Downtown Nashville

This post is to share some of my favorite secret spots. No, not the Ryman or 12th and Porter, which I would certainly recommend for all you music fans. Since this is a visual artist’s blog, these places are geared toward the artist/collector. Here they are:

1. LIEPER’S FORK ANTIQUES AND SHOPS.

An exquisite European marble sculpture for sale at Serenite Maison in Liepers Fork, TN.

A fifteen minute drive outside of Franklin, Tennessee, is a small, historic town called Lieper’s Fork. It’s worth the drive–nestled in the rural rolling hills of greater Nashville–past picturesque barns, horses, stone walls, and white fences. I used to go to Lieper’s Fork to visit a specific store. There was a guy who salvaged all kinds of antique architectural elements–pillars, hardware, windows, doors–and resold them at really reasonable prices. Unfortunately he’s gone now, but here are three shops worth visiting: Serenite Maison, where I was sorely tempted by the beautiful marble sculpture in the picture above. The Maison has some gorgeous antiques–not dirt cheap, but if it were my store, I’d price things similarly. Also, Leiper’s Creek Gallery has some nice work by current artists. And if you’re interested in rare books, check out Yoeman’s in the Fork.

2. PRESERVATION STATION

An old knob and keyhole plate from Preservation Station.

Since my architectural salvage guy disappeared from Lieper’s Fork, I went on a hunt to find a similar place in Nashville. I found it at Preservation Station. The place has lots of treasures. I purchased some old hardware, like this knob, to finish off some of my rennovation projects in Redmond.

3. THE FUGITIVE ART CENTER

The outside window of my old studio space in downtown Nashville.

I stopped to visit the Fugitive Art Center for sentimental reasons. It’s an old, damp and musty building where I spent two of my early years as a painter. This is where I put in my time, in a barely climate controlled dive, creating some of my favorite pieces, including Angel, Grey Day Golgotha, and the Five Prepared. This is where I brought my daughter Maegan to do her first painting while Amy was in the Vanderbilt hospital with our second baby.

4. LEQUIRE GALLERY

LeQuire Gallery show.

I had the pleasure of meeting sculptor Alan LeQuire and his lovely wife Andree at their gallery and studio. Alan is pretty much an institution in Nashville. He sculpted the giant Athena at the Nashville Parthenon. I loved the art in the gallery–very talented and expressive artists–definitely worth seeing. I also picked up the new drawing book, Lessons in Classical Drawing by Juliette Aristides. Some of the pieces from the book were on display at the gallery.

5. THE TOLK RESIDENCE

Cherubim and a Flaming Sword, by J. Kirk Richards

Of course if you’re going to Nashville, you’ll want to see some of my paintings, right? Stop in at the Tolk’s house. There are ten original paintings at the house right now, including Cherubim and a Flaming Sword. The Tolks are always excited to show visitors their art collection. Seriously–stop in.

J. Kirk Richards in front of the old studio entry at the Fugitive Art Center.

Well, I could go on and on, but I’ve got to get back to work. Thanks for taking a glimpse at my secret hideouts when I’m home away from home in Nashville.

Amy at The Modern

The Modern Art Museum in Fort Worth is definitely worth checking out. One of my favorites is the Richard Serra sculpture on the museum grounds:

Tiny J. Kirk Richards in front of a giant Richard Serra at the Modern.

Amy inside the Richard Serra sculpture, at the Modern in Fort Worth

Probably my favorite of the trip: this winged book by Anselm Kiefer. It reminded me of my own Angel painting from Nashville–the one with the book on a music stand.

Amy next to Anselm Kiefer's Book with Wings

Book with Wings, Anselm Kiefer, at the Modern in Fort Worth

Book with Wings, Anselm Kiefer, at the Modern in Fort Worth

I also loved this giant Anselm Kiefer painting. The textures were inches thick, peeling off the canvas:

Anselm Kiefer, at the Modern in Fort Worth

Anselm Kiefer, at the Modern in Fort Worth

Also, when we visited the Modern, there was a giant retrospective of Diebenkorn paintings. Well worth seeing.

Across the street from the Modern is the Kimbell Museum of Art, with a more traditional collection of work. And just beyond that is the Amon Carter Museum of American Art, which we didn’t get a chance to visit.

Amy at the Kimbell

The Kimbell was hosting a show of the school of Caravaggio. They had a few actual Caravaggio pieces, a few George de La Tour pieces, and a host of pieces by other artists of the same school. Here are some favorites from the permanent collection at the Kimbell:

Virgin and Child at the Kimbell Art Museum

I absolutely loved the above terra cotta piece attributed to Donatello. Amy’s favorite was the Frederic Lord Leighton below. I admit it was exquisite–the face is absolutely perfect.

