The Corridor Project – Walk on By

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The Corridor Project’s  first show, titled “Walk on By” was spearheaded by Patrick Greene, the events coordinator at Urban ReThink. Over night almost 100 art installations popped up all over Orlando. The largest concentration of artwork appeared along Mills Avenue in the Mills 50 District. I knew that artists were out between 4AM and 7AM installing their work but I wasn’t sure where the pieces were being installed. I set my alarm for 5AM but swatted it off and fell back to sleep. The next day I decided to sketch this sculpture installation by Bethany Mikell outside Wills Pub (1042 N Mills Ave, Orlando). Painted silver, this modern looking couple is covered in metallic nuts and bolts. The piece exudes fashion with a chic industrial flair. Even the chains holding the couple to the site have an industrial fell.

Walk on By functions as a temporary, clandestine art museum with no fixed location. The works are site specific using empty storefronts and public spaces. In the past, Orlando has promoted public art in the form of decorated fiberglass Gibson Guitars and lizards.  These juvenile displays limit artist expression, forcing the work to be decorative. Even the decorated Mills 50 power boxes seem to lack any bold artistic vision. When public art is needed, as in the case of banners to hide the Dr. Phillips Center of the Performing Arts construction site, children’s art is used. If you have ever gotten a ticket in Orlando then you have been blessed to see the children’s art decorating tiles outside the parking ticket payment office. Walk on By has finally allowed local and international artists the ability to openly express themselves in an urban public setting. Finally the art is meant for a mature, enlightened, adult audience. It isn’t watered down for a Disney, white bread, homogenous, world view. This seems like a bold first step towards a city that can take spontaneous chances.

The art isn’t just for high society gallery gawkers. It is for anyone walking or driving by. Keep your eyes open and be prepared to be surprised. Some art performances happened only at 8:30AM on September 5th while other art pieces will remain on site until they decay. So turn off the cell phone and TV and get out to Walk on By. This gallery has no walls.

The Rocket Garden

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I went out to the Kennedy Space Center to see what was new on the Space Coast. A building is being constructed to house the retired Space Shuttle Atlantis. The structure is perhaps half built but when finished it should look awesome. The plaque on one of the historic rockets said that the rocket was “Thor-able“.  The Thor-Able was an American expendable launch system and sounding rocket used for a series of re-entry vehicle tests and satellite launches between 1958 and 1960. The rocket garden was of course blazing hot. Luckily one of the support buildings had large plate glass windows that looked out onto the rockets. A flat circular fountain squirted water up periodically to cool any younger more playful space explorers.

The space program had a journalistic art program that was founded by James E. Webb around 1958. “The NASA Art Program uses the medium of fine art to document America’s
space program for ‘the expansion of human knowledge of phenomena in the
atmosphere and space…for the benefit of all mankind.” Artists from around the world helped document the race to space. Art work was on display in glass cases. But only a fraction of the artwork was on display. There was artwork upstairs but the staircase was blocked for some unknown reason. A huge wasp buzzed against the window panes in the NASA building I was sketching from. It seemed desperate to get back out to the hot humid air.

RV’S Going Away Studio Art & Yard Sale!

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Robin Van Arsdol, (RV), was preparing to leave Orlando. His Orlando Studio, Realm 54, (54 W. Illiana Street Orlando, FL) was open to the public and anything was for sale to help him make the move to Miami. I met RV only once before when we were both applying to United Arts for Artist Development Grants at the same time. RV has been a working artist in Orlando for the past 40 years. He has had studios in several places in town and his studio hosted an International Graffiti Conference once a year. The studio I visited was a large industrial warehouse accessed by a large garage door. There was a pile of bibles for sale as well as a sporty red Corvette covered with his art. Wendy Wallenberg and Brian Minnich showed up to show RV some of the photos they had shot and to get a release signed.

RV graduated from Georgetown College in 1972. In 1973 he began his masters at NYC.  He was very active in the NYC graffiti scene and in the 70’s he worked with some of the city’s most active and prestigious artists. His family lived in Orlando since 1972 and in 1977 he moved here. He always bounced back to NYC whenever he could, spending six months in NYC and six months in Orlando. RV’s work has been in 70 exhibitions in European city’s in Italy and Paris France.

In 1983 RV became obsessed, creating public graffiti art inspired by the following biblical passage, “Woe unto them that are with child and suck in those days.” The passage reminded him of Hiroshima.  Any prenatal baby is instantly affected by any radiation. He began clandestinely to cover building with images that suggested radioactivity. Large pink tulips resembled mushroom clouds. Gun boats and airplanes covered exterior walls. He was a man on a mission. His art defied the lie that war is a necessary evil. Thinking back to my student years in NYC, I do think that I saw some of his work on a parking lot wall. When I mentioned Keith Haring, RV rummaged in his studio and showed me two of Keith’s subway chalk drawings. RV’s work covered sections of the Berlin Wall.

