Thursday, November 25, 2010

Thanksgiving Morn

Thanksgiving Morning 2010, view from the studio

Thanksgiving Morning 2010, view from the studio

Woke to a high desert snow for Thanksgiving morn. Collected wood for the fireplace and am now waiting for my first slice of pie...

Tuesday, November 16, 2010

New Work in Process

Individual 15"x15" canvases will become 6"x6"x3"(deep) once stretched.

Tuesday, November 09, 2010

New Miniatures in Process

I awoke to a light mist in the desert. I’m still not used to the time-change; five o’clock is still too early but attempting to return to sleep never works out.

I had plans to stretch and gesso a large canvas, today. The idea was a finished painting in the neighborhood of 60”x80”. Last evening I went to bed with thoughts of much smaller works. I dreamt of miniatures along the lines of the past summer’s enamels; nothing larger than 12”x12”. Most in the 5”x5” frame, possibly, creating a mixture of oils and enamels with a goal of 300 new paintings by spring. It is supposed to be in the freezing temperatures, by midnight and remain throughout the coming days. I always loved using my long cold winters for inventory building. - North

Friday, November 05, 2010

WPA Then... Now?

“We were all young, and there was no such animal at the time as a master of fine arts degree, so the WPA really amounted to a graduate program in art. It was really the first art community I was ever aware of.” – Peter Busa, artist

Roughly, $1.38 then is equal to about $21.57, now. WPA artists were paid $23.86/week (about $350/week in 2010 dollars). A loft in NYC, during the 1930’s, typically cost $20/month. Artists were provided with government-purchased supplies, with the assumption that roughly 20% would be stolen for personal use.

The last few days, I have been reading about the WPA and how it benefited artists during the Great Depression. Visual artists were divided into two groups: muralists and easel painters. A muralist worked within a group, on a preset-project. Easel painters worked from their studio (on whatever project/design of their choosing) and had to deliver a new piece of artwork to the local WPA office once every 4-6 weeks. The WPA office owned and indefinitely stored the works (they have since, obviously, been placed in public collections). In essence, the WPA spear-headed the Modern Art movement, acting as its original patron; and when you think about the contemporary value of work by the Abstract Expressionists of this era… the government made a ridiculously smart investment. - North