ARTmatters, Summer 2016

The Pumphouse

Drawing by Denis Chilton

Executive

President Dave Morley Vice President Adrienne Brown Treasurer Colette Verrier Secretary Ann Glasford Committees

Art Shows Roma Rojik Membership Pat McGuire Newsletter Fran Elliott Phone Tree Nancy Teminski Publicity Flora Hutterer Workshops Joyce Richardson

Summer has arrived, and so we’ve complete a busy spring full of learning and social activities. Behind us are several workshops and another well attended demo. And let’s not forget our Summer Social, within sight of vineyards and the lake, with pleasant weather, warm conversations, and delicious food. As we look forward to the months of Summer we notice there are two days we will not be at the Pumphouse. On July 27 and August 17 there will be Summer Camps in the building, so we will be locating our gatherings elsewhere. In August we will have a two-day workshop by Doug Purdon, an OCAD graduate, full-time painter, instructor, and technical consultant for Winsor & Newton. Doug is one of these knowledgeable artists who can easily put you on overload with the information and guidance he has to offer. The September workshop is with talented artist Bill Biddle, who was with us last year. In this issue you will find some material you have not seen before. Yes, we highlight a few of our members, but we also highlight their accomplishments. We offer our congratulations. There is also a description of the Bursaries we give Grimsby Secondary Schools, and the winners. There also an interesting article about ‘Originality and Fairness’ that may make you pause when you select your next inspiration. There’s also some news from Curry’s and their ‘Thank You’ programme. Summer is always and interesting time at the Pumphouse. The weather is warmer, the golf courses are open, and people have many more interests and vacations that take them away from the building. It is always nice to see them back, and to share in their stories – and maybe a piece of artwork, inspired by their experience. Come September we have two demos within a month. Rather than set a schedule or every two months, we have chosen to schedule these events when the presenters are available. For this reason we will have Calligraphy to start September, and Origami in early October. Let’s enjoy the next few months, and the summer.

Dave

ARTmatters, Summer 2016

SPECIAL ACHIEVEMENTS

This year, two of the Pumphouse members received special recognition from their respective municipalities. We applaud Fran Elliott and Silva Talmassons for their service, accomplishments and awards.

silvaTALMASSONS

Silva was recognized on Wednesday, May 25, as part of the Town of Grimsby’s Civic Recognition program; primarily for her many contributions to the Grimsby Public Art Gallery, and her work with the LPAA.

She has helped

raise the stature of the Grimsby Public Art Gallery, and promoted established and emerging regional artists as coordinator of the “Art in the Library” programme. She is a volunteer and bookkeeper for Gallery Gift Shop, and has been the chair of the GPAG Volunteer Committee. She tirelessly raises funds for quality exhibitions and promotes the Gallery.

franELLIOTT

In addition to being a member of the Pumphouse, and serving on our executive as Newsletter Editor, Fran is also a member of the Women’s Art Association of Hamilton. Recently, for her volunteer work with the WAAH, and the Hamilton-Wentworth Heritage Association, Fran received a Hamilton-Wentworth Heritage Volunteer Recognition Award, “for outstanding contributions to the understanding and preservation of our History and Heritage.

High School Bursaries Awarded

Where funds permit, and to honour the memory of recently deceased members, the LPAA will pay tribute to them by naming the annual bursaries given to the two Grimsby Secondary Schools: Grimsby Secondary, and Blessed Trinity Catholic, in their name. The dedication name of the bursary will change from year to year. The criteria for these awards are: “Awarded to a

graduating Art student continuing their education in an

Arts related field. For example, painter, graphic artist,

ceramist, sculpture, animator or photographer.”

At Grimsby Secondary School, Adam Frolick was presented a $200 bursary in memory of Jane McDermott. Adam will be studying Art Fundamentals at Sheridan College. At Blessed Trinity, Julie Drossman received her $200 bursary in memory of Tibor Nyilasi. Julie will be studying Animation at St. Clair College.