Frederic Leighton at the Kimbell Museum

Ancient works at the Kimbell

I’ve also been fascinated for a long time now with the detail work in eastern stone carving. Here’s a close up of some intricate patterns on a figurative sculpture at the Kimbell.

In summary, there are at least three great museums within walking distance of each other in Fort Worth. Check them out.

THE BIG PICTURE:  A CALENDAR

On a regular basis:
New blog post (1-6  times a week)
Social networking links to blog
Social networking posts
Enter group shows and juried shows throughout the year

On a cycle:
Set a date for a show (6-8 months before)
Create the best artwork possible—a variety of sizes and prices.  Twelve or more pieces, if possible. Ideally twenty to thirty.
Order postcard invites to the show (5 weeks before the show)
Photograph the artwork (3 weeks before the show)
Update the website (3 weeks before the show)
Prepare and deliver press releases or other publicity (3 weeks to 12 days before the show)
Send off the postcard invitations (12 days before the show)
Send off an email newsletter invitation (5 days before the show)
Post a blog reminder of the show (4 days before the show)
Post a social networking reminder (The morning of the show)
Gather contact information of people interested (During the show)
Update your names list (After the show)
Follow up with people interested in purchasing. (Within a week after the show)
Start the cycle over again.

Okay, I know that’s a lot for an artist to think about. And most of this stuff should be done by a good gallery, if you’re lucky enough to be represented by one. But if you’re not in a good gallery, you’re also lucky, because your future is in your own hands.

If this is just too much for you to fit into your busy schedule, here’s the same list, but prioritized. The white text represents things that are, in my opinion, essential. The light green text is important but not as essential. The dark green text is least important, and, surprise! Blogging is dark green. I guess I’m justified in not posting for two months:)

Here’s how it works: You send me a digital file or a link to a sacred song or hymn, perhaps your favorite hymn in your mission language. I collect the hymns and embed them in the wings of a singing angel painting. If you’re interested in participating in this project, email your hymn to (jkirk(at)jkirkrichards.com).

And here’s my first painting in the series:

Hymns, mixed media on panel, by J. Kirk Richards

Here’s the painting in its early stages. You can see how I started with hymn pages and a hymnbook cover.

 
]]> http://jkirkrichards.wordpress.com/2011/09/14/church-international-art-show-interview-in-the-studio/feed/ 6 jkirkrichards http://jkirkrichards.wordpress.com/2011/09/14/progress-from-the-redmond-studio-3/ http://jkirkrichards.wordpress.com/2011/09/14/progress-from-the-redmond-studio-3/#comments Wed, 14 Sep 2011 18:09:45 +0000 J. Kirk Richards http://jkirkrichards.wordpress.com/?p=916 ]]> Here’s what’s been happening in Redmond:

I’ve been making progress on the plaster sculpture. You can see earlier pictures of this project here. This will be one of two entries in the Windows to the Divine show in Denver this November.

I also built two sets of panels. One set I made from reclaimed wood, for a distressed panel look:

The other set consists of smooth masonite panels, for a nativity book I’m working on:

Plus I built two frames for my Jeff Pugh paintings (obviously they still need a finish):

And I built stretchers for my George De La Tour copy project.

Last but not least, we positioned the tub, marked the drain, and used a cement cutter to start creating a hole for the tub drain:

Course Syllabus

IN CLASS:

We will draw from the figure in class every week, in your preferred medium. You should push that medium as far as you can during the course of the semester, whether it be pen and ink, graphite, prismacolor, nupastel, transfer drawing, oil paint . . .or reclaimed garbage for that matter. Whatever you want to use is fine.

Bring everything you need to draw two short gestures and a long pose every week. Plan on including a detail of either the hands or feet in your drawing, similar to the drawing shown here.

Also, bring your homework assignments.

HOMEWORK:

1. Complete the Copy Analysis Form I (see below).
2. Copy a master work.
3. Create your own work using elements from the master copy.
4. Draw a hand or foot from life every week.
5. Draw a hand or foot from a master painting every week.
6. Take photographic reference of a hand or foot every week.
7. Complete the Copy Analysis Form 2 (see below).

