Teaching artist Reg Lewis sought to contribute to The Year of Literacy by borrowing the artwork of Faith Ringgold (from her civil rights/text-based period “1970-72”) as the inspiration for the ART YARD session. Ringgold’s protest poster pieces set the reflective mood of the class, which was enhanced by a dynamic, socially conscious playlist curated by Eden which perfectly complimented the theme of the session. In addition to words of protest, the participating artists were also encouraged to consider text or messages of wellness, encouragement, questions, or quotes they found vital or important to share. Watercolor was the medium used for the session.
Reg writes: “In addition to being our DJ for the afternoon, Eden also created a delightful piece (or shall I say slice) of art that used the phrase “soul of my soul” to intimate her intimate love for one of summer’s most mouthwatering refreshments. The rich color and shape accurate canvas Eden created made her piece truly outstanding.
Meridith’s artwork also evoked the flavors of summer, both figuratively and literally, as she created a beautiful still life painting of the very lunch she prepared for us as a prelude to the artmaking process. Meridith’s text, “Good Food For All,” was apropos as the savory victuals were as good (and tasty) as they looked. In this way, her art imitated life as we all indulged delightful portions actually before, during, and after. (As Eden was our DJ, Meridith was our chef).
TJ’s artwork reinforces her bold, passionate statement of love, hence the intentional use of red for the hands forming the sign language letters for the text. The large spelling of love in white is then topped with a chain of love, again the letters featured in red. Overall, the TJ’s artwork is an impactful, unequivocal statement that serves to remind us of the most powerful force in the world. Simply three colors helped her create this effect.
Lila’s artwork is also centered around love while featuring several colors in bold, dynamic display for the text. The heart in the middle, reinforced with the almost mirror reflected letters spelling “Love” (sharing the “e”) serves as an anchor for the piece amid the physical acts we must all, to some degree, engage in order to protect our hearts and/or that which we hold dear to our hearts. Lila’s? piece is a portrait of the struggles many of must endure for self-preservation.
Gwen’s piece carries an extraordinary message of positive self-image as the animated letters circle around the individual circle of blue and lavender hue to say, “Awsome Just the Way I Am,” while making it clear in the middle, “And so are you.” The piece does well to assert that although there will forever be critical eyes around you, worry not for you must stand confident in who you are; Gwen promotes diversity of character by creating a stunning array of textures and colors that decorate the letters. The artwork, in short, is a wonderful promotion of self-love.
Andrew, Gwen’s father, supports this sentiment by creating a sweet, visual pun for “be kind.” The bee is wonderfully rendered with a dense application of watercolor that gave the image the appearance of acrylic. Although kindness is a byproduct of love, I love the irony that the bee has the potential to punish those in defiance with a sting. What a stunning arrangement!
Speaking of self-preservation, Jacob’s thought-provoking artwork features motifs used in Ringgold’s posters as he presents variations of contrasting colors within the text highlighting questions of capital concern: “How much does it cost? How much should it cost? Where does the money go?” The questions are presented in the colors representing capitalisms central instruments of money and gold. My interpretation of the checkerboard pattern can be used to suggest that making the right (or wrong) moves with money can mean the difference between wealth and poverty. Three simple questions that have the potential to yield complex replies.
Mich’s artwork strikingly asserts the message that, “We Are the Art” which is supported by the formation of a star established by the negative space of the bold, angular letters that slant in from the edges of the canvas. The vibrant red and green color imbues Mich’s piece with a sharp brilliance that supports Art Yard’s philosophy and purpose; overall, the piece is a visual stunner that could also double as a logo for AYB.
Sigrid presents the portrait of a bag, symbolic of the various issues and items that take “hold” of her thoughts as she carries them in mind, perhaps on any given day. Although the items seem random, a narrative begins to emerge as one starts to see connections between the various elements. The striking, violet blue background seems to represent a lingering darkness that threatens to envelop the bag that sits alone vulnerably without visible support. Simplicity and complexity coexist in Sigrid’s mysterious piece.
Vee’s large-scale piece, amazingly completed within the frame of one class session, presented another theme explored by Ringgold’s work from said period—flag interpretation. Vee created a variation of the American flag in her own (life-sized) image. After being traced by a classmate, Vee filled the body with the word “freedom” in red letters with a stencil she designed, while filling the rest of the canvas with white stars over the blue background. The result is an audacious reinterpretation that aptly matches Vee’s indomitable spirit. My suggestion to them—to (re)name the flag “New Glory.”
To follow, Ariel’s artwork, which is deceptively whimsical, features a reclining bird seemingly vacationing. Upon closer look, one can see the yellow figure concealing the sobering question, “Where To Go?” Once the text comes into view, the image shifts and takes on a more solemn mood as one is then drawn into the figures restless quest for contentment and/or belonging. It’s as if the bird is lost or misplaced and simply trying to find their place in the world. Simple as it may seem, the reflective piece takes on an existential weight we all must bear to some degree or another.
