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 Wednesday, December 19, 2007
CREATION
Posted by Erika

If you already have your copy of the 2008 AGDM, you've probably read Jim Hunt's fabulous article, Motivational Tools of the Trade, and maybe you've even gone to his website to see more of his cartoon work. If not, perhaps this will pique your interest...

FROSTY.JPG

Jim's holiday greeting is so clever I can hardly contain my joy! The comparison of Santa and Frosty to God and Adam is just too funny. Of course, Jim isn't the first artist to recreate Michaelangelo's famous work. If you missed my earlier post about Pete the Cat, check out the picture below and then go here to see more:


Artists | Miscellaneous
12/19/2007 11:54:21 AM (Eastern Standard Time, UTC-05:00)  #  Comments [0]
 Wednesday, November 21, 2007
So Delicious!
Posted by Erika

I'm too excited about this not to "spread the love" -- I just received in the mail a t-shirt that I've been dying to have. My artist friend Jillian designed it, as part of a series of 10 shirts that "express a message of love and unity rooted from the female experience." Each shirt features inspiring, poetic words paired with a whimsical illustration, and together they tell a story of growth and strength.

This is the shirt I chose:

DeliciousTees_4.jpg

Click here to see all 10 Delicious Tees and read the uplifting story.

I really admire Jillian for her artistic vision and her courage to start her own business. Don't you wish you could be your own boss and sell something that features your artwork? Let Jillian's positive message inspire you to follow your heart and make your dreams come true.

And don't forget to SPREAD THE LOVE! Tell all your friends about these amazing shirts, and consider buying one as a gift for a special lady in your life. Girls can never have too many cute shirts, especially ones that boost our confidence and promote peace!


Artists | Miscellaneous
11/21/2007 11:47:27 AM (Eastern Standard Time, UTC-05:00)  #  Comments [0]
 Tuesday, November 13, 2007
2008 AGDM Excerpt: Erik Rose Knows the Ropes
Posted by Erika

As promised here, I'm giving you a sneak peak at the interview I did with Erik Rose for the 2008 AGDM.

Erik isn't just a talented artist; he's also the art director for a national publication, so he knows the ins and outs of artwork submission from both sides. Here's some of his advice for aspiring freelance artists:

From your experience, what are the best ways for an artist to promote his/her work to appropriate markets?
Today you simply have to have a website. The days of people reviewing your portfolios one-on-one are pretty much gone. Go out and meet people; make contacts at gallery openings, online--there are lots of great online artist communities. Find out what's going on in your own neighborhood. Don't be afraid to do a few "freebies" to get your work out there, and don't forget the old standbys: send out postcards; go to conventions; set up at an art fair. Any place is a good place to start. I've done live painting in clubs, selling all the stuff I do that night to the crowds; you pass out some business cards and suddenly you have some freelance gigs or commissions.

How much of an impact has your website had on your success?
It's been an amazing tool to get the word out about my work. It is also very rewarding because I get to hear from so many people that like what I'm doing. A lot of times as an illustrator you only get feedback from a handful of people--the peers that you trust to tell you whether your work sucks or not, and maybe from the art director that you do the work for, if they're not too busy--that's usually about it. The Web is just a great marketing tool. I've gotten so many jobs from having an easily accessible portfolio, and I'm constantly getting commission work from private collectors.

How do you stay motivated/find time to keep up with the demand of all your assignments, commissions, etc.?
In college I was working full-time and going to school full-time, so I got very used to the concept of using my time wisely. I don't think of the week as five days of working and two days off--every day is a workday. To me, illustration is a lifestyle, not a nine-to-five job. As far as staying motivated, I just try to choose those kinds of projects that challenge me and allow me to investigate the things I'm most interested in. I work really quickly and am very aware of how long it takes me to do a project, so I am also honest with myself as far as how much I can take on at one time. I'm never going to overextend myself to the point where I might miss a deadline--that's just not an option. Having the right music to listen to is also a great motivator.

