Enrique Martinez Celaya is not afraid of the dark. An artist who saturates his canvases in tar or washes of blood, the Cuban-born painter, 41, is engaged in a deeply visceral approach to art. The source of the blood he uses, human or otherwise, he won't disclose. Children, primarily boys, are the subject of most of his current work. But these are not studies in innocence. He gives young children credit for being complex, pensive beings. What could be more mysterious than the troubled brow of a silent 7-year-old? They are neither vulnerable nor frivolous nor mere sexual objects, really—though there is a sensuality to the diaphanous pajamas worn by Celaya's nephew in the sole photo in the show. And one might wonder why the boy paired with the girl (Boy and Girl) is missing a hand. What did he steal? What did he touch? Particularly striking is Boy in Icy Landscape, a Scream-like figure hunched in front of an iceberg, rendered on paper in blood, watercolor, and charcoal. The boy is curiously self-possessed despite his chilly solitude. Blood Landscape is not as dramatic as it sounds: A shirtless, androgynous child bows before a blossoming bough, a gesture of sad introversion, perhaps shame, beside a symbol of spring, life, and hope. The work is quiet and delicately painted in what could pass for a diluted burnt sienna with the absorptive quality of sumi ink. Tu Sonrisa, Miguel is half mirror; as positioned here in the gallery, it turns a neat trick of reflecting another painting from across the room. While Celaya's likely intention was simply to include the viewer's visage in the tableau, this effect is more interesting. This work is inspired by a famous poem by Spanish Civil War hero Miguel Hernandez, who while imprisoned lost his son to malnutrition. The son never lived to the age depicted in the painting, making the image a sad chimera. Poet and physicist Celaya is clearly a thinker, and his ruminations are deeply and physically imagined. "Splinter. Return." at Greg Kucera Gallery, 212 Third Ave. S., 206-624-0770, www.gregkucera.com. 10:30 a.m.-5:30 p.m. Tues.-Sat. Ends May 13.
Tuesday, November 07, 2006
Drive-By Press is a completely mobile printmaking studio built to promote the growth and democratization of art through printmaking.
Drive-By Press was created to bring the practice of printmaking to schools, groups, and communities with out the facilities or printmaking backgrounds. This fall our journey across America begins on the East coast where we will be printing with Peter Gorfain, Cannonball Press, and Dennis McNett at the Pratt Institute in New York. Later, we are also set to print with Jenny Schmid in Minnesota, Michael Krueger in Kansas, John Hancock in Texas, Kurt Kemp in California, and hopefully you! We will promote the artists work we print with on both local and national levels. Drive-By Press will support artistic education in the communities we visit while traveling across America by working with students and showing them various printing techniques. Our plan is to exhibit the prints we pull at the Southern Graphics Conference in Kansas City in 2007.
Just when you thought we pulled out all the
The folks who brought you the incredibly
successfulPrints Gone Wild print fair give you:
WIDE WORLD OF SPORTS
Another bad-ass print show by Cannonball press
Featuring the 13 foot Donkey Basketball Woodcut
Friday, November 10th, 6pm—10pm
Show run: November 10th—November 25th
213 N. 8th St. Williamsburg, Brooklyn 11211
World Kings of scruffy pirate black and white
hillbilly printmaking, New York’s legendary
CannonballPress return to Supreme Trading with a huge new
pileof limited-edition prints, new sports-related 4x8
footwoodcuts, a 200 square foot collaborative woodcut
Demolition Derby Franken-banner, and a Ginormous
donkey basketball statue!!!
For seven years, Martin Mazorra and Mike Houston
havebeen publishing high-quality limited-edition
relief cuts and silkscreens, and are proud to represent
the following masters of grumpy, soulful, scabby,
Jenny Schmid (Bikini Press Int’l), Nicole
Schulmann(WWIII magazine), Davin Watne (the guy who makes
the car crashes with animals), Maya Hayuk, Bill Fick
(Cockeyed Press), Mike Ming, Dennis Mcnett (Howling
Print), Lump Lipshitz (Lump Gallery) and many
Come out and get yours!
Th best affordable art in town, guaranteed.
An Utagawa Kuniyoshi print from about 1845, at the International Fine Print Dealers Association Fair.
Article Tools Sponsored By
By THE NEW YORK TIMES
Published: November 3, 2006
You can have all your precious paintings and drawings. Prints — gorgeous, infinitely varied, shockingly affordable — are really where it’s at. Or at least they are this week with the International Fine Print Dealers Association Fair back in town. With more than 90 dealers from Europe, Japan and the United States, the show must set some kind of maximum occupancy record for the Seventh Regiment Armory. For sure, it is packed to the max with art, and something for every taste.
