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    Arts

    The Messy Studio with Rebecca Crowell

    Artist Rebecca Crowell shares experiences and thoughts from three decades of painting, teaching and traveling, as well as her conversations with other artists. She is joined by her co-host, producer, and son, Ross Ticknor, who brings an entrepreneurial Millennial perspective. The conversations are broad and eclectic, focused on ideas, information and anecdotes that other artists may find helpful in their work and careers. A new episode is uploaded every weekend!

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    Latest Episodes:
    Episode 120: The Creative Urge Apr 12, 2020
    Show notes

    Even under difficult circumstances, humans have always had a strong urge to create, to make things that embody thought, emotion, spiritual and cultural beliefs. Creativity has made us unique as successful as a species and is rooted in our origins when early people first created fire, smeared ash and pigment on the walls of caves, planted gardens, and began changing and controlling their environment.

    Those of us who work in fine art media have a drive to create even when there is no practical purpose for what we make. This urge can range from the occasional desire to a very strong passion, an almost uncontrollable compulsion, and often ebbs and flows within an individual. But like the pilot light in a gas stove, it is always there. Sometimes it is nearly dormant or burning at a low but steady lower level while other times, under the right circumstances, it is strong and continuous.

    Like so much in art, introspection has a place in understanding your own creative urges and what is true for your work and process. Allow your creative expression to be what it is, rather than what you feel it should be. Sometimes we are distracted by thinking art should please others or play a specific role in our lives that does not ring true. There is no right or wrong in creative exploration or correct path that you “should” take.

    Many artists over time have put into words their own understanding of what is important in creativity, and these can provide inspiration and insight. But a range of quotations will also point out the very diverse and personal nature of creativity and how artists find meaining in what they do. A particular artist's words may strike a chord, but they only represent that artist's particular path.

    It can take a lifetime to understand our own motivations, but any insight gained can break down barriers and blocks on our creative journey.

    Books refernced in this episode:
    How Painting Holds Me on the Earth; Leigh Hyams (Black Mountain South Press; San Miguel de Allende, Mexico, 2008)
    The Artist's Voice; Katherine Kuh (Da Capo Press, 1960)

    Artists mentioned:
    Paul Cezanne
    Edward Hopper
    Franz Kiline
    Helen Frankenthaler
    Mark Tobey
    Isamu Noguchi
    Georgia O'Keefe
    Piet Mondrian

    For more from The Messy Studio:
    www.messystudiopodcast.com
    www.facebook.com/messystudiopodcast

    For more from Rebecca Crowell:
    www.rebeccacrowell.com
    www.squeegeepress.com

    The Messy Studio is a CORE publication MGMT production.


    Episode 119: Staying Focused Apr 04, 2020
    Show notes

    One of the challenges of maintaining a creative practice is keeping focused in the studio; it can seem like daily life is constantly pulling us in other directions. This podcast was recorded before the COVID 19 pandemic, and for many artists, focus has become more important than ever as a way to lose ourselves in our work. Yet even if we have time to work, it can still be difficult to find a rhythm and path to follow.

    Merriam Webster Dictionary defines focus as “a point of concentration, or a state or condition permitting clear perception or understanding. As a verb, to concentrate attention or effort.” Focus is a powerful force that brings with it excitement and momentum. It is also a relative term,; perfect focus during studio time is an ideal state that is not easily, if ever achieved. But there are strategies to limit distractions and increase our ability to focus.

    For many people, this starts with organizing a to-do list, then setting priorities and a schedule. While this kind of organizing works, it needs to be considered in light of your own work habits and energy levels, and also should include the othernon-art related things you need and want to do. In aiming for a holistic, integrated view of your time, you can count on your studio hours while not neglecting other aspects of life.

    A key to fthis approach to focus is giving smaller blocks of time to specific activities. While many of us cling to the idea of an 8-hour workday as ideal, in fact most people take about 15-20 minutes to achieve focus and enter a flow state, and then can maintain productive work for only a few hours. So your blocks of studio time, and the time given to other aspects of life, should be whatever works best for you, not the length of time you think you "should" be working at them. By working intensely for a few hours, then shifting to something else, your time can be more productive and energized.