As an art director, what do you expect (in terms of professionalism, quality, etc.) from other freelance artists?
Deadlines are number one. If you can't get something to me on time, get out of this business. There are a hundred other people that are waiting for their opportunity who will get it in on time. I've had to tell really good friends that I wouldn't hire them again because they couldn't get something in on time. 
   Stay in contact, but don't be annoying--it's a real fine line, but figure out where that line is. If I don't hear from someone for a really long time, I forget to offer them jobs; it's as simple as that. Send some new images of things you've been working on every couple months. 
   Don't send me an amazing thumbnail and then turn in a final that is a totally different idea. Even if you hit it out of the park with the new version, I'll start to wonder if you're able to deliver what I need when I say yes to a sketch. 
   Oh, and did I mention deadlines?

What can artists do to stay motivated and ensure that their work remains fresh and interesting (especially if faced with rejection)?
The truth is, either you need to do this because you need to do this, or maybe you should go find something a little easier to do for a living. Because there is always someone else out there who does need to do this, and it shows in the work they do. Always be looking at both new and old art. Find things that inspire you. Do some work for yourself and send that out there to try to scare up some contacts. It's much, much easier to do work you want to do than having to mimic a bunch of other artists' styles to try to make a living. 
   Be willing to listen to anyone who is willing to critique your work. You don't have to take their advice, but sometimes we become so wrapped up in what's in front of us that we need a new set of eyes to see through. Above all, keep moving forward--art, illustration and design are all things that take lifetimes to master, so keep pushing yourself and never allow your work to drop below a certain level. If you stay true to yourself and your ideals, the rejections won't hurt as much.

Do you have any other advice for aspiring freelance artists?
If you have a passion for this, it doesn't matter how many rejections you get; just be honest with your own set of skills. It's never too late to go back and learn something you missed out on. (I didn't end up in college until eight years after I graduated from high school.) And of course, do the work that you want to do--not the kind of work you think would sell. The rest of it is just working hard.

B&Wwalter_erikrose.JPG

 

 

Erik Rose drew this portrait of Walter from the movie The Big Lebowski along with two other characters, Maude and The Dude, to be used for self-promo pieces. It's possible one of the portraits will end up on a poster for Lebowski Fest in the near future. "I've had a lot of exposure from this image and got quite a few commissions because of it," says Rose. "This piece is a great example of the motto Do the kind of work you want to be known for, as it shows what I do best: icon images, celebrity portraits, and pop-subculture."

 

 

Get your copy of 2008 AGDM so you can read the entire article!

 


Artists | Book Contents
11/13/2007 12:29:46 PM (Eastern Standard Time, UTC-05:00)  #  Comments [0]
 Friday, November 02, 2007
More Success for Susie
Posted by Erika

Those of you who have the 2007 AGDM might remember Susie Ghahremani. She was featured in that edition's Success Stories article. (Her portion of the article appears below in purple in case you missed it.)

I'm friends with Susie on MySpace, so I get to keep up with her continuing success, and I thought I'd share this exciting announcement she recently posted:

Giant Robot is proud to present Musical Chairs, an art show featuring the work of Susie Ghahremani.
   Ghahremani is a RISD graduate who has contributed work to Nickelodeon, Chronicle Books, and The New York Times, and was featured in the 2006 American Illustration publication. Illustrations by the San Diego artist have a patchwork appearance that is simple in design, complex in execution, and all-around pleasing to the eye. In addition to making two-dimensional art, she crafts tote bags, buttons, wallets, stationery, and other goodies.
   Subjects of Musical Chairs include animals in domestic settings with pianos, accordions, guitars, and other instruments. Some of the creatures are indeed seated but others are in boats, on picnics, or other settings in the modestly sized but highly detailed paintings. Ghahremani has created upwards of 200 pieces for previous shows at Giant Robot galleries, and Musical Chairs promises to be bountiful as well.
   A reception for Ghahremani will take place from 6:30 to 10:00 on Saturday, November 10.

This will be Susie's second solo show at Giant Robot this year. I really wish I could go, but I'm stuck in Ohio. (Why do all the best events take place in California or New York?!?) I guess I'll just have to settle for looking at photos. I think this one is my favorite:

I love cats, and I really like the way Susie draws them. I also like her owls, and I'm planning to get this necklace for myself when I have some extra money. I'm so happy for Susie, and I wish her lots of continued success!


