Yes, they do have a day for everything now. But this isn’t some craven marketing gimmick (no, really). National Tie-Dye Day is a celebration of color, improvisation, individuality, expression and the fabric arts. It’s not just something you wear bc it’s laundry day, and it’s not just for hippies anymore. These days tie-dye is all over the fashion runways and street-style stars are jumping on board that train (which smells like patchouli, btw but it’s ok bc free love).
Throughout the month of May, we’re taking a deep dive into all the artistic things we can do with textiles (like tie-dye!) and putting it on sale. Jacquard Acid Dye, iDye, Procion MX, Indigo, and Basic Dyes are all 25% off. Jacquard Dye-Na-Flow? 25% off. Oh you’re looking for Jacquard Textile Paints? Also 25% off. What about Jacquard Screen Printing Inks? Yep, that too. All ON SALE at 25% OFF. Whether fiber reactive dyes, hot- or cold-water dyes, natural dyes like indigo or cochineal, or easy-to-use dye packets, we carry a wide selection of vibrant and intense colors and formulas, all on sale at 25% off.
A new study conducted by Johns Hopkins University published in the journal Trends in Neuroscience and Education provides strong correlational evidence that involvement in the arts improves students’ academic outcomes and memory of learning math and science.
It is unclear whether the improved outcomes are the result of general exposure to the arts, the integration of arts into content instruction, the use of effective instructional practices, or a combination of these factors. Moreover, as a growing number of studies suggest that arts-integrated pedagogy enhances learning, few empirical studies have explicitly examined the direct effect of an arts-integrated curriculum on learning and specifically on students’ memory for non-arts academic content.
Michael Majerus, MoM-Block II, 1996, acrylic on canvas, 141 x 315 x ¾ in. (358.14 x 800.1 x 1.91 cm). The Museum of Contemporary Art, Los Angeles, gift of Thea Westreich and Ethan Wagner. Photo by Brian Forrest.
Beginning in Spring 2019, MOCA will dedicate its downtown locations to multiple exhibitions celebrating the museum’s 40th anniversary and its permanent collection. Each location will feature special exhibitions highlighting different themes and stories found within the institution’s permanent collection of more than 7,000 objects. As part of this celebration, MOCA will debut a new ongoing series of exhibitions titled Open House.
MOCA will begin this new exhibition series with Open House: Elliott Hundley. On April 25, multimedia artist Elliott Hundley will lead a walkthrough of his exhibition. The show is an exploration of the architecture and origins of collage, and how the visual and material logic of this format has informed artists in MOCA’s collection, as well as Hundley’s own practice.
Attention oil painters! If you missed the last still life painting session at Grand Central Market the Roofless Painters are at it again! So what do you say, want to join other artists and paint some produce? Join Roofless Painters for a still life workshop at the one and only Grand Central Market, in DTLA’s Historic Core this Saturday, April 27th from 6-8pm. The Roofless Painters will set up easel stations around the produce stands of one of the market’s vendors and paint them from life. The workshop is $50, and all painting materials are supplied (medium-OIL). Setup and clean-up is on them, too – just show up and paint!
We first met the Roofless Painters at the 2016 Los Angeles Plein Air Festival, when artist Julio Panisello won the Grand Prize for his oil painting of Angel’s Flight. A talented artist, Julio is also a beloved educator and the inspirational founder/leader of Roofless Painters, a nomadic painting atelier in Los Angeles.
The Curatorial Intern will work directly with Curator Daniela Lieja Quintanar, summer artist-in-residence Sandra de la Loza and curator of A NonHuman Horizon, Andrew McNeely. The Intern will assist Lieja Quintanar with the curation, production, and marketing of the 2019 Summer Residency Exhibition in the main gallery, will work directly with de la Loza and McNeely and to coordinate, research, and produce public programming. The Curatorial Intern will serve as the key liaison between the artist and LACE’s staff, as well as with any additional artists/collaborators involved in the projects.
