Melissa Meyer

 

Drawing with Paint – Painting Collage

 

Melissa Meyer, Summer in the City

 

Melissa Meyers is called a lyrical abstractionist. She paints free-floating, painterly ribbons of vibrant colors and shapes with oil paint thinned to the transparency of watercolor. She draws with paint.

I visited the exhibition Melissa Meyers: New Paintings (November 1-December 22, 2018) at Lennon, Weinberg Inc., 514 West 25 Street, N.Y. the week before it closed. The exhibition included large paintings, several smaller diptychs and one collage. This is Meyer’s fifth solo exhibition at Lennon, Weinberg, Inc. The paintings are bold and vibrant.

The image above, titled Summer in the City I, is oil on canvas (2018), 80 x 60 inches (image courtesy Lennon, Weinberg, Inc.).  It’s a grid with calligraphic glyphs drawn with a paintbrush with thinned oil paint in different colors. Notice there are patches of palest, almost transparent pink and yellow below the painted glyphs.

 

Melissa Meyer, Draw the Line

The image above is titled Draw the Line (2015) oil on canvas, 72×96 inches (image courtesy Lennon, Weinstein, Inc.). Here, the background is a patchwork of warm and cool whites with a second layer of warm and cool blacks painted in a calligraphic design.

John Yau, who wrote a review for Hyperallergic, is a big fan, and has reviewed many of Meyer’s solo exhibitions at Lennon, Weinberg, Inc.  He said: “When Meyer started using oil paint that was closer in consistency to watercolor, she broke through into a territory that is now all her own.” See his review (November 25, 2018) at hyperallergic.com.

 

DIPTYCHS

 

Melissa Meyer, Trellis Too

 

The image above is titled Trellis Too (2017), oil on canvas, 36×72 inches, diptych (image courtesy Lennon Weinberg, Inc.).

In his exhibition review (November 25, 2018),Yau said he counted at least three layers of marks compressed together in Trellis Too, saying the first layer is a patchwork of palest colors (durian yellow, cantaloupe orange and watery blue), the second layer includes glyph-like brushstrokes in different colors where the brush can be dry or full, the color can be saturated or faded, and one glyph often slides over another. The third layer is a drawing in black with a geometric web of tangled lines that hold the first two layers together. In his review, Yau writes he likes the way the painting asked him to pay attention to how the glyphs drift across the surface, as well as within the layers, how the paintings merge division and unity without favoring either because you notice similarities, changes and ruptures.

 

Melissa Meyer, Rearrangement Series 2

 

I was lucky to have a conversation with Jill Weinberg Adams, the gallery director, and told her I am writing about women who do collage. She told me Meyers has a long-standing interest in collage and a unique collage esthetic. I was intrigued.

I saw two collages at the gallery – one was installed in the exhibition, and one was brought out from a closet. The first image (above) is titled Rearrangement Series 2 (2018), watercolor collage on paper, 15.75 x 12 inches (image courtesy of Lennon, Weinberg, Inc.) The second image (below) is titled Rearrangement Series 3 (2018), watercolor collage on paper (2018), 15.75 x 12 inches (image courtesy of Lennon, Weinberg, Inc.).

 

Melissa Meyer, Rearrangement Series 3

 

Meyer makes a connection between her approach to painting and the collage process of cutting, pasting, and arranging elements, and says she isolates elements while building the whole painting, and wants viewers to experience each part of a painting as dynamically as they experience its entirety.

SKETCHBOOKS

 

Melissa Meyer, 3 Sketchbooks

 

The image above shows 3 sketchbooks with wide format, open double-page spreads on which Meyer added watercolor collage. I learned Meyer is often at residencies and, while there, creates “Residency Sketchbooks.”  The Metropolitan Museum of Art in New York reproduced one of Meyer’s sketchbooks.

Jill Weinbeg Adams gifted me Meyer’s exhibition catalog, which includes reproductions of the artist’s painting, the sketchbook images (above), and text about the artist’s collage esthetic.

At positjoiurnal.com I read Melisssa Meyers if very aware of the importance of collage in forming contemporary aesthetics, saying “As a method, collage encourages layering, shape-making and juxtaposition, all of which I apply to my work, from my paintings to multi-panel public works using expanded media (Photoshop).