    Focus is so often thwarted by outside forces, some of which are beyond out control, and some of which we can limit by asserting our needs as artists. These distractions may be internal as well, however. Sometimes it is difficult to separate outside factors from internal struggles. It can be easy to blame yourself when you go off track, but be kind to yourself. We're affected by everything that happens in our lives, and there will be times when focus is elusive, another of the many ups and downs of the art life.

    If you;re struggling with focus, consider what works best for you, rather than trying to attain an ideal. Making some changes in that direction can ease your mind and allow focus back into your art practicve.

    For more Messy Studio:
    www.messystudiopodcast.com
    www.facebook.com/messystudiopodcast

    For more from Rebecca Crowell:
    www.rebeccacrowell.com
    www.squeegeepress.com

    The Messy Studio Pocast is a CORE Publication MGMT Production.


    Episode 118: The Life and Work of Agnes Martin - Interview With Henry Martin Mar 28, 2020
    Show notes

    Rebecca interviews Irish writer Henry Martin about his book, Agnes Martin: Pioneer, Painter, Icon, discussing her life, character, and work. About this biography, museum curator Jina Brenneman wrote “No other book on Agnes Martin has been researched as thoroughly and honestly as Agnes Martin: Pioneer, Painter, Icon. Its sensitive and poetic nature makes it a must read for those truly interested in understanding the artist.”

    More from Henry Martin:
    http://www.henry-martin.co.uk/
    https://www.instagram.com/henrymartinhm/

    Buy Henry Martin's book:
    https://www.amazon.com/Agnes-Martin-Pioneer-Painter-Icon/dp/1943156301

    "Paint With MJ", a free Facebook painting class for kids of all ages, started by a listener of the Messy Studio Podcast:
    https://www.facebook.com/groups/2882448618445044/

    For more from The Messy Studio:
    www.messystudiopodcast.com
    www.facebook.com/messystudiopodcast

    For more from Rebecca Crowell:
    www.rebeccacrowell.com
    www.squeegeepress.com

    The Messy Studio Podcast is a CORE Publication MGMT production.

    Special Guest: Henry Martin.


    Episode 117: COVID-19 Outbreak: Coping With Isolation Mar 21, 2020
    Show notes

    When the news media first mentioned the coronavirus spreading through China, few of us in the rest of the world realized the huge impact it would have. A few months later we face quarantines and severe economic consequences and many of us are facing isolation, boredom, and anxiety, as well as financial stress. In this episode we address how the current measures implemented to contain COVID-19 have affected our lives as artists, as well as ideas for coping in this time of uncertainty and change.

    Currently Rebecca is in quarantine in New Mexico, fortunately without symptoms. She did have to cut her time in Ireland short and return to the United States before the suspension of international travel. This meant canceling a workshop, an important source of income, and spending the next two weeks confined to her home. Like many other artists, she has also canceled other upcoming workshops and travel.

    The pandemic now affects every aspect of our lives as artists, from the postponed or canceled events and galleries on the economic brink, to the need to shelter in place, possibly apart from our studios, and the loss of personal contact with other artists. It can be hard to focus on our work when we are feeling anxious and distracted by the constant flow of bad news, and worries about ourselves and our loved ones.

    There is much about the current situation that is unknown and beyond our control. But concentrating on what we can control, including our attitudes is the key to staying mentally healthy. Even though many things now seem hopeless and frightening, there are also positive aspects to the situation on which to focus. Acting in generous ways, thinking of how to help others, and realizing we're all in this together can all help with remaining on track. For many of us, a spiritual component is critical to maintaining the right attitude to survive and thrive in the midst of a catastrophe. Technology is a help in many aspects of what we're now dealing with, and spirituality is no exception. Whatever your spiritual philosophy, there is an app that will send you daily devotionals, meditations, or affirmations. Spend some time every morning reading these rather than the latest COVID-19 news. This will set the tone for the rest of the day. The news is important, but it can wait a few minutes.

