I'm not sure how I feel about the imagery, but I think that the idea of turning engravings into projections is pretty interesting..
Thursday, December 31, 2009
Thursday, December 24, 2009
Wednesday, December 2, 2009
Sunday, November 22, 2009
Artist-in-residence Abigail Uhteg put together this video while working on her artists’ book, The Complex of All of These, at Women’s Studio Workshop. The stop-motion video uses 3000 images to show some major action, covering printmaking, hand papermaking, letterpress, and book arts production.
Thursday, November 19, 2009
Monday, November 16, 2009
Sunday, November 15, 2009
Even if you can't go to Chicago, there's a lot of images from the show on the website. Go look!
On the prowl for outlets for public art (and for a paying job), I ran across this article in the T magazine of the New York Times. RxArt not only gets art out of the galleries, but gets it into places that really need some cheer- Children's Hospitals. Take a look, its a pretty wonderful program.
Steve Wolf caught my eye because of the precision used in his work. Currently being exhibited at the Whitney are his works on paper. While I have a very fuzzy and unclear descriptions of exactly what it is that I create I was very interested in the first line written on the Whitney's website:
"For over two decades, Steve Wolf has created objects and drawings of astounding craft and visual presence that investigate the intersections among material culture, intellectual history, and personal and collective memory."
This idea struck me as very interesting and after a thorough investigation I am very attracted to his desire to recreate record labels, vinyl recordings, and tattered books with such precision.
This is one example of his works, and is something that may inspire many of us new, and or old printmakers.
Alongside Steve Wolf, I continue to come back to Sam Winston's work and investigate it time and time again. I am very interested in incorporating text within my work, however I am aware of strong meanings and implications that come with placing text on a page. Text is a very powerful tool and I want to make sure that I am saying exactly what I have in mind.
Winston creates books, drawings and sculptures that incorporate text in a subtle and creative way. Here is a few different works that I continue to look at again and again.
Everyone should check out his work:
The OK Art Manifesto is precisely what it sounds like - a manifesto about art and artists that are just, well, "okay." Meaning not mind-blowing or fantastic.
3. OK artists really want to make great art,
they shoot for the stars, but their work ends up
being just OK. OK artists are OK with this.
4. Art enthusiasts and cynics alike, leave an
OK art exhibition saying "that was OK".
No one is blown away but they don't feel cheated either.
I actually found the manifesto simultaneously horrifying and comforting. Horrifying because of what it would mean to be considered just an "okay" artist. Comforting because even if you are just an "okay" artist, that's...okay.
Though I hope to never settle for being just that!
Introduction to Poetry
I ask them to take a poem
and hold it up to the light
like a color slide
or press an ear against its hive.
I say drop a mouse into a poem
and watch him probe his way out,
or walk inside the poem's room
and feel the walls for a light switch.
I want them to waterski
across the surface of a poem
waving at the author's name on the shore.
But all they want to do
is tie the poem to a chair with rope
and torture a confession out of it.
They begin beating it with a hose
to find out what it really means.
So how does this apply to us as artists? I find that when something doesn't feel right in studio, when my work is un-fulfilling or uninspired, when I have a bad critique, I blame myself, my lack of skill, my poor eye, my tastelessness, my stupidity. This thinking seriously hampers the art-making process. But it is my art, so how can it not be my fault if something is wrong with it? How can I move past this self-defeating mental block?
Elizabeth Gilbert has an answer. If we are ever plagued by self-doubt as artists, maybe we just need to shift our locus of control a bit. Maybe our genius isn't really our own. Watch and have hope.
Of course, you should never sell yourself short. But how marketable are you really? Not that you should be terribly concerned; you're making art, not merchandise, after all. But at a certain point, what is your art but the stuff you store beneath your bed? Where is our time going, and why has it been worthwhile? Does it have value to anyone else besides ourselves? Does it still have value to us after we've finished it, besides being a reminder of how much we spent on paper this month?
Why did you absolutely have to make it?
