"At Long Last"
Shipping the LA County Fire Mural!
From the Studios of Garin Baker
Carriage House Art Studios
August 16th 2012

Rolled Mural in shipping tube, 10.5 ft.x 6 inch diameter.

Taking a moment  to look back at this amazing and exciting project that I'm now in the last stages of: Shipping and Instillation.  

Slightly more than 3 years ago I remember driving along with the men & women of the LA County Fire Department on fire and rescue calls.  I gained so much insight and appreciation for the expertise and professionalism these highly skilled firemen, women and paramedics / civil servants demonstrate everyday on the job. 

So now I can say my job is almost done.  I'm finished painting  the composition design, colors, forms and expressions of heroism and recognition for the LA County Fire Department. on this large 10 ft high x 27 ft long, 3 sections of canvas. 

The LA County Arts Commission worked tirelessly over several years to bring the project to completion. Through tough economic budget cuts, long construction delays, they never lost heart.  

With continued patience and diligence this Mural will finally be home.

It's all rolled and ready for shipping the 3000 miles cross country to be installed in a new state of the art facility on an interior wall of Fire Station 150 in Santa Clarita, CA. 

It was even featured on the cover of American Artist Magazine Special Edition, Workshop Magazine for the 2012 summer issue as it laid on my studio floor this past winter, wonderfully photographed by Elycia Martinez, a young 16 year old budding photographer.

And now it's up to Bryan Guglielmi, past student, long time trusted apprentice and wonderful young Artist in his own right, and I to travel to Los Angeles to spend several days during the last week of August 2012 installing this 10ft high x 27ft long Mural. 

I plan on taking as many photos of the process that I can, as well as possibly enjoying sunny California if we can limit the complications that always present themselves on large scale instillations like this.

I can't wait!.

Garin Baker.

  

"Keeping it Real"
From the Studios of Garin Baker
Carriage House Art Studios
August 10th 2012

"Afternoon At Max's", Oil on Linen, 16" x 20" 2012 c.

Earlier this morning I received an e-mail from a young artists/student interested in the discussions of late and wanting to know how to be a "realist painter".  And in light of the passing of Robert Hughes, Writer & Director of "The Shock of the New" passionate critique of "modern art", I thought i would take a break from the easel and write a brief diatribe of my thoughts on the progression and development of "Contemporary Realist Art" in our times, in relationship to this question.

I've been Realist Painter making my living as a professional Visual Artist/ in various disciplines for almost thirty years, my perspective is just that,.... mine alone, for what it's worth. 

It's always interesting to me the definitions we use when we refer to all representational painting as "Realism" and maybe it doesn't matter much these days when the english language is abbreviated down to a text message, a tweet or a clever post, but some, as I still believe, "Art History" and where things have come from and gone is still important as we refer to our collective history with honesty, respect or sheer intelligence.  For not being aware of one's history leads to a replay of all the wrongs committed or doing things the same over and over and expecting different results is a definition of stupidity.

So as briefly as I can, Realism in Art/ literature has to do with a form of work that was reacting to the Salons, Academies and intellectual thought in Europe during the middle and later half of the 19th Century. Some Artists during that time were tired and frustrated by the commercialized, beautification and highly stylized view prevalent in the classical and romantic forms of art.  A growing bourgeoisie/ middle class or merchant class interested primarily in working speedily and tenaciously towards climbing into the upper class while holding disdain and contempt for the poor and working class.  The intellectual rational most readily used, holding in high regard art that "rose above" the common everyday lives of the many. This appealing nature stressed the romantic, spiritual and poetic reflected by much that went into the creation of countless works prior to the Realist Movement, obviously intended for those who could afford it.  "Realism" stove to portray life as it was, without embellishment, stylized or ideological point of view. Many artists confuse this period of Art with Social Realism which sought to create works that advocated an empathy for those less fortunate, raising the level of "truth in art" as an Idea or concept with a political or social message,  The Realist Movement allowed and offered permission for artists to work with total "freedom of expression" portraying their lives, experiences  and personal passions without adherence to patrons, acceptable subjects and ideological persuasions. The power of personal individual expression in the history of art was realized.  Briefly and by a few dedicated artist, notably and early on by Gustauve Courbet in addition, a bit later on like Sargent, Sorrolla, Repin, Shiskin, Kromskoi, Kroyer,  and many other commercially successful artist of their time who were able to create works apart from their commissioned works into the late 19th and early 20th Century. And for that matter many contemporary realist artists to this day, whom are admired and respected.

