(Oscar)Wilde also raises the question of self-contradiction. In art, he says, there is no such thing as an absolute truth: "A Truth is that whose contradictory is also true." This sentiment recalls Wilde's tremendous respect for the thoughts of Walt Whitman. In "Song of Myself," Whitman writes, "Do I contradict myself? / Very well then I contradict myself, / (I am large, I contain multitudes)." From Cliff Notes

Ivan Albright  American, 1897-1983 Picture of Dorian Gray, 1943/44

Ivan Albright painted this picture for the movie 'Dorian Gray" based on the Oscar Wilde book "The Portrait of Dorian Gray" Personally, I am not fond of Albright's work and think that it is superbly suited to art consumers that like a heavy dose of  sturm und drang in their decor. It is perfect then for hedge fund billionaires like Steven Cohen, for a foyer staged prelude to his pickled Damien Hirst Australian shark und tank- a man whose wealth, not his character is his power. I prefer the work of Aubrey Beardsley for Wilde's book "Salome" and his work for "Ali Baba and the Forty Thieves". There is more grace, beauty and power in a few strokes of Beardsley than in most overwrought painted oeuvres past and present. I can happily sit with the contradictions of Goya's Los Caprichos and Botticelli's Primavera, both have power, one uses beauty the other profound compassion. People often underestimate the power of beauty, Botticelli was alleged to have burned his more "pagan" paintings in the Bonfire of the Vanities directed by an acetic monk, Savonarola, http://www.historyofpainters.com/bonfire_vanities.htm

Salome 

 Goya Los Caprichos

Botticelli Primavera

Shouting Above the Waves

Chris Polson, who makes my excellent canvas stretchers- http://twinbrooksstretchers.com/ has been telling me to try Instagram. The New York Times says that Instagram is de rigueur for artists- in a previous editorial however, they had said too much social media is bad and a waste of time. You can get lost in the weeds as it were. Eh!
My 20 something model says blogs are out, Instagram is in -young people don't read blogs anymore, so in total terror of being even more obscure than I am I took the plunge.

I know the internet is saturated with artists but after opening the Pandora's box of Instagram I feel bludgeoned by "art": rich artists, starving artists, bold artists, figurative artists, animal artists. landscape artists, abstract artists, post everything artists and artists who do things with doilies that would never have occurred to me. Much of the work I see, at first bite looks inviting, though after some consideration becomes as tasteless and artificial as a Twinkie. Instagram is like digging through a landfill, now and again you find treasures and reconnect with artists you admire and share an affinity,

People have been urging me to put more stuff , more 'drama" into my painting. More bits flying about.I see succesful young artists painting mountains of flowers and butterflies surrounding their figures, compositions so complex they rival the historical paintings of the French Academy. I am not that clever. I do feel drowned, submerged, but the thought of attempting one of these "masterpieces" fills me with - oh well- boredom. I do not like painting acres of flowers, plastered on butterflies ( the pictorial glop du jour). I can get through maybe a posey or two, maybe a bouquet but you have to strap the brushes to my hands. I love faces, I love figures , I love hands and feet. I know I have to occasionally put something between those extremities and around them. I love color. I like good design and simplicity.

It our fractious times it seems to me so many artist find the need to shout, louder and louder, to try more and more extreme measures to get attention. This does not condone timidity, the willingness to try something that is not stale, to go out on the limb of failure. I have always in retrospect found that there is power in the seemingly effortless and simple. Both John and Twachtman share a delicious delicacy of design and color. Delicacy, oh delicacy!

Gwen John are John Twachtman are two examples. Gwen John was overshadowed in her lifetime by her bombastic and famous brother Augustus John. Today she is more highly regarded- even though she died in obscurity. I could live with either painter's work on my wall.

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

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

This is actually Carl Fabritius' wonderful painting of a yellow finch, what power in a tiny painting.

Finding Artist's Health Insurance post ObamaCare.

Van Gogh Self Portrait with Bandaged Ear

One of the blessings of ObamaCare was that allowed many artists to set up shop on their own. 
Now....
There was a great deal of lip-service before the election about spiraling student debt, and with the almost certainty of a Clinton victory, little worry about having access to health insurance for the self-employed artist. Both of these hopeful scenarios have been blasted out of the water. As a self-employed artist, before ObamaCare I know how difficult and expensive health insurance was. I, like many others mostly went without. A hairdresser I know, who could not afford health insurance had a plan for this. She put everything on her credit cards, food. a new car and doctors visits and went bankrupt. They could not take her home, and her car nor her food- so she felt she had a cushion until she was eligible for  Medicare.

Now it will again be a HUUUUGE problem as El Trumpo and the Republicans are "retooling", "dismantling", (pick your poison), the ACA, there is no guarantee artists will have any. My suggestions are of course besides leaving the country ( if I were young enough it would be a consideration) I would consider countries of the EU or Canada. In the US look to states that have expanded Medicare under ObamaCare. Those are the most likely to have affordable policies. Massachusetts is a safe bet because ObamaCare is modeled after its program and I think it will continue there, If you are unmarried and living with a partner you can get on his/hers in states that accept common-law marriage.
https://en.wikipedia.org/wiki/Common-law_marriage_in_the_United_States
You can of course stay on your parent's insurance until you are 26 (currently) but if you get married you cannot. You can stay on your parents plan even if you are not living at home and in another state, even living with but NOT MARRIED to your companion. Another option is finding a local Chamber of Commerce and joining for their group plan. That is what I did for years.

