Thursday

What Women Put Up With

https://www.etsy.com/listing/468866907/instant-art-collection-what-women-put-up



Instant Art Collection: What Women Put Up With, (3 drawings) by Kenney Mencher
Proposition, 8 and a half x 11 inches by Kenney Mencher
Grope, 8 and a half x 11 inches by Kenney Mencher
Infidelity, 8 and a half x 11 inches by Kenney Mencher

The drawings are made with an archival artist's crayon called a litho crayon. These dense, black crayons are especially designed for sketching directly on a lithographic stone, screen, or grained paper master for lithographic printing. Ideal for drawing on paper as well. They do not smear very easily.


Each is a standard size frame and you could even find an inexpensive frame in a drug store, photo shop or on line.

To learn more about me please visit my website at:
http://www.kenney-mencher.com/

Ben Aronson

Wednesday

Stop Action Animated Film based on Star Trek, "Star Trek Enterprise II: The Beginning of the End"


A filmmaker Jürgen Kaiser, spent seven years creating an hour-long stop-motion Star Trek film he calls Star Trek Enterprise II: The Beginning of the End (or Der Anfang vom Ende in his native German). It's set after the end of Season 3 of the Star Trek: Enterprise series starring Scott Bakula, who's presented here as an action figure along with series favorites like the characters T'Pol and Tip Tucker.

News from the summer ArtsWA Board meeting



August 3, 2016

 

2017-2021 strategic plan passed unanimously at ArtsWA summer board meeting in Ellensburg
New strategic plan includes strengthened commitment to diversity, inclusion, and equity
After nearly a year of work, a new strategic plan was adopted by the board of the Washington State Arts Commission (ArtsWA) at its summer meeting July 26-27, 2016. The strategic plan will guide the work of the agency through 2021. By law (RCW 43.88.090), each state agency is required to define its mission, establish objectives for each major activity of its budget, and provide measurable goals to achieve those objectives. The new strategic plan will be an important component of ArtsWA's biennium budget request to be submitted to the Governor this fall.
The Commission began the strategic planning work during a retreat at its August 2015 board meeting. At that meeting, the board established the process and time frame for the new plan and discussed the agency's strengths, weaknesses, opportunities, and threats for the future (SWOT analysis).  A strategic planning committee was established and chaired by board co-chair Sue Coliton. Committee members included commissioners Amanda Jackson Mott, Bassem Bejjani, Andy Fife, Ginger Ewing, ArtsWA Executive Director Karen Hanan, staff members Lisa Jaret, Mike Sweney, and Glenda Carino. The planning process over the year included a statewide online survey, one-on-one interviews with stakeholders, an all-staff retreat, work sessions to provide employee input, and in-depth board meeting discussions.
"Through the ArtsWA strategic planning process, we sought a wide range of input from the community--from key stakeholders across the state and from the board and staff," said Coliton. "The resulting plan is doable, is aligned with our resources, and, most importantly, reflects the board's strong priorities of diversity, inclusion, and equity in our grant programs and practices."
Among the five goals and objectives in the plan is a new crosscutting objective that signifies ArtsWA's strengthened commitment to include social justice, accessibility, and diversity in the agency's work. That commitment is also reflected in a new section of the State Arts Commission's refreshed values statement.
 
Changing of the guard...
With much thanks for years of service, we said goodbye to six outgoing commission members at the ArtsWA summer board meeting held in Ellensburg on July 26-27, 2016. Left to right: Andy Fife, Seattle; Frank Video, Seattle; Cameron Bennett, Tacoma; and Mark Anderson, Walla Walla.  Also leaving the board, but not pictured, Gayle Thompson, South Colby and Rep. Larry Haler, Richland. We also welcomed new commission members Rep. Teri Hickel, Federal Way and Rep. Sharon Nelson, Maury Island. Nineteen commissioners are appointed by the Governor for three year terms. Four commissioners are appointed by the legislature. 

Interested in joining the ArtsWA board? 
Visit the Governor's Boards and Commission website.
For more information contact:
Glenda Carino | W. 360.586.8093 | C: 360.259.7862 | glenda.carino@arts.wa.gov
S

Balthus

Balthus with his model and niece Frederique Tison, 1956

Monday

Southern Exposure


August 1, 2016Donate to SoEx
Design: Nick Almquist.

