2013 Creative Aging Conference, hosted by The Creative Center

river of inkblots

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This past week was the second annual Creative Aging conference hosted by The Creative Center at University Settlement on the Lower East Side of Manhattan. The conference was postponed from last fall due to the ravages of Hurricane Sandy, but didn’t lose any momentum, as far as I could tell! Robin Glazer, the director of the Creative Center, and her wonderful staff had a great week planned for the approximately fifty conference attendees comprised of artists and health care providers who work with the elderly.

wholeroom

 

 

 

 

 

 

I was happy to be able to present my inkblot workshop for the second year in a row. Last year, participants had told me that they wished that they could do an extended unit–where elders would be able to make inkblots, and then have something to work on when the workshop leader wasn’t with them, and also projects to extend the inkblot idea. I did a powerpoint presentation showing ways to extend the inkblot experience by making inkblot journals, inkblot masks and planets, and inkblot specimen boxes (to hold inkblot butterflies and beetles).


Pasture Splendour Beetles

 

 

 

 

 

 

 

 

 

 

The participants made inkblots, and while their inkblots were drying, played the inkblot game. In the inkblot game, each table of 4-5 people had a stack of dry inkblots and a set of question cards (I have included the question cards below, and for participants of the conference, I believe Robin was going to provide a link to the cards, ready for xeroxing onto card stock). The questions are silly and encourage looking into the inkblots to see what one can see, and there’s always a lot of laughing.

wholeroom

like'stabledrawingAfter brains were primed by the game, participants drew into their  inkblots. Then we walked around and looked at each other’s creations, and reflected, publicly and privately on how the techniques could be used in various health care situations.

The Creative Center gave a copy of my book, Alternative Art Journals: Explore Innovative Approaches to Collecting Your Creativity, to each participant at the conference.

 

 

 

 

 

 

The inkblots are an artist’s rough sketches of a mural for your bedroom:

Which do you select for your wall?

What colors will you choose?

 

You are having tea with the Queen of a new and exotic country.

The inkblots are plates of food.

What dish are you and the Queen having for tea?

 

 

 

The inkblots are pets in a pet store.

You want to pick a pet

who will get along

with your difficult Persian cat.

Which pet do you pick?

 

 

 

You are going on a trip.

The inkblots are travel brochures.

Pick one and describe where you are going.

(You are not limited to this galaxy!)

 

As chief of your tribe, you must pick a meaningful figure for the top of your totem pole.

Pick one from the inkblots.

 

 

 

You are having a party, and the inkblots are prospective guests.

Who would be great fun at the party?

Who do you NOT want to come?

 

 

 

The inkblots are planets, and you discover one of them in a faraway solar system.

What is it like? Is there life there?

Would you want to visit this planet?

 

The inkblots are acts

auditioning for your small circus.

Trapezists, animals, clowns…

Which act do you choose?

What is it?

 

You are a gardener.

The inkblots are plants. Pick one and say if it is an invasive weed or a prized plant.

Why?

 

 

 

 

The inkblots are spaceships.

You are going to Mars!

Pick a spaceship and explain why this is your choice for interplanetary travel.

 

 

 

Pick three inkblots and put them in chronological order so that they tell a story. What’s happening?

 

 

What condition are these inkblots in? Pick one and tell if it is shabby or neat?

A baby or an elder?

New or old?

 

 

 

The inkblots are pictures from your latest holiday. Pick one and tell us where you went! Is this a beach scene or jungle?

A mountain? Is this an animal you encountered on your journey?

 

 

 

Pick one inkblot. What’s the feeling here? Is this a calm picture? A conflicted one? Why?

 

Pick an inkblot in which something is being shared.

What is being shared here? A confidence? A bowl or other object? A head?

 

 

 

You are selecting fish for your fancy saltwater aquarium. Of these sea creatures, which do you pick for your aquarium? What is it?

 

 

 

You are choosing the new fall direction for your apparel company. The inkblots are textile and clothing designs by various artists. Pick the new trend and tell us why you like it.

 

Do any of these inkblots look like a face? Or a mask? See if you can find one that does. What is this creature like?

 

Animal, vegetable, mineral?

If you see a bug, plant, person, monster, where does it live?

If you see an inanimate object, where is it?

 

 

 

 

The inkblots are pictures of social situations.

Pick a peaceable picture and one that is less so. Why do you think so?

 

 

 

 

 

 

SEA Conference, Naperville/Lisle

I attended and presented at the SEA (Self Employment in the Arts) conference in Naperville (a suburb of Chicago) last weekend. It was so great to be there! Hundreds of undergraduate art students from the middle of the country, as well as faculty were gathered to listen to artists from all disciplines (writers, visual artists, performers, musicians) talk about how to make a living in the arts. I wish that this had been around when I was in college. To have people share their experiences, successes and failures, was so illuminating.

