tag:blogger.com,1999:blog-336002602024-03-05T16:19:31.444-05:00Philagrafika BlogUnknownnoreply@blogger.comBlogger143125tag:blogger.com,1999:blog-33600260.post-34983786221096402072018-03-17T09:19:00.008-05:002021-09-26T13:41:43.219-05:00The Graphic Unconscious Exhibition Catalogue<div class="separator" style="clear: both; text-align: center;">
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<span face="Arial, Helvetica, sans-serif">The Graphic Unconscious Exhibition Catalogue is now available here: <a href="https://www.ebay.com/itm/294088535534" target="_blank">PGKA GU</a></span><br />
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<span style="-webkit-font-kerning: none;">The Graphic Unconscious Catalogue is a reference for the expanded field of printmaking featuring work by forty artists and collectives, working in a variety of media from traditional print to multi-disciplinary practices that were featured in the exhibition of the Philagrafika 2010 festival— Philadelphia’s international festival celebrating print in contemporary art that was held from January 29 through April 11, 2010. </span></div>
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<span style="-webkit-font-kerning: none;">Essays by: José Roca, Sheryl Conkleton, Shelley Langdale, John Caperton, Lorie Mertes, Julien Robson, Caitlin Perkins and Luis Camnitzer with Photography by Greenhouse Media, Rebecca Mott and the artists.</span></div>
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<span style="-webkit-font-kerning: none;">Lisa Anne Auerbach, Eric Avery, Christiane Baumgartner, Erick Beltrán, Bitterkomix, Mark Bradford, Cannonball Press, Enrique Chagoya, Sue Coe, Julius Deutschbauer, Dexter Sinister, Dispatch, Drive By Press, Eloísa Cartonera, Art Hazelwood, Pablo Helguera, Orit Hofshi, Thomas Kilpper, Gunilla Klingberg, Virgil Marti, Paul Morrison, Óscar Muñoz, Pepón Osorio, Carl Pope, Qui Zhijie, Duke Riley, Betsabeé Romero, Francesc Ruiz, Jenny Schmid, Self Help Graphics & Art, Regina Silveira, Kiki Smith, Space 1026, Superflex, Swoon, Tabaimo, Temporary Services, Barthélémy Toguo, Tromarama, and YOUNG-HAE CHANG HEAVY INDUSTRIES.</span></div><div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal;"><span style="-webkit-font-kerning: none;"><br /></span></div><div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal;"><span style="-webkit-font-kerning: none;"><b>* link to buy the catalog has been fixed</b></span></div>
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timothy evanshttp://www.blogger.com/profile/11697276914689778160noreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-79478136542025366052013-02-17T17:33:00.002-05:002013-02-17T17:33:49.661-05:00Greetings from Iceland<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;">Serena Perrone finds a perfect ice triangle during a day trip to Jokulsarlon. </span></div>
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Please follow the <a href="http://duenorth2014.tumblr.com/">Due North blog</a> for updates on the artists, itinerary, and our adventures. </div>
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<span style="font-size: x-small;">Cindi Ettinger discusses Philagrafika at Islensk Grafik. Cindi's presentation was followed by artist talks by participating Due North artists. </span></div>
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<span style="font-size: x-small;">North-themed work in progress by Kristinn Hrafnsson during a studio visit. </span></div>
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<span style="background-color: white; color: #111111; font-family: Georgia, Palatino, 'Palatino Linotype', Times, 'Times New Roman', serif; font-size: 12px; text-align: start;">L to R : Islensk Grafik director </span><span class="item" style="background-color: white; color: #111111; font-family: Georgia, Palatino, 'Palatino Linotype', Times, 'Times New Roman', serif; font-size: 12px; text-align: start;">Soffía Sæmundsdóttir, Cindi Ettinger, Serena Perrone, Marianne Bernstein, Kelsey Halliday Johnson, Katie Baldwin, and Shawn Bitters. </span></div>
<br />marianne bernsteinhttp://www.blogger.com/profile/07900741666001338535noreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-15999971759096819202013-02-03T16:53:00.004-05:002013-02-07T20:55:43.086-05:00Introducing: Philagrafika Projects<div style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0in;">
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<span style="font-size: x-small;">[Photograph of the Northern Lights by David Kessler as he landed yesterday in Northern Iceland.]</span></div>
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<b>Philagrafika
Projects</b> invites independent curators to undertake international
projects that further contemporary print-based art. With a global
approach and a local focus, these projects heighten
Philadelphia's role as an artistic hub for cutting edge print
practices. Philagrafika is pleased to announce its first project, <i>Due
North</i>, an international collaboration envisioned by artist and
curator Marianne Bernstein.
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In
January 2014, the Icebox Space in Philadelphia will be transformed
into a winterscape featuring video and prints created by select
artists from Philadelphia, PA and Reykjavik. Work will be made in 2013
through a series of group expeditions and residencies in Iceland. We
are excited to announce that the first artists have landed in
Northern Iceland and another group will be joining them on February
14th.
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The
participating artists are: Katie Baldwin, Marianne Bernstein, Shawn
Bitters, Marianne Dages, Cindi Ettinger, Katya Gorker, John Heron, Kelsey
Halliday Johnson, David Kessler, and Serena Perrone. The Icelandic printmakers
will be announced shortly. Over the next few weeks, traveling artists
will meet with Nordic artists and cultural leaders in Reykjavik, then travel
to northern Iceland to experience the extreme landscape and
conditions at the heart of this project's mission.
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Please
follow our adventures on the <i>Due North</i> blog as this project unfolds
in the coming weeks. <a href="http://duenorth2014.tumblr.com/">http://duenorth2014.tumblr.com</a></div>
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<span style="font-size: large;"><b>Philagrafika</b></span></div>
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<span style="font-size: small;"><i>Advancing
Philadelphia as an international center for contemporary printmaking</i></span></div>
marianne bernsteinhttp://www.blogger.com/profile/07900741666001338535noreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-15822175948136896632012-11-25T14:15:00.000-05:002012-11-26T12:56:59.399-05:00Interview: Alex Lukas<div style="text-align: left;">
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<span style="color: orange; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><a href="http://philagrafika.myshopify.com/products/alex-lukas" target="_blank">Alex Lukas 2011 Philagrafika Invitational Portfolio Print</a></span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">With a wide range of artistic influences, Alex Lukas creates highly detailed drawings, subtly rendered prints, and complex 'zines. Moving between mono- or duo-tone and lush color, his work challenges the perception of the urban environment as a place of inevitable destruction. Though his landscapes can seem eerily foreboding and forsaken, the artist eschews the term "post- apocalyptic" for his work, preferring to leave the meaning behind his works open to viewer interpretation in a variety of ways. Lukas is a Philadelphia resident and member of Philadelphia-based collective Space 1026. His imprint, Cantab Publishing, has released over 35 small books and 'zines since 2001.</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Recently Dan Haddigan talked with Alex about his ideas, his use of printmaking in contemporary work, and why superheroes don't seem to show up when you expect them to.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-weight: bold;">Dan Haddigan: You have a very interesting and diverse body of work, incorporating a number of different techniques. Since this is the Philagrafika blog, I think the best way to start the conversation is for you to speak a little bit on your printmaking practice. I recall reading in an interview that you use a special silkscreen technique on your flooded-city pieces - the rendering of the water is all done by hand, and then silkscreened, correct? Do you ever re-use the same textures from one piece to the next? Can you discuss your feelings on the use of silkscreen techniques as a tool to produce a single image rather than a printed edition? What is your attitude, and your thoughts on printmaking in general, and printmaking as a tool to create certain effects?</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>Alex Lukas:</b> I try to use printmaking techniques where it is appropriate. I don't really consider myself a capital-P "Printmaker." I'll always consider myself a 'zine maker, since for a long time that was really my primary focus. When creating 'zines, I try to consider technique, form and the idea of editioning these printed objects-in-multiple.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">That said, I have never taken a screen-printing class - so all of my knowledge came from observation, helpful peers and figuring it out myself. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">When I first started incorporating screen printing into my one-off drawings, the technique was heavily influenced by a lot of the posters and 'zines I had seen being produced in Providence, Rhode Island, where I went to college. Other than going to a few parties, I was never even tangentially involved in any of that Fort Thunder stuff, but I was really, really excited by the process of it - the use of transparent ink overlays especially. It is such a smart and economical way to produce color with just a few screens. When I realized I wanted to use this effect in my drawings, I couldn't figure out any other way than screen printing.</span></div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br />And, to me, that is still the key: using printmaking techniques for effects that I couldn't otherwise achieve. The screen-printed book pages that you are asking about usually involve a split-palette pull through an open screen - an opaque ink fading into a transparent over a partially masked-out cityscape. For many of my other drawings, I'll screen-print advertisements or murals - objects in the composition that I want present as distinct from my drawing. The water patterns I re-use many times, they are printed from photographs I find or take myself. The reflections of the buildings are painted into each work.