Tag Archives: Boston

ArtVenue HQ Wall

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New artwork is now up at our space at MassChallenge.  The participating artists are (from left to right )Andrew Jerz, Mynn Tan, and Tobias Hathorn.  Andrew Jerz is an illustrator from Cohasset, MA who has been previously featured on artist spotlight.  Mynn Tan has made her way to Boston all the way from Singapore.  Her mastery of HDR photography is evident in the breathtaking scenes and images displayed in her work.  Tobias Hathorn, who grew up in the Midwest, has been a successful ArtVenue artist member with numerous sales.  Definitely check out these amazing artists and be sure to view more of their work by visiting their artist profile pages.

 

Artist Spotlight: Gregery James Miller

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"Autumn Fish"

No, your mind isn’t playing tricks on you, this fish really does have feet and it seems like you caught him at an awkward moment, like walking. Doesn’t it make you chuckle? Gregery James Miller studied illustration and animation at Massachusetts College of Art and Design and, in 2009, graduated with an BFA in Illustration. Yes, he knows the fundamentals of drawing, there is no doubt there, but it’s his personality, natural skill and humor which transpose into his illustrations and make them eye-catching and signature. Gregery might have a steady gig with Cartoon Network’s Adult Swim and the award-winning Clambake Studio, but he always keeps his eyes and ears open for potential projects in all areas of illustration and animation.

ArtVenue couldn’t wait to find out a little more about the artist behind these fantastic and mythologic creations, so we picked his mind a bit.

“Most of my characters have stories, and my goal as an artist is to illustrate all of them.”

"Moss Zombie"

Home is where the heart is-where is home for you?
Home for me is in Western Massachusetts where I grew up. I really enjoy nature.

How and when did you discover yourself to be an artist?
I started drawing cartoons around 3 or 4. As a kid, I designed casts
of characters for video games and cartoons. I worked on one epic
project from age 12-18. I still have trouble breaking away from
complex projects that I never am able to finish. Deep down, I know
I’ll end up producing these big stories in some form or another in my
lifetime.

What are a few things on your artistic bucket list?
The big stories I mentioned above, I have two of them that I want to
start pumping out in graphic novel form.

Where did you learn the skills and gain the knowledge you, as an
artist, posses today?
Lots of classes at Massart as an undergrad, some classes when I was younger, but mainly from drawing all the time, and being inspired by a lot of things. When I like the way something looks, I try to incorporate that look somehow into my work. I’m always trying to grow as an artist. I don’t think you can ever stop growing and trying new things no matter what your passion is.

“Art to me is the ability to bring your imagination and things that you can only see in your mind, out into the real world for others to see and enjoy. Art is magical to me.”

The very first piece or work ever created by you-what/when was it, is
it anything like the work you do now, and do you have it in your
possession?
The first piece? No idea, I have 2 portfolios full of drawings I did as a little kid that I keep stashed away. I like to hold onto this stuff and look back on it every now and then. My style has definitely evolved from when I was young, but many fundamentals have stayed the same.

"Bodhi"

Describe your art with 3 adjectives, a genre and a metaphor.
I’d say 3 adjectives would be … time-consuming, detail-oriented, and mythology. Not sure if you wanted technique for some of those adjectives, but that’s what came to mind from my perspective. I’ve spent a long time trying to define what my work would be described as, there’s a lot of horror and whimsy to it, but I think mythology is an over-riding theme. Genre – I think it’s too early in my career to classify my work in a single genre, I’m always trying different things! Right now I paint pet portraits in acrylic paint, I paint digital background art for a cartoon, and I sketch character designs in pen and ink/watercolors in my free-time. A metaphor for my art might be a child dreaming of the monsters in his closet.

If you were given a blank check, an hour in your favorite art store
and permission to shop to your heart’s content, what would we see in
your shopping cart/s?
Everything! But mainly really expensive watercolors, nibs, ink, and huge beautiful bristol pads.

“I think the most important thing for an artist is passion. You need to want it bad, and love it more than anything.”

What is art to you? What is art for you? Why create it?
Art to me is the ability to bring your imagination and things that you can only see in your mind, out into the real world for others to see and enjoy. Art is magical to me. If we could just stick a vhs into our heads at night and record our dreams, there would be no need for art. I always thought that was a cool idea. Dreams are something I’d love to work with more…and nightmares.

"Medusa"

What is your creative process, typically? (Mood, time of day,
rituals, duration of work, surroundings, caffeine intake,
sleep-depravation levels, etc…)
Unfortunately my dad always teases me and says that I like being ”backed into a corner.” What he’s trying to say is I work really well under pressure. Everyone in the art world is so chill, I wish somebody would just start yelling at me sometimes so I could work even more, haha. I like to work late at night, and sometimes early in the morning. I definitely drink a lot of coffee, but I’m starting to think being less caffeinated lets me work better. I’m more relaxed that way. When I work “well” I go for like 8 hours straight. I like working to music, but also really enjoy peace and quiet, I prefer working alone over socially, but everything has it’s time and place.

What kind of art makes you happy from the inside out?
Art that jumps out at me makes me happy. Striking imagery. Art that tells a story narrative definitely resonates with me the most. I like to imagine what the rest of the story is when I look at a Frazetta painting for example.

“A metaphor for my art might be a child dreaming of the monsters in his closet.”

What kind makes you wish you were in your happy place?
I’m always in my happy place when I’m drawing. That’s a lie.

"Spring Rhizome"

Pick one of your pieces to come to life. Name, personality traits,
dietary restrictions, favorite Tv show?
The Autumn Fish is a god of the woods, it represents the season of Fall and floats through the forest where no one can see, spreading it’s bright autumn scales and changing the trees from green to orange, yellow, and red. When all it’s scales are gone, and the forests are colorful, the bones of the fish fall to the ground and return to the earth until next year, when he is needed again. Most of my characters have stories, and my goal as an artist is to illustrate all of them.