As I set up my installation, I thought about how much I really love making big work and taking up space. But simultaneously in the back of my mind I wondered what it all became once I took it off the wall. The pigeons would revert from installation to scraps of paper in my drawer. I wish there were a way of assuring that the things I make are still the same when not on display, are worth the effort to keep flat and well-preserved, and can be valued by anyone besides myself. I'm not trying to make my work over-precious; rather, I'm trying to understand why I should keep it at all if all it if it might never see light again. The subject matter is dear to me, dear enough at least to make me want to create. So am I doing some sort of dishonor to my subjects if I can't insure their worth or good keep? Have I failed in my message if I store it away and nobody but me ever knows about it?
We tell stories to share them and, in essence, preserve them. We believe they deserve that attention, to be recorded and remembered. We choose images that mean something to us. So how do we give the same justification to our subjects that we give ourselves to depict them? Without our inspiration, our work is nothing, and therefore valueless. The beginning of a work's true value lies with its concept. It is up to us to craft it adequately and to know what we want when the work is in our hands - and how we would feel should it go to or be judged by someone else.
Saturday, November 14, 2009
Thursday, November 12, 2009
Wednesday, November 11, 2009
A sneak peek at our contemporized masterpiece:
Thanks for viewing and we hope to see you there!
Monday, November 2, 2009
MOMA has created a most excellent interactive flash site on various printmaking techniques! The site explains lithography, woodcut, etching, and silkscreen in layman's terms so even (or rather especially) children can understand it. So the next time you're having a difficult time explaining printmaking to someone, you can refer them here.
Ran Ortner, an oil painter from Brooklyn, won the Art Prize competition in Grand Rapids, Michigan this month. He'll receive $250,000 for winning by receiving the most votes from members of the public.
Here is his artist statement from his website. I thought it might be interesting to read in light of your manifesto project.
In my art, I contemplate collisions of opposites, from the most tender brutalities to the most devastating sensitivities. These paradoxes register within me and I can see myself within them. I am continually surprised by the reflection between me, as an individual, and the environment within which I exist. As Robert Lax said, “The blood within and the brine without.”
I often think about Rollo May’s idea that “sustained intensity equals ecstasy.” Every day I enter my studio, prepare my materials and, as James Joyce said, “go for the millionth time to encounter the reality of experience.” I find that sustaining the encounter with life’s biting reality is not “miserablism,” but rather intense engagement. The undeniable union of life and death is not dire but majestic as evidensed by the inevitable crash of each cresting wave. In a tempest, distinctions blur registering in me as the rhythm of life’s dance. Life’s beauty is magnificent as it hangs at the edge of death, insisting upon its relevance.
Tuesday, October 27, 2009
Make your own show exactly as you want with major resources at your fingertips: not actually an impossibility in the world
We have just been given an assignment in which we were asked to curate an exhibition at the New Museum in New York. In another phase of our invitation to manifesto we have been told that we have unlimited resources to do something, anything, at the Whitney, with unlimited time, staff, and budget.
Sunday, October 25, 2009
Thursday, October 22, 2009
Friday, September 18, 2009
CLICK HERE TO READ THIS FASCINATING ARTICLE
That's all I wanted to share. Hope you guys enjoy the article and discover a new appreciation for Monopoly. :)
Sunday, September 13, 2009
This semester Annie, Katie, and I are working on a collaborative photography/book arts project. Annie and Katie started this project on Facebook, and it has grown ever since. We would love for you all to participate! Here's what you need to do:
Step One: Read "The Bus Driver Who Wanted to Be God" by Etgar Keret. It can be found online on googlebooks. While reading, focus on the mental picture that arises when learning about each character. There are three characters; the Bus Driver, Eddie, and Happiness.
Step Two: Find people in real life who fit your mental picture of the characters. Photograph them!
Step Three: Send pictures to the email listed below.
Once we have received the submissions, we will compile the photographs into a book and send it to Printed Matter, a mega-store of artist's books.
HOORAY FOR COLLABORATIONS!