Saturday, November 04, 2006
I just got back back from San Francisco and I have to say what a wonderful day it was. There were so many people out today. It was a beautiful fall day. There also were a lot of tourists around. I've never seen SF so packed before. Anyways the main reason I went was to check out my friend Weston Teruya's show at the Patricia Sweetow gallery. You must go see his work in person if have not already because it's simply amazing.
Here is a link to his newly updated website: Weston
Link to the gallery: Patricia Sweetow
Weston Teruya drawings are the crevassed psychological space of nightmares. His beauty forms unbalanced columnar symbols, chaotically poised for collapse. The surface of Teruya's drawings are sourced from his own drawings, cut and collaged in a new composition. The reconfiguration of symbols interacts to create unexpected new meanings. His ideas were drawn from the Los Padrinos Juvenile Hall nested in the midst of Los Amigos Golf Course, where Weston worked with juveniles in detention for various offenses. Teruya observed that the protected status of a juvenile population is in direct contrast to the invisibility of this same population to public oversight. Teruya's drawings describe the issues of power, invisibility, and protection.
"I am interested in collecting and collapsing the signals and objects of exclusion, separation and leisure. These images typically define and reinforce spaces of privilege through the creation of sites of control. The work is a speculative exercise of sorts. I am particularly interested in suggesting new fictive configurations which imagine new social possibilities or frustrate present political realities."
Weston Teruya received his MFA from California College of the Arts in 2006. He is in his second year of the Visual Criticism program at CCA to be completed in 2007. He has received the Murphy-Cadogan Fellowship Award from the San Francisco Foundation, and the Yesland Prize Exhibit Award from Magic Theatre, San Francisco. His work was recently reviewed in Art Forum, Critic's Picks, San Francisco Bay Guardian, Artweek, and San Francisco Weekly. Teruya has a solo exhibition scheduled at PSG Oct/Nov 2006.
Sunday, October 15, 2006
"Death Chasing a Flock of Mortals"
etching and drypoint
James Ensor (1860-1949) Lifetime achivement of 133 etchings.
There was an interesting article in recent Art on Paper magazine about Tom Firmans 200 piece collection of Ensor prints. Tom first saw Ensors famous painting "Christ's entry into Brussels in 1889 and became thoroughly impressed by the artist. Later in New York he bought his first prints, by Gabor Peterdi who taught at Yale and was the author of "Great Prints of the World" Through Peterdi , Firman learned that prints provide an economical means to collect the work of as many of the worlds greatest artists. At first Firman was attracted to the fantasical qualities of Ensors etchings, but later began to appreciate Ensors keen sense of draftsmanship. His favorite print is a hand colored version of "Skeletons Trying to Warm Themselves". Ensor used this print to wrap the etching plate when it was not in use. Firman owns five etchings from Ensor's 1904 album "The Seven Deadly Sins". I remember that "Whipping Boy" did the seven deadly sins series as an undergrad.
Depraivity and corruption are timeless and for Ensor, humor provided the best means to face the dark side of human condition. It was this intensely pessimistic if ultimately realistic world view, expressed in a series of astonishing paintings and etchings, which made Ensor a pariah during his productive years as an artist, rejected not only by the right-thinking Flemish burghers of his native Belgium, but also by the members of Les Vingt, the avant garde group of painters of which he, himself, was founder and leading light.
Thursday, October 12, 2006
I am trying to get the word out to artists I have
enjoyed working with that I am opening my
Emeryville, California, etching and litho studio to
experienced printmakers or those seeking instruction with
ample open studio. I wanted to make sure that you know
My preference is to find about three other
artists to work in the studio. Available 24/7 (altho we may
stagger use.) I will be moving into a different
studio for painting etc and using this one only for
printing occasionally and possibly a few print workshops.
You may also use the studio for some photography,
drawing and/or painting if that works out. Some storage
is available. Frestanding Ettan Press, bed size 36" x 72".
Fuchs and Lang hand litho press, bed size 23 x 36". And
of course my sinks, water bins and some inking and
other tables (as desired).
The studio will be available probably
about Nov 1 or possibly sooner.
No blood involved in these prints
Monday, October 09, 2006
So, below are some new prints. They make me nervous and I think that is probably a good thing. I don't understand them yet, but I'm sure I will soon.
What do ya think?