How did you start working for Adult Swim?
I began working for Clambake Animation in Watertown last year. We produced a demo episode for adult swim, followed by a pilot, and now we’re working on a new series that should be airing sometime in 2012. Working with Clambake and Adult Swim has been an incredible learning experience, and a lot of fun!

What would the ultimate project be for you?
I’ve been developing my ultimate project for years. It’s a graphic novel and I wish I had the time and funding to produce it now, but I’ll keep chipping away at it when I have the time.

“I’m always in my happy place when I’m drawing. That’s a lie.”

What is some advice you could give to budding artists, hopeful to
make a name for themselves or looking to build a solid portfolio?
I think the most important thing for an artist is passion. You need to want it bad, and love it more than anything. You also need to work very hard, and study anatomy, perspective, painting, and color theory. These are fundamentals that I think all artists need.

"Hinged Cat"

View Gregery James Miller’s complete ArtVenue profile!

ArtVenue would like to thank Gregery for allowing us some of his time and thoughts. We are happy to have him on ArtVenue – welcome to the family!

 

New Co-Working Art Space in the South End

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This upcoming winter will not keep artistic spirits dormant, D’hana Perry and her friends can assure it. They’ve devoted their energy, efforts and personal finances into a wonderful creative space. Thursday, September 22, 2011, is going to kick major butt. Speaking of which, you better get your butt to 549 Columbus Avenue in Boston’s South End neighborhood. The grand opening of a new co-working art space begins at 6:00pm and goes until 12:00am. There will be celebration, DJ sets,  a possible name-game (the art space currently doesn’t have one), and more!

D’hana took the time to answer some of ArtVenue‘s questions pertaining to the new art space’s grand opening.

Congratulations on your art space at 549 Columbus Ave! You have prime real estate in the heart of Boston that’s walking distance of numerous bus stops, the Green-line, Orange-line and Commuter Rail. How did you land this spot?
Thank you! Yes the location of this space is unbelievable, but I guess we got pretty lucky.  There was already an established group of digital artists (web development, graphic design, video, etc.) sharing space together in Jamaica Plain who were doing work with various non-profit groups, focused on social justice and activism.  That group started looking for a new space around the same time that the Lucy Parsons Center moved their bookstore to JP, so the group decided to take the space and take on more members

What’s the name of the space going to be, and what’s the story behind it?
We don’t have a name yet! We plan to crowd source the naming of our space in the form of a game at our grand opening party.

“I’m super pumped! This is exactly the type of space I want to work in and we all hope to make it an accessible venue.” 

How much wall and floor space is there? How much of the wall space is going to be reserved for art and wall hangings
Well, the space is kind of divided into 2 rooms.  The bigger room is in the back and will be the primary workspace.  It has super high ceilings and a neat little lofted area too.  The front room will be used to curate shows, and both rooms together will be used for events.  I have no idea what that translates to in square feet and inches, but I can say with confidence that it is bigger than some of the bars I frequent.

What’s your background and how did you end up in Boston? What’s your relationship with art like?
Hmm, well, I moved to Boston from Cleveland, Ohio in 2001. In fact, next week marks my 10-year anniversary!  I guess my resume-background is split between working in various non-profits, DJing, and most recently, grad school.

I suppose my relationship to art is musical and sociological.  I’m getting a degree in media arts at Emerson College, and I’m somewhere between the documentary, performance, installation and academic tracks in the program.

“…we envision it being a little beehive of artistic and cultural production for values-minded businesses.”

Who is part of your crew? How did you all meet? What responsibilities do they hold?
Including me, the crew includes 9 people and it’s still growing (listed below).  Half of the group members were working together previously in a space called Ad Hoc in JP, and the other half are new members, myself included. We are a work collective, so all decisions are made by consensus and we try our best to share duties equally.

How long have you been planning this space and when did you set your plans in motion?
The space was picked up this summer after the Lucy Parsons Center moved to JP. We’ve been doing DIY renovations on the space all summer.

Has the project received any funding?
No! We’ve all been pooling our money and spare time to get everything up and running, but we definitely need some financial support, especially for the renovations. We plan on collecting donations at the grand opening and we’re also looking for a few more members to join.

“I suppose my relationship to art is musical and sociological.”

I am an artist and I would love to use your co-working art space to create some of my own art. What’s involved on my end? (Do I rent space from you, if so what are the costs? Do I bring and take all my supplies, or are there a few things I could borrow when I’m there? What are your hours of operation? Give me all the deets!)
There is an online application process so that’s a great place to start. The cost is $200.00/member and that includes utilities! Members are welcome to bring in desks, chairs, and a little furniture. There is a central kitchenette and a few other office supplies, but otherwise you should bring whatever you need to get your work done.

The hours of operation are 24/7. All members will have full access to the space, so if that means you’re most productive at 3:00am, then go for it!

What should we expect at your Grand Opening this Thursday?
Music from myself and DJ Pajaritos (Pico Picante), visuals, a photo booth and a few extras. We’re really excited to open the space to the public!

How many art shows and events do you anticipate hosting per month?
We hope to curate the front room roughly once a month and probably the same frequency with events.  In terms of events, we hope to open the doors to artists and community groups that need meeting or discussion space as well as hosting film screenings and parties.

How excited and proud are you about this art space?
I’m super pumped! This is exactly the type of space I want to work in and we all hope to make it an accessible venue. 

What do you hope to see happen with this project in a year? What about five?
Well I think we envision it being a little beehive of artistic and cultural production for values-minded businesses.  But this week, we’re pretty focused on finishing renovations and getting the doors open.

