Art of peace

oleg dergachov ukrainian artist peace
Oleg Dergachov, Etching

I chose this image by the Canadian-Ukrainian artist Oleg Dergachov because it speaks to a constructive attitude that defines my own art practice. I’m a realist painter because I want my art to say something.

Modernism took force in North America under a growing anti-communist and anti-Russia sentiment. The American government sponsored and promoted the movement in opposition to socialist-realism. Clement Greenberg’s seminal text, the Avant-Gard and Kitsch, makes the cold war politics that co-opted the movement explicit.

A side effect, American social realism (like Ashcan school) fell out of favour. If we look back at post-war American art, its focus is aesthetic. There is very little art that comments on America’s involvement in War, issues of civil rights or labour issues.

It’s only recently with a return to realism have artists like Kehinde Wiley or Kent Monkman have brought social politics back to art.

I worry that current rhetoric around war is focused around retaliation and not resolution. We have spent the better half of a century with a retaliation mindset and we are still fighting the same war.

I stand with all those people who have directly suffered from these ongoing wars and I am asking my government and my society to try a new approach. I don’t want tough leaders, I want strong leaders who have the courage to believe and work towards peace.

Rokeby Distance Drawing: Gibson Girls

Get ready for a total art history nerd post! The Rokeby Museum has given me access to their archive and I have been digging through the letters and images of Rachael Robinson (a 19th century illustrator).

Charles Gibson Rachael Robsinon Elmer Courtney Clinton
The Sweetest Story Ever Told, C. 1910, Charles Dana Gibson, Public Domain Image from Library of Congress Prints and Photographs Division Washington, D.C.

As a teenager Rachael studied drawing in New York with her teacher Ernest Knaufft. In one of her letters back home she writes about seeing an exhibition of work by Charles Dana Gibson (image 2). From her letter we know that his work had a big impact on her art!

There is a new exhibition of Gibson’s pen drawing a little way from Mr. Knaufft. I have been twice, they are grand. I wish thee could have seen them. Some of them sell for $2.00. They are very large. Some 3 by 2 feet. I should think he is a young man yet. Some of his lines, on faces especially, are so fine you can scarcely see them. They have to be sent to Paris to be reproduced.

— Rachael Robinson Elmer to Robinson Family, March 5, 1893

Gibson was famous for his images of ‘modern womanhood’. At the turn of the century American women had better access to education and work possibilities than they had in the past. The role of the woman was changing and Gibson captured this evolution in his art.

rachael robsinon elmer ann robinson pen and ink charles gibson
Portrait of Ann Stevens Robinson Reading, c. 1891–1900, Pen and Ink, Rachael Robinson Elmer (1878–1919)

As an art student Elmer student and drew sketches of her relatives. The above image shows her mother Ann reading the pages of her father’s manuscript. Her author father was nearly blind at this point and her mother played a central role in his writing process. She corrected and re-transcribed his writing and corresponded with his editors.

gibson rachael robinson pen and ink
L to R: Portrait of Rachel Byrd Stevens, c. 1893–1903, Rachael Robinson Elmer (1878–1919), Box 19, Image 3357; Head of a Girl, c. 1882–1935, Charles Dana Gibson, Public Domain Image from Library of Congress

In a sense both artists recorded a modern image of womanhood. Yet they couldn’t feel more different. Elmer’s women feel old fashion compared to the “Gibson Girls”. But given a little context, her image of Ann is a much truer example of a woman at work.

Gibson’s depiction of 20th century womanhood isn’t necessarily wrong, but it’s limited. He depicts the women he saw and knew in his affluent New York circle. Elmer’s art helps broaden our understanding of what social change meant for a different part of the country. Of course neither artist tells us much about the condition of BIPOC from this period. For me this comparison highlights the importance of seeking out new voices from history.