Thursday, October 05, 2006
Anyways, back to my poetry. In the past I have relied on moments of anger, frustration, and any other visceral emotion to produce my art. This really doesn't fly in art school. But working through poetry....my visceral emotions go into writing and then get translated into visual work. For some reason this is okay in art school. So here are my poems and it does help to do these first because I can sort through my ideas better this way.
I was four and Jesus was staring at me.
The death-red glowed blanketing the mucid-room
His face was soft yet he was demented
Between his fingers and his thumb he gripped his heart
A heart still swelling and enslaved to thorns
The hot blood dripped and I started to flinch
Fear encompassed me
He towered over me
"Hell to your soul" he said
He smiled and stared at me as if to say "you are next".
- (To ease the pain of moving to a new country my parents bought us a dog.)
- I was seven and the Germans were bombing us
- Overhead I heard the zooming planes and I panicked
- The T.V. said to hide under your bed or better yet go to your shelter
- My parents should send us away to the country like the other kids
- Why did we come to a country that was at war?
- As scared as I was, I was alone
- At night my parents turned into aliens
- It was better not to disturb them
- Eventually the Germans stopped bombing, but the Irish began bombing
- My dad would say "did you know that a deck of cards can blow up a building?"
- I thought it was a horrific magic trick only Irish people could do
- So, I was careful when I played with cards
- (To ease the pain of moving to a new country my parents bought us a dog.)
- I was thirteen and I was in an Irish nightmare
- The Americans were enamored with the Irish
- The town we moved to in Wisconsin had five hundred people,
- Two Catholic churches, and a man who was once abducted by aliens
- A woman asked us over for an "Irish" lunch one day
- We walked into her musty house
- Green was everywhere
- There was a shamrock table cloth
- Little glasses with shamrocks on them
- Lots of Irish knick knacks that I had never seen before
- We sat at the table and she brought out the food in shamrock dishes
- In front of us she placed cabbage and corned beef
- I had never had corned beef before and my mom never cooked cabbage
- This poor old woman only wanted to make us feel at home
- It was the first of many Irish meals to come.
Sunday, September 24, 2006
Some of his prints of Enrique Martinez Celaya at Paulson Press
His own wedsite : Enrique Martinez Celaya
Enrique Martinez Celaya
Enrique Chagoya, Liberty, 2006 - Jacquard Tapestry, 72 x 74 in. Edition of 8
Enrique Chagoya playfully examines contemporary
cultural and internal borders in his first tapestry,
Liberty. The work is a unique original, translated from
a composite of collaged, painted, and drawn elements
assembled digitally by Chagoya and Magnolia Editions
co-director Donald Farnsworth. Chagoya’s trademark
wit and spontaneity are reflected in the result, which
projects both a formal strength and a light-hearted energy.
Liberty depicts a plush domestic interior, reduced to a
flat anonymity using stark red lines; its placid blankness
is interrupted by the presence of dinosaurs,
originally rendered in bold strokes of charcoal. In the
foreground, a tiny, “realistically” colored dinosaur
bearing the head of Jesus is menaced by an enormous
Tyrannosaur while resting upon the stenciled word
“LIBERTY.” Besides the impersonal and military
connotations of the stencil, its letters are reversed,
suggesting an inversion of the word’s meaning and
perhaps implying that it is being stenciled onto the
viewer. As Chagoya’s ghostly, carbon-black dinosaurs
chase the hybrid Jesus figure almost off the edge of
the tapestry, they touch upon both the looming spectre
of America’s dependence on fossil fuels and the
ideological masks donned by warring powers to justify
their violent actions.
About the Magnolia Tapestry Project
The Magnolia Tapestry Project emerged from artist
John Nava’s commission to decorate the vast interior
walls of the Cathedral of Our Lady of the Angels
in Los Angeles, which required a consideration of
the acoustical demands of the space: the decorative
element was to function practically by reducing
unwanted reverberation, prompting an inquiry into
the use of textiles. Nava and Farnsworth subsequently
collaborated on a series of woven experiments which
grew into an unorthodox approach to Jacquard
weaving. Using this approach, work by contemporary
artists is faithfully translated into a digital “weave
file” using custom calibrated color palettes developed
at Magnolia Editions. The completed weave file is
woven in Belgium on a double-headed Jacquard loom,
where 17,800 available warp threads generate colors
of unprecedented variety and density. As the tapestry
translation process evolves, various textural elements
can be reproduced with clarity – in this light, Liberty is
particularly notable for the legibility of even the most
subtle of Chagoya’s charcoal marks, which appear as if
applied directly to the woven surface.
© 2006 Magnolia Editions, Inc. All rights reserved. Text by Nick Stone.
