how long to boil jars for canning

The length of time you should boil jars for canning depends on what you're canning and the altitude at which you live. As a general rule, it's recommended to boil jars for at least 10 minutes, but some foods may require longer processing times.

Here are some general guidelines for boiling jars for canning:

• For high-acid foods such as fruits, pickles, and tomatoes, boil the jars for 10 minutes at sea level (up to 1,000 feet), and add an additional minute of boiling time for every 1,000 feet of elevation.

• For low-acid foods such as vegetables, meat, and poultry, it's recommended to use a pressure canner instead of a boiling water bath canner. The exact processing time will depend on the type of food and your altitude, so be sure to follow a tested recipe or a trusted canning guide.

• Always adjust your processing time according to your altitude. At higher altitudes, water boils at a lower temperature, so you need to process your jars for a longer time to ensure that they're properly sterilized.

It's important to note that these are general guidelines, and you should always refer to a trusted canning guide or recipe for specific instructions on boiling jars for canning.

Cuba and the Carnivalesque Takes Center Stage in Kehinde Wiley’s New Portrait Series ‘HAVANA’

“Portrait of Yaima Polledo & Isabel Pozo” (2023), oil on linen, 108 x 81 15/16 inches. Photo by Max Yawney. All images © Kehinde Wiley, shared with permission courtesy of Sean Kelly Gallery

Amidst his signature verdant backdrops, Kehinde Wiley (previously) situates his subjects in the center of the composition, chins tilted up with regal gazes, enveloped in the grandeur of colorful patterns. The artist is known for monumental portraits in oil that reframe European painting traditions, especially referencing court portraiture in which royal or noble families—almost exclusively white—were portrayed in extravagant dress symbolizing wealth and power. Wiley flips the narrative by positioning historically marginalized Black and Brown figures front and center.

Wiley’s latest body of work titled HAVANA, on view now at Sean Kelly in New York, continues the artist’s interest in the cultures and traditions of the African diaspora. He draws on two separate visits to Cuba, first in 2015 and again in 2022, exploring the carnivalesque phenomenon in Western culture, which manifests in numerous colorful, celebratory events around the world, such as Mardi Gras in New Orleans. Wearing layers of vivid fabric and carrying juggling sticks or instruments, Wiley captures the individuality and creative focus of each person. He says:

The performers are each different—there’s so many different points of view, so many different life experiences, but one thing that unites them all is the very sense that America dominates the economic fortune of Cuba. The relationship between America and Cuba is one that has been fraught with a fascination, a suspicion, an intrigue, and a cultural weight.

Wiley references notable artists like Henri Toulouse-Lautrec, Pablo Picasso, and Alexander Calder, who around the turn of the 20th century explored similar themes. Through portraits of acrobats, dancers, and musicians, Wiley examines the political history, economic hardship, and thirst for artistic freedom in Cuba, focusing on circuses and carnivals as sites of celebration, disruption, and self-expression.

 

“Portrait of Erika Gray Ferro” (2023), oil on linen, 48 x 36 inches. Photo by Max Yawney

On his first visit to Cuba, Wiley stopped by the Escuela Nacional de Circo, or the National Circus School, to learn about the history of the medium in the country and its national circus, Circuba. Prior to the Cuban Revolution, the nation was home to numerous family-run companies, but today, there is only one. During his second visit, he met with members of Raices Profundas, a group regarded as one of the world’s most authentic performing ensembles in the Yoruba tradition.

Like in many parts of the world, numerous cultural histories intersect in Cuba due to the period of European colonization, which resulted in the forced migration of Indigenous populations and centuries of enslavement of African peoples. Over time, circuses and elaborate street parties became “opportunities for the formerly enslaved to engage in moments of freedom and grace that were generally forbidden,” reads an exhibition statement. “The carnival, Mardi Gras, and street processions were events in which chaos could arise, love could be expressed, and a spiritual embrace of religious traditions could be manifest.”

