For inspiration, try minimalism

Especially if it's usually not your thing

The basic art theory 101 idea regarding representational versus non-representational art is something like this: a representational painting is about, well, whatever it’s about. For example, this Antoine Vollon painting, Mound of Butter, is about a mound of butter. There’s a hint of a narrative, and a time and place. You can also say it’s also about brush strokes and shadow and light and a comment on the excesses of Impressionism or whatever but at its core, it looks like the thing it looks like.

Mound of Butter by Antoine Vollon at the National Gallery of Art in Washington, DC

Non-representational artwork, however, doesn’t give you as much to go on. You might get some lines, a shape, a color or two. Which means that the work becomes more about what you, the viewer, bring to the experience. This is likely what makes places like the Rothko room so popular. Are his paintings “pure emotion,” like he claimed they were? Sure, why not! We bring emotion everywhere, generally speaking. At the very least it’s a nice place to sit and take a breather.

For more spicy Rothko takes, buy my book.

Anyway, I think the temptation for us cartoonist/illustrator/general representational types is to draw inspiration from artists whose work is already kind of like ours, only far better—the art we ourselves would do if we were more talented, or smarter, or didn’t spend so much time on our stupid phones. Which makes sense. The “oh man, I wish I could do THAT” feeling is a powerful motivator when channeled properly. But it can also be demoralizing, not to mention a bit limiting.

So if you want to get out of your artistic routine, may I suggest the Richard Serra sculpture building room at Glenstone?

What do you bring to this space?

Glenstone is a phenomenal modern, mostly outdoor art museum just outside DC and a magnificent place to spend several hours. I was there last week with my friend Sarah. One of the best parts of entering the room is that the route there takes you down a lovely little path through the woods.

I dare you not to be overcome with a sense of calm while walking this trail.

There are no benches to contemplate Serra’s giant sculptures, and you could see why—the entire space is the art, preventing you from simply sitting back and observing.

Quoting Sarah quoting either Donald Judd or Tony Smith.

Speaking of Calm Places to Clear Your Head...

Big thanks to the folks who came to my SAW workshop last month. You can catch the recording here. And if you want to explore the ins and outs of your comfort zone in an even more interactive yet supportive environment, I’m teaching a class at the Omega Institute in beautiful upstate New York this August 25 - 30th. More about the class here:

The “comfort zone” often gets a bad rap. It's too safe, somewhere you go when you're not taking risks or challenging yourself, or working at your full potential. But our comfort zones also provide a lot of important information about who we are as artists and creative people, if we take the time to investigate them properly.

Join artist and cartoonist Dana Jeri Maier and engage in a variety of writing and drawing exercises, discussions, and readings. You learn more about yourself and the tools you already possess to create satisfying work and fulfill your artistic goals.

This workshop is for anyone who wants to do a deep dive into your artistic strengths and weaknesses in an encouraging and inquisitive environment. No drawing ability is needed.

Registration is still open—and feel free to ask any questions in the comments.