In the same way that Tamarind and Gemini put the
commercial lithographic technology of the 19th century
into the hands of fine artists in the fifties and
sixties, the Magnolia Tapestry Project is putting the
electronic Jacquard loom to work in unexpected ways
for today’s artists. The Project includes tapestries
representative of several generations and numerous
art movements: the Pop princesses of Mel Ramos; the
monumental, Expressionistic figures of Leon Golub;
the hyper-realism of Alan Magee and Guy Diehl; the
playful poetics of Squeak Carnwath and William Wiley;
the post-Surrealist visions of Bruce Conner, and the
abstractions of Ed Moses and George Miyasaki are all
re-envisioned in striking new editions. The Magnolia
Tapestry Project has also produced tapestries by
Chuck Close, Lia Cook, Lewis deSoto, Donald and Era
Farnsworth, Rupert Garcia, Diane Andrews Hall, Gus
Heinze, Robert Kushner, John Nava, Nancy Spero,
Katherine Westerhout and others.
Friday, September 22, 2006
Kala Art Institute (Berkeley, California)
Printmaking Studio Manager
Candidate must possess strong people skills, daily interaction with varying artists within a multicultural environment. Maintain and assure that all printmaking supplies and equipment are in good working order; research new equipment, research new supplies and new media for existing equipment. Order studio and class supplies, maintain inventories; prepare and ensure safe handling and code compliance of acids and other sensitive materials. Maintains records of studio supplies, chemicals, class supplies, storage, and equipment. Accomplish / oversee general cleaning and maintenance of all facilities (Printmaking Studio and Electronic Media Center); prepare studios and work areas for AIRs and classes.
24-32 per week
$(13-16) per hour, D.O.E
Medical & dental insurance, paid vacation
Open until filled.
No phone calls. Applicants are invited to submit a cover letter and resume and 3 references to:
Kala Art Institute
Attn: Michelle Grenier, Administrative Manager
1060 Heinz Avenue
Berkeley, CA 94710
I'm taking a bookmaking class this semester at the graduate level, and so far, I love it. This is a poem I wrote about a nightmare. This is just a first proof of the poem. I love letterpress. I love the process of putting the tiny letters into the holder and wrapping the string around the type to keep it in place. I love inking up the letters and printing onto the paper. I'm so excited everytime I go to class. Betsy davids showed us some handmade books and I think that I will have to take more classes on bookmaking in teh future. There is too much to learn in one semester.
lithograph in black ink on pale cream chine Appliqué with a white wove backing sheet, as issued
David Tunick, Ink
works on paper
I found a great little website who specialize in old master and modern prints and drawings from 1450 to 1950. The collection includes works by Rembrandt, Dürer, Picasso, and Matisse, among many others.
The crown point presses new website features a virtual tour of the press, a webblog, video interviews with the artists, an interactive question and answer section, and ongoing ideas about thinking creatively. I really think you sould all check out the artist converstations. It helps me to listen to how other people talk about printmaking to realize my own thoughts.
Here is the list of artists printmaker talks:
Color spit bite aquatint with flat bite, soft ground
and hard ground etching on gampi paper chine colle
26 1/2" x 31", Edition 20
"Etching is something
you can spend your
lifetime learning about."
—Kiki Smith , 2006
Kiki Smith has been spending some time at Crown Point Press and seems to be working on a new series involving feet or legs. The above etching is quite provocative. There is something eerie about the flat skirt object and these very detailed realistic feet. The wash in the background is very dreamlike which works effectively with the black and white figure.
Wednesday, September 20, 2006
Here is a closeup. The girls are going to be playing with entrails of the creatures. Then I hope to draw a man shoveling the gutted creatures to a woman at a spinning wheel. Hopefully on top of all of that I hope to incorporate negative space celtic patterning. I'm having problems choosing what colors I want to use. I want to use color that are hot and popular with designers and the only color i can think of is hot pink, white, black, and yellow. It sounds disgusing, but the colors are bright and vibrant and actually work together really well. I'll see though.
Wednesday, September 13, 2006
i photocopied pictures i liked...put photocopies image side down on to the paper i wished to transfer the images to...brushed paint thinner on the back of them...rubbed the back of the photocopies with a burnisher, but you could use the back of a spoon i guess...this transfers the image to your new paper...
solvent transfers are sooo dangerous. you should try doing a xerox transfer if you still have access to an etching press.
1. fresh [day or less old] copies [photocopy toner works the best]
2. paint layer of shellac on back of paper to give it some substance.
3. get bowl, spounge, gum arabic.
4. dampen spounge.
