Exhibitions Meeting: Next meeting is Thursday, September 18, from 10am-noon. Meeting at the Chamberlin House, at 44 Pleasant Street in Concord NH, on the third Thursday of the month. Exhibitions is inspiring and a fun way to get involved in “business of art” process. Please join us!

Art Share: Start an Art Share in your area! Come share your art with your fellow artists. All are welcome: WCA/NH members, and artists who are not members; women and men; professionals, students and “newbies.” You are invited and most welcome to attend. CLICK HERE to learn more about Art Shares.

Artist Trading Cards – ATCs: ATCs are mini works of art. Each artist makes six cards and mails them in. WCA/NH keeps a card for the archive, mixes up the remaining cards and sends them out. Each participant receives five mini works of art for the cost of postage.

TELL US YOUR STORY!

It will be here before we know it. October 25 at the Jaffrey Civic Center, 40 Main Street, Jaffrey, NH at 10:00am. This year’s meeting will coincide with the Tell Me a Story exhibition, which runs from October 17 – November 15, 2014. With that theme in mind, we would like to invite you to give us the fast version of your story. We will be introducing our version of a “PechaKucha 20 x 20”. Here is a bit of background from the web site for pechakucha.org:

What is PechaKucha 20×20?
PechaKucha 20×20 is a simple presentation format where you show 20 images, each for 20 seconds. The images advance automatically and you talk along to the images.

Who invented the format?
The presentation format was devised by Astrid Klein and Mark Dytham of Klein Dytham architecture.

Why invent this format?
Because architects talk too much! Give a microphone and some images to an architect — or most creative people for that matter — and they’ll go on forever! Give PowerPoint to anyone else and they have the same problem.

We will be altering the format slightly to 10 images for 20 seconds each to accommodate as many participants as possible. It’s an auto-forward presentation. There is no “next slide” or “go back one”, just talk along and enjoy the show. Here is your chance to practice your “elevator pitch” in a safe hometown crowd.  Alternatively, you could say absolutely nothing if that’s more your style. Let the work speak for itself. Images don’t have to be only of your art. Share one that uncovers your magnificent talents, your awesome inspirations, your amazing work space, the her-story of your art. What’s behind your Art? Think of it as a movie trailer for your art career.

Here is how to participate:  E-mail your images to Marcia Mertinooke Wood, who has volunteered to make a combined Power Point. If you prefer to send a thumb drive or CD, please contact Marcia to work out the details.MarciaWood3@yahoo.com

That’s it! Do this; show us your stuff.

Fabulous Spring Meeting at the Pease Public Library in Plymouth! We caught up on the new activities–both in-progress and planned–and visited the 20 Years–A Celebration exhibition upstairs.

Many thanks to Paulette Brace, Kate Higley, and the board for pulling it all together.  We have such a great team. It was wonderful to see you all and feel that energy we generated for so many good things to come!

The New Hampshire Chapter of the Women’s Caucus for Art is 20 years old this year. We were founded in 1995 by a small group of women artist, led by Gail Smuda, as a nonprofit organization dedicated to the advancement of women artists.

We celebrate 20 years of advocating for women artist in New Hampshire with this exhibition featuring the works of current members of WCA/NH. Come to the reception and say hello!

Opening reception: Friday, March 20, 2015,  5 – 7pm

March 16 – April 30, 2015

Hours and Location:
Pease Public Library
1 Russell Street, Plymouth, NH 03264
(603)536-­2616

Hours: MTW- 10-8, Th-F 10-5, Sat. 10-2

Come to the Plymouth Congregational Church for an exhibition of paintings, prints, and drawings by WCA/NH members who live in the Plymouth area. The exhibition is free and open to the public and will run from June 22 to August 14, 2015.

• Plymouth Congregational Church, 4 Post Office Square, Plymouth, NH
• www.uccplymouth.org

Our Twenty Years Anniversary Celebration continues with three distinct exhibits in October, each in a different Concord location: at the Concord Chamber of Commerce in association with the NH Art Association, at Kimball Jenkins, and at the Women’s Club of Concord. All three exhibitions will be invitational (not juried) and membership in WCA/NH for either 2015 or 2016 will be required of all exhibitors. More details to come!

The Women’s Caucus for Art/New Hampshire Chapter is part of a national organization that promotes the advancement of women in the visual arts through educational programs, networking, and exhibition opportunities. We were founded in 1995 by a small group of artists led by Gail Smuda and, for twenty years, have been supporting each other in artistic endeavors.

As we continue to celebrate our 20th Anniversary, WCA/NH will hold three exhibits in Concord during October and November of this year  These exhibitions will be open to WCA/NH members.

• The Women’s Club of Concord,  October 1–31: an exhibit of portraits and figures of women in the parlor of their charming Victorian-era house. 
  
• The Concord Chamber of Commerce,  October 1–31: a joint exhibit for members of both WCA/NH and the New Hampshire Art Association. NHAA is celebrating their 75th anniversary this year, as we celebrate our 20th.
  
• The Carolyn Jenkins Gallery at Kimball Jenkins Estate, October 5–Nov.2:  a survey of members’ large and small work, in all mediums except 3D, and all styles.

If you are a WCA/NH member in good standing, download the prospectus here. The deadline for your application through Entrythingy is September 8, 2015.

Each year, for the past 11 years, the New Hampshire Chapter of the Women’s Caucus for Art has awarded an annual scholarship of $1,000 to a female NH resident majoring in the visual arts at a NH college or university. The scholarship also awards a one-year membership in WCA/NH, which includes access to exhibition opportunities and many of our other programs and projects. WCA/NH receives over a dozen applicants from across the state each year, and their portfolios are judged by our Board members.  Each year’s Annual Scholarship Program begins in February and submissions are accepted throughout the Spring. Judging takes place in April.

