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A Breath of Fresh Air


An exhibition of art works exploring the natural world by painter Laura den Hertog and photographer Karen den Hertog.

June 1, 2010, for immediate release

Two Visions, One Name.

Laura den Hertog, painter

Karen den Hertog, photographer

Susie Weber, curator

Galerie Ouest

June 18-21, 2010

Meet the artists Saturday and Sunday

 

 

A Breath of Fresh Air      

Two lives, two paths converging in a captivating show of paintings and photographs.

You may be in town to see the classic hot rod show “Cruisin at the Boardwalk” or to watch the Lakeshore General Hospital’s annual Duck Race fundraiser, but there is one more reason to visit the historic waterfront village of St. Anne de Bellevue on the weekend of 19/20 of June. Galerie Ouest will be presenting the work of sisters Laura and Karen den Hertog creating a peaceful oasis amidst the weekend’s festivities.

Just off the boardwalk, Galerie Ouest is a beautifully restored Victorian house, the perfect backdrop for Laura’s masterful oil paintings and Karen’s extraordinary black and white photographs and cyanotypes.

 

Come Along, oil on canvas, 40 x 30

Talent Comes Home

Laura den Hertog has established herself as a sought after artist in the USA and Canada, with a long list of accomplishments to her credit, including a museum tour in the USA, work in NYC’s MoMA, and exhibits across both countries. Her landscapes have earned her a reputation for capturing the serenity of the countryside, while her evocative figures demonstrate a truly skilled hand at work.



 

Examples of Cyanotypes



Debut of a life’s work

Karen den Hertog has been educating and inspiring Montreal students in art and photography for the last 30 years or so. An accomplished photographer, Karen shares her love of nature by capturing its beauty up close in a veiled flora series as well as in her urban skies series.  She also dips into a water series, with wildly contorted swimmers.

The sisters, sharing a creative spirit, are showing work inspired by the changing seasons in their environment and experience. The tranquility of the works beckons.

June 18 - 21, 2010
Galerie Ouest
37 Rue St. Thomas, St. Anne de Bellevue, Quebec, Canada
Exhibition hours:
Friday & Saturday Noon-9:00PM

Sunday & Monday Noon-6:00PM
Free parking available

For more information:

www.lauradenhertog.com

artist@lauradenhertog.com           

450-437-3584

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Is Creativity Inherited?


Two Visions, One Name

  I am in the middle of preparing for an upcoming art exhibit that features my paintings and my sister’s photography. We are calling the show “Two Visions, One name. Explorations of the natural world”.

  We are outdoorsy girls my sister and I. Probably a product of having grown up in a semi-rural town in a time when there was little TV and certainly no other electronic entertainment.

  Apart from being sisters, this seems to be what our work most has in common. We still hang out together and go on nature finding missions, with or without kids, dogs and friends in tow. We are the nuts pulled over to the side of the road with cameras reverently pointed at the sky to capture an elusive cloud formation. We are card-carrying members of a little known club called The Cloud Appreciation Society. Seriously…you can check them out at: http://cloudappreciationsociety.org/

So we share subject matter even though our mediums and interpretations are varied.

  What we share more than anything else is the urge to create. So pondering the theme for the exhibit brought to mind one of my favorite conundrums. Is creative talent inherited? Our parents and their siblings were not artists, but our paternal grandmother was a costume designer of some renown for European Opera.

  The funny thing is that if talent is inherited, it seems to have skipped a generation. Our cousins are a creative lot, without exception. There are painters and photographers, dancers and musicians, actors and writers. The den Hertogs of my generation are all expressing themselves in a creative way.

  I like the idea of tracing it back to my grandmother in part because her story has some mystery attached to it. The family buzz is that she was actually the daughter of a traveling gypsy. Her parents and many siblings were blond and blue eyed, one and all. My grandmother was olive skinned with a head of jet black hair.

  It’s a lovely romantic notion that my sister and I are descendants of a gypsy, and to my mind it also accounts for our wandering ways and the need for being close to the land and growing things, let alone a strong creative streak.

  We will be showing more than our individual art at the exhibition. We’ll be bringing along our shared inheritance and maybe a little gypsy spirit.



Two Visions, One Name. Explorations of the Natural World

An exhibition of art works exploring the natural world by painter Laura den Hertog and photographer Karen den Hertog

June 18-21, 2010

Galerie Ouest

St Anne de Bellevue, Quebec, Canada

Two Visions, One Name.