View a carousel of more watercolor collages in the Rearrangement Series at positjournal.com.

 

Melissa Meyer, early magazine collage

 

I found the image above online. I believe it’s an early collage by the artist on what looks like a sketchbook double-page spread. You see Meyer’s calligraphic line in black on variations in warm and cool white.  Notice the cut paper collage on top where the paper shapes mimic the shapes of the calligraphic line.

FEMMAGE

 

Miriam Schapiro, Miriam’s Life with Dolls

 

Picasso and Braque did not invent collage. Many women made collage before the men did – but the men got the credit.

In her mid-twenties, Meyer and fellow artist Miriam Schapiro co-authored an influential essay that linked the history of collage to traditional female hobbies like quilting and scrapbooking. They titled their essay “Waste Not Want Not: An Inquiry into What Women Saved and Assembled-FEMMAGE.” The essay was published in the magazine Heresies: Women’s Traditional Arts: The Politics of Aesthetics (Winter 1978).

Meyer said she was always interested in scrapbooks made primarily by women in the 18th century. She discovered a collage sensibility in quilts. She valued the works of mid -20^thcentury abstractionists, including Lee Krasner, who reused paintings and works on paper and recycled them into her large collages on canvas.

See a facsimile of Femmage from the original Heresies publication at artcritical.com.

The image above is a collage by Miriam Schapiro, titled Miriam’s Life With Dolls (2006), fabric and collage on paper, 30×60 inches (image courtesy Flomenhaft Gallery, 547 W 27 Street, NY, NY). Schapiro (1923-2015) was a Canadian-born artist based in the U.S, an activist and pioneer of feminist art. Schapiro worked to resurrect the reputations of women artists who had been forgotten or dismissed by art historians. She was a painter, sculptor, printmaker, and a leader of the Pattern and Decoration art movement. Read more at the artstory.org.

 

LARGE MURALS

Meyer received a commission to create two large murals for the Shiodome City Center in Tokyo, Japan (completed in 2003). One mural was forty feet high; the other was sixty feet long. She worked with computer technicians with Photoshop to create the macquettes for the murals, directing how image files were scanned, how glyph images were layered, how colors were made saturated or muted, and how her  painted calligraphic lines were made more or less transparent.

Meyer admitted the scale of the murals posed a unique challenge. She knew she  would have to radically enlarge the scale of her brushstrokes as she painted, and make each calligraphic shape more independent. She said the most basic challenge was to make the images work for viewers from all different vantage points. The commission got Meyers thinking about how her brushstrokes would move across the surface in the super-sized murals.

She said working with Photoshop renewed her engagement with collage and profoundly affected her sense of space and her attraction to the esthetic idea of radical discontinuity.

 

THE CHOREOGRAPHY OF BRUSHWORK

 

Melissa Meyer studio view

 

The image above shows a view into Meyer’s studio with her paints, brushes and books. Meyers says “ when I’m painting, I work intuitively, physically, thinking about brushwork as a kind of choreography, a dance that happens in the wrists and arms as well as the whole body.

 

Meyer has exhibited in over forty solo shows, and has been included in group shows at the National Academy Museum and the Jewish Museum in New York.  In 1997, the Metropolitan Museum of Art in NY published a facsimile edition of her sketchbooks.

Meyer was awarded a Rome Prize from the American Academy in Rome and has received grants from the National Endowment for the Arts and the Pollock Krasner Foundation.  Meyer’s work is included in the collection of the Metropolitan Museum of Art, the Museum of Modern Art, the Brooklyn Museum, the Solomon R. Guggenheim Museum, the Jewish Museum and many other public and private collections across the United States.

Meyer has taught at the Rhode Island School of Design (RISD), the Art Institute of Chicago, and the School of Visual Arts in New York. She has completed public commissions in New York, Tokyo, and Shanghai, and currently has an eight by fourteen-foot ceramic mural in fabrication for the new U.S. embassy in Bishkek, Kyrgystan.

I am so pleased to write this post about an artist who has a collage esthetic and welcome your comments.

 

 

 

 

 

 

 

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Be Inspired: Keep an Art Journal

My recent blog, Drawing and Collage: The Journal as Art (January 23, 2014), encouraged you to explore images and ideas in a 90 cent notebook (or a more expensive book with fine paper).

