Society of Animal Artists

WAJ's Gallery of the Commons

2012-01-24T13:36:00.000-08:00

From Wildlife Art Journal...

Wildlife Art Journal is looking for some new work to feature in its Gallery of the Commons!

Show Off Your Work At Gallery Of The Commons

Wildlife Art Journal
Is Now Soliciting A Few More Images

Wildlife Art Journal.com's Gallery of the Commons is one of our most popular reader features. In the three years since we created "the commons", hundreds of different living artists from around the world have displayed their work here free of charge. Our intention is to showcase the range and diversity of animal artist in front of collectors and other art lovers. (Read more)

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Four Seasons on Assateague Island

2011-10-07T07:08:00.000-07:00

Sandra Blair Launches KickstarterProject:

Seeking Refuge--Four Seasons on Assateague Island

SAA Signature Member Sandra Blair has launched afundraising campaign on Kickstarter.com to finance a painting project called“Seeking Refuge: Four Seasons on Assateague Island.” With the support of thisfunding, she’ll create a series of approximately 20 small but very detailedpaintings depicting the wildlife on Assateague Island during each of the fourseasons.

Assateague Island, a tinybarrier island on the Atlantic Coast of Maryland and Virginia, is home toAssateague Island National Seashore and Chincoteague National Wildlife Refuge.The United Nations has designated Assateague as a World Biosphere Reserve andthe U.S. Department of the Interior has designated it a National NaturalLandmark. Its pristine beaches, maritime forests, and salt and freshwatermarshes are fragile but vital habitats for a spectacular variety of birds,plants and animals. Because of its key position on the Atlantic Flyway,songbirds, shorebirds and raptors migrate through the refuge in spring andfall; herons, egrets, ducks, osprey and the threatened piping plover nest onthe refuge; and winter brings thousands of Brandt and Snow Geese and numerousspecies of ducks. Animals that live on the island include endangered Delmarvafox squirrels, Sika elk, whitetail deer, red fox, river otters and the famousChincoteague ponies.

As a wildlife artist, Sandra feels that her role is to revealthe unique beauty, power and grace of each creature that shares our world. Hergoal is to inspire a new level of respect for every living creature and therecognition of how intricately the health and well-being of the natural worldare woven into the fabric of our own survival. Until we truly see, we cannot fullyunderstand the devastation that is occurring through loss of habitat andvanishing species. Seeing fosters thinking; thinking fosters action.

With the support of this funding, Sandra will create a series ofapproximately 20 small but very detailed paintings depicting the wildlife onAssateague Island during each of the four seasons. She will make numerous tripsto Assateague beginning in the winter of 2011 and continuing through fall 2012to photograph and sketch the wildlife for reference material and hopes to havean exhibition of the paintings in 2013. Your contribution will finance travelexpenses; art supplies and custom frames; creation of the various rewards forthe contributors; a book of her paintings and photographs from AssateagueIsland; and the Kickstarter/Amazon fees.

Kickstarter projects are all-or-nothing funding so Sandra willonly receive your pledges if the total project goal is met by November 11,2011. Please visit www.kickstarter.com/projects/sandrablair/seeking-refuge-four-seasons-on-assateague-islandto read the proposal and see the video and rewards. Any pledge you can make, nomatter how small, will be greatly appreciated.

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"One Man's Trash"

2011-09-28T13:13:00.000-07:00

Congratulation to SAA Board Member Paul Rhymer!

Paul's sculpture "ONE MAN'S TRASH" won The Ethology Award for Best Depiction of Natural Behavior at the 51st Art of the Animal exhibition which is going on now at The Dennos Museum Center at Northwestern Michigan College in Traverse City, Michigan.

"The Ethology Award for the Best Depiction of Natural Behavior, is an award that best represents NATURAL BEHAVIORS. It may be awarded to either 2-D or 3-D work, but the work should depict the subjects engaged in doing SOMETHING that is representational of natural behavior. For example, animals may be engaged in feeding young, courtship, a kill, or grooming – but they should be depicted performing some natural behavior which says something informative about that particular species."

Read a recent article about Paul's sculpture in Wildlife Art Journal titled "Here's To Microfauna!"

The 51st Art of the Animal exhibition will be displayed though December 30, 2011

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51st Annual Art and the Animal Award Winners!

2011-09-27T05:41:00.000-07:00

Congratulations to all the Award Winners!

AWARDS OF EXCELLENCE

James Coe - "Reflections of April"

Sean Murtha - "Sun and Spray"

Cristina Penescu - "Within Reach"

Lori Dunn - "Canine Ancestry"

Brian Jarvi - "Buffalo Spa"

Terry Miller - "Up for the Challenge"

Fred Thomas - "Plenty for All"

Patricia Pepin - " La Vie En Vert"

Kay Witherspoon - "Moose Creek Crossing"

MONETARY AWARDS
Rick Pas - "Ring Neck III" - Patricia A Bott Award for Creative Excellence
Ken Rowe - "Express Male" - The Evelyn and Peter Haller Memorial award for Sculpture
Carel Brest Van Kempen - "An Atlantic Brackish Swamp" - The Presiden't Award
T. J. Lick - "Inside the Throne Room" - Leonard J. Meiselman Memorial Award for Realistic Painting
Louise Peterson - "Tickled" - The Leonard J. Meiselman Award for Realistic Sculpture
Paul Rhymer - "One Man's Trash" - The Ethology Award for Best Depiction of Natural Behavior
Lisa Egeli - "The Life Exotic" - The Newcomer Award for First Time Participant in exhibition
Sue Westin - "Cashmere Glow" - Southwest Art Magazine Editor's Choice
Jason Tako - "Courtship" - Western Art Collector's Magazine Editior's choice
Robert Bateman - "Wildebeest and Egret's" - Hiram Blauvelt Art Musuem Purchase Award

Good luck to David N. Kitler!

2011-09-19T12:44:00.000-07:00

We would like to say Good luck to Society of Animal Artist Signature member David N. Kitler and his painting "Along the Watefront" in the upcoming ArtPrize competition.

David Kitler's "Along the Waterfront" will be part of ArtPrize 2011 (www.artprize.org). He is among the 1,582 artists from 36 countries and 43 states, who will be showing their work in 164 venues within 3/4 miles of downtown Grand Rapids. Each artist will compete for the world's largest prize for art ($250,000).

Inspired by such competitions as the X-Prize, and large scale events like the Sundance Film Festival, ArtPrize is among the most unique competitions in the art world. It has no formal jury, curator, or judge, asking the public to vote and decide winners using mobile devices and the web. ArtPrize organizers expect more than 500,000 people to attend this year's 19-day event.

David's ArtPrize profile and entry is available at www.artprize.org/artists/public-profile/92353. However, this is a large painting that needs to be seen up close to be fully appreciated. David will also be doing live painting demonstrations on Sept. 21-25. So if you live in or near Grand Rapids, check out his painting at the Independent Bank (86 Monroe Center NW). And, while there, make sure to vote for your favorites! To cast your vote for David's painting, use voting ID 47281.

The International Society of Scratchboard Artists

2011-08-19T12:25:00.000-07:00

Society of Animal Artists Signature Member Cathy Sheeter shares some exciting news...

First Ever Scratchboard Art Society Forming:

The International Society of Scratchboard Artists (ISSA)

"On the Prowl," 12x24, Cathy Sheeter

Scratching, as an art form, has been around since the first people painted and scratched on cave walls. Today’s scratchboard is much more refined, allowing for intricate detail and a wide variety of styles. Scratchboard Art involves using a variety of abrasive tools to remove a dark color (usually black) to reveal a white layer below. Artists may leave the artwork in black and white or color it with a variety of mediums. Scratchboard has recently experienced a resurgence in popularity, is now finding its way into many fine art circles, yet still most people have never even heard of the medium.

With almost all other mediums having their own societies representing them and helping to promote their interests, it was felt that a similar society dedicated specifically to Scratchboard Art was overdue. ISSA has the goal of lifting the profile of scratchboard art internationally; providing exhibitions to showcase this art form, organizing workshops, uniting all artists working in the medium, and endeavoring to continue educating about the medium to the arts and public communities.

Membership within the society will include a variety of levels to encourage artists from novice up to professionals. Top tiers of membership and all shows will be carefully juried to encourage and promote excellence in the medium. At least one international show of scratchboard art will occur each year. In 2012 all scratchboard artists, worldwide, will be welcomed and encouraged to submit for jury to the inaugural ISSA International Exhibition of Scratchboard Art. The ISSA will begin accepting members in Fall of 2011. Its web site, presently still under construction, can be found at http://www.scratchboardsociety.com/

The Founding Board Members of the ISSA are Lorna Hannett and Sue Rhodes from Canada, Patrick Hedges from Australia, Diana Lee, Ken MacFarlane, Cathy Sheeter (an SAA Signature Member), and Sandra Willard from the US.

Photo shoot & Workshop!

2011-06-03T06:22:00.000-07:00

“GET GREAT REFERENCE, USE TO MAKE GREAT ART”

Photo shoot and Workshop

Jan Martin McGurie and James Gary Hines II

Hinkley and Sandstone Minnesota

June 24-26, 2011

Internationally collected artist and SAA board member JanMartin McGuire, along with her internationally published photographer husband James Hines, will be giving a very valuable workshop in a few weeks.

Wildlife artists need good reference photographs to work from to create their art – getting the best photos (and your own experiences), interpreting them, understanding how photos lie, combining reference sources are all challenges for artists.

The 3 day workshop will include 6 sessions of photography in natural settings of animals such as wolves, foxes, coyotes, raccoons, bobcat, lynx etc. including adults and also babies – provided by MINNESOTA WILDLIFE CONNECTION. Back in the classroom Jan and James will work with you to understand your camera better, how to compose photographs, lighting etc. And then Jan will do lectures on using photography as a tool to create your art.

Open to all levels of artists in all mediums. The workshop is $1295 – but due to a last minute cancellation with a non refundable deposit the first person to contact Jan will get the workshop for $1045! The photo reference alone make this a great opportunity – one painting from the reference will pay for the trip!

You can reach Jan by emailing her at McGuireandHines@aol.com or by calling 918-336-9021

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THE FOLLOWING ARTISTS HAVE BEEN ACCEPTED INTO THE SOCIETY'S ANNUAL JURIED EXHIBITION "ART AND THE ANIMAL"

2011-05-13T13:18:00.000-07:00

The Society is pleased to announce that the following members will have work in the 51st exhibition of "Art and the Animal". More information soon!