This is an informative site for health insurance for self-employed artists of all kinds though it says music. As I said because the portending changes in ObamaCare things will change.
https://health.futureofmusic.org/

Your best bet- move to Massachusetts:https://www.bostonglobe.com/business/2016/11/09/massachusetts-seen-insulated-from-trump-repeal-obamacare/bFC9mivzgtlC3c7ElXTUyI/story.html

Here is  list of great places for artists to live more cheaply and thrive, one of them is New Bedford Mass, much, much cheaper than Boston and its surrounding cities.
Listed also  is Providence- home to one of the best bargains in art schools- RI college (has its own health insurance program while you are in school). http://www.complex.com/pop-culture/2013/09/best-cities-for-creatives-writers-artists/san-juan

http://www.healthcareforartists.org/ A Massachusetts site

I will try to update this as this painful scenario unfolds. One take-away from this is try to keep art school debt under control. I have tried to outline some reasons and tips in this post: http://sharonknettell.blogspot.com/2017/02/art-school-and-artist-health-insurance.html

Val

New studies for a proposed painting: "Absence of Time"

My model is a professional ballroom dancer from Moldova with amazing cheekbones. He can hold a pose and is so elegant and a really good sport! This is a riff on the traditional  trois crayons style of classical drawing. It is done on one of my last pieces of cornflower blue TwinRocker hand-made paper- no longer made unless you order some.$$$$ but worth it.

My husband tried to rescue him from the floral headpiece but both decided this was a more original approach.

Art to Inspire You in a Dystopian Age.

Shattered by the election of Trump, many American artists are casting feverishly about for appropriate imagery or maybe not imagery, no that's not it, maybe some grip on artistic sanity. no not sanity, maybe  insanity- no perhaps a new anti-ism that has not been done to death or perhaps an old comforting ism in an age of uncertainty or art as nothingness- been done! art as somethingness, yes that's the ticket- no too solid, need something with a void, no it has to be void-less. no that's been done- perhaps post-void-less, or post-anti-transcendentalist or post-objectivist - better post woman objectivist- no too gender specific, no! crackpot art!

 To address these crippling, creative conundrums I have been casting about the internet gathering inspirational imagery that might inspire those who are deeply affected by this truly nasty turn of events,

Ronan the Pug 10" x  24"
Provenance: Trash

Charlie and Sheba 18' x 24" Provenance Boston Thrift Store

Hmmmm.

Mom and Babe  20" x 30" Trash acquistion

Lucy in the sky with Daisies.
Trash acquisition

"Gilded Nude" The viewer is struck by the youthful female's subject over-sized arm..

Annies Downstairs Secret 18" x 24"

Julian Schnabel-add pretentious title.

The top five images are from that delightful Museum of Bad Art   http://www.museumofbadart.org/
in the basement of the Somerville theater in Somerville, Mass.

The bottom image is from a fancy schmancy gallery that disposes of Julian Schnabel's art which apparently after being in the art doghouse (where it should remain) is undergoing somewhat of a renaissance. There is no underestimating the power of a new York Art Critic's goobydegook in resurrecting him. .  The cognoscenti would rather DIE that admit that it was a lot of impenetrable bullshit.


In all honesty I find these so refreshing and fun.

Painting on Plexiglass- Maybe Not!

http://laughingsquid.com/plastic-forever-couple-makes-lovely-art-out-of-beachs-plastic-trash/

I think it is a tendency for artists to want that certain something, that technique, material or magic potion that will distinguishes their art from others. God knows I have tried a lot of crap. Lately painting on acrylic panels seems to be one of them. I noticed in a recent issue of an American artist's magazine "The Artist's Magazine" an artist mentioning painting on acrylic panels. It set off a warning light in my head as I have had talks with my husband over the years about this practice. He is a physicist ( Brown/ University of Rhode Island) specializing in the development of new materials and has run product tests for me over the years. He has debunked and confirmed manufacturers claims about their painting materials. (Micheal Harding's stuff is the real deal) One thing he has cautioned me me against is plastic as a painting support. Many artists painting on Plexiglas" and recommending it cite no scientific studies as to its durability.

