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Email: info@galleryunderground.org
Website: www.galleryunderground.org
Phone: (571) 483-0652
Hours: M-F 10AM-6PM, Sat. 10AM-2PM

Thursday, September 25, 2014

Never Drink and Draw?

...so goes the saying. Under the influence of alcohol, everything an artist does looks to them like an award-winning showpiece. Until the next morning. Not unlike certain - um - bar experiences, they wake up, glance at what they did the night before and think What. On. Earth. Of course, it could be worse. An artist can always paint over disasters, unlike more...permanent artwork which sometimes happens after imbibing.
So, too many cocktails + artwork usually does not result in the desired effect for the experienced professional artist.

However, for those who have never painted before and are looking to give it a whirl in a relaxed setting, sometimes a little "Dutch courage" can be helpful.  It can sweep away those "there's no way I can make art. Not possible. I have two left hands!" thoughts.  For this reason, "sip and paint" events are all the rage; you can find them in every city.

Gallery Underground offers its own version, called "Painting Uncorked."  Budding artists show up to the gallery at 6:30 on Thursday nights ready to relax and create a painting in 2 hours that they will be able to take home, while sipping a glass or two of wine. The class is capped at 15 students, and every student paints the same image, under the step-by step direction of Justyne Fischer, a Fairfax County High School AP art teacher for 16 years.

"I find that many students have had either a bad experience, or no experience at all with art. This is a way to simplify the process while making it fun, in a social setting," Fischer says. She says that one problem some people have had with art is that they don't know where to start: "You need to be taught the foundation and principals. Once you have that, it's a lot less frightening."

Most people are surprised at how well their finished paintings turn out. Fischer says that though many students are a bit self-conscious about what they've made, they nevertheless are very pleased with what they created, and excited to take it home to hang in their homes.

So there are times when you really can drink and draw (or paint)! To register for an upcoming Painting Uncorked class, visit our website: http://www.galleryunderground.org/painting-uncorked/

A recent Painting Uncorked class shows off their finished work
  Teacher Justyne Fischer is far left, back row


--Sandi Parker, Gallery Underground Co-Director





Friday, September 19, 2014

Entering Juried Art Shows: Not For The Thin-Skinned

Artists have fragile egos. We work for hours, days, months (even years?) on a piece. "A masterpiece," we think. "This will get into that upcoming juried show for sure," we think. Only to check our email or show up at the jurying location to find out it wasn't selected. Suddenly our elation changes to, "Ok, not a masterpiece. In fact, no good at all. What was I thinking?" Try as we might, we cannot keep those thoughts from invading and we suddenly lose confidence in ourselves and our abilities. There is no artist on earth, no matter how celebrated and successful, who has not been rejected from a juried show. We are all in good company. Take, for instance, Mary Cassatt: those lucky enough to visit the Cassatt/Degas exhibit at the National Gallery in Washington DC will no doubt remember this beautiful painting, "Little Girl in a Blue Armchair"
Mary was clearly very pleased with this painting, and entered it into the Art Gallery of the American Pavillion at the 1878 World's Fair, where it was rejected. Mary was not happy. In a 1903 letter to her Parisian art dealer, Ambroise Vollard, she said:
"It was the portrait of a friend of M. Degas. I had done the child in the armchair and he found it good and advised me on the background and he even worked on it. I sent it to the American section of the big exposition [of 1878], they refused it ... I was furious, all the more so since he had worked on it. At that time this appeared new and the jury consisted of three people of which one was a pharmacist!" 

Even a painting worked on by both Mary Cassatt and Edgar Degas was rejected from a show; in fact, the impressionists were often rejected from the great Parisian art shows. Although most shows these days are juried by - ahem - actual working artists rather than pharmacists, there is still quite a bit of head-scratching that goes on when artists find out what did - and did not - get into a given show.

Mary's painting was eventually accepted into multiple shows. Gallery Underground member Jane McElvany Coonce, a teacher for more than 30 years, loves to tell her students this story: she entered a painting into a monthly juried show over and over, only to have it rejected each time. She really believed in this painting, so undaunted, she thought, "Ok, I'll give it one more try," This time, the painting was not only accepted, it won Best in Show. And one of Gallery Underground's recent jurors, Mark Cameron Boyd, told the story at our opening reception of having had a painting rejected from a show by a juror only to have that same juror accept it into a subsequent show!

So, we as artists have to remind ourselves that often a "rejection" may have to do with a juror's mood on any given day, what they had for lunch, or a color they hate rather than the artist's talent. The good news is that there is always another juried show. And one after that.

--Sandi Parker, Gallery Underground Co-Director



Thursday, August 28, 2014

Feeling Left Out?

We artists all revel in taking our duly-earned "artistic license" - whether we are working from life, from photos, or (for the more intrepid among us) from something we dreamed up in our heads.  We constantly edit as we work, leaving things out, adding things that aren't there, changing and rearranging. These edits may be for compositional reasons ("the chair in this photo is at a very awkward angle and is blocking the figure I'm focusing on - leaving it out"); emotional reasons ("this type of flower brings back powerful painful memories of someone in my past...not going to paint it"); or even physical reasons ("I am physically incapable of painting these hands. They are going behind this figure's back!").

