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I chickened out and didn't try to replicate the probably 2000 books behind the furniture. . .

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View from my living room

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Clover Robin example

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artist PIERRE BONNARD

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inspired by my friend, SF artist Patricia Sonnino

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inspired by my friend, SF artist Patricia Sonnino

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The Tibor de Nagy Gallery is pleased to present an exhibition of collages by the internationally acclaimed poet. Although his collages have appeared in group exhibitions from time to time over the years, this exhibition marks the first solo exhibition devoted exclusively to Ashbery's artistic output, which started as an undergraduate at Harvard and continues to this day.

The exhibition also celebrates the poet's long association with the gallery and marks the 55th anniversary of the publication of Ashbery's first volume of poetry Turandot and Other Poems, which was published by the gallery's Tibor de Nagy Editions in 1953.

The earliest works in the exhibition are two collages that Ashbery completed while still a student at Harvard in 1948. Included in the exhibition is a series of collages from the 1970s that where done on postcards. He started using postcards during summer visits to Joe Brainard and Kenward Elmslie's house in Vermont. The exhibition includes several large collages that were completed this year, and incorporate collage material that was sent to him by Brainard in the final years of his life. Many of these new works are inspired by board games that Ashbery has collected over the years.

Ashbery was influenced at a young age by the collage novels of Max Ernst and the partly collaged Cubist paintings of Picasso and Braque. In 1958 Ashbery started to incorporate collage elements into his poetry. A recent poem, which is published in the exhibition catalogue, is an example of this creative process, in this case, of movie titles. Later his influences included Kurt Schwitters, Joseph Cornell, and more directly, Brainard.

Ashbery, in a statement in the exhibition catalogue, writes about his longstanding interest in collage and his use of it both in his poetry and visual art:

Why did I do this? More important, why did great artistic minds like Picasso, Gris, and Braque suddenly feel the urge to incorporate bits of everyday ephemera like newspaper clippings into their highminded classical work? Well, perhaps to bring it down to earth a little and make it more realist, in a certain sense. But no doubt also to introduce life, which is a mixed-media affair, into their paintings. As one studies them, one's attention keeps shifting from the ebb and flow of angular or rounded forms to the printed texts in the newspapers, announcing perhaps a furniture sale or a crime that was the talk of Paris for a week. We're all suckers for these appurtenances of daily life.

Ashbery was born in Rochester, New York, in 1927. Best known as a poet, he has published more than twenty collections, most recently Notes from the Air: Selected Later Poems (Ecco 2007). His Self-Portraits in a Convex Mirror won the three major American prizes - the Pulitzer, the National Book Award, and the National Book Critics Circle Award. He served as executive editor of Art News and as the art critic for New York magazine and Newsweek. A member of the American Academy of Arts and Letters and the American Academy of Arts and Sciences, he was a chancellor of the Academy of American Poets from 1988 to 1999. The winner of many prizes and awards, both nationally and internationally, he received two Guggenheim Fellowships and was a MacArthur Fellow from 1985 through 1990.

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The Tibor de Nagy Gallery is pleased to present an exhibition of collages by the internationally acclaimed poet. Although his collages have appeared in group exhibitions from time to time over the years, this exhibition marks the first solo exhibition devoted exclusively to Ashbery's artistic output, which started as an undergraduate at Harvard and continues to this day.

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from our writing-art collaboration with Michelle

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from our writing-art collaboration with Michelle

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Walt Whitman's poem 'A Noiseless Patient Spider' 

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Walt Whitman's poem 'A Noiseless Patient Spider' 

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interpreted by 3 different animators

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A poetic experiment: Walt Whitman, interpreted by three animators - Justin Moore

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2 from a single large sheet of paper

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Students in one of my classes asked recently if I would recommend my favorite art supplies. I use what I think is a sort of eclectic mix of materials, and I do NOT always insist on the best out there, but I do really care a lot about materials and I have used a lot of different things.

So here is a list of my favorite materials right now. It may give you some new ideas and I'd love to hear what YOUR favorite art supplies are, too. [The items featured in this list are in no way influenced by manufacturers. I am not receiving any sort of bonus for recommending certain products.]

There is a PDF linked below if you would like to download it for reference.

Enjoy and happy art-making!

JENNIFER WILKIN PENICK'S FAVORITE ART SUPPLIES

Windsor & Newton Cotman Watercolor Paint Sketchers' Pocket Box Half Pan Set is a nice starter set. Sennelier makes a nice similar size set, too. But you may enjoy yourself with an even less expensive set.

If you want to splurge and buy some terrific watercolors, I love both the German brand Schmincke but also a small San Francisco company called Case for Making. They both make pan watercolors (dry "cubes" or "pans" of watercolor, as opposed to tubes of paint). Case for Making sells them in sets or individually. I like to have at least 14 colors, in a small case. The colors can be replaced individually when they run out.

I am VERY unfussy about the quality of my acrylic paints because I use them predominantly to either make painted paper or to paint backgrounds. That said, paint with a very metallic or shiny surface can be distracting, depending on what you are doing, so I like Blick's small bottles of matte acrylic paint. I also buy those bottles of craft paint at Michael's (yes, I do), because the lighter weight paint can work very nicely when doing things like gel plate printing.