Any amusing anecdotes you have about the space and it’s creation?
Do thorough research before launching into DIY renovation project! We did pretty well on our own, but discovered a few challenges along the way.  It’s definitely been a rewarding experience over all.

(Click the image for further details of Thursday’s free and inaugural celebrations at the new art space at 549 Columbus Avenue, in Boston’s South End!)

Get excited!

 Happy art’ing and grand open’ing, friends!

*Images used are still-shots from their Vimeo video, which was created by Kelly Creedon.

 

 

 

 

Artist Spotlight: Ellen Crenshaw

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"Ghosts of Japan"

The watercolor and ink illustration you see above this text is incredible, don’t you agree? The composition is sophisticated, the colors are vibrant, and every physical detail is just how it needs to be. Now take a deeper look and allow the details to settle in your mind. There is an untold story collecting momentum the longer you analyze this picture, and it’s a trait which seems to pertain to Ellen Crenshaw‘s illustrations. She is a talented artist who creates artwork rich in narration, movement and context, and has a body of work that has caught the eye of companies like Beer Advocate Magazine, The Weekly Dig and FableVision. The day Pearle Vision lost an employee was the day the art world gained brilliant illustrator, and thank goodness for that!

ArtVenue approached Ellen through the “mysterious ways of the internet,” aka. Gmail, and threw her some meaty questions. She diced them up and served us some tasty insight!

“Interestingly enough, most of my projects that I’ve been happiest with are the most difficult–it’s through the struggle that I find satisfaction, even if I’m grinding my teeth every step of the way.”

Home is where the heart is-where is home for you?
This may sound incredibly cheesy, but home is where my family is.  My husband in particular; if we’re together, I’m at home.  Literally, my place of residence is in East Boston.

How and when did you discover yourself to be an artist?
When I was a kid, I was enamored with cartoons, stories, and characters and I drew what inspired me.  I can’t remember a time when I didn’t do that.  I can’t remember a time when I didn’t tell people that I was going to be an “artist” when I grew up, even if I didn’t know what that meant.  It was always a single track for me, I never seriously considered anything else.

"BYOB, Beer Advocate Issue #42"

When you’re not working or illustrating and have some free time, what do you like to do?
When I’m not drawing, I’m feeling guilty about not drawing.  But I am a child of the screen, I love movies and TV, and in the winter there’s nothing better than cozying up with hot tea and a good book.  This year I started taking kickboxing as a complete change of pace.  I also started getting into fashion blogs, so getting dressed up has become a small hobby of mine.  What I look forward to most, though, is getting together with my husband and friends and letting my silly out.

What are a few things on your artistic bucket list?
I’d love to work on a children’s book.  Learn to screen print.  I’d be curious to try working in California someday, exciting things in the illustration world seem to come from there.

“When I was a kid, I was enamored with cartoons, stories, and characters and I drew what inspired me.”

Who are some illustrators you look up to, and why does their work speak to you?
I’m adding more and more people to this list every day!  The ones I tend to return to, however, are my standbys that get me going again when I’ve hit a wall.  Chuck Jones for his vitality and humor, and for his cartoons that got me started in all this!  Dupuy & Berberian, creators of the most stunning comics I’ve ever seen–I can’t tell you how often I turn to their books for guidance on page layout, storytelling, composition.  Peter De Seve, whose watercolor techniques I would love to successfully emulate someday.  Jen Wang, Graham Annable, Scott Campbell, Vera Brosgol, Brit Wilson, Juan Berrio…I could go on!  Sometimes I feel overwhelmed with inspiration, I feel very lucky.

"My Girl"

What is your creative process, typically? (Mood, time of day, rituals, duration of work, surroundings, caffeine intake, sleep-depravation levels, etc…)
I love visual problem-solving, so I thrive on constraints and deadlines.  Once I settle on a project, either for myself or a client, a great amount of my time is spent gathering visual reference.  Ideally I would make a trip to check out the real thing I need to draw, but most often that’s not possible and I rely on stock photography sites.  Then I make small thumbnails in my sketchbook; refine the drawing either digitally or traditionally; color study in Photoshop; and finally paint, either digitally or with ink, watercolor, and gouache.  While most of the final product is planned in advance, I think spur-of-the-moment decisions and happy accidents keep the work fresh, so I leave myself at least a little mystery before beginning a final illustration.  I work best in the morning and afternoon, but when that occasional all-nighter has to happen (side note: I LOVE sleeping, so you can guess how I feel about all-nighters) I drink a cup of coffee and I’m a jittery, wired machine.  Oh, and I always–ALWAYS–need a movie playing in the background, or I can’t concentrate.  One of my best resources: listentoamovie.com.

You’re a dirty-joke teller – give me your best (PG-13) joke!
Gosh, you’ve really pushed me against a wall here.  It’s awfully hard–to perform under pressure, I mean–I don’t want to get a rise out of anyone, after all.  I may just have to sit on it.

“Kindness opens more doors than you can imagine, especially in a world where a lot of the people you meet never see you in person.”

On your ArtVenue profile you say, “As a lover of animation, I also employ a sense of motion in my illustrations, capturing action so that the characters appear to have life beyond the page. ” How did you craft this skill? (Specific classes? God-given knack and ability? Hours in the studio at school?)

Hours and hours of cartoons!  Practice makes perfect, of course, and I did go to an art magnet high school as well as art college, but when I’m drawing a character I imagine the movement–like a cartoon–I feel myself doing it while I’m drawing.  If I can’t get it right in my head, I act it out!  For a long time I wanted to be an animator, and any animator will tell you that you have to be an actor as well to bring a cartoon to life.  When I realized in college that I didn’t have the patience to be an animator, I inherently had to find a way to convey movement in a still image.