Communications and Marketing Internship
The Communications and Marketing Intern will work directly with Gallery Assistant, Jackie Castillo and Executive Director Sarah Russin, to coordinate all digital and print marketing for the summer exhibitions, and will serve as key liason for all press and academic inquiries. The Communications and Marketing intern will collaborate with LACE curator Daniela Lieja Quintanar and guest curator Andrew McNeely to create original digital content for LACE’s social media, website, and email marketing.
We have been granted access to the Bonaventure Hotel to paint the LA Library from their pool deck. The views of the iconic library form the iconic hotel are incomparable.
We first met the Roofless Painters at the 2016 Los Angeles Plein Air Festival, when artist Julio Panisello won the Grand Prize for his oil painting of Angel’s Flight. A talented artist, Julio is also a beloved educator and the inspirational founder/leader of Roofless Painters, a nomadic painting atelier in Los Angeles.
Grand Prize Winner, 2016 • Julio Panisello, “Angel‘s Flight” Oil on Canvas, 18″ × 24″
Saturday, April 27 and Sunday, April 28, 2019; 11 am – 5 pm
Grand Park’s week-long spring arts experience, Grand Park’s Our L.A. Voices – a Pop-up Arts+Culture Fest is a regional arts gathering that focuses exclusively on the diverse and powerful artistic talent in Los Angeles County. This FREE arts fest will feature short film, dance, music, spoken word and theatre performances, as well as visual art by L.A. artists.
During both days of the festival, Jardin del Arte, the public marketplace at Our LA Voices, will feature a range of art works for sale including paintings, photographs, collages, postcards, jewelry, and plants from LA artists such as Patrick Martinez, Ramiro Gomez, Chinwe Okona, and Noe Olivas. Jardin del Arte is curated in partnership with Residency Gallery, Savannah Wood, and more to be announced.
The festival’s 2019 theme, Origin Stories, explores and showcases distinctly Los Angeles narratives and questions about where we are, how we got here and where we are going.
WHERE: Grand Park Grand Park – From Grand Ave. to Hill St. 200 N. Grand Ave. Los Angeles, CA 90012
Gamblin Artist’s Oil Colors makes more of their artist’s grade Titanium White than any other color… by far. For most painters, it’s the first white we use. And for some, the only white ever used. There are some good reasons for this. GamblinTitanium White has a strong tinting strength and an unparalleled, beautiful texture. It’s terrific for direct painting techniques and for quickly lightening the value of other colors.
With that said, many painters could be better served at times by whites other than Titanium White. Swapping Titanium White for any number of alternatives can solve problems and create meaningful, new artistic possibilities. Let’s explore a few.
Pure White Whether the painting in question is abstract, representational, a bit of both or somewhere in between, there are situations where the use of straight, pure white is called for. For these situations, we recommend Radiant White, our brightest white. Radiant White has a high content of titanium dioxide pigment and is bound in safflower oil, yielding a bright white that has a neutral temperature. Our testing indicates that safflower whites hold their colors best over time.
Tempering Tinting Strength No white pounds color down like Titanium White. It’s high tint strength can overwhelm colors, making them appear chalky in tints. A number of our other whites contain less titanium dioxide, which means a lower tint strength, and in turn more saturated color mixtures as well as more subtlety and control in color mixing.
If you find Titanium White a bit too strong in mixtures, we’d suggest trying our Titanium Zinc White. We designed it to be the perfect, all-around mixing white and to have the perfect texture to support the work of painting.
Flake White Replacement combines a lower tinting strength with a dense, ropey texture. Even stiffer than Titanium White, but less powerful in mixtures. Titanium White in our 1980 line is a valuable alternative when an even lower tint strength is desired. Titanium Zinc White and 1980 Titanium White are both bound in safflower oil.
The swatches below show Titanium White, Titanium Zinc White,and Titanium White 1980 mixed 5:1 with Quinacridone Red.
For comparison sake, we prepared the same mixtures, but reversed the ratios – 1:5 white into Quinacridone Red:
How about matching the color of your white to the color of your light?
GamblinWarm White and Cool White are designed for painters who want to factor the color of the light into their color mixtures. The color of the light source influences all of the other colors in the painting’s subject matter. Using a white that matches the temperature of your light makes it much easier to create a consistent quality of light and color harmony throughout your painting.