5. rub gum arabic into copy paper to make areas that don't have toner resist ink [very much like litho process].
6. keep paper damp with spounge
7. use brayer to roll up copy. using spounge to keep copy wet and areas without toner resisting ink.
8. use an old etching plate for a backing plate. print onto either damp or dry paper.
1. Shellac (Bull’s Eye Orange works best)
2. Xerox or Laser Print
3. Oil based Lithography Inks
4. Roller or Brayer
6. Gum Arabic
8. One empty bowl
9. One bowl with clear water and a tsp. of gum arabic
This process uses your Xerox or laser print as a printing plate. You usually get only one or two quality prints out of each Copy. It is a good idea to have MANY copies with you when you begin printing. Your Copy must be toner based (heat set) and not inkjet or any other water-based type.
Prepare your ink and roll out on slab. A small amount of setswell or varnish may be needed to loosen the ink. Keep the ink on the slab lean to help avoid scumming of your plate.
1. Shellac the back of the Xerox or Laser Print. This can be done ahead of time.
2. Spread a thin layer of gum arabic onto the glass slab to hold the copy in place.
3. Place the Copy face up on the slab.
4. Spread a thin layer of gum over the face of the copy.
5. With fresh water on sponge wipe excess gum from Copy.
6. Roll up the Copy with ink as if a lithographic stone or plate.
7. Wipe the Copy with the damp sponge.
8. Ink again.
9. Repeat until inked to your liking.
10. Place your good paper on clean plate and place inked Copy face down onto paper.
11. Cover with newsprint and then with blanket(s).
With the help of my wonderful boyfriend, I finally got my studio finished. Now it just looks empty and white. I signed up for a draw to win a $500 studio make over. I never win those things, but it sure could come in handy considering that I have not a penny to my name after my Greek adventures. It was worth it, but I need a job now.
I started dawing on my wall. My plan this semester is to work large on the wall while I have smaller projects going on such as prints. As you can maybe see, I drew a huge drawing of Queen Victoria sitting on a pile of celtic-head-new-born-mice-bodies. Yes, I'm going crazy. No, actually I've been thinking a lot lately about appropriating old celtic forms to contemporary visual images, and through that working through recent issues and clashes between new and old Ireland. If you've been an active reader of my blog, you know that I have been working through this issue for some time now. When I close my eyes I see it happening. Because I have to write my thesis this semester, I am also getting a clearer sense of what I am drawn to and why which is making my art process easier and clearer. As an undergrad I spent a lot of time working on one powerful image but then it would die, and I work on something new altogether. I'm slowly learning that by taking one thing and beating it to death you can discover many more meanings and paths to take it. I often thought that people with no true talent approached art this way, but I'm wrong. It's not as much about talent as it is about exploration and truth.
This past week has been hard for me. Taking a year off was a great idea, but jumping back into it as a second year is tough. I really need to play catch up. I have to learn who everybody is again, and get a feel for this new class. This class is a lot younger than my class and they are more fun and outgoing. The new 1st class seem really really sweet. A lot of them are from the midwest, so that makes me very happy. We will invade and conquor. This past week, I've been having crazy nightmares again as I did when I was a 1st year, so I hope those go away. I've also been waking up panicked and I sweat a lot in class. I know I'm not the only one because other people in my class have been feeling the same way. I wish I was a 1st year again. It was tough but it was such a great year to explore and experiment. Adjusting to a new school was frustrating and heartbreaking, and nothing is ever going to be as nice as it was in the printshop of love, but I'm glad to be exposed to a new environment with new ideas and new processes. I've lived in three different countries, so I'm used to adjusting, but adjusting to graduate school was probably the hardest thing I ever went through. I think a lot has to do with taking that next step in your life where there is no first kiss or prom or first college party or any of those life rituals that you go through when you are young. Your not a college kid, not yet a mother or father, not even yet a professional, just a mid-20 yr old student stuck in no-mans land not knowing how to get where you want to go. But this is a great age really. It's time to get rid of those nasty habits, overcome certain anxieties, finally figure out what hair style best suits you. Knowing when to stop drinking, knowing what a jerky guy looks like and telling him to piss off. I guess it's about getting down to the real truth of oneself and growing inwards-out. Some people think they have it all figured out when they know nothing. I used to think I was the only one who new it all then I realized I didn't, and now I realize that neither does anybody else. Everybody is so insecure it's really amazing. So many people hide it so well. Then there are the "elders" who really help and care. I'm so fortunate to have many "elders" who care about me and understand. Sometimes I wish that the professors in my school would stop pushing me so much, but i know they do it because they genuinely care and they know it is tough after graduate school, and how much they are happy that they are not going to grad school these days. I have to stop writing now. I'm tired. But for all of you: "hang on-drink a pint-take a nap-hang on"
Close up of celtic-head-new-born-mice-bodies
Thursday, September 07, 2006
The new Hooper 2 graduate studios are now built, and I started to move in today. To my dismay they were not drywalled or painted for that is left up to us. You can imagine all the grumblings about this one. Anyways, I grabbed a bucket of paint and just started painting.
