Enrique Martinez Celaya

Here is an artist that I really like. He came to Berkeley and worked with Paulson Press to produce some wonderful prints. I really like the mysterious dark imagery that he produces, but I also his use of symbolism and the way he manages to keep a consistent form of art making no matter what medium he might be using.

Some of his prints of Enrique Martinez Celaya at Paulson Press


His own wedsite : Enrique Martinez Celaya


Enrique Martinez Celaya

By Sue Peters

Enrique Martinez Celaya/Greg Kucera Gallery

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.

Chagoya

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.

Opportunity

3/4 TIME OPPORTUNITY

Kala Art Institute (Berkeley, California)
Printmaking Studio Manager

Printmaking Studio:

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.


Hours:
24-32 per week

Compensation:
$(13-16) per hour, D.O.E

Benefits:
Medical & dental insurance, paid vacation
Open until filled.

To apply:
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
Fax: 510.540.6914
E-mail: michelle@kala.org

Letterpress

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.

The Masters

Odilon Redon
L'Ailé(The Winged)
lithograph in black ink on pale cream chine Appliqué with a white wove backing sheet, as issued
1893

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.

Crown Point Press

Kathan Brown


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:

Kiki Smith

Julie Mehretu

Tom Marioni

Mary Hielman

Fred Wilson

Robert Bechtle

Ed Ruscha

Kiki Smith

Still, 2006
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.

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.

I started to draw some irish girls from the 1950's onto my wall, and i paintied the heads of the celtic creatures

the3robbers

...untitled,
originally uploaded by the3robbers.

I was randomly searching through flickr when I bumped into this printmakers work. I really like his work a lot. They remind me of prints that dawn was creating her last semester.




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.

non-toxic steps:
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.

Paper-Litho-Transfer

MATERIALS:

1. Shellac (Bull’s Eye Orange works best)
2. Xerox or Laser Print
3. Oil based Lithography Inks
4. Roller or Brayer
5. Newsprint
6. Gum Arabic
7. Sponges
8. One empty bowl
9. One bowl with clear water and a tsp. of gum arabic
10.

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).
12. PRINT!