</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><b>DH: You've touched on what I think is one of the most exciting things happening within printmaking today. I think that the discipline is currently in the midst of an evolution, moving from something very structured and academic to a medium that’s more about experimentation and combining other media. Where in the past it’s been a tool to unleash multiples upon the world, now more and more artists are using print techniques in a much more fluid way. The fact that you regularly employ silkscreen techniques despite the fact that you've never taken a screen-printing class shows that you belong in sort of a "new school" of artists who learned the techniques second-hand and adapted them to your circumstances. (That’s not to say that printmakers haven't been experimental before, but now it seems extremely prevalent, more like the rule and less the exception.) You don’t have the onus of "the right way" floating above your head while you work, and I think it can be difficult for classically trained printmakers to steer away from that mindset. It really opens the door to a wealth of possibilities.</b></span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><b>AL:</b> I agree - but I think this cross-disciplinary practice is really just the way people make artworks today in general, not just as it relates to printmaking. I like the idea of de-stigmatizing printmaking from a craft to just another tool like video or sculpture or performance. I think the idea of printmaking as a tool for craft and not simply another method of making work is outdated, but not everyone has come around yet. And, just for the record, I have taken some printmaking classes, just never a screen-printing class. I took a continuing-ed etching class and a letterpress class, and I'm very interested in those techniques, but screen-printing has always been the most attractive and appropriate method for my work.</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><b>DH: In addition to the silkscreen drawings, you also do editioned prints, as well as run a 'zine publishing imprint. How do these works compare to your other work? Is it any more or less enjoyable than your mixed-media pieces or drawings? How important is it to your artistic process? Does the fact that you publish 'zines inform any other part of your work? Is there any connection between publishing others' work and appropriating published works (book pages) for your pieces?</b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>AL:</b> I'm not sure I can quantify one as more or less enjoyable. All of it obviously comes from me - but I do consider them distinct bodies of work stemming from similar influences and interests. I used to get the comment a lot that I should add superheroes to my drawings - Superman flying through or something - but that doesn't really make sense to me. I get why the suggestion would be made, but it doesn't correlate with the reason I make those works. </span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The drawings I make are intended (and this is a drastically oversimplified summation) as quiet reflections on violence and rebirth. The 'zines are generally collections of photographs, interviews or focused on the history of some obscure place. The superhero prints are nerdy one-liners. All of these things are interesting to me, feel important to make, and come from a similar place and set of experiences, but they have different goals, so I try not to cram all of these intentions into one body of work.</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Like I discussed before, there is a lot of technical overlap and influence as well. I'm not sure if there is a correlation between publishing and appropriating, other than the natural impulse to collect printed stuff - books, 'zines, posters - it all accumulates together. I really like printed material.</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><b>DH: Just because you have a lot to say doesn't mean you need to say it all at once. Good artists know how to edit themselves. It's important for artists to have ideas outside of their main body of work that occupy some mental real estate. I find that I have my best ideas when I'm focused on something else. It's interesting to me the way that two separate entities can overlap subconsciously. The fact that your superheroes are existentially walled off from the disasters they can help alleviate or prevent makes both bodies of work all the more interesting.</b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /><b>AL:</b> Yes, I think the delineation of the work is good, but it has also sometimes been a hindrance. It has gotten easier recently, but for a while, when an opportunity would come up for a show or an illustration project, I would need to ask very specifically what work of mine the person expected.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br />Very recently I've begun to try to break down some of the walls I've built up for compartmentalizing my own work. I'm increasingly interested in trying to incorporate some of the photography I do into the work I exhibit. I mean, it has always been integral for research and reference, but I've started to show some new drawings alongside diazotypes (blueprints) or unique photocopies that come directly from my reference photography. I'm really excited about the direction these pieces are going.</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><b>DH: I saw a recent group show you were in at Extra Extra Gallery in Philadelphia, which I believe was their last show, appropriately enough. You had an installation set up, including a large white skeletal structure for displaying your framed pieces, flanked by potted plants and fluorescent lights. What spurred your work toward a more installation-based approach, and is this a direction you will continue with in the future? How do the structure and the plants push the work further, in your opinion?</b></span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><b>AL:</b> I was really excited with the installation at Extra Extra. For a year and a half I have been working on a 'zine series titled </span><a href="http://www.alexlukas.com/inprint/of-note/" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;" target="_blank"><i><span style="color: orange;">OF NOTE</span></i></a><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">. Each issue is one or two 11" x 17" photocopied pages folded into quarters and dedicated to photographs I've taken and collected together under a simple thematic umbrella: vans in the snow, a graffitied plant, hand-painted couches and so on. Issue #12 was just released. Sometimes it is a set of photographs taken in a few minutes, sometimes it takes a year to compile. Issue #7 was dedicated to fluorescent lights and the spaces they occupy - loading docks, vacant storefronts - generally commercial spaces. My favorites from this collection were fluorescent lights left on inside of vacant storefronts. As I've been hinting at ideas of commerce in my work for a while now, I decided to try incorporating this type of lighting into my installation at Extra Extra. The structure itself is a pretty direct extension of structures I've been building to hold my large drawings for a while, so it seemed appropriate.</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><b>DH: For all of its blank, dull evenness, fluorescent lighting can be very expressive. To use it as a sculpture or installation medium and to use it to light artwork is to make a very distinct decision about presentation, especially in the capacity you speak of. It's a very convenient and clever way to make that connection to commercialism without being too overt (the same goes for the billboard-inspired structures). In my opinion, when used to light artwork, fluorescent lighting has a way of making it look sort of ghastly, as opposed to the enhancing qualities of halogen lighting.</b></span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><b>AL:</b> Fluorescent lighting has been a pretty well-trod path in contemporary art. Simon Boudvin's <i>Concave</i> series is one of my favorites. Robert Irwin. Dan Flavin, obviously. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I'm not sure I agree with your characterization of fluorescent lights as making artworks look ghastly, though. I think a lot of galleries that I'm really excited about have exclusively fluorescent lights, but I take your point that it is a different way to view work. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">That line between the familiar and unfamiliar, between ease and disease, is really important to me. I'm really interested in pursuing that more through the structures and lights that hint at commerce but re-contextualize it. That is a similar impulse, in my mind, to depicting these scenes of destruction in a fashion that references the idealized depiction of our country in 19th-century American landscape painting.</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><b>DH: Your subject matter is obviously pretty dark. However, the scenes you depict always have a certain light to them. Your color palette is generally neutral, the weather is often overcast, but it's not night time. Although humans are not depicted, there are still traces of life. The word <i>apocalypse</i> is thrown around pretty liberally, although not many people are familiar with the original meaning of the word - it relates to the permanent triumph of the forces of good over the forces of evil, the revelation of truth, the "lifting of the veil." Is this something that you think about when you approach your work conceptually? How much of this is a conscious decision in your work? Why do you choose to focus on this type of subject matter?</b></span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /><br /><b>AL:</b> I like that - "lifting the veil." That is much more interesting and appropriate than the term "post-apocalyptic," which people often use in relation to my work. I get it: it is the most accessible descriptor for what I draw, but I think that focus is wrong for what I make. And I think in articulating why I dislike that term, I am able to describe my intentions better. These drawings are non-narratives - they are not meant to tell a particular story nor have a sense of a specific moment. So much of the fascination with end-time "post-apocalyptic" imagery gets burdened by particular descriptions of "what happened" - which often devolves into vampires and zombies or cautionary tales about global warming or nuclear proliferation. Some of those fears are more valid than others, but either way, I'm not trying to be a didactic picture-maker. I'm trying to take the specificity out of the image and focus instead on these contradictory feelings of anxiety and peace; hints of violence surrounded by rebirth through these placeless landscapes. These themes and contradictions are much more interesting to me.</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The book pages are obviously not "place-less;" they all depict American cities, but by using older imagery I'm able to engage with ideas of false histories. The source of these book pages are usually coffee-table books from the 70s or 80s, so they generally depict skylines that are different from how they appear today. Sometimes buildings depicted have been demolished, sometimes I'll cover up other structures, sometimes the names of defunct companies still adorn facades. All of this is really, really interesting to me and takes away from the simple notion that this is a "warning of one possible future if we don't 'shape up'."