After the first coat, I realized that I would need at least two more layers of paint, and a spackle job. I'm not sure where everyone was, but I was the only one in there painting away. Maybe they didn't realize they could be in there, but i didn't care; I just went ahead and took over my space.
I had a lot of fun doing the spackle actually. After a spackle job and a second coat it actually looks pretty good. Tomorrow, I'll give the rest of the walls a second coat.
The Hooper 1 building got broken into last night and a bunch of expensive video equipment was stolen from some peoples studios. I don't understand why people steal from each other especially poor art students. Anyways, I'm going to have to be careful with my stuff because we don't have doors on our studio's (we're not allowed them) at least the building door is kept locked.
Wednesday, September 06, 2006
September: Begin writing experiment for thesis.
October: Complete 1st section/chapter of thesis in draft form.
November: Candidacy reviews during first part of month (errr!!!)
First draft thesis section due to thesis advisor. 12-15pgs.
December: Rough draft of Thesis due to thesis advisor.
Christmas Break: Copy of rough draft due to faculty advisor.
January: Review of rough draft with thesis advisor. Changes and additions made.
February: Submission Draft of thesis due.
March: Thesis due
Early April: Open Studios
Early May: Thesis Exhibition. All theses should be signed and recieved by Graduate office prior to graduation.
What a wake up call for either a year of hell or a year of growth....perhaps much of both. Creating art has to be put somewhere in here also.
Linden Langdon Blog
Third year printmaking students from the University of Tasmania creating one big print using a lawn roller as a press.
Sunday, September 03, 2006
Diamond point etching needles are amazing. I just bought this etching needle, and I am completely fascinated with how easy it is to draw onto metal. I've always avoided drypoint opting for etching, but I'm trying to get more health concious and drypoint is very safe. The tip of the needle is so tiny that I can barley see it, but that is good because I broke the tip off of my last needle.
Coming up events in the printworld of the Bay area:
SEPTEMBER 7, THURSDAY 2006
Residency Projects :2005-2006 Kala Fellowship Exhibition, Part II
Opening Reception:6-8 pm in the Kala Gallery
Miriam Dym, Gary Nakamoto, Sasha Petrenko, Tracey Snelling
Saturday, September 02, 2006
Happy Happy man
If you have never been to Berkeley at the beginning of a semester, you should know about the Happy Happy Happy man. He is an 80 yr old man who stands for at least eight hours on top of a bucket yelling slowly and with broken-english articulation "haaaaapy....haaaapy.....haaaaapy" I'm not quite sure what it means but it does get people's attention. He holds up cardboard with theories of doom written all over them. Last year was the disaster Katrina and somehow he came up with a theory about the coming of the end of the world because of it. Now he is on about Israel being terrorist #1. His theories don't seem to be biblically based, but he sure get's upset at the ignorance of Americans when it comes to important world issues.
Wednesday, August 30, 2006
FACULTY POOL AT CALIFORNIA COLLEGE OF THE ARTS
Founded in 1907, California College of the Arts is the largest regionally accredited, independent school of art and design in the western United States. Noted for the interdisciplinary nature and breadth of its programs, the college offers studies in eighteen majors in the areas of fine arts, architecture, design, and writing. The college confers the bachelor of architecture, bachelor of arts, bachelor of fine arts, master of architecture, master of arts, and master of fine arts degrees. With campuses in San Francisco and Oakland, California College of the Arts currently enrolls fifteen hundred full-time students.
CCA is looking for a pool of instructors to teach courses on a semester to semester basis in the Photography and Printmaking Programs, starting in spring 2007.
Printmaking class possibilities include: Relief Print, Etching, Lithography, Bookmaking, Screenprint, and Monotype.
•Prior College-level teaching experience in the specific disciplines covered above.
•Exhibition record and familiarity with contemporary practice.
Interested candidates should submit a letter of interest with statement of teaching philosophy and examples of syllabi, curriculum vitae, slides or CD of applicant’s work, and two professional references with phone numbers. All inquiries and application materials should be directed to:
California College of the Arts
Human Resources (Job #1775)
Oakland, CA 94618-1487
fax (510) 594-3681
The review of applications will be ongoing and materials will be kept for future possibilities unless applicants indicate otherwise. The priority deadline is October 1, 2006.