Adair, Sue deLearie
Agnew, Al
Aja, Douglas
Allmond, Charles
Altenburg, Tom
Askew, Julie
Bacon, Chris
Balciar, Gerald
Bality, Tammy
Bateman, Robert
Bell, Julie
Bemis, Renee
Bishop, Thomas J
Blagden, Allen
Bork, Beatrice
Boyce, Peta
Brent, Burt
Brest van Kempen, Carel P.
Burgette, Dan
Chen, Dan
Coe, James
Coheleach, Guy
Cornish, Mary L.
Crouter, Anni M
Davis, Patricia M.
Denman, Andrew
Diment, Kimberly Rae
Dodge, Kelly Ann
Doellinger, Mick
Dunn, Lori Anne
Egeli, Lisa
Ellison, Lyn
Faust, Anne S.
Fisher, Cynthie
Fox, Susan Lynn
Friedenberg, Kathleen M.
Gersch, Anita P.
Gilmore, Jim D.
Gilmore, Pat E.
Glanz, Daniel B
Gombus, Sue M.
Gould, Shawn K
Gray, Peter Clinton
Hacking, Grant
Harvey, Guy
Heaton, Janet N.
Howe, Nancy
Hutto, Leslie Jane
Hyde, Wes
Jammer, Clint Dana
Jarrett, Brett Malcolm
Jarvi, Brian Keith
Jesic, Stephen A
Johnson, Brenda D.
Kestrel, Steve
Kidera, Brenda Will
Kiesow, James R
Kobald, John K
Laney
Langley, Brent A.
Lawrence, Rod
Lick, T.J.
Mason, Diane D
Matia, Walter T.
Maxwell, Sally
McGuire, Jan Martin
McHuron, Gregory I
Miller, Darin T.
Miller, Terry
Milligan, Billy-Jack
Murtha, Sean R
Newman, Ken
Newmark, Marilyn
Nicholls, Alison
Offeman, James M.
Okada, Munenori
Osborne, Leo
Parcell Evans, Beth
Parson, Leon
Pas, Rick
Penescu, Cristina G
Pepin, Patricia
Peterson, Louise
Petlowany, David
Pettit, Bryce L.
Potter, John R
Rheinish, Arlene A
Rhymer, Paul D
Rosetta
Ross, Joan Binney
Rossin, Linda
Rowe, Kenneth R.
Royal, Edward
Ruehle, Jon
Rulon, Bart Coleman
Russell, Terri L.
Sainsbury, Jonathon
Salari-Sander, Sherry
Saunois, Laurence
Schafer, Sharon K
Schelling, George L.
Seerey-Lester, Suzie
Sharkey Thomas, Jan
Sheeter, Cathy
Siegrist, Rachelle
Siegrist, Wes
Solberg, Morten
Soos, Heather
Stajcar, Pati
Stevenson, Tiffany
Sulkowski, Joseph H.
Sweet, Francis Edward
Swibb, Darlene G
Tako, Jason L
Taylor, Kristine Davis
Thomas, Fred W.
Thompson, Dana Lee
Tremblay, France
Trent, Debra L
Tryggmo, Gunnar
Turner, David H
Ullberg, Kent
Vlaanderen, Lani
Westin, Sue
Williford, Ronnie
Witherspoon, Kay Elizabeth
Worthington, Steve
Yount, Aaron C

Wildlife Art on the Couch: A Struggle for Identity in the 21st Century by Andrew Denman

2011-04-22T16:05:00.000-07:00

SAA Signature Member Andrew Denman recently posted this essay on his Facebook public page and included it in his latest newsletter. With his kind permission, it is reproduced here.

Wildlife art is in serious need of a therapist, or at least a conscientious and impartial friend who's willing to lend a sympathetic ear. Over a decade into the new millennium, wildlife art seems to be in the midst of an identity crisis. I see the evidence sprinkled throughout museum and gallery shows, hear it whispered at workshops and art receptions, and encounter the debate in social media forums. Certainly among my closest colleagues the question comes up with some regularity: just what is the future of wildlife art?

The online publication, Wildlife Art Journal has been one of the more lively participants in this discussion. Two recent articles are a case in point, sculptor Simon Gudgeon's "A Meditation on Wildlife Art" and painter Ron Kingswood's provocatively titled essay "Is Animal Painting Dead?" Both authors make the case that 21st Century artists must abandon pure representation and go beyond the thing observed if animal art is to remain artistically relevant. It's certainly a clarion call that I, as a more contemporarily leaning animal painter, respond to with favor.

Gudgeon astutely points out that wildlife is a subject, not a style, and that "wildlife art" has straddled many different genres throughout history. But if wildlife art is not a cohesive genre, why have so many animal artists subsumed into the weary stylistic homogeneity that dominates the field today? Other subject matter driven art forms, figurative work for instance, don't seem to make this error. While there will always be popular trends, there seems to be no broad social or market pressure for every figure painter to approach figures in the same way; instead there's plenty of room for this more interpretive approach, that more objective one, this one more painterly, that one more photorealistic. Amongst friends of mine who paint figures, I've never encountered with the same frequency or forcefulness the desire to "correctly" represent their subject matter that I've experienced among wildlife artists (and even felt myself). Certainly wildlife has always been approached in a diversity of styles, but the natural history and scientific illustrative roots of animal art, coupled with the commercial dictates of the print market, and even today's popular emphasis on ecological narrative, have all lead to a certain orthodoxy in wildlife art, one that overwhelmingly values the objective over the subjective, the commercially acceptable over the personally fulfilling, and the "technical skill" of the artist over his intellectual and spiritual vision. Every animal artist, whether he agrees with it or not, knows that the overarching expectation of the market is this: a detailed animal painted in a detailed environment engaged in a natural behavior. In such a climate, it's easy to see how paintings like mine and many of my closest contemporaries that use the natural world not as a template for pure mimicry, but rather as a springboard for less objective explorations, stand out as oddballs. Is it any wonder then that so many animal painters who don't play by the rules of wildlife art are reluctant to call themselves wildlife artists at all?

Though in my childhood my primary focus was fantasy art, I've painted wildlife all of my life, and when animals began to assert themselves as my primary subject of choice at around age fifteen, I was thrilled to discover that wildlife art seemed to be one of the few artistic communities that appreciated representationalism for what it was rather than scorning it for what it wasn't. I had the unique experience of being inducted into the professional wildlife art world at a very young age, exhibiting with Pacific Wildlife Galleries in Lafayette, CA, since age 16, an association that granted me the opportunity to meet Bob Bateman, John Seerey-Lester, Terry Isaac, and Carl Brenders, among others. Every artistic evolution begins with observation and description, and at the time, these artists provided me with great motivation to hone my skills. The more I struggled to draw and paint what was in front of me, the more I became aware of how the "mainstream art world" dismissed my chosen field. I regarded the snobbery of the academic art elite with my own resentment, carrying an attitude not unlike that of a misfit child who asks, heedless of the irony, "Why don't those popular jerks like me?" It wasn't until my own experimentation led me to move away from a more illustrative format that I began to understand the struggle of which I was a part. I became aware that many wildlife artists, Bob Bateman being perhaps the most vivid example, were far more modern painters than I had realized, and that it was their association with the term "wildlife art" more than anything else that caused them to be marginalized by the cutting edge art world. The San Francisco Chronicle art critic who described Bateman's work as "mere illustration" is only one case in point. As I began to appreciate my mentors for reasons quite apart from what had originally drawn me to their work (the subject matter), my views began the shift. Gallery owner and mentor Dennis Salvo introduced me to Ray Harris-Ching, whose wild bursts of contemporary experimentation and total refusal to be categorized gave fuel to my own explorations. A rigorous study of art history in college expanded my world view in ways for which I will always be thankful, and the insularity of the wildlife art community in general began to look less like the bullying of the bigger artists on the playground and more like what it was, a very limiting and self-imposed isolation.

It wasn't long before decidedly modern elements began creeping into my work, and to my surprise, the market I was already in the process of building seemed pleased. I've often wondered how different my work (and life) would be today if those first steps out of bounds had been met with derision and empty bank accounts rather than delight and sold out shows. Certainly (and understandably) it is the necessity to make a living that is the most common and pernicious source of artistic self-editing. I recall quite vividly the skepticism with which then gallery rep Dennis Salvo looked at some of my first experiments with the non-objective, most notably my Resurrection of Flight series, five works featuring realistically painted birds wheeling through miasmic swirls of chromatic space, their flight paths prescribed by arcing lines and streaks of color. I recall him praising them as "artistically fabulous" which I already knew to be code for "Great work Andrew, but these will never sell." To his credit, however, he hung the pieces, and to my relief, they did sell. To this day I remain grateful for the success of that show and the role it played in reaffirming my path toward carving out a niche that today is both uniquely mine and, quite startlingly, as successful as it is honest.

I was a marketing presenter at the Susan Kathleen Black Foundation Workshop in Wyoming in 2005 when Greg Beecham complimented the workshop participants on their technical proficiency, but noted that the work was "lacking poetry." For whatever reason, I was approached over and over again during that workshop to clarify what Greg had meant. In addition to the obvious, "You'll have to ask Greg," all I could offer was this: the difference between prose and poetry is economy. The poet uses one carefully chosen word where the novelist would use a hundred. Poetry is not deliberately abstruse; it's simply dense because what is there is saturated with meaning, rather than glazed with it. When Greg asked in his quiet and gentle way for more poetry, I believe he was asking for the same thing Simon Gudgeon is asking for, for artists to bring something of themselves to their work. Art is more than the sum of its parts, and many inexperienced or hesitant painters fill their work with noisy and unnecessary details either to mask what is essentially an unrefined vision, or worse yet, simply because it was there in the photographic reference. It's easy to see how, in a field of art so dominated by concerns about "accuracy," that photographs become dangerous masters rather than valuable allies. Unfortunately, artwork that is blithely drawn from a slew of unfiltered reference material is almost certainly destined to be prose, not poetry, and not very good prose at that. Kingswood and Gudgeon both admonish painters and sculptors not to allow the photograph to supplant one's own artistic vision. There is nothing inherently wrong with being descriptive, but art that has proven itself to be the most historically enduring has done so, not because of what it describes, but because of what it evokes. Between the drudgery of illustration and the vacuity of decoration lies the evocative; that is the province of the artist, and that is the vein that wildlife painters who wish to challenge themselves must mine.

I don't want, however, in this esoteric discussion of artistic intentionality, want to gloss over the commercial realities of life as a fine artist. What if galleries and collectors don't march to the beat of our new drummer? That's always a risk, but I firmly believe that every artist is better off painting what his soul demands and then seeking out those who appreciate his vision, rather than subjugating his own impulses to perceived market requirements. I'd be lying if I claimed that I had not created plenty of "artistically fabulous" (as Dennis Salvo would say) paintings throughout my career that have never found a buyer, but overall I'm shocked and thrilled by how often I find a home for truly unique work that I painted solely for myself without any regard to its salability, and often in full knowledge of its unlikelihood to sell. Hemmingway once observed "The truth has a certain ring to it," and I wholeheartedly agree. Strictly playing the numbers, it's a pedestrian world, and we've all cringed at the sight of manufactured dreck passing as art and raking in a fortune, but true artistic expression, unfettered, naked, and unabashed, exudes the raw beauty of truth, and that is as unmistakable and alluring to the discriminating collector as it is imperative to the artist who creates it. If wildlife art is to evolve in the new century, and if it is to find a way out of this identity crisis, it must shake off the external forces of commercial and critical acceptance and look to satisfy its own needs for its own sake. Whatever our freedom costs in the short run pales in comparison to the burden of dishonesty. With a little luck, the rest will follow.

The good news is that the first steps toward a brighter future for animal art have already been taken. Over ten years after my first major gallery showing, I've become quite involved in our close knit community through organizations like the Society of Animal Artists and the SKB Foundation, my participation in major shows like Birds in Art, and relationships with important institutions such as the National Museum of Wildlife Art, and I've become more and more aware of the pulse of this strange creature we call "wildlife art." In just the past few years, I'm seeing fresh and contemporary work peppering the market with increasing regularity and, in some cases, becoming quite prominent. I believe that a loose but broad movement is afoot within the wildlife art community to take on exactly the challenge that Ron Kingswood and Simon Gudgeon are making, to look beyond the photographic reference, to see beyond nature itself to something higher, something only the artist can see with his inward looking eye, and create work that has relevance beyond its subject matter.

Along that vein I must clarify that I have no desire to impose on other artists the same kind of pressures and expectations I once resented. Just the opposite. If artists begin moving in a more contemporary direction because they don't want to be left behind as wildlife art evolves into the 21st Century, if they make changes to their work simply because the market shifts in a more contemporary direction, the point will be missed entirely, and we are likely to come to a place even more dissatisfying than the current malaise. It would be akin to moving to another apartment in the same building, a different room with the same tired view. The challenge I offer is only for self-identifying wildlife artists to honestly ask themselves the question, "Why am I painting what I am painting the way I am painting it?" If the answer is, "Because it pleases me," then there is no reason to change, regardless of whether or not your work is riding this contemporary wave. If, on the other hand, the question makes you uncomfortable and the answer does not come readily, at the very least it is time to honestly reevaluate your work and its direction. If enough animal painters and sculptors do that, then we can be assured that whatever identity wildlife art finds in the new millennium, it will be one that is more honest, more appealing, and ultimately more meaningful than its current incarnation.