</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>DH: It's human nature to analyze an image and relate it to the present - we look at something and decide if it's now, the future or history, and then the next logical step is to construct a back-story for what we see. I think you do a great job of reducing specificity, but the instinct to contextualize will always be there. With your work, you seem to have a specific goal in mind. Do you think it detracts from the work if it operates on a narrative level? Are you troubled when people mistake your work as a warning message? You mentioned that using older images is a way to create disassociation; are there any other specific steps you take to achieve this? </b></span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><b>I'm very interested in the conceptual thinking and the depth of intellect in your work. Have you, or would you ever, consider doing any sort of written companion to your work?</b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /><b> AL:</b> I'm not sure about a written companion to the work. I feel much more comfortable dealing with these issues visually than through writing. I think it's just easier and more fun for me. </span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">I understand that the work will operate on a narrative level; it is a landscape painting, after all. I just ask the viewer to provide that narrative for themselves, starting with a set of cues I give, and then I hope the more they look at the work, the more they will question the narrative they initially had. </span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">I'm always excited to find spray-painted graffiti written by high-school kids under bridges and on rocks. I love that method of communication because it is so hyper-specific ("Steve was here"), in that it lets you know exactly what happened ("Steve was here"), but at the same time, it is totally vague (Steve who? When was Steve here? Who was Steve with? Why did Steve decide to commemorate his arrival at this spot? Where did Steve go from here?). The more you think about it, the less specific it gets. I think that process is a good parallel for what I try to do with my drawings. </span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Alex Lukas was born in Boston, Massachusetts in 1981 and raised in nearby Cambridge. He creates both highly detailed drawings and intricate Xeroxed 'zines. Lukas's imprint, <a href="http://www.cantabpublishing.com/" target="_blank"><span style="color: orange;">Cantab Publishing</span></a>, has released over 35 small books and 'zines since its inception in 2001. His drawings have been exhibited in New York, Boston, Philadelphia, Los Angeles, San Francisco, London, Stockholm and Copenhagen as well as in the pages of <i>Swindle Quarterly</i>, <i>Proximity Magazine</i>, the <i>San Francisco Chronicle</i>, the <i>Village Voice</i>, <i>Philadelphia Weekly</i>, <i>Dwell</i> magazine, <i>Juxtapoz</i> and the <i>New York Times Book Review</i>. Lukas is a graduate of the Rhode Island School of Design and now lives in Philadelphia, PA.</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Alex's most recent projects include </span><a href="http://alexlukas.com/inprint/viid-zine/" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;" target="_blank"><i>VIID</i></a><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> and </span><a href="http://alexlukas.com/inprint/under-providence/" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;" target="_blank"><i>Underneath Providence</i></a><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">. Click on the links to discover more of Alex's work. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: orange;"><a href="http://www.alexlukas.com/inprint/philagrafika-2011/" target="_blank">Click here</a></span> to see behind-the-scenes images of Alex and Amanda D'Amico creating the <i>2011 Philagrafika Invitational Portfolio Print.</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>Dan Haddigan is a Philadelphia-based artist, writer and co-founder of <a href="http://dirtisdirt.com/" target="_blank"><i>Dirt is Dirt</i></a>, a curated, submission-based, online art magazine. Discover more about Dan's work by visiting <span style="color: orange;"><a href="http://danhaddigan.com/" target="_blank">danhaddigan.com</a></span>. </b></span></div>
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timothy evanshttp://www.blogger.com/profile/11697276914689778160noreply@blogger.com0Philadelphia, PA, USA39.952335 -75.16378939.757580499999996 -75.479645999999988 40.1470895 -74.847932tag:blogger.com,1999:blog-33600260.post-22818809861794835132012-11-01T10:54:00.001-05:002012-11-08T14:43:53.446-05:002012 IPR<br />
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<a href="http://www.facebook.com/events/159195624224864/" target="_blank"><br /></a>timothy evanshttp://www.blogger.com/profile/11697276914689778160noreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-25104934039177838852012-05-30T17:04:00.003-05:002013-02-03T16:19:27.689-05:00Due North<br />
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<span style="font-family: Helvetica; font-size: 13pt;">Local artist Marianne Dages (</span><span style="color: #0025e5; font-family: Helvetica; font-size: 13pt;"><a href="http://huldrapress.com/">huldrapress.com</a>) </span><span style="font-family: Helvetica; font-size: 13pt;">created these limited edition letter press cards and a beautiful poster for Marianne Bernstein's upcoming project <i>Due North</i>. Dages' printed works are a prelude to imagining "the north". An international artist residency will take place in Iceland culminating with an installation inside the Icebox Space at Crane Arts in 2014.<o:p></o:p></span></div>
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<i><span class="Apple-style-span" style="font-family: Helvetica; font-size: 17px;">The imagery for the cards were made using only
wood and metal type and</span><span style="font-family: Helvetica; font-size: 13pt;"> ornaments found around the shop. Little pieces
of punctuation, </span><span class="Apple-style-span" style="font-family: Helvetica; font-size: 17px;">flourishes, and lines. The colors I chose were
inspired by how I </span><span class="Apple-style-span" style="font-family: Helvetica; font-size: 17px;">imagine the Icelandic landscape, a place I've
never actually been to </span><span class="Apple-style-span" style="font-family: Helvetica; font-size: 17px;">but am inspired by. The delicate green and deep
scarlet are British </span><span class="Apple-style-span" style="font-family: Helvetica; font-size: 17px;">Soldier lichen. The gray blue, the winter sky
and ice. And the brown,</span></i><span style="font-family: Helvetica; font-size: 13pt;"><i> the brown of hard soil and bare twigs.The words
are a mix of Icelandic and English words, names from Norse mythology, words
describing magic, and the elements of the island. -</i>Marianne Dages<o:p></o:p></span></div>
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<span style="font-family: Helvetica; font-size: 13pt;">Special thanks to Common Press for lending
their space and type for this project. </span><br />
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<span style="font-family: Helvetica; font-size: 13pt;">Please stay tuned to the Philagrafika blog for more updates on <i>Due North</i>.</span></div>
marianne bernsteinhttp://www.blogger.com/profile/07900741666001338535noreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-32139026174238643902012-05-26T13:04:00.000-05:002012-05-26T13:04:47.941-05:00<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif;">Indeed the passing of many </span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><i>a</i></span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"> great things is often exaggerated or simply false in these times of attention getting headlines...</span><br />
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif;">Following up on the highly successful <i>Doing Time / Depth of Surface</i> residency and exhibition at Moore College of Art and Design, Philagrafika has mounted a rare public exhibition of a selection of its <i>I<a href="http://editions.philagrafika.org/" target="_blank">nvitational Portfolio Prints</a> </i>at <a href="http://www.jtchristensen.com/#!" rel="nofollow" target="_blank">Studio Christensen</a> in Rittenhouse Square. (ultra-hip I believe is how the <i><a href="http://www.theartblog.org/2012/05/news-post-philagrafika-begins-anew-flying-kite-art-project1616-walnut-sold-opportunities-and-more/" rel="nofollow" target="_blank">Art Blog</a> </i>referred to the space) The show features the 2011 Invitational Portfolio along with a selection of prints from past Portfolios, including works by <a href="http://bit.ly/JUxVmO" rel="nofollow" target="_blank">Judith Shaechter</a>, <a href="http://bit.ly/KTSZXY" rel="nofollow" target="_blank">Isaac Lin</a>, <a href="http://bit.ly/KdMksL" rel="nofollow" target="_blank">Stuart Netsky</a>, and too many others to list here. Also included are two of the Signature Series prints created specifically for <i>Philagrafika 2010;</i> <a href="http://www.blogger.com/goog_1518408297">Eric Avery's </a><i><a href="http://bit.ly/MnW3xt" rel="nofollow" target="_blank">Paradise Lost</a> </i> and <a href="http://bit.ly/LqCG3y" rel="nofollow" target="_blank">Regina Silviera's <i>Pendent</i></a>. </span><br />
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif;">In conjuction with the exhibition, Philagrafika is expanding on <i><a href="http://www.philagrafika.org/workingstates1.html" rel="nofollow" target="_blank">Working States</a></i>, the online publication series started by José Roca and Caitlin Perkins, to include the first in a series of occasional Artists and Curatorial talks focusing on new projects that further the understanding of the influences of printmaking on contemporary art practices. On May 31, <span class="Apple-style-span" style="border-collapse: collapse;">Philagrafika Portfolio Print artists Nami Yamamoto and Master Printer and RISD Assistant Professor Mary Anne Friel </span><span class="Apple-style-span" style="border-collapse: collapse;">will discuss their recent collaboration <i><a href="http://www.usaprojects.org/project/fog_catcher_working_title" rel="nofollow" target="_blank">Natural Discourse</a>, </i>an exhibition co-curated by Mary Anne Friel and Shirley Watts opening at the University of California Berkeley's Botanical Gardens in June 2012. Space is still available for this talk so if you are in Philadelphia stop by, there are many great things to see and hear. Details <a href="http://philagrafika.ticketleap.com/working-states-1/t/a3b6704f0097274a9832c6d858a9dd51/" rel="nofollow" target="_blank">here</a>.</span></span><br />
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<span class="Apple-style-span" style="border-collapse: collapse; font-family: verdana, arial;"><br /></span>timothy evanshttp://www.blogger.com/profile/11697276914689778160noreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-45632565307218657752012-01-26T14:18:00.001-05:002012-01-26T14:25:32.323-05:00Gomez and Gonzalez Install Doing Time/Depth of Surface<div class="separator" style="clear: both; text-align: center;">
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Our latest exhibition,<i> Doing Time/Depth of Surface,</i> is being installed this week by visiting Spanish artists Patricia Gómez & María Jesús González with a team of preparators from Moore College of Art & Design. It's been busy in the Goldie Paley Gallery all week as we prepare for the January 27th opening reception at 5:30pm! We invite all of you to view the installation process live via <a href="http://www.livestream.com/pgkacaptured">Livestream</a>! The opening reception as well as many other public programs will be broadcast through that link. The stream can also be accessed from the Philagrafika website.<br />
