Art that Sells Broadway

The versatility of art is not easy to define. Art is an umbrella term that encompasses different mediums, genres and styles. Each medium of art is attractive on its own, but when several types of art come together, a fresh, deep, enriched level of art is born. For instance, this is the case when music, dance, storytelling and graphic design collide. You may be wondering where these diverse art mediums intersect. On Broadway, of course.

Erick Pipenburg (@erikpiepenburg) has one of the most interesting jobs in America; he is the senior theatre editor at the New York Times. Recently his job has taken him away from Broadway stages and into the studios of graphic designers and photographers who create promotional posters for hit shows.

“Behind the Poster” is a category on the New York Times blog, Artsbeat. In this genre of his professional art medium, writing, Pipenburg interviews the talented visual artists who are on the front lines of theatre show productions. He has gone behind the curtains of shows like “The Visit,” starring Chita Rivera; “Hedwig and the Angry Inch,” starring Neil Patrick Harris; and a new play, “Stage Kiss,” which is promoted by an abstract poster that is made up of lipstick kisses on paper. Each time, Pipenburg’s interview reveals a story that goes beyond the script and into the lives of all the artist who create and promote the play.

To better grasp what Pipenburg does, read the response from freelance illustrator Julie Furer Knutson, who created the poster for “Who’s Afraid of Virginia Woolf?” playing in Seattle, Washington:

“I wanted this to scream ’60s. That blue is very of that era. When I was a kid we had a couch that color. It seems everybody had that couch back then. I guess it was Danish-designed and had that very plain but textural fabric to it. The characters keep drinking to hide what’s going on in their lives. They are outward with their rage, but they are hiding behind the alcohol. I thought white for the title really exposes things.”

Here is the New York Times article that contains this poster review and five others: http://www.nytimes.com/2014/12/31/arts/posters-the-fine-art-of-selling-theater.html.

Erick Pipenburg is revealing another element of art that goes into creating shows that grace Broadway stages each night. He is showcasing the tapestry of art mediums, styles, and genres that go into producing show-stopping productions. In a way, he is identifying the many parts of a fulfilling, multi-dimensional work of art.

Art is often made up of several pieces. No art program knows this better than Segmation. Paint-by-number has been allowing people to become artists for years. Now, Segmation is making paint-by-number a digital phenomenon, too. By putting together the pieces of artful imaging, you can be an artist. Have you tried SegPlay PC or SegPlay Mobile yet? Click here to learn more about the software that can transform you into an artist: http://segmation.com/. Piece by piece, you can, like Erick Pipenburg, expose a beautiful picture.

Read more Segmation blog posts about art and color:

Paper Quilling – Yesterday, Today and Tomorrow

Can Elephant Art Save the Species?

What Is True About The Color Blue?

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Vision Problems Guide Artists

By looking at his paintings, you probably never guessed that Edgar Degard could not see well. However, the French realist painter was believed to have a congenital retinal problem. Similarly, Mary Cassatt and Claude Monet both had cataracts, which explain why the artists had trouble differentiating color later in life. And sketch artist Charles Méryon never toyed with color because he was well aware of his color-blindness.

Several artists have suffered from eye problems that pose obstacles to their chosen career paths. However, many artists leveraged their disabilities, using them as tools to guide their distinct style and career.

For instance, Peter Milton was diagnosed with color-blindness in 1962. This occurred after he spent years painting, teaching art, and studying under the master of color, Josef Albers. Upon receiving his diagnosis, Milton abandoned color; instead, he committed himself to the creation of black and white masterpieces. The absence of color did not void other creative elements of his artwork, though. Milton produced intricate works of art that are best described as “visual puzzles in which past and present seem to merge.”

Milton found a way to work around his eye problems while other artists did not. It has been reported that one in 10 men has color-blindness. A professor of ophthalmology at Stanford University, Michael Marmor, recognizes the challenge artists face when diagnosed with vision troubles. He tells NPR that “most artists who found out they were colorblind just switched to printmaking or sculpture.”

