As an artist I am very interested in the process, and it was very informative to see Miro's brushes (not the originals but copies), the paints and colors he used and the other objects that were in his studio in Mallorca.
Fibonacci's Workshop, watercolor 32" x 40" Two exhibits of my work, Oil and Water and Re/Viewing the American Landscapeare currently on view at Blue Water Fine Arts in Port Clyde, Maine. I've [...]
I have always traveled with my paints and sketchbook and was fortunate to live in Europe while the recipient of a Fulbright Scholarship, and then later in Asia as the awardee of a grant from The Henry Luce Foundation. I have books filled with my European and Asian travel drawings and watercolors. Some of them became illustrations for magazines such as The New Yorker, Gourmet, and the New York Times.
As a member of the National Council on the Arts, the advisory board to the National Endowment for the Arts, creative placemaking has been an important topic, and I feel that I am on the front lines with the gallery.
The Frick Museum has been a favorite of mine since I was young. When I had an internship at The Metropolitan Museum after graduating from Williams College, and I wasn't spending my time sitting on the streets of New York City drawing (which later became artwork for the New Yorker), I would spend my lunch breaks going to the Frick and looking at the collection, which I came to know by heart.
I went down to Art Basel Miami Beach Wednesday for the opening but had to come back because I have an exhibit Saturday.
It is still not too late to see Maine Sublime: Frederic Church's Landscapes of Mount Desert and Mount Katahdin -- a gem of a small exhibit which closes October 27th.
Every year for the past thirty, I travel to Maine to paint during the summer where I have an annual exhibit of my paintings. It is different than, say, my New York exhibits, but the same amount of energy goes into the preparation. This year's show, East Meets West, just opened at Blue Water Fine Arts in Port Clyde, Maine.