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<a href="http://3.bp.blogspot.com/-_Oz8lgH_FgE/TyGjzoEuUUI/AAAAAAAAAAc/2GRMBBKvx5c/s1600/DoingTime-installation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-_Oz8lgH_FgE/TyGjzoEuUUI/AAAAAAAAAAc/2GRMBBKvx5c/s320/DoingTime-installation.jpg" width="180" /></a></div>
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Above is a gallery view of the prints before they were unrolled! Below is an image of one of the prints being fully extended by the artists outside of Holmesburg Prison during their artist residency in the fall of 2011.<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-3686247757638434722011-11-14T11:44:00.049-05:002011-11-15T10:29:36.658-05:00Philagrafika Project inspired CD release<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: small;">Neil Leonard performing<br />
at the Paul Robeson House <br />
for Philagrafika, 2007</span></td></tr>
</tbody></table><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="background-color: white; line-height: 20px;">In 2007 Philagrafika commissioned jazz musician Neil Leonard to compose music to accompany </span><span class="Apple-style-span" style="background-color: white; line-height: 20px;"><b>Maria Magadelena Campos Pons' art installation </b></span><span class="Apple-style-span" style="background-color: white; line-height: 20px;"><i><b>Corner/Opera. Rethinking a Site.</b></i></span><span class="Apple-style-span" style="background-color: white; line-height: 20px;"> </span><span class="Apple-style-span" style="background-color: white; line-height: 20px;">This </span><span class="Apple-style-span" style="background-color: white; line-height: 20px; text-align: left;">installation of wallpaper, textiles and sound was created to celebrate the first phase of restoration of the Paul Robeson House--the house where he spent much of the last ten years of his life in West Philadelphia. The installation was part of the </span><span style="background-color: white; line-height: 16px; text-align: left;"><b><a href="http://www.philagrafika.org/re-print.html" target="_blank"><i>Re:Print Re:Present Re:View</i> </a>exhibition that Philagrafika produced</b> as lead up to <i>Philagrafika 2010: The Graphic Unconscious.</i></span></span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Below is a link to listen to recording of the <b>live performance of 4951Walnut </b><span class="Apple-style-span" style="background-color: white;"><b>Street</b> in Paul Robeson's house at 4951 Walnut Street in Philadelphia. This live performance included </span></span><span class="Apple-style-span" style="background-color: white; font-family: 'Trebuchet MS', sans-serif;">Neil Leonard - woodwinds; </span><span class="Apple-style-span" style="background-color: white; font-family: 'Trebuchet MS', sans-serif;">Tom Lawton - piano (Dave Douglas, Don Byron); </span><span class="Apple-style-span" style="background-color: white; font-family: 'Trebuchet MS', sans-serif;">Lee Smith - bass (Mongo Santamaria, Cedar Walton, Roberta Flack); and </span><span class="Apple-style-span" style="background-color: white; font-family: 'Trebuchet MS', sans-serif;">Craig McIver - drums (Max Roach M-Boom, Odean Pope).</span><br />
<span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="color: #0000cc; font-family: 'Trebuchet MS', sans-serif;"><a href="http://neilleonard.com/audio/4951WalnutStreetLive.mp3" target="_blank">http://neilleonard.com/audio/<wbr></wbr>4951WalnutStreetLive.mp3</a></span></span><br />
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<span class="Apple-style-span" style="background-color: white; font-family: 'Trebuchet MS', sans-serif;">The CD of works, including the work Neil Leonard composed for the Philagrafika installation, is now out on CD. <b>He will premiere the works at the Philadelphia Museum of Art on November 18th at 5 pm. </b></span><br />
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<span class="Apple-style-span" style="background-color: white; font-family: 'Trebuchet MS', sans-serif;">CD release performance:</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="background-color: white;">November 18th, 2011 5:00 pm</span><br style="background-color: white;" /><span class="Apple-style-span" style="background-color: white;">The Philadelphia a Museum of Art</span><br style="background-color: white;" /><span class="Apple-style-span" style="background-color: white;">26th Street and Benjamin Franklin Parkway, </span><span class="Apple-style-span" style="background-color: white;">Philadelphia, PA</span></span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="background-color: white;">For more i</span></span><span class="Apple-style-span" style="background-color: white; font-family: 'Trebuchet MS', sans-serif;">nformation call </span>(215) 763-8100<br />
<span class="Apple-style-span" style="background-color: white; font-family: 'Trebuchet MS', sans-serif;">CD release information:</span><br />
<a href="http://neilleonardevents.blogspot.com/2011/10/new-cd-marcels-window-available-on.html" style="background-color: white; color: #0000cc;" target="_blank"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">http://neilleonardevents.<wbr></wbr>blogspot.com/2011/10/new-cd-<wbr></wbr>marcels-window-available-on.<wbr></wbr>html</span></a><br />
<span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br style="line-height: 20px; text-align: left;" /></span></span><br />
<span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Press release:</span></span><br />
<span class="Apple-style-span" style="background-color: white; color: #0000cc; font-family: 'Trebuchet MS', sans-serif;"><a href="http://www.allaboutjazz.com/php/news.php?id=88506" style="background-color: white; color: #0000cc;" target="_blank">http://www.allaboutjazz.com/<wbr></wbr>php/news.php?id=88506</a></span><br />
<br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">And two articles from Cuban press just came out about the recordings this week:</span><br />
<a href="http://www.prensa-latina.cu/index.php?option=com_content&task=view&id=449196&Itemid=1" style="font-family: 'Trebuchet MS', sans-serif;">http://www.prensa-latina.cu/index.php?option=com_content&task=view&id=449196&Itemid=1</a><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><a href="http://www.elnuevoherald.com/2011/11/11/1063534/neil-leonard-asistira-a-festival.html">http://www.elnuevoherald.com/2011/11/11/1063534/neil-leonard-asistira-a-festival.html</a></span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br />
</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-2209980180108789922011-10-31T14:23:00.026-05:002011-10-31T14:37:31.458-05:00Prints Gone Wild<div style="line-height: 1.6em; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><div style="font-size: 0.8em;"></div><div style="font-size: 0.8em;"></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; font-size: 0.8em; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.flickr.com/photos/caitlinemmaperkins/2292127393/" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;" title="Printmaking is Art"><img alt="Printmaking is Art by Caitlin Emma Perkins" src="http://farm3.static.flickr.com/2297/2292127393_1c8cb6f344.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="line-height: 20px;">Photo of Non Grata performing at <br />
Prints Gone Wild in St. Louis. Caitlin Perkins, 2008</span></td></tr>
</tbody></table><div style="background-color: transparent;"><span id="internal-source-marker_0.2772582124453038" style="background-color: transparent; font-family: Arial; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><span class="Apple-style-span" style="font-size: large;">Attention! Attention!</span></b></span></div><div style="background-color: transparent; font-size: 0.8em;"><span style="background-color: transparent; font-family: Arial; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The ink-slinging, typesetting tricksters Mike Houston and Martin Mazorra of Cannonball Press, are pulling back the curtains on their sixth annual sideshow: </span><span style="background-color: transparent; font-family: Arial; font-size: 11pt; font-style: italic; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Prints Gone Wild</span><span style="background-color: transparent; font-family: Arial; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> at Secret Project Robot in Brooklyn on Friday and Saturday.</span></div><div style="background-color: transparent;"><span style="background-color: transparent; background-color: transparent; font-family: Arial; font-size: 11pt; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="background-color: transparent; font-family: Arial; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">This print-maker mayhem will unroll during Print Week when a ragtag mob of dirty printmakers</span><span style="background-color: white; font-family: Arial; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> descend on Brooklyn to peddle their </span><span style="background-color: transparent; font-family: Arial; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">affordable art. With prices better than a stick in the eye (everything is less than $50) you are guaranteed to find prints more healing than snake oil for your visual pleasure. Head out to Brooklyn to pick up a juicy print bursting with fresh ink and catch some live music and sip on beer.</span><br />
<span style="background-color: transparent; background-color: transparent; font-family: Arial; font-size: 11pt; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="background-color: transparent; font-family: Arial; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Now, I may just be a sideshow shill, but I can </span><span style="background-color: white; font-family: Arial; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">attest to the value of the prints these artists are peddling, I treasure each one I’ve scored at past Prints Gone Wild</span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">—</span><span style="background-color: white; font-family: Arial; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">they cured my walls of beigedom with their shock of black and white graphics.</span><br />
<span style="background-color: white; font-family: Arial; font-size: 11pt; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="background-color: transparent; font-family: Arial; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">6th Annual Prints Gone Wild</span><br />
<span style="background-color: transparent; font-family: Arial; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Friday, November 4th 6 pm to 12 am and Saturday, November 5th from 12 to 6 pm</span><br />
<span style="background-color: transparent; font-family: Arial; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Location: Secret Project Robot</span><br />
<span style="background-color: transparent; font-family: Arial; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">389 Melrose St. in Brooklyn (between Flushing and Knickerbocker Aves in Bushwisk--just a few short blocks from the Morgan Ave L stop)</span><br />
<span style="background-color: transparent; background-color: transparent; font-family: Arial; font-size: 11pt; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
