Sunday, January 29, 2012

BLM Sponsored clean-up day at Sand Wash Basin


 "Greasewood"
12x12 on Gallery wrap canvas
$275.00
The BLM will sponsor a clean up the weekend of Aug 24 and 25 at the Sand Wash basin, home of a wonderful herd of wild horses. Last month, "Greasewood" was humanely euthanized by the BLM due to severe leg injury caused by barbwire. Greasewood was a magnificent stallion that took great care of his mares and spent most of the summer near a waterhole at one of the range entrances. That is where I met him. I saw him as the sun began to set and he walked right toward me to check out his new visitor. After looking me over, he moved his mares on, in the direction of the setting sun. It is from that setting that I have painted him several times since then.
One of those paintings was accepted into the Empire 100 show in Tucson. I also did a small painting depicting him looking back at the viewer as the sun sets. He is surrounded with light. I have posted this image on my Fine Art America site and a portions of all Gresewood sales will go to the Sand Wash Basin Wild Horse Club. They are in the process of becoming a non-profit group. It is local members of this group, the Snake River BLM office, and many folks from out of the area that will be participating in the range clean up. Please plan to join us in the clean up on Aug. 24-25. If you are unable to make it, please consider a purchase of a print, poster or note-cards or direct donation to support the Club.

Sunday, January 22, 2012

Western Artists of America at the Pearce Museum

"Wild Beauty" Oil 20x24
"Essence of Freedom" Oil 24x36
"Icons of the West" Oil 30x40
The Eighth Annual WAA Show and Exhibition begins March 30-31 at The Pearce Museum in Corsicana, Texas. I am pleased to be a part of this talented group of artists. Events of the two days include meet and greet, artist lectures, reception and autograph signing. The reception and sale will be March 30th, from 6:00-8:00 p.m. Events will continue on the 31st with a breakfast meet and greet, sculpture demo and awards ceremony in the evening.
Please preview the work that will be included in this Exhibit and contact Holly Beasley, Director of The Pearce Museum at 903-875-7438 for scheduling or purchase information.

Sunday, December 18, 2011

Quick Whiteboard Sketches

Napping.
"What are you doing?"
Movie Night-The Black Stallion.
Recently I started doing quick line sketches on a whiteboard to improve my skills at seeing and accurately drawing gestures. I wanted this to be fun and fast paced, so I settled on what I call, "Movie Night". I watch a movie, with the dry erase marker in one hand and an eraser in the other and cover the board with images from the movie as it progresses. One of my "rules" is that I don't pause the movie.
When I did "The Black Stallion", I never thought that Mickey Rooney would end up with a copy of the result, but my friend Pamela Glasner had the opportunity to present him with a copy while working with him on her documentary, Last Will and Embezzlement. It is wonderful to see the expression on his face as he looks at the images captured from the movie.
I also sketched my horses, which has also proved to be great fun.

Saturday, December 3, 2011

"Blaming the Victim" Guest post by Pamela Glasner

In my sophomore year of college, I took a sociology course entitled Blaming The Victim. Exactly as the moniker suggests, the course focused on the propensity of society to take the easy way out and — rather than dedicating the manpower and resources necessary to alleviating a complicated and oftentimes insidious problem, which could very well have included going through the expense and difficulty of prosecuting those who preyed on the weak and vulnerable — instead, it rebuked, blamed, and essentially re-victimized the members of the community whose biggest crime was their reliance on a promise that help would be there if and when it was ever needed.
I attended the classes, completed the required assignments, aced the exams, received a good grade, and congratulated myself on my newfound understanding of social injustice.

Thirty-something years later, all I can say is, I understood nothing!
I found this last summer on my return trip from Florida, where my crew and I had been filming a segment of Last Will and Embezzlement, a documentary film which examines the financial exploitation of the elderly. Though the impetus behind the film was the unspeakable exploitation of my elderly parents by a stranger who managed to insinuate himself into their lives when no-one was noticing, my family’s story is just a minor part of the overall project — because the issue is much, much bigger than just my family. It’s global. Wherever there are humans and money, people who are weak and others who are strong, there will always be snakes and vultures and other creatures of prey, laying in wait for the first opportunity to exhibit the worst humanity has to offer.
While awaiting my flight, I found myself chatting with a fellow traveler and, as I’ve done numerous times before and since, I mentioned the film and the events that sparked its creation. And that’s when it happened. This man, claiming years of law school and courtroom experience, launched into a series of accusatory declarations, berating me — the daughter — for not having done a better job of protecting my parents (as if I haven’t already said that to my mirror a hundred times!).

