Visual Language Magazine Contemporary Fine Art March 2013 Vol 2 No 3

VL 

V I S U A L L A N G U A G E 

contemporary fine art 

VL 

March 2013 

Volume 2 No. 3 

Cover Artist Linda McCoy 

www.cfai.co/lindamccoy

VL 

VISUAL LANGUAGE 

Contemporary Fine Art 

VisualLanguageMagazine.com 

Subscribe today. 

March 2013 Vol 2 No 3 

@GraphicsOneDesign1998-2013 

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Linda McCoy 

Moody Blues 

Sunlight fuels my passion to create art. I am 

fascinated by the way it passes through a transparent 

flower petal, how it dances through 

glass, warms the top of an apple and appoints 

sentiment to ordinary objects. Capturing that 

transformation when an object is illuminated 

into something previously unseen is what truly 

inspires me. This light is what drives me to share 

my perception with others; and is a reminder to 

cherish the nuances of life. 

Contemporary Realist, Impressionist Palette, describes 

my approach to both oil and watercolor. 

I have been painting for over twenty-five years, 

forever chasing the light filled still life, landscape 

or person. I enjoy working with clients to create 

personalized works of art of their family members, 

homes, pets, or places they have visited. 

Blog: Lindamccoyart.blogspot.com 

VL Cover Artist 

Yolko Oh No 

Chuckles

Annie OBrien Gonzales 

Look of Love 

annieobriengonzales.com

content VL 

New Artists and Art Picks Pages 5-6 

Painter’s Keys - Robert Genn Page 8 

Artspan Gallery Visit Pages 21-26 

Annie OBrien Gonzales 

CFAI Art Challenge Pages 29-32 

Best of Show: David Patterson 

VL Gallery Visit Pages 35-40 

Pamela Blaies 

Artspan Artist Spotlight Pages 41-46 

Richard Newill 

Colors on My Palette Pages 49-50 

Carolee Clark and Barbara Churchley 

Artspan Review Pages 59-64 

Photographing the Body, Capturing the Soul 

by Sarah Hucal 

Guest Art Review Pages 65-68 

Glenn Ligon by Christopher Hutchinson 

CFAI Reviews Pages 71-74 

Features include Maryann Lucas & Bebe Ruble 

Daily Painters Pages 93-94 

CFAI Collection Starters Pages 113-116

VL 

new artists on cfai.co 

Seshadri Sreenivasan 

Reza Soufdoost 

Ally Benbrook 

Rosemary Bonnin 

Denise Bossarte 

Mary Opat 

Nancy Taylor Levinson 

Beverly Fagan Gilbertson 

Jonelle T. McCoy 

Maria Kitano 

5

Susan Santiago 

SusanSantiago.net 

6

VL 

VISUAL LANGUAGE 

Contemporary Fine Art 

Visual Language Magazine Staff 

Editorial 

Editor -in-Chief Laurie Pace 

Executive Editor Lisa Kreymborg 

Managing Editor Nancy Medina 

Consulting Editor Diane Whitehead 

Consulting Editor Debbie Lincoln 

Feature Contributor Robert Genn Painter’s Keys 

Artspan Media Manager Sarah Hucal 

CFAI Contributor Kimberly Conrad 

Feature Editor Art Reviews Hall Groat II 

VL Sponsor ARTSPAN Eric Sparre 

Advertising 

Contact: VisualLanguageMagazine@gmail.com 

Marketing and Development 

Director Laurie Pace 

Senior Director Lisa Kreymborg 

Amy Whitehouse “Fruit Bowl” 20 x 20 Oil 

Hall Groat II 

“Blood Money” 

24 x 30 Oil on Canvas 

7 

All Artwork is Copyrighted by the Individual Artists. 

Visual Language Vol 2 No 3

Painter’s Keys 

with Robert Genn 

The Matthew Effect 

January 30, 2013 

Dear Artist, 

Robert Genn’s 

Studio Book 

“The Matthew Effect” in economics was named after the verse in Matthew in the New Testament of the Christian 

bible: “For unto every one that hath shall be given, and he shall have abundance: but from him that hath not shall 

be taken away even that which he hath.” (25:29) A popular way of saying this is, “The rich get richer and the poor 

get poorer.” 

The Matthew Effect as applied to education was first described in 1990 by Canadian psychologist Keith Stanovich. 

You can get the idea with all the talk these days about the importance of third grade. Children who move into 

fourth grade without knowing how to read suffer significant disadvantages for the rest of their lives. Learning to 

read is the vital precursor to reading to learn. Poor readers drop out. Later on in life, good readers get the good 

stuff, and poor readers don’t. 

The Matthew Effect can be applied to art. Historically, would-be artists who didn’t learn the basics of drawing, 

composition, colour and form put themselves at a disadvantage. But with the widespread democratization of art, 

particularly in the Western hemisphere, folks these days often feel self-expression is up ahead of proficiency. It 

seems many artists are simply educated with a sense of entitlement and audacity. 

In many places, big, decorative art is popular. Artists with very little training or academic instincts can often make 

effective, even sensitive, wall-fillers that make people happy. One of my more conservative dealers calls it “the end 

of connoisseurship.” He tells me people are not looking so closely for exquisite rendering, good drawing or the skillful 

nailing of light and shadow. “Right now they want ‘em mighty, moody, and splashy,” he says. 