<span style="background-color: transparent; font-family: Arial; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Philagrafika and Cannonball Press will also be at the E/AB fair in Chelsea during Print Week, and for more information on that: </span><span style="background-color: transparent; color: #000099; font-family: Arial; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><a href="http://www.philagrafika.org/portfolio-release.html">http://www.philagrafika.org/portfolio-release.html</a></span></div><div style="font-size: 0.8em;"></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-46094619230014466912011-06-24T15:49:00.024-05:002011-06-26T15:00:03.061-05:00Spanish Artists Doing Time at Holmesburg Prison<div style="text-align: center;">
<br /></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFsRNuDbOwe1eojeQBL8sZIu75rQJXc6EOdOSCaOXvu_0a2bWIut2qjH_cCMTPI3YfySnuGViV6jvIFp0P6E8bArBeGfp6-vyHuX7oh4UjcaecwJL4_k8LmK-QEYdOMCkQ4cSk/s1600/photo.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"></a><div style="text-align: center;"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 384px; height: 255px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEN86AwimHgvdAuu6Mp0_Qwi5WCyO-PFW4fd_mTXCnCnv4IEufSKajUzap64Jnu64hGoDG3T8-vgPDbNEW7dZgxte9YzgtwM13UgBz1ePHBXCMF1SopIRP6b6Aq8Rsrp8PIvQ9/s400/Gomez-GonzalezPrep_small.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621894583936968738" /></div>
<br /><meta equiv="Content-Style-Type" content="text/css"> <title></title> <meta name="Generator" content="Cocoa HTML Writer"> <meta name="CocoaVersion" content="1038.35"> <style type="text/css"> p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 13.0px 'verdana'} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 13.0px 'verdana'; min-height: 15.0px} </style> <p class="p1"><span class="Apple-style-span">Dear friends:</span></p> <p class="p1"><span class="Apple-style-span">Philagrafika is embarking in a new project, working towards the next incarnation of the festival tentatively scheduled for 2014. The project is titled<i> Doing Time</i>, and consists of a site-specific work of Spanish artists Patricia Gómez and María Jesús González that will come out of a six-week residency in Philadelphia. The results will be shown at Moore College of Art & Design, our longtime partner.</span></p> <p class="p2"><span class="Apple-style-span">
<br /></span></p> <p class="p1"><span class="Apple-style-span">Patricia and María Jesús, who live in Valencia, Spain, have taken a technique called <i>strappo</i>, commonly used by restorers to salvage murals from walls that are deteriorating or from buildings that are to be demolished, and applied it towards artistic goals. Strappo is a complex process, but it could be described as adhering a thin fabric on the surface of a wall with water-soluble glue, waiting for it to dry, and then peeling off the fabric, which takes with it the outer surface of the wall in question (and whatever images are on it). Once on the fabric, the paint can be seen right-side up because of the transparency of the type of voile used, or from behind if attached to an opaque fabric. If needed, the paint can be attached again to another wall or canvas with glue that does not dissolve in water, and then the original fabric can be moistened, peeled away, and the glue dissolved until the painting is visible again.</span></p> <p class="p2"><span class="Apple-style-span">
<br /></span></p> <p class="p1"><span class="Apple-style-span">The artists, who studied printmaking in the context of a conservation school in Italy, consider their work a <i>monoprint</i>, which it technically is, because the matrix (in this case the wall) is transferring its ink (the paint) onto a surface (the voile), and it produces a single copy. They came upon this technique when priming a canvas that they had to staple to the studio wall because they did not have a stretcher. When the primer dried and they wanted to transfer the canvas to another space, they discovered that the back had taken with it the surface of the wall, and they thought that the colored shape of the decaying wall was a beautiful image in its own right.</span></p><p class="p1"><span class="Apple-style-span">
<br /></span></p><p class="p1"><span class="Apple-style-span">Soon after, they decided to try the technique in more complex projects. Learning that the El Cabañal neighborhood in Valencia was slated for demolition, they brought bolts of fabric and painstakingly took the imprints of twelve of the beautiful Modernist houses shortly before they were destroyed. The resulting print, a roll 340 m long by 2 m high (about 1116 by 7 feet!), is at the same time a print and an archive, the sole remainder of the houses that disappeared, merging space and time in a potent image that encompasses memory, history and place.</span></p><p class="p1"><span class="Apple-style-span">
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<br /></span></p><p class="p1"><span class="Apple-style-span" style="font-size: 16px; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkFG9WCBj9v7e5C9t_OzDP2mnwgzhB7ZauWhXyrybnLaO-41IHYBrHIMdkncGG4V29h37I3Doh8BqSwKR7qMQJ79-b-XDW11PMEuBXy8e17lETWwaW_katC35lYG5CtBznG7ok/s400/5b.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621898755615477794" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 283px; " /></span></p><div style="text-align: center;"><span class="Apple-style-span" style="font-size: 13px; ">Homes in the El Cabañal neighborhood in Valencia</span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size: 13px; ">
<br /></span></div><div><span class="Apple-style-span">
<br /></span></div> <p class="p1"><span class="Apple-style-span">The possibilities of the technique as a tool for capturing time became apparent then, as the walls in architecture contain not only a defined space but bear the evidence of the passing of time in the form of marks, layers of paint and patina. We all know that when a house is "lived in" means that it has that unequivocal ambience of warmth that new or renovated spaces don't, and there is truth to the common adage "If walls could talk" in the sense of being the silent witnesses of what happens over time, which is physically and metaphorically imprinted in them. Patricia and Maria Jesús sought to capture this time imbued in interior architecture, and chose as an example one of the places where the passing of time is more palpable: the walls of a prison.</span></p><p class="p1"><span class="Apple-style-span">
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<br /></span></p><p class="p1"><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-size: 16px; -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrWooBTs9D16DjgVuPYOlcWF_H5prkw6tO0uayW6wORU3kf0NHdYiw8Zg3rnFaIrQeWIEvkuw0viCMRlg6pLVrzIcwtHaCnBaoYK2FNHivg8zVjijBPEzhxwkcmVVW7DNZ3GCl/s400/6l.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621899285399795090" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 268px; " /></span></p><div style="text-align: center;"><span class="Apple-style-span" style="font-size: 13px; ">Strappo print from the Cárcel Modelo in Valencia</span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size: 13px; ">
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<br /></span></div> <p class="p1"><span class="Apple-style-span">The Cárcel Modelo (Model prison) in Valencia had been abandoned for 15 years when the artists decided to do their intervention. The space had the kind of decay which befalls abandoned structures that nonetheless have a sturdy construction -not structural, but superficial, product of being left alone to gather dust. Gómez and González peeled away the entire walls of several of the cells, and <a href="http://www.youtube.com/watch?v=eiaPhcBq6yM&feature=related">showed the results</a> on the central space of the prison, unfolding, as it were, the space and in so doing confronting the viewer with the actual size of the space where a human being spend years, decades at a time in solitary confinement.</span></p><p class="p1"><span class="Apple-style-span">
<br /></span></p><p class="p1"><span class="Apple-style-span"><meta charset="utf-8"><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-family: Georgia, serif; font-size: 16px; -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFsRNuDbOwe1eojeQBL8sZIu75rQJXc6EOdOSCaOXvu_0a2bWIut2qjH_cCMTPI3YfySnuGViV6jvIFp0P6E8bArBeGfp6-vyHuX7oh4UjcaecwJL4_k8LmK-QEYdOMCkQ4cSk/s400/photo.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621974239745392290" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 300px; height: 400px; " /></span></span></p> <p class="p2" style="text-align: center;"><meta charset="utf-8"><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-size: 16px; -webkit-text-decorations-in-effect: underline; ">
<br /></span></p><div style="text-align: center;"><span class="Apple-style-span" style="font-size: 13px; ">Moss covered prison cell, Holmesburg Prison, Northeast Philadelphia</span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size: 13px; ">
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<br /></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-size: 13px; ">Holmesburg prison, in Northeast Philadelphia, opened in 1896 and functioned for just a little more than a century. Built according to radial configuration inspired on Bentham's principle of the <i>Panopticum</i> (where a central eye would be able to control everything around it), it has a central control tower from which depart long corridors lined with cells on both sides. The cells themselves are narrow and tall, and have skylights that let light and ventilation in. Unfortunately, being on the ground, these cells are very humid, and on the course of the fifteen years since the prison was decommissioned, the paint on the walls and even the plaster on some of them have peeled off or fallen down.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-size: 13px; ">
<br /></span></div><p class="p1"><span class="Apple-style-span">
<br /></span></p><p class="p1"><meta charset="utf-8"><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-size: 16px; -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeRcjBCbBxJXM7Oi5dP9hztJ3v9IS7lKEUeyHABmxNPzOnrFXGijwKlLpFTviDxoAMudUD4ka6Gw5WwrQidQgVfIGtDvwL8WS-52xzZM5Wy2bXC5R8MNEkA4RS_4FVvErfnvI4/s400/Screen+shot+2011-06-24+at+5.09.26+PM.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5621896933318639602" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 349px; height: 400px; " /></span></p><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-size: 16px; -webkit-text-decorations-in-effect: underline; ">
<br /></span></div><p class="p1"><span class="Apple-style-span">In 2000 photographer Thomas Roma produced a beautiful book, <i>In Prison Air</i>, which documented the derelict state of the prison (it is startling to see how the walls and markings he documented have since degraded further, some to the point of no recognition). Holmesburg has also been the location for at least three movies, <i>Up Close & Personal</i> (1996), <i>Animal Factory</i> (2000), and <i>Law-Abiding Citizen</i> (2009).</span></p><p class="p1"><span class="Apple-style-span">