Elizabeth’s piece, “Ni Uno Mas,” (Not a Single One More) presents a raw image of a dead body outlined as viewing a homicide scene. The repetition of the explicit text combined with the central figure establishes an urgent plea as the stark image almost wishes to match the intensity and insanity of the very violence it wishes to stop. The bold red-letter cutouts surrounding the fallen figure add to the power of the piece by standing out and almost screaming to the viewer. The large eye wide open, in my interpretation, means we cannot look away or avoid the reality of violence; it must be confronted.
My (Reg) monochromatic artwork (in progress) is a continuation of his project centered around his mindfulness performance piece, “The Attention Wars.” The text in the artwork is his attempt to render a visual representation of time as it “crosses the mind.” The past and the future occupy the horizontal plane while the present occupies the vertical, showing how closely related they are as they share space.
Use arrows to scroll through photos of class at work.
Overall, the session was filled with extraordinary ideas that elaborated on the inspiration provided by Faith Ringgold’s artwork. It was another extraordinary Art Yard experience replete with delight and surprise.”
On Tuesday AYB Artist Jacob Rath changed the atmosphere in the studio, having us sit in the comfortable couches and chairs as he related a tale learned during his year of training in Italy for Montessori teaching certification.
Jacob explains: “I taught a lesson about the story "The Ox and the House." The Story was developed by Maria and Mario Montessori. It is told to elementary school students with the goal of orienting them and inspiring them in the study of language. The story provides an overview of the history of writing. The story discusses writing systems from all over the world and through many time periods - from the Aztecs, to the Sumerians, the Phoenecians and more.
After telling the story, we made art about writing systems. I provided several prompts for inspiration, and the class made art about the alphabet in many directions. Some people made work that focused on the design of letters of our alphabet. Some people created their own symbols, or writing systems. Some people made alphabet charts. Some people explored the way that writing impacted their lives. Elizabeth made a piece about literacy and her family's history. I made drawings exploring potential uses for the Azilian stones.”
Jules Lorenzo, Exploring the Alphabet (three of five)
Thinking about the AYB Year of Literacy, it has occurred to me that I work a lot with text and language in my paintings. Participating artists expressed a keen interest in delving into material techniques during the artmaking intensive of Summer Session. Building upon Evelyn’s sessions in oil painting, and Dede’s work with acrylic, we decided that learning more about watercolor peeked our collective interest.
Thus I (Meridith) presented on Wednesday a session about including text in watercolor paintings.
I brought several of my own Magical Things paintings to share with the group and to serve as inspiration. Unlike oil or acrylic painting, with watercolor the white of the piece is actually unpainted paper. To achieve this result it takes planning and drawing first.
We brought in or scrounged through our supplies for objects with text. I brought patterned paper to use to create lively tableaux to paint. Then we got to work, painting thin layers to build up luminous depth of color, shadow, and light.
The finished paintings are beautiful! They make a great series and are reflective of our eclectic style. I am thrilled to report that these paintings will be on view at 180 Franklin Avenue Gallery in the fall. More details in September.
Yesterday, on our final day of AYB Summer Session 2024, we made a special field trip to Governors Island to visit the studios of AYB Artists Jodie Lyn-Kee Chow (Flux Factory Studio) and then on to Mildred Beltré (Koda Artist Residency). AYB Teaching Artist Iviva Olenick gracefully stepped in to help overcome travel snafus.
Ed recounts: "On this glorious summer day we boarded the NYC Ferry to Governor’s Island to visit artist studios and enjoy the quietude of nature. Only a ten-minute ride from South Street, the ferry delivers one to a forgotten land, a retreat from the frenetic buzz of NYC.
First stop - Jodie Lyn-Kee Chow’s studio, located in a long-abandoned, partially restored wood frame house. After introducing herself, Jodie gave a quick tour of the house and her studio, where she showed her ceramic sculptures of cutting tools and hand weapons based on eighteenth-century slave culture on Jamaica’s sugar plantations. On display were full scale drawings of each object, plus facsimiles, reproduced in fired clay, with multiple coats of glaze applied to create a metallic-like patina. Jodie explained that her work is informed by the 17th century West African tools & weaponry before confiscation from Europeans. The objects were stunning, eccentric, and very much of the period.
Photos from installations and Jodie's studio in Flux House on Governors Island
An adjacent room housed an interactive installation by Mark Shaw. Entitled, “Matisse’s Bed,” this installation included a bed and a long stick with a graphite drawing crayon. Guests were invited to use the drawing tool to create images on tablets hung on the walls surrounding the bed, the better to feel the conditions under which Matisse created his last works.