I gave two talks/workshops, one on Alternative Income Options for Visual Artists (stuff you can do to make a living, what is the difference between artist and artisan, do you have to “pay your dues” to get started in an art career, and more), and another on costume painting in particular–a day in the life of a costume painter. I also participated in panels on how to price your work, how to build the perfect portfolio, and All Your Questions Answered (and we answered all of them).

This is me, second from the left, answering questions with ceramicist Eileen Braun, painter and author Janet Bloch (she wrote Strategic Marketing Tools for Visual Artists), and  photographer Erik Unger about How to Create and Present an Effective Portfolio. Everyone agreed that work should be the very best you have–don’t have 10 mediocre pieces and 10 fabulous ones–just have the ten fabulous ones. And that work should be presented with some kind of arc or story in mind–take the viewer on a journey.

IMG_0368

 

 

 

 

 

 

This is a nice picture, and someone sent it to me, but I do not have the photographer’s name–if you know it, comment on this post and let me know! I would like to give them credit where credit is due!

I tried to be a force of positivity during my “slide” talks–showing work from the artists who contributed to The Successful Artist’s Career Guide: Finding Your Way in the Business of Art. As in the book, it was my goal to tell students that they can make choices about what they want to do with their lives and art, where they want to do it–that they can have a life, and a family, pay taxes, have health insurance–and can actually MAKE these choices for themselves instead of being buffeted by the winds of chance.

SACG cover large?

 

 

 

 

 

 

 

 

 

 

I talked a lot about following your compass–that we all have one, and that if we are in tune with it, then we can hold up all opportunities as they present themselves to this inner template, or compass, to know if the opportunities are ones we should embrace or reject.

SEA portrait053_100dpi

 

 

 

 

 

 

 

 

Karl Warma, a faculty member from Quincy University, drew this picture of me talking about following your inner compass.

The conference was very well organized, thanks to the SEA Conference Director and head honcho, Amy Rogers. I think people had fun attending workshops and one-on-one sessions with artists, and left the conference inspired, by all accounts. I was impressed with the students who attended, thinking them uniformly sophisticated , confident, and knowledgeable. I am not sure I was any of those things when I was their age!

For more about this conference, and when next year’s conference will be held, go to selfemploymentinthearts.org.

Foldouts and other Ephemera at the Grolier Club

On Friday I attended two wonderful shows at the Grolier Club at 47 East 60th Street in New York (www.grolierclub.org). The first exhibition, “Rooms of Wonder: from Wunderkammer to Museum, 1599-1899” closed on Saturday, Feb 2nd. It was a show of books that depicted Cabinet of Curiosity collections–some were scientific works themselves, and some were catalogs of collections. A fair number of them included neat foldout illustrations, tipped into or sewn into the books. The foldouts alone are worth the trip–they got me to thinking about how to incorporate foldouts into my journals. The first four images are from Rooms of Wonder (I especially like that big, improbable snail and the collection of map-making tools). The second exhibition is “Through a Glass Clearly: The History and Science of the Microscope,” which runs through March 15, so there is still time to see this tiny, lovely show.


legati mapmaking tools mechanica and optima
snail

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The images below are from the Microscope show. This first is from the late 1600s, a drawing of a flea by Griendel, from microscope observations. Again, note the neat foldout.

flea

 

 

 

These almost abstract drawings are from microscopic observations using dyes such as indigo to make the observations clearer.

dyed micro samples

These are drawings of cells, which I have included as they are so like Galileo’s Moon drawings.

cellmicro

And this is a drawing of a microscope. Note the gorgeous etched scrollwork on the instrument.

microscope foldout

 

The paper of the books were uniformly of wonderful texture–with the text imprinted and embossed down into the soft fibers, the blacks clear. What wonderful collections! And a surprise to me, having never been to The Grolier Club before, photographs were permissible (without flash of course), and admission was free.

 

 

 

 

 

 

 

The Altered Page offers an Alternative Giveaway

The Altered Page

Seth Apter of the wonderful journaling and art site, The Altered Page,  has reviewed Alternative Art Journals and is offering a giveaway! Leave a comment on the link above by December 16th to be entered to win a free copy of Alternative Art Journals: Explore innovative Approaches to Collecting Your Creativity.

Seth Says: “The main focus of this book is on creating these innovative journal structures but more is included as well. Sidebars throughout the book introduce tips, ideas, historical information, prompts, and other bits and pieces of info to help you think outside the box when it comes to journal making. The gallery includes some beautiful examples of journals, all of which were created by the author.”

New Workshop DVDs from Artists Network TV and North Light Books

Alternative Art Journals with Margaret Peot and Alternative Art Cards with Margaret Peot

These two new DVDs are workshops on disks–step outside the traditional ways to make a mark and start being creative on a daily basis. Art Cards shows how to make a portable card deck journal, and details such techniques as stenciling, gouache resist, aging and stamp carving. Art Journaling shows how to journal in new ways: whether you enjoy sketching mementoes of the everyday, inventing stories of strangers in vintage photos, or collecting a series of daily doodles and ephemera, you will find inspiration as you work along with Margaret.