"Jack Spratt Investigates Old Mother Hubbard"

Describe your most difficult project you have ever worked on, personal or work-related. How about easiest or must fun?
Interestingly enough, most of my projects that I’ve been happiest with are the most difficult–it’s through the struggle that I find satisfaction, even if I’m grinding my teeth every step of the way. The comic I illustrated for Inbound #4 (written by my husband, Matt Boehm, published by the Boston Comics Roundtable) was incredibly hard for me.  We were constricted to four pages, and we chose a fairly ambitious story to tell in that amount of space, which means there were a LOT of panels.  It also took place in a historic landmark that no longer stands and has very little documentation, so reference was quite a challenge.  I ended up relying heavily on written accounts, which I had never depended on before for a nonfictional setting.  And, of course, I procrastinated…pulled those all-nighters I hate so much, panicked, inked until my fingers ached.  I’m very proud of the result, though, and I’m proud of the book it’s in.

“Sometimes I feel overwhelmed with inspiration, I feel very lucky.”

In regards to the second half of your question, I’m actually collaborating on a project with a bunch of my friends right now and it’s incredibly fun!  It’s called Fanartica (fanartica.tumblr.com); it’s a blog started by me and Matt, in which we and our closest illustrator buddies contribute fan art that conforms to rotating topics.  It’s only been up for a [few] weeks, but we’ve been picking up a lot of steam with our first topic, 90s Nickelodeon.  It’s really great to work on something that’s simply meant to make you and your friends laugh.

"Fair Is Foul, and Foul Is Fair"

Describe the pinnacle of your artistic career. (ie: Are you a household name? Influencing fashion? Prints flying off the shelf?)
Ha!  I think the pinnacle is still coming (that’s what she said).  So far the proudest moment of my career is a fairly humble one: it’s when I was able to quit my day job.  I worked part-time for four-and-a-half years with a wonderful staff and generous bosses at Pearle Vision while moonlighting as an illustrator.  There finally came a time when I couldn’t realistically juggle both jobs anymore, so I took the plunge into full-time freelance.  It’s scary, and not always lucrative, but I’ve never been happier.  (Plus I’ll always have my eyewear knowledge to carry with me.  You need help with lenses?  I’ll hook you up.)

"Brer Bear, Brer Rabbit, and Brer Labrador"

Pick your favorite piece on ArtVenue. What is it of, why is it your favorite and what does it mean to you?
Woah, I imagine that’s like trying to choose a favorite child.  Let me instead tell you about my most influential piece, Ghosts of Japan.  When someone looks at my portfolio for the first time, this is the piece that stands out.  I don’t know what it is about her, but she opens doors for me.  She’s the first piece I made when I reevaluated my career strategy in 2008.  She brought me out of a six-month-long creative slump.  She was printed on the cover of the Weekly Dig to promote my solo show in 2009.  When I look at her now, I see all the technical errors that I have since improved upon, but she is consistently my most popular illustration, and remains my best-selling print.  I can’t help but get sick of her sometimes, I feel like I’ve progressed so much since I made her, but I owe a lot to that Japanese girl on the subway with her ghosts.

What is some advice you could give to budding artists, hopeful to make a name for themselves or looking to build a portfolio?
Just keep working.  Find reasons to make new artwork, dig for deadlines to meet.  When I left college I had this idea in my head that I was worth too much to work for free; don’t get me wrong, to a certain extent, this is true.  But when you decline the opportunity to build relationships and experience because of the money, you get yourself nowhere fast.  Respond to those calls-for-artists, start a blog and consistently post work, find any reason to get your work seen–better yet, published–and the opportunities will come.  Also, be nice.  Kindness opens more doors than you can imagine, especially in a world where a lot of the people you meet never see you in person.

"The Food Issue"

View Ellen Crenshaw’s complete ArtVenue profile!

ArtVenue would like to thank Ellen for lending us some of her time and fantastic thoughts. We are psyched to have her on ArtVenue – welcome to the family!

 

Art Schools in Boston

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Photo: Lesley University

If you’re in the market for an advanced degree or certification in the visual arts, think Boston. The city’s long history of fostering the arts and artists and its rich educational tradition make this a natural choice for anybody interested in pursuing further training in the arts. A review of the available programs in this student-friendly city turned up 18 bricks-and-mortar institutions of higher learning offering specialized training in art, design, or photography, either in an art school setting or within a traditional academic institution. Alternatively, for those from out of state who can’t quite afford a traditional degree program, taking accredited online classes while living in Boston could be extremely beneficial and allow you to supplement your education while gaining residency.
Let’s look first at institutions offering undergraduate and graduate fine arts degrees — the Bachelor of Fine Arts (BFA) and Master of Fine Arts (MFA). After that, we’ll focus on programs that offer a major or minor in art within a traditional undergraduate BA or BS degree program. You’ll see that some of the institutions also offer diplomas or certificates in art.

Fine Arts Programs

All art degree programs include a mixture of visual arts courses and liberal arts courses (like history or philosophy). Programs leading to the BFA typically place a greater emphasis on the study of art and design than study of the liberal arts, whereas BA programs include the study of visual arts within programs focused primarily on the liberal arts.

All Art Schools explains the difference:

  • Bachelor of Fine Arts: A BFA requires that approximately two thirds of the course work focus on the creation and study of visual arts, and one third of the course work focus on liberal arts (history, literature, psychology, etc.).
  • Bachelor of Arts: For a BA, the course work ratios are flipped, with a two thirds focus on liberal arts and one third focus on visual arts.

These ratios hold true across all establishments of higher learning. The type of degree, not the institution, determines the amount of visual arts to liberal arts you will study.

So, if you think you would prefer a bachelor’s level program focused more intensely on visual arts courses than general studies (your professional goals are a factor here), one of the programs listed in the section below may be just what you are looking for.