Why not take this a bit further and use other high-value colors as your white? Below are a few examples.
Portland Grey Light
“Using Portland Grey Light as a white is great for tonal painting. It is slightly darker in value than pure white so the value range is limited on the light end. But what is most exciting to me is its effect on color. It creates lovely harmonious mixtures when added to the cadmium colors on my palette. The result is beautiful half tones that are not as chalky as they would be if white were used. These harmonious, greyed-down tones sit beautifully together on the canvas as a result of them each having a common ingredient…Portland Grey Light.” – Eric Jacobsen jacobsenfineart.com
Eric Jacobsen, Backyard, oil, 8” x 16”
Titanium Buff
In our discussion of colored greys, we consider Titanium Buff to be a yellow-grey. When used as a white, it simultaneously mutes and warms colors and results in a subtle harmony.
“On an Alaska fishing trip in early July, I shot a photo as first morning light permeated the distant misty landscape and played across the ocean surface with a warmth that belied the cold morning. To capture this unique atmosphere back in the studio, I set aside my usual Titanium White for tinting and switched to Warm WhiteandTitanium Buff. Warm White was used in a limited fashion for my lightest values and highlights, while Titanium Buff was used in nearly all color mixtures. As a muted tinting color, Titanium Buff unified and subdued my color palette helping to better capture the scene.” – Dave Bernard Gamblin Product Specialist
Dave Bernard, Sitka Morning, oil, 12” x 16”
Portland Warm & Cool Greys
“I found my paintings became chalky and dense due to the overuse of Titanium White. So, I set that tube a bit out of reach on my palette and now use Portland Warm Grey or Portland Cool Grey when I am looking for the “right white.” There is very little real white in the natural world and these soft grey tones have proven to be a good option on their own or as a basis for mixing other colors.”- Kris Ekstrand www.krisekstrand.com
Kris Ekstrand, Line of Passage, oil on canvas, 60″ x 48″
Poetry has long been a source of inspiration for our art-making. To celebrate National Poetry Month, we’d like to share this lovely poem. To all the artists and muses out there, we salute you and we thank you.
YOUR MISSION by Ellen M.H. Gates
If you cannot, on the ocean, Sail among the swiftest fleet, Rocking on the highest billows, Laughing at the storms you meet, You can stand among the sailors, Anchored yet within the bay, You can lend a hand to help them, As they launch their boats away.
If you are too weak to journey Up the mountain steep and high, You can stand within the valley, While the multitudes go by; You can chant in happy measure, As they slowly pass along; Though they may forget the singer, They will not forget the song.
If you have not gold and silver Ever ready to command; If you cannot toward the needy Reach an ever open hand; You can visit the afflicted, O’er the erring you can weep; You can be a true disciple, Sitting at the Savior’s feet.
If you cannot, in the conflict Prove yourself a soldier true, If, where fire and smoke are thickest, There’s no work for you to do; When the battlefield is silent, You can go with careful tread, You can bear away the wounded, You can cover up the dead.
If you cannot, in the harvest, Gather up the richest sheaves, Many a grain both ripe and golden Oft the careless reaper leaves; Go and glean among the briars Growing rank against the wall, For it may be that their shadow Hides the heaviest wheat of all.
Do not, then, stand idly waiting, For some greater work to do; Fortune is a lazy goddess, She will never come to you. Go and toil in any vineyard, Do not fear to do or dare, If you want a field of labor, You can find it anywhere.
“For a third-straight year, the Trump Administration has proposed to eliminate the National Endowment for the Arts (NEA), the National Endowment for the Humanities (NEH), the Institute of Museum and Library Services (IMLS), and the Corporation of Public Broadcasting (CPB). As misdirected as this proposal is, we are confident that Congress – as it has done in the past two fiscal years – will again reject this short-sighted budget request in a bipartisan, bicameral manner, and increase funding for the Endowments.”
In the past two years, Congress not only dismissed these initial calls for termination, but in fact gave steady increases in funding to several cultural agencies.”
The Arts Action Fund has been building bipartisan support for the arts as well as delivering a unifed message to Congress. Since our founding in 2004, an extra $200 million has been appropriated to arts related funding.
