Beautiful storefront window of an Artist’s Book Store in New York. Ideas come from everywhere.
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Truck coming to pick up installation from Ceres Gallery, 547 W 27th Street, New York, NY 10001.
Time to move on to another project!
Ceres Gallery
547 W 27th Street, Suite 201
New York, NY 10001
212 947 6100
ceresgallery@earthlink.net
http://www.hollishildebrand-mills.com
Come see! It’s the last few days of my show! Closes Saturday, March 30th at 6 PM!
Ceres Gallery
Suite 201
547 W. 27th Street
New York, NY 10001
212 947 6100
ceresgallery@earthlink.net
http://www.hollishildebrand-mills.com
March 5-30, 2013
Ceres Gallery
Suite 201
547 W 27th Street
New York, NY 10001
March 5-30, 2013
When I was at Atlanta College of Art taking post graduate classes, I was fortunate to take a couple of classes from a man named Fred Gregory. I studied Painting and Color Theory with this guy who had been Josef Albers’ student at Yale. Albers thought highly enough of Fred Gregory at Yale’s MFA program to appoint him as one of the two proofreaders of Albers’ color theory book. Since Albers’ life’s work was about color, the color on the pages and the color relationships had to be accurate. And, apparently, my teacher was that good.
Among the many things I learned from Fred, he taught me not to judge bad art. Instead, he said, look at it and ask myself what I would do to make it better.
I decided to illustrate this point with a spaghetti sauce can which is obviously repulsive. (I did not want to use any art here so as not to offend anyone) I thought everyone could relate to a picture of food on a can as a visual and apply it to Fred’s theory.
I steamed the label off the can and asked myself what would make me like the image here better. So I went to work. What else but collage? I improved the can, put it back on the shelf in the grocery store, and voila! It looks good enough to take home.
You don’t have to actually take home bad art and make it better. Fred said that the mere asking yourself what needed to be done to make the piece better, developed the aesthetic side of your mind. You would be working. Only conceptually. I believe that every time you “work” the side of your brain that does art, you learn and build on it, making you a better artist.
Upcoming Exhibitions
AFLOAT: AN INSTALLATION
Ceres Gallery
547 W. 27th Street, Suite 201
New York, NY 10001
212 947 6100
March 5, 2013- March 30, 2013
Reception for the artist-
March 7, 2013 6PM -8PM
Sketchbook Project 2013
Brooklyn Art Library
103A North 3rd Street
Brooklyn, NY 11249
718 388 7941
Category: “Capes, Masks and Tights Tour”
Due date: August 2013
Sketchbook is part of a travelling “show” of sketchbooks, This project travels to Wichita, KS, Boulder, CO and Santa Fe, NM.
Here are some images from my Sketchbook Project 2011 the Brooklyn Art Library sponsored. For this undertaking, I chose the theme “Help!.” It is part of the Art House Co-op’s (Sketchbook Project’s parent company) project, to assign each artist who gets involved in the sketchbook tour, a theme. The artist can choose from many themes the Brooklyn Art Library lists on their website. They send the artist a sketchbook and each page in the artist’s sketchbook should reflect the theme.
I chose “Help!”. I used my sketchbook as a blueprint for a video I plan to make. The actual video will be called “The Box” and I intend to use a more fluid computer program this time. Stop motion was fun as all animation is, but I want to employ live action with animation this time and I think the transitions will be more graceful with a different program.
Also here are some pieces of the storyboard I created for the video, “The Box.” The video will include imagery from The Sketchbook Project 2011 (the junction box being a major player), will have a soundtrack, and an actor (live action superhero). The actor I had lined up for the video was so excited about his role, he lost 70 pounds to play the superhero. I had to put the project on hold; He moved to Hilton Head, SC and I will wait a little longer to start the video entitled “The Box.” But here you can see some starting thoughts for this “put-on-hold” video.
Hollis Hildebrand-Mills 