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Artists MagazineArtists Magazine

Artists Magazine June 2019

Readers learn painting and drawing firsthand from other artists through written instruction and reproduction, guiding them step-by-step through the creative process. The magazine shows readers a wide variety of creative options, teaching the fundamentals of art making, presenting techniques in different painting and drawing media.

United States
F+W Media, Inc. - Magazines
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$9.72(Incl. tax)
$26.40(Incl. tax)
10 Issues


access_time1 min.
an ode to the city

“I guess I’m not very human,” said Edward Hopper. “All I really want to do is paint light on the side of a house.” Indeed, though the sea and sky certainly make their appearances, Hopper was inspired to include buildings—both interiors and exteriors—in his work. While a great many painters are drawn to the serenity of green pastures and lazy winding rivers, others seek out a populated landscape as their subject of choice. Sometimes, the preferance is aesthetic, but often, it has more to do with an emotional connection—the heart tug—of one or the other. Our “Anatomy of a Painting” columnist, artist Jerry N. Weiss (page 12), has long felt the pull of New York City as a subject for his art. He recalls a happy summer in 1991 when he…

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artists magazine

EDITOR-IN-CHIEF Anne Hevener SENIOR DESIGNER Brian Roeth SENIOR EDITOR Holly Davis SENIOR EDITOR Beth Williams ASSOCIATE EDITOR McKenzie Graham GROUP PUBLISHER, VISUAL ARTS, WRITING, GENEALOGY, WOODWORKING + HORTICULTURE Allison Dolan ADVERTISING ADVERTISING CONSULTANT Mary McLane Northeastern, Western U.S. & International 970-290-6065; mary.mclane@fwmedia.com ADVERTISING CONSULTANT Kaline Carter Southeastern U.S. 505-506-7698; kaline.carter@fwmedia.com MEDIA SALES COORDINATOR Barb Prill 800-283-0963 ext. 13435; barb.prill@fwmedia.com DIRECTOR OF ADVERTISING SALES Tony Carrini 646-859-6599; tony.carrini@fwmedia.com F+W, A CONTENT + ECOMMERCE COMPANY CHIEF EXECUTIVE OFFICER Gregory J. Osberg SVP, GENERAL MANAGER, F+W FINE ART, WRITING, OUTDOORS AND SMALL BUSINESS GROUPS Ray Chelstowski MANAGING DIRECTOR, F+W INTERNATIONAL James Woollam VP, CONSUMER MARKETING John Phelan VP, DIGITAL Jason Revzon VP, PRODUCT MANAGEMENT Pat Fitzgerald NEWSSTAND SALES, CONTACT: Scott T. Hill, scott.hill@procirc.com…

access_time7 min.
designing warhol at the whitney

although some creative professions combine aspects of fine art with architecture and design, few give designers the ability to work directly with iconic paintings from the past and present. Melanie Taylor, the Director of Exhibition Design at the Whitney Museum of American Art, in New York City, has that rare privilege as someone who decides how exhibitions are presented to the public. Her vocation requires all the observational sensitivity of a fine artist, the spatial and mathematical understanding of an architect, a vast knowledge of art history and the cinematic vision of a set designer. Most crucial to the position is the ability to make a curator’s thesis come to life while customizing the exhibition experience to a vast range of viewers. ROAD TO WARHOL How exactly does one get into a…

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on the thames

James Abbott McNeill Whistler (American, 1834–1903) was a worldly fellow before he even turned 18. Born in Lowell, Mass., he lived in Connecticut; St. Petersburg, Russia; London; and began an ill-fated military education at West Point. After stints in Baltimore and Washington, D.C., he moved to Paris to study art. In 1859, Whistler settled, more or less, in London. Upon arriving there, he drew and painted the city with a keen interest in its rougher edges; by the mid-1860s, he took to painting the Thames in smog, becoming the first artist to celebrate the atmospheric effects of the Industrial Revolution. Whistler, by turns, charmed and fought with just about everyone, including the English art establishment. A primary point of contention was the popularity of sentimental narrative. He insisted that a painting was…

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we asked...

“German artist Käthe Kollwitz used lithography, etching, woodcuts and sculpture to create powerful artwork depicting the effects of poverty, hunger and war on the working class. Her work has great personal feeling filled with angst and the pain of her personal loss of family members—her son in World War I and her grandson in World War II.” WENDY SHALEN ARTIST AND INSTRUCTOR, THE ART STUDENTS LEAGUE OF NEW YORK “Roy Lichtenstein. The focus would be on his process of making art rather than his style.” MICHAEL SKALKA CHAIRMAN, ASTM D01.57, ARTISTS’ MATERIALS STANDARDS “Audrey Flack; although she’s still working—so not strictly 20th century—but then, in her own words: “There is no time in art.” CHERYL K. SNAY CURATOR OF EUROPEAN ART SNITE MUSEUM OF ART, UNIVERSITY OF NOTRE DAME “Norman Rockwell.” ANTHONY WAICHULIS ARTIST, INSTRUCTOR, ANI ART…

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we asked... you answered

“Georgia O’Keeffe—learning about her during my senior year was an epiphany for my studio art classes.” —KAREN TEWERS “Helen Frankenthaler, Clyfford Still, Emily Carr” —EUGENIA BOOK “Andrew Wyeth” —JAMES RUDINGER “Frida Kahlo” —AVERY ST. JEAN “Jackson Pollock is always good. His work needs to be seen in person!” —J. LYNN PETERSON “Picasso—an inspiration for one of my projects” —ESHA NARAYANAN BATRA “Joseph Cornell and Betye Saar” — SUSANNE JENSEN LIKE US ON FACEBOOK @ARTISTSNETWORK TO ANSWER EACH MONTH’S QUESTION IN “THE ASK.” RESPONSES MAY BE EDITED FOR LENGTH AND CLARITY.…