Rokeby Distance Drawing Course : Copy

How did a young woman from a rural town become an important book illustrator at the beginning of the 20th century? Join me as I chart Rachael’s artistic journey and share a drawing exercise from the course she took in the 1890s. The Rokeby Distance Drawing Course is available now on the Rokeby Museum Website.

Rowland Evens Robinson Rokeby Rachael

In this week’s lesson I invite students to make a copy of a drawing by Rachael, a portrait of her father, Rowland. Through archival material from the museum’s collection we also explore Rachael’s relationship with her father- a prominent illustrator and author.

Rowland was a major influence on Rachael’s professional career. An active author he would often get Rachael to illustrate his articles and books. Before the age of 18 Rachael had a dozen published illustrations thanks to this collaboration.

Understanding Rowland’s role in Rachael’s story, forces us to think more critically about the role of distance education in Rachael’s success. Rachael studied art with an important New York illustrator through a correspondence course. Having access to this education gave Rachael the tools to pursue her career. But seeing how hands on her father (and mother) were in her education and her early career reminds us that access doesn’t equal success. Rachael was able to take advantage of distance education because she had a stable and supportive home life.

By sharing Rachael’s story I want to pull back the curtain on the modern conception of an artist as a genius. Generally when an artist has early success it is because there is a support system around them.

I don’t think you need an author father to get your start as an illustrator. But I think it suggests that beyond education, artists need to think about finding some kind of apprenticeship to learn the business side of their trade.

Click here to read the full lesson!

Bill Reid: Art & Memory

Bill Reid Inspiration Art craft

Bill Reid was my first engagement with art. I can still remember seeing his Raven and the First Men sculpture and the sense of awe that I felt. The launch of the new toonie with his design brought me back to those memories.

It’s interesting to think about Reid’s work and my own practice all these years later. What stands out to me now when I look at his work is the quality of his craft and the narrative clarity.

Looking at a Reid sculpture, I have the same “how did a person make that” response that I did all those years ago. His work is beautiful. The composition, the detail and his carving technique are all incredible.

As a kid I remember getting pulled into the story of Raven. In a single still image we understand the story that Reid is trying to communicate.

As an artist I strive for these same artistic qualities. I want my art to be beautiful and I want it to communicate clearly.

Bill Reid Toonie

Reid might not seem like an obvious influence on my work. We are working in different cultural traditions. For me what connects our work is craft. Reid apparently rejected the title of artist and called himself a ‘maker of things’. I get that. Like him it’s this process of making that drives and defines my practice.

My knowledge of craft acts as an entry point for me to engage with different fine art traditions. When I look at something like sculpture (which I don’t do myself). I look for clues to how the artist made the object. When I start to understand their process the intention of the artist starts to reveal itself organically. There is always a connection between how something is made and what it is trying to communicate.

Rokeby Distance Drawing : Vision

Courtney Clinton Studio Distance Drawing Course

In my first #RokebyDistanceDrawing lesson I invite students to start a sketchbook and develop a practice of engaged observation. Don’t worry this doesn’t require any deep breathing. 😉

Through this exercise I want to challenge the idea of art as a kind of creative expression and instead present art as a kind of visual research.

Most young artists assume that because they know the world around them they also understand it. When asked to put pen to paper and draw something as simple as a tree most flounder and draw a 🌲 not an actual tree. Many assume that this means they don’t have any artistic talent. With first lesson my aim is to throw out this idea of talent and get students to start thinking about the connection between observation and drawing.

Learning to draw is about training your eye. It means sitting in front of your subject for a sustained period and working out it’s structure and mechanics. Of course the ultimate aim of art is expression but this research into observation will allow a young artist to better articulate and inform their ideas.

courtney clinton rokeby museum vision


For the lion’s share of this course we will focus on training our ability to see. Near the end of the course we will shift our attention to creative expression. I can’t wait for you to see how all of this time spent looking will fuel your creativity!