    As artists we are very fortunate to have the commitment to our work to help us in this time of isolation. Some of us are lucky enough to have ongoing access to our studios, but if not it may help to remember times when you created in less than ideal circumstances, as most of us did starting out. We can value the chance to catch up on projects, do some online learning, or delve into some idea that has been on the back burner. For many of us, our time in the studio is now our own, without the need to prepare for upcoming exhibits or meet other outside demands., and there is a certain freedom to that. We may also be able to catch up on projects that have fallen by the wayside. because we don’t find them very fulfilling, like bookkeeping or cleaning; clearing out a backlog of such chores is a good feeling.

    Besides more time in the studio, many of us also have more time with our families. Try to establish a routine to help you make the most of this time, including as much time as possible to your art. Adjusting to working in your studio while caring for school aged children who are now at home will be difficult, but there are many educational resources online to help. Your kids may also enjoy making some art with you, and learning about what you do.

    Financial difficulty will hit many of us and create a great deal of anxiety. One suggestion is to develop a new income stream related to your art practice now, such as an online course, a mentoring program, or instructional video series. An art course aimed at children might be especially appropriate at this time. Think about what your specialized niche might be and have confidence that most artists have an insatiable thirst for learning and improving. While it will take weeks or longer to develop something worth charging for, starting now is a smart move. Even the isolation imposed by COVID-19 ends soon, we'll be feeling the economic strain for some time.

    We are all currently faced with enormous changes and challenges, and it's all happening fast. Some people will sit at home, hypnotized by the television, waiting for this all to be over. But others will use this time to improve their work, improvise with what they do have, and address neglected aspects of their lives.

    To quote the late Toni Morrison:
    "This is precisely the time when artists go to work. There is no time for despair, no place for self pity, no need for silence, and no room for fear. We do language. (or in this case, art…) That is how civilizations heal."

    Here are some great learning resources for you...

    Access to your library online:
    https://www.overdrive.com/

    MIT's open courseware platform:
    https://ocw.mit.edu/index.htm

    Skillshare has a banner ad at the top of the screen for two months of premium for free:
    www.skillshare.com

    Here is a list of free resources put together by Forbes:
    https://www.forbes.com/sites/martingiles/2020/03/19/free-software-for-businesses-and-schools-covid19/#467e08ee752d

    For more Messy Studio:
    www.messystudiopodcast.com
    www.facebook.com/messystudiopodcast

    For more from Rebecca Crowell:
    www.rebeccacrowell.com
    www.squeegeepress.com

    The Messy Studio Podcast is a CORE Publication MGMT production.


    Episode 116: The Writing Process: Interview With Henry Martin Mar 14, 2020
    Show notes

    Rebecca sits down with writer Henry Martin in Dublin, Ireland to talk about his writing process in general and his research for his book, Agnes Martin: Pioneer, Painter, Icon. Check out Henry's website at http://www.henry-martin.co.uk/ or the specific page for his book here: http://www.henry-martin.co.uk/agnes-martin/4592764574. On Instagram go to https://www.instagram.com/henrymartinhm/

    For more Messy Studio:

    www.messystudiopodcast.com
    www.facebook.com/messystudiopodcast

    For more Rebecca Crowell:

    www.rebeccacrowell.com
    www.squeegeepress.com

    Special Guest: Henry Martin.


    Episode 115: Art: A Conversation With Your Viewers Mar 06, 2020
    Show notes

    Most artists would agree that their work is an attempt at communication, even if a non-verbal one. The idea of a conversation with viewers is a helpful perspective because it implies that this communication does not exist in a vacuum, going in one direction only. We use the term “personal voice” in reference to what we are trying to communicate, but we should grant a “voice” of sorts to our audience as well.

    The conversational aspect of our work begins with an inner dialog as we track our progress. Later, when this work is in front of an audience, it speaks with our viewers. Thinking about our work as a partner in a conversation with the viewer forces us to consider an outside point of view.

    Mark Tobey once stated that “art needs to come through the avenues of meditation, only then can one have a conversation with a painting”.