“Because traditional skills aren’t so respected anymore,” my dealer says, “there’s an industry in teaching people to 

be amateurs.” As he said this I was remembering Picasso’s remark: “It took me four years to paint like Raphael, but 

a lifetime to paint like a child.” I’m curious about this. Is “painting like a child” just a trend Are skill, technique, 

and connoisseurship truly on the endangered list If so, what is this doing to people 

Best regards, 

Robert 

PS: “Slow reading acquisition has cognitive, behavioral, and motivational consequences that slow the development 

of other cognitive skills and inhibit performance on many tasks.” (Keith E. Stanovich, Department of Human Development 

and Applied Psychology, University of Toronto) 

Painter’s Keys - Robert Genn 

Esoterica: Another friend regularly attends courses where everyone is encouraged to throw paint onto giant, inexpensive 

surfaces--often from a lineup of commonly-shared pots of colour. The idea of these events is to free up the 

creator within, express oneself, shake out demons, and have a good time. Colour mixing and other basics are not 

part of the curriculum. After a weekend of emoting and splashing, my friend asked if she could bring her results 

to me for a crit. In a diplomatic manner I pointed out what I thought were their strengths and weaknesses. After a 

while she hesitantly asked, “How much do you think I should charge for them” 

8

artspan picks 

Selected Members Worldwide 

Vivian Wenhuey Chen 

www.vivianwenhueychen.com/ 

USA 

Sarah Lou Newman 

www.sarah-lou-newman.com/ 

USA 

Kenneth Johnson 

www.kennethjohnsonart.com/ 

USA 

Michele Colburn 

www.michelecolburnart.artspan.com 

US 

John Counter 

www.johncounterphotography.com 

US 

Cathy Berg 

www.cathyberg.net/ 

NL 

Eric Palson 

www.ericpalson.com 

US 

Judy White 

www.judywhitefineart.com/ 

DE 

ishnonn 

www.ishnonn.com/ 

UK

Irreverent A 

www.lizhillart.blogspot.com 

Workshops with Liz 

February 8, 9, 10 Austin, Tx. @Dragonfly Gallery 

March 4 WEEK CLASS, Conroe , Tx. Art League 

March 22,23,24 Dallas Workshop 

April 2, 3 Bryan Texas Workshop (art center) 

May 9,10,11 WENMOHS RANCH (Hill Country) 

June HOUSTON, TX. Art Expo in the Woodlands (The Marriot) 

September 11,12,13 Midland, Texas

t - Liz Hill 

www.lizhillart.blogspot.com

Barbara J. Mason 

Titled: Garden Gathering 

Medium: Pastel 

Artist: Barbara J. Mason 

www.dragonflystudiocreations.com

Acrylic on Canvas 20 x 16 

Holly Hunter Berry 

HollyHunterBerry.com

artspan 

FOCUS ON: 

Photography 

Kerry Stuart Coppin 

http://www.kerrycoppin.com/ 

Louise Daddona 

www.louisedaddona.artspan.com/ 

Paul Bloomfield 

www.paulbloomfield.artspan.com/ 

17

https://www.artspan.com/visual_language

VL 

Dutch Art Gallery Invites A 

RITES OF 

Paintings by Nancy Medina - NancyMedina.com

tists to Show 

SPRING 

Show is open to all artists over the age of 18 living 

in the United States. First Place Win $1000. 

The Dutch Art Gallery brings world-renowned art to the southern region of the United 

States, located in Dallas Texas. For over 45 years, The Dutch Art has represented artists 

from around the world and showcased many well known American artists. Rites of Spring 

is a new juried exhibit that will feature winning works in the unique space of the Dutch 

Art. It is open to all artists over the age of 18 residing in the United States. Media eligible 

for admission include paintings, watercolors and statuary. There will be fifty pieces chosen 

for the month long show in Dallas. First Prize is $1000, additional cash prizes for second 

and third place. Entry fees are $40. www.artistsoftexas.org/shows.html

VL 

STUDIO VISIT ANNIE 

41 21

O’BRIEN GONZALES 


Artspan/CFAI member Annie OBrien Gonzales at home 

in her studio. 

There’s just something about still life paintings that grabs me. It’s slightly voyeuristic-but 

yet private--like peeking into someone’s life. Henri Matisse’s “Goldfish” painting (or poster 

I should say) was the first piece of art I ever purchased (probably $10 at World Market). 

I put it up in my college dorm room in a cheap plastic frame. I’m not sure I knew 

a whole lot about Matisse at that time but I knew that I loved this painting. Later trips 

to museums allowed me to see the real thing and I was wowed. Matisse has always been 

my favorite painter--the color, the looseness, the pattern-love it. 

DeLovely 


Lets Fall in Love 

annieobriengonzales.com 

My personal journey in art began after a considerable time lapse after art school while of 

necessity, I entered the “real world” of work. When I restarted my art life, I began while I 

was still working with art quilting because it was so portable and not as messy as painting. 