Experts say if you keep a notebook, your memory improves.

Advice: Get a notebook with blank pages and carry it with you so you can fill it up each day with personal notes, observations, contact information you collect, to do lists, doodles, drawings, and ideas.

Alexander Calder, journal page, pen

The image above is a journal page by Alexander Calder (American, 1898-1976) from the book  titled Lists: To-dos, Illustrated Inventories, Collected Thoughts, and Other Artists’ Enumerations (from the Smithsonian’s Archives of American Art), by Liza Kirwin.

Notice Calder’s Paris address book page included sculptor Constantin Brancusi and the artist Hans (Jean) Arp in his list. Notice Calder’s calligraphic line. The page with cursive penmanship is a beautiful drawing.

Calder is best known for his wire sculptures and mobiles.

Calder said: “I think best in wire.”

The image below is a motorized mobile with painted wood, painted metal, metal wire and string, 23×24 3/4×7 (1931) Smithsonian Institution, gift of Joseph H. Hirshhorn. Do you see a face in profile? I do.

Alexander Calder, Motorized Mobile

See images of 3D wire portraits, sculpture, and toys in an online review of a 2005 the 2008-2009 Whitney Museum exhibition: Drawing in Space – Alexander Calder: The Paris Years (1926-1933). Image, courtesy the city review.com.

See Calder’s miniature Circus (see it when you visit the Whitney Museum of American Art in NYC).

Contemporary Artists Who Keep a Journal

I found an online interview of a contemporary artist (Harvey Tulcensky) who keeps a journal.

Written by Clair Corey, the article (INSIDE/OUT Dec 17, 2012) says Harvey Tulcensky works full-time at the NYC Museum of Modern Art, exhibits with Edward Thorpe Gallery (Chelsea, NY), maintains a studio practice, and keeps a notebook handy for traveling to and from work – and she adds – the artist says he fills his Moleskin notebook obsessively “like an EKG with his minute-to-minute existence.” 

The image below is an untitled drawing (detail from a notebook) by Tulcensky in ballpoint pen on paper. Image: courtesy the Internet.

Harvey Tulcensky, Untitled, (detail) Ballpoint Pen on Paper

Ballpoint Pen Drawings are the Hot New Thing in Contemporary Art

The January 2014 cover of ARTnews magazine shows a self portrait by Toyin Odutola in mixed media with the face and torso done in ballpoint pen. Read the article by Trent Morse (posted 01/08/14) titled “Making Cutting-Edge Art with Ballpoint Pens.

See Odutola’s blog for images and even works in progress.

FINAL THOUGHTS

 

Buy a notebook. Buy pens, Buy ballpoint pens (contemporary!).

Start a diary. It can be as simple as the diary kept by Pierre Bonnard – a record of what shoes he wore every day, that tells us where he lived and what the weather was like.

Discover what you like, and what you want to say. Explore your own creative ways to keep track of your life.

I hope you do.

Nancy

Drawing and Collage

The Journal as Art

I’m reading the book Drawing from Life: The Journal As Art, by Jennifer New (Princeton Architectural Press, New York).

Book cover: Drawing from Life by Jennifer New

It’s a beautiful book with text and drawings by 31 artists who keep a journal. Chapters include Observation, Reflection, Exploration and Creation. The preface states: journals are unsung heroes, the working stiffs of creative life.

A journal can be a diary, sketchbook and notebook. It can include anything and everything. It’s a place to play and explore images and ideas.

Drawing by Maira Kalman

DO A DRAWING FROM NATURE

At the beginning of the book Drawing from Life, I found the image above – a line drawing of oak leaves with a live twig and oak leaves placed on top of the drawing by Maira Kalman. The artist says she likes to gather information while she walks. She is the author of 13 children’s books and a frequent contributor to the New Yorker magazine. I’m intrigued by her drawing.

I love that you can see through the photo of the leaves to the beautiful drawing below. It’s simple and elegant. I feel the gesture of the lines in contrast to the actual leaves and bark.

In an interview, Kalman says she always has a sketchbook with her and is drawing all the time.

I decided I have to make more time to draw.

So many people say they can’t draw a straight line. Actually – anyone can draw a straight line if they use a ruler. No excuses! If you are an artist or wannabe, I say: get comfortable with drawing because it’s really important.