All submissions must be made electronically.
Images should be no larger than 1500 by 2100 pixels (5" by 7") at a resolution of 300 dpi.
Each file should be labeled as follows:
Any submissions that are mislabeled, corrupted, or too big we won't be able to accept!
Email your submission to firstname.lastname@example.org. Please include your full name and email address.
Saturday, September 12, 2009
It's called Alter printmaking, and this is how it's described:
"Alter printmaking - where printmaking is de-constructed and re-proposed as a conceptual process. It’s not just about mark-making, but making your mark, process and dispersion and heralding changes in print technology from cut and paste publishing to a printer in every home, printed images the size of buildings, variable print, delivering tailored information, the PDF, the virtual print that only exists on a hard drive and unfolds like a performance. Lastly, print passes the baton to the www."
The blog is authored by Chris Mercier from Berkshire, UK.
Here's one of his performance pieces called "Square Dance":
Monday, April 27, 2009
I have more photos of all the works in the show and various other, lovely points of interaction, so if you'd like me to give them to you let me know.
Friday, April 24, 2009
You may potentially see: bears, little girls, maps, Jesus, world markets, guns, grandmas, imaginary creatures, Hungarian influences, obscenity, destruction, obsessiveness, natural fecundity, dots, happy ponies, death, angst, and borderline pornography.
FEATURING WORKS BY:
THIS IS SERIOUS BUSINESS and we all expect to see you there!
Sunday, April 19, 2009
I was greatly inspired by both - the first one seems to justify some of my impulses, and the second relates collage to general issues of contemporary practice.....
DL: Suppose I suggest that collage foreshadows everything that is happening now, that now everything is a kind of collage, that it is a given, almost the only method available?
JS: I think that this has been the case for a while, but would use the word ‘montage’ rather than collage. Montage has become mainstream. It was radical in Eisenstein’s day, but now it is facilitated in the editing of color supplements, it is the cut and paste method that everyone uses, the standard way of working. I see collage as acting in opposition to that. It is an exposure of and a resistance to the seamlessness of montage. I see collage as the opposite – a desire to expose and to hold on to the seams whereas, in montage, the seam is hidden and universal.
Collage offers a perspective on the essential condition of the image in our culture: the existence of an image perpetually in relationship to another. This ‘other’ image is always apparent, and the image always strays between its own position and that of its ‘other.’ This awareness is kept to the borders of consciousness. We are never brought into confrontation with the edge between them
-Collage: Assembling Contemporary Art
John Stezaker: ‘Nostalgic’ has been the standard put-down of collage over the past 30 years. For ‘nostalgic’ read: reactionary, backward-looking. But for me this lack of place for collage is what commends it: it is capable of subverting the cultural context it finds itself in. Collage, I think, is indeed a yearning for a lost world and reflects a universal sense of loss. (Writing about Jack Goldstein David Salle uses the phrase “nostalgia for the present” to describe that sense of exile from the ‘real’.) The best defense against the ‘nostalgia’ accusation is in Milan Kundera’s novel Ignorance. He points out that nostalgia is not a comfortable form of reverie but the opposite: it is a way of living with loss. It is not about an imaginary retrieval of the past but about the impossibility of return; a condition of exile.
-Collage: Assembling Contemporary Art
Friday, April 10, 2009
To follow up on Jenie's pics of the space for Serious Business, the junior show (Saturday, 4/25, from 6 PM-9 PM, shameless plug, I know) here is a link to a good resource with some tips and general rules about hanging work. The site covers traditional gallery styles as well as salon style hanging with the math to boot.
Tuesday, April 7, 2009
Monday, March 30, 2009
"ich habe" (from the demo) sounds like a great title - that idea had floated through my head as well..... and not just because I am a German minor ...... something about it speaks to me.....
maybe we could realize the communist silk screen altelier that some of us discussed in the demo as well....
along those lines, I highly recommend the movie, "The Legend of Rita"
Its a great film from the well known German director Volker Schlöndorff -- it is the story of a communist activist turned terrorist who runs from the law by escaping into communist east Germany, where she is harbored and given a new identity - only to discover that the communist cause she advocated is not the idealized world she had imagined....
on top of all that, it even involves a communist silkscreening altelier.....