And it also met my criteria of allowing me to work with color and pattern--I thought my 

opportunity to paint has passed me by. When I got the courage to begin painting again 8 

years ago, I tried it all--landscape, abstract and still life as I relearned how to handle the 

paint. This year, I decided to focus on still life painting--my love since that first Matisee 

poster and try to find my own style. I am deeply in love and find still life painting endlessly 

fascinating. So fascinating that I have started my first blog--Common Objects: Modern 

Still Life Painting on my website. On the blog I’m studying modern still life paintings as I 

continue to work on my own paintings. ANNIE

Begin the Beguine 


25

Too Marvelous 


26

World of Marbles 

www.worldofmarbles.com.au/

www.worldofmarbles.com.au/ 

J A N C L A Y

CFAI.co Art Challenge “ 

Best of Show D 

CFAI Art Challenge 

Best of Show 

Glass Macro Photography 

by David Patterson 

29 

http://www.cfai.co/art-challenge-january-2013-shiny-and-new/

Shiny and New” January 

avid Patterson 

http://www.cfai.co/davidpatterson 

First Place 

Tomato with Basil 

by Tatiana Roulin 


30

Second Place 

First Barefoot Walk the Sunlight Tammy Sorrell 


http://www.cfai.co/art-challenge-january-2013-shiny-and-new/ 

31

http://www.cfai.co/art-challenge-january-2013-shiny-and-new/ 


Third Place 

Yellow Shoes Nancy Taylor Levinson 

Submit your portfolio to join 

Contemporary Fine Art International 

www.cfai.co/register 

32

Amy Whitehouse 

AmyWhitehousePaintings.blogspot.com

Earth laughs in flowers. ~ Ralph Waldo Emerson 

Barbara Churchley 

BarbaraChurchley.com

VL 

Studio Visit with Pam

ela Blaies 

36

Texas Artist Pamela Blaies 

I am inspired by light and how it affects the world around me. The 

warm gleam of a copper pot, reflections on a polished table, and sparkling 

shadows cast through colored glass onto a white tablecloth are 

some examples of subjects that intrigue me. I often use chiaroscuro in 

my painting, which incorporates contrast to create dramatic light. 

Green Apples

Comparing Apples to Oranges

Peonies and Stacked Books 

I love to paint from life. Seeing lines, colors and shapes in full glory right in front of 

me has taught me to see on a deeper level. There is always more to experience than 

first meets the eye. I work “alla prima” style, finishing each piece while the paint is still 

wet. This wet-on-wet technique imposes a time limitation that motivates an energetic 

pace to my work and helps to keep my inspiration fresh. With endless subject matter 

and significant control over composition, the still life genre allows me the opportunity to 

paint from life on an almost daily basis.

Studio Visit with Pamela Blaies 

I never received formal art education and did not discover my passion for painting until 

right after starting a family. At that time, my children were sad about our family’s recent 

move to a new home. To lift their spirits, I created murals on their bedroom walls. I 

found myself anticipating each morning filled with painting. Soon, I began experimenting 

with painting on canvas. This started me on a journey toward a lifelong commitment 

to the pursuit of painting. Over the years, I have studied with many talented and accomplished 

artists. I’ve also discovered that self-study and experimentation work well for me. 

Through dedication and hard work, I enthusiastically pursue my art as I continuously 

strive to grow as an artist. 

Visit my blog “Alla Prima” where I love to share my art and inspiration: http://pamelablaies.com/blog

ARTSPAN Artist Spotlight 


Contemporary Fine Artist 

When did you realize you loved art and wanted to be an artist I developed a love for creating art at an 

early age, but did not begin my professional career until I was in my forties. Even as a child growing up in the 

small town of Dawson, PA. I wanted to be an artist. Of course, just like the other kids, I dreamed of being a 

cowboy or a baseball player when I grew up, but I knew I would be an artist. 

Who has been your mentor, or greatest influence to date As a young child, I stayed with my grandmother 

quite often. Although not an artist herself, she loved art, and she introduced me to that world. She taught me 

how to draw. I learned about perspective, lighting and shading, composition. And then she passed away, and 

that was the end of my brief art career. But I never forgot the things she taught me about life and art. 

Who is another living artist you admire and why Daniel K. Tennant. He is an amazing realist painter. I 

have learned so much about painting from his book “ Realistic Painting”. 

What is your favorite surface to paint on I use Fredrix 7oz. pure cotton duck unprimed canvas rolls. I cut 

the size I need, then apply it to plywood board. so I will have a hard surface to paint on. I apply a number of 

coats of gesso to the canvas until I have the right suface to paint on. When my painting is complete I transfer 

my canvas from the plywood to the strecher boards. 

What is your favorite brand of paints to use I like Winsor & Newton artists acrylic, because of their strong 

colors and no color shift from wet to dry. 

Do you have a favorite color palette Not really. My palette changes with each painting. 

What is your favorite color in your closet Blue. 

How often do you paint how many times a week I try to paint everyday, even if it is for a half hour or so. 

On average about 25 to 30 hours per week. 

What is the one thing you would like to be remembered for. I never really thought about it. I would like to 

be remembered as a good husband, father, brother and friend. And of course, a good artist. 

There are many culprits that can crush creativity, such as distractions, self-doubt and fear of failure. 

What tends to stand in the way of your creativity I believe self-doubt and the fear of failure are a part of 

our eveyday lives and painting process. For me, the biggest culprit that can crush creativity is distractions. 

How do you overcome these obstacles You cannot let any of these obstacles stand in your way. Over the 

years I have trained myself to deal with distractions. When I am in my studio painting, and somethng comes 

up that I have to do, I do it, then go back and pick up where I left off. 

RichardNewillArtist.com 

41

Penny Candy 

What are your inspirations for your work Inspiration can come from where you least expect it. For me, I just love to 

create art, and that’s all the inspiration I need. 