My ______ is (Not) a Shape

August 4 – 13, 2016

Opening Reception: Thursday, August 4, 5:00 – 7:00 PM
Gallery Hours: Tuesday – Saturday, 12:00 – 6:00 PM
Join us for the culmination of the 2016 Mission Voices Summer program! My ­­­______ is (Not) a Shape invites us to look at form, and how we come to be seen. The youth artists of Mission Voices Summer investigate movement, making, mindfulness, and memory. The artists weave together their individual and collective experiences to redefine our notions of The Mission, San Francisco, and all the spaces we inhabit.
Youth Artists: Laura, Maxmillian, Isabel, Magaly, Cheuk Ki (Kiki), Karla, Mila, Genesis, Keara, Roanna, Ramsha, Anders, Natasha, Michael, Ivy, Bella, Renzo, Sabrina, Maika, WahYan, Jasper, Nia, Judy, Mateo, Jiamei
Lead Teaching Artists: Nolan Jankowski, Alivia Schaffer, Simon Tran
Teaching Artists' Assistants: Erina Alejo, Frankie Fleming, Lucy Thrupp
 
Design: Beth Abrahamson.

Alternative Exposure
Upcoming Info Sessions

Saturday, August 6, 2016
3:00 – 4:30 PM
at Southern Exposure
Wednesday, August 17, 2016
6:30 – 8:00 PM
at Southern Exposure
Interested in applying for an Alternative Exposure grant but need more information? Sneak a peek at the online application and then join us for an upcoming info session to get your questions answered.
 
Photo: Raheleh (Minoosh) Zomorodinia.

SoEx Seeks Teaching Artist for Fall

Application deadline: Monday, August 8, 2016
Are you a practicing visual artist with experience in arts organizing, activism, and community-based art projects? Southern Exposure seeks a part-time contract Teaching Artist for our Community Arts Internship Program!
Learn more about the opportunity and how to apply atsoex.org.
 

CURRENT & UPCOMING

Southern Exposure
3030 20th Street
San Francisco, CA 94110

Instant Graphic Novel Collection (2 watercolors & a 50 page comic book, and postcard) by Kenney Mencher $150.00


Instant Graphic Novel Collection 
(2 watercolors & a 50 page comic book, and postcard) by Kenney Mencher  
$150.00

  • Includes The Signed Original Art Work Shown Here
  • Graphic Novel (Signed and numbered edition) 
  • Exhibition Post Card

These are made with an archival artist's crayon called a litho crayon and black watercolor. These dense, black crayons are especially designed for sketching directly on a lithographic stone, screen, or grained paper master for lithographic printing. Ideal for drawing on paper as well. They do not smear very easily.


To learn more about me please visit my website at:
http://www.kenney-mencher.com/




PRESS RELEASE
Summer Exhibitions at the Grand
Posted: May 11, 2016
Location: Tracy, Calif.

Tracy, Calif. – The Grand Theatre Center for the Arts presents "The Convict and a Boy" – A Graphic Novel by Kenney Mencher.

On display from May 28th through July 16th, 2016, in the GWF Energy 

The Convict and a Boy presents paintings by Bay-Area artist, Kenney Mencher. This unique and immersive exhibition will fill the Energy Gallery with numerous original works created for the publication of a graphic novel. The story features two characters, a young boy and a middle-aged convict/business man, who travel though a series of surreal landscapes on a meaningful journey.

Mencher explains, “These two linked characters – a boy and a business man-turned convict – move through surreal places such as mazes, submarines and outer space. The entire project is told without dialog or the thought bubbles common to comic books. Instead the viewer is allowed to use their imagination to interpret the meaning of the story in a variety of ways.”

What you should know about Chauvet Cave




Prehistory is divided up into several different periods and geographic locations.  This is kind of a problem when you're studying it another classes and art historians have different time periods.  Although these are before the common era.  Let's define the names. 
 
Pa•leo•lith•ic \"pā-lē-ə-'li-thik, esp Brit "pa-\ adj [ISV] (1865) : of or relating to the earliest period of the Stone Age characterized by rough or chipped stone implements

The word, “prehistoric” just means before the historic era (before we started recording history).  The term paleolithic means paleo (paleo is Latin for old) and lithos or lithic means stone in Latin. Therefore the combination of the two words, Paleolithic translates as old Stone Age. The Old Stone Age dates vary widely. The range of dates for the Old Stone are sometimes 600,000 to 10,000 or 35,000 to 7000 depending on who you're studying with and what geographic region you're looking at. 

Me•so•lith•ic \"me-zə-'li-thik\ adj [ISV] (1866) : of, relating to, or being a transitional period of the Stone Age between the Paleolithic and the Neolithic

They range of dates from 600,000 to 7000 BCE of the Mesolithic era is different depending on where you study it and what region of the globe. In the Near East (Iran and Mesopotamia) the  is from 7000-6000 and the in Europe it goes from 7000-4000.

neo•lith•ic \"nē-ə-'li-thik\ adj (1865)
1 cap: of or relating to the latest period of the Stone Age characterized by polished stone implements
2 : belonging to an earlier age and now outmoded

The word, Neo is like the character’s name from the movie the Matrix, “neo” means “new” and that's the name of the New Stone Age in Europe. goes from about 4000 BCE to about 1500 BCE and the Neolithic era in the Near East (Modern day Turkey, Iraq and Iran) starts a little bit earlier at 6000 BCE.  Neolithic means that they have Stone Age technology they don’t use metal tools they use stone and wood.  Textiles and clothing are made from wool, grass, hemp and straw.  Just keep that in mind when you're studying that this doesn't mean that they were stupid.  It doesn't mean that they were unintelligent.  It doesn't mean that they wouldn't have been able to use the tools that we have or were the stereotypical caveman we see in Geico commercials. 