Ron Kingswood's "Is Animal Painting Dead" and Simon Gudgeon's " A Meditation on Wildlife Art" can be found in the Winter 2010/11 and Fall 2010 issues, respectively, of Wildlife Art Journal, available at www.wildlifeartjournal.com

Kitler's Work Features in The Artist's Magazine

2011-04-12T06:38:00.000-07:00

Society of Animal Artists member David N. Kitler and his work are being showcased in a feature article in the April 2011 issue of The Artist's Magazine, on newsstands now. The multiple-page spread includes several of David's latest pieces - with an emphasis on David's quest for uniqueness and originality in his work - along with a step-by-step demo on acrylics techniques.

With a circulation of over 140,000 copies, The Artist’s Magazine is the world’s leading magazine for artists. It focuses on spotlighting the processes of the best artists working today, while keeping readers abreast of professional practices that can help advance their own careers. A regular contributor in the "Drawing Board" column, David has also won First Place in the magazine’s prestigious Annual Competition (Animal/Wildlife category), and was later honored to serve as its Juror.

Visit www.artistsmagazine.com to check out the extra online materials:

- Masking with Cellophane:

www.artistsnetwork.com/article/masking-demo-david-n-kitler/

- Perceiving Transparent and Opaque Colors:

www.artistsnetwork.com/article/transparent-opaque-colors-kitler

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Diane Mason featured artist at NatureWorks

2011-03-02T06:41:00.000-08:00

Congratulations to Society of Animal Artists member and president Diane Mason, she will be the featured artist at this year’s NatureWorks Art Show & Sale in Tulsa, Oklahoma.

March 5^th and 6^th, 2011
RENAISSANCE Tulsa Hotel & Convention Center
Tulsa, Oklahoma

Diane has been a proud member of the SAA since 2003, and she has served on the Executive Board since 2005, becoming President in November of 2008. She has received the Leonard J. Meiselman Award for a Representational Sculpture in the Academic Manner in 2003, and an Award of Excellence in 2010 for her service as President.

“The Award of Excellence was the most appreciated and valued award of recognition that I could ever imagine receiving. This organization is very, very special to me – as are all of the artists in it.”
-Diane Mason

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SOME THOUGHTS ON APPLYING FOR MEMBERSHIP IN THE SOCIETY OF ANIMAL ARTISTS By Susan Fox, SAA

2011-02-28T12:58:00.000-08:00

The deadline for the next round of consideration is coming up in mid-April. I thought that, having participated in three membership juries now as a member of the Executive Board of the Society, I would offer some observations and tips that might be helpful to those of you who aspire to membership in the SAA.

A couple of notes before we start- First, I’m a painter and that’s what I know best. What I’m going to say applies to most other media, but creating a successful painting will be my main focus. Second, this article represents my personal views and is not an official statement by the SAA, any of its officers or the other board members. If you have any comments or questions, please direct them to me.

Now, to begin: I recommend that you do this exercise. Go to the Society’s website, visit the virtual museum and the individual websites of any member’s work that catches your eye. Then get out at least eight or ten of your own pieces. Line them up. Look at them objectively. This is not easy. We tend to be either too hard or too easy on ourselves. Do your best to be honest since that is when opportunities for growth happen.

Representational painting in general, and animal art in particular, have well-established criteria for what constitutes a “good” painting. These principles have evolved over a number of centuries. They are not “subjective”.

You are not in competition for a limited number of spots as would be true with a juried show. We usually have between two and three dozen applications to consider. We can accept all of them. Or none of them. Each applicant’s work is judged on its own merits.

Pick one piece that you honestly believe is at or is close to the level of the work of the artists who are already members.

You now need four more at or near that level, because one of the things that will sink an application fast is one or two good pieces followed by the jury seeing the next three or four go off the cliff. You will be judged by your weakest pieces. Consistency is very important.

Consistent in what? Glad you asked...

1. DRAWING: Animals have a physiological and behavioral reality that a competent animal artist has to understand and demonstrate to the jury. In other words, you need to be able to draw them with accuracy and understanding if you are a traditional representational artist and clear understanding if you are going to handle them in a more personally expressive way. You are hoping to join the ranks of animal artists who have been doing this, in some cases, for decades. They know if the drawing is correct or not. Which way a leg can bend, how a wing moves in flight or what the pattern of spots are on a leopard are not really subject to debate, however open they are to informed interpretation.

2. CRAFT: We want to see a solid understanding of your chosen media, whatever it is. If you decide to submit work in more than one media, then all of them need to be at an equal level of competence. Don't submit a little of this and a little of that, hoping that something will stick, like spaghetti on a wall.

3. DESIGN AND COMPOSITION: Do you have a solid grasp of design and composition? Have you made a conscious decision about every element of your piece? For instance, are the subjects in the majority of your submissions plopped automatically into the middle of the canvas or thoughtfully placed to carry out your central idea?

4. PERSONAL VISION: Are you creating art based on a personal vision or simply copying photographs? (It is well-known that photographic images flatten and distort three-dimensional subjects like animals, so the artist must learn how to compensate for that if their goal is a realistic representation.) What do YOU have to say about lions and elk, butterflies and buzzards? Let your opinion, point of view and passion come through. HAVE an opinion, point of view and passion about your subjects.

5. KNOWLEDGE: Do you understand basic animal anatomy? Do you understand the habitat of the species you are representing? Have you learned about their behavior as an inspiration for your work? Or is everyone just standing around? If you put an animal in a realistic setting, you are now a landscape painter too. Are both your animals and any habitat shown depicted at the same level? Or does one lag behind the other?

Animals are specialized subject matter that require study and the accumulation of knowledge over time to represent successfully. There are no shortcuts.

We are looking for artists who have mastered their art and craft at a consistent level and who present us with a body of five works which all reflect that level.

Good luck!

James Coe is Woodson's 2011 Master artist!

2011-02-21T18:28:00.000-08:00

James Coe selected as the
Leigh Yawkey Woodson Art Museum's 32nd Master artist

James Coe

We are proud to announce that Society of Animal Artists Signature Member James Coe has been selected as the Leigh Yawkey Woodson Art Museum’s 2011 Master Artist and will be honored during the Museum’s 36th annual Birds in Art this fall. James has been a member of SAA since 2003 and has served on the Executive Board since 2009. An award-winning artist, he received the Hiram Blavelt Purchase Award in 2006, the Award of Excellence in 2008 and the “Western Art Collector” award in 2010.

James Coe, Last Light, Potic Creek, 2007, Oil on Belgian linen

“Jim Coe is an outstanding painter that goes beyond capturing the essence of wild fowl and landscapes. With his painterly style, he creates a mood and a genuine atmosphere. Jim is ‘an artist’s artist’. He is invaluable on the SAA Executive Board, as he never fails to bring a thoughtful and intellectual presence to the meetings, and I value his wise counsel on various issues. His contribution to promoting the concept of excellence in the genre of animal art is significant, and he is the ideal selection for this year’s Master Artist at the Leigh Yawkey Woodson’s Birds in Art Exhibition.” – Diane Mason, President Society of Animal Artists

James Coe, Mill Pond Geese, 2006, Oil on Belgian linen

As the Woodson’s 32nd Master Artist, Coe’s work reflects a synthesis of two styles, weaving his insight and skill as a trained naturalist into fresh, deftly painted landscapes. Coe first became enamored with egrets and shorebirds that flocked to salt marshes near his suburban New York City boyhood home. After working for years as a field guide illustrator, he ventured into the art world and began painting landscapes en plein air.

For more information, check out the official announcement from Leigh Yawkey Woodson Art Museum.

(rc)

WAJ's Gallery of the Commons

2011-01-24T09:03:00.000-08:00

Greetings everyone,

Wildlife Art Journal is again accepting images from painters, sculptors and photographers to appear in its next "Gallery of the Commons" the end of January. What does WAJ mean by "wildlife art"? Any artistic portrayal of wildlife in a natural or urban environment, in any style. We do not hold to a narrow definition. See Simon Gudgeon's definition in the latest SAA newsletter.

If you are interested, please send a jpg image of your work, along with title, dimensions, and medium to: editor@wildlifeartjournal.com It's a great way for other artists and collectors to see your work. Please also include your web address. We'll provide a hotlink back to your site.

(rc)

Wildlife is the subject - not the style

2011-01-11T14:31:00.000-08:00

The Winter 2011 edition of the Society of Animal Artists newsletter is out, this is one of the articles in the edition.

Wildlife Art

By Simon Gudgeon

Wildlife is the subject – not the style.

There always seems to be confusion surrounding the definition of wildlife art; it is all too often treated as a genre or a movement, but that is incorrect; it is not like impressionism, conceptual art, abstract art or any of the other movements that have come and gone over the centuries. The style of any of those movements can be used to depict wildlife, but wildlife is the subject—not the style.

Dr. Adam Harris’ definition in his book Wildlife in American Art is, I think, perfect: “Art related to wildlife.” To put it simply, any piece of art depicting wildlife is wildlife art; thus Andy Warhol’s Endangered Species series is wildlife art but the art movement he was involved in was Pop Art. Damien Hirst’s shark in formaldehyde is also wildlife art and the movement or genre is Conceptual Art. Both Bob Kuhn and Robert Bateman are influenced by abstract art and that can be seen in many of their wildlife art paintings, indeed, the latter was an abstract painter before he changed his subject matter to the natural world.

Once that definition of wildlife art is adopted we can also dispel the myth of ‘traditional wildlife art; there is no such thing. Wildlife art has evolved over the millennia, from the earliest rock art to the contemporary styles used by some artists today. It has always been in a state of flux, adopting different genres and methods to interpret the beauty of the natural world. Wildlife art as we know it today is a relatively recent phenomena, only beginning to emerge towards the end of the 19th century. The early practitioners were concerned that much of the wildlife they saw would soon become extinct as man encroached on its territory and destroyed habitat. Their purpose was to produce an enduring record of what they saw before it disappeared. Similarly others wanted to produce images of wildlife to show the public the beauty of the newly discovered natural world that most had not seen before. That production of a record of the natural world is now fulfilled by video and photography.

So what is the role and purpose of wildlife art in modern times, and how can we elevate its status in the art world? If realism is to return as a force in the art world then we cannot continue to just provide a record of what we see, and we cannot just repeat the style and type of art that has gone before. We, the artists, have to do more; the work must be truly inspired; we must put something of ourselves into the work, and we must do it in a modernist style that reflects our times and concerns.

In addition, we also have to leave space for the viewer to interpret the artwork and use their imagination to fill in what is suggested so that the viewer can connect with the art. A piece of art on a superficial level must encapsulate beauty, it must uplift the spirit, and enhance its surroundings. That is necessary for the viewer to engage with the artwork. But on a deeper level it should resonate with the viewer and have a subconscious appeal to their emotions, whether those emotions are the same as the artist intended is not important—what is important is that the viewer connects with the art.

Picasso spoke of the tyranny of the thing seen, how the artist should use only what he wants and discards the rest, how he should control the artwork and not let the subject matter dictate the finished piece. How he should not put in too much detail but give an impression of what is there and let the viewer fill in the gaps.

I would propose a variation—the tyranny of the thing photographed—too many artists use photographs rather than their minds and let the photograph dictate the finished artwork. An artist should observe their subject and decide how they want to portray it, or take a theme or emotion and work out how they can use a wildlife subject matter to illustrate it. They should not go out and take a lot of photographs; flick through them until they find one that they feel would make a good painting. As a piece of art it lacks integrity and emotion; it is an illustration and would have probably have been better as a photograph. Photography should be a reference tool; not the start of an artwork.

