Black, White and color

The Kiss by Robert Doisneau

What is known as black and white in art is not necessarily limited to strictly those two colors. It's not uncommon to see shades of grays, tans and even browns in a black and white piece. Though the term is generally associated with photography, it is used when referencing television, movies, printing, drawing and even painting. Often Op Art relies on black and white to create a sense of movement to the viewer, though color is sometimes used too. It's important to note that the foundation of nearly all great works can usually be broken down into black and white.


Most of the best painters rely on good drawing and sketching skills. They work in tones before adding any color, focusing on obvious shadows and light areas. Tone usually implies that there is no color, and artists tend to use the term hue when referring to color values. Once the basic light and dark values have been noted, various colors and hues are addressed.

A great example of the progression of working from sketches to applying paint is Mark Lague's technique. He breaks it down into six steps:

Sketch by Mark Lague

1. The base drawing- Mark focuses on abstract shapes rather than actual objects. He sketches the largest and most significant shapes first.

2. Establishing the values- In the next stage of creating a painting, Mark will apply washes to establish the tones or values of the piece. The values, which remain as they are at the final stage of the painting, are applied in a thinner wash. The values are simplified and smaller shapes are kept to a minimum at this point.

Some color added to the painting by Mark Lague

3. Integrating light and dark-  When the base paint is dry, Mark begins to add full color. He uses contrasting thick impasto painting with thin transparent passages in what he calls a "wet-on-wet" technique.

4. Completing the focal area- Unlike most artists, Mark will work section by section to finish the piece. He is careful to avoid adding too much detail.

5. Establishing depth- Once the focal area is completed, Mark addresses the remaining values of the piece, working on any background areas that need to be developed.

6. Finishing- In the last stages of painting, Mark will incorporate small shapes, but he is careful to edit himself. He feels it is critical to know when to stop adding detail.

The final piece by Mark Lague

More works by Mark Lague:

Haight Ashbury Light by Mark Lague

Hotel in Rome by Mark Lague

Chicago Afternoon by Mark Lague

Three Cabs by Mark Lague

Somewhat off the topic, but here's a cute little video about the color Pink!

A few interesting and fun videos

 

Shock Art

Dejeuner sur L'Herbe by Edouard Manet

Shock art has a somewhat long history, but it is considered in its true form to be strictly contemporary art. Whether making a political, social or cultural statement, art has a way of opening eyes and causing a stir. In fact, both Edouard Manet's Olympia and his Dejeuner sur L'Herbe were met with sneers and ridicule when they were first presented in the mid 1800's. Critics attacked his work and considered it to be extremely controversial. Even today his work remains at issue with some. More extreme shock art and what we accept as true shock art became popular in the 1970's. The genre was pushed more firmly into the spotlight in the late 80's and early 90's. Since then, it has become more mainstream and even marketable, though its main purpose is still to stun and baffle the viewer.

Lady Gaga

Marilyn Manson

Of course, what was once shocking no longer causes the same kind of commotion. This is partly because we have become desensitized as we are bombarded with increasingly outrageous images and acts in the arts. Mapplethorp's homoerotic photos may still raise an eyebrow, but they are no longer as jaw-dropping as they once were, even though some still find them objectionable. Everyone seems to be trying to rise (or lower) the bar when it comes to the shock aspect. From Marilyn Manson and Lady Gaga in music to Damien Hirst and Zhang Huan in art, these people are pushing the envelope, but how far is too far?

It's not surprising that art is often designed to get a response, especially when there's a powerful message behind the piece or act. When it comes to religion and art, people often have a very strong reaction. As a result, controversy usually erupts when First Amendment rights are met with those who dislike certain images or ideas. Here in Colorado in 2010, there was such a clash when Enrique Chagoya's work was displayed at a museum in Loveland. The exhibit included a piece titled “The Misadventures of the Romantic Cannibals", which upset quite a few people including one woman who ended up vandalizing the lithograph by breaking the plexiglass case around it and ripping the artwork. When Andres Serrano tried to make a statement about what he felt was the misuse of religion, he created another piece of art that prompted protests. Again, the work was vandalized. People refused to see that his work was a criticism of what  he called the "billion-dollar Christ-for-profit industry" and a commentary about those who "abuse the teachings of Christ for their own ignoble ends". Was it necessary to photograph a plastic Christ on a cross placed in a glass of his own urine to get this message across? It's hard to say. The piece certainly sparked many debates.

Andres Serrano's Piss Chris

Controversial images have been spilling into the advertising world as well. There is actually a category of advertising called Shock Advertising. As fashion trends forge into new and bizarre territory, so do advertisers with their methods of getting people's attention. Unfortunately, one byproduct of startling advertising is furthering the objectification of women and people in general. I often suggest a series of short videos called killing us softly, because it's a great way to raise awareness around how much we are bombarded with objectifying images in the media. The more the boundaries are pushed and the more we see these sometimes disturbing and almost always startling images, the more accepting we become, even when it doesn't sit well on some level. One has to wonder too if the message behind the piece of art or the message behind the advertisement gets lost in the shock aspect. Despite research showing that sex doesn't actually sell (only 8 out of 100 of the most effective advertisements rated by Ad Age used sex to sell their product), many companies still use suggestive images in an effort to generate interest in their product. Let's face it, shocking images are hard to forget. Some fashion companies known for their deliberately offensive ads include: American Apparel, Calvin Klein, Dolce and Gabbana, French Connection UK and Duncan Quinn. Of course, most fashion magazines contain countless pictures that objectify people. The question remains: Where do we draw the line?