I'm jumping on the train started by John Witty in the last entry and starting an open forum for ideas for show titles!
(a better, more related image, like the cover of the latest issue of modern painters will follow soon)
This is something we've talked about - something that an SGC experience can certainly fuel.
Here goes, you'll know what it is:
bears, little girls, deer, taxidermy in general, animals, combined/ hybrid animals, old photos, SKULLS, (two of the above things we even encountered in living breathing dancing form at SGC - dancing bears and skulls in one location), cabinets of curiosities, ethnographic illustrations, dated machinery/ do it yourself manuals..... and the oddest one I can think of, but I did see it a number of times from different artists at SGC...... John Wilkes Booth....
what are these things? Themes? Ideas? Interests? Archetypes? Jungian signifiers of the collective unconscious? Whatever they are - they seem to be occupying us - as artists, as a generation thereof. Do we want to use these in any way? (Maybe in an upcoming exhibition title?)
Saturday, March 28, 2009
Monday, March 23, 2009
The above work by the artist Carolyn Salas shows a deer -- one of many that seem to crop up left and right in. Why is this? Similar to what we discussed earlier this year with the "little girl/ bear" imagery, what are these images we see frequently? What themes do they indicate? What themes, ideas occupy our generation? (I think narrative is a big one - we all want to make our own little worlds a la Trenton Doyle Hancock....)
So what do we want to say with our show? "isms and itties" in the sculpture department was a fun investigation - a tongue in cheek comment on criticism -- so are we criticizing, investigating, celebrating, making a tribute to, rebelling against, manifestoeing, muckrackering, ...........or what?
Hate the deer, love the deer?
Thursday, March 5, 2009
Friday, February 27, 2009
Friday, February 20, 2009
One of my favorite artists these days...Oscar Munoz deals so elegantly with memory and identity, and with such a perfect marriage of technique and concept. Here, he has used a silkscreen to screen charcoal powder onto water, and then the water slowly drains from the sink. Watch the video until the end to see the dissolution of the image/identity/memory.
Sunday, February 15, 2009
It’s day-job time again in America, and that’s O.K. Artists have always had them — van Gogh the preacher, Pollock the busboy, Henry Darger the janitor — and will again. The trick is to try to make them an energy source, not a chore.
At the same time, if the example of past crises holds true, artists can also take over the factory, make the art industry their own. Collectively and individually they can customize the machinery, alter the modes of distribution, adjust the rate of production to allow for organic growth, for shifts in purpose and direction. They can daydream and concentrate. They can make nothing for a while, or make something and make it wrong, and fail in peace, and start again.
Art schools can change too. The present goal of studio programs (and of ever more specialized art history programs) seems to be to narrow talent to a sharp point that can push its way aggressively into the competitive arena. But with markets uncertain, possibly nonexistent, why not relax this mode, open up education?
Why not make studio training an interdisciplinary experience, crossing over into sociology, anthropology, psychology, philosophy, poetry and theology? Why not build into your graduate program a work-study semester that takes students out of the art world entirely and places them in hospitals, schools and prisons, sometimes in-extremist environments, i.e. real life? My guess is that if you did, American art would look very different than it does today.
Such changes would require new ways of thinking and writing about art, so critics will need to go back to school, miss a few parties and hit the books and the Internet. Debate about a “crisis in criticism” gets batted around the art world periodically, suggesting nostalgia for old-style traffic-cop tastemakers like Clement Greenberg who invented movements and managed careers. But if there is a crisis, it is not a crisis of power; it’s a crisis of knowledge. Simply put, we don’t know enough, about the past or about any cultures other than our own.
Friday, February 13, 2009
Thursday, February 12, 2009
Have you all heard about the Art-O-Mat project?