In this blog, I will keep the interested community up-to-date about the progress of the Kickstarter campaign. Thank you for your interest. I will also update this blog with local activities that are taking place associated with the Anna Pierrepont Series. To view the overall intent behind the Anna Pierrepont Series, please review Blogpost of 2011.
I attach additional images that have been created in NYC as a part of the Anna Pierrepont Series. If you wish additional information, please email me at skrib1@att.net
The full image featured and discussed in the Kickstarter Campaign
Henry Ward Beecher from Cadman Plaza in Brooklyn, NY, 11" x 14", Oil Pastel on Bristol Paper, 2010
This fellow seems to be Brooklyn Heights patron saint with his advocacy of abolition of slavery that set the stage for the Civil War and emancipation. This is a odd sculpture, with the big guy in his large cape, standing solidly on his feet and the little slave urchins grabbing towards him over the top of the pedestal. I have drawn Beecher a number of times. The flag behind is a particularly exciting motif, I love drawing the reds as it flutters. As I draw, people pass by who have just walked over the bridge or are from the neighborhood. They seldom are in a rush. They take notice of the sculpture and walk by, keeping their thoughts to themselves.
Union Soldiers from Civil War memorial on Battle Hill in Greenwood Cemetery [Brooklyn]
11" x 14", Oil Pastel on Bristol Paper, 2010
I visited Greenwood cemetery during the height of fall foliage on a brilliantly clear day. I drew for a third time, the large memorial to civil war soldiers on top of Battle Hill, a major battle site from the American Revolution. I find myself attracted particularly to the mustached swagger of the confident bronze civil war soldier leaning upon his weapon. Seated Lincoln [Newark], 11" x 14", Oil Pastel on Bristol Paper, 2011
This is a statue of the Great Emancipator that sits in the shadows of the US District Court for the District of New Jersey in Newark, on Martin Luther King Road. I teach a drawing class in the early summer in Newark and for the 1st time, I made a drawing along side my students. It was an experiment to see if revealing my approach to drawing could help them elevate their game. The results were mixed. The Emancipator dejectedly sits in this work and can be sat on like Alice in Wonderland in Central Park. However, the strip that the sculpture is situated in is forlorn. No one sits with it or on it. These days, people stand by the statue every day and scream about economic injustice and urge passing cars to honk their horns for jobs and opportunity. Newark waits emancipation.