Inspiration comes from a variety of sources; from observation blended with thoughts and beliefs and the profound experiences of one’s life, thus much inspiration comes from the s u b - c o n s c i o u s and cannot be controlled. There is no formula for repetition and, if there were, it would lack the vitality and excitement of subconscious inspiration. As Paul Gauguin wrote, “I close my eyes in order to see.” Contemplation will provide as much inspiration as observation. One of the elements of inspiration that fascinates me is the human mind; because it is extremely complex, many of the elements within a piece of artwork will come from the sub-conscious, as indeed did the original idea, and therefore the full meaning behind the piece will not be evident, even to its creator.

The artist is a receptacle for emotions that
come from all over the place: from the sky,
from the earth, from a scrap of paper, from
a passing shape…Pablo Picasso

Art should be a reflection of the artist’s inner
feelings.—Arthur Dow

-from the Society of Animal Artists 2011 newsletter, see the entire newsletter online by clicking here.

-rc

The Siegrists World of Nature in Miniature Exhibition Tour and Workshop

2010-11-04T12:39:00.000-07:00

When you think of wildlife art, large paintings comes to mind almost automatically. But this is not the case when you are talking about Wes & Rachelle Siegrist. They are two of the nation's premiere miniaturists and we are honored to have them as members of the Society of Animal Artists. They have many museum exhibits coming up along with a workshop in January of 2011. If you are near any of these venues please take the opportunity to view the exhibit.

The World of Nature in Miniature
Paintings by Wes and Rachelle Siegrist
Arizona-Sonora Desert Museum
Tucson, Arizona
December 11, 2010 - March 13, 2011
Produced by David J. Wagner, L.L.C.
David J. Wagner, Ph.D., Curator/Tour Director

WORKSHOP
Three day workshop on miniature art
"The Techniques of Working in Miniature Art"
Friday, January 14 - Sunday, January 16, 2011

Explore the enchanting world of miniature art with two of the nation's premiere miniaturists, Wes & Rachelle Siegrist. Watch them demonstrate techniques and try your hand at creating one of these diminutive gems of the art world. Learn about the guidelines contemporary miniature art shows and societies follow to preserve and promote working "in little". While all media are acceptable the instructors will be specializing in watercolor on a variety of surfaces.

The class will include a gallery walk by the Siegrists to discuss and field questions about their 50 paintings concurrently on exhibit at the Arizona Sonora Desert Museum as well as a Power Point presentation on the history and scope of miniature art today. Miniature Art Society exhibition catalogues will be displayed in the classroom to illustrate the variety of media, technique and styles acceptable in modern miniatures.

This class counts towards the Art Institute's Nature Illustration Certificate. Individuals following this course will need the prerequisites Pencil I and Watercolor I. The workshop is open to all individuals working in their preferred medium. Cost is $365 for Museum members and $405 for non-members. Space is limited and advanced registration is required.

For more information:
Email Wes & Rachelle at siegrist@artofwildlife.com
Or contact the Institute directly at:
Email: arts@desertmuseum.org
Phone: (520) 883-3024
Fax: (520) 883-3043
Mail: 2021 N. Kinney Rd., Tucson, AZ 85743
Website: www.desertmuseum.org/arts/
Maps & Classroom Location (PDF)

Please contact Wes & Rachelle if you have any questions concerning the workshop.
This exhibition will feature 50 of the Siegrists' miniature paintings of wildlife drawn from their book The World of Nature in Miniature: Paintings by Wes and Rachelle Siegrist.

A Traveling Exhibition of
EXQUISITE MINIATURES BY WES AND RACHELLE SIEGRIST

Produced by David J. Wagner, L.L.C.
David J. Wagner, Ph.D., Curator/Tour Director
Each of these exhibitions will feature 50 of the Siegrists' miniature paintings.

The Museum of the Southwest, Midland, TX
Friday, June 10 through Sunday, August 28, 2011
THE MUSEUM OF THE SOUTHWEST, 1705 West Missouri Avenue, Midland, TX 79701-6516
(432) 683-2882

The Dennos Museum Center, Traverse City, MI
Saturday, November 5, 2011 through Sunday, January 1, 2012
THE DENNOS MUSEUM CENTER, 1701 E. Front St., Traverse City, MI 49686
(231) 995-1055

Museum of the Gulf Coast, Port Arthur, TX
Sunday, April 7 through Sunday, June 2, 2013
MUSEUM OF THE GULF COAST, 700 Procter St., Port Arthur, TX 77640
(409) 982-7000

(rc)

FRAMING YOUR WORK

2010-10-29T11:28:00.000-07:00

Society of Animal Artists member Jan Martin McGuire thoughtfully shares her views on framing original artwork.

FRAMING YOUR WORK

TO CREATE AN IMPRESSION

While viewing the SAA exhibition at Rolling Hills last September I was struck by two things: one; the absolute quality of the work and two; the generally awful framing.

Framing is subjective – just like art. Many people have different ideas of what framing should be. I can’t speak to all the preferences and the reasoning behind them. What I CAN do is talk about what is being used on major artwork that is selling in the Western and Wildlife Art market today.

The idea is to create an impression of “worth”, “collectability,” and “importance”. Go to any major museum, not just one featuring current western and wildlife art but any museum carrying realistic or impressionists work, and what do you see? WIDE, closed corner, gold, silver or bronze frames - usually with a little bit of ornate work on them, but always closed-corner and always wide. This is what collectors have come to equate with “major” art – what they see in museums. In the Western and Wildlife art field you will also see rustic frames. By rustic I don’t mean cheap flat “barn wood” frames, but rather wide, hand-made distressed wood with gold and silver on them as well.

OK. So what is closed-corner exactly? These are frames that are hand made with hand applied gold or silver leaf (or imitation gold and silver leaf) so that the joins in the corners are covered over. Sometimes an appliqué of a “leaf” or other scroll work will be applied across the corner to cover the joins as well.

So I know your response is – “I can’t afford hand-made frames”. Well, believe it or not -you can! There are very reasonably priced ready-mades, most that are hand-made in either Mexico or China. It generally means that you have to work in standard sizes – but – there are so many sizes considered “standard” that I’m always at a loss to understand why artists can’t make compositions work within these sizes. There are squares, long and thin, and everything in between. If you absolutely have to add that extra 1/2 inch or whatever then you can get usually get special orders done by most of the places that provide these frames at, of course, a higher price and longer turn around time.

These frames are obviously used mostly on oil and acrylics. However, many imaginative pastel, pencil and other graphic media artists are using them as well. They are using spacers and museum glass so at a glance the originals don’t scream out that that they are under glass. I know museum glass is expensive but I think it’s worth it; you can barely tell there is any glass on it. Many wildlife art collectors that were actively collecting when the paper print market was hot have learned to equate glass with low-end prints. This is regrettable but true. If you are a stickler for tradition and want to use paper mats and regular glass, etc., that is your choice obviously. I’m just trying to give you some ideas of what is popular with major collectors. If you do go traditional, it is still a good idea to make a “STATEMENT” on the wall by using wide mats and big frames.

If you get a chance, take a look at any issue of WESTERN ART COLLECTOR or ART OF THE WEST magazines. Especially in WESTERN ART COLLECTOR, they many times feature a major collector’s home - and you can easily see the type of frames that are on the work. There is an especially good article in the February issue featuring a collection which includes works by Bateman, Kuhn, Carlson, Terpning, Situ and Schimd. Look at the frames - all are wide, gold or silver with closed corners, and most with at least some slight ornate work on them.

Another place to look at the type of frames I’m talking about is on John Banovich’s website. John is arguably one of the most successful selling wildlife artists today and he is a also a very savvy marketer. Look under the Gallery giclee section and you can see both rustic and gold frames. www.johnbanovich.com

So where can you get these frames? Well here are some sources and I suspect that many members will have more input on other sources as well.

JFM ENTERPRISES

www.jfm.net

1-800-462-9740

These are wholesalers. Their prices are very reasonable, however you MUST have a sales tax ID number to order and you can’t access prices on the web until you have been approved.

MANNY’S OF DENVER

www.mannysofdenver.com

800-638-7605

AMERICA WEST FRAMES

www.americawestframes.com

928-213-1580

WESTERN FRAMES

www.westernframes.com

760-942-4061

IMPRESSIONIST FRAMES

www.impressionistframes.com

760-942-4061

I hope this helps you find some new framing ideas and options for your work. You have spent a great deal of time and effort producing the best piece that you can, and you need to make a statement that you think it is worth putting a good frame on it!

Happy painting! Jan Martin McGuire

The frames in this posting are from JFM Enterprises.

(rc)

Congratulations to David J. Wagner!!!

2010-10-07T11:19:00.000-07:00

Society of Animal Artists Curator/Tour Director, David J. Wagner was honored at the September 2010 Annual Workshop of The Susan K. Black Foundation in Dubois, WY as the Recipient of the Foundation's Black Parkman Award for Art Industry Leadership. Dr. Wagner also serves as Curator/Tour Director for the Foundation's triennial exhibition, BLOSSOM ~ ART OF FLOWERS.

(rc)

50th Art and the Animal Awards

2010-10-02T10:49:00.000-07:00

We would like to take a moment and congratulate all of the artists who have had the honor of being awarded some of the highest honors in the Society of Animal Artists.

The list that follows are those artists in the

Society of Animal Artists

50^th Annual Members Exhibition 2010

Art and the Animal

Award of Excellence

The Society of Animal Artists has presented its highest honor, the Award of Excellence for those works of art in each SAA Exhibition which are judged to represent the highest standards of artistic excellence.

Robert Bateman
BOWHEAD AND SNOW BUNTINGS -oil
Salt Spring Island, BC, Canada

Charles Allmond
DAYDREAMER - Utah Alabaster
Wilmington, Delaware

Cheryl Gervais Battistelli
WINTER LIGHT -pastel
Whitefish, Ontario Canada

Carel P. Brest van Kempen
RIPARIAN RASHOMON - Acrylic Diptych
Holladay, Utah

Pat Jackman
WINDY DAY BEACH - Colored Pencil
Salem, Oregon

Lars Jonnson
LIVING WITH THE WIND - Oil
Island of Gotland, Sweden

Peter Clinton Gray
GREAT EXPECTATIONS - oil
Cape Town, South Africa

Don Rambadt
SOLSTICE - welded bronze
Trevor, Wisconsin

Sherry Salari Sander
HORSES OF THE MOUNTAIN - bronze
Kalispell, Montana

Sandy Scott
EQUUS FOUND FRAGMENTS I and II - bronze
Lander, WY

Mark Susinno
OVER THE TOP - Oil on Linen
Harrisburg, PA.

Kay Witherspoon
DETERMINATION - Oil on Linen
Englewood, Colorado

Rick Pas
RING NECK II - Acrylic
Lapeer, Mi

HIRAM BLAUVELT MUSEUM ART MUSEUM PURCHASE AWARD

Peter Clinton Gray
GREAT EXPECTATIONS - oil
Cape Town, South Africa

Stephen Quinn
RECLINING BLACK RHINO - bronze
Ridgefield Park, NJ

PATRICIA A. BOTT AWARD FOR CREATIVE EXCELLENCE

Gary Stabb
ATTA - Bronze, Glass, wood
Kearney, Mo

THE EVELYN AND PETER HALLER MEMORIAL AWARD FOR SCULPTURE

Dan Chen
BETWEEN THE RAFTERS - bronze
b. China resides Eugene Oregon

PRESIDENTS AWARD

Jan Martin McGuire
DUST DEVIL - Acrylic on Panel
Bartlesville, Oklahoma

THE LEONARD J. MEISELMAN MEMORIAL AWARD FOR REALISTIC SCULPTURE IN AN ACADEMIC MANNER

Patricia Davis
SUMMER STOCK - bronze
Mancos, Colorado

THE NEWCOMER AWARD FOR A FIRST TIME PARTICIPANT IN THE SAA'S ANNUAL EXHIBITION

Chris McClelland
DUGGA BOY - Graphite and Colored Pencil
Hay, New South Wales

THE ETHOLOGY AWARD FOR THE BEST DEPICITION OF NATURAL BEHAVIOR IN ANY MEDIUM

Linda Besse
BATTLE ROYALE - oil
Mead, WA

SOUTHWEST ARTIST MAGAZINE EDITORS CHOICE

Julie Bell
ALPHA WOLF - Oil on Wood
Allentown, PA.