What is your favorite way to get your creative juices flowing I enjoy being an artist. I love the fact that I can take a 

blank canvas and create a piece of art. To be passionate about the path my art appears to be taking. To be challenged as 

an artist to find beauty in what others may overlook or even concider mundane. 

Do you have any final thoughts With so many things in the world to make us uncomfortable, I want my art to provide 

the viewer a feeling of serenity. Those small intimate moments of life. And one final note. Life is so precious. Every 

single moment should be blessed and lived to the fullest. Embrace life with passion and follow your dreams, regardless of 

the odds. 


42




Autumn Sonata 

Still Life with Violin

Up Close and Personal 

What book are you reading this week 

I rarely read books. I do read the newspaper daily. 

Do you have a favorite televion show 

Seinfeld reruns 

What is your favorite food 

Anything italian 

What color sheets are on your bed right now 

My wife, Ronnie, loves penguins. There are all these 

penguins all over the sheets. 

What are you most proud of in your life 

My daughters Amanda and Elizabeth. 

Who would you love to interview 

Jan Vermeer. 

Do you have a passion or hobby other than painting 

What is it 

My wife Ronnie and I love to attend or watch 

sporting events on TV. especially Pittsburgh sports. 

Who would you love to paint 

Mona Lisa, What is it about that smile 

If you were an animal what would you be and why 

That’s easy. My sister in law Patti’s dog Max. 

He has got the life. 

Rich and his wife 

visiting the White House. 

RichardNewillArtist.com




45 

Romanza

Masterpiece with Crayolas 


46

GABRIELE BITTER 

GabrieleBitter.com 

‘You are Here’ 30 x 30 Acrylic

Carol Engles 

carolenglesart.blogspot.com

Colors On My Palette 

Carolee Clark 

http://www.cfai.co/caroleeclark/ 

http://www.cfai.co/colors-on-my-palette/carolee-clark/ 

When did you realize you loved art and wanted 

to be ‘an artist’ My mother dabbled with 

paints when I was growing up so I always had 

crayons and pencils in my hand and loved it. I 

was encouraged to enter business as a profession 

so that I could “earn a living,” but knew that I 

would return to art as soon as I could. 

Who has been the greatest influence from 

your past to mentor you to this career The 

Willamette Valley has amazing artists and I was 

lucky to be included in a critique group of very 

strong artists. I learned a lot from all of these 

amazing friends. 

Who is your mentor today, or another artist 

you admire and why There are so many incredible 

contemporary artists that I admire. The world 

has become very small with the internet and one 

may see inspiring art at every click. 

What is your favorite surface to paint on Describe 

it if you make it yourself. 

I now paint on gallery wrapped canvas. 

I used to paint with watercolor but became 

very tired of the framing. Also the 

galleries with whom I dealt didn’t really 

want any more works under glass so I 

changed to acrylic and haven’t looked back. 

49 

Read more at http://www.cfai.co/colors-on-my-palette/carolee-clark/


http://www.cfai.co/barbarachurchley/ 

http://www.cfai.co/colors-on-my-palette/barbara-churchley/ 

When did you realize you loved art and wanted to be ‘an artist’ 

I have been drawing since about 4 years of age. I created art through 

high school. Then, like so many artists, life took me along a different path 

for many years. I re-discovered my passion for art through the medium of 

pastel about 7 1/2 years ago and oil about 5 1/2 years ago. When I travel, 

which is often, I carry sketch books, pencils, and watercolors. 

Who has been the greatest influence from your 

past to mentor you to this career My mentor and 

I am proud to say, friend, was Ann Templeton, a well 

known abstract expressionist who was best known 

among many artists through her many pastel and oil 

workshops. Sadly, she succumbed to cancer last year, 

and I still miss her. 

Who is your mentor today, or another artist you 

admire and why My mentor, and friend, today is 

Walt Gonske, whom I met through Ann Templeton. I 

admire his work so much, as he conveys such emotion, 

style, and energy in his work. He paints primarily 

en plein air, and his strokes are confident, free, and 

expressive. He seldom paints over a stroke, wanting the 

viewer to feel the energy and impression that the artist 

felt when in front of the scene. I paint with him at least 

once a year, usually at his home in Taos, NM. My approach 

has become much more confident and free due 

to his influence. I am one lucky artist to know Walt. 

He is a treasure, both artistically and as a friend. 

Colors On My Palette 

What is your favorite surface to paint on Describe 

it if you make it yourself. My favorite surface to 

paint on is birch For larger paintings, I have to consider 

the weight of the panel, so linen and cotton are 

preferred then. I also paint on gallery wrapped canvas. 

The surface I paint on somewhat depends on the gallery 

that the painting will be hung in. 

Read more at http://www.cfai.co/colors-on-my-palette/barbara-churchley/ 

50

Buckets of Fun 

Kay Crain 

KayCrain.com 

Buffalo Beach

C A R O L N E L S O N 

CarolNelsonFineArt.com 

Mixed Media Workshops Limited Space Available 

Please see Carol’s website for details and contact information. 

2/25-28 Wenmohs Ranch Art Workshops, Texas 

3/15-16 Littleton, Colorado 

3/27-29 Westminster, Colorado 

4/15-19 Raleigh, North Carolina 

5/6-9 New Orleans, Lousiana 

9/2-5 Dillman’s Art Retreats, Wisconsin

SVETLANA NOVIKOVA 

svetlananovikova.com 

Johnjabisch.com 

Love is the flower you’ve got to let grow. 