    We can think of the work as existing between two sides of this conversation. The artist communicates with as well as through the piece, while the audience also communicates with the work. In order to achieve this creative conversation, something deepers must be instilled in the work, beyond the superficial appearance. If a viewer can take in the whole piece with one glance, it will not be much of a conversation.

    Part of the self-critique process involves evaluating what you offer your viewer. Have you considered your own intentions and meanings deeply enough? How will your work engage your audience? Have you given too much, or too little information? Respect your viewer, engage their intellect, and give them more than they are expecting.

    The Messy Studio Podcast is a CORE Publication MGMT production.

    More Messy Studio Podcast:
    www.messystudiopodcast.com
    www.facebook.com/messystudiopodcast

    More from Rebecca Crowell:
    www.rebeccacrowell.com
    www.squeegeepress.com


    Episode 114: Art Conservation Feb 29, 2020
    Show notes

    Rebecca interviews Jill Whitten and Robert Proctor of Whitten & Proctor Fine Art Conservation. They discuss the process of art conservation and restoration, as well as their paths into the field and some of their projects with museums around the world.

    (From http://www.whittenandproctor.com/02Experience.htm)

    JILL WHITTEN has been a painting conservator in private practice in Houston,Texas since 1999. She received a BFA in Painting from the University of Texas at Austin, and an MA and Certificate of Conservation from Buffalo State College, New York, in 1992. She spent her graduate internship and a three-year Mellon Fellowship at the Art Institute of Chicago. In the winter of 1995, she received a Kress Grant to work as a guest conservator at the J. Paul Getty Museum on the first phase of a collaborative project to produce new retouching paints for conservators. She and Robert Proctor were sabbatical replacement lecturers at the Buffalo State College Art Conservation Department in the spring of 1996. From 1996 to 98 she worked at the National Gallery of Art in Washington, D.C., testing and developing retouching materials in the Scientific Department and as a conservator of 20th Century paintings. Jill worked as a contract conservator at the Museum of Fine Arts, Houston treating the paintings of Frederic Remington in 1997 and 1998. Jill has lectured and led workshops for conservators in the U.S. and Europe on the use of new materials for varnishing and retouching since 1993.

    ROBERT PROCTOR has had a private practice serving individuals, institutions, museums, libraries, and corporations since 1994. He studied Art History at Tulane University in New Orleans and graduated with a BA in 1980. He earned an MA and Certificate of Conservation at Buffalo State College in Buffalo, New York in 1992. He traveled to Munich for his graduate internship at the Bayerisches Nationalmuseum where he mastered the technique of reweaving tears. From 1992-93 Robert was a graduate intern and an assistant painting conservator at the Indianapolis Museum of Art. He treated a large group of paintings by Max Beckmann at the Saint Louis Art Museum in preparation for an exhibition in Stuttgart. He worked with Jill Whitten on the Frederic Remington Collection at the Museum of Fine Arts, Houston in 1997 and 1998. Robert is a specialist in the reweaving of tears and has taught workshops on reweaving and has lectured internationally on varnishes since 1994.

    PROFESSIONAL AFFILIATIONS
    American Institute for Conservation-AIC
    International Institute for Conservation-IIC
    Texas Association of Museums-TAM
    Western Area Art Conservation-WAAC

    Special Guest: Jill Whitten & Robert Proctor.


    Episode 113: Inner Voices Feb 22, 2020
    Show notes

    When sorting through advice and opinions, not all of the voices influencing us are spoken by others. We also have inner voices that comment on our work. They may be insecurities that originate in past negative experiences and these can sap our creative energy. Others are rules and formulas that we've accepted without question but don't serve us well. But not all inner voices are negative. it's also possible to cultivate positive inner commentary and learn to control what we tell ourselves. How can we prevent our inner critic from shouting down our true voice? How can we nurture positive insights, and recognize what is right for our own direction?