This year’s recipient is Bonnie Farren, who is enrolled at NH Technical Institute in Concord. You can see her here sharing her recent work with us at our Fall meeting.

You can help us support women artists in New Hampshire by contributing to our Scholarship fundraiser here: YouCaring.com

Here are some of our past recipients of your generosity:

What are Giclée prints and what do they have to do with Rock & Roll?

Giclée (pronounced zhee-CLAY) is a term often heard in the artist print market. But what exactly does it mean? First, let’s look at the history. In the early 1980’s, at the dawn of personal computers, there were few choices for printing. Dot matrix printers could only print letters. (Remember the crude attempts of printing graphics made up entirely of x’s?) The first inkjet printers were barely suitable for printing a pie chart, and the first black and white laser printers were great for type but not useful for art. You could make beautiful artwork onscreen, but printing it was impossible.

IRIS printer

Then, in 1985 came the Iris printer. Costing well over $100,000, it was created specifically for the prepress market, so that printing companies could show their customers accurate color proofs before it went on press. In the late 1980’s a few early computer artists realized the potential of this technology and started using these

printers for their artwork. This is where rock & roll comes in. Graham Nash, from the band Crosby, Stills, Nash & Young, was the first to purchase an Iris printer for fine art printing in 1989. His company, Nash Editions, is still in business today (using Epson printers). In 1991, one of his employees, Jack Duganne, came up with the term giclée because they wanted to distance themselves from the business/industrial aspects of this technology. It is a made up word, based on the French word for nozzle: gicleur. (Unfortunately, giclée is also French slang for male ejaculation, so you might not want use this term in France!)

CS&N by Henry Diltz

So when you order a giclée print from a printer now, what does it mean? Since it’s a made-up obsolete marketing term, it’s hard to say. If you go to the websites for the major inkjet printer companies (HP, Epson, Canon, and Kodak) and search “giclée”, there are no results. There are no giclée printers, papers or inks. What you should expect from a giclée print (or any print suitable for artwork) is a print made using archival inks, archival papers and color quality control.

Archival Inks

20 years ago when I worked at a commercial printer, I saw dye sublimation prints from our expensive proofing printer fade away in a few years while stored in a drawer! Today, professional inkjet printers use pigmented inks that are very lightfast. How lightfast is hard to say. There are no standards for testing inkjet papers and inks from company to company, so all we have are claims by the printer manufacturers. What really matters is how the work is displayed. Any piece of artwork or print will fade if displayed in bright light, and whether or not it’s matted and framed in an archival mat with an archival backing, using UV filtering glass, etc.. The fact is, your prints will eventually fade, but if they are printed on an inkjet printer using pigmented inks, it will last long enough if properly handled.

Archival Paper

Look for brand name papers such as Kodak, Epson, Fuli, Moab, and Somerset. Check to see if they are using the professional versions of these papers vs the consumer line (Kodak Endura and Fuji Crystal Archive are professional papers). Generally, the less coating on the paper and the fewer brighteners they use to make the paper white, the more archival. Most of the better inkjet papers are 100% acid free. According to Epson, their Epson Watercolor and Fine Art papers can last up to 200 years when printed on certain Epson printers using their longer lasting archival inks. But, even their coated papers, printed on some of their inexpensive consumer model printers will last 70-80 years!

Color Quality Control

Look for a printing company that provides color profiles for all their various papers. Your prints will look different on the various different brands and paper surfaces, and these profiles will help you preview the differences onscreen in Photoshop. This only works if your monitor is calibrated, but just the fact that the company provides them means that they are serious about color and are calibrating their equipment.

Conclusion

If you are shopping for a place to make your prints, ignore the term giclée. Look for a printing company that provides color profiles, gives good instructions on what type of file to provide (such as resolution in PPI) and what colorspace they prefer (such as sRGB or CMYK) and follow their instructions. A printer that caters to professional photographers is a great choice since they are looking for the same things artists are looking for: quality, accurate color, longevity, and quick turnaround. Look for high quality professional papers. Choose matt papers if you are concerned about it lasting longer than you or your grandchildren. Otherwise, choose what you think will look best. The glossier the paper, the more detail you will see. Matt papers will look more like an art paper. Epson makes a watercolor paper that renders prints of watercolors so well you can’t tell the difference. Be wary of drugstore prints made while you wait – they use dye sublimation technology which is not as long lasting as an inkjet.

DIY

Epson has long led the field in archival inks and papers. They have several inexpensive printers that they claim will provide prints that will last well beyond your lifetime if properly handled. Whatever printer you use, try to use their brand of paper and inks. Each brand designs their printers to work best and last longer with their own brand of ink and paper. But beware of the cost of materials. You’ll find it’s way more economical to order prints than to print them yourself.

And stop using the term giclée! It’s an inkjet. No matter where you get your inkjets printed, at home, your local copy shop, an online professional photo printer, or a high-end printer that caters to artists. They are all using inkjet technology. Many of them are using the exact same printers, inks and paper. You might get great inexpensive prints at your local copy shop. Make some prints, put them in a window and see if they fade. Experiment with different papers. Look for specials online. Have fun with your prints!

https://en.wikipedia.org/wiki/Iris_printer

http://www.nasheditions.com/the-work

http://kenallennews.com/2012/02/16/to-giclee-or-not-to-giclee/

https://en.wikipedia.org/wiki/Gicl%C3%A9e#cite_note-6

http://www.bhphotovideo.com/explora/photography/buying-guide/inkjet-paper

http://www.epson.com/cmc_upload/pdf/c31448_PermFlyerHoriz.pdf

http://www.wilhelm-research.com/WIR_RealClearTechnology/RealClearTechnology.html

http://www.wilhelm-research.com/

http://thewirecutter.com/reviews/best-photo-inkjet-printer/

I stopped by the Children’s Museum of New Hampshire last week to check out the current exhibit “Out of this World & Buoyant Beings” at Gallery 6 and ran into Tess Feltes who curates the art for this lovely art space. I thought about doing a blog post about the space and then thought it might be better to ask the expert.