Interestingly, not much has changed since then. Yes, we've had more than 100 years now of "Modern Art" relegating the most talented figurative artists of the late 19th and early 20th century to the illustrative commercial arts, i.e. "The Golden Age of American Illustration".  What I find most curious is that when Realism of the late 19th century began to pick up steam and get major attention the art world moved rapidly towards non objective and interpretive forms of art and literature.  Another interesting and historically accurate fact is that during the tumultuous sixties and seventies of the 20th Century, when the cities were burning with racial strife and political protests against the Viet Nam War were in full swing,  the art held in the highest regard by Western  museums, curators, collectors and the intellectual elite was Minimalism and Andy Warhol. Coincidence or just happenstance.  I'm not  a conspiracy theorist,  I'm just looking at history and making an observation.  

As an aside, when I was at Pratt Institute only 30 years ago in the 1980's as a fine art major, many of my art professors seeing that I was interested in painting from life and asking for live models on a regular basis, suggested I would be happier in the Illustration department.  I remained, banding together  a very small group of interested students, arranging  our own models and painting from life to the chagrin and constant theoretical arguments by other students and my obviously, "intellectually superior" professors.

Well I'm somewhat off topic while my personal diatribe continues and my painting is calling me,.. so back to the question at hand by this young art student's e-mail. "How do I learn to be a Realist painter"?  Questions like this are met with a host of questions to the student and myself, but to simplify and why I started this, was to say:

Irwin Greenberg, a great Artist, Teacher and Mentor of  mine, would offer this advise as only a gentile and honored Old Master could.  

When I was younger, rendering the life out of works proving how good an artist I was to myself and others,  Greeny would say to me, "Boy, you can render the asshole out of a rhinoceros.  Your painting from your ego and not your heart", because what makes things real is how they feel, not how skillfully realistically you paint with style and trickery. The truth of your work is how much of yourself are you willing to  get on the canvas?  Are you willing to find out what stories about you and your life you are willing to discover and tell. This little tid bit of advise is a great starting point for the discovery of what "Contemporary Realism" is, and can be, 
as well as how to achieve it.

Garin Baker.

Max Ginsburg Workshop Announcement!
From the Studios of Garin Baker
Carriage House Art Studios
July 16h 2012

I am thrilled that Max Ginsburg will be teaching a three day workshop at my Carriage House Art Studio's "Visiting Artist Series' From September 7th thru till September 9th 2012.

Located in the Lower Hudson Valley, 60 miles north of NYC.

This workshop will concentrate on a deeper and traditional understanding of light, form and color towards painting and composing multiple figures.  Individual critiques and concentrated studio time with live models will be offered for the entire 3 day Workshop. Additionally interactive breaks as well as all meals, included in the price, will be served on site, so the focus and social camaraderie of the workshop will be unbroken.

Space is limited to 15 participants. 

The price for the Workshop, "Painting a Two Figure Composition" with Max Ginsburg, is 

$580.00  

This workshop will fill up quickly,  so if interested please act soon!

Singing up is now easier with a direct link to our pay pal account or by credit card

by going to: http://www.carriageartatelier.com/visiting-artist-series

A limited number of accommodations are available on site at a modest additional cost in addition to area B&B's and national chains, within a few miles.

After signing up please contact: gb@carriageart.com  to request a room on site. 

(limited to 6 on a first come first serve basis.  Single room/ $120. per night (2 nights) or double room/ ($60. per night (2 nights). 

Looking forward to a great group of Artists and Students, whom through collective focus, amazing nourishment and fun will combine with Max Ginsburg's warmth and generosity, making this workshop a transformative, memorable and exciting Creative Experience!

G.Baker.

Images of Previous "Visiting Artist Series: Workshops, 2011.

James Gurney, "Color and Light" July 2011.

Max Ginsburg, "3 Days Revealing Realism", October 2011

American Artist Cover 

Workshop Magazine Article

From the Studios of Garin Baker

Carriage House Art Studios

July 4th 2012

So thrilled and grateful to be selected for the cover and inside interview about my Mural work in The Public Art Realm for the new and soon to be on the stands of next American Artist Workshop Magazine/ Special Issue/ Professional Practices.

Many thanks to the Editor, Michael Gormley and Assistant Editor and Writer Austin Williams and all the other writers and staff for doing an amazing job.  