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<br /></span></p><p class="p1"><meta charset="utf-8"><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-size: 16px; -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd0ulKf8gJf9wU2N3CvQco6wBKF7PB8xefyu3TmONxBnkFfKbGu4h_Ksqmru20o3SJT7c78V-cDfmvHVeVN5LZ5Eo2c4FGUwy0VoPBpY8FthUcuLzmwcZss8GElhivEH2lQSyX/s400/DSC_0275.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5621894601844938114" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 266px; " /></span></p><div style="text-align: center;"><span class="Apple-style-span" style="font-size: 13px; ">Prison cell, Holmesburg Prison, Northeast Philadelphia</span></div><div><span class="Apple-style-span" style="font-size: 13px; ">
<br /></span></div><div><span class="Apple-style-span" style="font-size: 13px; ">
<br /></span></div><div><span class="Apple-style-span" style="font-size: 13px; ">Gomez and González' project involves salvaging the outer surfaces of some of the cells at Holmesburg. They are also looking at interesting grafitti and other types of markings on the walls. As is customary in their practice, they will let the encounter with the site direct the path their project will take. Philagrafika will be reporting on the advancement of their project through this blog. Stay tuned!</span></div><p class="p1"> </p><p class="p2"><span class="Apple-style-span">
<br /></span></p> <p class="p1"><span class="Apple-style-span">José Roca, curator, <i>Doing Time</i></span></p><p></p>Jose Rocahttp://www.blogger.com/profile/06924767755183859133noreply@blogger.com1tag:blogger.com,1999:blog-33600260.post-29693191985436931372011-05-26T08:34:00.001-05:002011-05-26T08:35:18.544-05:00Slow like Molasses<div align="LEFT" style="margin-bottom: 0in;"><span class="Apple-style-span" style="font-family: 'Century Gothic', sans-serif;"></span></div><div align="LEFT" style="margin-bottom: 0in;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz5kLP9w3PkXsGw8lreIXvXZaw-JxvVLXphIKhtvPUEMzcSNd_uO7RB9zc7qJDdlXJrPm2fV1x-07gmAN46ERyl1HfMj5Oeax5w8x70P8mtGv1LnF4DXR_Uc3BogtaikLisU3D/s1600/photo+%252817%2529.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz5kLP9w3PkXsGw8lreIXvXZaw-JxvVLXphIKhtvPUEMzcSNd_uO7RB9zc7qJDdlXJrPm2fV1x-07gmAN46ERyl1HfMj5Oeax5w8x70P8mtGv1LnF4DXR_Uc3BogtaikLisU3D/s320/photo+%252817%2529.JPG" width="238" /></a><span class="Apple-style-span" style="font-family: 'Century Gothic', sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse;">A sticky warm spring night at Space 1026 and the bell rang-announcing a slow moving group of sweet printmakers crawling up the gallery stairs. They had descended upon the streets of Philadelphia to promote their print show Melaza (or molasses) opening this week at <a href="http://www.jamesolivergallery.com/">James Oliver Gallery</a>.</span></span></div><div align="LEFT" style="margin-bottom: 0in;"><span class="Apple-style-span" style="font-family: 'Century Gothic', sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse;"><br />
</span></span></div><div align="LEFT" style="margin-bottom: 0in;"><span class="Apple-style-span" style="border-collapse: collapse; font-family: 'Century Gothic', sans-serif;">USA LA MELAZA 2 is the the second installment of a international print making collaboration by the five artists including </span><span class="Apple-style-span" style="border-collapse: collapse; font-family: 'Century Gothic', sans-serif;">Grimaldi “Barbarian” Baez, Omar “Pickle Fingers” Velazquez, Kyle “Canned-Tux” Nilan, Patrick “Print Wraith”Casey, Eli “The Word” Epstein.</span></div><div align="LEFT" style="margin-bottom: 0in;"><span class="Apple-style-span" style="font-family: 'Century Gothic', sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse;"><br />
</span></span></div><div align="LEFT" style="margin-bottom: 0in;"><span class="Apple-style-span" style="font-family: 'Century Gothic', sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse;">They gave me a beautiful show poster (here's a pic) and told me to stop by the James Oliver Gallery on Friday. Its a popup show, and will only be up for 10 days so catch it while you can. The gallery is located at 723 Chestnut Street on the 4th floor. </span></span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-52973677676126694992011-05-18T12:14:00.029-05:002011-05-23T16:22:52.298-05:00Enrique Chagoya's "The Head Ache" at The Met<div style="text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq31XBusv_ydOIv4dLb7g7SfHlNtQfGtJ6BHI_YB17Sq-QgIUtW1FryzSTSUGTAqtg5m41C_rJw0sIfpClaSmJmnCAt_NAcXxN9oc4uiMU8FNfYpDewEEcwwYVLb5mVEErQ2O-SQ/s320/Chagoya.jpg" style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 257px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5608174816905461250" /></div><div style="text-align: center; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"><b>The Headache: A Print After George Cruikshank</b>, 2</span></span>010. Enrique Chagoya</span></div><p></p><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span">On May 12th, the </span>New York Times published an article about an upcoming exhibition at the Metropolitan Museum of Art entitled, “Infinite Jest: Caricature and Satire from Leonardo to Levine,” which opens on September 13.<sup>1</sup> Presenting a number of satirical works from the Met’s own collection of drawings and prints, the show will also include a print by <i>Philagrafika 2010</i> artist Enrique Chagoya entitled, “The Headache: A Print After George Cruikshank” (2010).</div><div style="text-align: left;"><span class="Apple-style-span"><br /></span></div><div style="text-align: left;"><span class="Apple-style-span"><span class="Apple-style-span"></span><span class="Apple-style-span">Created as a part of <i>Philagrafika 2010</i>’s <i>Out of Print</i> program, “The Headache” emerged out of the <st1:place st="on"><st1:placename st="on">Rosenbach</st1:placename> <st1:placetype st="on">Museum</st1:placetype></st1:place> and Library’s Cruikshank collection, referring to a 19<sup>th</sup>-century print by Cruikshank entitled, “The Head Ache.” The print itself features President Barack Obama being</span></span></div><div style="text-align: left;"><span class="Apple-style-span"> tormented at the hands of the small beasts representing the trials </span>he inherited with his presidency, such as healthcare reform, the war in <st1:place st="on"><st1:country-region st="on">Iraq</st1:country-region></st1:place>, and the recession.</div><div style="text-align: left;"><span class="Apple-style-span"><br /></span></div></div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXpNONw0Ujs9YnCBOSQdYSlSOOIyPBKqlWtCuRJT8vLUbrxhB9EiE1NOs2OT9kLwjVf43Tpo7TB7SGJtFlYc1omLdPmL3_jHIBmzolVK5qy3lcvSxNobgDonnPkyPpmcs1CgJxvQ/s320/DSC_0497.jpg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 214px; height: 320px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5608168914589417234" /><div><span class="Apple-style-span"><span class="Apple-style-span">To creat</span><span class="Apple-style-span">e the pr</span></span><span class="Apple-style-span">int, Chagoya married a number of modern and traditional print techniques in homage to Cr</span><span class="Apple-style-span">uik</span><span class="Apple-style-span">shank’s original image. After separating the orginal print into its two parts: the etching itself and the hand-colored watercolor, C</span>hagoya first printed the watercolor digitally, and then converted the second element onto a new etching plate in which he replaced the original figure’s face with that of President Obama. Chagoya then brought these two <span class="Apple-style-span">elements back together with the assistance of Cindi Ettinger of C. R. Ettinger Studio in Philadelphia thro</span><span class="Apple-style-span">ugh a chine collé process. For this multi-process print, Enrique also worked with Rick Decoyte at Silicon Gallery Fine Art Prints in Philadelphia as well as Don Farnsworth at Magnolia Editions in Oakland, Ca.</span></div><p></p><p class="MsoNormal"><span class="Apple-style-span"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><span><span></span></span></span></span></p><div><span class="Apple-style-span">The Rosenbach unveiled the newly created print alongs</span>ide Cruikshank’s original, along with a hand-coloring workshop</div><div><span class="Apple-style-span"> in which visitors were invited to color black and white versions of the print.</span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEg3KxuIIOcLKlvORT2hV0F3q6H1k3_h3rnRHiBB_gvh_kHaIIpKeDA2-WOdsNKlkUFuDpuVGfNVTkBJJDHnI7oQ59g_HeA_86sdqQjAgSmyYXNK2LVPNqFzk0vAPZkVKHmN-5/s400/DSC_0502.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5610024387751017122" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 268px; " /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><br /></span></span></div><div><br /></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjkzegnZXhrcsbe9xpog2lYWflWjCtS8d0kTw8-_3RegYRHVKNfriOSkVK1x0AZjsvm4fvepS5qNlhh0ISp82HNSbXzekLDZsTjNjQZLTKMnB42PQWMns5c-pxT86n9M7IXDMi/s400/EnriqueChagoya-Rosenbach-18.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5610023961779486434" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 266px; height: 400px; " /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; "><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span"><br /></span></div> <div style="text-align: left;"><span class="Apple-style-span"><span class="Apple-style-span"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9b8O8JtBM8Ro1gLMEp91RLjfpT8XMn6iOpgrS7FA17kzckSvjnfkGdc0yBj-lA5O7c6_nU6KkQSSm4hrxd6kTtomeiblVj8YyoPDeYdZVAfTdwYfSXZ_5GyQ5-WVDG6WKmSZQOQ/s320/DSC_0926.jpg" style="text-align: right;display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; cursor: pointer; width: 320px; height: 214px; " border="0" alt="" id="BLOGGER_PHOTO_ID_5608174815171123266" /><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span"><span class="Apple-style-span"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span"><span class="Apple-style-span"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDeOf0jWWT7lRbkIUIcqSJDW9GXsyoy1thUfhdQBNDnoBX9VDBc5_5NP1mn6wNxfGgCUF3FhwdVv8XZWL4y0m6DysbscIWyq_KebB0NvZMPNx7dcYrs8zs94ra8mpUa2QSo-IAaQ/s320/EnriqueChagoya-Rosenbach-21.jpg" style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 213px; height: 320px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5608174809610666450" /></span></span></div><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span"></span></span></span><p></p><div style="text-align: center;"><span class="Apple-style-span">Enrique Chagoya and visitors during the public watercoloring event at The Rosenbach Museum and Library</span></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span class="Apple-style-span"></span>For the workshop, Chagoya allowed visitors to “color in our own stories” making them collaborators in his joke with his participation in <i>Philagrafika 2010</i>’s <i>Out of Print</i> series, and his piece, “The Headache: A Print After George Cruikshank” is sure to make a great addition to the Met’s upcoming exhibition as well.