ARTmatters, Summer 2016

MEMBERS ON DISPLAY

Pat McGuire and Dennis Chilton presently have had paintings on display at the Haldimand County Heritage and Cultural Centre in Caledonia. The jury chose Pat McGuire’s framed watercolour of a snow scene for 2nd place and commented on her skill using only 2 colours to capture the scene. Joyce Richardson has paintings on display at Objects to Desire Arts and Gift Gallery in Grimsby. Ann Glasford, Flora Hutterer, Dave Morley, Joyce Richardson, and Silva Talmassons will have their artwork on display at the McMaster Innovation Park, starting on August 4 for three months. This is an excellent showing from our LPAA.

Eileen Bird is among 15 artists displaying their work on July 9, at the Ancaster Art Show and Sale, at Ryerson United Church in Ancaster.

Getting Into Her Work

Recently, when Ann Glasford (right) sat down to work on her painting inspired by her visit to Brazil capital San Salvador, she had no idea she was really getting into her work. Look carefully at her top. By coincidence, the buildings and colour of the top matched her work, but she had no idea that she was really getting into her work.

More Demos Are Coming

On September 7 one of our newest members, Jan Cegnar, will be demonstrating creative ways to use calligraphy and line work. Ever tried the art of Origami? On October 5 Sue Repeto will reveal some of its secrets. You can help us plan demos for our 2017 calendar by suggesting something you want to see or are curious about. Let's get those creative juices flowing!

ARTmatters, Summer 2016

patVARCOE

Art has always been there for me.

I have to paint or draw anything and everything that inspires me to experiment with the medium I feel suits the subject. I enjoy the creative process in most mediums. If I pull off a believable result and the viewer “gets it” then all the better. As a teenager in Scotland, I had a wonderful art teacher who encouraged my artistic enthusiasm. That enthusiasm has remained with me over the years; and through many more instructors, workshops and classes in the UK, Canada and Mexico.

gerryMCCALL

For many years I just dabbled in art, and over the years used a variety of mediums. I took art in high school, but only because I thought it was an easy credit. A few years ago I took some lessons using water-based oils. The instructor pushed me to allow my feelings to show in my work; as she called it my ‘passion’. I did some work with heavy based acrylics for a while, but kept finding it easy to walk past my easel than to pick up the paint brush. Eventually, all my efforts found their way into history. It was not until I joined LPAA, that I became more committed to my art. The weekly

meetings keep immersing me into the world of art. At this point, I enjoy pencil art the most, but keep going back to the heavy based acrylics. Perhaps it is there where I will find my freedom of expression, my ‘passion’.

chrisGREEN

Chris is a retired elementary school teacher who taught junior grades and Art. She joined the Lakeside Pumphouse Artists just after it began 15 years ago and served in different positions on the executive for 8 years. She said: “I’ve painted and drawn most of my life; beginning with oils and acrylics, but after retirement decided to try watercolour. However, during a workshop on soft pastel techniques, I fell in love with the vibrant colours and the ability to make hair and fur look so real. Much of my work is with pastels now. I love to draw so I enjoy putting fine detail in my work. “ Many of my paintings are commission work of children or pets.

ARTmatters, Summer 2016

Summer Social

On June 15, forty-five members and guests gathered, on a pleasant day, at Legends Winery in Beamsville to enjoy fellowship, conversation, food, location, and wine (let’s not forget the wine). We were located just under the trees by the main parking area; and not far from the wonderful waterfront views and adjacent to acres of vineyard. Thanks to our organization team of Adrienne, Pat, Magdalena, Colette and Margery, and to those who brought items, the food spread was really enjoyed by all.

Colette and Fran chat while Magdalena

prepares the punch (the alternative

beverage).

Barbara and hubby Larry chat with

Johanna and Ron beside the wonderful

food spread.

Serious drinkers? I just looks that way. Flora and Joyce enjoy a laugh, while

Fran samples.

Our thanks to the folks at Legends Winery for allowing us to use this site.

ARTmatters, Summer 2016

Originality and Fairness

By Cheryl Magellen

Example of derivative art. The right to use this photo for

a painting was purchased directly from the

photographer.