John Lennon

FILOMENA BOOTH 

filomenabooth.com

When I judge art, I take my painting and put it next to a 

God made object like a tree of flower. If it clashes, it is not art. 

Paul Cezanne 

DORENE BLAKE 

doreneblake.artspan.com

ROB COMPTON 

RobCompton.com

Gibson Pottery and Glass 

1837 Panther Creek Pass 

Mount Vernon, TX 75457 

info@gibsonpottery.com

Beverly Fagan 

Gilbertson 

BeverlyFaganGilbertson.blogspot.com

Lucian Freud and Artspan Artists take a 

In 2012, a year after his death at the age of 88, there’s hardly been an artist talked about 

more frequently than Lucian Freud. In his lifetime he was lauded as an old master, wellloved 

by those within the artistic community. Yet in the last two decades of his life, he was 

continuously skipped over by dealers and collectors in favor of Hurst’s bedazzled skulls 

and the work of various Turner Prize-winners. 

It wasn’t until his exhibition at the National Portrait Gallery early last year, that the artist’s 

work once again had the Art world abuzz. Freud continued to paint until the day of his 

death, and his final labors of love were not lost to both gallery-goers and critics that attended 

the blockbuster event. Recently voted the best exhibition in 2012 by The Guardian, 

Freud’s portraiture proved that the painter had a tender, loving side, despite his penchant 

for what many consider to be crude and cruel depictions. 

From nude portraits to both gigantic and close-cropped works, an entire floor of the vast 

museum was devoted to the painter and his work. “Not cruelty, but a raw appetite for life 

is what came through in this selection of a truly great artist’s works” said Jonathan Jones 

of The Guardian. What became apparent through the exhibition was Freud’s desire for 

honest depictions—he kept his eye clear, unmarred by sentimentality. “If his art has an icy 

hauteur, its lucidity is grandly compassionate for humanity.” said Jones. 

Freud’s well-known portrait of Big Sue Tilley entitled Benefits Supervisor Sleeping, shows 

one of the painter’s first models displaying her bulk proudly—a slap on the face to the 

many airbrushed supermodels in today’s magazines. The huge Irishman – another of 

Freud’s greatest subjects – sits perched on a chair many sizes to small for his girth. Then 

there are the frequently-occurring familial subjects, such as his doe-eyed daughters Esther 

and Bella. Freud has a way of painting children as dolls and society hostesses like tawdry 

transvestites. 

Many of Freud’s early works featured in the exhibition were particularly unforgiving. 

Paintings of his first wife, Kitty Garman displayed incredible tension, love seeming curiously 

absent. Hotel Bedroom, a 1954 painting of Freud with an aged version of his second 

wife, Caroline Blackwood, presents an undeniably bleak representation of their crumbling 

marriage. 

59

n honest look at Portraiture by Sarah Hucal 

Freud’s signature style of thick, creamy strokes 

is easy enough to recognize, but if that doesn’t 

clue in the viewer, his subjects’ poses are a dead 

giveaway: naked bodies spread-eagled on a bed, 

sprawled on rags, huddled on chairs, twisted, 

eyes down or averted. Through his meticulous 

process of reworking and correcting, even the 

slenderest and most agile of sitters were made to 

appear massive, or roughed up. 

Picture to right: Lucian Freud, Hotel Bedroom 

1954 

Picture Below: Lucian Freud, Big Sue 

60

Portraiture continued 

The same frankness is apparent in the portraiture and drawings of Artspan Artist Bonnie 

Shapiro, whose work frequently features overweight nudes sprawled on sofas, or forlornlooking 

women with less than perfect figures. “For as long as I can remember, I’ve always 

had a fascination with the motivations behind ordinary behavior,” says Shapiro, who is 

based in South Florida, and who’s work has been lauded by MiamiArtZine, New Times 

Broward-Palm Beach, Coastal Living, and more. 

Because of her motivation to express human emotion in its rawest form, Shapiro said: “ 

drawing the human figure is one of the most challenging tasks I’ve undertaken.” 

Her ink drawing Sonia in Repose, with its swirling lines and approximations of a generous 

figure are reminiscent of Freud’s well-known Big Sue portrait, as is her graphite 

drawing, Vesna at Rest. She cites the work of the Ashcan School, particularly Hooper and 

Glackens, for their depiction of every day life in unsentimental forms. 

Like Freud, who repeatedly painted himself, as well as those closest to him in his life, Shapiro 

has formed relationships with her models, whom she has worked with over the last 

six years. “We have developed close friendships” says Shapiro, “and those relationships 

serve as an inspiration for my drawings and paintings.” She has no interest in the perfection 

of what she calls ‘fashion magazine body types,’ and prefers to portray the people she 

knows and sees in her daily life. “I strive to set a mood and a sense of place in both my 

paintings and drawings.” she shares. 

Irish-born artist Jackie Hoysted is similarly inspired by the mundane. Hoysted’s work is 

featured on Artspan site Gallery 555, which is dedicated to promoting the work of artists 

in the DC area. 

Irish-born artist Jackie Hoysted is similarly inspired by the mundane. Hoysted’s work is 

featured on Artspan site Gallery 555, which is dedicated to promoting the work of artists 

in the DC area. 