If you already have an undergraduate degree and you are considering more advanced study in the visual arts, one of the MFA programs discussed below might be the right choice for you. As you will see, many of the same educational institutions offering the BFA also provide graduate studies leading to the MFA degree. They can do so because they have the faculty and other resources needed to offer advanced post-graduate professional training in the visual arts.

Massachusetts College of Art and Design (Mass Art)

Mass Art was the first independent college of art and design in the United States, the first to grant an art degree. The College, founded in 1873, is a public institution offering the undergraduate BFA in over 20 specialty areas, including painting, print making, and photography. The college offers the MFA in 10 graduate programs, including 2D and 3D art, and photography.  Its low-residency 2D/MFA program in Provincetown provides “a unique opportunity for self-directed artists to develop their work in an environment of natural beauty.” Mass Art offers a variety of certificate programs.

School of the Museum of Fine Arts, Northeastern University, and Tufts University

Established in 1876, the School of the Museum of Fine Arts, located beside the Museum of Fine Arts in Boston, offers undergraduate  (BFA in Studio Art) and graduate (MFA in Studio Art) degrees through Northeastern University and Tufts University. Undergraduate students at these universities complete their studio art courses at the School of the Museum of Fine Arts and their academic course work at the university.

The Museum School collaborates with Northeastern and Tufts in offering combined degree programs as well. Students in these programs earn a BFA in studio art and BA or

BS in an academic discipline in 5 years.

The Museum School also offers a 4-year studio art program leading to a diploma, and a graduate certificate program for students who wish to develop a portfolio for use in applying to graduate school.

The Department of Art & Design at Northeastern also offers majors leading to the BA in Art, BFA in Digital Art, and BFA in Graphic Design. Undergraduate majors in this department can combine this major with a major in Computer Science or Creative Industries. In the university’s MFA program in Studio Art, all courses are taken in the Department of Art & Design.

Northeastern offers a certificate program in Digital Photography as well.

The Art Institute of Boston/Lesley University

Photo by Lesley University

The Art Institute of Boston (AIB), founded in 1912, became part of Lesley University in 1998. Students at AIB work with practicing artists and study in a variety of academic disciplines offered by the university. The institute offers the BFA degree in 6 specialty areas, including Fine Arts and Photography, as well as double majors in Design/Illustration, Design/Fine Arts, and Fine Arts/Illustration.

AIB undergraduates can study abroad in Italy, France, Ireland, the Netherlands, and Germany, and in various affiliated programs in the United States and Canada. Students complete internships in the junior or senior year.

On the graduate level, AIB offers a low-residency program leading to the MFA in Visual Arts, a full-residency MFA program in Photography, and 2-year advanced professional certificates in three specialties –Design, Illustration, and Animation.

School of Visual Arts/Boston University

The School of Visual Arts at Boston University is one of 3 schools within BU’s College of Fine Arts.  Its undergraduate BFA program combines training in drawing, painting, and sculpture with study in the liberal arts. Painting and graphic design are 2 of the 6 degree programs for undergraduates.

The School of Visual Arts offers graduate training leading to the MFA in 5 areas and the MA in Studio Teaching, a program that provides students with studio experience in an academic program that meets state professional licensure requirements for teachers. Students can earn the BFA in graphic design, painting, or sculpture as well as the MA degree in studio teaching in 5 years.

The university also offers a 5-year double major program combining study in the College of Fine Arts and the College of Arts and Sciences. Another option for BU undergraduates is to combine a minor in visual arts with another major. Undergraduates in visual arts can study abroad in Venice, London, or Tuscany, and graduate students can study in Beijing, China.

Suffolk University
Students in Suffolk University’s Fine Arts Program (BFA) can choose to focus on Fine Arts, Graphic Design, Illustration, or Interior Design. The college also offers three studio art minors in Foundation Studies (that is, studies focused on helping students develop visual thinking and communication), Graphic Design, and Fine Arts. Graphic Design students can study abroad in Florence, Venice, and Rome, and students of painting can study in Prague. Suffolk also offers an MA program and a certificate program in Graphic Design. 

Emmanuel College
Emmanuel College, a Catholic liberal arts and sciences college, is located near the Museum of Fine Arts and the Isabella Gardener Museum. The college offers undergraduate majors in Studio Art (leading to the BA or BFA – an individually designed major) and Graphic Design and Technology (BFA), as well as a minor in photography. Students at Emmanuel can take studio courses in some specialties at the Massachusetts College of Art. Most students participate in internships.

New England Institute of Art
New England Institute of Art, a for-profit educational institution, originally founded as a school of broadcasting, offers the BS degree in Graphic Design.

Majors, Minors, and Concentrations in Studio Art, Design, & Photography

If you’re interested in furthering your study of art but would like to obtain a traditional bachelor’s degree rather than a fine arts degree (see the discussion above), one of the following programs might be the best choice for you. These programs offer majors, minors, and concentrations in art leading to the BA or BS degree. 

Boston College - Major and minor in Studio Art

Bunker Hill Community College - Associate in Arts degree with a Fine Arts Concentration

Emerson College - Minors in Photography and in Visual Studies and the Arts.

Harvard University - Concentration in the Department of Visual and Environmental Studies (VES)

Lasell College - Major in Graphic Design

Mount Ida College - Major and minor in Graphic Design

Simmons College - Major or minor in art, minor in photography, Design Track in communication

University of Massachusetts, Boston -Major in art, with Studio Art Track

Wheelock College - Arts Major with Visual Arts Focus

A Final Plug for Boston

Your interests and career aspirations will be your best guides in selecting the particular degree you wish to pursue. But whatever degree you choose, be sure to check out all that Boston has to offer to aspiring artists and art professionals. Boston is an exciting metropolis, rich in educational resources, with wonderful museums, galleries, a vibrant artist community, and businesses, like ArtVenue, interested in promoting the arts and artists. We wish you success in finding a program that will foster your unique talents and aspirations and fire your passion!

