Two new shows, one in London and one in New York City, showcase the work of artists I came to admire from interviews in The Pastel Journal. In New York, at the The Culture Center, the current exhibition is "Sigmund Abeles at 75," a show celebrating the life and art of renowned artist, Sigmund Abeles, a PSA Hall of Fame inductee in 2004. The exhibition is showing now through November 14 (hours 12 to 7 pm). If you're in the city, plan to catch a talk with the artist this Saturday, November 14, at 3 pm. You can read more about Abeles in an interview with Elizabeth Exler in the February 2007 issue of The Pastel Journal.

In London, visit Browse & Darby on Cork Street to see its current exhibition "Australia" with artist Anthony Eyton, a master artist who works in both oils and pastels. We recently featured Eyton in the June 2009 issue of The Pastel Journal. The show runs through November 20 (hours are 10 to 5:30, Monday through Friday and 11 to 2 on Saturday).  

If anyone makes it to either, tell us about it here in the comments area of the blog!

[pictured]
Self-Portrait With Horse Skull (top; oil, 20x24) by Sigmund Abeles; and Opera House, Sydney Night (oil on canvas, 24x 33) by Anthony Eyton

The new book Art Journey New Mexico: 104 Painters’ Perspectives (North Light Books, 2009), from the editors of The Collector's Guide, is a beautiful, hardcover collection of contemporary art of the Southwest. And it's one of those gorgeous books that feels good to hold (it's 224 pages!) and is a joy to peruse. When I first saw one of the early copies, I got so excited about it that I asked my friend, Kevin Paul, one of the editors, to share the story behind the book:

Art Journey New Mexico: Painters’ Perspectives, as the title suggests, focuses on living artists, actively working in New Mexico today. There’s no denying that something about the place is a tremendous draw for artists. The Collector’s Guide, our annual guide to art in New Mexico, features an index of roughly 7,000 working artists showing in some 350 galleries. 

To produce this book, we had the mixed blessing of choosing merely 104 of them. And in three days! Our editorial team of three brainstormed a preliminary list of 500 and from there we whittled it down to the requisite number. These 104 artists then had to give us three representative images, from which we chose the final image for the book.  Each artist also answered a series of questions designed to give readers an insightful look at their inspirations and working processes.  

This is the first in a series of books that will focus on the artists of New Mexico. Future themes include sculpture, photography, fine art craft and multi-media works.


Take a look inside the pages of Art Journey New Mexico at northlightshop.com. And if you're interested in a copy, it's on sale now for $32.99 (a $12 savings off the regular retail price).

You'll also fine in the shop 10 exciting art-related downloads from The Collector's Guide.

This week on our Twitter feed (@pasteljournal) we're rolling out a spiffy new PastelPerks program. Here's how it works: We tweet about a PastelPerk, you retweet the news in your Twitter feed, we automatically enter you in a drawing for a free pastel prize. It's quick, it's easy and boy is it fun giving away free stuff! (Hint: If you head over to @pasteljournal now, you might find some interesting tweets regarding our new "Eight Greats" interview series.)

Just today on the Pastel Pointers blog, artist Richard McKinley talked about those images that are almost too dazzling to work as a painting. Fall foliage was one example, and sunsets another. "These spectacular subjects, unless finessed properly, become a postcard," McKinley writes. "To make them work, we need to step back from the high drama of the moment and allow the viewer a little more to anticipate, engaging their imagination in how beautiful the subject matter might become."

It was funny that, minutes after reading this, I came upon this new video demonstration on the PanPastel website with pastel artist (and Pastel Journal contributing writer) Deborah Secor, in which she walks viewers step by step through the painting of a dramatic sunset sky. Not only will you see how Secor uses the pan-format pastels and applicators, but you'll also see a good example of a sunset painting that does work—for exactly the reasons described by McKinley. Secor avoids the danger of an overdone result by carefully composing the painting to offer just a hint of the spectacular color—and leaving some of the drama to our own memories of blazing skies.