61

Bonnie Shaprio ‘Vesna at Rest’ 

62

Portraiture continued 

Jackie Hoysted ‘Lisbeth’

Hoysted’s figurative work mirrors the bluntness of Freud’s, whom she considers one of her 

greatest inspirations. Her work for Gallery 555 comes from the collection “Out of Context/No 

Context” which was as she says “adversely motivated” by a friend and former art critic who 

told her an earlier body of her work lacked context. “I felt that it should be possible to create a 

painting that stood on its own without revealing any background information.” 

Indeed, her subjects stand alone powerfully. The women featured in her paintings sit in front 

of muted backgrounds, some gazing questioningly at the viewer, such as Antigone in her yellow 

bathing suit, while others avoid the eye-contact, their faces cast down dejectedly, like the 

despondent Lisbeth. “My goal was to challenge traditional depictions of women as sex objects 

and receivers of the gaze” says Hoysted, “I did this by creating images of women that are 

beautiful and exude mental strength. They challenge the viewer to decide what they are really 

about.” 

Hoysted’s subjects are wiry and minimally clad, yet their pale, greyish pallor gives them a 

nearly corpse-like quality, challenging traditional depictions of femininity. Hoysted has said 

that her motivation in using the high-key palette was to suggest a particular mood and sense 

of contemplation, much like the way Freud used color and stroke to create a certain aura 

around his sujects. As for her greatest artistic influences, she cites the expressionist movement 

because “they excel at depicting our base qualities and humanness” as well as the minimalist 

movement for its purity. The artist hopes to marry these two styles in her current work by 

“limiting the palette and confining mark making to suggest essential form.” 

The inverse of Freud’s thick strokes, which force the viewer to see the paint before the subject, 

Hoysted uses no more than what she needed, yet managed to similarly depict a haunting 

frankness in her subjects. But like Freud, her desire to delve into the human psyche—the 

intelligence, moods, feelings and passions that we experience— is more important than staying 

true to form. “I am not interested in achieving a likeness,” says Hoysted “I don’t mind if I 

misrepresent form, I am only interested in humanness and not the particulars of a person.” 

Freud and Shapiro would likely agree with Hoysted when she says “Beauty alone doesn’t make 

for a great painting or a great person.” It’s the complex set of emotions that we humans experience 

every day— from the bitterness of an unhappy marriage stunningly portrayed in Freud’s 

“Hotel Room,” to the aura of strength in Hoysted’s subjects—that really counts. 

64

Critique of: High Museum of Art prese 

by Atlanta Art Professor C 

http://musiqology.com/tag/glenn-ligon/ 

Glenn Ligon is a conceptual artist whose work explores 

issues of race, sexuality, representation and language. Born 

in the Bronx, Ligon still lives and works in New York. With 

a BA from Wesleyan University in 1982, Ligon was chosen 

for the Whitney Museum of American Art’s Independent 

Study Program in 1985. His work has since been featured in 

solo exhibitions at impressive venues including the Hirshorn 

Museum and Sculpture Garden, the Brooklyn Museum, 

Dia Center for the Arts, the Studio Museum in Harlem, The 

Power Plant and most recently a mid-career retrospective 

traveled from the Whitney Museum of American Art to the 

Los Angeles County Museum of Art, closing its tour at the 

Modern Art Museum of Fort Worth. 

http://whereisthepower.com/page_id=77 

From a Postcolonial viewpoint Ligon exemplifies the lens to which African American art should be 

evaluated, from its own aesthetics and through its own lexicon. The fact that one has to know who 

Richard Pryor, James Baldwin, Zora Neale Hurston, Malcolm X all point to the mandatory reading 

required and excluded from Western art dialogue. He uses African American culture and language as 

the primary source material of his work. 

Ligon lecture was the very best artist conversation the High has hosted, he was so candid about his 

influences and progression as an artist, and it was truly refreshing. Ligon discussed the retrospective 

and why those particular works were included in the exhibition. How his Malcolm X piece came to 

be, as well as his noted neon’s. It was great to see and hear the conflict between medium and concept 

that became present in Ligon’s text based works, leaving the “painterly “ behind to pursue a precise 

dialogue. 

This lecture illuminated some inconsistencies between Ligon’s personal conversation and the commonly 

accepted “text-based conceptual artist” dialogue about his work. These discrepancies demanded 

an analysis/ rereading of Ligon’s retrospective. Upon rereading his work, it is often formulaic, 

iconic, illustrating concept rather than conceptual. 

65

nts A Conversation with Glenn Ligon 

hristopher Hutchinson 

https://www.facebook.com/christopher.hutchinson.545fref=ts 

http://alexastrautmanis.blogspot.com/2011/06/negro-sunshine-glenn-ligon-at-whitney.html 

66

http://mitakuyeoyasinn.blogspot.com/2011/05/glenn-ligon.html 

Formulaic 

http://www.capitalnewyork.com/articl 

ture/2012/10/6538741/glenn-ligon-lights-lu 

gustine-though-few-works-remain-d 

Ligon discussed the shift from abstract painterly paintings to his well-known stenciled text 

based paintings. The battle to incorporate text and paint together has been a clash for most 

painters-with painters either choosing text or paint. He abandons the painterly and focuses 

on the text. When he does this the process becomes most important. This praxis can be seen 

as repetitive formulas that lead to the exact same result, a gradient. Ligon’s stencil begins, as 

clear as a representational painting, and then slowly gets destroyed by the process. Yes the 

text is important, but more important is the formal visual element of the calligraphy. Ligon is 

responding to the typography as an icon to be smashed, similar to aspirations of the abstract 

expressionist DeKooning’s woman 1. This body of work has more to do with obliterating the 

icon of type than it does the deconstruction of text. 