California College of the Arts is an equal opportunity employer and welcomes
applications from individuals who will contribute to its diversity.
Tuesday, August 29, 2006
Anyways, I've decided to start another blog for Skopelos which will be ongoing because it will take a long time to write. Here's a sneak peak:
I helped set up for our welcome dinner. BBQ chicken, pork and various Greek dishes were served. The food was spectacular. We were eating for hours. The wine came out the sunset, and we had ourselves a party. Some Greek music was playing and soon before we knew it, we were dancing like posessed Greek spirits. I don't remember much after this except Christo went to get his Rooster and was dancing with it on his head. Then Christo did a solo dancing femme which was just hilarious. There was loud laughter, shouting, dancing, and music. It was a great night. The first word I learned in Greek?....Penis. Christo kept singing about his or mens penises. We were just floored with laughter. While all this was going on Jills husband kept pouring more and more wine in me, and kept offering cigarettes. I was exhausted by 2am, and made it back to my bed where I passed out with a grin on my face.
Tuesday, August 01, 2006
I made it to Skopelos and it is beautiful. Can you believe they use donkeys to pick up garbage instead of trucks. There are chickens running wild and kittns and dogs are everywhere. We arrived last night and were given a proper welcome. We got kisses and hugs and a welcoming meal. BBQ chicken and pork and various dishes. Absoluutely delicious!!! Then we sang songs and learned to dance the greek way. I'm preety good! Our hotel is at the top of the hill and overlooks the sea and the town. My little room has a kitchen and a wonderful view.
The printshop is out of this world. It is the largest one I've ever been in. There are two etching presses, and a huge litho press. The view is also incredible from the printshop. As soon as I walked into the printshop I suddenly felt joy and became highly inspired. I even beveled my plates with unusual care! We had breakfast in the printshop and had an orientation to Greek life. Then Linda showed the students how to bevel the plates. It was all we could take today because all of us had a crazy hangover. Too much wine. So, now I'm in the town. It's remarkable here. I'm so glad I came. I hope to write more, but right now I still have a hangover, and am extremely tired. Siesta time for me.
Tuesday, July 18, 2006
Wednesday, July 12, 2006
Tuesday, July 11, 2006
If you have not already heard Lorg printmakers are looking for supplies for their printshop, so if you have extra stuff send it over there!!!
Lorg printmakers (formerly Connaught Association of Printmakers) came together in order to create a twenty-four hour access print workshop in Galway, Ireland. For the last six years, printmakers in Galway were fortunate enough to be have limited access to G.M.I.T. printmaking facilities through the membership of a print club, which allowed a capacity of fifteen artists. However, due to increase in demand, they needed to extend this facility.
Lorg printmakers aim to provide: A professional 24-hour open access print workshop. Both emerging & established artists with the opportunity to make & establish their work. Training classes to allow printmakers to advance their artistic careers by expanding their knowledge of all printmaking processes while also introducing artists working in other mediums to printmaking. Employment specifically linked to art, printmaking, and art administration. In addition, to promote: Encouragement and support for the development of a stronger printmaking community in Galway and to promote Galway as a major centre for the visual arts both nationally and internationally through residencies, workshops and touring exhibitions. Inter relations with other studios and collaboration with various art organisations. Awareness and appreciation of printmaking through workshops, community based projects, schools programmes and regular exhibitions. An environmentally friendly studio where the emphasis is on green products and materials.
Since May 2004, membership has grown in excess of 70 members. As part of their membership, members receive a quarterly newsletter, regular e-mail and text alerts as well as the opportunity to exhibit in Lorg member shows.
Recently Lorg were approved for funding from the Arts Council, while also receiving much support from artists, councillors and business people, not just in Galway but also throughout Ireland.
Tuesday, July 04, 2006
There is a really interesting article on Artblog about a printshop called Cannonball Press in Brooklyn, New York.
The philosophy of Mike Houston and Martin Mazorra of Cannonball Press: "Inclusiveness and cooperation always get you further than elitism and exclusionism. By this age, I better have figured that one out. We think it's ridiculous that art is so costly. We understand fully why it is, but still think it's ridiculous. Printmaking has the capacity to be the people's mediumÂthe democratic art. We believe in this strongly and are just thrilled that so many different people are able to afford what we make."
It's inspiring to know that printshops like this exist in America. While I was in Europe I saw many of these types of printshops opening up. As the contemporary art world moves forward in the direction of becoming inaccessiblee to the common people, it's inspiring to know that artists are thinking differently and are putting their values first.