Some artists worked through their eye problems to create the art they loved and were known for. Claude Monet was quoted as saying, “At first I tried to be stubborn. How many times … have I stayed for hours under the harshest sun sitting on my campstool, in the shade of my parasol, forcing myself to resume my interrupted task and recapture the freshness that had disappeared from my palette! Wasted efforts.”

Throughout history, several artists approached vision troubles differently. Some worked through them, others looked past them, and many worked around their eye problems. Milton, who is a shining example of how to work around color-blindness, attributes his artistic style to his disability. “… It helps to have a disability,” he told NPR, “because when you can do anything, which of all the things you can do are you gonna choose? So something has to help you make the choice.”

Some of the world’s most well-known artwork has been produced by artists with vision problems. The pieces may seem to use askew color options or be void of color entirely, but to us, these color choices make the artwork appear distinct. And who knows, perhaps an artist accepted his or her disability and set out to create art in this authentic way.

Read more Segmation blog posts about art and color:

EnChroma Introduces Colorblind People to Color

The Gift of Color Vision

The Importance of Color Vision and Art

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The Op-Art of Josef Albers

Josef Albers, photograph by Arnold Newman, 1948. © Arnold Newman

In a recent post, a popular art form of the 20th century was introduced. Op-Art puts thought provoking optical illusions onto a flat canvas. During the early 1900’s, the art form flourished with the creative use of lines and patterns. At the start, artists used black and white paint or ink to create captivating images; color was incorporated later. One artist and theorist at the forefront of this art style, who also pioneered the technique of adding color, was a man by the name Josef Albers.

German-born American artist, Josef Albers studied at the Bauhaus school for arts and crafts in Germany. The school existed at the time of Nazi dominance in Germany and, subsequently, closed in 1933. After spending decade at Bauhaus as an art instructor, Alber’s emigrated to the United States, where he continued his career as an artist and teacher.

After spending some time in the United States, Albers accepted a position at teaching at Yale University. It was there that Josef Albers was able to advance the graphic art program before retiring from teaching in 1958.

In the early years of his retirement, as a fellow at Yale, Albers received funding to exhibit and lecture on the art form he had done so much to advance. By this time, Albers had catapulted many artists into successful careers. The list of notable students includes Richard Anuszkiewicz and Eva Hesse. Both artists are considered major forces in the Op-Art movement that swept the world during the 1960’s and 70’s.

Aside from his artwork and teaching, Josef Albers added another form of art to his long list of talents: In 1963, his book, Interaction of Color detailed the theory behind colorful op-art. This writing built upon a foundational thought of Albers — that colors have an internal and deceptive logic all-their-own.

Albers continued to paint and write until he died in 1976. However, the impression he left on the world of art, especially as an abstract painter and theorist, continues to live and influence abstract art today. Even though much of his work is well known and recognizable, it continues to thrive because of the Josef and Anni Albers Foundation. To this day, the organization supports exhibitions featuring the work of Josef Albers and his wife Anni, who was a textile artist.

The contribution Josef Albers made to the world of art is undeniable. He was successful at merging traditional European art with modern American art, to create an abstract style all his own. While his roots were grounded in the type of constructivist thinking that allowed Bauhaus school of arts and crafts to flourish, his experiences in America allowed him freedom to explore patterns and colors that are now the signature of optical art.

Op-art and graphic art continue to advance while consistently affirming Josef Albers influence. The world renowned teacher, artist, and color theorist is very much alive in the work of abstract artists today. Whether it is through his written words, paintings, or students who survived him, Albers will influence young artists for years to come.

No words can conclude a story about the life of this great man, except, perhaps his own. Alber’s was quoted as saying, “Abstraction is real, probably more real than nature. I prefer to see with closed eyes.” Others are happy to have their eyes opened by the influential life and art of Josef Albers. May his legacy and art been seen for years to come.

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