Tune in this Wednesday, February 7 at 3:00 p.m. EST for a live Q&A with IN THE STUDIO instructor Corey D’Augustine. 🎨 Corey will answer questions from previous videos as well as from the live comments section!
For those of you in NYC who would like to paint with Corey in person, be sure to check out his class here at the Museum, “The Modern Studio: Pop Art.” There are still a few openings left for the class, so be sure to sign up soon! http://mo.ma/2EoZFmF
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Explore the techniques of other New York School painters like Kusama, Rothko, and Pollock in MoMA’s new free, online course, “In the Studio: Postwar Abstract Painting.” Sign up: http://mo.ma/inthestudio
Table of Contents:
00:30 How do you respond to people who say that abstract art requires no skill?
00:03:30 What drew you to the Abstract Expressionist movement / New York School?
04:35 What are some avenues one could explore in furthering a beginner’s education in Abstract Expressionism (books, films, podcasts, etc)?
06:25 What are less expensive alternatives to canvas to practice painting?
08:42 Is it necessary to be capable of figure drawing for an Abstract Expressionist painter?
10:50 How did de Kooning’s paintings fair over time?
12:48 Did de Kooning adhere to “far over lean” principle?
13:52 Which binder is best to use with acrylics to get more fluidity?
16:02 Can you get similar effects of matte and glossy surfaces with H2 oils?
18:40 Have conservators studied or reached any conclusion regarding integrity of water soluble oil paints?
20:37 Is there a fine line between imitation and originality?
22:50 Why not paint like yourself?
24:38 What is the stability of Tempera Grassa?
26:36 Mixing acrylic and large amounts of water—does this prevent underbinding or is it doomed to flake off in the future?
30:05 Suggestions for finding a qualified art person to critique your artworks.
31:38 Will oil, protein, and water based paints applied to an acrylic-based ground stand up to time, or will they eventually delaminate?
33:18 No rubber gloves!!! 🙁 — Using gloves with turpentine and other materials.
34:39 Can you explore watercolor as a medium in modern/abstract art?
35:32 Would this style [Cubism] work with watercolor?
38:52 Do you have any information on the preservation maintenance of wax and caustic paintings or encaustic paintings? Will they be able to be preserved for many years or crack over time?
40:18 Why do artists stretch their own canvases? What should you look for in pre-stretched?
42:46 After painting oil with palette knife, the canvas lost tension and the surface moves like jelly. Any tips?
45:02 Is it still possible to purchase the International Klein Blue pigment? Are there ways to substitute it?
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