WESTERN ART COLLECTOR EDITORS CHOICE AWARD

James Coe
WINTER ABSTRACT WITH HERON - Oil on Linen
Hannacroix, NY

(rc)

Art and the Animal 50th wrap-up!

2010-09-17T11:33:00.000-07:00

The Society of Animal Artists’

Art and the Animal

50^th Annual Exhibition and Celebration

For the almost two hundred artists, guests and patrons in attendance, it was definitely four days to remember! If anyone got bored at the event, it certainly wasn’t the fault of our President, Diane Mason or her husband Bob, our Executive Director. They found a beautiful place for all of us to stay and arranged three days of wonderful animal watching opportunities, topped off by the annual banquet and award presentations.

Artists Julie Bender and Mary Cornish

First on the schedule was whale watching. Two boats filled with animal artists set out on Wednesday morning in typical sunny Southern California weather. Before we were even out into the Pacific Ocean, a large group of California sea lions were spotted lounging on a floating dock. As we were sailing through open water, we suddenly found ourselves in the midst of a large pod of bottle-nosed dolphins who really put on a show, sometimes cruising right alongside the boat. As we went on, there was occasional excitement as someone spotted a bird that they had never seen before. A sunfish, or mola, was also a rare and unusual sighting.

Upon reaching our destination for the day, some small islands, the captain told us to be on the lookout for whales. In the meantime, we saw and were able to photograph sea lions, harbor seals, brown pelicans, brown boobies, blue-footed boobies, cormorants, gulls and terns. But only a few people on one boat caught a glimpse of a whale. No matter. We all had a wonderful time!

On Thursday morning, buses took everyone out to the San Diego Zoo Wild Animal Park (recently re-named the San Diego Zoo Safari Park), which was founded many years ago as a breeding facility for endangered species, but has since grown into a great public attraction. Many of us took the tram bus tour, which gave us an overview of large paddocks that are home to cheetahs, African elephants, gemsbok, roan antelope, sable antelope, addax and Rothschild giraffes, among others. The rest of the park was very walkable and contained a wide variety of mammals and birds, including all the big cats and a number of species of eagles.

The world famous San Diego Zoo in Balboa Park was the last, but absolutely not least, animal activity. We arrived in the morning and everyone fanned out to cover as much as they could of this world-class facility, which includes a number of aviaries and open ponds for birds, in addition to the mammal enclosures, reptile collection and children’s zoo. As always, the pandas drew a constant stream of delighted visitors, especially since there is currently a youngster in residence. At the end of the day we all gathered for a lovely outdoor buffet dinner right in the zoo.

Saturday morning began with a continental breakfast at the hotel, followed by the annual membership meeting. The highlight of the morning was a talk by Robert Bateman, who showed us images from his new book and spoke about his art. After lunch came the opportunity we had all been waiting for, viewing the 50th Anniversary edition of “Art and the Animal” at the San Diego Natural History Museum. The show had been installed on three levels of the central atrium, filling the walls, corners and, seemingly, every nook and cranny in between. Many favorable comments were overheard by visitors from the public. The artists felt great pride in seeing, and being a part of, a show that represents the very best animal art being created today.

Toward the end of the afternoon, Robert Bateman once again gave a presentation, this one open to the public, as part of a new lecture series the museum has started on children and nature. Saturday evening saw us gathering in a large ballroom for the final event of the week, a banquet and the presentation of awards by a excellent panel of jurors selected by the Natural History Museum. President Diane Mason was presented with a plaque of appreciation by the board of directors of the Society for her outstanding work as President. Robert Bateman was honored with the Society’s first ever Lifetime Achievement Award for his distinguished career both as an artist and advocate for environmental and conservation causes.

As the event wound down, members collected the last signatures for their show catalogs, talked shop or simply chatted together, not wanting the evening to end. The attendees ranged from nationally and internationally known artists of great and varied accomplishment to artists who had been members of the Society for less than a year. But we were all colleagues who had come together for the 50th Anniversary celebration, sharing our love of animals and our appreciation for the privilege of being able to create art with them as our subjects.

See you all next year!

Susan Fox

See more photos of the event on the SAA's facebook page!

(rc)

Two Members of the SAA ‘Family’ are gone

2010-09-16T17:35:00.000-07:00

A sad message from
the president of the Society of Animal Artists…

It is with a heavy heart and much sadness that I inform everyone about the recent passing of two Society of Animal Artists family members.

Marijane Singer, long-time Patron member and Director of the Hiram Blauvelt Art Museum in Oradell, NJ, passed away this past Sunday, September 12, 2010.

Long-time Signature member Robert Salo also passed away suddenly and unexpectedly on September 13, 2010. He lived and breathed the SAA, and was responsible for the SAA Art and the Animal tour coming to Estes Park, CO in 2008. His wife, Jeanne, asks that any memorial contributions in his name be made to the Society of Animal Artists. What a wonderful tribute to his spirit and his devotion to our organization!

-Diane Mason

Marijane Singer

Marijane Singer, a cultural and civic volunteer who was director of the Hiram Blauvelt Art Museum in Oradell, a showcase for wildlife art, died Sunday. She was 80.

"We're known internationally but we aren't known locally," Mrs. Singer said in a 2008 interview with The Record, referring to the museum lodged in an 1893 carriage house on the former Blauvelt estate overlooking Kinderkamack Road. "If you aren't into wildlife art, you probably never heard of us."

But wildlife artists heard of Mrs. Singer. She became the museum's director about 25 years ago, after she joined the board of the Blauvelt-Demarest Foundation, a legacy of the philanthropist Hiram Blauvelt. Guy Coheleach, whose work is currently exhibited at the Blauvelt, said Mrs. Singer raised the profile of the museum, one of a handful in the United States dedicated to wildlife art.

"She was influential in getting the Society of Animal Artists, the largest and most proficient group of wildlife artists, to have their annual show at the Blauvelt a couple of times," said Coheleach, of Hobe Sound, Fla. (Read more)

Robert R. Salo

Robert (Bob) Salo's love of nature and wildlife began early. As a boy growing up in Michigan's remote Keweenaw peninsula, Bob spent hours studying and drawing the animals, farms, and forests of that spectacular region.

Following a tour of duty in the U.S. Army, Bob received his first formal art instruction at Meinzinger Art School in Detroit, where he studied under George Rich.

While working for many years as a commercial artist and fine arts illustrator in Detroit and Boston, Bob continued to celebrate his love of nature through wildlife and landscape painting in his free time.

Bob fulfilled a lifelong dream when he moved to the outskirts of Colorado's Rocky Mountain National Park. In Colorado he perfected his painting skills, devoting his full time to capturing that area's wildlife and scenery on canvas. His work in Boston introduced him to New England's rural charm and seaside beauty.

Bob Salo's paintings can be found in galleries and museums, as well as in private and corporate collections in the United States and abroad. He is a signature artist member of the Society of Animal Artists [SAA], and has been exhibited in the prestigious national tour ARTS for the PARKS numerous times.

Bob's wife Jeanne has requested that in lieu of flowers, memorial contributions be made to the Society of Animal Artists, as that was so near-and-dear to Bob's heart. As a member of SAA for nearly 30 years, that is an honor he well deserves.

(rc)

Art and the Animal opens today!

2010-09-04T06:42:00.000-07:00

Art and the Animal
Society of Animal Artists'
50th Annual Exhibition

San Diego Natural History Museum

San Diego, California
September 4 - October 31, 2010

The Society of Animal Artists' 50^th Annual Art and the Animal exhibition opens today at the San Diego Natural History Museum in San Diego Califorinia. This is the society's 50th annual exhibition of the world's best wildlife artists. The jury this year had the overwhelming task of selecting from 434 submissions by 256 artists.

The list of the honored artists is…

Sue deLearie Adair
Al Agnew
John N. Agnew
...Karen Allaben-Confer
Douglas Allen
Charles Allmond
Tom J. Altenburg
William Alther
Paul Apps
Patti Lynn Arbino Julie G. Askew
Gerald G. Balciar
John Banovich
Barbara Lee Banthien
Al Barnes
Robert Bateman
Cheryl Gervais Battistelli
Julie Bell
Renee Bemis
Julie Bender
Linda Besse
Thomas J. Bishop
Allen Blagden
Peta Boyce
Burt Brent
Carel P. Brest van Kempen
George Bruce Bumann
Robert L. Caldwell
Dan Chen
Tim W. Cherry
James Coe
Guy Coheleach
Guy Combes
Randall Louis
Compton Carrie Cook
Robert Anthony Cook
Anni Marie Crouter
Patricia M. Davis
Andrew Wesley Denman
Kim Diment
Paul Bruce Dixon
Mick Doellinger
Kathleen E. Dunn
Lori Anne Dunn
Leslie H. Evans
Melanie Fain
Anne Faust
James Fiorentino
Lindsey Foggett
Susan Fox
Sharon S. Fullingim
Daniel B. Glanz
Veryl Goodnight
Shawn K. Gould
Peter Clinton Gray
Simon David Gudgeon
Hap Hagood
Nancy Halliday
Judith Hartke
Nancy Howe
Cary C. Hunkel
Nicolay Georgievich Ivanov
Pat Jackman
Brian Jarvi
Joni Johnson-Godsy
Lars Ossian Jonsson
Karryl
James R Kiesow
John Kobald
Kim Kori
Laney
Brent A. Langley
Karen Latham
Rebecca Latham
Patsy J. Lindamood

Janeice Linden
Rob James MacIntosh
Roger A. Martin
Jeanette Martone
Walter T. Matia
Chris David McClelland
Jan Martin McGuire
Darin Miller
Terry Miller
Sumner David Misenheimer
Sean Murtha
Ken Newman
Marilyn Newmark
Leo E. Osborne
Dan Ostermiller
Dino Paravano
Victoria A. Parsons
Rick Pas
Patricia Pepin
Louise M. Peterson
David Petlowany
Bryce Pettit
Anne Peyton
John Charles Pitcher
Stephen C. Quinn
Donald Carl Rambadt
David Rankin
Gamini Ratnavira
Diana Reuter-Twining
Paul Rhymer
Martiena R. Richter
Julia Rogers
Rosetta
Linda Rossin
Kenneth R. Rowe
Jonathan Paul Sainsbury
Sherry Salari Sander
Laurence Saunois
Sharon K. Schafer
Lindsay Scott
Sandy Scott
John Seerey-Lester
Cathy Sheeter
Rachelle Siegrist
Wes Siegrist
Kelly Lea Singleton
Roger G. Smith
Morten E. Solberg
Heather D Soos
Lyn St.Clair
Gary Thomas Staab
Pati Stajcar
Eva Stanley
Debbie Lynn Stevens
Tiffany Stevenson
Joseph H. Sulkowski
Mark A Susinno
Francis Edward Sweet
Fred W. Thomas
Dana Lee Thompson
France Tremblay
Debra L. Trent
David H. Turner
Kent Ullberg
Diane S. Versteeg
Lani Vlaanderen
Joe Weatherly
Dale A. Weiler
Sue Westin
Kay Witherspoon
Steve Worthington
Scott Yablonski
Aaron C. Yount

Art and the Animal exhibition

PREMIERE:
San Diego Natural History Museum, San Diego, CA
September 4 - October 31, 2010
A Gala Artist's Reception, open to the public, will be held at the museum on the afternoon of Saturday, September 4, 2010.