Graffiti and Contemporary Art Lecture at the MFA

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Photo by Risk

If the evolution of graffiti and its shift of context from street art to museum interests you, you will not want to miss this lecture! Roger Gastman, the author of “Art on the Streets,” Jen Mergel, Senior Curator of Contemporary Art, and Caleb Neelon, artist and author of “The History of American Graffiti,” and Risk, street artist, will be speaking at the Museum of Fine Arts in Boston on September 25th at 2pm.  Tickets are $15 for members and $18 for non-members and are through MFA ticketing.  Details from the MFA event page:

Explore graffiti’s dynamic history, from its underground origins to its mainstream emergence. Artist Risk discusses his work and the evolution of graffiti as an art form in Los Angeles and worldwide. Caleb Neelon and Roger Gasman discuss their new book The History of American Graffiti , examining graffiti’s place in the realm of contemporary art. As its context shifts from street to museum, Jen Mergel asks speakers about shifting perceptions of graffiti, from unpopular to popular, illegal to celebrated, over the past 40 years.

 

Book signing with Neelon and Gastman follows.

 

Be sure to catch a screening of the film Wild Style (1983) as part of our Evolution of Graffiti day.

 

Purchase Tickets
Online: using the link in the red box
By phone: call the MFA Ticket line at 1-800-440-6975
In person: at any MFA ticketing desk

Ticketing desk hours: Mon, Tue, Sat, and Sun, 10 am–4:15 pm; and Wed–Fri, 10 am–9:15 pm

Artist Spotlight: Andrew Jerz

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"Matthew"

Andrew Jerz‘s illustrations and paintings are saturated in this vibrant and unmatched awesomeness, and it is clear the artist is as well. During his collegiate stint at Syracuse University, Andrew studied illustration and was introduced to several influential illustrators. Some showed him the serious side of painting and pressed him to take his work seriously; others handed him metaphorical buck-teeth and clown noses, and taught him to “stop being such a serious freaking painter and live a little.” In each of his pieces, you notice artistic skill and technical comprehension, but it’s the cheeky composition and way he constructs a personality with thoughtfulness and paint that leaves a lasting impression.

ArtVenue, prepared with disarming questions, dug into the deepest regions of Andrew’s mind. These are the treasures we unearthed.

Home is where the heart is-where is home for you?
Short answer: I grew up in a place called Cohasset, MA.

Longer, but related answer: I grew up in a two-hundred year old house with a lot of crawl-spaces. If there’s one place that ISN’T home, it’s in clean, newly-rendered and disproportionately boring spaces. I feel comfortable in places with layers and layers of historical grime.

“I go see magazines and websites every day full of illustrators way better than me. Does that have to be hopeless? No. If anything, it’s inspiring.”

How and when did you discover yourself to be an artist?
There’s not a day that’s gone by – no matter how many day-jobs I’ve had to work when art money gets slow – that I don’t look at a group of young, urban, professional pharmacy students about my age (you can actually spot them a mile away) in their “goin’ out” clothes on a Saturday night on the Red-Line and think, “Whew…that’s a bullet dodged.” Not to say there’s anything wrong with what they’re doing, I just can’t believe how “not-for-me” it feels, even after living in general squalor and indebtedness for so long. I guess I always knew…I just never…knew. How esoteric of an answer is that? Proof that I’m an artist.

"02134"

What are a few things on your artistic bucket list?
Getting consistent calls from Rolling Stone magazine, which will probably never happen, because by the time the art directors at Rolling Stone stop throwing my unsolicited post-card promos in the trash, the magazine will probably have abandoned its print-publication - reduced to merely an iPad app that repeatedly notifies you several times throughout the day of how awesome Bob Dylan used to be. So, apart from that? Honestly? I’d love to do a mural. Like, a really big one. In a public place. I think murals are great, there should be more of them everywhere.

 ”Read about the way a hand works. That’s art. That’s real art. I’m just fascinated by it.”

What is your creative process, typically? ( Mood, time of day, rituals, duration of work, surroundings, caffeine intake, sleep-deprivation levels, etc…)
It’s funny that you mention caffeine intake, because I’ve been experimenting with this for a very, very long time. It’s an almost impossible, perfect balance to reach. Too much and you have no fine motor control over your furiously frenzied fingers; an old professor of mine, John Thompson, once told me, “whatever you do in your career, if you get swamped with too many fast turnaround assignments — don’t do speed! It doesn’t make you do ART faster, it just makes your HAND move faster!” Best advice I was ever given.

When I wake up on my day off, it takes about two to three cups of coffee and EXACTLY TWO slices of left over pizza from the night before to obtain the correct caffeine buzz; around five, when the tighter parts of the work have finished, I’m really sick of noodling with a pencil and a chisel-tipped brush on the darks, and a midtone wash is down and dried, switching to beer is essential for broad looser lay-ins of the lights and highlights.

Late night re-noodling to correct any drunkenly dramatic brushstrokes occurs to tighten these areas up when the threatened cerebrum kicks into primordial survival mode with some kind of weird, mostly inexplicable energy boost around midnight or one in the morning, depending on how much beer is involved. Gin and tonics and or whiskey will have you passed out on your drafting table at seven, and should be avoided unless absolutely necessary. Punctuate the slow points in this process by watering the plants out back or calling your girlfriend/significant other to plead on deaf ears as to the reason you can’t come over tonight (you’re “in the middle of something!”)

"Raz"

Describe your art with 3 adjectives, a genre and a metaphor.