Here’s what Tess wrote:

When asked to create a blog post about curating Gallery 6 of the Children’s Museum of NH, I got to thinking of key aspects of the job and how it has evolved over the ten years of my tenure.

 

1. Most Importantly, Focus on Goals

Gallery 6 is unique in that it occupies a space in a museum that attracts a different audience than a traditional art museum or gallery. Each year thousands of visitors of all ages and backgrounds pass through our doors—not necessarily expecting to find high caliber art. However, the Gallery was designed to be in the “heart of the museum” on the ramp leading to the second floor making it in view of every visitor, rather than off in a separate room.

I operate on the assumption that this might be a visitor’s first introduction to professional artwork and as such, there is an obligation to focus on themes that will appeal to a broad audience as well as offer an educational component to an exhibit.

The ramp offers a venue that is conducive to a narrative approach, which can help “tell a story” especially when the exhibit has an educational theme and is accompanied by informational text.

The last goal is to stimulate curiosity, encourage creativity and foster an interest & appreciation for art. CMNH has a MUSE studio where visitors can try their hand at art activities often tied to the exhibit’s theme or visitors might be inspired to try their hand at a project on their own time.

 

2. Have Empathy

Empathy is defined as “the ability to understand and share the feelings of another.” In designing a show, I need to have empathy for the CMNH target audience. I need to understand their thoughts, interests and challenges, and, most importantly, ask: “will museum visitors like it?” Often I will design an exhibit based on the themes of the on-going CMNH exhibits, activities and programming. For example, an exhibit might focus on flight, dinosaurs, music, science or everyday topics such as food, water or the environment.

Other exhibits might focus on themes of universal appeal—fantasy, animals, toys, or children’s book authors and illustrators, which have a timeless appeal and will resonate with visitors.

I have learned the importance in curating an exhibit to offer a variety of approaches, styles, and interpretations of the themes, in short, something for myriad different tastes!

 

3. Encourage Curiosity and Exploration

Lastly I see a responsibility to open children to new ideas and ways of thinking about their world. A prime example is our March through May 2016 MOSAIC Project that focuses on raising awareness of our multicultural “neighborhood” by presenting examples of artwork, photographs, stories, objects, and activities from other cultures. Another example might be a recent exhibit, Driven to Abstraction, which gave visitors an appreciation for nonrepresentational art. Both kids and adults LOVED it, and many commented that it opened up a new way of looking and thinking about art.

 

4. What is my favorite thing about being a curator?

I consider myself a life-long learner who has many interests, having worked as an educator, scientific illustrator, children’s book illustrator, amateur naturalist, and parent of three wonderful children. This job gives me a chance to use every skill in my toolbox—including catering!

Curating requires a passion for original works of art, an appreciation of artists, and a firm belief that art has the ability to touch people of all ages, cultures, and backgrounds. This job gives me an opportunity to work happily both in a team and independently… and it does take a certain amount of tenacity! I love scouting out new artists and getting to work directly with incredible works of art and having regular opportunities to share them with a wide range of audiences. There is tremendous variety and hands-on nature of the work. I love the fact that no two days are the same.

 

5. Interested in exhibiting at The Children’s Museum of NH?

 I am always looking for new and emerging artists to exhibit. We have 4 group shows a year, based on themes appealing to children. These are planned a year in advance with a prospectus sent out several months before the installation. Our summer exhibit will be Everything Under the SUN. This will focus on colorful and lively interpretations of activities that children and families can enjoy in the great outdoors. If interested, please contact me at tessfeltes@gmail.com.

 

Author’s Note:  If you haven’t been in to see this space, I suggest you check it out next time you’re in the area. It’s located in downtown Dover, NH. Gallery 6 is open during regular museum hours and there is no charge to view the exhibit. (Those wishing to visit the rest of the museum as well must pay regular admission.)

by Gail Smuda

Change is in the air and new habits and criteria are being formed among so many artists who have either retired in the past few years or who are making the transition into retirement today, as is Deb Claffey.

Of course artists never really retire. Look at Matisse, bedridden and still working away at the many new/fresh ideas he was still generating. Retirement for an artist can mean having a world open up before you that finally allows you time to concentrate and do your work without the—in Claffey’s case—seasonal shift of a job.

Initially Claffey tried to keep her landscaping business separate from her art and finally realized that they were intertwined to such a degree that they supported each other in a variety of ways.

Artists often make connections with their work that may not be apparent, even to them, while they are in the process of creation. Sometimes a change in our lives means a reassessment of how things are seen, even by us.

Deb Claffey has worked with encaustics since 1998 and has constantly worked to expand on her earlier vocabulary with the new products and methods that are being developed in the process of painting with wax.

Claffey’s work habits are in transition as well. For many years while working at her career in landscaping she put away her paints and waxes over the summer but was then able to concentrate on her artwork during the winter months.

Working in a converted horse barn for her studio for the past 24 years has given her the space to create and a wonderful environment that functions perfectly for her evolving imagery and materials.

Layers and layers of wax and oil paint applied over paper let her bury organic materials in the wax or instead choose to use almost all oil paint with a small percentage of wax. The oils mean that the paint needs to dry, as does any oil paint, while the more wax laden material allows the wax to cool and harden the paint within it.

Claffey has also been using a system to create encaustic monoprints. The resulting image on paper is then used as a substrate for a layering of images in the finished work.

Her work is often produced in a series and is always mixed media with paper over board—sometimes paper with images and sometimes an initial image is put directly onto the blank paper that has been attached to the board. Scale is often determined by the size of the paper being used.