ENCORE DISPLAY OF ENTIRE 50th ANNIVERSARY ANNUAL EXHIBITION:
- November 20, 2010 - February 21, 2011: The Wildlife Experience, Parker, CO

TOUR ITINERARY:
- March 13 - April 10, 2011: Dunnegan Gallery Of Art, Bolivar, MO

- April 30 - September 5, 2011: Sam Noble Oklahoma Museum Of Natural History, Norman, OK

We hope that you can make it to one of these venues to see this amazing exhibit!

For more information, visit www.societyofaniamlartists.com. You can also find us on Facebook.

(rc)

David N. Kitler workshop

2010-08-06T13:12:00.000-07:00

Society of Animal Artist David N. Kitler announces a workshop.

"Wildlife in Acrylics" Workshop

From artist David N. Kitler

September 10-12, 2010

Arts Desire, Vancouver, WA

While working on a wildlife subject of your choice, David will review drawing and painting basics, while teaching techniques that are specific to acrylics. Learning is further facilitated by live demonstrations and slide shows. The class is open to artists of all skill levels.

For more information or to register, visit www.bevelar.com or email artsdesire@bevelar.com.

(rc)

Kelly Dodge’s “Friends of Mine”

2010-08-04T09:02:00.000-07:00

A book by Society of Animal Artist Kelly Dodge.

Friends of Mine.... an artist's inspiration.

Limited Edition hardcover

by Kelly Dodge... artist and naturalist

Limited to an edition of 100 hardcover books,
Friends of Mine is in full color,
hand-signed and sequentially numbered by the author and artist.

Little did Canadian artist Kelly Dodge foresee how an encounter with a lost Carolina Wren one winter would change her life forever. This book is about that first life changing blessing and includes touching stories and photographs of Dodges intimate relationships with a variety of wildings along with the art inspired by them.

For more information go to visit Kelly on the internet at www.kellydodgeart.com/book.html

Western Art Collector Editor’s Choice Award

2010-07-30T08:55:00.000-07:00

Western Art Collector

Editor's Choice Award

Joshua Rose, Editor of Western Art Collector, will be selecting the Western Art Collector Editor's Choice Award at the upcoming Society of Animal Artists 50^th Annual Art and the Animal Exhibition at the San Diego Natural History Museum opening September 4, 2010. The award will be a free advertisement in a forthcoming issue of Western Art Collector for the fortunate recipient.

We would like to thank Western Art Collector and Joshua Rose for their support of the Society's 50^th Annual Art and the Animal Exhibition. Joshua will also be part of the awards panel that judges the other distinguished awards.

(rc)

Congratulation to Joy Kroeger Beckner

2010-07-15T11:32:00.000-07:00

Congratulations to SAA artist Joy Kroeger Beckner for all of recent achievements and awards!

Joy Kroeger Beckner's bronze "Sweet Roll" SS (Standard Smooth), earned the Lindsey Morris Memorial Award, in the 96th Annual Show of Allied Artists of America.

The 1:6 Scale "Sweet Roll" earned the Best Sculpture/Metal, in the Seaside Art Gallery, 18th International Miniature Art Exhibition, Nags Head, NC.

Joy's bronze "Sunnyside Up" (longhaired version), earned the Best Sculpture/Metal, in the 19th Annual International Miniature Art Show at Seaside Art Gallery, Nags Head, NC.

Joy's bronze "Siesta" SS (Standard Smooth), earned The Agop Agopoff Memorial Award in the 79th Annual Exhibition of The Hudson Valley Art Association, NY. See it through July 30 at the National Arts Club, 15 Grammercy Park South, New York, NY. "Siesta" SS may also be seen in Art on the Avenues, Wenachee, WA, through April 2011.

Joy's bronze medal, "Inspiration" may be seen in two medallic art shows this summer:

Fédération Internationale de la Médaille d' Art, FIDEM XXXI Congress and Exhibition, The Tampere Museum, Tampere, Finland. Through August 29.

AMSA with The ANA (American Medallic Sculpture Association with The American Numismatic Association), Hynes Veterans Memorial Convention Center, Boston, MA. August 10-15, 2010.

To learn more about Joy's work, please visit www.joybeckner.com .

(rc)

Composing with Al Agnew

2010-07-14T08:33:00.000-07:00

We saw a couple of weeks ago one of our artists, Al Agnew, share his composing of a new painting on Facebook and thought it would be wonderful to share it here… Al has graciously shared his method of composing his recent fox painting with us along with images of the different stages.

Thank you, Al!

Composing a painting using Photoshop

with SAA artists Al Agnew

For me, working out the design of a painting used to involve a lot of looking through my collection of reference material, a lot of drawing and re-drawing of the subject matter to work out details not included in my reference photos, and a lot of thumbnail sketches to work out the placement and proportions of the major elements of the painting. I have always enjoyed the sketching and drawing process, but it was time-consuming and sometimes frustrating. And at the end of it, I still had just a preliminary monochrome drawing of the painting. I never liked to do color studies because they always seemed to take away some of the spontaneity in the painting process once I got to the final painting. So often I would begin the actual painting with the idea of the whole color scheme nowhere but in my head.

Enter Photoshop. The computer, along with digital photography, has been one of the greatest things to come along when it comes to managing reference materials, and the Photoshop suite of applications has really changed the way I work. My recent fox painting is a good case in point.

The genesis of the idea for this painting was simply that I wanted to paint a red fox. I had no particular idea in mind, unlike some paintings, where the idea is in my head before I begin. For instance, the last red fox painting I did started out with me doing the kind of "doodling" thumbnail sketches of critters that I often do while sitting in the living room at night. I came up with a pose I really liked of an unspecified canid—could have been a wolf, coyote, or fox. But it ended up being a fox after a lot of re-drawing, and some studying of various fox photos and drawings from life I had done over the years to make sure the details were right. I had no reference that was anywhere near the pose I had come up with originally, so the photos were only helpful in working out a few details.

But this time I had no pose or background in mind. In that case, I usually just start looking through my reference material, waiting for some image to turn me on. I had decided I wanted the painting to have a Western setting, though not any vast landscape with an easily recognizable locale, so the first group of reference photos I paged through was photos I'd taken over the last few years of locations around our cabin in Montana. This is where the Photoshop suite has first streamlined my working habits.

Before digital photography, I took most of my animal reference photos with print film, and the landscapes with slide film. I wanted colors to be as true as possible on the landscapes, which slide film best accomplished, while with the animals the exact color wasn't as important and it's easier to work from prints than from slides, which require some method of viewing them while working. I have a huge set of slide drawers full of slides, and five large drawers full of prints, categorized by locale, species, and pose—for instance, my fox photos, taken over many years from animals both in the wild and in captive situations, are divided up into "close-ups", "young", "action poses", "lying and sitting", "standing facing", "standing broadside", "standing away", "walking facing", "walking broadside", "walking away", "running facing", "running broadside", and "running away".

Since I've been taking print and slide photos for more than 20 years, and have only taken digital photos for the last six or seven years, my digital library isn't quite as large, but if I've taken a lot of digital photos of an animal, I'll have those photos categorized the same way, placed into various folders with the same names as my print photos. Eventually I'd like to digitalize all my prints and slides, but with tens of thousands of non-digital photos, it's a time-consuming and expensive process.

At any rate, I can easily browse through my digital photos on the computer using Photoshop Bridge, which is a wonderful photo management tool. Call them all up on the screen, browse quickly through them, zoom in on anything that looks interesting, and send it to Photoshop.

One photo immediately caught my interest. It was this one, (Above), a photo I'd taken on a hike Mary and I had done at the headwaters of Tom Miner Creek near Yellowstone Park. I loved the complex design of the cluster of roots and trunks of these pines, and the play of sunlight and shadow. However, I didn't like the background, because it didn't look like typical red fox habitat in the West. Red foxes prefer areas with grasses where they can hunt mice, and the background on this photo looked too sterile.

I also did not want this painting to be a summer-time scene, since one of the joys of painting foxes is depicting their luxurious coat, and summer coats are not all that luxurious. So I downloaded the photo into Photoshop and continued looking. I soon came upon this photo (Above), which was a grove of autumn aspens I'd taken along the highway approaching Yellowstone Park from the south. I imported it into Photoshop. So now I had a foreground and a background, but I still wanted to show some grass to give it the feel of good fox habitat, so I picked out one of my many photos of grassy areas in Montana and Wyoming and imported it.

I decided I wanted the fox to be coming through the trunks toward the viewer, as if it had been hunting the grass but was sticking pretty close to cover in the bright daylight. I don't have many digital fox photos, so it was time to dig into my old print photos. I started flipping through the "walking facing" section of my red fox photos and soon came upon this one (Above). I liked the general look of the fox, but of course the photo had several basic flaws—it was a winter photo in snow, the fox's foreleg was lifted much higher than I liked, and it was taken on a very dark, cloudy day with no light and shadow and dully colored fur. But I scanned it and imported it into Photoshop.

At this point, I had a good idea of the basic elements of the painting, but was far from sure how they would all go together. I still find that I'm able to think best with a pencil in my hand, so I did a quick thumbnail sketch or two of what I had in mind for the composition while looking at the photos arranged in Photoshop, mainly working out the dimensions of the painting (its aspect ratio—how wide it would be compared to height) and the size of the fox and other elements in the painting. After I had that worked out to my initial satisfaction, I opened a new, blank canvas in Photoshop that had those dimensions.

I selected the entire aspens photo, photo number two, and dragged it onto the blank canvas. That would be layer one, the layer that is underneath the others. I scaled it to be a little smaller than the total canvas. Then I selected an area of grass, using the lasso tool, from my photo of a grassy area, and dragged and dropped the selection into my growing canvas. It would be layer two. I scaled it to roughly fit the area where I wanted it to be visible, which was a small section on the left of the design. Then I selected and dropped in the photo of the pine trunks, making it layer three. This layer almost totally covered the other layers, because I'd brought the whole photo, including the background landscape, into the composition. So I then had to use the eraser tool to erase all of the background, after scaling the photo so that the tree trunks roughly fit into the design the way I wanted. Erasing the background areas let the underlying layers of aspens and grass show through the erased areas. This is where another terrific computer tool comes in very handy, and that is a Wacom tablet, a pressure sensitive monitor upon which you can draw directly with a stylus. I was able to use the stylus on the screen just like using a very sharp and precise pencil eraser to remove the areas of the tree trunk layer that I didn't want.

Finally, I went to my scanned fox photo, and used the lasso tool to carefully outline the fox and separate it from the background. Again, the Wacom tablet and stylus was extremely helpful. Instead of having to use a mouse to draw the lasso around fox, a process that would be awkward at best, I could actually just trace around the outline on the screen with the stylus. Once I had the selection finished, I dragged and dropped it into my Photoshop canvas. It became layer four, the uppermost layer. I flipped it horizontally and scaled it to be about as big as I wanted in the design.

