Reminds Us We Are Human

 National Endowment for Arts. Every so often comes a plea for people to write their congressman asking them not to cut funding for the NEA. Up popped two petitions the other day on Facebook asking for signatures to let congress know we the people want the NEA funded. I read some of the comments attached to these pleas and was surprised to find not every artist is behind this organization. Several comments were from artists who had never benefitted from the NEA. They felt the NEA only funded weird art and so they saw no benefit in keeping them around. 

     I remember the big flap over the Mapplethorpe Exhibition in Cincinnati. Congress, led by congressman Jesse Helms, was in a todo over funding of the NEA because of 7 controversial photos in the exhibition. I could be wrong, but the crowds for that show were huge and art museums across the country reported increases in attendants during that controversy. I noticed an increase in sales with my own work and my subjects were far from Mapplethorpe's . 

      The NEA funds all the arts from ballets to rock concerts, from movies to small theater groups. If you watch public television you probably have seen programs funded by the NEA. They're not going to be able to fund every struggling artist but in some way every struggling artist benefits from the NEA. Art, in all its forms, enlightens everyone's life. A statue of Robert E. Lee in the town square put pride in a man's chest and a spring to his step. It was an artist who created that statue. The logo on the Falcon's helmet was created by an artist. How many people visit Mount Rushmore? Again the creation of an artist. Art can enlighten or offend, it reminds us we are human.  

      When Churchill was asked should the government shut down the arts during WWII his reply was. "Then what are we fighting for?" 

The Model Relationship

         Cont'e on strathmore, 4 ply bristol board; this is a new style for me. I'm experimenting. Beautiful renderings of beautiful women just do not do it for me any longer. I'm hoping that an interesting technique leads to an interesting drawing, not just another portrait of a beautiful woman. 
          I've worked with some very inspiring models, who have been even more interesting to know as individuals. I haven't learnt yet how to capture their personal story with just cont'e or charcoal; a task that may be impossible. The beauty of working from a live model is that we, the model and myself, get to know one another which over the years has become a major factor in all my work. both painting and drawing. Making a picture is easy, making a work of art is hard. Art is relating a feeling, or passion through the materials we use. A story, told, but unheard, is what a work of art is when the viewer doesn't totally relate to it. I wrap myself in the presence of my model, letting her presence guide my hand. A light touch, a heavy stroke, a muted color; are all brought about by how I saw the model. Even though I pay my models, I still consider it a privilege to have them in my studio posing for me. To hear about their lives outside the studio brightens my palette, makes my hand more sure, and pushes me to dream up more personal concepts. 
          An artist friend asked me why I use such expensive frames on certain paintings, when I could get away with lesser ones. I said, "It is out of respect for what went into those paintings."