the week of March 4. One of the things on their agenda is a visit to an artist who produces pop art or works in mixed media. If you know of anyone who might fit the bill let me know.

Any of you out there create your own web sites? there is a fantastic program that can create gorgeous menus and navigation bars called AllWebMenus. I've been using them for a number of months and have started using their program to develop web sites for other artists. Here's an example of a navigation bar I'm setting up for a sculptor. I love it! And if he wants to change it I can provide him with scores of other possibilities. And... their tech support is great. Write them and ask for Kostas or Aris.

As artists we get stuck. You know what it feels like to enter that empty place after one series of paintings is done: "what do I do next?" It can be a scary place. I can't remember how many times this has happened to me. Each time I experience the fear of not knowing what will come next and sometimes even doubting that anything will come next. And each time - yes, each and every time, something comes up. It comes up in it's own time and our job is to honor what comes up and consider following it. For me this time it means paintings about combat and conflict. The Indian Wars, the Civil War. I'm wanting movement and action and physical energy in my paintings. This is NOT what I thought I would be doing. But it definitely has me hooked - until the next abyss comes calling!

What? Four art critics for The New York Times select artworks from New York museums and discuss the varied use of light and no Thomas Kincade??

Just got back from the workshop in San Miguel de Allende. And this is to warn you: do not go there unless you want to be seduced by the magic of that place. It's beautiful, warm, so painter friendly, great food, colorful in it's pastel symphony. You've been warned! I'm working with the Art Students League of New York to bring a group there in November taught by Gregg Kreutz. I took a couple of short videos of San Miguel that I would like you to see. Less than one minute each. First one is a short stroll around El Jardin, the center of town and the other is this fantastic market I discovered one day. And here's a slide show of some of the paintings that were done.

Other workshops coming up are the one's I have right here in NYC: Phil Starke, Camille Przewodeck and Ann Blair Brown. Then Tuscany with Don Sahli and Paris with Kim English. The latter two are starting to fill so don't delay. There is a great opportunity for a group of 3 or more friends to have a 3 bedroom apartment at the villa in Tuscany. It's available first come first served. Just write and ask me the cost. You will be happy you did!

I wrote this 4 years ago in a newsletter and just bumped into it again: "My ideas of what to write come to me around 4:30 AM when I should be sleeping. This morning it occurred to me to write a little about the role of rules in painting. I want to start by saying that I do believe that rules are very important to learn. What do I mean by rules? Here are some examples: 1) lead the viewers eye around your painting 2) the center of interest should be the area of greatest contrast or color 3) objects in the background should be cooler and lighter in value than objects in the foreground. 4) balance colors throughout the painting. These could be true not only for representational painting but also for abstract painting or even other forms of art.

The artist is consciously struggling with these rules and trying to apply them in our paintings. If the process is working a time might come when these rules are absorbed and emerge spontaneously without thinking. When this happens is not under our conscious control but happens in it's own time. The trap to avoid is this: a painting can become nothing more than a checklist of rules. This will give us a painting well designed with all the rules faithfully followed but without any hint of the artists' unique personality.

artist quotes

"When I'm painting, I'm not aware of what I'm doing. It's only after a get acquainted period that I see what I've been about." Jackson Pollock

"Painting is stronger than me, it makes me do its bidding." Pablo Picasso

"Art is either plagiarism or revolution." Paul Gauguin

''In visual arts, prodigies don't count. In music and literature, yes, but not in art." Clement Greenberg (famous critic).

"I am a night painter, so when I come into the studio the next morning the delirium is over. I come into the studio very fearfully, I creep in to see what happened the night before. And the feeling is one of, "My God, did I do that?". Philip Guston

" I tell young people that the greatest paintings in museums are made with minerals mixed in oil schmeared on cloth with the hair from the back of a pig's ear. It's that simple." James Rosenquist


Phil Levine Workshops, Inc.
69 bank Street #102. NY, NY 10014
phone: 212-414-8875 fax: 866-501-6873
e-mail: philiplevine@earthlink.net