  1. “Inebriated,” “wily,” and “vaguely-smelling-of-salami.”
  2. Is ”the barnacle on the whale of fine art” an acceptable genre?
  3. There’s a song by a band that goes, “if money’s all you want, then money’s what you’ll get; I’d rather be drunk and in love.”

What is art to you?
Go find an anatomy book – not, you know, an artist’s anatomy-drawing book, I’m talking about something a medical student would study – and read about the way a hand works. That’s art. That’s real art. I’m just fascinated by it.

"Juicy"

Pick your favorite piece on ArtVenue. What is it of, why is it your favorite and what does it mean to you?
Right now there’s a piece on there called “Matthew.” Matthew was an acquaintance of mine who ran a “Free Store” from the basement of a derelict apartment building in central New York state.  A friend of mine brought me to him because I needed a replacement wheel and sprockets for my bike (the old wheel had become warped and useless), but I didn’t have any spare change to buy a new one with.

Matthew found me the exact right size wheel and sprocket set in his expansive, basement Free Store, but I had to hang out with Matthew for three or four hours in a dark basement to get it. I didn’t really remember what Matthew looked like when I painted this, but this picture is definitely what hanging out with Matthew was like. I like this piece because I love portraits that tell more of a story than just the likeness…think George Grosz.

“The barnacle on the whale of fine art.”

What is some advice you could give to budding artists, hopeful to make a name for themselves or looking to build a portfolio?
You think you’re good now? You could probably be better. Do I think everything I do sucks? No. But that doesn’t keep me from stepping back after I finish a project and thinking, “ok, this could have been done faster; this could have been executed better; next time, I’ll plan my time better to make that deadline.” You can be self-aware of your condition without being self-deprecating.

I go see magazines and websites every day full of illustrators way better than me. Does that have to be hopeless? No. If anything, it’s inspiring. If they can do it, so can you – you just have to want it enough.

You’re creative, right!? Find yourself a way to set yourself apart from those [other] nincompoops!

"Downtown Crossing"

View Andrew Jerz’s complete ArtVenue profile!

ArtVenue would like to thank Andrew Jerz for letting us pick his brain a bit. We are so happy to have him on ArtVenue – welcome to the family!

Art Supply Stores in Boston

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There are some fantastic art stores here in Boston and Cambridge that make you feel like a kid in a candy store. Even when I don’t have a specific project in mind, I can browse the aisles for hours and be inspired by all the creative bounty.

Artist & Craftsman Supply

580 Massachusetts Ave
Cambridge, MA 02139
(617) 354-3636
www.artistcraftsman.com

From paints to silk screening and mylar to gesso, A&CS has it all. There are online discounts so make sure you keep checking their website for them!

Blick Art Materials


401 Park Drive
Boston, MA 02215
(617) 247-3322

New store just opened: Blick Art Materials Cambridge
613 Massachusetts Avenue
Cambridge, MA 02139
www.dickblick.com

This is one of my favorite art stores! It is extremely organized, and aesthetically pleasing.

Utrecht Art Supplies

333 Massachusetts Ave.
Boston, MA 02115
(617) 262-4948

1030 Massachusetts Avenue
Cambridge, MA 02138
(617) 495-0250
www.utrechtart.com/

They have everything you could possibly ever need and in two locations!

Johnson Paint Company

355 Newbury St
Boston, MA 02115
(617) 536-4838
www.johnsonpaint.com

The art store is upstairs, their wall paint and home supplies are down. They have a smaller selection of art supplies, but JPC carries high quality essentials. Did you know that JPC is the oldest shop on the street?

If you have a favorite art supplies spot, feel free to share it in the comments!

Happy Art’ing, Friends!

Artist Spotlight: Ilene Richard

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"At The Pool"

Ilene Richard’s heart always held a flame for art, and it carried her through an accomplished artistic career. She majored in Illustration, Graphic Design and Jewelry Design at UMass Dartmouth, and discovered her passion for children’s book illustration. After graduation, Ilene also discovered the disheartening realization of the exclusivity of New York’s children’s book industry. Ilene changed course and focused on jewelry design, and made a name for herself with multiple national publications and exhibits in reputable galleries. Even after 15-years of hard work creating jewelry, she never gave up on her dream of being an illustrator. Ilene changed course once again, returned to painting and drawing, and has since illustrated many children’s books for many large publishing houses.

“Art to me is what makes my world a happy place. I could not imagine a world without it, and the people who create it.”

ArtVenue asked Ilene a few questions to get to know the person behind the colorful and striking acrylic paintings seen on her ArtVenue profile.

Home is where the heart is-where is home for you?
I live in Andover, Massachusetts, but I have my studio at Western Avenue Studios in Lowell, MA

How did you discover yourself to be an artist?
Ever since I have been a little girl, I have always loved to draw and create characters. My mother is an artist, and my biggest supporter, so being an artist wasn’t a decision for me, it was my destiny.

What are a few things on your artistic bucket list?
Funny question. I have to say that I am a very driven person when it comes to my art, so when I put my mind to making something happen, I do my very best. With that said, I already have had a lot of successes which I had on my bucket list. I have worked with a lot of publishing houses and have had many books published, have had my work in galleries, and I get interest in my work from people all over the world. What I would like now, is to take my work to a higher level monetarily, and bigger and better exhibition opportunities.

"Blue Dachshund"

Where did you learn the skills and gain the knowledge you, as an artist, posses today?
My early years consisted of a few art classes, and then I went off to Art school at University of Massachusetts Dartmouth studying graphic design, illustration, and jewelry design. Later on, I took classes at the Decordova Museum School in Lincoln, MA and the Boston Museum School.

After all of the education, I want to add that I worked a lot to continue to develop and grow as an artist. It is a never-ending process of growth.