When Susie Ghahremani first started submitting her work, sheSusie1.JPG learned several lessons the hard way. "I thought if I sent a postcard with my Web site on it to magazines, they would go to the trouble of looking up my full portfolio and contact info." She then proceeded to create "a stack of very amateur promotional postcards, bought about 300 postcard stamps, and just started sending them out. It was disorganized, expensive and ridiculous."
   Today, Ghahremani's whimsical illustrations have been published in an impressive list of national publications that includes The New York Times, The Washington Post, Shape, and Child. In addition, she has exhibited her paintings in galleries across the country, including Giant Robot (LA, NYC, San Francisco), The Front Room (Brooklyn) and Motel Gallery (Portland).
   From those first tough steps to her now flourishing freelance career, she's learned several valuable lessons that have contributed to her success. First, she found that it's crucial to investigate the markets before she submits to them. When she first started submitting her work, she says, she "contacted magazines without considering their content and if my work was appropriate for them. That was totally a waste of time and money! The response and non-response I received really forced me to learn quickly."
   While she recognizes that "getting to know your illustration market is time consuming," this important step "will really help you connect with the right outlets for your work." Taking the time to know the specific tastes of different markets has really paid off for Ghahremani. "I've found 50% of my work through the combination of AGDM and research online and on the magazine stands," she says.
   Once she assembled a list of markets that were strong fits for her work, Ghahremani sent out carefully targeted promotional postcards. When it comes to that initial contact with Art Directors, she recommends that "your promo should be the absolute most representative image(s) of your work you can find." In addition to being an example of your own illustration style, a promo card must also honestly represent your illustration skills. Your promo, says Ghahremani, "could be your best painting ever, just make sure you can achieve the same quality of work again and that your work is consistent."
   After learning the right way to approach markets, Ghahremani had immediate success. "I got my first call from a prestigious client regarding my first promo the day after I put it in the mail!" While exciting, this call actually provided another important learning opportunity for her. As she explains, "They wanted to review 'my book.' I didn't even know what that meant at the time. Your 'book' is your tangible portfolio. I didn't have one! I was terrified. I stayed up all night professionally printing samples and arranging their presentation and overnighted them the next morning. Miraculously, they hired me, and I had a deadline the following week."
   When it comes to putting together your work to send to markets, Ghahremani advises that "your portfolio should be cohesive. I think my first portfolio had about 10 different styles and techniques in it. A disjointed portfolio confuses art directors about what to expect from you." For anyone having trouble assembling a portfolio, she recommends "exercises like www.illustrationfriday.com or taking articles from magazines you already like and re-illustrating the articles as if they had hired you."
   Ultimately, Ghahremani believes that the secret to success is to "keep trying! The more work you do, the better and more refined your work will get. The more work you do, the more art directors will see you, too. Don't feel disappointed if you don't achieve what you hoped to right away. Keep up your energy and enthusiasm, and don't let making art stop being fun!"
   Ghahremani's final advice is to "love what you do! There are a lot of ups and downs in a career as an illustrator, a lot of hard work, lulls and times when you're completely swamped and overwhelmed, but enjoying your work is the best reward. I wouldn't trade it in for anything." That's a sure sign of success.

Susie Ghahremani may be from the smallest state, Rhode Island,
but she lives life in a big way and her art makes a big impact.
She's a singer with her own one-woman band, Snoozer, and is
a non-stop illustrator with a unique style. The above illustration
is titled Food Fight--more of her work can be viewed on her
Website
www.boygirlparty.com, which offers notecards, t-shirts and
more featuring Ghahremani's work. You can also hear her sing!



Artists | Book Contents
11/2/2007 11:15:50 AM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
 Monday, October 29, 2007
Fairey again -- he's everywhere!
Posted by Erika

Check out the NOVEMBER 2007 ISSUE of JUXTAPOZ MAGAZINE if you're interested in learning more about Shepard Fairey (the subject of previous posts here and here).

