Abstract Art

Abstract Art: Acrylic on Paper

Using acrylic paint on paper to make my abstract art, I find that I leave more white space, and apply the paint with a more delicate touch.  This particular piece is quite subdued and gentle:

   Field Vision, 24" x 18" acrylic on paper

The burnt umber lines help hold this piece together and focus the eye. 

Second Abstract Painting on Paper: The Power of White

When I use acrylic paint on paper, it feels closer to watercolor.  I have a tendency to use more water to thin the paint, and to allow the paper to show through.  Sometimes I'll use a dry-brush effect, which works well with the texture of the paper.

In my second abstract painting in this new series, I worked fast while the paint was still wet.  I blended the lines I drew with Prussian Blue into the background, and then added white, blending that, to bring some of the curved shapes forward spatially.  

   Open Source, 24" x 18" acrylic on paper

Starting new series of abstract paintings on paper

After a long break from painting, thanks to our California trip and Thanksgiving, I am working again.  With sales of art, especially originals, down this year, I am working on paper, which is less expensive than canvas.  I'm using Windsor & Newton 140 lb. watercolor paper, 30" x 22".  I draw a border to make the image size 24" x 18", and then tape the paper to pegboard in order to work on it.  Once the painting is dry, I can remove the tape, and there will be nice clean white borders around the image.

Here's the first in my new abstract painting series on paper:

   Toss and Catch, 24" x 18"

Community Arts Partnership New Registry for Local Contemporary Artists

Those of us in the arts in Tompkins County, New York, have a wonderful promoter in the form of our Community Arts Partnership (CAP).  They are always improving the way they promote artists in all disciplines.  For contemporary visual artists, they run our open studio art trail, a gallery, various artists markets throughout the year, and seminars on the business of being an artist. 

Recently CAP revamped their website, which now includes an easy-to-use artists registry.  Every artist member of CAP (in any discipline) or member of the Art Trail may post images and other information about their art and themselves. 

CAP is soon going to hold meetings on Art Marketing for visual artists in the Ithaca area.  I used to run such meetings in my studio for about a dozen artists, but thought it was time to open up this opportunity to all who need it.  The important thing, to make such a group work, is for everyone to be willing to share their own knowledge and experience. We accomplish much more by sharing and helping all artists succeed than by hoarding information competitively. 

I Appreciate the Art Appreciation Foundation

As a contemporary artist, I like to keep up with what's happening in the art world.  One newsletter on this topic that I love to get is Art Knowledge News:  "AKN brings to its readers unbiased art information and news about art, the art world, museums, artists, exhibitions, articles reprinted from renowned art publications, art resources, special features, photos, commentary, and a vast array of art images found nowhere else in one source."

It's great to take an art break when I receive their daily newsletter in my email in-box. The art in today's email ranged from a winter landscape painting by Andrew Wyeth to a surrealist piece by Frida Kahlo.  My favorite was "Venice," by Russian artist Alexandra Exter.

We can thank the Art Appreciation Foundation for providing this newsletter, which is free to subscribers.

Keep Contemporary Artists Alive by Buying Their Art

I, as are most contemporary artists, am finding a lag in sales during this prolonged recession.  The purchase of fine art is usually seen as a luxury that is the first to be dropped out of a family's budget.  Even well-to-do patrons are postponing their art purchases, or buying reproductions instead of originals. 

For me, art is not a luxury, but a necessity.  I must keep painting whether anyone buys my art or not.  And I must keep looking at art, mine and others, because it nurtures me and expands my connection to life.  I would give up something else before I gave up art.

During the upcoming holiday season, most of us will be buying gifts.  Why not buy the gift of art, and help keep contemporary artists alive and working on their art?

Article in Auburn Citizen re "Abstract Design"

The Auburn Citizen newspaper recently had an article on "Abstract Design" about my exhibit and that of quiltmaker Sjoukje Schipstra, titled "Abstract Design a Thing of Beauty for Artists."  They took most of their information from my artist's biography, but one line they didn't is:  "Although understanding and viewing abstract art may be difficult, even new viewers can enjoy Taetzsch's large, colorful paintings."

