Tag Archives: feminist art

First Women’s Halloween Art Salon!

women sketching Oct 30 2017 photo by Suzanne Wegh

I hosted an art salon for female-identifying people in our flat the night before Halloween.

It was wonderful! It was incredibly special to have a group of women artists gathered in our home, feasting on veggie and vegan treats before settling into a life drawing session with a professional artist’s model. It was like Eat and Draw instead of Drink and Draw!

Miss Natasha Enquist with crow friend by Suzanne Forbes Nov 5 2017I made vegan pumpkin pie, which is weirdly way better and easier than the dairy version. Way pumpkinier too!

Many people had not previously had pumpkin pie, which isn’t a thing in Germany or really most of Europe, and are now very seriously into it. Suzanne Wegh helped organize and brought hardcore salty Dutch licorice, which I thought I would not be into but really enjoyed.

Thanks to my Patrons on Patreon and their financial support, I was able to hire my favorite artist’s model, electro-accordion chanteuse Miss Natasha Enquist.

I met her teaching at ESDIP Berlin, and we became friends and now I hire her when I need a terrific life modeldraw at all her superb music performances and also we go to sex clubs and leather daddy cigar lounges!

Miss Natasha Enquist with skull by Suzanne Forbes Oct 30 2017Although I do love two-minute gesture poses, for the salon we went right into short poses, ten to fifteen minutes, then twenty minutes. Everyone wanted time to capture MNE’s whole lewk!

We used lots of props! Our house is so full of weird stuff and dead stuff and creepy stuff, we were spoilt for choice.

Miss Natasha Enquist And Giulia Caruso by Yvonne Prott Oct 30 2017

Miss Natasha Enquist And Giulia Caruso photographed by Yvonne Prott, Oct 30 2017

Almost everyone came prepared to draw or paint, except for Yvonne Prott of Yves_Art, who takes amazing photos and shot a collection of beautiful spooky images.

Yvonne Prott self portrait Oct 30 2017

Yvonne Prott self portrait, Oct 30 2017

Clockwise below, Giulia Caruso, Ksenia Shaw, a redheaded visitor from Australia, Suzanne Wegh, Daria Rhein and Marina Belikova. Sorry about my terrible photography “skills”!

womens art salon oct 30 2017 photo by Suzanne Forbes

 

Marina and Daria at womens art salon oct 30 2017

Everyone made such beautiful drawings. It was incredible, such a gleeful creative energy in our safe space!

I loved all the different styles. Lydia is a crackerjack draughtsman with terrific style. Her character selfie drawings on her Insta give me life.

Miss Natasha Enquist drawn by Lydia photo by Yvonne Prott Oct 30 2017

Miss Natasha Enquist drawn by Lydia, photo by Yvonne Prott, Oct 30 2017

Miss Natasha Enquist with Crow by Natascha Artworx Oct 30 2017

Miss Natasha Enquist with Crow by Natascha Artworx Oct 30 2017

Here are two of the many drawings made by Natascha Artworx. 

She came down from Hamburg for the salon despite the storm, and she has a lovely post about it on her Patreon!

She and Suzanne Wegh and I previously collaborated, and worked with Miss Natasha, for our A(RT)ffair at Ludwig this summer.

It was pretty funny having only two names to go around that time; we’ve gotten better at it now!

 

Miss Natasha Enquist by Natasha Artworx Womens Art Salon Oct 30 2017

Miss Natasha Enquist by Natasha Artworx at the first Womens Art Salon, Oct 30 2017

 

Miss Natasha Enquist with Natascha Artworx and Kelsey Bass Oct 30 2017, photo by Suzanne Wegh

I adore this digital version Kelsey Bass made of one of her drawings!

Miss Natasha Enquist by Kelsey Bass Oct 30 2017

Miss Natasha Enquist by Kelsey Bass Oct 30 2017

Each artist brought their unique style and approach to the poses.

Daria, who has been doing a lot of digital work lately when she isn’t tattooing, used watercolors. Keep an eye on her art Instagram and you might see ’em!

Crucial event support and photography provided by Suzanne Wegh; check out her Patreon!

Top photo by Suzanne Wegh, left to right: Daria Rhein, Marina BelikovaNatascha Artworx and Kelsey Bass.

Artwork made at the First Womans Art Salon Oct 30 2017 photo by Suzanne Wegh

Artwork made at the First West Berlin Womens Art Salon, Oct 30 2017, photo by Suzanne Wegh

 

Finishing my big new portrait of Sadie Lune and Jo Pollux!

Portrait of Sadie Lune and Jo Pollux before bifurcation by Suzanne Forbes Oct 17 2017

Portrait of Sadie Lune and Jo Pollux before bifurcation by Suzanne Forbes, Oct 17 2017

I finished my biggest painting in like twelve years!

At 30″ by 80″ (76cm by 204cm), these conjoined canvases form a fine large surface. I could have gone the traditional route, setting my sitters deep within the pictorial space with plenty of air around them. But I wanted something more demanding of my abilities and more interrogative of the viewer, a compressed space with an exploded perspective that tips the viewer into the painting’s world.

