This first image was from the ‘Transience and Eternity’, Angie Dixon’s exhibition at Foster/White in the 1990’s. It was a combination of installation and paintings. It was about creation and the formation of everything before it becomes tangible. The paintings were meant to be of the actual tangible results of the creative formation. The installation was black and white, the paintings were in color.
Angie Dixon studied art at the University of Washington where she received two degrees: one in fine arts and the other in art history. Dixon was one of the first 24 Americans accepted into the art school to study classic Chinese Landscape Painting and other Chinese painting and calligraphy in Hangzhou, the Zhejiang Academy of Fine Arts in the people’s Republic of China. She continued with graduate studies in the People’s Republic of China at the Zhejiang Academy of Fine Arts in 1984.
I eavesdropped on Dixon’s Beginning Sumi workshop last weekend, and heard her talk about studying from the old master ink and brush painters. Dixon is a deeply respectful person, especially when it comes to issues around cross-culture, education, and traditions – so this caught my ear: “You had to do what the masters said, exactly what they said, and not deviate.” She continued:
At the Zhejiang Academy of Fine Arts, students were asked to copy the teacher’s work, and you were only supposed to have one teacher. If you didn’t copy it exactly they’d have you do it again. After much study, Dixon said that one day the teacher told her to do it again, because she had failed to make an exact copy. She said “Ok, show me how it’s done.” The teacher attempted to make a copy of his own work, and failed. She learned from that, and decided to respect the knowledge that had been shared with her, and go her own way. Dixon branched out to study more styles and approaches from many more teachers for sumi all across Asia, and now has a contemporary voice to her ink, combining various Eastern and Western methods.
Dixon has a talent and a passion for teaching, and we are fortunate to be able to learn from her vast knowledge and experiences in sumi brush painting. This weekend starts a 2 Day workshop, by request of her students. Sumi II is for anyone who already has some experience with sumi, so students will have more opportunity to broaden and improve their techniques, and take their brushwork to the next level.
Keith Pfeiffer trained as an illustrator, and recently decided to jump over the fence to be a professional fine artist. His observation based drawings are finely tuned and skillfully rendered, with a focus on line and tone. His sketches are posted on Instagram for very affordable prices. We had just hired him at the League …
You are 2/3 the way through our 30 Day Challenge. To see what you missed in the past 19 days, click here. Today we have transcription challenge. For this, make something inspired by Winslow Homer’s “The Herring Net” (oil on canvas 30 1/8 × 48 3/8 in). What’s a transcription? In art, to transcribe is to copy or …
“This has to stop. This has gone on for hundreds of years and it has to stop,” Pastor Kenneth Isabell said in his opening prayer at the third anniversary of Charleena Lyles’ murder June 19, 2020. Three years ago, Seattle police Officers Steven McNew and Jason Anderson shot Lyles seven times after she called 911 …
The Reith Lectures, Grayson Perry: Playing to the Gallery: 2013 Episode 1 of 4 Listen in pop-out player In the first of four lectures with the BBC, recorded in front of an audience at Tate Modern in London, the artist Grayson Perry reflects on the idea of quality and examines who and what defines what we …
Sumi Installations, by Angie Dixon
This first image was from the ‘Transience and Eternity’, Angie Dixon’s exhibition at Foster/White in the 1990’s. It was a combination of installation and paintings. It was about creation and the formation of everything before it becomes tangible. The paintings were meant to be of the actual tangible results of the creative formation. The installation was black and white, the paintings were in color.
Angie Dixon studied art at the University of Washington where she received two degrees: one in fine arts and the other in art history. Dixon was one of the first 24 Americans accepted into the art school to study classic Chinese Landscape Painting and other Chinese painting and calligraphy in Hangzhou, the Zhejiang Academy of Fine Arts in the people’s Republic of China. She continued with graduate studies in the People’s Republic of China at the Zhejiang Academy of Fine Arts in 1984.
I eavesdropped on Dixon’s Beginning Sumi workshop last weekend, and heard her talk about studying from the old master ink and brush painters. Dixon is a deeply respectful person, especially when it comes to issues around cross-culture, education, and traditions – so this caught my ear: “You had to do what the masters said, exactly what they said, and not deviate.” She continued:
At the Zhejiang Academy of Fine Arts, students were asked to copy the teacher’s work, and you were only supposed to have one teacher. If you didn’t copy it exactly they’d have you do it again. After much study, Dixon said that one day the teacher told her to do it again, because she had failed to make an exact copy. She said “Ok, show me how it’s done.” The teacher attempted to make a copy of his own work, and failed. She learned from that, and decided to respect the knowledge that had been shared with her, and go her own way. Dixon branched out to study more styles and approaches from many more teachers for sumi all across Asia, and now has a contemporary voice to her ink, combining various Eastern and Western methods.
Dixon has a talent and a passion for teaching, and we are fortunate to be able to learn from her vast knowledge and experiences in sumi brush painting. This weekend starts a 2 Day workshop, by request of her students. Sumi II is for anyone who already has some experience with sumi, so students will have more opportunity to broaden and improve their techniques, and take their brushwork to the next level.
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