Then it was a matter of playing with the four layers, moving them around slightly, making them a little bigger or smaller, working out their relationship in size and location. For instance, I reduced the background aspens a bit, and enlarged the pine trunks so that more of the trunk on the right bled off the image. I moved the fox around until I had what I thought was the perfect placement of it in the composition and reduced it slightly to make it more proportional to the trunks. All of that resulted in the entire composition looking like this: (Below)

At this point I had several obvious color-related problems. The lighting strength and direction in the foreground and background was pretty well matched, but the light "color cast" of the aspens was more golden yellow overall than the rather clear, white light on the foreground trunks. And that fox, of course, had no strong light at all. In addition, there was little contrast between the aspens and the pine trunks—in fact, the trunks seemed to be lighter in value than the aspen background, which made the whole scene confusing. So first I had to make those aspens recede into the background, and I did this by adjusting the levels of the aspen layer, making it appear much lighter, as if there was some atmosphere between it and the viewer. Then I selected the foreground layer with the tree trunks, used the levels adjustment to make it appear darker, and started playing around with the color balance, adding more yellow and a bit more red to the middle range and highlights until the color of the foreground seemed to fit into the colors of the background better. The grass, flooded with sunlight in my original photo, now fit both the other landscape elements well.

Then, I selected the fox layer. I first used the saturation slider to make the overall color of the fox stronger and more saturated. I used the brightness and contrast sliders to darken the fox a bit. Now I had the fox's colors looking like it was totally in shadow. Using the paintbrush tool, I selected a bright, light orange and a thin brush, and actually "painted" patches of the fox to look like dappled sunlight hitting its back. Then I began working out the way the light would be hitting the fox's face, the most important single piece of the painting. Because of its importance, it was imperative to figure out to my own satisfaction exactly how the light would fall on it. To that end, I grabbed a small sculpture of a wolf head that I've had for many years, and directed a strong light on it from the direction light would be coming in the painting, noting where the edges of light and shadow fell. In order not to mess up the fox's face during the trial and error I'd be doing in working out the conversion from wolf facial features to fox facial features (something I can do because I've studied both animals extensively), I opened a new, blank layer upon which to "paint" the bright highlights of the fox's face. Then I painted them in. Picking a few related colors, I modified the colors of the bright highlights hitting the fox's fur until I was satisfied it looked like the right color of sunlight dappling the moving critter.

Then I had to consider that the fox would be throwing a broken shadow on the ground and roots under it. To add these pieces of shadow, I picked a very dark, grayed blue-violet color, an airbrush painting tool, and set it to "paint" very transparently. I drew in the shadow areas on the ground that I wanted. Using the dark color and doing it transparently, the details in ground and roots still showed through, and I was able to build up the darkness of the shadows gradually until it matched the shadow areas already in the original photo.

So at that point, I had a finished composition AND a terrific color study, all in one. This is what the final design looked like: (Below)

As I mentioned before, there were things I didn't like about the fox's legs. It was time to get back into "real" drawing. I needed a full-size drawing of the fox to transfer to my "real" canvas before beginning the painting, so as I drew the fox on a separate sheet of paper, I changed the legs and tail to what I wanted, making the tail swing more to the left, lifting the visible hind leg a bit higher, and putting the right front leg more out in front with paw lower to the ground. After drawing the major outlines of the tree trunks and roots onto my canvas, I added the fox using carbon paper, and I was ready to begin the actual painting, with my computer-designed composition and color study on the screen next to my easel.

The finished painting: (Below) I made a few adjustments to the color while painting, most notably warming the foreground areas in direct sunlight more and reducing the contrast between them and the shadow areas slightly. But for the most part the Photoshop-generated color and compositional study was followed fairly closely while painting, with judicious editing of some details.

Great Painting and process! Please visit Al Agnew at his website, Facebook and his blog!

(rc)

Books by our artists!

2010-06-24T09:11:00.000-07:00

Here are some books that we would like to make you aware of by some of our artists!

An Illustrated Guide to the Birds of Sri Lanka
By

Sarath Kotagama & Gamini Ratnavira

"Public interest in the birds of Sri Lanka appears to be growing exponentially…" (Read more)

Beast

The collected works of
John Banovich

This elegantly designed, milestone book is a must-own for anyone who is a collector of Banovich`s originals, published works, enjoys animals and conservation, has faced big game in the wild, or desires a chance to look over a master`s shoulder. (Read more)

Legends of the Hunt

John Seerey-Lester

"Legends of the Hunt, is for anyone who remembers the distant roar of a lion on an African night, the welcome smell of a north country campfire, or the taste of dust as you trek through the scrub in the equatorial heat." (Read more)

(rc)

Nature of the Beast

2010-06-16T08:40:00.000-07:00

SAA Signature Artist John Banovich's ongoing exhibition at the Wildlife Experience

The Wildlife Experience Presents
Nature of the Beast
Works by John Banovich
May 22 – July 25, 2010

The Wildlife Experience adds to its summer exhibition line-up with Nature of the Beast: Works by John Banovich, an exclusive one-man show presented only at The Wildlife Experience. This exhibition consists solely of museum and private collection oil paintings by this internationally renowned artist.

"There is an ancient mystery in the eyes of the beast.
Looking deep within, we come face to face with ourselves.
For they are the windows to our past, and the prophecy of our future."

John Banovich is an internationally recognized artist best known for his depiction of exotic species from across the globe. With acrylics and oils, Banovich creates memorable scenes from the dramas that play themselves out daily in the natural world, just as they have for millions of years. This limited engagement, one-man exhibition, features 30 major paintings that are a tribute to the wildlife and natural places Banovich depicts so beautifully in his art.

As an award winning artist, Banovich hopes his art will inspire us to protect our wildlife and ensure its survival; his work perfectly complements the mission of The Wildlife Experience. He is on the board of the Society of Animal Artists, and the Board of Craighead Environmental Research Institute, a featured judge for The Artist's Magazine and is Master Artist - teaching workshops internationally. His life and work have been featured in countless international publications, including Africa Geographic, Wildlife Art, Big Sky Journal, Western Art & Architecture, the Artist's Magazine, and many others, as well as on various television programs aired on the Outdoor Channel, Entertainment Tonight, Versus and PBS.

A natural history and wildlife art museum, The Wildlife Experience is located at 10035 South Peoria St., Parker, CO., one mile east of I-25 at the intersection of Lincoln Ave. and S. Peoria. For admission prices, museum and Extreme Screen Theater hours and information on special exhibits, please call 720.488.3300 or visit thewildlifeexperience.org.

(rc)

Morten Solberg Painting Workshop

2010-06-09T07:25:00.000-07:00

Going on now!!!

Morton Solberg Painting Workshop
Bennington Center for the Arts
Bennington, Vermont
June 7 – 11 or June 9 -11

Morten Solberg , SAA Mater Signature Member is the Special Guest Artist for this year's Art of the Animal Kingdom, he will conduct a three-day or five-day workshop before the opening events of the show. The workshop focuses on allowing the students to open their minds to new or unfamiliar ways of creating art. Mr. Solberg encourages students to start a painting with nothing in mind and proceed with composition and color to arrive at a pleasing environment. Only then is a subject picked that fits that environment. Students are also encouraged to bring in a troubled painting that the instructor can review and demonstrate how he would tackle the problems of composition and color to make it a more pleasing painting. This process is especially helpful as if the piece is photographed throughout the process and later used as reference for the students following the workshop.

This workshop is in conjunction with the opening of the Art of the Animal Kingdom XV exhibition which opens June 12^th. The Society of Animal Artists is honored to have an overwhelming representation of its members in this year's exhibition. To see the list of SAA members please refer to the May 28^th posting here on the blog titled, SAA Artists in the Art of the Animal Kingdom XV exhibit.

(rc)

SAA’s Signature Members, Wes & Rachelle Siegrist, Making History

2010-06-04T04:49:00.000-07:00

SAA's Signature Members, Wes & Rachelle Siegrist are making history with two concurrent solo museum exhibitions, curated by David J. Wagner, Ph.D.. They have on display 100 of the Siegrists' miniature paintings. They represent the largest solo exhibition of miniature paintings by living miniaturists in the genre's history at one time and are taking place now in Louisiana.

Under The Magnifying Glass: Exquisite Miniatures

by Wes and Rachelle Siegrist
The R.W. Norton Art Gallery, Shreveport, LA

Tuesday, May 4 through Sunday, July 25, 2010

"Fishing the Wreck of the Elizabeth Lee"

GUEST APPEARANCE: 2:00 Saturday, June 12, 2010: Presentation and lecture by Wes Siegrist on The History of Miniature Art and David J. Wagner, Ph.D. on Nature in Art History immediately followed by an exhibition Gallery Walk conducted by Wes and Rachelle and book signings by Wes and Rachelle Siegrist and David J. Wagner, Curator/Tour Director.

This exhibition will feature 50 of the Siegrists' miniature paintings of wildlife, landscapes, portraits and still life drawn from their book Exquisite Miniatures by Wes & Rachelle Siegrist.

For more information and photos please see: http://www.artofwildlife.com/exquisite_miniatures.html

The World of Nature in Miniature:

Paintings by Wes and Rachelle Siegrist

The West Baton Rouge Museum, Port Allen, LA
Sunday, May 16 through Saturday, July 31, 2010

"Dimunitive Great Egret"

GUEST APPEARANCE: 2:30-4:30 Sunday, June 13, 2010: Presentation and lecture by Wes Siegrist on The History of Miniature Art and David J. Wagner, Ph.D. on Nature in Art History immediately followed by an exhibition Gallery Walk conducted by Wes and Rachelle and book signings by Wes and Rachelle Siegrist and David J. Wagner, Curator/Tour Director.

Tour Venues: December 11, 2010 - March 13, 2011: Arizona-Sonora Desert Museum, Tucson, AZ

Sept. 1 - Nov. 15, 2010: Open/Pending

This exhibition will feature 50 of the Siegrists' miniature paintings of wildlife drawn from their book The World of Nature in Miniature: Paintings by Wes and Rachelle Siegrist.

For more information and photos please see: http://www.artofwildlife.com/world_of_nature.html

(rc)

SAA artists in the Art of the Animal Kingdom XV exhibit

2010-05-28T10:23:00.000-07:00

The Society of Animal Artists is honored to have such a long list of its artists included in the upcoming Art of the Animal Kingdom XV exhibition!

Art of the Animal Kingdom XV
Bennington Center for the Arts
Bennington, Vermont
June 12 –August 8, 2010

The Bennington Center for the Arts brings world-class fine art, history and theatre to the residents and visitors of Southwestern Vermont. The center's permanent art collection, sales exhibitions, live theatre and exhibits within the Covered Bridge Museum are available throughout the year.

Considered one of the most prestigious wildlife exhibitions in the country, this year's Art of the Animal Kingdom exhibit includes 80 pieces of art. Morten Solberg is this year's special guest artist and juror of the exhibition. He will also be giving a workshop at the Center the week prior to the opening of the show.

"Mountain Monarch," Acyrlic, 24 x 48 by Morton Solberg

Society of Animal Artists that are included in the show

(please let us know if we have accidentally overlooked listing you):

Sue deLearie Adair
Al Agnew
Douglas Aja
Carel Pieter Brest Van Kempen
George Bumann
Robert Caldwell
James Coe
Anni Crouter
Kim Diment
Melanie Fain
Anne Faust
Cathy Ferrell
Nancy Fortunato
Ellen Gavin
Sue Gombus
Veryl Goodnight
Shawn Gould
Hap Hagood
Heiner Hertling
Nancy Howe
Karryl
Jack Koonce
Laney
Karen Latham
Rebecca Latham
Rod Lawrence
Liz Lesperance
Patsy Lindamood
Jan Martin McGuire
Darin Miller
Terry Miller
Sean Murtha
Ron Orlando
Leo Osborne
Patricia Pepin
Anne Peyton
John Pitcher
Justin Prigmore
Diane Reuter-Twining
Andrea Rich
Rosetta
Robert Salo
Cathy Sheeter
Rachelle Siegrist
Wes Siegrist
Eva Stanley
Tiffany Stevenson
Linda Sutton
Francis Sweet
Sue Westin

(rc)

Southwest Art Magazine sponsors SAA award!