In Italy in 2004 RV began painting his Pinocchio Screaming Man series. In some images the screaming man is seen in front of mushroom clouds. He is still creating work at a break neck pace, functioning on just four hours of sleep. RV was a director of the Orlando Museum of Art‘s Associates Program from 1979-1986. Miami should be a great fit for RV. There an entire neighborhood is covered in graffiti. It is a shame that Orlando’s arts scene isn’t vibrant enough to hold onto him.

RAW: RADIATE

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Ashlie Rolfe, the Orlando Showcase Director of RAW suggested that I sketch the premiere showcase event of RAW called Radiate at the Abbey. RAW is an International indie arts organization created by artists, for artists. It features local emerging artists in fashion, music, art, film, performing art, hair, makeup, DJs and photography. When I arrived the place was packed with a line down the block to get in. The first artist I noticed was Parker Sketch and next to him was Shannon Holt of Bombshell body Art.
I know Shannon from critique sessions where she showed oil painting which had evolved over many layered iterations. I didn’t realize she did body art, but now that I think back, I might have seen her working at an event a year ago. Shannon is applying for a grant for her body art. Vote to help her out. Her model was already covered with an intricate pattern of lime green and orange. A scarab beetle was firmly painted on her chest. The Batman logo was painted by Parker.

Libby Rosenthal, who worked at the Mennello Museum on weekends, and some of her friends were there and we chatted for a bit, but I couldn’t hear much over the music. I quickly made my rounds looking at all the art and then I found a table that I could stand at up close to the stage. One artist amused me because he was dressed to the nines and worked so hard to look like an edgy artist. I’m not sure the work justified the outfit. Thinking back, I really should have sketched him, but he was busy promoting his image. The band playing was called Stockholm and they had plenty of energy. The guitarist was spinning and gesturing in all directions. It started raining outside so I decided I had to do a second sketch. A videographer was busy shooting footage. When my second sketch was done, so was the rain so I headed home.

Artist Critique Series Led by Josh Garrick

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 I was running late getting to the Art and History Museums of Maitland, (210 W. Packwood Avenue, Maitland), for the free monthly art critique series hosted by Josh Garrick. The critiques are held on the fourth Tuesday of every month. Guest Panelists Robin Maria-Pedrero and Terry Hummel joined Josh for at the Germaine Marvel Building. When I got there, the room was packed with people standing behind the back row of folding seats. These critiques seem to be quite popular and gaining momentum. I sat in my artist stool leaning against the wall. Artists of every medium and skill level are encouraged to participate. Josh graciously acknowledged my blog and welcomed me.

Lynn Polley was the artist who was showing her work when I arrived. I quickly blocked her into the sketch but by the time I sketched the work on display on the easels, I had to incorporate other artists pieces. Lynn showed landscapes done in oil. One piece had a very forced perspective. She described the day that she did the plein air painting. She was worried about the angle but then she relaxed and enjoyed the process. Another piece was of the historic Casa Feliz in Winter Park. Another artist, Laura Bates showed a very similar painting of an archway at “The Casa.” Her paintings were filled with warm light. The guy seated in front of me seemed to be the time keeper. He kept waving a sheet of paper that said, one minute to go. All of the critiques were constructive. The point hammered home most often was to keep at it. Some artists had long periods in their life in which they weren’t creating and Josh stressed that they had to work at art even if they weren’t feeling inspired. All the artist’s paintings were on a table against the far wall. I looked at them all to get artists names, but none of the art was signed.

Most of the art shown was representational. The last artist to show her work, Barbara Koepell, had a brown and white painting which she did as she studied the patterns in a tree’s bark. She began to see figures and shapes and she free associated as she worked. Terry Hummel loved the piece as did Maria and Josh. Josh related a story from his time in NYC when he was a teacher as the School of Visual Arts. He was looking at an abstract painting and he didn’t really appreciate it. Silas Rhodes, the founder of SVA, was standing behind him. Silas said, “Why don’t you like abstract art?” Josh was taken aback since he hadn’t voiced his opinion. Silas then told Josh, “Let the painting wash over you like the waves in the ocean.” It was a defining moment for Josh on his road to art appreciation. I attended SVA but never met Silas. Now I wish I had. It’s never too late to change your perspective..