<sup>2</sup></div><p class="MsoNormal"><span class="Apple-style-span">To see more images and information about Enrique Chagoya's project for the <i>Out of Print </i>series, see his link here to our <i>Philagrafika 2010</i> festival website: </span><a href="http://www.philagrafika2010.org/artist/enrique-chagoya">http://www.philagrafika2010.org/artist/enrique-chagoya</a></p><p class="MsoNormal"><a href="http://www.philagrafika2010.org/artist/enrique-chagoya"></a><span class="Apple-style-span">A more in-depth discussion of Chagoya’s involvement in <i>Philagrafika 2010</i>, and the entire <i>Out</i></span><i> of Print</i> series are available in our recently released catalogue, <i>Philagrafika 2010: The Graphic Unconscious</i>. The print is also available for purchase as a part of <i>Philagrafika 2010’s Signature Edition Series</i>. For more information, please contact Rebecca Mott at rmott@philagrafika.org</p> <p class="MsoNormal"><o:p><span class="Apple-style-span"> ____________________________________________________________</span></o:p></p> <ol style="margin-top:0in" start="1" type="1"> <li class="MsoNormal" style="mso-list:10 level1 lfo1;tab-stops:list .5in"><span class="Apple-style-span">For the full New York Times article: <a href="http://www.nytimes.com/2011/05/13/arts/design/infinite-jest-caricatures-at-met-and-art-at-high-line.html?_r=3&sq=enrique+chagoya&st=cse&adxnnl=1&scp=1&adxnnlx=1305288069-JfwcuSZKjXckmhNeHQ5Gow">http://www.nytimes.com/2011/05/13/arts/design/infinite-jest-caricatures-at-met-and-art-at-high-line.html?_r=3&sq=enrique+chagoya&st=cse&adxnnl=1&scp=1&adxnnlx=1305288069-JfwcuSZKjXckmhNeHQ5Gow</a></span></li> <li class="MsoNormal" style="mso-list:10 level1 lfo1;tab-stops:list .5in"><span class="Apple-style-span">Perkins, Caitlin. <i>Philagrafika 2010: The Graphic Unconscious</i>, p. 97.</span></li></ol>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-16105440927633218042011-05-13T14:17:00.015-05:002011-05-23T16:28:14.571-05:00Featured Edition: The Fourteen Major Infections of Adam& Eve by Eric Avery<div style="text-align: center;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-family: arial; font-size: small; "><u><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ55lSer3jsvFSd4XfvpOR2qJJ1TTRKM6DlHjvEBB_eiaXcYUv7hhmU6RcxeZBkxZL0s1fmnFgTLSxFByoBoySRIHWDKRoskjfA_fTeZbUcm0C0xzK6Xqx5rTwRqcZt0uL4XHG/s400/TJ+miscellaneous+pictures+091-lr.jpg" /></u></span></div><span class="Apple-style-span">Printmaker and Physician Eric Avery visited from Galveston, TX a few weeks ago to finish up his Philagrafika Signature Edition with The Brodsky Center for Innovative Editions (BCIE) at Rutgers University in New Brunswick, NJ. Here he is signing the edition in the company of Master Printer (BCIE) Anne Mckeown and Assistant Director (BCIE), Paul Limperopulos.</span><div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYEBDNincYhLp8M3izu_k7xUYEHAdE3Pf1g6zSIXfiVJ1ATg2ehD1oTyVi5NMOb7DUKh4cxlRto6DlqBnry1Ypkm-0kQ9YWbHfI8fua-JKfHVL7kdFDWgNbn7O0_YfD20DhVnK/s400/Avery_AdamEve-web-lr.jpg" /></span></div><div>The first block for this print is printed with yellow ochre, the second block with green umber and the third block with black key. The fourth block is a text block printed with burnt Umber ink.</div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><div style="text-align: center;"><span class="Apple-style-span"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTfoynxUNcgeDujHjZl-DHohNFuSjzZjwY4IdZ0hdYKKBlaSKvPUC-H3lCuAT36c8JA3ZindhPBOfrTDJg3DzQYDlKQdH47Fvn1xoI7emILJMlV-uJoJloD2WVkngL_v2HTHPk/s400/Eric+Avery-1-TPC-lr.jpg" /></span></div><div style="text-align: left;">The Signature Edition print is a variation of the woodblock print he created for his <span style="font-style: italic; ">Philagrafika 2010</span> piece exhibited at The Print Center, Jan-April 2010 (shown above).</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><span class="Apple-style-span"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTn_T8OhmDGFOVPBz7Sciajl8L_at2e78CnB0iXH5D92Q314gxeHrNp9Nrvfs4M89nRdNxkVcLhBy4uBd-bLq_pvttOCY1DJaWOurGiDDEdNwVfw9f4nQGagQp8zsVf1NOkPhq/s400/DSC_1512-crop.jpg" /></span></div><span class="Apple-style-span"><div style="text-align: center;"><span class="Apple-style-span"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmSpKGc4nreeZz2ee5zEbwiPTv79zon_YooQDyStYb16McuGdXYyapcPhpAv0T5pN07JQnz2MP_FsbB-4jmVq6tnJNesNK9g-pXMYw2jydjEiCxwOiQnft_GY9uS4V2ys4SlJf/s400/DSC_1510-crop.jpg" /></span></div><div><span class="Apple-style-span"><br /></span></div>His provocative images frequently appropriate from famous works of art such as <a href="http://www.metmuseum.org/toah/works-of-art/19.73.1">Albrecht Dürer's Adam and Eve</a>, but he also adapts imagery from old master prints of medical subjects. In the last few decades his artistic endeavors have included a performance component in which he essentially runs clinics in his art installations, testing visitors for HIV/AIDS, Hepatitis C, and other infectious diseases.<br /><br />We thoroughly enjoyed working with Eric on this project and welcome him back to Philly anytime!<br /></span><br /><br /><br /><br /><br /><br /></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-57396174316188417912011-05-12T11:23:00.002-05:002011-05-13T15:25:15.832-05:00Featured Edition: The Fourteen Major Infections of Adam and Eve by Eric Avery<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwLVq2jhIW27Nd1wFoL2lL62E9CBTCJX4sk2VB8QGMC_TxMvSI8egaDIP_O-2TRgIRLTjJBzT57Jm_VOtQAiMmXo0nHIyzMatIr9DdKQmFz502uczgyZP9NKUwOP8r573D1oh9/s1600/TJ+miscellaneous+pictures+091-lr.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwLVq2jhIW27Nd1wFoL2lL62E9CBTCJX4sk2VB8QGMC_TxMvSI8egaDIP_O-2TRgIRLTjJBzT57Jm_VOtQAiMmXo0nHIyzMatIr9DdKQmFz502uczgyZP9NKUwOP8r573D1oh9/s400/TJ+miscellaneous+pictures+091-lr.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5605924450361402050" /></a><br /><br /><br /><br />Eric Avery was here from Galveston, Texas a few weeks ago finishing up his four color Chiaroscuro print as part of Philagrafika's Signature Edition Series. The print was created at The Brodsky Center for Innovative Editions in New Brunswick, NJ. Here, Eric is joined by Master Printer Ann McKeown and Assistant Director Paul Limperopulos while he signs the edition of 25.<br /><br /><br /><br />The first block for this print is printed with yellow ochre, the second, with green umber and the third is black key. The fourth block is a text block printed with burnt umber ink.<br /><br />This print is a variation on the one exhibited during Philagrafika 2010 at The Print Center.<br /><br />The Fourteen Major Infections of Adam and Eve is available for purchase. Contact Rebecca Mott at <a href="mailto:rmott@philagrafika.org">rmott@philagrafika.org </a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-83902498205513759722011-03-02T14:23:00.039-05:002011-03-28T16:24:34.437-05:00The Graphic Unconscious Exhibition Catalogue Available March 23rd!<div style="text-align: center;"><span class="Apple-style-span"><u><br /></u></span></div><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGrvdVmmU4GIQZuQxgl5IMmz80wH0EBcXOXWp6soT9wKPY_iReHv-hqGs35R_vGDMZl0AuECpgslMW9XWVLyZrZPbpQyNnU3GA9lgvFDt4BIa7jvyecWgltjTLx-Se7NMwjI18/s1600/pgka_catalog_cover_v3.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 229px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGrvdVmmU4GIQZuQxgl5IMmz80wH0EBcXOXWp6soT9wKPY_iReHv-hqGs35R_vGDMZl0AuECpgslMW9XWVLyZrZPbpQyNnU3GA9lgvFDt4BIa7jvyecWgltjTLx-Se7NMwjI18/s400/pgka_catalog_cover_v3.jpg" alt="" id="BLOGGER_PHOTO_ID_5579571777501399106" border="0" /></a></div><span class="Apple-style-span"><div><span class="Apple-style-span">Philagrafika is very excited to be announcing the upcoming release of its exhibition catalogue for <i><a href="http://www.philagrafika2010.org/concept">The Graphic Unconscious</a></i>! </span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span">Featuring more than 250 pages of images, illustrations, essays and contributions by the six curators, festival organizers, and artists, this catalogue is a "must have" for your library! The books will be arriving at the offices this month and will be ready for online purchase by March 23rd. Books are $30+ shipping.</span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span">Heading to St. Louis? The catalogue will be making it's first public debut at the <a href="http://sgci2011.samfoxschool.wustl.edu/">2011 SGC International Conference</a>, March 16-19, where we'll be set up at a vendor's table...look for us! SGC attendees receive a 20% discount!</span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span">The catalogue was wonderfully designed by Anthony Smyrski of Smyrski Creative. Here's a sneak peak at a few page spreads:</span></div></span><div><div><div><div><span class="Apple-style-span"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcn87OQe50AilzQrlcnsvP8Eb_68c8_bJBl2twb1rJ_QPzVmemHPRbuzDBvWiujHIJakSE6KU72dJL61l_RI4uZh73jP3O9K3tiQ_yDKh6Mnn1A8r8ItYPCNqhzbrvb8exCmZj/s400/Heavy_Industries-spread.jpg" /></span></div><div style="text-align: center;"><span class="Apple-style-span" style=";font-family:arial;font-size:x-small;" >YOUNG-HAE CHANG HEAVY INDUSTRIES</span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-tab-span" style="white-space: pre;font-size:small;" > </span> </span></div><div><br /></div><div style="text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDcQt8rUOY7F9Hj7L-qJKgc5nHO8KHk5ZrATKq6kvOzHGO_JoobvTbtyYLWVLr6AgFfe-v_GGT4ynaIcanfW43wC3loznXGNnowH7sWN16jEXum8itBvNsIrcsfIab-C8Qv08V/s400/swoon.jpg" /></div><div style="text-align: center;"><span class="Apple-style-span">Swoon Wheatpastes in North Philly</span></div><div><span class="Apple-style-span"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGRfTwgx_0upJDJ04fFwLbseWcjQcwmqzYJSgSGkAbnMnhoxVxc9C0yOljtryeU5LvUfkrWNnju456hoiSH4a758sGWfMQlrVmvRIX2ETDFfSR9tgS12nF5gtm2k8_0mLwKetb/s400/drive-by-press.jpg" /></span></div><div style="text-align: center;"><span class="Apple-style-span">Drive By Press Block Party</span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><div><span class="Apple-style-span">What else is inside?!</span></div><div><ul><li><span class="Apple-style-span">Foreword by Judith K. Brodsky</span></li><li><span class="Apple-style-span">Introduction: <i>This Could be the Start of Something Big</i> by Teresa Jaynes</span></li><li><span class="Apple-style-span"><i>The Graphic Unconscious or the How and Why of a Print Triennial</i> by José Roca</span></li><li><span class="Apple-style-span"><i>Print and the Public Sphere</i> by Sheryl Conkelton</span></li><li><span class="Apple-style-span"><i>Print in Translation:</i> <i>The Graphic Unconscious at the Philadelphia Museum of Art</i> by Shelley R. Langdale</span></li><li><span class="Apple-style-span"><i>Virtually Universal:</i> <i>Printmaking as a Tool</i> by John Caperton</span></li><li><span class="Apple-style-span"><i>History Repeats:</i> <i>Reflections from Moore College of Art & Design</i> by Lorie Mertes</span></li><li><span class="Apple-style-span"><i>Transforming the Known into the New: </i>Pennsylvania Academy of the Fine Arts and Philagrafika 2010 by Julien Robson</span></li><li><span class="Apple-style-span"><i>In and Out of Print:</i> <i>Artist Projects in Historical Collections</i> by Caitlin Perkins</span></li><li><span class="Apple-style-span"><i>Printmaking: A Colony of the Arts</i> (2006) by Luis Camnitzer</span></li></ul></div><div><span class="Apple-style-span">AND MORE!!!</span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span">Stay tuned for details about ordering online and special offers! To reserve your copy, email <a href="mailto:info@philagrafika.org">info@philagrafika.org</a> or call Rebecca Mott 215-701-8057</span></div></div><div><div><div><div style="text-align: left;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size:9px;"><br /></span></span></div></div></div></div></div></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-25718721475033754522011-01-28T14:43:00.017-05:002011-03-08T16:29:57.147-05:00Common Press Turns Five!