Sakura Pigma Micron come in different tip thicknesses and in different colors; I usually have some black and some dark brown ones on hand. They will not bleed if you paint over them, which is nice.

Posca Acrylic Paint Markers are really good quality paint pens. Although they cost more than some others, you can buy them in sets as small as 8, and good art supply stores usually sell them individually, too.

I really like the quality of Sakura Gelly Roll Classic pens. They come in sets, but you can also just buy white, which is my favorite to use in layered works.

Derwent Inktense are super vibrant watersoluble ink pencils. Just add water and your pencil lines look like paint. These are bright, but sublte, so a little pigment goes a long way. Good art supply stores usually sell these individually, as well as in sets.

I discovered Tombow markers and now they're really all I like. They come in sets and they have two tips: a brush tip and also a fine tip. They are water-based (so they smear with water), which allows you to blend colors, too. The brush tip means that you can use marker but apply it so that it looks more "painterly". Again, these are often sold individually, too, in good art supply stores.

I use cheap-to-medium-grade brushes, nothing fancy. I like to have a real range of small/large/flat/round brushes.

The Niji Waterbrush (and other brands) is a brush and water containers in one, twhidh makes these great for traveling and for working where the possibility of spilling a cup of water is an issue. You just fill the handle with water, squeeze it a bit to get water onto the brush, and clean it by wiping on a paper towel.

I use all kinds of paper, but I most often use pads of Canson XL Mix Media Pads. The paper is heavy enough to support watercolor and acrylic paint, but not so thick that it becomes hard to use in collages. I get larger size pads and then cut sheets up when I want smaller size paper.

Moleskine "Art" series is my favorite.

It has thicker paper although not ideal for watercolor.

There are many good alternatives but I usually use ModPodge matte (yellow label) liquid glue that I apply with a cheap brush. I also use glue sticks, especially when traveling. UHU Stic (yellow packaging) is a good glue stick.

There are a bunch of brands of good oil pastels, but the ones that I have used are by Holbein. I like having even just a few oil pastels on hand. They are great for adding texture and layering color over paint and/or collage.

These are different from regular oil pastels. Like watercolor pencils, once you touch the color with water, it spreads and blends easily. Mungyo, Prima, or Portfolio brands would all do the trick. You may even have fun first experimenting with Michael's affordable house brand.

Caran d'Ache Neocolor II Artists' Crayons are fun. They are soft enough to smudge with your fingertips, yet much firmer than oil pastels. And with lots of pigment, light colors can cover dark. They can be used dry or add water and the marks that you make turn into vibrant color "paint".

Made by Sharpie, this waxy white pencil writes on anything and gives a nice textured mark for layering in mixed media pieces.

Permanent/waterproof (when dry), any brand of Sumi ink will give you a very dark black ink to use straight or diluted with a brush. A small bottle will last you a long time.

I like Daler Rowney but also Liquitex Inks. They are thin and so give a more fluid line than paint, but have a lot of pigment (bold color) and are waterproof and permanent when dry. A little goes a long way.

I use white (not clear) acrylic liquid gesso. Liquitex is good. Gesso is a surface primer, and I use it to prepare vintage book pages but I also use it to tone down the intensity of elements in collage or mixed media pieces.

A brayer (or roller) can be used for many things, especially for printmaking with carved linoleum or carved rubber stamps. I use mine to spread paint thinly when making sheets of painted paper, and when using a gel printing plate. I prefer the 3-inch soft rubber kind, and I use the Speedball brand with a metal roller-holder ... but smaller or larger, or all-plastic construction, or even hard rubber will still work, too for what I use it for most!

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Students in one of my classes asked recently if I would recommend my favorite art supplies. I use what I think is a sort of eclectic mix of materials, and I do NOT always insist on the best out there, but I do really care a lot about materials and I have used a lot of different things.

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"There is no real distinction for us between art and life." Yolngu artist Wandjuk Marika

400 Worrell Drive, Charlottesville, VA

The only museum in the United States dedicated to Indigenous Australian art.

Visit Kluge-Ruhe

A Truly Unique Collection

The only museum dedicated to Indigenous Australian art outside of Australia, with a permanent collection of more than 1900 artworks.

Search our world-class collection

Donate to Become a Member

You make what we do possible. Support one of the most powerful art movements of our time by becoming a member today.

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The Kluge-Ruhe Aboriginal Art Collection of the University of Virginia acknowledges the Monacan Nation, the traditional owners of the land and waters upon which it stands.

Aboriginal and Torres Strait Islander people are warned that this website contains the names and images of deceased people.

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Kluge-Ruhe Aboriginal Art Collection of the University of Virginia

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"There is no real distinction for us between art and life." Yolngu artist Wandjuk Marika 400 Worrell Drive, Charlottesville, VA Visit Kluge-Ruhe The only museum dedicated to Indigenous Australian art outside of Australia, with a permanent collection of more than 1900 artworks. Search our world-class collection You make what we do possible.

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Georgetown Lombardi Arts and Humanities Program

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Art Project for All Ages - Collage Heart