If you don’t know how to draw something (example: leaves), trace the outline of the leaves and transfer the image onto drawing paper. Another way to approach drawing is find a drawing and copy it. Turn the image upside down and start to draw. You will be amazed at how good your drawing will look when you copy from an upside down image. Your confidence will rise. You can start to draw from what you see  – example – a view on a walk, your desk, your room, etc.

Look at something and make an abstract drawing  – gestural lines and shapes in response to the image you see. Collect images and make a sketch while you look at the image.

Nancy Egol Nikkal, drawing with collage, Nov.5, 2013

I think it’s fun to doodle with lines, move the pen and watch the image grow. I like to draw from my imagination.

The image above is the 7th drawing in my journal. It’s my favorite drawing so far. The journal is exploring an imaginary fishy world with waves, floating food, and underwater critters. Do you see the snail and the fish in this one?

The journal papers are 10×8 inches. The drawing is small and the collage papers are tiny.

I started the collage with horizontal strips of BFK Rives art paper. I drew with pen and ink on the cut paper and then glued them into the journal. Notice the irregular sides. That’s intentional. I found magazine papers with printed text, tiny dots, a spoked wheel, and stripes. Since the drawings are high contrast pen and ink, I looked for collage papers in a range of grey to black tones. I drew spirals with pen and pencil with softer edges.

I titled the image above White Paper Waves. The cut paper on the bottom of the collage was a scrap leftover from another collage project. I love the pencil outline around the cut out waves. As soon as I found it, I knew I would use it.

Nancy Egol Nikkal, drawing and collage, Dec. 26, 2013

I titled the image above Fishy Tails.

Recently I decided I want to cut the collage papers into open shapes with space in the middle. I use a fine scissor. I want the paper to become another line – collage as drawing that can be glued on top. The image below is a cut paper sampler for the next drawing.

Nancy Egol Nikkal, cut paper sampler, 2014

PLAYING WITH LINES 

I started the journal because I wanted to play with thin and thick, straight and wavy lines. I wanted to create new images that explored the image that came before. My journal is a journey via drawing and collage. I want to see how the images change.  It was very important to use certain papers. I discovered I like some papers much better than others. It will influence what I use and what papers I collect.

My journal is spiral bound with a heavy black paper cover and includes medium weight drawing paper. I’m particular about size. It has to feel right in my hand. The pages have to be receptive to pen and ink and bear the weight of glue and papers.

Some artists do a drawing every day. Experts say drawing is good for relaxation, concentration and observation.

If you want to learn to draw, find an online tutorial, a how-to book, or take a class at an art center.

Buy a notebook with blank pages and fill it with drawings. Write comments, keep notes on what you observe. Draw from life. Look at what’s around you. Doodle with thick and thin lines. Create open and solid shapes. Add patterns and stripes. Fill in with cross-hatch lines.  If you like – embellish with paint and collage.

Buy pencils and pens. B pencils are softer and darker (2B, 3B, 4B, 5B, 6B). H pencils are harder and lighter (HB, 1H, 2H, 3H, 4H). I do not like H pencils and never use them. I like 3B, 4B and 5B. Higher B pencils (6-8B) are too soft, dark and smudgy for me. Permanent ink pens come with a range of ink tips. I like them all. I especially like the pens with a brush tip.

FINAL THOUGHTS

I love the blog post “the 90 cent solution to becoming organized, creative and successful” by Pat DePuy at Mainstreethost.com (December 18, 2013).

What is the 90 cent solution?

It’s a notebook (a journal) that you buy. Typically it’s unlined papers in a bound book.

Experts say it works best when what you enter is handwritten – when  you print by hand or use script/cursive  – never mechanical wordprocessing.

Experts say keeping a notebook improves your memory. There’s documented evidence that the ideas you record by hand get acted on and become more successful.

Because your notebook/journal is handwritten,  you remember with much more detail when you review what you wrote.

Advice to everyone: keep a  notebook. Artists: fill your journal with images you find and drawings you make. Add comments on what inspires you, what you did and why you like it, and what you will do next (what will change, what will stay the same).

Please contact me. Do you draw? If not, why not? Do you keep a journal? Can you describe it? Thank you for reading and your comments.