What was the first children’s book you illustrated, and what was the experience like?
My first book job was with Houghton Mifflin Co. It was a ‘little reader book’ that are sold directly to schools. After working so hard to get a real job, I was so scared of the thought of not being able to do a great job. Fortunately, it worked out just fine, and there were many jobs that followed and an art rep that also signed me on to their agency.

The very first piece or work ever created by you-what/when was it, is it anything like the work you do now, and do you have it in your possession?
My very first drawing is long gone, but I do have a collection of work that I did when I was in elementary school. So happy those have survived. Thanks, Mom! Although my work has matured over the years, my quirky sense of humor and my ability to be observant hasn’t changed much over the years. Thank goodness!

If you were given a blank check, an hour in your favorite art store and permission to shop to your heart’s content, what would we see in your shopping cart/s?
A ton of canvases, gallons of acrylic paint, gouache, paint brushes, really nice papers, another easel, 4h pencils, oil pastels, and just about anything that makes me want to create.

What is art to you? What is art for you? Why create it?
Art to me is what makes my world a happy place. I could not imagine a world without it, and the people who create it.

Good Art is something that makes me go WOW! It doesn’t matter what it is made of or what it is, I appreciate things that are powerful, mind stimulating, well executed, and inspirational.  This is also why art is worth creating. It forces me to think!

Last exhibition or gallery you visited? (Who, what, where, when and why?)
Dale Chihuly exhibit at the Museum of Fine Arts Boston, last week to be exact. AMAZING! I went to see this exhibit because I had heard it was fantastic and because I am a member of the museum.

“Although my work has matured over the years, my quirky sense of humor and my ability to be observant hasn’t changed much over the years. Thank goodness!”

"Eve"

What is your creative process, typically? (Mood, time of day, rituals, duration of work, surroundings, caffeine intake, sleep-depravation levels, etc…)
When I get a children’s book job. I can work all day and evening sometimes until 1:00 AM. for weeks. It is really hard work, but when I have a deadline, I have to get it done on time. That is one of my major rules. I find that days and weekends don’t exist for me when I am in the middle of a job. It is all worth it when I finally get to see my hard work posted on Amazon and in bookstores.

When it comes to my fine art paintings, I usually get to my studio in the early afternoon, and I will work until maybe 7 or 8 PM. The only break I will take is when another artist stops by to chat, or when I need to stop and self-critique my work and take a drink (Tea, Diet Pepsi, or water.) I am always happy when I go to my studio. I work in an old mill building with 180 artists renting space. It is such an inspiring place to create, and I feel very lucky to have it. I am there at least four to five times a week. On the other days, I usually need to do other things so that I can refresh myself before starting a new painting.

Where do you gather and/or seek your inspiration from?
My inspiration comes from my observation of people doing everyday things. I am a people watcher, and I love to put those qualities into my work.

Pick your favorite piece on ArtVenue. What is it of, why is it your favorite, when did you create it and what does it mean to you?
“At the Pool” is my favorite piece that I have posted on Artvenue. I painted this piece in 2009. I especially like the way I posed the women. One woman looks completely frazzled while the other woman is oblivious to her and continues to talk. They are sitting so close to each other, but their elbows are still one inch away from each other. I didn’t want them to touch so there would be a little physical tension between them. I don’t think that there is a pool anywhere that doesn’t have a scene like this one that I painted.

What is some advice you could give to budding artists, hopeful to make a name for themselves as an illustrator?
My advice would be to stay true to yourself, work really hard, do a lot of research for the market that you want to attract, believe in yourself, and if you want it badly enough, don’t let the rejections stop you from achieving your dream.

"Boxed In"

View Ilene Richard’s complete ArtVenue profile!

ArtVenue would like to thank Ilene Richard for letting us get to know her a little better. We are so excited to have her on ArtVenue – welcome to the family!

Chihuly at the MFA

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When I think of handblown glass art, I’m taken back to salty and sandy childhood memories. My family used to own a beach house in The Outer Banks in Duck, North Carolina, and every summer we’d return to our beach-side pagoda and relish the last weeks of summer. Each trip we’d visit one particular gift and art shop because of the charm and rarity of its handmade items. There were handblown glass globes off all various sizes and color combinations, and they were simply enchanting.  I remember the westward sunbeams would filter through the spherical glass surfaces and splash aqueous color on the white wall behind them, unintentionally beautiful.

The ‘Chihuly; Through the Looking Glass’ exhibit at the Museum of Fine Arts is something out of this world and only of Dale Chihuly’s mind. Each corridor moved me through its spectacular handblown glass exhibit where explosive twirls of color and bursts of artistic brilliance were suspended in motion and the perfect balance of darkness and light. His pieces were haunting, magnetic, exhausting, liquid, ice, and mind-blowing. There were spindly flameless chandeliers that loomed from the ceiling, and I could have sworn they held a secret light source within its multifaceted structure. It’s almost impossible to comprehend the true complexity of this exhibit, but it’s easy to appreciate and respect.

If you are in Boston between now and August 7th, you must visit Dale Chihuly’s ‘Through the Looking Glass’ exhibit. It’s an experience to delight, entice and satisfy you on so many different levels, regardless of your own level of artistic inclination. What you encounter are his finished masterpieces, which are spectacular in the silence of awe and admiration, but I highly suggest spending a little extra on the MFA’s handheld media device. It’s an iPod touch that holds standard audio and video clips – sometimes of Mr. Dale Chihuly himself – explaining the different processes of inspiration, conception, creation and installation. And be prepared to be breathless as you exit the gift shop and come upon his Lime Green Icicle Tower, a structure that stands 42-ft tall, weighs 10,000 lbs and contains roughly 2,400 glass pieces. Who knew something like this could be possible?