I belong to a small group of artists who host juried critiques 4 times a year. Artists bring in their work and a judge chooses 6 paintings from the submissions and those six painting go on to compete for Painting of the Year. Among the members, there have been numerous discussions about the meaning of “original” work, and there seem to be as many interpretations of it as there are members. This led me to do some research on what is meant by “originality” when it comes to competitions. Another complaint heard from artists is about fairness and/or what some artists would term "cheating". This concern gets raised when discussing the process an artist uses when creating their art and it generally comes from artists who have been through years of schooling and decades of practice to be able to create

representational art. Their complaint is usually focused toward artists who directly transfer an image (not drawn by themselves) onto their working surface, and especially if they have printed a photograph directly on to a canvas and painted over it. Although I confess to be a bit of a purist myself in this regard, it would be difficult for a judge to know what went into the painting process without close inspection of the work, especially if the art has been digitally submitted. They would be more concerned with where the subject or image came from. In fairness and respect for all concerned, from painters and judges to photographers, no art organization wants to deal with the fallout from copyright infringement. They do not want to give an award to an artist who has stolen another artist’s concept or design and used it as their own. This is why it is important for every artist to be clear about what kinds of references they are using. Most organizations are rather vague about their eligibility requirements for submitting art. While a rule that states, “Paintings created in an instructional setting are not considered original artwork” is very clear, what is not so clear is a statement like “Only paintings of original concept and design are permitted.” OK. So what is an original concept and/or design? An original work of art can be defined as a work of art that has not been influenced by others nor copied from the work of others, although it is pretty difficult not to be influenced by anyone. Art that is based on the work of another artist, or uses all or part of another artist’s work is known as "derivative" art. In an ideal world, artists would have an unending supply of models or the skills of a master photographer to get the reference materials from which to work, as well as the funding to travel the globe to get those references. Then there are artists who can work entirely from memory and their images are mostly fictional. Although I wish I could claim to be an expert on all fronts, admittedly I am not. So, unless I can hire my own models or photographers to take photos for me, I have to get permission to use images that are not mine. And, I choose these images carefully. I don’t just choose any image. The images I choose to make into paintings are

ARTmatters, Summer 2016

never exactly like the original. I am editing my images. I am cropping them, adding things, subtracting things, and moving things around. When I do this I am creating my own design and concept for my painting, however, if I am using someone's photograph, this is what is referred to as "derivative art". A well-known example of derivative art is the painting known as The Mona Lisa with a Moustache done by Marcel Duchamp in 1919. It is a copy of the Mona Lisa (La Gioconda) by Leonardo da Vinci, with the obvious addition of a moustache. Many artists incorrectly assume that if they alter a reference as little as 10% it is enough to call their painting "original". You can gain information about a subject by noting, for example, the color or pattern on the wing of a bird, but if you copy anything at all from another person’s image, you need to get their permission. Keep in mind that model and/or property releases may also be required in some instances as well, so obtaining written permission is always best, especially if you plan to sell or display your work publicly. When there is a certain subject I want to paint and I have none of my own references, I rely on professional

photographers to either take the shots for me, or I will purchase the right to use images they already have. Most photographers are flattered that you like their work enough to search them out and are happy to collaborate. They like the recognition and will quite often, graciously give you verbal permission to use an image. However, being artists themselves, they would probably appreciate some kind of compensation as well. I know if someone wanted to use my artwork for their publicity, I would expect the same respect. Having done the research, I have come to a better understanding of how to use references for paintings slated for competition. I feel more confident knowing I have records that backup my claims if ever a dispute were to arise. Still, it is the artist’s responsibility to use their better judgment and think carefully about what they are putting out into the world, especially in this age of the internet. If you are ever, even a bit uncertain, do the research and/or stick to references you have created solely on your own by taking your own photos or painting from life. Eliminate the worry so you can get back to the painting. Cheryl can be found at …

www.cmagellen.com Published with permission of the author

Curry’s: Their Way of Saying Thanks

Recently, I picked up a brochure from Curry’s in Hamilton. It described their loyalty programmes, but the most interesting to us is the Art Group ‘Thank You’ Discount, and the Curry’s Card.