“There’s no WAY you have a case!” he pontificated. “If you were so damned concerned, lady, where were you five years ago? How come you didn’t put their money in trust?”
The pain of self-recrimination kept me from responding. All I could do was sit there and tell him, “I really don’t want to argue with you.”
In retrospect, there are a lot of things I might have said, first among them being that the operative phrase in his diatribe was their money. Taking away your parents’ rights — and their dignity in the process — is not something lightly done.
And, of course, it didn’t help that this came on the heals of a detective’s refusal to enforce Florida law and arrest the man whose actions are at the foundation of Last Will. She, too, laid the blame every place but where it belonged: “If you’d been closer to your mother, then you’d be the one with her money, not (this man, whose name I will not print).” The fact that my 91-year-old father is still alive and the money should actually be hisnot mine, and certainly not this stranger’s — seems to have escaped this woman completely.
My second retort could have been that my family’s failure to put safeguards in place which might have prevented a theft that none of us, in our wildest dreams, would ever have foreseen, should not negate the perpetrator’s guilt, and my lack of prior planning should not exonerate him. Leaving the keys in one’s car, while careless, is not an open invitation for anyone walking down the street to slide in, drive off, and assume ownership.
But my critic was on a roll. It was my fault, plain and simple.
The elder law expert interviewed for the film, Attorney Ira Wiesner of Sarasota, Florida, made a point of saying it’s a fairly common occurrence for the adult children of elderly victims to blame themselves for their lack of foresight and their inability to prevent these types of crimes or protect their parents. We all face this, don’t we? As the generation before us ages, then becomes frail, our roles reverse, and suddenly we are thrown — untrained and unprepared — into the position of parenting our parents. And though we’ve all heard of instances where embezzlement and exploitation have taken place, it seems unreal and far removed, not something that could ever touch us directly. Not until it does.
The agony of watching my 91-year-old father, my hero, being transformed by the perpetrator from ‘larger than life’ into ‘nothing more than a pawn and a means to an end’, has been worse than what I lived through nearly twenty years ago when I was a cancer patient. At least then I had faith that everything would be okay.
But now, as a victim’s daughter, caught up in the woefully inadequate — indeed, pathetic — excuse for a law enforcement system which simply will not even attempt to make this right, there is no faith. Only loss.
Oh, God still watches over us. My dad’s Alzheimer’s has progressed to the point that he has no knowledge whatever of what’s been done. And I suppose in its own way, that’s a blessing. But it seems to me that after a lifetime of work — after having defended this country on the beaches of Normandy — my dad’s government owes him a bit more than remedy by dementia. It owes him some respect — and some justice.
Pamela S. K. Glasner is a published author, filmmaker, historian, and social advocate. Her website is www.starjackentertainment.com . She can also be found on Facebook.
Copyright by Pamela S. K. Glasner © 2011, All Rights Reserved

Saturday, November 12, 2011

Painting Picasso

Painting Picasso. There is no way to "pose" wild horses, which really puts an edge to the feel and experience of working from life.

"Picasso in the Wind"
SOLD
In July, I traveled to Craig, Colorado to visit the Sand Wash Basin Herd Management Area. The SWB herd is located on 160,000 acres of public land in northwest Colorado. They share the range with elk, deer and a sheep graze lease during part of the year. There are several bands that make up this herd, and during the course of three days, I was able to observe them. There were family groups that ranged from newborn foals, to long time band Stallions in their twenties. I watched as they protected their young, played and sparred, and witnessed bachelors that were trying to steal some mares for their own band.

As well as taking almost 4000 photos, I had the opportunity to paint three quick oil studies. In addition to the experience of painting the landscape from life, I find painting horses from life to be not only challenging but vital to the life that I put into studio paintings. When painting a landscape from life, we don't need to worry about the landscape moving, (only the sun moving), when painting a human from life, we can pose the model, when painting a domestic horse from life, we can tie them to a hitching post, but painting a wild horse from life has none of those constraints. Somehow, the lack of those constraints symbolizes the freedom inherent in the wild horses. That energy, freedom and life is part of what I put into those studies.

The quick studies and photo reference is what I work from when I get back to the studio. It was a great thrill and honor to be able to paint a well known band stallion, Picasso. He is an immediately recognizable stallion that has touched the hearts and imagination of people around the world that have visited him on the range or on the internet. There was certain symmetry to being able to paint the wild paint horse, Picasso. The study I did of him as well as the two other studies helps me remember the color, value and feel of what it was like out on the Sand Wash Basin. I hope to bring that into the homes of collectors that may never make it out to the Range, but will be able to feel the life, freedom and power of the Wild Horses.
I have been asked about the difference in painting wild and domestic horses from life. Wild horses don't need us and that relationship of dependence is not there. So their focus is not tied to me while painting. I am able to study their interactions without the factor of human influence. There is always a story they share within those relationships, which is profound to watch.
Filmmaker, Ginger Katherns, creator of the documentary series, following “Cloud”, the Stallion in the Pryor Mountains of Montana has years of field experience with the wild horses. She expresses so fully how I feel about the wild horses. “I think that those of us that have seen wild horses-they change you. I think they renew you spiritually. They are a symbol of the Wild West. So they are part of our history and culture.” “And to see them wild speaks to a time long ago when there was total freedom, And I think we identify as Americans with freedom and they renew us, they give us hope.”
Freedom is the essence of wild horses. There is something fundamentally pure and powerful in that. That feeling of being renewed is part of what I want to express I want to visit every HMA I can. Paint every horse until I have said everything there is for me to say, share the most beautiful thing I know in the only way I know how to share it.