More pics from exhibit:

That's me holding a glass of white wine.

 

The large limited edition giclee print on canvas is of Summer Traveler.   

Modern Art Three and Modern Art Four.

"Patterns In Abstract Art" - More Pics from Museum Exhibit

Here are more photos from "Patterns in Abstract Art" at The Cayuga Museum:

Entry hall to the exhibit, with Culmination and Choose Life One and Two.

In this photo:  Push, Curiouser and Curiouser, and Abstract Expressionism Two.

If you celebrate it, Happy Thanksgiving!  I am cooking for seven today.  There is a shortage on pumpkin here, but my daughter Blixy had some in her freezer and will make the pie. 

"Patterns In Abstract Art" - Pics from Museum Exhibit

We are back from our trip to California and slowly getting over jet-lag.  Yesterday my brother-in-law Jim Kirsner gave me a cd of the photos he took of my exhibit, "Patterns in Abstract Art" at the Cayuga Museum.  Here are a couple:

   Modern Art series & In Field on right.

   Abstract Patterns series and Sound and Fury Two

Finding the Abstract in a Photograph

While in California visiting family for a few days, we stopped at the Modern Book Gallery in Palo Alto.  They were having a group show of several of their photographers including Ryan Bush, Fan Ho, Jefferson Hayman and Andrew Sovjani.  Ryan Bush's sparse, meditative black-on white images of electric wires and telephone wires, some with birds atop them, struck me as contemplative abstract patterns. 

Andrew Sovjani's photographs of folded, manipulated paper under various light conditions also present us with abstract patterns, but these have a more solid, architectural effect.  One can feel the weight of them.

All in all, it was a fascinating exhibit.  As an abstract painter, I found myself drawn to the more abstract images in these photographs of  "real" objects. 

Seeking Abstract Art in Palo Alto

I'm in Palo Alto for a few days, and today we went downtown to look for galleries.  Sadly, several had closed over the last year, but one of my favorites was still in busines:  Bryant Street Gallery.  They were showing the wonderful abstract art of Adele Seltzer. Her subtle but strong shapes and earthy colors drew me into the circle of her work.  Check her out at Adele Seltzer. com.

I was sad to see Tercera Gallery close.  They had been in Palo Alto and Los Gatos for years.  I would visit every time I came to California.  I wonder how galleries are going to end up after this slump is over?  Is the internet too much competition?  Or will the galleries with the best practices and taste in art survive?  What do you think?

Getting Stuck in the Painting Process

I worked on Canvas #78 yet again, and I continue to be "stuck" in this painting process:

   Canvas #78, 48" x 48"

After I added more color, especially to the outer "frame" of the image, I outlined everything in a thin blue-gray wash.  But that didn't save it.  For some reason, I was unable to let go of what I had in order to get to a new place.

Fifth Stage in Latest Abstract Painting

I worked again on my "lotus-like" composition in this latest abstract painting:

   Canvas #78, 48" x 48"

Well, I keep adding more yellow, orange and red, and then taking it out or outlining the shapes.  I can't seem to find a happy balance in this painting.

Fourth Stage in Latest Abstract Painting

This abstract painting has a mind of its own--a very definite composition that forces me to fulfill its aspirations:

   Canvas #78, 48" x 48"

At this point, the blossom-like plant that seems to be struggling to arise is filled with light and feels meditative to me.  Yet I am unhappy with the painting.

Here's another canvas that turned into a plant-like creature:

   New Growth, 48" x 48"

The two compositions are reminiscent of each other, but "New Growth" feels more integrated, and also more abstract.

Next Stage in Latest Abstract Painting

I've been moving back and forth between canvases, working on one until it seems stuck, and then switching.  Here's stage three in my latest abstract painting:

   Canvas #78, 48" x 48"

It is starting to take shape, but I'm not sure I like the shape of it.  I think I prefer the more overall design of Canvas #79.