Portrait Sadie Lune cu by Suzanne Forbes Oct 17 2017Into the dangerous, powerful air breathed by artists Sadie Lune and Jo Pollux.

Portrait of Sadie Lune by Suzanne Forbes Oct 18 2017I set up the perspective of the picture with the idea that Sadie and Jo should take up as much space in it as possible.

At some point in the 90s I read a quote from Roseanne Barr, where she advised young actresses to “take up as much space as you possibly can.”

I think this is a great idea for women, to just occupy space with our presence and authority and strength and certainty, and in Sadie’s case, coiled professional menace.

I had done a painting that utilized an exploded perspective in 2005, the portrait of Khris Brown that is still one of my favorite things I’ve ever done (below right).

I approached the portrait I did of Rah Hell this summer the same way, opening and flattening the pictorial space to force the viewer to acknowledge her carelessly confident drummer’s body (below left). Our Art Nouveau herringbone wood floors work even better for distorting the perspective than the floors in my Berkeley Craftsman did.Portraits by Suzanne Forbes 2005 and 2017

To get the exaggerated foreshortening of my model’s forms, I simply alternate between sitting and standing with the easel very close to the model.

Then I make decisions about scale and positioning, as described in the previous post, and position one foot to break the frame, my signature! This is a straightforward way of suggesting that the power of the woman in the portrait can’t be contained by the picture plane. And it also references my career in comics and my love for comic panel design.

You can see here how close I was to the model chair.After the third sitting Sadie and Jo WIP by Suzanne Forbes Oct 2017

During the long third sitting, Sadie and Jo and I talked about art and sex and power.

Sadie and I reminisced about the wonderful Oughts’-era climate for sex-positive kinky art in San Francisco. We talked about the many performances and shows we did for Madison Young’s queer art gallery Femina Potens and the events, like Sadie’s birthday party, at the Center For Sex and Culture. For a while the background of the painting looked like the Leather Pride Flag!After the third sitting Sadie and Jo WIP by Suzanne Forbes Oct 2017

Jo, who is a photographer, told us an amazing story of when she met Nan Goldin.

The whole process of making the painting has been nourishing and strengthening, a collaborative meeting of minds and talents. Sadie and Jo both brought their A game to the work, serving tremendous presence and face and great physical stamina.

Portrait of Sadie and Jo detail by Suzanne Forbes Oct 2017After the final sitting I dug in and sorted out the background and details. As much as I liked the Leather Pride colors, I wanted to paint the realistic space of my salon, to ground the figures in a real world and place the viewer in it with them.

I adjusted the perspective of the floor over and over, to give the immanence I wanted to Sadie and Jo.

And I repainted Jo’s hands like a million times, so they would only be substantial artist’s hands, not disorientingly large! I had fun painting the Autumn goddess head-dresses of leaves and rosehips Jo and Sadie wore to Folsom Europe for a performance this year.

I very carefully composed the shadows at Sadie’s feet to guide the eye to the vicious tip of her singletail, which actually is the dark blue and black colors I painted it.

I gave Jo a branch to hold because I was like, “Needs moar witch!” Once the details were done, it was time to separate the two canvases for transport to Ludwig, where they will be shown. I didn’t know what would happen once they were separated; the painting looked finished and resolved with them conjoined but….

With the canvases separated, the blue background wall panel behind Jo (right side) became a dead space!Portrait of Jo Pollux by Suzanne Forbes before and after Oct 18 2017I had to activate it visually with shadows.

Which was good, really, as it made the unused pink velvet boudoir chair more significant. I like to include pink velvet furniture, like my sadly lost dusty rose velvet model’s armchair, in my paintings. Not only is pink velvet a great visual reference to pussy, it references a powerful moment in my experience as an artist.

In 1993 I went to Philadelphia with my first husband. We went to the Philadelphia Museum of Art, where we saw the Cornells, Duchamp’s Étant donnés and the Degas known as both “Interior” and “The Rape”. I can’t begin to describe the impact that group of works had on me, but I can tell you the most important thing I carried away: that women need to make paintings of women.

Jo Pollux detail by Suzanne Forbes Oct 18 2017For decades I have been both inspired by the great male painters and furious that men have made most of the great paintings of women.

My spiritual master as an artist, John Singer Sargent, was not sexually involved with women. He made pictures of them as beings. Numinous, sensual, prickly, elegant, fearless beings. I am hoping in the next few years to really move into my abilities as a painter, and to begin painting women with all the strength I see in them.

It really helps to make big paintings, when you want to depict strength and grace, and I hope this diptych is a step towards that.

This work was made possible by the generosity of my Patrons on Patreon, who contribute monthly support to enable me to make art. I am so, so grateful.

You can help for as little as a buck a month!

In Berlin and wanna see it in person and hear me and Sadie talk about art, gender, portraiture as service and more? Come to Ludwig this Sunday, Oct 22, at 8pm for an artist’s talk and vernissage!

Sadie and Jo are both brand-new on Patreon, you can help them make feminist art!