Saturday, July 01, 2006
I have found the perfect word for the core of all the art that I create: Wabi Sabi. I thought that there was no connection between my artworks, but this simple yet complex idea lies beneath all of my work. The aesthetic is sometimes described as one of beauty that is "imperfect, impermanent, and incomplete". This is how Rothko and Kathe Kollwitz work makes me feel. Even though the two artists are completely different, they both evoke this feeling for me. Now that I have found a word that best describes my aesthetics, I want to explore this term more, and see what I can make.
Wabi Sabi: According to Leonard Koren: "if an object or expression can bring about, within us, a sense of serene melancholy and a spiritual longing, then that object could be said to be wabi-sabi." Richard R. Powell summarizes by saying "It (wabi-sabi) nurtures all that is authentic by acknowledging three simple realities: nothing lasts, nothing is finished, and nothing is perfect."
Sunday, June 25, 2006
This isn't what was on show at Madison, but if you read further down it says that the brothers bought Goya's disaster of war prints and reappropriated them. Personally, I think it is unacceptable to take Goya's prints and use them like a personal coloring book. It's disrespectful and childish to me. Some artists are just jerks and I fear the future of the art world when artists get off on using shock values inappropriately to cause a fifteen minute stir in the art world.
Jake and Dinos Chapman are influential British artists who, along with some of their contemporaries, came to the attention of American audiences when they appeared in the exhibition Sensation, which showed works from the Saatchi collection at the Brooklyn Museum in 1999 2000. The Chapman brothers disturbing contributions to that exhibition were sculptures of androgynous adolescents, whose in-your-face sexuality tested the mores of museum goers.
In 1999, Paragon Presspublished the Chapmans eighty-three print set, Disasters of War. The set refers to a series of prints by Goya which bear the same title, Desastre de la Guerra. The prints were not published until 35 years after his death, probably because they include satires on contemporary figures. Goyas series also records in considerable detail the atrocities and heroism of the Peninsular War between Spain and France waged 1808 1814. Though it contains the same number of prints, some of which refer directly to Goyas series, the prints in the Chapman brothers series do not attempt to recapitulate Goyas series and instead treat Goyas prints without reverence or restraint. [A portion of this set will be on display at the Chazen.]
Some more examples of their portfolio are atParagon Press
In 2003, the brothers sold another complex war diorama (of wartime atrocities laid out on a swastika-shaped pedestal) and used part of the proceeds from the sale to purchase their own set of Goyas Disasters of War series. They then painted deranged clown and puppy faces over all of the visible faces of Goyas figures. The result, which they entitled Insult to Injury, caused a scandal among critics offended by what the Chapman brothers called their rectifying of the prints. Jake Chapman defined their sense of the meaning of rectified as being the same as when the word was used in the movie, The Shining, when the butlers trying to encourage Jack Nicholson to kill his family, to rectify the situation.---more from the Guardian
Monday, June 19, 2006
Crown Point Press
Article in Circa
Categories: Allegory, Neo-expressionism, Transavantegarde.
Italian-born artist, Francesco Clemente, is part of a group of Italian artists that returned to a figurative style of painting in the 1970s. Clemente draws from a multitude of sources, from Roman and Indian civilizations to astrology. Clemente's paintings and prints are highly personal and subjective; he often creates his images from memory
Wednesday, June 14, 2006
For those of you who are fans of the "Iron Chef" here is an article from the New York Post about the "Iron Arist". I could see my old prof. J pulling this off in his class.
Olav Westphalen, second from left, and his team won at "Iron Artist" at P.S. 1 Contemporary Art Center.A boisterous crowd filled the arena to cheer two pairs of sparring contenders, as two announcers egged on the spectators and a panel of four stone-faced judges assessed the competition before deciding on the winners.
"Iron Artist," a competition that placed New York artists in an intense but good-natured rivalry on Saturday afternoon. It was loosely modeled after, and parodied, the television series "Iron Chef."
Like the contestants on "Iron Chef," who create multicourse meals based on a single ingredient, the artists were given a broad theme and asked to interpret it with help from teams of assistants, mostly art students. The judges then scored the works based on originality, execution and responsiveness to theme.
The two-hour show, billed as "an absurdist multimedia spectacle of competitive, real-time art making," drew more than 1,400 people who laughed, applauded and groaned through the event. Dozens watched from the windows and even the roof of the museum's Romanesque Revival building.The event compressed the process of making and interpreting art into a frenzy of activity.