Monterey Plein Air Convention 2013. Part 1

On the way to Monterey I stopped to sketch at San Miguel Mission.

After much debating with myself whether I should shell out  1K to attend the Plein Air Convention in Monterey I decided it was just what I needed after filing for unemployment. After all, this might be the proverbial push to become a full fledged painter... I told myself. As scary as it is to take that leap of faith, it is what I dream about every single day and how much longer can I postpone the fact that to become an artist one must leave security behind.  Thomas Kitts offered sharing a room which would bring the cost down a bit so why not.

Overwhelmed by nature's drama. My first study at Cypress Cove.

The Conference was organized in the following manner:  Daily lectures/demonstrations by different speakers and artists occupy most of the day.  Sometimes these demonstrations are simultaneous. I chose  to attend  those demos I was most interested in which meant I spent most of the day at the conference hall because the roster was very impressive. A  hall of sponsors/brands  offers their quality products at a discount during the thee days. Besides the demos and lectures there are also some paint-outs with the speakers . A great opportunity to see them in action for the benefit of everyone seeking advice or just learning.

 Glenn Dean, John Burton and Thomas Kitts in Point Lobos. All at once!.

When I arrived I immediately proceeded to spend most Wednesday painting in Point Lobos, a place I'm ashamed to say I had never seen. Incredible doesn't even cut it. I was so overwhelmed by the sheer magnificence that I went into frantic painting mode.  But it was more of a coping mechanism than real art making I suppose because nothing came out right.  I met Glenn Dean and John Burton in the beach painting a timed 20 minute sketch. I missed the first lecture by Joe Paquet (I regret that)  but caught the James Gurney one on composition (based on eye-movement mapping and bias) . At 7pm there was a reception for the attendees and the excitement build up was palpable.

"Crown ad Anchor English Pub" to calm the excitement with Scotch,friends and the trusty sketch book.

 One of the main events for me was the marketing boot camp that took place at 6:30 am every morning. During this times, lectures on branding and marketing for artists were given by different experts.  Among them, Eric Rhoads, Leslie Saeta, Ed Terpening and Elaine Adams. The main point I gleaned from them all is that artists tend to see the business side (selling) as crass and dirty but one doesn't need to perceive it that way or become someone else to do it. It takes a lot of work for sure and the lectures were a bit short on specifics but pointed in some directions that I might pursue. Not all of them. Magazine advertising, for example.  Consistent magazine advertising might be great  but I've heard both sides of the arguments for and against. Learning about  the elements of a good website and newsletter was interesting.  I would highlight Ed Terpening's clean presentation on how to maximize your online presence. Here  is his generously published  slide presentation.   

Peter Adams, President of the California Art Club. Talking about his commission to paint the  Stations of the Cross in the L.A. Cathedral.

 Among the lectures that were not strictly demos, Jean Stern from the Irvine Museum on Franz Bischoff , Peter Adams from the California Art Club on his Jerusalem trip and commission ,  John Stobart and Mian Situ on their careers.... All very interesting from a documentary  or aspirational  point of view.

My notes on Skip Whitcomb lecture.

So there is something to be said about seeing so many artists demonstrating and speaking. A "cloud" of information to be sure but one that brought some points home. It's impossible for me in this blog to  try to elaborate on everything so I will talk about what the highlights were for me personally.

Thursday, after our ungodly hour marketing bootcamp, we had the pleasure of attending a demo by Skip Whitcomb who is an amazing painter all around. My favorite quote of his, I paraphrase: "Everybody says you have to leave your first bad 7.000, 10,000 even, paintings behind. But in order to do that and become good you need to understand why they were bad. Otherwise it's like setting the toaster on one number forever and putting one slice of bread after another expecting they won't burn."

He emphasized the necessity to do a quick sketch first, to calm down and gather thoughts, not jumping into painting straight away.  "There is NO TIME  to work in a bad idea" when you are a professional painter and "baby needs some shoes". That makes prep work even more essential. You know when a painting has gone south because you start "futzing" with the little things. Noodling is a big red flag. Keep the big shapes clear, the main idea. Skip doesn't sell his studies, he uses them for reference.

I did really enjoy Skip's approach and professional attitude. His dismissal of those who brag about painting eight pieces a day "it's not a race, paint for yourself." His advice on looking at books and "filling up your well" before setting out as a way of finding a standard of excellence. Copying from the masters not as a repetitive task but as a way of discovering solutions.