With a more translucent paper she can show the work with a light source behind it allowing the fragility of the materials to show while her palette grounds the images and make them appear rooted (no pun intended) and timeless. Those who know of Claffey’s business as a landscaper will recognize the references to the plants she loves so much. References, not illustrations. The imagery is organic but not in any way illustrative. Claffey, as have many artists before her, struggles with the idea of realism and abstraction. She somehow manages to find that sweet spot between the definitions and because of that the work becomes all the more arresting.

To see a body of her work and enjoy the combination of the beauty and strength that she manages to achieve check out the exhibit:

Debra Claffey, Painting and Drawing ~ November 1 – December 9, 2016 ~ Galletly Gallery, New Hampton School, New Hampton, NH. ~The opening is November 4, 2016.

Also see her website at debraclaffey.com and her blog “Making Something Out of Nothing.”

Annette Mitchell is a printmaker, painter, quilter, inventor, and teacher. During Annette’s long career, she has studied and worked in most art media. Her current work is diverse, including painting, dimensional assemblages, quilts, and foam plate printing—an innovative printing technique invented by Mitchell. After retiring as Professor of Art and Director of Drawing from Plymouth State University in 2013, she continues to make and teach art in a many media. She has been a long-time member of WCA/NH, serving on the Board of Directors some years ago.

Mitchell has been an artist all her life. Although she was recognized for her drawing ability by both peers and adults as early as elementary school, in those days there were no art classes in Alabama public schools. Annette entered Auburn University as an English major. She notes that at that time, parents wanted their college-educated daughters to be capable of earning a living, and at that time, being a secretary, nurse, or teacher were considered the only available fields for women. But Mitchell found herself often visiting the Auburn art department, and by the end of her freshman year, she had decided to transfer to an art major. When she broke the news to her parents, they were suitably horrified, asking What could she do with an art degree in the job market? She promised them she would make it work and she’s never looked back.

Annette Mitchell

In 1978, her husband was offered a job in New Hampshire. Mitchell gave up her career in Alabama and the family moved to Wilmot Center. Mitchell says she had always loved New Hampshire, so it was a coming home of sorts. She got a job as an art aide at Hanover High School and taught art at night at Notre Dame College in Manchester, while raising her two young sons. A turning point came when she was hired for one year at Plymouth State College (now University) covering Professor Ellwyn Hayslip’s sabbatical, and then for another half-year position covering another professor’s leave. Plymouth State was creating a new position for the following year, but this would require an MFA degree. Mitchell returned to Alabama to complete that degree, and in 1981 she began on the tenure track at Plymouth State.

As a teacher, Mitchell was always on the lookout for methods and materials that would be affordable and that her art education students would be able to use in their own classrooms. This led her to invent an entirely new printing method using foam plates. The foam plate printing technique is economical, environmentally responsible, creates prints without a press, which makes it perfect for creative exploration on an individual level. In 2001, Mitchell published Foam Is Where The Art Is—New Ways To Print an instructional manual for the new method, followed by a DVD with the same title. Both the book and DVD are available from on her website at www.annettemitchellart.com.

Today Mitchell lives in Plymouth, N.H., along with her second husband, David Colburn, who is known as a professional musician and owner of the Vintage Fret Shop, in Ashland, N.H.

Mitchell retired from Plymouth State in 2013, but continues to teach two courses each year on foam plate printing and related techniques for community art students, many of whom have made the foam plate printing the basis of their own art making. The classes fill up quickly.

Mitchell lives according to her philosophy: “Art should be fun—or else why do it?” She works on her art projects in her home studio during the mornings and early afternoons, when she is highly energized. Her hope for the future isn’t fame or fortune but good health so that she can continue creating art every day in her studio.

by Debra Claffey

I recently had a chance to sit down with Susan Rock, a long-time member of WCA/NH, at her home in Bow, NH. It was a wet and snowy day, but I could see the winter bones of her gardens as I entered. I’m a professional gardener when I’m not painting, and I could see that Rock’s talents run deep and wide. We talked about all the ways an artistic vocation can express itself. She feels that all of her interests feed her art-making. She especially loves painting the forms, textures and colors of flowers.

We talked over tea about our crazy zigzag paths to and from art. Susan Rock came to art-making while maintaining a career in nursing. She always thought of her sewing as play. Her aunt was a milliner and Susan loved watching her work.

She took a job at a needlework shop and later became Maderia USA’s Technical Sewing Director, traveling to retail shops all over the country and teaching fiber techniques. She has written Teach Yourself Machine Embroidery which has sold more than ten thousand copies.

Susan Rock, Raindrops Upon My Window, watercolor, oil pastel and fiber, 12 x 8 inches

As with so many women who wear a multitude of “hats” (family, community, arts, etc.), we often undervalue our contributions to each area of endeavor. Susan decided about ten years ago that she was indeed a professional artist. Here’s how it became clear. She had visited New Orleans after Hurricane Katrina to help in any way she could. It affected “her more than she knew” and realized then that the events gave rise to a voice, with specific ideas, that had to be expressed. The ideas percolated for more than a year and while she was working on some pieces that dealt with the idea of devastation, “something else came out of me” and she began work on a series that centered on that intense experience in New Orleans. It resulted in an exhibition, titled Katrina and All that Jazz, that is currently at the Red Cross in Concord, NH.

Susan Rock in her studio

Rock uses whatever medium is appropriate to her concerns. A recent series of watercolors are on exhibit at Syd’s in Keene. She also offers private classes in fiber art techniques in her home studio in Bow. As a member of WCA/NH, Rock contributes time and energy to our exhibitions and projects, helping other artists find their voice.

What are your aims in your work right now?

My primary aim is to keep exploring—I think exploration and discovery are at the heart of the art-making process. I’m interested in color contrast and relationships—how colors respond to each other in the painting.