Several times, the importance of using social media to promote art was mentioned. Josh however ran into a case in which he had a cyber stalker. He used to “friend” anyone but now he is more careful. After the Critique was over, Josh walked up to me as I was packing up. He reached out to shake my hand. Without thinking, I reached up to shake his hand. I forgot I had a pencil in my hand and I managed to stab his palm. I shouted out, “Oh my god, I’m sorry, I’m like Edward Scissorhands!”

Intrinsic Impact and the Value of Art

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We make art because we believe it makes better human beings.

We make art because we believe it makes being human better.

So why do Arts Organizations spend so much energy quantifying the economics of what they do and so little quantifying the impact? The Arts and Cultural Alliance of Central Florida held  a special workshop, presented by guest speaker Clayton Lord, at the Orlando Science Center (777 East Princeton Street, Orlando). He discussed a new book, Counting New Beans: Intrinsic Impact and the Value of Art, that examines the ways artists, administrators, patrons and funders value and evaluate the art they make and consume. Attendees came from just about every arts Organization in Central Florida.

Clayton discussed the results of a two-year, nationwide research study called “Measuring the Intrinsic Impact of Live Theater” that looked at 18 theater companies across the country, 58 productions, over 20,000 survey responses-all in an effort to increase the field’s understanding of what seeing a piece of theater actually does to someone emotionally, and intellectually. Along with this new book on the national study, the conversation included a discussion of the 24 interviews with artistic leaders and patrons included in the book about the changing relationship of artists and audiences, including an overview of tools all cultural organizations can use to measure their intrinsic impact. One of the funniest moments in the presentation came when Clayton talked about a rather esoteric Shakespeare production. Surveys of the audience resulted with responses like, “What the heck was the play about?” and “What was happening?” Obviously the director missed the mark in getting an emotional response from the audience. When a production does hit the mark, people want to return again and again to experience the emotional impact. In this case the art becomes like a drug, or a great relationship that the audience craves.

This research, a comprehensive and expansive attempt to understand and quantify the impact of a piece of art on an individual (and the impact of that individual on the art), has the potential to really change the conversation about evaluating art.

A new way is needed to measure and talk about the intrinsic impact of an arts experience on an individual.

Arts organizations need to articulate their value to themselves, their patrons, their funders and society-at-large. A bridge needs to be built between anecdotes and numbers.

 The Arts and Cultural Alliance of Central Florida seeks to increase awareness of and engagement in Central Florida’s arts and cultural offerings from residents and visitors through collaborative marketing and sales efforts. The Alliance serves over 360 arts and cultural organizations in the seven counties of Brevard, Lake, Orange, Osceola, Polk, Seminole and Volusia. The Alliance envisions Central Florida as a vibrant, dynamic arts and cultural community recognized as a creative community and destination.

Yarn Bombing

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Jessica Earley hosted a Craft Society Meeting at Urban ReThink, (625 E Central Blvd, Orlando), where she introduced participants to the elusive craft of Yarn Bombing.  Yarn Bombing is a global urban phenomenon in which crafty people are covering urban blight with colorful knitting. It is a soft comfortable form of colorful creative graffiti. A hardcore group of four or five women and one man showed up to knit or crochet the pieces that would ultimately be used to encase the bike rack outside Urban ReThink. As Jessica said in her invite, “Come get your granny on.”

Each person knitted and/or crocheted individual granny squares, or rectangles and then those pieces would be sewn them all together to make one large collaborative piece to cover the earth with. She had a yarn bombing book which showed entire trees covered in a tight warm cozy. The guy was taught a way of knitting in which he simply looped the yarn around his fingers. The result was a loose knit square. Jessica had strips of fabric which were given to each participant so they knew the correct width for each knitted section.

With my sketch done, I went outside where Jessica was sewing the pieces together around the rack. There was a light drizzle which discouraged me from starting a second sketch. A couple had stopped to ask Jessica about what she was doing. He joked, “It would be hard for anyone to complain about what you are doing. Of course if you were feeding people, then you might get arrested.”  Knitting is a slow process but by the time I decided to leave, at least a quarter of the bike rack had been converted into a colorful piece of urban art. Jessica will continue bombing in preparation for “The Corridor Project” which will be sweeping into various Orlando locations soon. Details to come…

Sunday Afternoon Music Improv

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SUNDAY AFTERNOON MUSIC IMPROV featured musicians from Central FL, Jax, and Miami. The session was on August 18th from 3-7PM at Urban ReThink (625 E Central Blvd, Orlando). When I arrived, Dan Reaves and Lucy Bonk were performing on stage using electronics and a wide assortment of found objects. Lucy used several kitchen bowls, using them like gongs. Dan’s instruments were gathered on a sheet of corrugated steel. He used a foot pedal and a dial with his right hand to modulate the electric sounds which sounded like someone scanning a short wave radio for a signal. Several large nuts on a screw were turned and he had a cow bell, a brass bell which he would use for percussive effects. The performance was on the edge of absolute dissonance. At times the beat and rhythm was mesmerizing to sketch to. When they were done, the electronic sound persisted making it hard to know when, or if, to clap.