Included are additional wonderful articles, and in depth discussions and demos by Steve Assael & David Kasen,  Instructional workshops offered by Bob Bartlet and Donald Demers.  

Aslo amazing information on Richard Schmid & Nancy Guzik and their Putney Painters. 

I could go on and on but this issue in particular is so chock full of engaging information that any budding artist or art aficionado would want to have and read.  

Soon to be on the shelf and available online at Interweave Pub. 

Cranford Paint Out 2012

From the Studios of Garin Baker

Carriage House Art Studios
June 12th 2012

"Late Nite In Cranford" by Garin Baker, Oil on Linen, 9" x 12"

I recently completed a Plein Air Event in Cranford , NJ run by the Jersey Central Artist Studios. These folks did great job of blending a local feel with wonderful side painting trips to NYC and the Jersey Shore. Many wonderfully talented artist participated from primarily the east coast regions of Vermont New Hampshire, Massachusetts, New York, New Jersey as well as Maryland, Virginia and Georgia. The finale exhibition and sale was judged by renowned artist Joseph McGurl who selected a diverse group of winners celebrating a diversity of styles and approaches. I was fortunate to win second place overall and the respect of many of the artist participating who selected my painting below as the "Artist's Choice Award".

"385 Reg', by Garin Baker, Oil on linen, 11" x 14'

The title supplied by Stapleton Kerns, the first place winner and author of one of the best art blogs on the net.

detail, "385 Reg" 

Hosting me was my life long comrade in art and amazing artist Paul Casale and his wife Andrea who are the most wonderful of friends and he even, as a change of pace coaxed his beautiful daughter Jessica to pose for us one afternoon in their back yard.

"Jessica", by Garin Baker, Oil on linen, 14" x 17" 

My first day out painting, Lili Anne Lauren and I took a trip into Brooklyn to paint the skyline of NYC.  I've been eying this site for a few months to do a series of studies for a new larger studio painting of the new lower Manhattan skyline with the Freedom Tower rising from the old WTC site.  My first study below and Lili's shot of me on site.

 Study, Freedom Rising #1, by Garin Baker, Oil on linen, 16' x 40"

All in all a great time was had by all at the Cranford Paint Out 2012, and not only was it wonderful event run by the Jersey Central Artist Studio organizers , volunteers and sponsors, their was great camaraderie and heart felt spirit from the invited artists who brought their very best painting for 5 days and nights this June. .

 

Head Study

From the Studios of Garin Baker

Carriage House Art Studios
March 5th 2012

A quick head study can make clear many concepts and ideas about methods and approach.

I on many occasions have walked a slippery tight rope going that one step to far, rendering a good block in, ultimately loosing the freshness and spontaneity of form that for me communicates a genuine statement of truth and purpose.

At times I move from conductor to to passenger as a work develops. The tracks have been laid and especially in the cases of larger works of more involved compositions with multiple figures, if not careful, keeping all the elements in check and reevaluating the original intent, I find myself holding on to the back rail of the caboose as this train/work of art, hurdles to completion.

In the simplest way a quick head study can reaffirm what I already know, but forget from time to time what ultimately works for me and my own sensibilities. 

Each artist riding or driving their own train can determine how and where they go, hopefully excited about the journey.

LA County Firemen's Mural 

Completed in Studio

From the Studios of Garin Baker

Carriage House Art Studios
January 30th 2012

Mural on studio floor completing seemed transitions

After long last I've finally completed painting the 25 ft. long Mural for the LA County Fire Department commissioned through the LA County Arts Commission. A long project that started a couple of years back in 2009 when I visited LA, doing my initial research with the Firemen and Paramedics of Fire Station 170.  

Subsequently in 2010, I completed all the preliminary renderings in my studio in New York, which were all approved  in early 2011. 

(see my previous post http://garinbakerart.blogspot.co m/2011/08/la-county-fire-dept.html) 

After construction delays, the new Fire Station 150 in Santa Clarita, CA will be completed very soon and the scheduling for the instillation of the Mural will take place to coincide with the last of the many finishing details. 

The Final Mural as seen above with all the seems painted to match up perfectly upon instillation. Although in the back of my mind you never know for sure until the sections are pasted to the wall, how well it will all come together. Hopefully only minor touch ups will be required on site.

Below are some detailed areas.

Stay tuned for a future post showing the installation process and full view of the 10 ft. X 25 ft. Mural without perspective distortion, in it's new home celebrating and acknowledging the work of the LA County Fire Department.