HAVANA continues at Sean Kelly through June 17, which includes a three-channel film featuring some of the performers. See more from the artist on his website or Instagram, and you might also want to check out Big Chief Demond Melancon’s elaborately beaded Mardi Gras costumes.

 

“Portrait of Rassiel Alfonso Leonard & Nairobys C. Placeres Riviero” (2023), oil on linen, 108 x 72 inches. Photo by Max Yawney

Left: “Evel Antonio Study” (2023), oil on paper, 44 x 30 inches. Right: “Jorge Gonzales Acosta Study” (2023), oil on paper, 44 x 30 inches. Photos by Adam Reich

“Portrait of Yadiel Arrozaceno Dorticós” (2023), oil on linen, 72 x 60 inches

“Portrait of Anet Arias” (2023), oil on linen, 48 x 36 inches. Photo by Max Yawney

“Portrait of Daniel Paiol López” (2023), oil on linen, 96 x 72 inches. Photo by Max Yawney

Left: “Juan Cabrera Pulido Study” (2023), oil on paper, 45 x 31 inches. Right: “Misahel Hernández Study” (2023), oil on paper, 44 x 30 inches. Photos by Adam Reich

“Portrait of Tony di heon Gonzales & Armando Leon Aquirre” (2023), oil on linen, 108 x 72 inches

“Portrait of Juan Cabrera Pulido & Emilio Hernandez Gonzalez” (2023), oil on linen, 108 x 72 inches

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Cuba and the Carnivalesque Takes Center Stage in Kehinde Wiley’s New Portrait Series ‘HAVANA’ appeared first on Colossal.

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SVA Continuing Education Offers Summer Courses, Workshops, and Artist Residencies

Andrea De Luigi (Artist Residency Alumnus ’22), “Against All Odds” (2021), acrylic, ink, relief, and collage on canvas

Ready to take your practice and creativity to new heights? SVACE has the resources and expertise to help you go to the next level. With a diverse range of more than 200 courses and ten artist residencies, you’ll find everything you need to achieve your goals and actualize your potential. Whether you’re looking to advance your career, explore new artistic avenues, or simply deepen your practice, our experienced faculty will provide the guidance and support you need to grow.

Head to sva.edu/ce to explore our offerings and register for upcoming free events.

Artist Residency Programs & Intensives

Online and on-campus courses are available in:

• Advertising
• Animation
• Art & Activism
• Design
• Film
• Fine Arts
• Illustration and Comics
• Interior Design
• Photography and Video
• Professional Development
• Visual and Critical Studies
• Visible Futures Lab
• Visual Narrative
• Writing

Free Virtual Events & Information Sessions

Registration Details

Course Advice
If you need advice or have questions, please email ce@sva.edu to connect with one of our course advisors.

About the School of Visual Arts
School of Visual Arts has been a leader in the education of artists, designers, and creative professionals for seven decades. With a faculty of distinguished working professionals, a dynamic curriculum, and an emphasis on critical thinking, SVA is a catalyst for innovation and social responsibility. Comprising 6,000 students at its Manhattan campus and 35,000 alumni in 100 countries, SVA also represents one of the most influential artistic communities in the world. For information about the college, please visit sva.edu.

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Max Naylor’s Ethereal Landscapes in Ink and Oil Paint Defy Nature’s Rules

“Narcissus” (2023), ink on paper, 51 x 66 centimeters. All images © Max Naylor, shared with permission

Working in vivid washes of ink and oil paint, artist Max Naylor renders impressionistic dreamscapes that emerge from nostalgic recollections and imagined spaces. Focusing on natural textures like gilled mushrooms scaling a tree trunk  or the soft ripples of water, Naylor creates what he calls a “parallel universe, a microcosm that is similar to our world but free from the shackles of reality.” The scenes often veer toward the unnatural, favoring otherworldly color palettes and unlikely lighting. “In these spaces, it can be night and day simultaneously,” he says. “You can stare up at the sky whilst noticing the plants flowering at your feet.”