My paintings tend to fall into several different themes, which I’ve been exploring over a long period of time. Some are more reflective, more still. The Inexteriors series is like that—it comes from ideas about impossible architectural spaces, and seeing from multiple perspectives at the same time. Sometimes these spaces are inhabited by indistinct figures—sometimes not. I think of them as still spaces that are charged with a lot of potential energy. The Minivan Series is like that, too, although the spaces are automotive rather than architectural.

On the other hand, the Patterns in Motion series are semirepresentational, very dynamic, with a lot of movement in the shapes and sometimes literal movement, when I work on loose canvas. This series is where I tend to work out ideas about life and power, as well as sort of wild and intricate color combinations and the movement you get from nonrepetitive patterns. My most recent series, Composite Rhythms—all abstracts on paper—has a lot in common with that in terms of color and pattern and relationships.

How have your ideas changed over time?

The ideas for each of the different series change and grow over time but I keep them all going simultaneously. And the medium has changed. When I first started painting, I used oils and stuck to that for a long time. Then when I got pregnant with my first child, I switched to acrylics, which is truly a completely different medium—the palette is different, the surface is different, the possibilities are different. So I basically learned to paint again from scratch, to understand acrylic paints and mediums, and what you can accomplish with them. I started adding collaged elements, like different kinds of paper and string, which acrylic is very good for. And I started painting on loose canvas again, which you can do with acrylics but not with oils—something I discovered the hard way back in college! A few years ago, I moved to a studio outside of my house, and I started painting in oils again and just loving it. So now I do both.

Which artists do you consider influences? 

I always find that question hard to answer, and in a way I really don’t want to think about it too much. There are so many artists that I love for so many different reasons—but I’d be very reluctant to draw any kind of parallel between their work and mine. Sometimes people tell me “Oh, your work looks like so-and-so” and I don’t see it all. That doesn’t mean their perception is not valid, just that I don’t see it and I don’t find it helpful to look for it.

I’ve said this many times before, but I think, in the end, what making art is about exploring and discovering. You’re hacking your way through the jungle, and sometimes you encounter another artist in the same part of the jungle and sometimes you don’t. Is that an influence? Or is that just dealing with the same kinds of things? It’s like meeting up with a friend in an unexpected place—you didn’t go there because they were going to be there or had been there. But you both ended up there for your own reasons.

Marcia Santore, Inside Mothers Are Dancing, oil paint on canvas, 36 x 48 inches

How did you first become interested in art? 

I think I was born interested. Being an artist was the only thing I really seriously considered doing—although being an astronaut or a Friendly’s waitress had their moments when I was really little. My parents had a friend from college, Robert George, who was an abstract painter from Southern California. We had a lot of his work in our house, along with a lot of art books, and he was very encouraging—always making sure we had materials. So I always had a role model—proof that being an artist was a thing. We also traveled a lot, and saw a lot of art along the way. And my dad was a musician, so the arts in general were just how life was. And still is.

How long have you been involved with WCA?

The first WCA show I was in was Personal Icons in 2003 at what was then the Franklin Pierce Law Center in Concord. I joined the exhibitions committee (technically) around 2007 and did the prospectuses and some news releases for the shows. After a couple of years, I thought I should probably show up for a meeting, and at the first one I attended, Edie Weiler talked me into chairing the exhibitions committee, which I did for a couple of years. I’m still on the exhibitions committee, and I have learned so much from that experience.  I’ve just started working with the national WCA exhibitions committee, which seems like a great way to pay forward on all the mentoring and professional development that I’ve received from this organization.

What important projects are coming up for you in 2017?

I have a busy year, first curating a show of small abstracts at Twiggs Gallery, called A Little Abstracted in April and May. You’re in that one! Then in the fall, I have two solo exhibitions happening at the same time, which is either really good luck or really bad planning. Patterns in Motion will be at the Stamford Art Gallery at the University of Connecticut–Stamford, and Inexteriors will be at the O’Brien Art Gallery at Roane State Community College in Tennessee. They’re both from late October through December, roughly.

Do you have advice about how to get a show?

Sure! Keep your resume and website up to date. Only about half of our WCA/NH artists have a link to their website or Facebook page from the wcanh.org website. Everyone should do this.

Also, you need really good digital images of your work with high resolution for print and low resolution for online. You also need a coherent portfolio of about 20 images. Since I work in different series, I need a coherent portfolio for each series. Do some research, so you can figure out which venues are most likely to show your kind of work, and then start contacting them—in person, if you can—I did a lot by email.

You have to expect a lot of rejection, and just no response—which I guess is rejection by silence. If you’re in the arts, you’re going to experience a lot of rejection and you just have to keep putting the work out there. It’s not pleasant but it’s part of the job, part of being an advocate for your work. You only need one “yes” but you have to wade through a lot of “no”s to find it. This particular time, I got a better response than I expected so I stopped sending my portfolio out so I can focus on finishing work for the shows. But I am starting to think about 2018 and beyond.

Learn more at www.marciasantore.com

Featured image: Marcia Santore, There Are Many Other Legends, acrylic paint on canvas, 30 x 40 inches

Kate Higley is the current President of WCA/NH. You can see her work at www.katehigleyart.com/

A spectacular show of large artworks is on display at the Gateway Gallery at Great Bay Community College at the Pease International Tradeport in Portsmouth now through March 26.  The gallery serves as the entryway to the college complex.

This is a juried show and 16 selections were chosen from 50 entries. Juror, Dr. Annette Cohen, selected pieces that were cohesive, masterful and educationally interactive for Great Bay students. Dr. Cohen is also an art professor at the college.