HOMEWORK SCHEDULE:

September 8th: - Bring your completed Copy Analysis Form I
September 15th: - Bring your panel or canvas with a completed underpainting of the master copy.
- Bring a hand drawn from life.
- Bring a hand drawn from any master painting.
- Bring a photo you took of a purposefully posed hand for later use as reference material.
September 22nd: - Bring composition sketches for your new painting based on the master copy.
- Bring a hand drawn from life.
- Bring a hand drawn from any master painting.
- Bring a photo you took of a purposefully posed hand for later use as reference material.
September 29th: - Bring your panel or canvas with a completed underpainting of your new painting based on the master copy.
- Bring a hand drawn from life.
- Bring a hand drawn from any master painting.
- Bring a photo you took of a purposefully posed hand for later use as reference material.
October 6th: - Bring both your master copy and your new painting based on the master copy so we can see how they are developing.
- Bring a hand drawn from life.
- Bring a hand drawn from any master painting.
- Bring a photo you took of a purposefully posed hand for later use as reference material.
October 13th: - Bring both your master copy and your new painting based on the master copy so we can see how they are developing.
- Bring a hand drawn from life.
- Bring a hand drawn from any master painting.
- Bring a photo you took of a purposefully posed hand for later use as reference material.
October 20th: - Bring both your master copy and your new painting based on the master copy so we can see how they are developing.
- Bring a FOOT drawn from life.
- Bring a FOOT drawn from any master painting.
- Bring a photo you took of a purposefully posed FOOT for later use as reference material.
October 27th: - Bring both your master copy and your new painting based on the master copy so we can see how they are developing.
- Bring a foot drawn from life.
- Bring a foot drawn from any master painting.
- Bring a photo you took of a purposefully posed foot for later use as reference material.
November 3rd: - Bring both your master copy and your new painting based on the master copy so we can see how they are developing.
- Bring a foot drawn from life.
- Bring a foot drawn from any master painting.
- Bring a photo you took of a purposefully posed foot for later use as reference material.
November 10th: - Bring both your master copy and your new painting based on the master copy so we can see how they are developing.
- Bring a foot drawn from life.
- Bring a foot drawn from any master painting.
- Bring a photo you took of a purposefully posed foot for later use as reference material.
November 17th: - Bring both your master copy and your new painting based on the master copy so we can see how they are developing.
- Bring a foot drawn from life.
- Bring a foot drawn from any master painting.
- Bring a photo you took of a purposefully posed foot for later use as reference material.
December 1st: - Bring both your master copy and your new painting based on the master copy so we can see how they are developing.
- Bring a foot drawn from life.
- Bring a foot drawn from any master painting.
- Bring a photo you took of a purposefully posed foot for later use as reference material.
- Bring your completed Copy Analysis Form II

———–

And guess what. I’m going to do all this homework along with the students. Here’s the painting I’m going to copy, and below is the copy analysis form:

Georges de La Tour, St.Joseph, the Carpenter

Pick a master painting that you love. You need to have a good reproduction of it in a book or on the web, and even detail shots if possible. You will copy this work in the same scale and medium as the original. Don’t choose a twelve foot painting. This should be a manageable size, so you can finish the piece or at least come close to finishing the piece during the course of the semester. You will simultaneously create your own composition based on what you’re learning from the master copy.

Please answer the following questions about the master work you’ve chosen to copy:

1. What kind of rectangle or non-rectangle has the artist chosen, and how has the artist divided or filled up the space? Has the artist used traditional geometric divisions within the rectangle, such as golden sections or squares?

2. Where does the painting lead your eye—what is the primary eyepath of the artwork? What secondary eyepaths can you see within the composition?

3. How has the artist used value (light and dark contrast) to move the eye and create emphasis?

4. What is the overall color scheme and/or color harmony?

5. How has the artist used color to move the eye and create emphasis?

6. Does the artist use a cool/warm dither, simple gradations, or flat shapes of color?

7. How has the artist used repeated shapes to move the eye and create rhythm?

8. How has the artist used repeated marks to move the eye and create unity and/or variety?

9. How has the artist depicted the human figure? Is it stylized? Is it idealized? Is it classical, realist, or modern? Is it hyper-realistic? Is it strictly tonal, strictly linear, or a combination of the two?

10. How has the artist used lines and edges?

11. How has the artist used perspective, including atmospheric perspective? What other methods has the artist employed to push and pull objects in and out of the picture plane?

12. How has the artist manipulated the surface of the painting, including the ground layer? Is it egg-shell smooth? Are there areas of thick, impasto paint? Are there any textural hints to the artist’s painting process?