Icon 

“Even my Richard Pryor paintings,” he went on, referring to a series of work based on jokes 

told by that black comedian, use a common racial epithet. “Turn on the radio,” he said. “A 

word like that is so archaic, it’s not of this time. It’s about language.” 

http://www.nytimes.com/2011/02/27/arts/design/27ligon.htmlpagewanted=all&_r=1& 

67

Glen Ligon 

Using Icon’s in artwork is a deception that has immediate implications. The work no 

longer belongs to the artist; it now has to contend with the reputation of that Icon. 

This is discernible in his Richard Pryor text pieces. For those who don’t realize Richard 

Pryor’s work the pieces are just troubling transcripts that are hard to read. But if 

you are conscious of Richard Pryor, doesn’t it just summon one of Mr. Pryor’s comedy 

shows again Richard Pryor’s Icon dwarf ’s the artist’s message. The best this work can 

accomplish is denoting the original source material. Should these instructions be the 

occupation of art At best this is only appropriation. 

though-few-works-remain-dark 

e/culhring-auark 

What is the point of Ligon’s work then Is it to put up arbitrary quotes to examine 

your intellect What crafts this effort as distinctive from those people on Facebook 

with their mundane daily affirmation Ligon’s handling of these quotations is “irresponsible” 

name-dropping that amounts to proselytization. It is not deconstructed, 

or intertextual. It is derivative. The possibility of deconstruction originates when the 

viewer does not identify the quote/text. When the observer assumes and generates 

meaning for him/herself. 

Conceptual 

Even though, Ligon never spoke of being a conceptual artist in his conversation at 

the High, He is regarded as one by many. In one of his latest pieces, “One black day”, 

Ligon uses his black neon in a text form that reads Nov 6, 2012. 

“Depends on who you’re voting for and who wins,” Ligon said evenly. “It’s a ‘black 

day’ either way. You just have to think about it.” Ligon giggled. “It’s just a different 

black.” 

http://www.capitalnewyork.com/article/culture/2012/10/6538741/glenn-ligon-lights-luhring-augustine- 

Yes the work is charged by its racial implications to this post-racial American farce, 

but is this conceptual art or the direct meaning illustrated It is definitely postmodern 

by poking fun and being irreverent, more appropriately POP “all the same it’s easy 

stuff ”. 

by Christopher Hutchinson January 17, 2013 

http://blackflight144.com/blog-2/ 

68

Judith Goolsby 

judithgoolsby.com

Vibrant Crisp Colors, Lively Brushwork 

Truchas Mission 

DYAN NEWTON 

DyanNewton.com/

Cfai Blog Review 

Cheri Homaee 

Carol Smith Myer 

Pamela Blaies 

71 

Judith Babcock

StillLifeArtistsInternational.blogspot.com 

Still Life Artists 

Dottie Martz 

Carol Smith Myer 


72

CFAI New York Artist Spotlight 

Maryann Lucas 

http://www.cfai.co/maryannlucas 

Gretchen Kelly 

http://www.cfai.co/gretchenkelly 

73

Bebe Ruble 

http://www.cfai.co/beberuble 

Barbara Fox 

http://www.cfai.co/barbarafox 

CFAI New York Artist Spotlight 

74

Pat Meyer 

http://www.patmeyer-artist.com/

Meet me in the Garden... 

Suzy Powell 

SuzyPal.com

Isabelle Gautier 

isabellegautieronline.com

Kristine Kainer 

KristineKainer.com 

Commissions welcome.

Judith Fritchman 

judithfritchman.com

D E B K I R K E E I D E 

DebKirkeeide.com

Daily Painters Abstract Gallery 

http://dailypaintersabstract.blogspot.com/ 

SAKO 

PADEN 

theresapaden.com/ 

www.cfai.co/elizabethchapman 

CHAPMAN 

O’BRIEN GONZALES 


Joyful, buoyant oil paintings to raise your happiness level. 

Amy Hillenbrand 

AmyHillenbrand.com

RussellMccall.com

Karen Taddeo 

karentaddeoart.com

Kimberly Conrad 

Contemporary Artist 

Pouring Color into 

Your Life 

KimberlyConradFineArt.com

http://kimberlyconraddailypaintings.blogspot.com/

http://www.cfai.co/lauriepace

VL 

Painting with 

OilPaintingDVD.com 

Step by Step Demonstrations 

hrgroat1@stny.rr.com

Hall Groat II 

OilPaintingDVD.com

91 

D A V I D P A

T T E R S O N 

http://david-patterson.artistwebsites.com/featured/follow-the-daisies-david-patterson.html

DAILY PAINTERS 

ily Painters.comDaily 

Tom Brown 

Barbara Fox 

Theresa Paden 

Carol Nelson 

Rick Nilson 

David Larson Evans 

Mark Adam Webster 

Linda McCoy 

Debra Hurd 

Marina Petro 

Kimberly Conrad 

Diane Hoeptner 

91 93 

Carol Nelson 

Ruth Andre 

DailyPainters.com 


Debra Sisson


Carolee Clark 

Susan Cox 

Carol Engles 

Kay Wyne 

Connie Chadwell 

Nancy Medina 

Debbie Grayson Lincoln 

Leslie Saeta 

Hall Groat II 

Kay Smith 

Felicia Marshall 

Diane Mannion 

Delilah Smith 

Kay Wyne Kimberly Conrad Linda McCoy Delilah Smith

D I A N E W H I T E H E A D 

DianeWhitehead.com

AnneHinesArt.com 

Anne Hines

LINDA BEIN 

LindaBein.blogspot.com 

Spirits of the West 22”x30” Transparent Watercolor with Matte Medium

I perhaps owe having become a painter to flowers. 

