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"Casual Perspective" 12x12" --Scale in a small work

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“No piece of art can depict feelings if a piece of reality is not included in it.” -JFourier

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Laurie Anderson on music, art, layering, being inspired by Amelia Earhart

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Laurie Anderson on music, art, layering, being inspired by Amelia Earhart

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Laurie Anderson on finding inspiration in Amelia Earhart's story for her new album

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Helen Marden’s painted response to the loss of her husband Brice Marden is a series of bring and unconventional works.

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Larry Rivers’s Washington Crossing The Delaware as seen by his friend, poet Frank O’Hara

On Seeing Larry Rivers' "Washington Crossing the Delaware" at the Museum of Modern Art

Frank O'Hara

Now that our hero has come back to us
in his white pants and we know his nose
trembling like a flag under fire,
we see the calm cold river is supporting
our forces, the beautiful history.

To be more revolutionary than a nun
is our desire, to be secular and intimate
as, when sighting a redcoat, you smile
and pull the trigger. Anxieties
and animosities, flaming and feeding

on theoretical considerations and
the jealous spiritualities of the abstract
the robot? they're smoke, billows above
the physical event. They have burned up.
See how free we are! as a nation of persons.

Dear father of our country, so alive
you must have lied incessantly to be
immediate, here are your bones crossed
on my breast like a rusty flintlock,
a pirate's flag, bravely specific

and ever so light in the misty glare
of a crossing by water in winter to a shore
other than that the bridge reaches for.
Don't shoot until, the white of freedom glinting
on your gun barrel, you see the general fear.

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Laurie Anderson from “A Trip To The Moon”

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Laurie Anderson from “A Trip To The Moon”

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“The Moon” is a multi media installation piece that takes the viewer through space on a trip to the moon.

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Tremolo, 1962, is an ink on paper drawing. As the title says “tremolo” is a vibrato, a continuous movement, a shaking sound. In the drawing, repetition of subtle but strong ink hand-drawn lines (possibly made with a ruler) where drawn side to side, horizontal and vertical, with a continuous cadence; imprecision was allowed, since we find that there are no perfect lines, but human-made lines, and no one is equal to another.
Possibly influenced by Zen and buddhist philosophy, the drawing show us the act of repetition as an statement, where you achieve to made something forgetting confesional and personal details: not objects allowed, just silence in the form of general lines that are made in the ritual of just doing. The ultimate geometric grid (that located her close to the Minimalism´s aesthethics) may be a direct visual answer to the landscape realness, and the deep abstract search that she developed at that time.

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Audio from Kiki Smith: Prints, Books, and Things. Hear the artist speak about her work.

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Get Inspired With Anna Bjerger

"That is what feeling inspired is. That moment of feeling like you are connected to something else, something bigger."

Swedish artist Anna Bjerger has been collecting books and images for over 20 years. Read more ...

She uses the found images as a stepping-stone for her art, exploring what lies beneath images. "The reasoning isn't very profound, maybe, but it becomes profound in the making for me."

"Inspiration is some sort of involvement and engagement rather than kind of a spur of something. It's something you build up, and it takes time," she says and continues: "Somehow, for me, it's like when you look for water. I feel like I'm looking everywhere for something that will lead me on to the next thing."

'Get Inspired' is a series of videoes that draws close attention to the inspiration process that every artist must go through to create a work of art.

Anna Bjerger (b. 1973) is a Swedish painter whose starting point is other people's pictures. Bjerger paints with quick strokes against a background of anonymous photographs of objects, landscapes, and people - thus reworking something that has already been pictorialized before it reaches her. She received her BA in Fine Art from Central St. Martins School of Art and Design, London (1997) and her MA in Painting from the Royal College of Art, London (2001). Her works are in collections, including Louisiana Museum of Modern Art, Humlebæk; Moderna Museet, Stockholm; Statens Museum for Kunst (SMK), Copenhagen; and Stedelijk Museum, Amsterdam, among others.

Anna Bjerger was interviewed by Roxanne Bagheshirin Lærkesen at her home and studio in Småland, Sweden, in July 2022.

Camera: Jakob Solbakken

Edited and co-produced by Roxanne Bagheshirin Lærkesen

Directed and co-produced by Tammes Bernstein

Louisiana Channel is supported by Den A.P. Møllerske Støttefond, Ny Carlsbergfondet, C.L. Davids Fond og Samling, and Fritz Hansen.

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Swedish artist Anna Bjerger has been collecting books and images for over 20 years.

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Kiki Smith Interview: In a Wandering Way

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Artist Agnes Martin – 'Beauty is in Your Mind' | TateShots

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Nick Wilton talks to Nadine Reanzile about scale--

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Lynn Beldner is a drawing and installation artist. She often uses ink and water.