From the Juxtapoz website:
   When an already declared legend has a big year, we like to give a little notice, hence Shepard Fairey gracing the cover of the November issue of Juxtapoz. And guess what! We got an exclusive never-before-seen cover and 18 pages of Obey magic. Shepard covers everything from the current state of his artwork to the future at hand for Obey Giant.

I haven't had a chance to purchase my copy yet, but believe me, I plan to get one as soon as possible.

Although Juxtapoz does not have a listing in the 2008 AGDM, the magazine does accept what it calls "Reader Art" -- here are the submission guidelines as posted on the website:

Reader Art is published every Monday. Each week, we select 1-2 pieces from six different artists who submit their work to Reader Art and post it on our website.

Reader Art is simply a forum to show art created by our readers. Mainly, it serves to show the work of students and amateur or emerging artists.

We get a lot of submissions. We cannot publish all of them, and we cannot always personally respond to everyone who submits their work. You'll receive an automated confirmation email from us that we've received your submission. Your work will be seen by someone here at Juxtapoz... but because we have a large pool to choose from, we have to make decisions about who to publish and who to pass on for now. You will receive an email from us if/when we publish your work.

To submit art for the Reader Art section please note following, then send an email to reader_art@juxtapoz.com

Email vs Snailmail: We are now only accepting electronic submissions. Submissions mailed to our office may not be returned. Please use the internet.

Image Specs: Images should be 480px wide. Height may vary, but each image must be less than 100k. Please optimize your images for the web and save them as. jpg (or .gif for vector work), in RGB colors (not CMYK or Index), and at 72dpi. Non-digital artwork should be photographed clear, sharp and head on, and presented without background or white space unless the piece is an unusual shape.

Art Info: Please include the title of each piece as well as medium(s) used. The more information the better.

Your Info: Please include your name as you'd like to be credited, and your website URL...it can be your Myspace page or Livejournal or your fancy Flash-based portfolio, but there should be some way for people to contact you and/or see more of your work. If you do not include a URL, it will be assumed that we may publish your email address as contact info unless you explicitly state otherwise.

Publishing: Currently, we are publishing each artist only once.

 


Artists | Calls for Entry | Miscellaneous
10/29/2007 5:20:19 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
365 SKULLS
Posted by Erika

I went to a Halloween costume party Saturday night, and now I'm officially in spook mode. I dressed as a pirate, with plenty of skull accessories (hat, earrings, necklace, tights, and even a temporary tattoo). Skulls are always fashionable for artsy/rocker types, but it seems like they become more acceptable in the mainstream during October. So I'm using Halloween as an excuse to share with you one of my favorite blogs -- Skull-A-Day.

Noah Scalin, the blog's administrator, is "making a skull image every day for a year."  That's 365 different skull images! He started the project in June, so there are still many days to come, and I'm curious to see if he can pull it off.

Even if you don't necessarily like skulls (or if you could care less about Halloween), you should still check out the blog just to see the creative solutions the artist has come up with so far. You never know -- one of them might be the spark of inspiration you've been searching for to help you complete one of your artistic projects.


Artists | Miscellaneous
10/29/2007 4:34:54 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
 Tuesday, October 23, 2007
Obey Fairey
Posted by erika

I just came across a nice article on one of my favorite artists, Shepard Fairey. I think he's one of the most important and inspiring artists of our time, mainly because of his DIY approach that focuses on utility and meaning more than profit. Fairey doesn't conform to traditional standards of "the art world," yet he is indeed a successful practicing artist -- one who has built a positive reputation among other non-traditional artists who are wary of the "old school" standards of salability and esthetic value.
 
I've copied the article below, originally from 

October 20, 2007
 
Poster boy with a difference

Virginia Blackburn on the irony of an artist whose advertising-style works ‘market nothingness’, but can fetch thousands of pounds

Mention the term “street art” and the practioner most likely to come to mind is the urban graffiti artist Banksy, whose work has leapt in price from an average £500 to £50,000 in the past five years. However, it was another exponent of the artform who inspired Banksy and numerous others.