~Claude Monet 

Mary Jo Zorad 

ZoradArt.com

Sheep Incognito 

Camooflage 

Conni Togel 

Charisma-Art.com

Rebecca Zook 

RebeccaZook.com

Tempy Berg-Gilbert 

TempysArt.blogspot.com

Watching and Waiting... 

Marchita Priest 

LoneStarArtist.com 

TexasLandscapeArtist.blogspot.com

Hall Groat II 

The Delicacies in Life 

www.cfai.co/hallgroat 

http://www.nyartguide.net/groatii/

American Fine Artist 

To Each Man is His Choice. 

www.cfai.co/hallgroat 

http://www.nyartguide.net/groatii/

THE COLORS OF TEXAS 

DutchArtUSA.com 

105

THE ARTISTS OF TEXAS 

ArtistsofTexas.org

Venetian 

Medical 

www.cfai.co/lisamckinney 

LMcKinneyGraphics.blogspot.com 

Lisa-McKinney.artistwebsites.com 

Spa 

venetianmedicalspa.com/ 

L. McKinney Graphics 

Offering design services for art marketing including: 

Blog design 

Social media page design and graphics 

Non-HTML artist websites for easy site maintenance by the artist 

Email blast marketing and newsletters 

Gallery opening/show announcements and flyers 

Please email LMcKinneyGraphics@graphic-designer.com 

to view portfolio or with questions.

LISA McKINNEY 

www.cfai.co/lisamckinney 

LMcKinneyGraphics.blogspot.com 

Lisa-McKinney.artistwebsites.com

NancyMedina.com

Nancy Medina 

NancyMedina.com

WENMOHS 

Artists Retreat at t 

Art Workshop Sc 

Lodging is available on a first come, first serve basis. There is additional hotels and motels in nearby Marble 

Lunches are prepared for you and in the evneings, everyone brings food to share along with a favorite bottle 

for over eight generations and is today an active cattle ranch. 

JUDY GELFERT 

Oils/Studio February 9-10 

$240 

PAT CANNEY 

Oils/Studio Working from photos or 

mannequins February 19-21 

$350 

CAROL NELSON 

Acrylic/ mixed medium/ St 

abstract February 25-28 

$450 

LIZ HILL 

Drawing and painting the 

figure in mixed media 

May 9-11 

$350 

TOM LYNCH 

Watercolor/ Studio 

May 20-23 

$575 

http://www.wenmohsranch.com/Art%20Classes.htm 

BOB ROHM 

Oils, Pastels/ Plein Air 

October 25-27 

$360

RANCH 

he Bunkhouse 

hedule for 2013 

Falls. Our aim is to make you happy and see to it that you have your best learning experience ever. 

of wine. Life is truly good at Wenmohs Ranch. The Texas Ranch has been in the Wenmoh family 

udio/ 

DON SAHLI 

Oils/ Studio/ Plein air 2 days of each 

March 4-7 

$595 

RUSTY JONES 

Oils/ Plein air 

March 20-22 

$350 

ROBERT BURRIDGE 

Acrylic, Studio/ abstract 

April 1-5 

$630 

Also soon to schedule will be the great teaching team of KAREN 

VERNON and KEN MUENZENMAYER. 

For those of you looking for a great holiday gift idea--other than 

a class at the WENMOHS RANCH, En Plein air Pro is offering a 

15% off until the end of 2012 on all of their artist easel packages. 

See you at the Bunkhouse! 

DON SAHLI 

Oils/ Studio/ Plein air 2 days of each 

November 4-7 

$595 

Dena Wenmoh 

http://www.wenmohsranch.com/Art%20Classes.htm 

112

CFAI.co Collectors 

http://www.cfai.co/gallery/art-under-200/ 

Kimberly Conrad http://www.cfai.co/kimberlyconrad 

Lorrie Boydston http: 

113 

Lisa McKinney 

http://www.cfai.co/lisamckinney 

M

Art under $200 


//www.cfai.co/lorrieboydston 

Carol Schiff http://www.cfai.co/carolschiff 

aria Kitano 

http://www.cfai.co/mariakitano

CFAI.co Collectors 


Laurie Pace http://www.cfai.co/lauriepace 

Tim Lincoln http://www.cfai.co/timlincoln 

Patty Ann Sykes 

http://www.cfai.co/pattyannsykes 

115

Art under $200 


Linda Rupard 

http://www.cfai.co/lindarupard

Dutch Art Gallery 

Painting by Anton Zhou 

DutchArtUSA.com

Visual Language Magazine Contemporary Fine Art March 2013 Vol 2 No 3

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