10-year-old model in Vogue (France)

Moving past fear

The Long Shadows of Wonderland by Bryce Widom

In the field of art, there are many fears to address. Many times artists will push themselves to try new techniques, use a different subject matter or even switch mediums in an effort to grow in their discipline. Even the first step of becoming an artist can be steeped in worry. There's often a fear of failure, even before stepping into the role of an artist. Because art is something that people judge subjectively, it can be scary to present works to be critiqued. Often, a beginner will have less apprehension, because there are no expectations and the self-pressure is less than that of a more established artist. Beginning artists can also find encouragement from those around them, but the encouragement can sometimes taper off the longer one keeps at it. An important aspect to bear in mind when dealing with the fear of starting a piece of work is to know that any perceived failure can teach, inspire and eventually lead to improvement for the next time. In a sense, there's no such thing as a mistake. Instead, errors can be seen as lessons to direct us and take us in new and different directions. Another point to address is that taking small risks while working toward a larger goal can be less intimidating. The man thing is to keep the joy in the process and work with any fear that arises --address it, define it, but don't get caught up in it. In fact, focusing more on the process and less on the outcome can be a great way to lessen anxiety.

Bountiful Sweetness by Bryce Widom

For Bryce Widom, an oil painter at SmithKlein Gallery, fear is something with which he is intimate. 

He describes his relationship with art and fear in the following way:

"The longer I go without painting, drawing, sketching, the bigger the fear grows. For me, the fear is borne from a core of doubt regarding my own value. There's a story, deep inside my psyche, that I'm deficient. It rarely surfaces in full, instead leaving only threads of anxiety in its wake, thoughts like "I can't paint", "I'll never create anything of value again", "I should just give up with art, and find another career", and "I'll never be able to serve others through my art".

Acknowledging this fear, yet persisting, diving in again and again into my work, is the biggest challenge I know. So challenge isn't something that I need to search for or create. And as I mature as an artist and individual, I've learned that this fear is not something that I actually need to listen to; that I can allow it to be present, while simply doing my work, regardless. There are times when I feel like I'm being pulled into a black hole, a void - and no matter how dark it's been, or how strong the pull, I've always resurfaced.

The main learning for me has been to simply do the work. To allow the anxious and fearful thoughts, the dark and damning emotions, the heavy lethargy that sets into the body, but to not believe that it's the totality of the Truth. It's as simple as picking up a pencil and paper, and as the graphite works its way across the paper, the thoughts settle, the emotions relax, the body becomes lighter and more energetic, and the creative urge is allowed to have its way with me. 

Certainly, there are technical challenges - color, composition, materials, light/shadow, etc. in each work - but in my experience, these challenges all rest upon that larger internal challenge. And when I am able to find the courage to allow all the thoughts, emotions, and sensations that are here to actually be here - and to dive into the work, regardless - then new discoveries in all these other fronts are often bountiful, enjoyable, and surprising."

Bugle by Sandy Graves

Sandy Graves is a bronze artist at SmithKlein. She identifies many fears around being an artist including: deadlines, worries about whether or not people will buy her work, critiques of her work, making enough money in her chosen profession, artists' blocks, the possibility that she may one day lose interest, and concerns about the direction and future of her work. Sometimes the fear of not creating exactly what we imagine can be paralyzing, but sandy has found that letting go of attachments and putting energy into her work allows her to move through many fears.


She states:


"Creatively, the fear gives me incentive to sculpt even if I don't know what I am going to make. I get excited about what the future will bring and how I will expand my style to meet the future. I am MUCH less fearful now that I made the commitment to being a full time artist and quitting my day job ( Scariest week of my life). I think that the biggest thing that I have learned is that if I sculpt enough so that I don't get overly emotionally attached to every idea that I have, throw away what I don't like, and finish what I do like, people out there will feel the energy that I put into my art. Also, Not everyone is going to like my work and some people will love it more than I could ever imagine, and that is OK!"

Influence of Orient by Matt Abraxas

For some, participating in the art world isn't about fear per se, but can still involve overcoming limitations and other challenges.


Matt Abraxas addresses some other concerns in the following way:

"I don't really have any fear in art, but I do struggle between pleasing others (which tends to equal financial success) and creating work that evolves and pushes my limits. My aim lately is to do both at the same time.


I find the most difficulty in not jumping too far out of my body of work whether in style or theme. One of the greatest challenges to an artist is to stay fresh and yet consistent. I have to pull the reins in a bit on ideas that leap way out into a whole new look. I like the idea of slow growth. It actually requires more trust than leaping off the ledge because a series of work requires a commitment and often I don't know exactly what I'm committed to until much later. I'm inspired by John Singer Sargent, who gradually altered his technique while simply executing a different brushstroke. I'm far from this level of discipline myself, but I like to think I'll raise up to it one day."

White Glow by Matt Abraxas

Grace in Motion by Judy Greenan

Judy Greenan approaches fear in a way that allows her to make new discoveries. Grounded by the safety of her studio, she is able to face fear, go out on a limb and have the courage to push herself to be a better painter. She feels that oil paint is very forgiving, and this can allow her to be more fearless and less worried about making mistakes. Judy states, "I really think that  the motto 'Just do it' ought to be replaced with 'just start it'. We need to recognize that getting lost in fear leads us to a dark, dead end while faith and detachment to outcome will open a door, allowing light to permeate. This can eventually lead to great joy and excitement."  

Tiny Dancer by Judy Greenan