Shepard Fairey, born in 1970 in South Carolina, and now based in Los Angeles, was one of the first street artists and is about to stage his first exhibition in London for seven years: Nineteeneightyfouria, November 2-18* at the StolenSpace gallery in the Old Truman Brewery in London. With more than 100 pieces on offer, it is Fairey’s biggest exhibition to date, but the prices start at a remarkably affordable £60.

Beth Gregory, assistant director at StolenSpace, says: “Fairey is not quite a graffiti artist, as his work is not letter-based artwork, but he has taken the ethic of graffiti to create visual iconic images that are then propagated over and over again, in the way grafittists do.

“He uses posters, stencils and any number of different media to get the image across to more people. He understands the way our consumer society works: what he is doing is using the power of advertising, except that his is a brand without a product.”

Fairey does this with his posters adorning advertising billboards without actually advertising anything, or as he puts it, “market nothingness”.

Appropriately enough, Fairey’s interest in art originated in the street. In the mid-1980s he became a devotee of skateboarding, which led him to develop a desire to create the paraphernalia that went with it.

“Skateboarding in the Eighties was do-it-yourself,” he says. “That was what got me into making T-shirts and screenprinting. At first I cut stencils and spray-painted shirts. Then I realised my art teacher had a primitive screenprint rig in the back room. I started screenprinting shirts for myself and a couple extra for friends. You could see that in a short time in 1984-85 my whole career was beginning to form, based on that stuff.”

Fairey first made his name in 1989, when he was still at the Rhode Island School of Design, from which he graduated in 1992 with a BA in illustration. He created a sticker campaign called “Andre the Giant Has a Posse”, which in turn evolved into a campaign called “Obey Giant”. The images that he created were replicated across the globe and a selection can be seen on his website (www.obeygiant.com), becoming, in Fairey’s own words, an “experiment in phenomenology”.

Ms. Gregory adds: “Fairey’s work is clearly influenced by Pop Art, Andy Warhol’s production techniques and our throwaway society, in that he creates, for example, fly posters.”

Because he utilises various media the prices for his works vary hugely, from his screenprints, the cheapest of his works, which start at about £60, to large canvasses, which climb to many tens of thousands of pounds. This is a deliberate strategy on Fairey’s part: while he is now an established and influential artist, an effort has been made to stay in touch with people who first bought his work and who would not always be seen as typical art collectors.

There is a huge range of work on offer at the new exhibition, including a screenprint run of his most famous image, Obey. It is an edition of ten and each costs £600. Then there are images that can be bought in several forms: Mujer Fatal is available as a stencil collage/mixed media canvass for £5,070, or as a ruby lithograph for £1,010. The same forms and prices apply to Proud Parents. Alternatively, This Machine Kills Fascists can be bought as a large canvas for £15,000, or as a ruby lithograph for a more affordable £1,010.

Fairey is very much an artist of his time, not confining himself to “traditional” canvases, but also working as a graphic designer and illustrator. In 2003 he founded the Studio Number One design agency, which produced the cover for the albums Elephunk and Monkey Business, by the Black Eyed Peas, as well as the poster for the film Walk the Line.

He also published a book last year, the title of which could be said to sum up what his work is about: Supply and Demand: the Art of Shepard Fairey.

This is an artist who should certainly not be underestimated. Amid all the trendiness and commentary on contemporary society, Fairey’s striking images may well pass the test of time.


*According to the Stolen Space website, Fairey's show is running until November 25.


Here's another good (longer) article on Fairey, which I linked to from here.


Artists
10/23/2007 9:43:11 AM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
 Thursday, October 11, 2007
Rollins and Rose
Posted by Erika

Ohmygod, I'm SO excited! I'm on Cloud 9 right now...

My best friend Lori and I met Henry Rollins last night!!! 

This is a dream come true for us -- one we've had for 15 years! That's more than half of our time on this planet, and though we've known each other forever and shared many common interests, our passion for Hank outweighs pretty much everything else.

I guess I should start at the beginning and move forward...