2010-05-21T10:18:00.000-07:00

Southwest Art Magazine

Sponsors an award for the

50th Annual Art and the Animal exhibition

June 2010 cover of Southwest Art

SOUTHWEST ART MAGAZINE has announced that they will be sponsoring an award (possibly more than one) at the Society of Animal Artists 50th Anniversary ART AND THE ANIMAL exhibition in September. This award will be for a free ad in the magazine and will be announced at the awards banquet during the exhibition. This is a brand new award and Southwest Art has also already committed to continuing it for the 2011 exhibition. Diane Mason, president of SAA said that the magazine was so "blown away" by the quality of the work after reviewing a CD of the show that they came up with the idea for this award.

You can visit Southwest Art at www.southwestart.com, you can find them on Facebook and you can follow them on Twitter as well.

(rc)

SAA Master Artists

2010-05-17T11:42:00.000-07:00

MASTER ARTISTS

Carel Pieter Brest van Kempen, Charles Almond and Bob Kuhn (seated)
at the 2001 ART AND THE ANIMAL exhibit.

The Society of Animal Artists recognizes outstanding achievements in the field of animal art through the Master Artist status. This Status is granted to artists who have won 5 or more Awards of Excellence at the annual member's juried show - the ART AND THE ANIMAL.

Judging each year is done by a panel of six jurors that are completely independent from SAA. The host venue selects a panel from their area that are artistic professionals such as professional working artists; Museum personnel/directors; wildlife experts; gallery owners; magazine editors etc. SAA then approves the list provided.

The six judges are split into teams of three. One team selects the monetary awards, the other team the Award of Excellence. For the Award of Excellence the jurors are instructed to select work that exemplifies "the highest standards of artistic achievement".

Master artists can then have one piece of work of their choice included in each exhibition after receiving the designation "Master Artist" without being juried.

Current Master Artists are:

Charles Allmond
Chris Bacon
Gerald Balciar
Robert Bateman
Carl Brenders
Burt Brent
Carel Pieter Brest van Kempen
Guy Coheleach
Bob Kuhn (in memoriam)
Walter Matia
Leo Osborn
Sherry Salari Sander
Mort Solberg
Kent Ullberg

(rc)

Photo shoot & Workshop with Jan Martin McGuire

2010-05-13T08:16:00.000-07:00

PHOTOSHOOT AND WORKSHOP

September 24-26, 2010
Sandstone and Hinkly, Minnesota

Open to all levels of artists in all media

Society of Animal Artists member Jan Martin McGuire is offering a photo shoot and workshop in Sandstone & Hinkly Minnesota, September 24-26, 2010. This is a great opportunity for all levels of artists to spend a weekend in the field photographing some amazing animals. Then how to use those photos to combine and create strong compositions for future artwork. Jan will also discuss the all important marketing and selling of your artwork and also share her techniques and offer some constructive critiques as well.

PHOTOSHOOT
Photographing 10 animals in natural habitat including:

Wolves
Black bear
Red fox
Coyote
Lynx
Cougar
White tail deer
Bobcat

Fall settings with animals in nice full coats.

WORKSHOP
USING YOUR REFERENCE PHOTOS

How to "read" your photos correctly
How to use to create strong compositions and ideas.
How to combine reference photos
Anatomy and habitat

BUSINESS OF ART
Marketing and selling your work

JAN'S TECHNIQUES
CONSTRUCTIVE CRITIQUES

$1295 for both photo shoot and workshop. $250 non refundable deposit required.

We hope that you can take advantage of this opportunity and for more information please visit Jan's website at http://www.janmartinmcguire.com/

.

Art and the Animal

2010-05-12T07:22:00.000-07:00

The 50^th Annual exhibition of the Art and the Animal…

Well its official the results of the jury are in, we had 434 submissions (317 2D and 117 3D) from 256 of our members for this year's exhibition, and the quality was phenomenal. It was definitely the toughest jury ever! The caliber of the entries was superb!

This year's Art and the Animal will be at the San Diego Natural History Museum in San Diego, California and will be opening Saturday September 4, 2010 and close on October 31, 2010. The list of the distinguished artists is below. Please visit the Society website to see which of these artists will be in attendance at the opening weekend. (Artists attending, scroll to the bottom).

As this is only the second posting for our new Society of artists blog we hope that you will check back with us frequently or better yet follow the blog to stay updated. If you notice that to the right is a heading labeled "Pages," each of these pages contains a list of SAA artists who are on various social media networks. These lists are small but will increase over time, we encourage you to visit these pages and follow, fan (like), read, and watch what these artists are doing! There is no better way to find out what our artists are doing other than being in the studio with them!

Thank you for visiting!

List of artists in Art of the Animal

Sue deLearie Adair
Al Agnew
John N. Agnew
Karen Allaben-Confer
Douglas Allen
Charles Allmond
Tom J. Altenburg
William Alther
Paul Apps
Patti Lynn Arbino
Julie G. Askew
Gerald G. Balciar
John Banovich
Barbara Lee Banthien
Al Barnes
Robert Bateman
Cheryl Gervais Battistelli
Julie Bell
Renee Bemis
Julie Bender
Linda Besse
Thomas J. Bishop
Allen Blagden
Peta Boyce
Burt Brent
Carel P. Brest van Kempen
George Bruce Bumann
Robert L. Caldwell
Dan Chen
Tim W. Cherry
James Coe
Guy Coheleach
Guy Anthony Combes
Randall Louis Compton
Carrie Cook
Robert Anthony Cook
Anni Marie Crouter
Patricia M. Davis
Andrew Wesley Denman
Kim Diment
Paul Bruce Dixon
Mick Doellinger
Kathleen E. Dunn
Lori Anne Dunn
Leslie H. Evans
Melanie Fain
Anne Faust
James Fiorentino
Lindsey Foggett
Susan Lynn Fox
Sharon S. Fullingim
Daniel B. Glanz
Veryl Goodnight
Shawn K. Gould
Peter Clinton Gray
Simon David Gudgeon
Hap Hagood
Nancy Halliday
Judith Hartke
Nancy Howe
Cary C. Hunkel
Nicolay Georgievich Ivanov
Pat Jackman
Brian Jarvi
Joni Johnson-Godsy
Lars Ossian Jonsson
Karryl
James R Kiesow
John Kobald
Kim Kori
Laney
Brent A. Langley
Karen Latham
Rebecca Latham
Patsy J. Lindamood
Janeice Linden
Rob James MacIntosh
Roger A. Martin
Jeanette Martone
Walter T. Matia
Chris David McClelland
Jan Martin McGuire
Darin Miller
Terry Miller
Sumner David Misenheimer
Sean Murtha
Ken Newman
Marilyn Newmark
Leo E. Osborne
Dan Ostermiller
Dino Paravano
Victoria A. Parsons
Rick Pas
Patricia Pepin
Louise M. Peterson
David Petlowany
Bryce Pettit
Anne Peyton
John Charles Pitcher
Stephen C. Quinn
Donald Carl Rambadt
David Rankin
Gamini Ratnavira
Diana Reuter-Twining
Paul Rhymer
Martiena R. Richter
Julia Rogers
Rosetta
Linda Rossin
Kenneth R. Rowe
Jonathan Paul Sainsbury
Sherry Salari Sander
Laurence Saunois
Sharon K. Schafer
Lindsay Scott
Sandy Scott
John Seerey-Lester
Cathy Sheeter
Rachelle Siegrist
Wes Siegrist
Kelly Lea Singleton
Roger G. Smith
Morten E. Solberg
Heather D Soos
Lyn St.Clair
Gary Thomas Staab
Pati Stajcar
Eva Stanley
Debbie Lynn Stevens
Tiffany Stevenson
Joseph H. Sulkowski
Mark A Susinno
Francis Edward Sweet
Fred W. Thomas
Dana Lee Thompson
France Tremblay
Debra L. Trent
David H. Turner
Kent Ullberg
Diane S. Versteeg
Lani Vlaanderen
Joe Weatherly
Dale A. Weiler
Sue Westin
Kay Witherspoon
Steve Worthington
Scott Yablonski
Aaron C. Yount

Welcome to the SAA’s new blog!

2010-04-29T10:22:00.000-07:00

Welcome to the SAA’s new blog!

The Society of Animal Artists has an exciting year ahead, with our 50th Annual Exhibition opening on September 4 at the San Diego Natural History Museum. Our artist-members are signing up in record numbers to attend the opening events, and we have many new Patron members as well – many of whom have joined as Patron members just to have the privilege of joining us in San Diego. We are anticipating major feature articles about our 50th Annual Exhibition in both Southwest Art and Western Art Collector magazines, and I am working on some additional national publicity as well. Thanks to Tour Director David Wagner, we also have a contract with an exciting venue for our 2011 exhibition – and I should be able to reveal the name of that museum in the next few weeks.

Despite the uncertain economic and political climate of the past couple years, the artists of the SAA continue to produce the finest animal art in the world, and they are doing remarkable work on behalf of conservation and humane causes as well.

Follow this blog, visit our new-and-improved website: http://www.societyofanimalartists.com/ and our virtual museum: http://www.societyofanimalartistsmuseum.com/ and be inspired.

Diane D. Mason, President

Society of Animal Artists

WAJ's Gallery of the Commons

Show Off Your Work At Gallery Of The Commons

Wildlife Art JournalIs Now Soliciting A Few More Images

Four Seasons on Assateague Island

"One Man's Trash"

51st Annual Art and the Animal Award Winners!

Good luck to David N. Kitler!

The International Society of Scratchboard Artists

Photo shoot & Workshop!

THE FOLLOWING ARTISTS HAVE BEEN ACCEPTED INTO THE SOCIETY'S ANNUAL JURIED EXHIBITION "ART AND THE ANIMAL"

Wildlife Art on the Couch: A Struggle for Identity in the 21st Century by Andrew Denman

Kitler's Work Features in The Artist's Magazine

Diane Mason featured artist at NatureWorks

SOME THOUGHTS ON APPLYING FOR MEMBERSHIP IN THE SOCIETY OF ANIMAL ARTISTS By Susan Fox, SAA

James Coe is Woodson's 2011 Master artist!

WAJ's Gallery of the Commons

Wildlife is the subject - not the style

The Siegrists World of Nature in Miniature Exhibition Tour and Workshop

A Traveling Exhibition ofEXQUISITE MINIATURES BY WES AND RACHELLE SIEGRIST

FRAMING YOUR WORK

Congratulations to David J. Wagner!!!

50th Art and the Animal Awards

Art and the Animal 50th wrap-up!

Two Members of the SAA ‘Family’ are gone

Art and the Animal opens today!

David N. Kitler workshop

Kelly Dodge’s “Friends of Mine”

Western Art Collector Editor’s Choice Award

Western Art Collector

Editor's Choice Award

Congratulation to Joy Kroeger Beckner

Composing with Al Agnew

Composing a painting using Photoshop

with SAA artists Al Agnew

Books by our artists!

Nature of the Beast

The Wildlife Experience PresentsNature of the BeastWorks by John BanovichMay 22 – July 25, 2010

Morten Solberg Painting Workshop

SAA’s Signature Members, Wes & Rachelle Siegrist, Making History

SAA artists in the Art of the Animal Kingdom XV exhibit

Southwest Art Magazine sponsors SAA award!

SAA Master Artists

Photo shoot & Workshop with Jan Martin McGuire

Art and the Animal

Welcome to the SAA’s new blog!

Wildlife Art Journal
Is Now Soliciting A Few More Images

A Traveling Exhibition of
EXQUISITE MINIATURES BY WES AND RACHELLE SIEGRIST

The Wildlife Experience Presents
Nature of the Beast
Works by John Banovich
May 22 – July 25, 2010