    Our inner voices often seem to have a life of their own--positive and excited one moment, bewildered the next, fluctuating between harshly critical and and back to ecstatic. To some extent, this roller-coaster of emotion is part of the normal cycle of creativity. Making art is a hard challenge and elicits many kinds of feelings. But constant negative self-judgement is confusing and saps our creative energy. And refusing to accept anything but positive thoughts can also be detrimental, blinding us to real issues with our work. Like so much in art, it's important to find a balance. This can be done by observing your inner commentary in as objective a light as possible.

    One way is to consider the sources of unhelpful inner voices. Some of them may originate long ago in remarks by a parent or teacher and have nothing to do with who you are now. Other inner voices are based in commonly held beliefs about what it takes to be a real artist and are unrealistic or narrow in scope. We may also have perfectionistic ideas about how fast we should be progressing or how little we should be struggling. All sorts of ideas can lodge in our brains that feed negative inner commentary. Recognizing them, writing them down, and discussing them with other artists can help loosen their hold. At the same time, try to actively build positive inner voices by reflecting on your accomplishments and recognizing your strengths. Our inner voices can be our best guides, providing strength, confidence, and true direction.

    For more Messy Studio:
    www.messystudiopodcast.com
    www.facebook.com/messystudiopodcast

    For more Rebecca Crowell:
    www.rebeccacrowell.com
    www.squeegeepress.com


    Episode 112: Surrounded By Advice Feb 15, 2020
    Show notes

    As artists, we all want to grow and improve our own work, and we are often surrounded by the advice and opinions of other people. While some advice is helpful, it can sometimes undermine our unique, personal voice. It can be hard to sort the good advice from the bad. It is also important to realize that our own accepted opinions may need to be challenged in order for our work to advance. Unfortunately, we may hear more bad advice than good. A mentor of Ross’s once told him “if you follow the advice of 90% of the people you meet, you will end up where 90% of people end up”.

    As teachers, awareness of these rules and dictates that we have accepted as fact is especially important. Unchallenged assumptions can be passed from one artist to the next very easily. These beliefs become inner voices that continue to influence an artist long after the words are spoken, and can hinder an individual’s critical thinking and ideas. For example, almost all of us were told at some point that it wasn’t possible to earn a living as an artist.

    Those of us who attended art school often encountered instructors who gave completely opposite though well-meaning advice, and part of our learning process as students is developing a sense of what advice to follow. In art school, one teacher told Rebecca that “what is personal is Universal” and later, another found her work too personal and advised that “nobody wants to read your diary." Integrating these two ideas was eventually meaningful for her, so what seems opposing advice may also be different angles on the same idea.

    Even purely technical advice can be examined in light of its usefulness and truth. For example, many painters are told to “never use black paint straight from the tube”. Rebecca has 35 years of professional experience in breaking this rule.

    Oddly, even positive, or encouraging advice can be detrimental. You may find an instructor pushing you in a direction in which you are not particularly drawn. While exploring directions in your work other than your natural tendency can be helpful, you should always stay true to who you are. Becoming overly influenced by any one individual will make it difficult to discover your own personal voice.

    So what does good advice sound like? Good advice tends to open doors, make you think, and produce insights. It may be strict or formulaic, such as rules about safety or best practices, but if so it should be supported with reason and established principles, not simply opinion. The more open ended and inclusive advice usually deals with individual voice and direction.

    Always consider the source, and your own biases when giving advice to others. As you both receive and give advice, try to distinguish fact from opinion. Use critical thinking and challenge assumptions that seem arbitrary and unfounded. Don’t forget to be open to what is rational, and founded in principle. There is always a possibility that your existing opinions may not be correct.

    For More Messy Studio:
    www.messystudiopodcast.com
    www.facebook.com/messystudiopodcast

    For More Rebecca Crowell:
    www.rebeccacrowell.com
    www.squeegeepress.com


    Episode 111: BONUS EPISODE: Statement of Intentions for 2020 Feb 14, 2020
    Show notes

    Here's what we want to do with the podcast going forward...

    For more Messy Studio:
    www.messystudiopodcast.com
    www.facebook.com/messystudiopodcast

    For more from Rebecca Crowell:
    www.rebeccacrowell.com
    www.squeegeepress.com


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