Four musicians set up on stage with more traditional instruments. They were Dan Kozak, Kris Gruda, Jim Ivy and A.S. Herring. They had a game show spinning wheel which could be spun to decide if the piece performed would be a solo, duo, or quartet. Large foam dice would be rolled just to pick which musician would spin the wheel. A laptop displayed a visual representation of the next performance but I never got a glance at the screen. Various sayings were used to inspire the performances. For instance one was, “Life is a lamp flickering in the wind” and another was “The fallen flower never returns to the tree.” It was a fun idea to help structure the improvisation adding chance and luck into each piece. Perhaps ten to fifteen people were in the audience with new arrivals all the time. As I was getting ready to go, Chris Belt who organizes the Accidental Music Festival ran into the room drenched head to toe from the rain. Nothing will stop people who want to experience something new, cutting edge and different in Orlando.

Granted

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I have three sketches on exhibit this month at City Arts Factory (29 South Orange Avenue). They are part of an exhibit called Granted which is showcasing the work of artists who received grants from United Arts. Between 2009 and 2011, 86 talented artists with a broad range of creative
disciplines including visual arts, film, literature and performing arts,
received grants ranging from $1,000-$2,500 for artistic projects or
training. A total of $97,400 in grants was awarded during the three-year
period in Lake, Orange, Osceola, and Seminole counties. I applied for a
$1,000 grant which paid for most of my sketchbooks and pens last year. I’ve never hung my work in City Arts Factory before because they have a hanging fee. I’ve never seen the point in paying to have my work seen. The good news was that there was no hanging fee for the Granted exhibit. I still had to go to Michael’s to find $8 frames. The show runs through September 15th.

I went to the opening and was immediately drawn to a back gallery that was filled with huge balloons and beach balls. Banks Helfrich had filled the room to promote his upcoming independent feature film called 7 Lives of Chance. There was no one inside so I immediately pushed my way in and found a spot to perch and sketch. Slowly small groups of people were brave enough to push inside. The film’s soundtrack was playing from some speakers on top of a large roll top desk. Benoit Glazer had composed the soundtrack which had a distinctive French, light, breezy and fun air.

A large circular oak table had a pile of balloons that were waiting to be blown up. One guy worked his way under the largest balloon to pose for a photo as Atlas. Immediately after the photo, the balloon popped loudly causing everyone to jump and scream. He apologized profusely to me and I had to explain that I wasn’t in charge.  Periodically as people explored a balloon would pop causing my line or a splash of color to jump. As I left a girl was busy stomping on the smaller balloons with her high heals. Every balloon’s destiny, large or small, was to eventually be popped.

Bat Attack: The Dork Knight Rises

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Every month on the third or fourth Thursday, Sketchy Broads host a sketch session at Austin’s Coffee (929 W. Fairbanks Ave. Winter Park, Fl). This month they dressed up as Batman characters from The Dark Knight Rises. They always come up with stunning outfits.

The modeling session costs $5 to sketch long poses from 6:30 – 8:30

$7 to sketch from 6-8:30 which includes 30 min. of short gestures, and

$10 if you wish to take reference photos.

I arrived and ordered a Yak which is a tasty iced coffee. There were only four of five other artists so it was easy enough to find a seat. I ended up on the big red couch. Sitting back in the cushions, I couldn’t move my elbow much, so I sat on the edge of the couch leaning forward. Two white photographer’s umbrellas lit the scene. Lindsay Boswell was dressed head to toe in black leather as an edgy and hip Cat Woman. It is a shame that Anne Hathaway‘s outfit doesn’t show this much cleavage. Jenny Coyle was dressed in lace stockings, a tight bodice and frilly skirt skirt as a sexy and deranged Arkham City Harley Quinn mental ward nurse.

All my early sketches were tiny thumbnails and then I did a larger sketch towards the end of the session. I’m getting better at choosing the intricate details that are needed while letting other areas stay unresolved. Knowing how long the pose will last was a real luxury. I should get out to these sessions more often. If you are an artist you should come out to these sketch sessions, they are a blast!