For the current juried show at the gallery, aptly titled "Left Out," artists were challenged to submit works of art in which they left out certain aspects of - or added to - the original from which they were working. It made for a very varied and compelling show. Take, for instance, our 2nd Place winner by Mary Ryder, a piece in carbon titled "An Innocent Man" at right. Scary, yes? That was Mary's point. Her edits fell into the "emotional reasons" category.

Says the artist of the piece:  "As this painting progressed, I was deliberate about omitting features and items that would connect us somehow to the figure - forcing the viewer to focus on the face, which is quite obviously haunting. Looking at something 'nice' is easy...looking at something disquieting is more challenging. He is 'an innocent man,' yet some are still quick to presume some sort of maleficence or guilt because of his appearance. Isn't it just as likely that he has suffered some tragedy or injustice? Perhaps it is the viewer's empathy,compassion, and humanity that has also been left out."

Artist Judith Landry left things out of her oil painting "Umbrian Way," at left, for compositional reasons.  Says Judith about her choices: "In this Umbrian street scene, I deleted unnecessary details, such as an unattractive red stop sign and street grates and gutters, in order to simplify the composition. I also eliminated several people standing in doorways, to create the impression of solitude and to draw the viewer's eye into the painting by focusing on the old woman walking down the street."

Most art buyers are probably unaware that the finished piece they have purchased is the result of constant, ongoing decisions on the part of the artist, and may differ significantly from the way the piece started. Leaving out is all part of the creative process!

--Sandi Parker, Gallery Underground Co-Director


Tuesday, August 12, 2014

Think You Can Tell What Type of Artist Created a Work? Think Again

This piece is one of 6 pieces that have sold in our current Focus Gallery Show, entitled "Making Their Mark: Art Brut." You may look at this piece, and others in this show, and assume they were done by experienced artists with long careers in the art field. You would be wrong.  This show is in conjunction with "Purple Art," an art therapy program that works with unique cultures with disabilities, as well as military members and their families. Translated as "raw art," Art Brut describes artwork created without the influence of classical art or culture. These artists lack formal training and live outside the cultural mainstream, creating art that is also known as "Outsider Art."

The pieces stand on their own as great art, borne out by the comments of our gallery visitors who notice the art first, and read the description of the show later. One could argue that many of us, as artists, are constrained by our backgrounds - whether we have MFAs or have just taken one class. We all have difficulty getting that voice out of our heads that says "You can't mix this color with that color" or "You must always have your perspective absolutely correct" and on and on. Those teachings stick with us and, many times, hold back our true creativity. 

We have all benefited tremendously from the classes and workshops we have taken, and none of us want to give up that continued growth; but much can be learned from these inexperienced - but talented and unfettered - artists. Bruce Lee (perhaps an unlikely source) said of art: "Art reaches its greatest peak when devoid of self-consciousness. Freedom discovers man the moment he loses concern over what impression he is making or is about to make." 

The artists in this show instinctively know this, and it has made for a very compelling show. The show runs through August 23rd. Come in and have a look. - Sandi Parker, Co-Director, Gallery Underground




Wednesday, July 23, 2014

Venetian Laundry Day

Venetian Laundry
by Jane McElvany Coonce
Venetian Laundry is an original watercolor by Jane McElvany Coonce.  It is in the all-media member show for July at the gallery.  Jane took a group of art students to Italy to paint for 2 weeks this spring.  They painted in a lot of the small hill towns of Umbria.  Apparently, Italians don't own dryers, and everyone hangs their laundry out of their windows.   This painting captures  the essence of Italian laundry day!

In watercolor, the artist has to save the white of the paper for the highlights.  So any of the clothing that was to remain white would not have any paint on it until the subtle shadows of the cloth were put in.

There are many interesting pieces of art to see at the gallery in July, but you only have until Friday, July 25 to see the artwork because we change the show on Saturday morning.

We keep a photographic record of all works from each of the monthly shows, so if you ever see anything on the blog from a previous month, don't hesitate to contact the gallery.


Wednesday, April 23, 2014

Jackie Afram - Newport Seascape Series

Newport Seascape Series

Jackie Afram explains to us the challenges of her series of seascapes.

The challenge of this series was to display the differences and similarities of types of oil paints, their media and tools. I created these three paintings of a Newport Rhode Island seascape to  show the different types of oil media and tools that I have been experimenting with in my paintings. 

For seascape #2, I used oil paint, a large bristle brush and Liquin as the medium. I worked to achieve subtle glazed shadings with minimum detail. 
Newport Seascape #2 by Jackie Afram


For seascape #3, I used oil paint, a palette knife and wax as a medium. A different subtlety of shading is achieved with this method. The wax allows the artist to use less oil paint and gives the painting a softer overall appearance. 

Newport Seascape #3 by Jackie Afram


For seascape #4, I used oil bars and gloved hands to mix the colors and push and pull the color across the canvas. Close control and detail are difficult with this media, but it is a great deal of fun. I do not have a favorite medium and use whatever strikes me will work best for what I am painting.

Newport Seascape #4 by Jackie Afram