Artists worked in various media that include fiber works, paintings, mixed media, encaustic, and more. There is a wide variety for all aesthetics. Here are a few of the highlights of the show:

Wen Redmond presents a digital fiber collage titled: Breaking the Surface. Visually challenging in its beauty and detail, this piece contains nine major sections with detail pieces in the center section. Subtle stitchery holds the nine panels together.  There are many undulating and whirling organic shapes. The colors represent a wide span of values. Some sections appear metallic and others look almost molten. It is truly a masterpiece.

Wen_Redmond, Breaking the Surface, inkjet print on prepared cotton canvas and stitched, 27 x 39 inches

For those who are following the artistic trajectory of Debra Claffey, you will be pleased to see a piece by Claffey in encaustic, graphite, and pigment stick.  Silent Cherry Bloom is full of subtleties within the interaction of the flora. The layering of medium is incredible. A unique look at portraiture is presented by Marcia Wood Mertinooke. Little Os Surround My Toes demonstrates an expertise in application of paint that is one of a kind. A moment in time is captured, as opposed to an accounting of an individual’s visage. Robin Cornwell takes fabric printmaking to a new level of craftsmanship in her piece titled, Lily Patterns. A longtime printmaker, Cornwell’s works are hand printed with her hand-cut stamps, hand-dyed and meticulously stitched to perfection. There are many more pieces to take in, each offering a unique artistic statement and original approaches to media.

Marcia Wood Mertinooke, Little Os Surround My Toes, acrylic and charcoal on canvas, 24 x 30 inches.

Other artist exhibiting are Elsa Voelcker of Antrim; Jayne Adams, Gonic; Jodi Scaltreto, Hillsborough; Joanne Desmond, Lynn, Mass.; Aline Lotter, Manchester; Davida Cook, Meredith; Bonnie Askowitz, Miami, FL and Washington, NH; Stephanie Blackstock, Ossipee; Annette Mitchell and Marcia Santore from Plymouth; Maryellen Sakura, Thornton; M. Robin Cornwell and Kate Higley, from Wolfeboro.

Many groups of professionals come to Great Bay for meetings and they all walk through this high traffic exhibition area. The location of the show is a win-win for business groups and other organizations who often visit the Green Bean restaurant. Schedule yourself a treat, and artist’s date, and come enjoy the show!

You find a work of art that you love and make the purchase – an inspired investment. But then what? What does it take to keep your art in tip top shape? There are some basic tenets for keeping your art safe. Here are some tips for you:

Sunlight

First and foremost, do not hang your art in direct sunlight! This can fade your art. Fading cannot be fixed. Artist Marc Rothko made some great paintings that he called “color fields.” In addition to sunlight issues, Rothko used inferior paint. Then, a well-known Ivy League institution hung some Rothkos in one of their buildings. This building was a sunny, high traffic space where students congregated and food was present. Long story short, these paintings faded to the point that they no longer look like the originals. Additionally, damage to these particular pieces of art included graffiti.Your piece may not be an A List work of art, but it’s your collection. You needn’t fall prey to this problem! Find a nice location to feature your art that isn’t in direct sun.

Heat & Humidity

This is in reference to bath and shower spaces with lots of steam.  Find something less valuable or more durable for that space. Other potentially hazardous (to your art) places are near fire places and furnace vents. If you couldn’t stand being in a particular spot 24/7, your art won’t stand it either. Avoid above stoves as well. Avoid all sources of steam, whether hot or cold.

Do Not Touch!!!

Only once in my experience did I attend an art exhibit that not only allowed touching, but encouraged it! The exhibit was interactive and building of temporary sculptural compositions was the goal. However, 99% of art is to look at. Damage will result from touching paintings because of the oils, salts and dirt that are found on hands. Touching art can soil it and worse, can break down the paint. Enjoy the beauty, skill or the intellectual challenge of the art but hands off!

Cellars

You may have realized by now, that dramatic fluctuations in heat and humidity are red flags. You can add mold and silverfish to the threats if you store art in your cellar.

Encaustic Paintings

There is a renaissance happening in the art of encaustic wax painting. Encaustic painting is a very old tradition that can be found as far back as the 1^st & 3^rd Century A.D. In particular, funerary mummy portraits were done on wood or canvas. Many contemporary artists are working in encaustic these days. Deb Claffey shared some important information about encaustic care with me. In regard to heat, an encaustic painting will melt at 185. Specifically, a traditional encaustic work consists of wax, damar varnish and pigment. A beeswax piece will melt at 140. Also, freezing can seriously damage an encaustic work. If the painting freezes, edges of the art can easily chip off. The good news is that a properly created encaustic will hold up pretty well.

Cars

With all the great mixed media art being created these days, play it safe and don’t leave your art in the car! Think of the many mediums out there: clay, porcelain or glass etc. Theft, breakage or damage are all possibilities. There are many things you should not leave in your car for any serious time and art is one of them. Play it safe and make sure the art is delivered to a safe destination as soon as possible.

Prints & Photographs

These artworks should be matted and framed behind glass for their protection. Make sure your paper mats are acid free and archival quality. The acid in regular mats can eat away at your print. If you have ever seen an old print with brown spots on the image, you are seeing damage due to inferior framing materials. Also, your art should not sit against the glass because moisture can fuse the art to the glass. You can also select anti-glare glass if you like.

Ask the Artist

When you collect a work of art and considering its care, firsthand information from the artist is a great idea. After all, you and the artist both care that the work is always looked out for.

These basic tips will give you a good basis for taking care of your art. Enjoy your unique, one of a kind, art collection!

Image: WCA/NH member Lotus Lien, Bloom Series – Mudita (Sympathetic Joy), beeswax, damar resin, and pigment on cradled birch panel, 20 x 20 inches

It is a mistaken idea that collecting art is only for the super-rich. It is true that there are wealthy individuals who attend high end auctions to spend millions for art. That is only one scenario. There are many more individuals who buy art that they love and fill their home with original artistic creations. These works are unique and define each collector’s home. The truth is that there are many talented artists whose art is completely affordable. The best part is that original art is all about combining a collector’s unique vision with the unique expression of an artist.