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Time is timeless—and evokes all sorts of scale.

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Etel Adnan Landscapes are quite small, but have a powerful sense of scale.

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Anselm Kiefer: small works on paper (click on image)

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Anselm Kiefer: small works on paper (click on image)

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Anselm Kiefer's work embraces the monumental --even in

small works on paper. Scroll down to see images on this site.

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Anselm Kiefer: Works on Paper in The Metropolitan Museum of Art - The Metropolitan Museum of Art

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The highly regarded German artist Anselm Kiefer (b. 1945) began his career in the late 1960s, during a period when his country’s intellectuals were involved in facing up to their nation’s recent history—the Holocaust and the Nazi rape of Europe. Kiefer’s work has continually dealt with these heretofore “taboo” subject matters, as well as with other elements of German culture and history, and it has effectively incorporated the provocative usage of both traditional and nontraditional materials. Kiefer is best known for his very large works, and this publication provides an unusually detailed look at the least-known aspect of his oeuvre, his smaller works on paper. There are fifty-four works on paper in this volume, and they cover the years from 1969 to 1993. All of them entered the permanent collection of The Metropolitan Museum of Art in 1995. Fifty-one are in a great variety of media—watercolors, acrylics, and painted-over photographs, for example—and they are thought to represent about one-fourth of the unique works on paper that Kiefer created between 1969 and the end of the 1980s. The remaining three are very large works composed of numerous woodcuts made slightly earlier and mounted together. The entire group comprises a comprehensive sampling of Kiefer’s talent for blending biting commentary and humor. The author, Nan Rosenthal, Consultant in the Department of Twentienth Century Art, The Metropolitan Museum of Art, has concentrated on Kiefer’s rich references to German culture and history, providing cogent insights particularly appropriate for an American audience, who might not be conversant with those sources. Many quotations from the artist, taken from two unpublished 1997 interviews with Rosenthal, are interspersed in the text, and these add an additional important element, especially since Kiefer has rarely permitted himself to be quoted. The inclusion of full-page color illustrations of all fifty-four works, as well as more than fifty black-and-white reproductions that demonstrate pertinent connections with various works by both Kiefer and other artists, also contributes to a volume that is fascinating both visually and in scholarly content.

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Vincent Hawkins (England)

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Georgia O’Keeffe

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Julie Mehretu : Working with abstract narratives

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Julie Mehretu : Working with abstract narratives

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Julie Mehretu in "Systems" - Season 5 - "Art in the Twenty-First Century" | Art21

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"Monumentality in architecture may be defined as a quality, a spiritual quality inherent in a structure which conveys the feeling of its eternity, that it cannot be added to or changed." Louis Kahn

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Small pieces contributing to a large installation

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Scale plays a tremendous part in Ayşe Erkmen”s sculpture. This expansive view is integral to her life.

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Meet one of Turkey’s most celebrated contemporary artists. “The best Turkish artists are women”

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Julian Charriere: Working With Scale In Nature

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Julian Charriere: Working With Scale In Nature

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Artist Julian Charrière: I Want You To Feel Lost | Louisiana Channel

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From the Manetti-Shrem at UCDavis a portrait that celebrates materials

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Mickalene Thomas Interview with Jerry Saltz

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Mickalene Thomas Interview with Jerry Saltz

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Long-ish. If you want to skip the introductory comments, interview starts about 4 minutes in.

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Mickalene Thomas in conversation with Jerry Saltz

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Mickalene Thomas : portrait with collage and drawing

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Mickalene Thomas : portrait with collage and drawing

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Mickalene Thomas—photographic and drawn collage

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Mickalene Thomas—photographic and drawn collage

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Chantal Joffe : portrait of her daughter, Esme

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Chantal Joffe : portrait of her daughter, Esme

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Painter Chantal Joffe: All I'm Seeing Is the Beauty | Louisiana Channel

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From Anne—Celia Paul Paints Her Place In the World—article from Hyperallergic

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From Anne—Celia Paul Paints Her Place In the World—article from Hyperallergic

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Celia Paul Paints Her Place in the World

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A new monograph brings the artist’s life into focus as she returns to the same subjects again and again: the women in her family, the British Museum, and the sea.

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From an Instagram post by Edmund de Waal—description to follow—an astonishingly beautiful ground

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Celia Paul Painting Myself magazine interview

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Celia Paul Painting Myself magazine interview

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When I look in the mirror, I can’t see myself. Perhaps the difficulty I experience is due to the static posture I must assume in front of the glass. If I

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Joe Barnes makes "meditative paintings".