Another impressive demo was that of Peggy Kroll-Roberts, painting from the model (Ali, daughter of Ray and Peggy). She talked about her use of the mirror as a means to look at paintings as if someone else had done them and thus allowing the space to find errors. She talked about the importance of decision making. Sounds trite but deciding on what color or shape is something I struggle with and Peggy's work can be regarded as a constant exercise on decision. Likeness in a portrait is about the big stuff, not the small details. So again, big shapes, clear ideas and excellent draftmanship. She recommended Loomis book on drawing. As it usually happens, now I see Peggy's work differently and appreciate the boldness of it.

Other demos I attended that day were offered by Michael Godfrey who brought a semi-finished piece and talked about composition, painting on foggy days and creating mystery. Alexey Steele did a drawing demo and Rosemary showed how she makes her famous brushes .

Of course most of the fun conversation happens in the lobbies, where does Rosemary get her mongoose hair, what is it about BYU Art school that produces such accomplished painters; did they really rent a mule to go to the Sierras; is Wordpress the most economical way to set a website or build it yourself from scratch.; etc, etc.. And making new friends. I did make a few new ones like Dave Tanner and meet up with some old ones like Michelle de Braganca.

No lack of subject matter in Monterey.

Laguna Plein Air 2011

I had the chance to go see the Laguna Plein Air Festival. I am always amazed at the quality. Here is a selection of the paintings I liked. I know for a fact I didn't see more than 40% of what these artists did but there was enough to feast the yes anyway...So less talk and more pictures.

Jill Carver,  very interesting compositions.

Mark Bryan Taylor. Pictures really don't make justice to his atmospheric prowess.

Calvin Liang, his paintings have a beautiful luminous quality and wonderful color gradations that seem to cover the whole canvas.

Michael Alten, most improved, this guy has been just improving and improving without loosing the muted and subtle qualities.

Michael Obermeyer, always insanely accurate even in complex subjects.

A painter with East Coast sensibilities, Mrs Gavin Brooks.

Carolyn Hesse-Low, a sharp and luminous master.

Ken Auster. Bold strokes.

Debra Huse. Very nice silvery light.

Rolando Macedo, a discovery , very tonal.

Ray Roberts. Breathtakingly beautiful.

Ray Roberts, I think people will think twice before attempting this often painted corner of Laguna Beach , I don't think it can be done any better. 

Ray Roberts, wow. My favorite painting of the show, just the right balance of  color, design, compositional mastery and brushwork. 

Thomas Kitts, abstraction without obstruction. Fantastic painting.

Jeff Horn, simplicity and beauty.

Jeff Horn, the importance of a statement well made.

  I was really impressed, again, by Ray Roberts artwork. It is no wonder he won Best of Show. I probably really need to find a workshop with him. I wish I could create such clean and well managed artwork.

Telluride Plein Air. Part One

Telluride , Co used to be a mining town with iffy prospects...tellurium anyone?  But because of its snow  pack and amazing natural beauty it has become a winter/summer nest for the well heeled  who have built  "cabins" that put some palaces to shame.  The town has a pioneering, hippie and major bucks vibe. Charming indeed.

 

It also is the seat of Telluride Plein Air, an event modeled after Sonoma Plein Air , a brainchild of Keith Wicks. Painting in Telluride is both easy an difficult. Easy because every corner is a painting waiting to be made. Difficult because Telluride is not really close -it took me two days of driving and nineteen hours of car to get here- and the altitude can play tricks on ones' health. I was very lucky to be juried in this year nevertheless. The event benefits the Sheridan Opera Foundation which restored its homonym building and maintains it.

My roommate at the house I was staying was the phenomenally talented Thomas Kitts. Here he is posing with the result of the 1 1/2 hour Quick Draw. So I got to learn a lot from a master just by being here. He taught me , for example, not to ever again introduce myself as "a person with another job that finds his/her escape through events like these." He is right. Even if you have another job , the pros  have a bit of unease  for artists that participate in these events as an aside. Some think hey tend to undermine them with low prices, unrealistic expectations and nibbling at their collectors base.

Here is the entrance to the Opera building during the Quick Draw. Calling it an opera is a bit misleading because beautiful as the building is...well, I don't think is Opera-ready. But for BlueGrass it will do fine. The energetic staff of the event were on hand for our orientation where all the nitty-gritty details about the horrid parking, the grueling schedule and pizza were dispatched.

And ...drumroll. Here is my Quick Draw piece.  I was a bit too ambitious I think both in size and content. I didn't sell it or win anything. Next time.

I think Joshua Been's motorcycle below was one of the best pieces even though he didn't get the award. He was smart to pick a subject matter that , although intricate, is manageable in the short period of time.
Tomorrow is the gala and artists reception. The harder part of this grueling three days is over. I painted in some very difficult conditions with relentless gale-force winds, a lot of rain and hail or a baking sun. But the environment is so magnificent you just want to paint every aspen, elk, peak, poppy  or victorian home. Even the gas stations is kind of cute.