   Our dads met in Vietnam, and they kept in touch after returning home. They both lived in Ohio, at opposite ends of the state, and they had become friends with a few other guys who lived in neighboring states like Pennsylvania and Wisconsin. So these guys and their wives/girlfriends would take turns getting together at one another's homes, and their friendship grew and survived the miles between them.
   Through some kind of magical fate, our moms happened to get pregnant around the same time, and in September of 1978, Lori was born exactly one week before me. I guess you could say we became friends simply because our parents were friends, but our friendship has evolved so far beyond that. At first we would only see each other when our parents made plans to spend a weekend together, but as we got older, we were able to take turns spendng entire weeks at each other's houses, during Spring Break or the Christmas holiday.
   By the time we were 14, we had discovered "real music" -- we said goodbye to bands like New Kids on the Block and Bell Biv DeVoe, and we started listening to Nirvana, The Red Hot Chili Peppers, Pearl Jam, The Pixies, and so on and so on. We started wearing flannel shirts and combat boots, and we thought we knew everything. Together we were invincible. We watched 120 Minutes on MTV religiously (I still have about 20 VHS tapes with recorded episodes), and we discovered more and more "alternative" music that wasn't being played on the radio.
   One of the bands we were introduced to on the show was the Rollins Band (before "Liar"). This Henry Rollins guy blew us away, and we had to find out more about him. Through our punk rock research, we found that he had been in a band called Black Flag. We immediately bought some of the band's albums, and we were hooked -- particularly on one album that included some spoken word tracks. Through further searching, we found that Henry had quite a few albums that were entirely spoken word. We found them all and devoured them.
   The very first spoken word album we bought (and I don't know how we bought it when it had the "Parental Advisory Explicit Lyrics" warning on it) was The Boxed Life. It was a 2-cassette combo, and we each had our own copy. We listened to it voraciously, constantly quoting lines to each other and feeling as if we'd discovered the meaning of life. We went on vacation with my parents that summer, and to keep them from hearing what we were listening to, we each put our copy of Tape 1 into our individual walkmen and listened simultaneously through separate headphones. Those original cassettes are what we took to the spoken word show last night for Henry to sign.
   Something else that happened that summer is that we went to our first Lollapalooza ('93) -- without our parents' permission. They told us we were too young to go to an all-day concert like that, and of course we thought that was the lamest thing we'd ever heard. So we went anyway. We contrived some weak cover story and took off to Indianapolis (nearly 3 hours away, across the state line) with Lori's older friend Becky and Becky's much older (21) friend Erik Rose.
   We sat quietly in the backseat and thought that Erik Rose had to be the coolest guy in the world (next to Henry Rollins, of course). He was an artist and a musician, and he had long, dark hair and wore a Cure t-shirt with the sleeves cut off (The Cure is one of our all-time favorite bands, but that's a whole other story). Anyway, we went to the concert and had an amazing time, despite the blistering sunburn and sprained ankle I acquired...and despite the fact that we inevitably got caught in our lie.
   Part of Lori's punishment was that her dad took most, if not all, of her CDs and cassettes, including some Rollins spoken word albums, and threw them away! She told Henry about this last night, and he said, with an appalled look on his face, "Is he still alive?!" Ha! Believe me, we did want to kill our parents after that. Like, why couldn't they just understand and leave us alone?!? Ah, teen angst.
   To make a long story short (too late), Lori has since obtained new copies of Hank's spoken word CDs, and we are just as enthralled with him now, at age 29, as we were at 14. We've seen him perform with the Rollins Band twice, and we've been to at least 3 of his spoken word shows together. Those have been some of the best nights of our lives, but last night definitely ranks at #1. 

And now we come back to Erik Rose...

   About a year ago, as I was planning the 2008 edition of AGDM, I came across him on the Internet. I was reading up on the case developments of the West Memphis Three (in which Henry has been very supportive and instrumental), and I discovered that Damien Echols had been interviewed by a magazine called Tastes Like Chicken. I went to the website to check out the article, and I was immediately drawn to the illustration of Damien that appeared with the interview -- an illustration by Erik Rose
   My heart skipped a beat. Could it really be the Erik Rose from 14 years ago?!? I clicked on the link to his bio, and as soon as I read "originally hailing from a small town in Ohio that is filled with Etch-a-Sketches and Dum-Dum suckers," I knew it was him. I explored the site further and discovered that he's the art editor and a contributing writer for the magazine, and that he had interviewed none other than Henry Rollins for a previous issue (which included a kick-ass illustration of the man and his well-known tattoos).