Ty activates piece by Mark Shaw installed Flux Factory Governors Island
Next stop - Mildred Beltre’s studio. Seated at large wooden loom, Millie explained how she applied for a small grant from an organization looking for socially progressive art, to land her studio space for the summer. She needed a quiet place to work, away from the heat and noise of Brooklyn. Without the usual distractions of cell phone and computer, Governor’s Island fit the bill. Millie’s background is printmaking. Her current project, weaving striped drapery-like, Tyvek panels, was conceived as a sculpture. The various-sized panels, complete with long, loose strips of Tyvek at the outside edges, are to be installed out-doors on A-frames. Her idea is to create roof-like structures that make soft sounds, like leaves rustling when the wind blows through them. She wants the work to convey the illusion of a roof over your head, commenting on the fragility of our world.
When Mille passed one of the finished panels around, we were amazed at the lightness of the material and the precision of her labor-intensive technique.
Seeing Millie seated calmly at her loom recalled the image of the Three Fates of Greek mythology, weaving their elaborate tapestry wherein each thread represented a person life, which might be cut short at any point during their weaving of the fabric of time.
Some commentary from AYB participating artists on the trip:
Jodie shares: “It was great having you all over!”
Josue sums up: “Our trip to Governor’s Island was not only the perfect get away from the city without leaving the city. Gave me the realization that we are living in a bunch of island all connected together. Also the importance of seeing other artist studios and learning from their artistic work.”
Jacob writes: “It's always a pleasure to visit an artist in their studio. I enjoyed seeing their works in progress, hearing about what motivated the works, and what they will become. I also love the more relaxed atmosphere on Governor's Island.”
Mich adds: “I love how we got to get out the city and encounter this fresh and beautiful environment, it’s such a mindful experience and to think these artists in residency travel this way, it could make anyone to feel creative and inspired!”
Mildred compliments: “It was a sweet group. It was lovely hosting you all.”
Iviva enthuses: “I love what Mildred’s doing. So inspiring! I had an amazing time! Thank you for organizing it.”
Rachel states: “Taking the ferry made today really feel like a field trip and a mini vacation from work! I enjoyed the open and free flowing conversation at Mildred’s studio.”
Ed finishes up his thoughts on the day: "As we departed for the ferry someone commented that Governor’s Island felt haunted. Indeed - it is a place where time stands still. A place where the buzzing bees and wildflowers sing their songs to the sun."
AYB Summer Session 2024 would not have been possible without the extraordinary teamwork of our amazing community.
Special thanks to: Teaching Artists Evelyn Beliveau, Mildred Beltré, Jodie Lyn-Kee Chow, Liv Collins, Reg Lewis, Jules Lorenzo, Dede Lovelace, Iviva Olenick, Ed Rath, and Jacob Rath; Interns Ailey Haynes, Marley Haynes, TJ Edgar; drivers who offered rides Dede Lovelace, Tangie Murray, and Vee Tineo, everyone who pitched in to bring snacks, in particular Ty Fletcher, and clean-up team TJ Edgar, Jacob Rath, Ajani Russell, and Vee Tineo.
(Left to right) TJ painting, Ailey setting up snacks, the organized storage closet
Life-long AYB Artist, Spelman College Student & AYB Summer Intern TJ Edgar writes: "This summer, I've had the incredible opportunity to be the Art Yard Summer Intern! For the past three weeks, I've been in charge of bookings, organizing, and even handling some random tasks during class. Let me tell you, it's been a roller-coaster ride! Some days were challenging, dealing with registration frustrations or unexpected roadblocks. But you know what? Despite it all, we managed to have successful and super fun lessons every single time!
Being back home from school, I've had the chance to meet some truly fantastic new friends and create art with everyone. As a college student, networking and gaining new experiences is always a treat, and these past few weeks have been no exception. Not only did I get to hone my patience, creativity, and organizational skills, but I also made lasting friendships who can't wait to join for fall classes, even if it's through zoom while I'm in Atlanta!
So, here's to an unforgettable summer filled with laughter, growth, and artistic adventures. Cheers to making lasting memories and embracing the excitement of new opportunities!"
It was a remarkable month of programming, which perfectly exemplified the ART YARD BKLYN mission.
We believe that art as a holistic endeavor allows us to delve into any topic imaginable. The practice of learning, creating, thinking, and discussing art nourishes people of all ages in body, mind, heart, and spirit. AYB builds and strengthens community through art, fostering a sense of civic responsibility and awareness of social justice, and creating a safe haven where everyone is treated with kindness and respect.
Our GoFundMe campaign is still active. Perhaps you will be the one that gets us to our Summer Session funding goal?!
May the remainder of your summer be inspiring and restorative!
See you in September.
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