Let’s dispel a few common myths about art collecting.

“Artists and galleries are stuffy and intimidating.”

Not categorically so. Most artists are eager to share their stories with you. Gallery staff are eager to become advisors to you about what you are seeing and how it may or may not fit into your vision.

“I don’t know enough about art to buy it.”

The solution to this is to ask the gallery rep to explain what you are looking at. You can ask for information about the artist. The artistic process, the mediums used, subjects and the story behind the art are all fair questions to ask.

“Will the art I buy increase in value?”

The answer to this is that it is anybody’s guess. Instead, think about another and more personal reason for making a purchase. Buy what you love! Buy what speaks to you and what you will be thrilled to have in your home. Buy what you will see every day and find joy in living with. Living with art is the goal here.

“I can’t afford art.”

Wrong again! Take a stroll into a gallery and take a look at the prices. How do the prices compare to a dinner out (a short term event) or the purchase of that dream car (a consumable item). If you care for your art, it will last forever. It can be passed on down the family line. It will always be very special. Furthermore, a great many artists are willing to barter art for services or art for art. I know of a few artists who are willing to work out a payment plan as well.

“I don’t know what to buy.”

What will make you happy? Do you like landscapes or do you like the challenge of conceptual art? Does a certain artist’s style appeal to you? Would you like a photograph, a print or a collage? Would you like to buy something 2 dimensional or a 3 dimensional sculpture? Does a particular artist seem to understand your personal aesthetic? Look around and decide what you are drawn to. The purchase should be about you and the artist whose work you love.

Collecting art can do so many things to enrich your life. It can create a sanctuary for you when you return home. It can reveal who you are to your guests. It will be there for your family for generations to come.

Unique means not mass produced. Original means your taste, your style, your collection of visual art. Collecting art means that you are taking charge of the uniqueness of your home and your life. You can do this by selecting and collecting art. The joy of collecting art awaits you. Get started right away!

Liz D’Amico calls her studio “a glorious MESS!” Primarily an assemblage artist, she is working on three different pieces at the same time. “Ring of Fire” (nearing completion) has presented many challenging problems to solve, Liz says, “including how to mount the very heavy ‘innards’ of an old clock and craft handles to manually make it work.” She found all the materials at the Sunapee transfer station, so they all needed to be repaired or broken down further. The container box itself was, as the artist put it, “in a not-so-great condition,” but she was drawn to its unusual shape (especially after turning it upside down). Another piece is beginning to take shape in a miniature cigar box that will be displayed on its side. Liz declares the third piece to be completed but “I’m still waiting for that ‘I’m finished’ blessing from the creator—some decisions take a very long time!”

D’Amico describes her work as a thoughtfully worked out puzzle that begins with totally unrelated found objects that somehow work their way into a unified whole. “I have been told that my work draws the viewer in and gets them thinking as well as questioning what the work is about and how or why it came to be” she explains. “Often my work begins by collecting found objects that just seem to ‘work’ together with no particular theme, rhyme or reason or something is included simply because I am fascinated with its shape or color. As I continue to manipulate these ‘pieces’ I discover their meaning. Rarely do I begin with an idea and then look for objects and images that will carry out that idea.” She adds that the opposite is often true when she is painting, working with clay, or making prints. “There, I usually begin with an idea or concept and then develop it. Still there are usually unexpected turns or twists while working and that is all part of the process.”

Time Portal, details and views

D’Amico’s first foray into box assemblages began with a student project while she was teaching at Coe-Brown Northwood Academy. While at a national conference for art educators in New York City, she attended a presentation focusing on the work of Joseph Cornell, whose assemblage work had drawn her attention previously in museums and books. “Before I knew it, I began constructing a fairly large box assemblage as a wedding gift for our daughter and son-in-law and have been hooked ever since.” She finds she is constantly discovering new juxtapositions of unusual found objects or images. “Very often it is how the objects relate to each other regarding color, shape, or contrast that brings them together.”

Like many artists, D’Amico has always been one. She recalls feeling that art was her calling from the time she could hold a crayon. Some of her earliest work remains with her even now: “I remember when in kindergarten, I absolutely adored painting at an easel and can still vividly see a portrait I painted on bright purple construction paper of a soldier in army uniform and his bride-to-be in a white gown. There is some connection between that image and my uncle, my father’s youngest brother, who was the very first person I had ever seen in uniform. I’m not quite sure why I remember that image so well, except that it may have been the way my teacher responded to it. Knowing what I know now as an art educator about developmental schematic drawing, it probably was quite a remarkable drawing!”

She remembers being the “class artist” throughout grade school, but as an undergraduate, she was torn between majoring in art and something more practical that would guarantee a career—as she was advised to do. “I majored in English and minored in education, but never stopped thinking of myself as an artist and musician.”

Two of her most significant experiences as an artist came during childhood. The first was a copy of Fifty Centuries of Art from the Metropolitan Museum of Art—a gift from friends of her parents. D’Amico recalls “studying it and revisiting it again and again over many years. I may still have a copy of it somewhere.” The second was interacting with two art instructors who conducted children’s art classes in oil paintings on Saturday mornings. “At the age of nine or ten, I fell in love with painting with oils.”

Liz D’Amico

D’Amico wrote a promise to herself that she would continue as an artist and so she did, eventually becoming certified in art education via an alternative program that enabled her to teach both art and music in public schools. “As I look back on it all now, I do not regret any of my decisions,” she says. “I have been enriched with broader experiences and, best of all, have continued to learn by teaching.” Teaching itself has been influential for her, as an artist and an educator. She taught all grades in both private and public schools. “I learned so much from those experiences and from my many students. I’m a firm believer in the fact that you can’t possibly teach unless you also practice what you are teaching. Especially, at the university level, I found it essential to work along with students—both for their inspiration and mine.”