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Inside the Life of a 99-Year-Old New York Painter

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Joan Mitchell as seen by Stanley Whitney

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Joan Mitchell as seen by Stanley Whitney

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Artists on Artists: Stanley Whitney on Joan Mitchell's Fearless Career and the Drama of Painting

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Emma Larsson lets intuition lead the way

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The Swedish artist’s abstract paintings embrace strangeness and are guided by instinct. For Emma, her art is about spontaneity and experimentation, and being willing to go where the creative process takes her. Words by Hannah Valentine In Emma Larsson’s paintings, delicate watercolour hues give shape to ethereal figu

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William Kentridge – ‘Art Must Defend the Uncertain’ | Artist Interview | TateShots

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Including these notes from movie maker Wes Anderson as good example of visual notetaking (same process we see in Hockney, Turner Sketchbooks) Rendering of thoughts, ideas using a personal visual vocabulary.

https://www.nytimes.com/2025/03/21/movies/wes-anderson-movies-props-costumes.html?smid=nytcore-ios-share&referringSource=articleShare

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Watercolors 12x9” Iceland series

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How Zen poems influenced Brice Marden's paintings

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https://www.sfmoma.org/watch/how-zen-poems-influenced-brice-mardens-paintings/

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How Zen poems influenced Brice Marden's paintings

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Meet the Artist—Cecily Brown: Death and the Maid | Met Exhibitions

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The Joan Mitchell Foundation supports the essential contributions of artists and expands awareness of Joan Mitchell’s life and work.

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Directional scribbles with notations—use of color

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Overall scribbles—with line variety—thick, thin; straight, curved; angular, looping; dense, open

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Rocío Rodríguez is an Atlanta-based painter and 2022 Joan Mitchell Fellow. We interviewed her about her work and creative practice in March 2023. The following is an edited transcript of that conversation.
My art practice has been a 40-plus-year journey. If I were to describe it, I would say that I am a painter who does a lot of drawings that are like entries in a diary. I find that ideas are usually generated from the works on paper first, and then when I seem to be heading in some direction, I start making paintings. So drawing is really crucial to my process.

There have been a lot of different series or bodies of works that have developed along the way that have dealt with specific themes or issues, and they have been very different from each other. I tend to follow my creative intuition, and I never impose a subject on my work, but let the subject arise from the process.

I have primarily been an abstract painter. I started out as a figurative painter but since the early 90's I have been involved with an abstract vocabulary.

I sort of rebel against the whole idea of "style" or having a continued, consistent body of work or subject. I don't like to be told what to do. I have been known to follow detours in my work. For example, in 2014, I was in Marfa, Texas, for a three-month residency sponsored by the Marfa Contemporary. I did 52 drawings there. And while I was there, I became very interested in the conversation that was going on outside with the sky, the land, and the light. But given that my visual vocabulary was so reductive and so abstract, I didn't quite know how to bring all that into the work.

I had snippets of things in the drawings that talked a lot about the color of the sky and landscape-little things that looked like little sunsets inside boxes, things that you might not pick up on as the viewer. And I even had the thought at that time that I wanted to paint a sunset, which is the most cliche thing you can think of. But I came home and I kept doing my drawings and my paintings and the color became very vibrant. Again, I was slipping into my memories of that sky and land, and only I knew those influences were there, in my work.

Six years later, I returned to the desert, to New Mexico, and I rented a little casita, set up a little studio and finally said, "I'm going to take that on." It felt so risky-a total departure-but it also felt very appealing, very challenging. When I returned home to my studio, I produced a whole body of work based on the sky, land, and sunsets, and they were monochromatic. I took the color out of these images because I wanted to present this subject in a way that it is not normally depicted. When I was out there looking at the sky and watching all this amazing stuff that goes on out there, I kept thinking, remove the color, so that the viewer can then participate in imagining what that color would be.

My work has always been about differences and oppositions and creating some kind of visual tension-having things that are solid or concrete and things that are kind of ephemeral and are in the process of transformation or change. It relates to how I see my life and how I experience my reality. I never feel like I am in a fixed place. My worldview is inclusive of differing ways of seeing and experiencing an "in-between space," where opposites and contradictions can exist side-by-side, informing each other.

Aside from the more representational or figurative works like the skyscapes, my work shows its process. There's a lot of doubt in the drawings, there are things that you see that have been erased, taken off or redone. And there's usually a conversation inside of the drawings like one side talking to the other. So you see the process as the image is forming itself.

Going back to the skyscapes, a sunset forms itself as it's disappearing. And I found that to be so important and metaphorical for the human condition. We are forming ourselves as we are all heading in the direction of our mortality. That is what attracted me to it. This image is forming itself as it's dying, as it's ending. And that very much was in my head about the abstract drawings and paintings that I made later.