I excerpted the paragraph on 'acrylic' substrates from a paper from the The Department of Art Conservation at the University of Delaware on painting supports. It covers all supports and though not Jane Austen is an informative read. It  does give some good advice as to its safest use.

https://www.artcons.udel.edu/mitra/Documents/Rigid%20Supports.pdf

"Polymethyl Methacrylate (e.g. Plexiglas) Plexiglass is one of several trademarked names used to market clear sheets of polymethyl methacrylate, a material that is a popular support among artists. These sheets tend not to contain potentially problematic additives such as those found in polyvinyl chloride- and polycarbonate-based materials. However, Plexiglass will expand and contract in response to changes in temperature and humidity, leading to eventual warping or bending of the support. This can be problematic if very brittle materials are used in the paint and/or ground layers (e.g. oils, alkyds, certain resins) as delamination and cracking may occur as the support expands and contracts. Watercolors, tempera, and most gouache paints should be avoided. The glassy-like surface of Plexiglass makes for a surface that can be easily scratched and can build up a static charge that can attract dust particles. Plexiglass is prone to yellowing if exposed to UV light and can be extremely sensitive to certain solvents; artists should avoid bringing acetone, aromatics, and other solvents to surface of Plexiglas, sticking instead to water or mineral spirits-based products. Finally, and perhaps most importantly, Plexiglass supports are inherently brittle and easily shatter or crack if dropped or damaged. If an artist insists on using a polymethyl methacrylate support, the best procedure is to initially sand the surface in order to provide some mechanical tooth to improve the adhesion of the paint and ground layers. Artists should consider painting and priming with acrylics if using Plexiglass as they do retain some degree of flexibility. Avoid installing inflexible hardware directly into the Plexiglass, choose thicker rather than thinner sheets, and use a channeled frame to house/display the Plexiglass."

I have found that the  National Gallery of Art Department of Conservation a wealth of accurate information. You can call them and email them- a fine example and one of the few examples of taxpayer money going to help artists.  When I have a question they are my go to source.

Much of what is online about artist materials is for amateurs and often wildly incorrect. It is best to find a source like our National Gallery and the University of Delaware's School of Conservation for the most unbiased information. There are others like the Metropolitan Museum, Fogg etc.  I have contacted them as well as others.The jobber of said Plexiglas said it would last forever. 

http://www.nga.gov/content/ngaweb/conservation.html

http://www.harvardartmuseums.org/teaching-and-research/research-centers/straus-center-for-conservation-and-technical-studies

http://www.metmuseum.org/about-the-met/conservation-and-scientific-research

https://www.artcons.udel.edu/

This is an updated version of the book I already have. A lot of new research and information has gone into it. https://www.amazon.com/Painters-Handbook-Mark-David-Gottsegen/dp/0823034968

The difference between plexiglass and acrylic.
https://www.reference.com/home-garden/difference-between-plexiglass-acrylic-ce5cc1089f7ca12f

https://pubs.acs.org/cen/science/89/8929sci1.html

"Unfortunately, “plastic objects are among the most vulnerable found in museums and galleries.” "

Here is a discussion on WetCanvas- an online painting forum on acrylic supports.
http://www.wetcanvas.com/forums/archive/index.php/t-209937.html

From WetCanvas 08-17-2004, 09:29 AM

As a sign manufacturer, I have great deal of experience with 'plastics' - acrylic, lexan, styrene, pvc etc. I would be very skeptical about using acrylic as an archival board. You not only run the risk of your paint delaminating, but also face the fragile nature of acrylic which leaves it susceptible to cracking. Also, depending on whether it is cast or extruded acrylic, the chances are that you bought extruded, the plastic will warp with larger sizes. Acrylic gesso may not be the proper ground for the initial priming because it doesn't have a proper chemical bond...the acrylic gesso (as a ground) should be applied after the plastic has been primed. The only primer I know that can be used properly for acrylic priming is a lacquer based primer similar to automotive paint primers...anything else is a temporary paint job. Almost any substrate can be turned into a suitable ground with proper preparation and priming, but I personally wouldn't use acrylic for archival fine art. No problem for experimenting, studies and personal projects.

Do your own sleuthing, don't take my word  on this, make sure the materials and practices you employ have scientific backing.

"The Absence of Time"

A study for a new painting "The Absence of Time" I love beginnings as they are more hopeful that when you get stuck in the inevitable weeds. This is done on one of the few remaining pieces of Twinrocker's cornflower blue handmade paper that I found. Working on really high quality handmade paper is going from a Yugo to a BMW. This paper is pigment dyed and light-fast and will not fade. Mi-Teintes says it is light-fast but it is not. Also the surface is subtle and takes a beating.

Handmade drawing  paper used to more common- but these paper makers are dwindling and rare and their output more limited. I am not talking about the novelty paper makers that embed flowers or whatever but high quality artist papers. Twinrocker also makes larger sizes-up to 33" x 48" now only custom. I am having some 30' x 40" Simon's Green Paper made. It is a lovely celadon.

www.twinrocker.com

Eye Candy for a Snowy Day in February

When ever I think beauty is not enough- I see a painting like this that takes my breath away. From a recent Sotheby's auction catalogue of important Impressionist art.

Klimt Blauringarten 1907

http://www.sothebys.com/en/news-video/blogs/all-blogs/impressions/2017/02/important-klimt-landscape-leads-london-impressionist-sale.html?cmp=banner_L17002___direct-nyt_Impressionist-&-Modern-Art-Evening-Sale_21017-21517