To purchase these DVDs, visit the North Light Shop at northlightshop.com

Alternative Art Journal Book Review and Giveaway


UK Artist Sue Bulmer has reviewed Alternative Art Journals on her blog:

http://suebulmer.blogspot.com/2012/11/book-review-alternative-art-journals-by.html

She says: “Alternative Art Journals provides you with ideas of ‘how’ to collect elements which inspire new ideas for your work. This section I really enjoyed as it encourages the reader to experiment, collect ephemera, paste and stick, recording thoughts, feelings, colour and mood. From Tibetan book journals, to scrolls and accordion books, posts cards, playing cards and box journals -ideas and projects are plentiful and there is certainly something to suit all tastes.”

If you copy and paste the above link into your URL, and leave a comment about what you have most recently put into your sketchbook, you will be entered to win a free copy of Alternative Art Journals.

 

 

Lost Coast Post review and giveaway

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

(Appaloosa Rocks, from Alternative Art Journals: the bottom “rock” is India ink dripped into a rock-sized puddle of water, and the top rock is colored into with Prismacolor colored pencils)

Thanks to Michelle Reuss for her nice review and giveaway:

She says, “(Peot’s) imagination shines through in the prompts and projects she showcases, challenging readers to flex their creative writing muscles.  In my opinion, this is the book’s primary strength and definitely something I’ve been looking for in a journaling technique book.” Go to the link and leave a comment to win:

http://lostcoastpost.blogspot.com/2012/10/book-review-giveaway.html

Alternative Art Journals Book Giveaway!

 

 

 

 

 

 

 

 

 

 

 

 

Book Giveaway At Quinn Creative!

 

 

 

 

 

 

 

 

 

Coptic Bound Sketchbook with Plexi cover and inkblot butterflies

Quinn McDonald at Quinn Creative has reviewed Alternative Art Journals on her fun blog and is doing a giveaway of the book. Just click on the link, leave a comment before Friday, and you will be entered to win! If the link isn’t live, copy and paste into your browser…

While you are there, check out her wonderful site and blog: it is inspiring–all about finding ways to jumpstart creativity.
http://wp.me/p2H1i-2xC

 Inner detail of above sketchbook

A Fotomat booth employee, a famous racehorse trainer or an artist?

 

 

 

 

 

 

 

 

 

 

(a Fotomat booth, originally uploaded from Roadsidepictures from Livejournal (thank you!))

(I really, REALLY wanted to work in one when I was a child–that little sweet house, filled with little things–a playhouse in the middle of the Kroger parking lot…)

In this video, recorded when I was in Cincinnati shooting two Alternative Art Journal how-to videos for Artist Network Television, Jamie Markle, publisher of North Light Books and I get a chance to talk: what brought me to New York (and then Cincinnati) and book publishing, what I hoped to be when I was a kid, and where I find inspiration. It was a fun interview. Jamie asked thought-provoking questions, and we laughed a lot.

http://www.youtube.com/watch?v=mi_2YkIABUQ&feature=relmfu

Look for Margaret Peot’s art instruction videos at   http://.ArtistsNetwork.TV and http://.NorthLightShop.com.

Getting Comfortable with Roughs

Sometimes when we are drawing, we can get obsessed with the perfection of the thing we are doing, forgetting about the purpose of it. These tumbling rough drawings by Masters, made as preparatory sketches, or as studies, are often the most thrilling things in any museum show, for me.

 

 

 

 

 

 

Pier Francesco Mola

It’s interesting that they all have a similar quality: a tumbling, joyous line, a freedom, a joy.

 

 

 

 

 

 

 

 

 

 

Peter Paul Rubens

The variety of line weight, the delicacy of the marks, the organization of the page, the fluidity of the thought passing directly onto the paper–I think you can feel the artist here–as if they were standing next to us, their conte crayon or ink pen in hand, a thoughtful expression on their faces, a smudge on their nose, perhaps–extremely immediate.

 

 

 

 

 

 

 

 

 

 

Francesco Goya

Sometimes that feeling of connection gets lost when the rough has been translated into a finished piece. There are other joys there–color, fluidity of paint, luminosity, bravura–but that feeling of comradeship is harder to capture then.

 

 

 

 

 

 

 

 

 

Isadoro Bianchi

The sketches I find the most exciting in my own sketchbooks, looking back through them, are those where I have lost myself–I have forgotten all the rules, and am excited about getting something down before I forget–the flow, the motion, the gesture. These sketches, more than the ones I labor over to a conclusion, are the ones that make me want to get into my studio and work!