Lessons are free and materials are kept simple (paper and pencil). Each lesson comes with step by step instructions! The course is hosted on the Rokeby Museum website!

Click here to join the read the first lesson!

Rokeby Distance Drawing Course

I’m so thrilled to announce the launch of a new project, The Rokeby Distance Drawing Course! At once a digital exposition and an interactive piece, the project plays with rather than fights against the limitations of interactive artistic creation in the age of COVID-19.

As Artist and Residence at the Rokeby Museum, I am developing a new series of work that explores, activates, and shares the letters from a 19th century drawing course and the artistic journey of its student – a young woman who went on to become a pioneering female illustrator. The work is a meditation on knowledge and sharing as driving forces for connectivity and overcoming isolation.

You can read the first installment here: Rokeby Distance Drawing Course

Inspiration:

Chautuaqua Movement Fin art society Rachael Robinson Elmer

In September, 2019, I was invited to the Rokeby Museum to engage with their archive as part of a four day artist lab. From 1793 to 1961, Rokeby was home to four generations of the Robinson Family.

In the museum’s archive of the family’s letters and artifacts I discovered the original letters (dated 1891-93) from a correspondence drawing course that one of the daughters, Rachael Robsinson Elmer, took as an adolescent.

In March and April of 2020, I ran a series of instructional drawing demos from my Instagram Live as a way to test and think through different ways of using technology to present this historic material to a contemporary audience.

Research Residency:

As part of the research phase, the Rokeby Museum is supporting my work through digital access residency that is taking place over the summer.

Following COVID-19 guidelines, the residence takes place remotely. Collaborating with their Education Fellow, Allison Gregory (who lives on the property) I have access to the archives (art and letters of my main subject, Elmer). Gregory and I have a weekly meeting to ensure my access to the archive. In a lot of ways our collaboration mimics the form of the historic correspondence course that inspired the project.

Sharing my research:

Rachael Elmer Courtney Clinton Distance Drawing Course

Catherine Brooks, the Rokeby Director, and I agreed that making this drawing course available now, during the COVID-19 crisis, will serve a real community need. We intend to share this archival drawing course freely on the museum’s website.

From July 27 to October 5, 2020, we will post a new lesson on the website every two weeks.

Lesson Schedule:

July 27: Vision
August 10: Copying
August 24: Mistakes
September 7: From Life
September 21: Self Critique
October 5: Illustration

To make the material more accessible to a contemporary audience, I will supplement the historic material with images. As a Quebec artist, I am conscious of issues of language and accessibility. Adding visual guides to this material is also a way to make the material more accessible to a non-anglophone audience and expand the reach of this project.

How to participate:

Courtney Clinton Studio Distance Drawing Course

The course is meant for self directed learning. Students can join at any time and they can work through the exercises at their own speed. Starting July 27th until October 5th we will publish a new lesson every other week. For students looking for a little extra incentive we encourage them to treat it like a 12 week drawing challenge!

Each lesson includes a little history on the life of Rachael Robinson Elmer. We hope students will take inspiration from her artistic journey. To help students work through the exercise there are step by step drawing examples and a written explanation.

Materials:

To participate you will need a basic drawing kit.

  • 6B, 2B and HB pencil. Recommended brand Mars Lumograph
  • Kneaded eraser
  • Pencil sharpener or exacto knife
  • A pad of 18” x 24” drawing paper. Recommended brand Strathmore
  • Drawing board

Course Level:

The course is open to anyone curious about learning to draw but is ideal for kids 15 to 17 interested in getting into an animation, illustration or game art program. I have experience working as an admissions advisor for a video game art program and have designed the exercises in a way that these drawings could be used for an art school portfolio.

Feedback:

To ask questions or get feedback share your work on instagram and tag @clinton.courtney and @rokebymuseum and use the hashtags #RokebyDistanceDrawing and #DrawingWithRachael.

You can also email questions and images to intern [at] rokeby [dot] org. We want to see your work!