Working alongside her students has also tended to make her own work “seasonal”—ceramics in the spring, encaustic and sculpture in the early fall, oil painting en plein air in the summer, and collage and box assemblage all year long.

D’Amico notes that “one of the beauties of having a studio is to be able to leave whatever you are working on and go take care of whatever else needs doing, and then return to your art work and, hopefully, pick up right where you left off. Both mixed media collage and assemblage are perfectly suited to this way of working. Printmaking and ceramics not so much! As I age, I find the stamina needed to work long hours becomes less; therefore, I really appreciate being able to work in shorter time blocks/sessions.”

D’Amico has no intention of settling on only one medium. As an educator, she needed to be up on a variety of techniques, which suits her process well and has resulted in a body of work in multiple media—but still uniquely her own. Most recently, she has been working on a series of collages inspired by teaching a course in The Fine Art of Collage. “I have begun tearing up some of my “vintage” watercolors, hand pulled prints (monotypes, collagraphs, relief prints, etc.) and reclaiming them in fresh mixed media collages. I have always down this, but at this point in my life, it seems that I need to do more of it!”

D’Amico is mindful that viewers sense the detail and work that goes into what she does, but at the same time, she hopes the final result will appear effortless, natural and thoughtful. “Sometimes that goal is achieved, but at other times it is not. Perhaps that is the essence of a successful work of art.”

Coming up this year, Liz D’Amico’s work will be on display at the AVA Gallery in Lebanon, NH (Annual Juried Show), the National Collage Society (California), the League of NH Craftsman’s Fair in Sunapee, NH (NHAA Tent), the NHAA Robert Lincoln Levy Gallery in Portsmouth, NH, 2 Pillsbury Street in Concord, NH, at Pease Library in Plymouth, NH (Women’s Caucus for the Arts), at the Center for the Arts Micro Gallery at the NL Inn in New London, NH.

The featured image: Time Portal, box assemblage

Marcia Santore is a long-time member of WCANH. She writes from Plymouth, NH and her work can be seen at marciasantore.com

Mindi Holland is one of two artists who were awarded a 2017 WCA/NH Scholarship. She is a senior at the New Hampshire Institute of Art in Manchester. I met her at the Fall Members’ Meeting when she gave us all a small presentation about her work. We look forward to working with her. I though other members would be interested in knowing more about our newest member so I asked her a few questions about her self and her work.

What is your artist story?

I never stopped to think that art was not everyone’s favorite subject in school! Learn-to-draw books and action figures were constantly on my wish lists. I have an unwavering love for comics, animation, and puppets. There was never any question that making art would always be a major part of my life. I had art classes in high school and it was the concentration for my Associates degree. However, NHIA was the first art school I attended and came later in life. My mother, sister, and grandmother are artistically inclined. My father, too, is very creative and resourceful. Any artist, especially an artist that has to work hard at developing their skill, needs a great support system and this includes having mentors. I have the good fortune to have many mentors in the art community. These individuals include instructors, professors, peers, and even artists I have never met!

What is your favorite medium lately?

I can’t choose just one favorite medium right now but I have been working with oil paint a lot. I have also been experimenting with acrylic spray paints. Oil based clays are also a staple medium in my practice.

What other mediums have you worked in or studied?

As a student at NHIA I am being exposed to many disciplines and mediums. This includes printmaking, book arts, small metal design, oil painting, and sculpting.

What is your current work about?

My work is usually figurative and focuses on an accurate rendering of proportions and tones. As I am entering into my senior year I hope to continue working figuratively as I explore the idea of motion and the points of articulation.

King For a Day, oil painting on canvas board

Do you work in series or themes or in individual pieces?

I do tend to work on individual pieces and do not work in series. I am naturally a jack of all trades and this characteristic carries over to my art.

What other themes have interested you?

The theme of motion has been an interest of mine for as long as I can remember. The articulation of joints, kinetic sculptures, and rheoscopic fluid are a few sources of inspiration. I am particularly interested in the wear and tear that is created as a result of the friction produced.

Favorite content?

I would say my favorite content would be anything anatomical—both animal and plant. In my opinion life as a whole is the greatest collective representation of motion.

Pearl, plaster sculpture

What interested you about the Women’s Caucus for Art?

After researching WCA/NH I knew it would be a fantastic way to network and to grow as an artist. There are organizations of all kinds but WCA/NH celebrated women artists, and I was drawn to that element.

Your scholarship includes a one-year membership to WCA/NH and the National WCA. What benefits do you think membership will provide you?

There are exhibitions and meetings offered to its members. Most of all, the membership to WCA/NH offers me a wonderful platform to share artwork, stories, and techniques.

What might the scholarship allow that you would not have been able to do otherwise?

The scholarship has benefited me in a few ways. Thanks to the generosity and efforts of the organization I have been able to apply the scholarship to my tuition at NHIA. Also, the scholarship award represents my passion for art and dedication as a student and will be added to my artist’s CV.

Shit Just Got Real, intaglio print

Another benefit is the one-year membership to WCA/NH. When most of your resources go towards school supplies, textbooks, and other educational costs, a scholarship that also includes a membership like this was a huge gift!

What would you say to another woman artist about joining WCA/NH?

I consider the membership to WCA/NH to be such an incredible resource for women artists. There are exhibitions and shows that are offered to the public but some are exclusive to members. Also, the smaller local artist communities called “pods” are a huge membership perk. Sometimes leaving the studio and connecting with other artists can be so beneficial to stimulating creativity. The pods offer members the chance to meet closer to where they live and more flexibility to connect.