(450) 437-3584

 

Laura and Karen den Hertog reside in Rosemere, a small town north of Montreal, Quebec, Canada.

 

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Taking chances...


First Communion, oil on canvas, 40 x 30
   February is a quiet month in the art world, galleries and artists alike are kicked back, planning and waiting for a new season to begin. The lack of constraint afforded by not being concerned with whether a painting will appeal to a collector or find a space of a gallery wall, can produce new ideas and directions as well as techniques.
  This February I found myself willing to work on a large canvas, trying out new materials as well as what I would normally consider risky subject matter. It took me awhile to work up the nerve to begin even knowing that I need never make the work public.
  I have painted nudes throughout my career with a true reverence for the human form. I am aware however that not everyone has the same reaction to a naked body. My own epiphany on the subject came when I joined a gym in my early 20's. While I would scurry into a cubicle to change clothes, there were woman who were so confident in their own skins that they easily walked through the locker-room, carrying on conversations and generally behaving as though they were clothed. I was so impressed by this that it changed the way I saw nudity and the lesson has always stayed with me.
  My nudes are generally not sexual in nature. In my "Body Language" series for instance, I am exploring the body in motion, power and form together, but to date always a single figure. Now if you place a man and woman nude together in a painting, there is the possibility of crossing an artistic line. I wanted to explore the couple relationship at it's most basic, primal level.
  At the same time I wanted to work with a thick impasto to surround my figures, building up texture and contrast between the crafted figure painting and the abstract surrounding. I like the idea of a couple touching for the first time, trusting each other, yet slightly tentative. The primal swirl that they lie upon just beginning to bind them together.
  I ended up being so happy with the work that my former reticence seems silly, and artistic risks, all artistic risks invaluable. The girl in the cubicle is out and about.

Laura
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Body Language (a celebration of movement)


larger images can be found in "Paintings/Newly Completed"
A new series of paintings. All are oil on wood panel.

Dance is making a long over due comeback as part of our cultural consciousness. The stars are doing it, anyone who thinks they can is doing it, it's crossed over into cirque acrobatics, and it's all about one thing.
Art. Dance is expression, pushing limits, creating a conversation in movement.



It's not sex, it's Art
 My dancers are naked, unadorned, and unabashed. They are the expression of movement in it's purest form. They create incredible compositions with body and limb. They evoke emotion with a tilt of the head, a gesture of the hand.  They are speaking, shouting, and whispering to us.
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The best time for artists to approach a gallery


   Recently I decided that it was time to spread out and look for new/more gallery representation for my work. I’m ready, but I wondered if my timing was good. I know from my current dealers that they receive an incredible amount of submissions. Is there a perfect time to get noticed?

  Instead of taking a stab in the dark, I decided to ask everyone I know in the business what they thought was the best time for artists to approach galleries. I asked dealers, reps and professional artists, and this is what I discovered:

  1. Almost everyone agreed that if the gallery is seasonal, wait until the off season. Dealers are more likely to have time to review work and will be planning for the next upswing in their business.

 2. If the gallery is not seasonal, then be sure to check their exhibition schedule. You don’t want to approach them right before or during a big show as the likelihood of having your submission thrown into the pile with others is much greater.

 3. Some dealers said that they are always looking for great work and the timing is unimportant, while others said that unless there is a boost to the economy, they are not really looking to take a chance on new artists right now.

 4. The real nugget came from a gallery close to me who enjoy a long and successful history in the business. There is one universal time when all galleries in the western world have a down time.

January!

  It makes sense. After all, we are not shopping for art or much else beyond the basics after the frenzy of the holiday season. It’s a time when we tend to review the past year, get our paperwork up to date and plan for the future. And that’s exactly what the galleries are doing as well.

 

   So it looks like my timing is good after all. This January I will be taking the big leap and baring my soul to new dealers. Who’s with me?

 

PS: I loved this bit of advice I got from Graydon Parrish:

“Approach and be brave. Entice them and educate them. You are the artist.”

 

My Thanks to everyone who took the time to thoughtfully answer my question.

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A BOOK ABOUT DEATH exhibit in New York City


My contribution to the exhibit. 500 postcards (4x6 inch)

A BOOK ABOUT DEATH : ARTISTS CONTRIBUTE 500 POST CARDS EACH TO CREATE AN UNBOUND BOOK ABOUT DEATH.  EXHIBITION AT THE EMILY HARVEY FOUNDATION GALLERY IN NEW YORK CITY.  OPENING: THURSDAY 10 SEPTEMBER 2009.  EXHIBITION: 10 - 22 SEPTEMBER 2009.