13. What do you think the artist was trying to say? Was the artist reacting to a previous artistic movement? What do you guess were the artist’s aesthetic and thematic goals? What do you think the artist was hoping to communicate to the viewer?

14. Now that you’ve begun to copy the master painting, begin your own painting using elements learned from the copy. Based on the above questions, write a brief outline (15-30 sentences) describing what you intend to do similarly to the master painting in your own new painting and what you intend to do differently. How will your composition be the same? How will it be adapted to your own voice and ideas?

COPY ANALYSIS FORM 2

Refer to your initial copy analysis form. Now that your paintings are finished, briefly describe (15-30 sentences) how your painting turned out. What elements does it share with the master painting copy? What elements are different and unique to your new composition?

I finished the portraits of my daughter and son. Yes, Amy was happy for the birthday present! And I am happy to have finally painted my children.

Here’s a fast-motion youtube video of one of the portraits. Also, folioacademy asked me to create a step-by-step demo video with detailed instructions, for anyone out there interested in learning to paint a portrait like this on your own.

 
]]> http://jkirkrichards.wordpress.com/2011/08/24/886/feed/ 5 jkirkrichards Portrait of the Artist's Daughter, by J. Kirk Richards http://jkirkrichards.wordpress.com/2011/08/01/art-classes-im-teaching-this-fall/ http://jkirkrichards.wordpress.com/2011/08/01/art-classes-im-teaching-this-fall/#comments Tue, 02 Aug 2011 05:15:19 +0000 J. Kirk Richards http://jkirkrichards.wordpress.com/?p=878 ]]> Holy Cow! It has been weeks since I’ve posted. A lot has happened. If everything goes as planned, as of August 15th, my new in-house studio will look like this:

We’ll be holding the Saturday morning class here in this room. The other class, the advanced figure class, will continue in Santiago’s studio in Provo. Please send me an email and let me know if you may be wanting to take either class, so I have an idea of what to expect. Click here to find descriptions of the two classes, as well as a calendar and tuition for the two classes.

Actually let me just describe the classes to you here:

1. Advanced Figure Class:

This a professional development class for those who want to begin or further a career as a fine artist. The class meets weekly. Our fall 2011 semester will consist of the following: a. Weekly drawing sessions from the live model–an individual approach to drawing the model is encouraged. b. An emphasis this semester will be hands and feet. A small part of each class, as well as homework assignments, will be dedicated to drawing hands and feet. c. We will also copy a master painting and do our own painting simultaneously, using things learned from the copy. Click here for class schedule and tuition information.

2. Saturday Morning Class:

This class is open to a wide range of students, beginning to advanced. We meet roughly twice a month to work on the students projects for 2 1/2 hours. Bring your own projects, and I’ll help walk you through to completion. Cost is $35 per class. Click here for class schedule and tuition information.

Breath of Life, in progress

I did some more work on the Breath of Life painting. I glazed over the heavy textured areas at the bottom of the painting, darkening the dirt and making it glow a bit. Then I worked on the Adam figure, trying to keep it fairly loose still, and making it come and go amidst the “dust particles.” You can see the before pictures here.

Angels in progress

Angels in progress

The angel sculpture started to take form a little. I painted a rough composition on the wood and started adding plaster. It was going to be a wide piece with four sides, but now I think it will be two separate one-sided sculptures when it’s done. One of them will hopefully be featured at the Windows to the Divine Show in Denver during the month of November.

Christus sculptures in progress

Christus sculptures in progress

I worked a little on two plaster Christus sculptures. You can see I added arms and filled out the body a little on the larger sculpture. Slow progress, but they’re coming. If you work much with this wire mesh, consider wearing gloves. I really sliced a hole in my finger this week while working on these!

Portrait of the Artist's Daughter in progress

Portrait of the Artist's Son in progress

These two little portraits in progress were done in secret for my wife’s birthday. I’ve never painted portraits of our children, so this was long overdue. Amy was happy for the birthday surprise. The painting of my daughter still needs a glaze and a few small adjustments. Clearly the painting of my son has a long way to go. When our third and fourth are a little older, I’ll paint portraits of them as well.

These two portraits were filmed, so I plan to have a step-by-step video explaining the process, to be posted before long. It will most likely be uploaded to an exciting new website of painting demos being developed by my good friend Will Terry.

New mattress

And last but not least, improvements on the studio itself. Amy bought me this mattress for Fathers day, so I started building a bed to put it on out of old left-over materials. I think it’ll be pretty cool when it’s done.

Bed in progress

Tune in next time for more progress from the Redmond studio.