   I was so excited at this point, I didn't know what to do with myself. So I did what fate must have intended: I sent an e-mail to Erik Rose asking if I could interview him for my first edition of AGDM. I could tell from his website that he had turned out to be an amazing artist, and it seemed like he'd had some success as a freelance illustrator and would make a great interview subject. Boy, was I right!
   Erik gave such excellent answers to my questions, I couldn't have hoped for a better interview. I think he'll be a great inspiration to many of AGDM's readers, and I'm so excited to share his work with all of you. I plan to post an excerpt from his interview in a later blog entry, but you'll have to get your own copy of the 2008 AGDM to read the whole thing, which I strongly encourage!

Isn't it funny how life works? We're all connected in so many small ways, and it seems those are the things that make it all worthwhile. Just think, if my dad or Lori's dad had never fought in that crazy war, they wouldn't know each other, and therefore Lori & I wouldn't know each other, and maybe neither of us would care about Henry Rollins or even know who he is. I certainly wouldn't know Erik Rose, and even if I had discovered him in searching for artists to feature in the book, he wouldn't have the same significance. 
   So I'm thankful for who I am, and for the people who've come into my life...for whatever reason, because it's the connections we make with people that give such value to life on this strange planet.

Now excuse me while I go back to floating on that cloud...

Peace,
Erika  


Artists | Miscellaneous
10/11/2007 11:16:11 AM (Eastern Daylight Time, UTC-04:00)  #  Comments [1]
 Wednesday, October 10, 2007
Family Talent
Posted by Erika

I just found out that my husband's Irish cousin is Artist of the Month at Galway City's Bold Art Gallery. Her name is Mary Dillon, and I absolutely love her and her work. Though I've only met her a few times, she made a great impression on me with her bohemian style and upbeat attitude. She is a true inspiration.

Biography from Bold Art Gallery:
   
A full-time professional artist since 1999, Mary enjoys spending her time working from her studio at home in Roscrea, Co. Tipperary. Originally from Kilkenny, she first exhibited her work during Kilkenny Arts Week at the age of 13.
   
Mary has a keen interest in botany and gardening and takes inspiration from her garden, local hedgerows, woodlands and the bogs in the midlands of Ireland.
   
Mary’s unique style reveals the power and vibrancy of watercolours at their best. Gradually building up washes of paint to create intense yet delicately subtle layers of colour, her paintings encourage and challenge us to look again.
   
Her work has been critically acclaimed on television and in national print media, and she has undertaken commissions for corporate and private collections around the world.

To submit artwork to Bold Art Gallery, mail a CD of images to the gallery at Merchants Rd. & Augustine St., Galway City, Ireland. Include a self-addressed envelope for return. You may also e-mail sample images to info@boldartgallery.com. Be sure to include a biography in your application. The biography should consist of information about you as an artist, your education (if relevant) and your influences.


Artists
10/10/2007 11:48:19 AM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
 Thursday, October 04, 2007
Pete the Cat and James Dean (the artist, not the actor)
Posted by Erika

This past Sunday was my birthday, and my dad gave me the coolest gift: a book called The Misadventures of Pete the Cat. It's a compilation of paintings done by artist James Dean, all of which feature his cat Pete.

I love cats, and I love art, so of course I love cat art! But this book is like nothing I've seen before. I couldn't put it down without flipping through the entire thing to look at each and every picture. Some are simple and whimsical, but there are also reproductions of famous paintings with the addition of Pete, such as this:

I have since found Pete the Cat's website, which features pictures not included in the book, and now I'm totally obsessed. Most inspiring is the fact that James Dean was an electrical engineer who wanted to be an artist but didn't think he could make a living as one; Pete came into his life at an opportune time and stayed just long enough to be the muse he needed to make the leap into a freelance art career. Now he is locally and nationally known for his Pete the Cat prints, which are sold at galleries and retailers around the country. Isn't that encouraging?


Artists | Miscellaneous
10/4/2007 11:38:48 AM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]