If you attend, you can pick up post cards from any of the entries and create your own book or exhibit.

Exhibition website: A Book About Death

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Landscapes for Landsake, New Hampshire


Field at Sugar Hill 18 x 24, oil on canvas
   An exhibition and sale of paintings from the Ammonoosuc Conservation Trust properties as well as views of the New Hampshire White Mountains from and around the Sugar Hill area. Part of the proceeds go directly to the trust to help conserve land in the area.
  The exhibition is organized by The Banks Gallery, New London and will take place at The Sugar Hill Inn. September 7th through October 5th, 2009.
  Artists from the New Hampshire area will be contributing to the show. Although I am not a NH resident, I have been invited to participate in the show and had the pleasure of spending time in the area, sketching, painting and taking reference photos. This part of NH is spectacular and the people I met whose properties I painted were gracious and welcoming. The Sugar Hill Inn is a grand old inn and a perfect backdrop for the paintings on display.
  I love the concept of artists preserving (on canvas) lands that are protected through the Ammonoosuc Conservation Trust and it is a pleasure to be involved. My thanks to Ron Brown of The Banks Gallery for all the hard work.
Below are some of my paintings that will be included in the show.

View from Post Road Farm, 18 x 24


The Ammonoosuc River, 12 x 10


Sheep on Sugar Hill, 10 x 8


Pond at Post Road Farm, 14 x 11


Sugar Hill Field, 20 x 16
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Fool-Proof method for Shipping Art

I have been shipping art around the world for the last six years, and in all that time and hundreds of paintings later, I have only had one painting damaged by the post office. I remember reading about professional art shipping boxes way back when, but they were very expensive and I was just starting out in my career and could not have afforded them. I had heard from other artists that somehow the postal workers were capable of puncturing boxes right through. What to do to protect my vulnerable canvases?
 Fortunately, my husband is a man of many talents and he came up with the core idea to prevent poke through from wayward postal people. The rest comes from my own background which includes a course in package design way back in the 70's.
  If you can gift wrap a package, you can create the perfect packaging for a canvas. You'll need a minimum of equipment and almost no money. Let me apologize in advance for choosing a nude to package when taking the photos for this blog entry. I just happened to be shipping it when I finally remembered to take photos while boxing up a painting. Also, it looks like I did the whole thing one handed, but that's only because I was alone and my other hand is holding the camera!
NOTE: If you are concerned about anything coming into contact with the surface of the artwork (and possibly damaging it), please read the note that follows my description of this method.
So let's begin.

Here's what you'll need:
A large sharp utility knife.
Scotch tape
Packing tape. I buy a whole box of rolls at Staples because it's much cheaper to buy it bulk, but you can get this stuff at any dollar store.
Scissors
Plastic bags. These could be from anywhere, depending on the size of your canvas. Garbage bags are good for larger packages.
A sheet of Insulating Foam from any Home renovation center. I use the least expensive they have, one inch thick 2 x 4 foot sheet for about $5. If I am shipping a large piece, I'll use the denser, more rigid version for a few dollars more.
Cardboard Boxes. This is the best part. There is a huge bin for recycling behind every store. And those bins are full of collapsed cardboard boxes of every size. So I go dumpster diving for my cardboard! My favorite stores are Pier I and a home store that carries window blinds. Perfect for big boxes.

Begin by protecting your canvas from the damp. Slip it inside a plastic bag of some kind and fold the bag tightly around it. Tape it closed with Scotch tape on the back.

Next you will be making a foam sandwich. Lay your canvas on a sheet of insulation foam and use the utility knife to cut around the edges forming  perfectly matched piece of foam. Do this twice. You can also use a felt marker and then cut without the canvas on the foam, but I like expediency. The knife will not cut right through the foam, but if you continue your cut in a straight line to the end of the foam, you can simply snap off the piece.

Lay your canvas between your custom made foam pieces to create a sandwich. The foam is rigid and dense enough to protect the vulnerable face of your painting.


Now use your packing tape to bind the sandwich together. Make sure you go the whole way around the package so that the tape can stick to itself in the end. You only need to do this twice to ensure that that foam stays lined up with the canvas.