The ethereal qualities of Naylor’s works echo his process, which involves letting the fluid materials dictate the contours of the compositions and allowing the landscapes to “well up from my subconscious and spill onto the surface…The works in ink are made quickly. At the same time, I’m working on larger oil paintings that take much longer. Working at these different tempos keeps things fresh and exciting for me, with the works in ink continually informing the works in oil.”

Based in Bristol, Naylor has a studio at Spike Island and currently teaches at London’s Royal Drawing School. You can find more of his landscapes on Instagram.

 

“Green Goddess” (2023), ink on paper, 51 x 66 centimeters

“Devil’s Cauldron” (2023), oil on linen, 115 x 105 centimeters

“Mountainside” (2022), ink on paper, 51 x 66 centimeters

“Phosphorescence” (2022), ink on paper, 51 x 66 centimeters

“Catkins and Crocuses” (2023), ink on paper, 51 x 66 centimeters

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Max Naylor’s Ethereal Landscapes in Ink and Oil Paint Defy Nature’s Rules appeared first on Colossal.

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Expressive Hands Capture Portraits of Relationships and Cultural Heritage in Malisa Suchanya’s Acrylic Paintings

“Felicia.” All images © Malisa Suchanya, shared with permission

In vivid pinks, reds, greens, and blues, Oakland-based artist Malisa Suchanya renders the expressive contours of hands immersed in florals and ornamental motifs. Interested in painting the human figure, she started to focus on the appendages specifically during the pandemic, sharing that she “found a deep love and satisfaction in trying to convey emotion and reflect relationships all through the different arrangements, compositions, and entanglement.” She then participated in Var Gallery’s ongoing 30 x 30 x 30  project, which invites artists to make 30 artworks in 30 days every January, spurring creativity at the start of the new year.

“I know very well that it’s projects like these that harbor an amazing environment for growth, and that was exactly what it was for me,” Suchanya says. Required to complete a painting per day, she spent about five hours on each work, plus an hour or two to prepare the next one. “Over the course of the month, I did find that my technique of painting changed quite a bit. It became a bit more time efficient and I was layering my colors with more confidence and ease… and it became close to meditative.”

Suchanya organized three sub-series within the collection, including portraits of hands belonging people who have have deeply impacted her throughout her life, reflections on being with others, and her cultural identity and upbringing in Singapore. Hands blossom from floral arrangements in the portraits series and are titled with individuals’ names, while limbs that twist and float on a black background comprise a set exploring the nuances of relationships. And looking to her Chinese, Indonesian, and Thai heritage, she included examples of colorful, traditional masks framed by hands. 

Throughout the year, Suchanya participates in markets and artist fairs around the country, including San Jose Made, which you can find updates about on her website and Instagram. She will also have a solo exhibition at Mom and Pop Art Shop in Point Richmond, California, later this year, and 30 x 30 x 30 continues at Var Gallery in Milwaukee through June 4.

 

“I bend for you”

Left: “May.” Right: “Red demon mask”

Installation view, image courtesy of Var Gallery

“Black kitsune”

Left: “Thai mask.” Right: “I lean on you”

“Hana”

“We don’t see eye to eye”

“Chinese opera mask”

“Malisa”

“We’re gonna be okie”

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Expressive Hands Capture Portraits of Relationships and Cultural Heritage in Malisa Suchanya’s Acrylic Paintings appeared first on Colossal.

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Ukrainian Artist Julia Pilipchatina Draws on the Centuries-Old Tradition of Porcelain Painting with the Future In Mind

All images © Julia Pilipchatina, shared with permission

In the 7th or 8th century, Chinese artisans devised a way to combine feldspar and kaolin and fire it at a very high temperature to produce the first porcelain, which was traded globally and highly sought-after for its elegant surfaces and ornate designs. The precise process wasn’t easy to replicate: not until the early 18th century did makers in Germany first achieve the right mix of materials and methods to produce the ceramic in Europe. Around the world, the bright, white surfaces of dinnerware and decorative vessels provided canvases for the painstaking craft of porcelain painting, emphasizing numerous patterned layers of colorful glaze. For Ukrainian artist Julia Pilipchatina, the craft of hand-embellishing plates connects her to a rich creative legacy and to personal stories and family heirlooms.