I did an exhibition with the skyscapes/landscapes. And in one of the other rooms of the gallery, I had all the abstract drawings that I made after the monochromatic paintings and these were full of color. All the color I felt out there, I put into drawings. So I had both of those bodies of work in the same exhibition so that one could inform the other.

Today, I was thinking about this painting hanging behind me [ Black Tower, 2011, photo below], and how that painting was part of a body of work that has been going on for the last 12 years. In 2011, I had reached the conclusion of a previous body of work that lasted six years, and it was very frenetic. The compositions were really full of imagery and a lot of color. And I had come to the end of that. So I went through an investigative nine-month period in my studio where I did a lot of work that ended up in the trash can.

We had a snow storm here in January of 2011. You know how that is in the South, everything is paralyzed and that's pretty much how I was feeling in my studio. And I remembered starting with this drawing, and I was so lost and so frustrated and so tired that I could not get going in here. So I asked myself, "What is image-making to you and what do you want to see?" I made a very simple drawing with a black box or rectangle and this kind of raging cloud on top. And then I did another drawing, and again, it was another little rectangular shape with something on top. And all of a sudden, about a week later, I had a lot of drawings up on the wall.

In these drawings there was all this stacking of my visual vocabulary-shape, line, form, textures, my artist handwriting-meaning how I make shapes and forms. And I realized I was deconstructing or taking apart my entire visual vocabulary. But at the same time-and this is going to sound a little strange-I was really angry at painting in a way. I was sort of wanting to make fun of it because I've dedicated my entire life to it. And I just felt like it is such a burden sometimes to carry that whole history of painting in your head. I wanted to take it down a notch, and I was also feeling like I wanted to possibly quit painting. In short, I was experiencing a creative existential crisis and working my way through it.

So I started calling these drawings and paintings memorials to my own work. I was stacking everything and putting images on top of one another and some were forming and some were coming apart. Then this whole body of work developed and it was all about the language that I used in terms of painting. This painting behind me [gestures to back of studio, where Black Tower is hanging] was the last one in that series from 2011.

What's happened with this body of work, over the past 12 years, is that it's gone through about four transformations, and now I think I am at the end. I think I have said about as much as I want to say about this and I'm not interested in just repeating myself. When I make work, I want it to be a discovery, a revelation. So I'm in a very funny place right now. I feel like I'm at the end of this 12-year period of taking apart my entire language in addition to bringing other things into that work.

It's an interesting thing, receiving the Joan Mitchell Fellowship at this time, because it's just so generous. It will give me the opportunity to leave my studio again, because I think routine is a creativity killer. If you're always in the same space and if you're always doing the same thing and if you can predict what the next day is going to be like, all that can really hamper creativity. I've left my studio a few times in the past with various residencies, and worked in different locations like the residency in Marfa and the trip out west to New Mexico that prompted the skyscapes, and I have always come back and made something new.

Travel is essential to me. I'm always seeking very new and differing experiences from where I have already been. And the work kind of shows that. So I would like to go back out to New Mexico and possibly Arizona, and again, be out there in the middle of somewhere in that vast space. I'd like to see if I can find something else and create a whole new body of work that is related but possibly very different from what I have done, and be challenged in a different way.

As I'm going through this transition, I don't want to plan any exhibitions. I don't want to put that kind of expectation on myself, because I'm looking forward to making a big change here with the work. I just want some work time, studio time.

The thing about my work is that I try to get out of my way, and that's a struggle sometimes. Because I argue with it, question it, doubt it. This studio looks really clean and ordered, but there's chaos in here. This is the ER. Stuff is dying in here, and I'm trying to create something, make something live. I try to let the work speak first and develop. And that's the creative process for me. It's being in a not knowing space and trusting that. It's a very intuitive, subconscious process.

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My art practice has been a 40-plus-year journey. If I were to describe it, I would say that I am a painter who does a lot of drawings that are like entries in a diary. I find that ideas are usually generated from the works on paper first, and then when I seem to be heading in some direction, I...

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Pamela Everts

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Catherine Cassidy

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Joan Eardley

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Rhonda Kellogg : finger painted scribbling sample

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This is a long and incredibly useful talk. Amy starts talking around minute 12--lots of introductions before then.

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Conversation with Amy Sillman: Drawing in the Continuous Present

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A Yorkshire Sketchbook

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Analogous colors

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A Yorkshire Sketchbook

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John Zurier, “The Future of Ice” - Viewing Room - Peter Blum Gallery

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Explore the John Zurier exhibition “The Future of Ice” at Peter Blum Gallery through November 13, 2021.

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How to use watercolor: still life tutorial | IN THE STUDIO

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Brushed watercolor

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Working out an idea on paper

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All Hands On Deck

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Kiki Smith’s drawings, prints and sculptures often combine human and animal features along with other references to the natural world.