Need more info?  Would you like it in video form?
For a set of videos in order with a textbook and study guides please visit:

Vocabulary You Will Need 

The word “form” is synonymous for this class the word “physical.” Literally it’s a physical description of the object and this can include, size, what it’s made of, color, how it’s put together, lines used in it, weight. When you describe the work of art in terms of its physical form it’s almost like you’re giving the police a physical description of someone who might have mugged you. You don’t know who that person is and you don’t know their name but you sure know what they look like.  A formal description would include how something looks like and would not include anything about the interpretation or meaning of that object or work of art.

For example, we’ll do formal analysis of what is depicted in the photograph above.



This is a painting of several horse heads on a stone wall and painted approximately 5 ½ feet from the floor of the cave. There are other animals also painted and all the animals overlap each other. The horse heads on top are about 12 inches tall and 12 inches across. The rhino located in the left-hand side of the picture is about 15 inches long and about 12 inches high. The animals are painted with outlines and what looks like a little bit of shading or color to describe the hair and light. It’s not clear if the color is used to describe light or just hair.

 
Another element of formal analysis is to describe what to make it. In this wall painting on stone you would describe what the painting was painted on as the “support” which is actually the surface on which it’s painted. Another example of this is paper is the support that is used for drawing. So stone is the surface or support on which this is painted. Another word for paint is pigment. The paint or pigment used to paint the surface of the rock is also referred to as the medium. A “medium” is actually a mixture of the pigment and binder or glue combined with the support. Sometimes it’s a very familiar phrase to us, for example, most painters paint oil on canvas. Oil paint is made from linseed oil and ground-up minerals.  The minerals colorants are glued to the surface of the canvas with the oil that eventually evaporates and hardens holding the pigment particles in place.

In this case, the paint used by the artist to create these images is probably animal fat or possibly water mixed with some natural earth colors, in this case he would be some sort of charcoal or ocher which is brown, and then apply to the wall with some sort of brush. So the medium here is naturally found pigments applied to the wall with animal fat or water.

Another part of a formal or physical analysis is a description of how the forms or things in the painting are rendered. In these wall paintings all of the animals are rendered in a profile form. This makes it easier to draw as well as recognize the animal. Profiles are an easy diagrammatic way of depicting something in a recognizable way. These animals are rendered or drawn in a fairly realistic or naturalistic way. The artist does have a style and the style to outline forms and then fill in the center with different colors. The lines, something you need to describe in a formal analysis, are often long and flowing and go from thin to thick and often incorporate realistic curves that define the anatomy of the animals. The anatomy of the animals seems proportional and accurate and this is part of formal analysis. They actually look like real animals from profile view.
 
In the next section were going to be talking about what is represented in the paintings and what they mean. One of the ways in which we give meaning to something is that we have to look at where they were found. Sometimes the location of something, where it was found and where it was made, can add some valuable clues as to the meaning of the paintings. This of course would be combined with the analysis we did above.

An analysis of the history, location, and environment of a work of art is referred to as a “contextual analysis.”  We’re going to look at the context in which these cave paintings were made.

Contextual Analysis

The cave, called Chauvet Cave, is located in southern France in a mountain range and has been preserved for more than 30,000 years. The cave dates from around 30,000 BCE but every 10,000 even 100,000 years later it was visited by subsequent people. It appears that the cave was in use probably up until about 20,000 years ago when a series of geographic events covered the opening of the cave. Archaeologists are fairly certain about the dates because they used radiocarbon dating and they also use modern forensic methods to date as well as figure out the order of creation of the paintings and other decorations inside the cave. There were also bones of various animals such as cave bears and Ibex and to wolves. There are also footprints found as well as handprints in the cave. There were also scratches made by cave bears and the walls that were painted over and handprints found on the walls.  Other animals have been depicted throughout the cave.

Today the cave is sealed and protected and a series of walkways have been installed for scholars to walk through without touching the walls and other artifacts but still have a chance to study. The cave is well documented in a film called “Cave of Forgotten Dreams.” You could probably rent this on Netflix or Amazon.

Another major point of evidence or fact is that many caves have been found throughout the world with almost the same exact type or kind of illustrations in them. Some caves are in France and some in Spain these caves all have depictions of horses and bison as well as many of the other things found at Chauvet.

Need more info?  Do you want a complete set of close captioned videos, an textbook and study guides please visit:

Sharon Sprung

Some of My Art for Sale