I asked Curry’s PR if Pumphouse members could benefit from both. Here’s the basics of how each program works: “Registered Partnering Art Groups [such as the LPAA] are granted a 10% discount off regular priced items within any of our retail stores, simply by showing their group membership card at the beginning of their purchase. Our Curry’s Points Card [you can pick these up in the store] may be used to accumulate points on both sale and non-sale items. The card cannot be used in conjunction with any of our discount programs, such as the Partnering Art Group discount, student discount, etc. (We do list this info in bold text toward the bottom of this link, though it take a few clicks from our homepage at: https://www.currys.com/generic.htm?ECINFO=POSSIBILITIES_PROGRAM_POINTS) [Or on the Curry’s Home page > In Store Possibilities > Curry’s Point Card Holder] Generally, with customers holding both a Curry’s Points Card and belonging to the Partnering Art Group Program, they will use Points Card on sale items and their discount on non-sale items.

ARTmatters, Summer 2016

PAST WORKSHOP REVIEWS ...

debraTATE-SEARS

The Debra Tate-Sears workshop converted more artists to Egg Tempera, an art medium that dates to ancient Egyptian times. Workshop participants learned how to lay down the watercolour base followed by several layers of a mixture of watercolour and egg. They share their evaluation comments: Debra is a wonderful artist, very encouraging to a person new to painting. A good instructor with lots of good ideas and techniques. Excellent and very informative. With Debra it is not just same old. There is always something new to learn besides reinforcing those things we have already learned. She is the most generous workshop leader we have ever had-giving both of her time during the workshop and resources.

All workshop artists requested to have Debra return next year to do portraits.

judyMAYER-GRIEVE

Fourteen artists attended Judy's June 24-25 workshop. This two-day event presented a steep learning curve for the participants. Using reference pieces from J.M.W. Turner, there was much room for interpretation. The artists made the following comments: A rich learning experience, very rewarding. Learned a lot. Loved Judy. Turner no! Enjoyed the workshop very much, a very informative teacher. An excellent workshop; learned so much; Judy was so helpful. Great! A nice atmosphere. I feel that I learned a lot. I enjoyed the freedom that Judy gave us to paint. We learned to paint with acrylics on watercolour paper using watercolour technique. A real plus!!!

ARTmatters, Summer 2016

Doug Purdon

August 26-27, 9 am – 4 pm daily

A Doug Purdon workshop is a rewarding, enjoyable and creative experience. Participants will have the opportunity to observe and practice methods that lead to success. Doug's workshops are so informative and interactive. In this workshop learn how to use exciting new mediums and pigments. Representing Winsor Newton Art Materials the first half of Day 1, Doug will demonstrate the newest painting materials. Participants will take away a free material package. The second half of day 1 and day 2 will be spent learning from this present day art master.

More information as to subject will be announced on the website. Participants may work in Acrylic, Oil or Watercolour.

Bill Biddle Watercolour/Acrylic

September 30 and October 1, 9 am – 4 pm daily

BILL BIDDLE was born and raised in Hamilton, where his interest in art began at an early age. This same interest led him to an apprenticeship in the design department of a lithographic firm, followed by studies at the Art Students League in New York City. Bill ran his own illustration studio in Toronto until 1988. He was inspired by such artist/illustrators such as Norman Rockwell, Lyndecker, Corwell, Flagg, Sargent and Homer. Now retired from the Ontario College of Art and Design, Bill teaches classes in both drawing and watercolour at his Gallery in Dunnville, Springbank Visual Art Centre, and the Dundas

Valley School of Art. His watercolours are rich in detailed observations of nature, architecture or human behaviour.

ARTmatters, Summer 2016

WORKSHOP REGISTRATION FORM

Please Check ONE LPAA Member or GPAG Member Non-member

Workshop ____________________________________________________________________________

Your Name ___________________________________________________________________________

Address _________________________________ City _______________________ PCode ___________

Email ______________________________________ Phone ___________________________________

Make cheque payable to the Lakeside Pumphouse Artists’ Association.

Submit application along with cheque to:

Joyce Richardson, 2774 8th Ave R.R. #1, Jordan, ON, L0R 1S0

Fee enclosed: (CHECK APPROPRIATE) Doug Purdon $80 (non-member $90)

Bill Biddle $80 (non-member $90)

WORKSHOP RECEIPT

Received from:

Payment: $ cheque cash

Signed:

Date:

Use this form for each workshop. Print extra copies if required. The form for the specific workshop is also online at www.grimsbylpaa.org/Workshops.html