Formally educated as a historian, Pilipchatina is fascinated by the profound ties to ancestry and culture that tableware represents. “By choosing a unique plate for ourselves, we draw upon our own values, and—I hope—these objects remain in our families as testament to the lives of past generations,” she says. As a refugee from Russia’s ongoing war against Ukraine, the artist was forced to close her workshop, leave all of her belongings behind—save for her two dogs—and start from scratch. Now in Belgium, she’s developing a series of plates depicting detailed, chromatic insects with spotted wings, serrated legs, and feathery feet. She says:

The Beetles series was born out of an attempt to overcome my fear. It’s difficult for me to approach the topic of war. It’s too painful and feels like a black hole that drags me in as soon as I focus on it. But I suppose the nature of fear is the same, and I decided to take on a somewhat safe but strong and irrational fear of insects.

 

While insects have long appeared in ceramic tableware alongside other popular motifs like birds, trees, and bucolic landscapes, Pilipchatina renders each critter in a style mirroring her watercolor illustrations, inspired by an encyclopedia depicting exotic, jewel-colored specimens in intricate detail. The more she studied the images, the more the creatures ceased to be a source of anxiety as she noted their elaborate patterns and found beauty in their vibrance and textures.

Each bug’s bold, saturated color emerges through the meticulous layering of thin coats of paint, or overglaze, to the surface, then firing the piece at 800 degrees Celsius. “The cycle consists of heating and cooling to room temperature, which means that one firing can last 12 hours,” Pilipchatina says. “Since the paint is semi-transparent, achieving brightness, depth, and contrast requires many layers, and therefore many firings.”

Emphasizing beauty as a reprieve from the loss of her home and the ugliness of war, the artist focuses on tenderness and fragility in the natural world and humanity’s relationship with it and one another. Combining art and utility, an elegantly crafted dish emphasizes longevity, continuity, and tradition while connecting loved ones around the table. She says, “Having an item that belonged to a grandmother or great-grandmother is of great value and rarity. Now, I am creating such objects for the future.”

Pilipchatina explores a range of decorative ceramic designs in addition to a few series of illustrations about her dogs and children’s stories. You can find much more of her work on Behance, Instagram, and in her Etsy shop.

 

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A Collaborative Photo Project Imagines a World Where Street Artists Have Free Rein

Victoria Villasana, Les Arenes de Picasso near Paris. All images courtesy of Joseph Ford, shared with permission

What would artists create if all of the world’s surfaces could become a canvas? Joseph Ford—of Invisible Jumpers fame—responds to this question in a new project called Double Take. Collaborating with eight street artists including Peeta (previously), Levalet (previously), and Victoria Villasana (previously), Ford reimagines the possibilities of public spaces that are otherwise inaccessible due to scale, safety issues, or restrictions.

To begin the project, Ford photographed the locations, which include the Panthéon, the Seven Sisters cliffs in Sussex, and the center of a highway in Los Angeles, and then handed over enlarged prints to the artists. Once their additions were complete, he returned to the original sites and documented the altered images against the original backdrop. Playful and imaginative, the juxtaposed photos envision “a parallel universe where (artists) have complete artistic freedom.”

Shop the limited-edition prints and find behind-the-scenes looks at Ford’s process on his site.

 

Levalet, Brighton Marina, U.K.

Ador, The Pantheon, Paris

Peeta, Shoreham Cement Works

Ador, Seven Sisters, U.K.

Denis Meyers, National Theatre London

JanIsDeMan, Balcome Viaduct, U.K.

Morely, Los Angeles

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article A Collaborative Photo Project Imagines a World Where Street Artists Have Free Rein appeared first on Colossal.

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