Next, you will need to lay out your cardboard. If you have an old box, cut along one edge to create a flat sheet of cardboard. Be sure that any printing on the box is facing up. That way the outside of your finished box will be free of printing and ready for a postal sticker.
You'll need a piece that is big enough to wrap all the way around your foam sandwich and leave enough on the ends to fold over. The idea here is wrap the sandwich tightly in cardboard. I lay my canvas along one edge and pick the whole thing up and start bending the cardboard around the foam until I have wrapped the whole thing. I leave an overlap on the final side and cut off any excess.

Here I am using my packing tape to hold the cardboard tightly to the foam sandwich. The same rule applies here, go all the way around so the tape overlaps itself. Tape on tape is very secure and won't lift while in transit. Now you have wrapped your canvas in such a way that it won't be shifting at all within the cardboard.

You still need to finish the wrapping job by scoring the corners with your knife. You want to follow the fold lines created at each corner, to form flaps.

Here you can see that I have folded in the side flaps and I am beginning to fold the last flaps. I make these folds on both ends of the box before continuing.

Now it's time to tape the ends shut. I use tape that goes from one end all the way around the box in one continuous length. I hold the ends tightly closed while I tape and keep tension on the tape.

You can see here that I went around my box on each end making 2 straps that hold down the flaps on the ends of the box. Now I am going around again following the narrow edge of the box. I keep going around this edge continuously until the entire edge is covered in tape. In fact, if you want real security, begin this taping leaving a small overlap that you can fold over to protect the long edges of the box and end with an overlap as well. Tape is very strong when pulled tight and stuck to itself and this method prevents any ripping along the edges of the box while in transit. Yes, it's a lot of tape, but think of it as a security measure.

TaDa! Here is the finished box. The canvas is securely wrapped in both foam and cardboard. The foam will prevent poked holes and the tape will prevent ripping. The canvas cannot move within the box. The long edges are already strong by virtue of the wooden stretcher bars.
  It may take a bit of practice to keep everything tight and get your cardboard cuts right on the first try, but with a bit of perseverance this is easy. If I can do it, anyone can.

A few notes on shipping:
I have an account with Canada Post and so I can print my own labels from my computer. The USPS offers the same convenience. No standing in line, just print your label and tape it on with packing tape. You can drop off the package at any post office or put it in post box if it fits. A word to the wise...NEVER cover the Scan code on the label with tape. The shininess of the tape may prevent the scanner from picking up the code.
About choosing a shipper. I know that many artists feel they must use one of the big shipping companies (FedEx and UPS) for shipping art. In my experience, USPS and Canada Post do a great job of getting your painting where it needs to go. They are much less expensive and there is a lot less hassle and you can still insure your package. You can ship anywhere in the world without worrying.
  I have had to use the big boys on occasion for really large paintings that exceed the max allowable by USPS and not only did it cost me a fortune, but you can be sure that if it's crossing a border with the big companies, it's going to get opened by customs. Take my word for it, customs officers don't give a hoot about your art. Damage will happen, or at the very least you box will arrive mangled. For some reason a box sent through regular mail, even when it crosses a border does not get inspected and ruined.

PS:
I once had a chat with a very friendly UPS guy and he told me that when they package paintings for clients (for which they charge a fortune) they use almost exactly the same method I use. So now you get to be a professional packer. WooHoo!

PLEASE NOTE: I am always shipping oil paintings and this method works perfectly for me. However, I do not build up heavy layers of paint, so my surface is very flat, and I have never had any problem with the plastic touching the surface of my work. If you are concerned with damaging the surface of your artwork, you can protect it by skipping the plastic wrapping and adding a "frame" constructed of insulation foam around the edges of your canvas. If you make the frame deeper than the canvas and hold it in place with tightly wrapped packing tape, it should prevent anything from touching the surface. Then make your sandwich and wrap the whole thing in plastic before adding your cardboard layer.
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Winged Beings...


Ascend
I have always had a certain fascination with mythical winged beings. They come in all kinds of forms and are found in every religion on earth. We have flying angels, horses, and griffins, even pigs! So over the years I have experimented with painting the human form with wings. In this painting, I was wondering how a winged human would take off. Would we need to push off like a bird?
Ascend is painted on stretched canvas and measures 24 x 36 inches.
It can be found in my Paintings under In Studio.
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The cooling waters


Encircle
This painting was inspired by a hot day and the relief that comes as you step into cool water. A young girl rinses the hem of her dress and creates waves that reflect the surrounding cool green of foliage.
Encircle is painted on wood panel and measures 16 x 20 inches. It can be found on my Paintings page under In Studio.
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Laura den Hertog: Rosemere, Quebec, Canada 450-437-3584
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