Press

Pandemic art heroes, CBC Arts, March 25, 2021

The Distance Drawing Course, Making the Mark, September 8th, 2020

Rokeby Remote Learning Course, Gurney Journey, August 1st, 2020

Montreal artist teams with Rokeby Museum on art classes, WCAX Channel 3, July 24, 2020

Montreal artist creating remote residency in Ferrisburgh, Sun Community News, July 24, 2020

Support

I graciously acknowledge the support of the Canada Council for the Arts for making this project possible.

Body and Mind

This is the preliminary sketch for my next Selfie. I wanted to push myself and create composed image with a character, costume, scene and mood. I wanted to push beyond mere likeness of a sitter on a static background.

Body: The Profile and the Public Self

For this picture I wanted to create a dialogue with the historic practice of the profile portrait from the early Renaissance .  The profile was the preferred mode for representing a Nobel Lady (to read more on this you can read Understanding Madame X). Because she looks away from the viewer we don’t get a sense of her internal world and any judgement of her is base slowly on appearance. Representing the wrong expression was risky because it could call into question the sitters virtue. Best to avoid the lady’s thoughts all together.

The profile also suggests her nobel lineage. From this angle we can most easily read her facial features and , for example, recognize her nose that resembles that of some important Duke. Underscoring her nobility, she would be dressed in her finest and positioned by a window overlooking the land her family owns.

selfie drawing courtney clinton artist
#Body, 2019, Graphite on Paper

What got me excited in all of this was this idea of presenting a public self. What is my identity within the society? I’m sort of tempted to leave it at that. I spent a lot of time thinking about the pose for this image and hopefully that expresses how I see my role as an artist.

Another key element in this drawing was expressing a sense of light. In those early profile portraits the treatment was flat or graphic. Although the subject was often in front of a window they were shown in full light. For my profile I wanted to signal our evolution as a society by showing my subject in natural light. This meant showing the sitter in shadow set against the bright light of the window.

Mind: A Secound Image in the Mirror

To do draw yourself in profile you need two mirrors. You face the first mirror in profile and you angle the secound so that you look into it to see the reflection of the first mirror. Looking into that secound mirror you also see yourself looking directly into the mirror. Working on #Body I couldn’t stop noticing the secound image of myself in the mirror. I was struck by how utterly different it was to the carefully construction of public persona I was trying to capture with #Body.

selfie drawing courtney clinton artist
#Mind, 2019, Graphite on Paper

In the secound image #Mind the sitter looks directly at the viewer. It’s extremely psychological. You can’t help but try and guess her thoughts. The open mouth, that gives the first image a sense of naturalism, comes off as a provocation. Is she about to say something? Even the composition feels more intimate. In the first image the sitter is seen from across the room. Our main attention goes to the ‘thinker’ pose. The secound image crops into the face, positioning the viewer only inches from the sitter. All of this intimacy invites the viewer into the sitter’s internal world.

Two Drawings About Truth

#Body #Mind are two completely different images. Yet they capture the exact same person, in the exact same pose, at the exact same time. With this drawing I invite the viewer to consider the complexity of truth. In #Body I build up a very composed image filled with references to art history. In #Mind I present a more candid and psychological image that seems to call into question the authenticity of the more composed image.

My aim isn’t to make the viewer takes sides (#TeamBody or #TeamMind). Instead, I invite the viewer to view the work as an expression of an external and internal self.

Because we all have an internal and external self, I think it’s easier to understand these two conflicting ideas as true. But I challenge my audience to take this idea a step forward. We talk a lot about fake news and how technology allows for the manipulation of images. What I’d like to suggest is that truth is a bug concept that is hard to pin down in any one image. We should always consume images critically. We don’t have to write everything off as fake but we should always be considering how the image could look from a different perspective.

Courtney Clinton Artist Drawing Hashtag Selfie
#Body #Mind, 2019, Graphite on Paper