<div><br /></div><div><br /></div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ7YF7xqBFuNAzrx6yp06i6ynkeAYKZJf8C3YGncQBvOZSFU8DJhmwGgXanfs1eKkS0VwYkoSJwbp41G9MQHgwrHEc6o3EJ20oMlsURcgfy_BCsJWN-CJIGvaIBaLL5kPEUD04/s400/DSC_0077.jpg" style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 266px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5567359315975878002" /><span class="Apple-style-span">On January 17th, Philagrafika headed over to West Philly to celebrate the 5th anniversary of Common Press, the letterpress printing studio located at University of Pennsylvania (and one of our favorite places). It was founded on January 17th, 2006, the 300th anniversary of Benjamin Franklin's birth!</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBp204CZjmo_0VarZ6n04v-IXcrvy8Hv6bXtVQv7uvQEXbr1_C6qgZmwpoeAFe3rLI_5cgpkJXwkF8prFjp0F32PWbz6AWxI3FiQ78ldTkaOl4Comy6wwEhJp1hZHZIgXeCyTj/s1600/DSC_0139.jpg"></a><div><br /></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBp204CZjmo_0VarZ6n04v-IXcrvy8Hv6bXtVQv7uvQEXbr1_C6qgZmwpoeAFe3rLI_5cgpkJXwkF8prFjp0F32PWbz6AWxI3FiQ78ldTkaOl4Comy6wwEhJp1hZHZIgXeCyTj/s1600/DSC_0139.jpg"><img style="text-align: left;display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; cursor: pointer; width: 400px; height: 266px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBp204CZjmo_0VarZ6n04v-IXcrvy8Hv6bXtVQv7uvQEXbr1_C6qgZmwpoeAFe3rLI_5cgpkJXwkF8prFjp0F32PWbz6AWxI3FiQ78ldTkaOl4Comy6wwEhJp1hZHZIgXeCyTj/s400/DSC_0139.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5567359322819239042" /></a><br /><div><div><div style="text-align: center;"><br /></div></div><div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwyLF9LDcOlcUO8q-1xHjmqJufWkGyTjzqP98A-sojHwRggWNMiV5IlRZkYwuGVu7IWKdUjPfRY9I1NesPDaeEe_fyLdTRs-auwz1pBcWmObmQTNgCnIpehgWWcxUSswYDI-oS/s400/DSC_0095.jpg" style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 266px; height: 400px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5567359318228410226" /><span class="Apple-style-span">The night was laid back and festive! Friends and fans gathered and watched as <a href="http://www.design.upenn.edu/people/neff_matt">Matt Neff</a>, master printer and print shop manager, assisted eager guests in printing a free commemorative keepsake letterpress postcard for folks to take home. </span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheg35j85ealsGVwLgFHtMYH474twb54KVnk9y__DHyTYbEP2PKZHDCBlFTtOFXs3enYXfKvep9fsHdcj1ooevoXz2_-nFTQjS1FrHokuHjtfDEMHpqBT3Ei1jsrDeSFMvjkf9j/s1600/DSC_0110.jpg"></a></div><div><br /></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheg35j85ealsGVwLgFHtMYH474twb54KVnk9y__DHyTYbEP2PKZHDCBlFTtOFXs3enYXfKvep9fsHdcj1ooevoXz2_-nFTQjS1FrHokuHjtfDEMHpqBT3Ei1jsrDeSFMvjkf9j/s1600/DSC_0110.jpg"><img style="text-align: left;display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; cursor: pointer; width: 266px; height: 400px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheg35j85ealsGVwLgFHtMYH474twb54KVnk9y__DHyTYbEP2PKZHDCBlFTtOFXs3enYXfKvep9fsHdcj1ooevoXz2_-nFTQjS1FrHokuHjtfDEMHpqBT3Ei1jsrDeSFMvjkf9j/s400/DSC_0110.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5567359318427178658" /></a><span class="Apple-style-span"><br /><span class="Apple-style-span">For more information about the goings-on at Common Press visit their website at <a href="http://www.design.upenn.edu/commonpress">www.design.upenn.edu/commonpress</a>.</span></span></div></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-40225836223941003212010-10-14T12:44:00.021-05:002010-10-17T10:22:53.491-05:00Picturing the West, Yokohama Prints 1859-1870s<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtGcENluDdi9yOosxTqNdKKuDpORaJvnNisZTjnA3ENYA_XwjflbBMChsiCEuNome-2KdgEibSy8_POeeG35EoCEzzIX1w_cAontjX62xtx4Y2FTLfRx8Ld8Rpn_IgB-jlyx6C/s1600/1950-70-1(19--21)-pma.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 400px; height: 198px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtGcENluDdi9yOosxTqNdKKuDpORaJvnNisZTjnA3ENYA_XwjflbBMChsiCEuNome-2KdgEibSy8_POeeG35EoCEzzIX1w_cAontjX62xtx4Y2FTLfRx8Ld8Rpn_IgB-jlyx6C/s400/1950-70-1(19--21)-pma.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5528353701298085682" /></a><div style="text-align: left;"><span class="Apple-style-span"><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-size: 16px; "><b><span class="Apple-style-span" style="font-size: x-small; ">Complete Detailed View of Yokohama Street and the Miyozaki Quarter</span></b><span class="Apple-style-span" style="font-size: x-small; ">, 1860. Utagawa Sadahide, Japanese, 1807 - 1873. Color woodcut triptych, Öban tate-e triptych (19--21): 14 1/2 x 30 inches (36.8 x 76.2 cm). Philadelphia Museum of Art, Gift of Eli Kirk Price, 1950.</span></span></span></span></span></span></div><div style="text-align: left;"><span class="Apple-style-span"><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-size: small; "><br /></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-size: small; "><br /></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-size: small; ">by Caitlin Perkins, Philagrafika Program Manager</span></div><div style="text-align: left;"><span class="Apple-style-span"><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></span></span></div><div style="text-align: left;"><span class="Apple-style-span"><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">Japanese woodblock prints always seduce me—their lusciou</span></span></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">s rich color, the intricate carved details reenacting an artist’s brushstroke or a delicate wash of color. No matter the context in which they are shown, they never cease to delight me, so I was very excited to go see the </span></span></span><span style="font-style: italic; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">Picturing the West, Yokohama Prints 1859-1870s</span></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> at the Philadelphia Museum of Art (PMA).</span></span></span></div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">Not as achingly perfect as the secluded world of the Ukiyo-e prints populated by Hokusai, nor perhaps as exquisite as the prints by Yoshitoshi, these Yokohama prints were produced for the mass market in Japan the moment treaties opened the country to the world. In viewing this body of work, it is very clear how these prints are the equivalent to a contemporary postcard, snapshot</span></span></span><span style="font-style: normal; text-decoration: none; vertical-align: super; "><span class="Apple-style-span" style="font-size: x-small;">i</span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> or cover of a tabloid magazine.<br /></span></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br />The Ukiyo-e tradition developed in capital of Japanese Edo (modern day Tokyo). This rich tradition of woodcut has a highly stylized pictorial system of depiction, and like the Ukiyo-e, the Yokohama prints used a very specific formula. The system of production was divided into: publisher, artist, woodcarver, and printer; and they standardized the size of the woodblock and paper–printing images in sections, to speed the production in order to meet the rising demand for these prints.<br /><br /></span></span></span><div><span class="Apple-style-span" style="font-size: small; ">The first Portuguese merchants landed by accident in Japan in 1542, followed by other western visitors including many Christian missionaries eager to convert the easterne</span><span class="Apple-style-span" style="font-size: small; ">rs, and as a direct result of the cultural clashes with the influx of these foreigners, Japan’s ruling Samurai class closed the country’s border in 1639 so that no foreigners could enter and Japanese citizens were forbidden to travel abroad.ii</span></div><div><span class="Apple-style-span" style="font-size: x-small; "><br /><span class="Apple-style-span" style="font-size: 16px; "><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">The Yokohama show sets the scene for the opening of Japan to the West – the Tokugawa Shogunate remained in power until 1868 and negotiated the treaties, they were still in power during this time – the prints providing nearly a visual play-by-play, while the exhibition text explains the finer points of the politics of the day.<br /><br /></span></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"></span></span></span></span></span></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">The Shogunate system in Japan had created a stable society with five classes. At the top were the Samurai, followed by peasants, artisans and merchants, but towards the middle of the 19th century, the Tokugawa government, which had held power for several centuries, was losing its hold. It had fallen victim to a steadily declining financial situation, several natural disasters, and a growing merchant class (hmm, this sounds vaguely contemporary). Conservative groups with anti-government, anti western feelings began vying for power.</span></span></span><span style="font-style: normal; text-decoration: none; vertical-align: super; "><span class="Apple-style-span" style="font-size: x-small;">iii<br /></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "></span><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">Japan was coerced into signing treaties with five nations: Russia, United States, France, England and the Netherlands in order to open up trade and landing rights for foreign ships. When the borders were reopened to westerners in 1859, the print publishers were ready to fill the demand for inf</span></span></span><span class="Apple-style-span" style="font-size: small; ">ormation about the newly arrived visitors. From 1859-1861 there were some 500 different print images designed by 31 artists, produced by 50 or more publishers in Yokohama. These prints were frequently made in sets of five in a nod to the five nations who signed treaties with Japan.</span></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">The two galleries at the PMA are filled with almost 100 examples of Yokohama prints which document this cultural encounter of people, geography, architecture, port activity and trade. The works in the exhibition are grouped by subject matter – portraits of westerners, commerce, maps and leisure/entertainment activities. Each print contains a codified system of marks, which I had never seen broken down and identified, as it was in the wal</span></span></span><span class="Apple-style-span" style="font-size: small; ">l text at the PMA. In each image, in the top right is the title of the print, below this is the censor’s mark, and at the bottom is the publishers seal, finally the artist’s name appears on a mark on the left of the image. There were often other bits of text (vocabulary glossaries that provided transliterations of foreign words into Japanese and other commentary) in the images swirling about the picture like a tabloid magazine cover bustling with activity.</span></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span class="Apple-style-span"><span class="Apple-style-span"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsa5q-I9ahPlzP-v2GHeDKyWrksHVit1fcgcdckl5QniT4IYKputhSkk8qcWHv0tFrleY87whcgohEwk7-8vYNt-OgGZCs76pPK1goXz8uGpAiGGOWIeW05MH5crVbGJlhyphenhyphenUqKdQ/s1600/Image+5.jpg"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsa5q-I9ahPlzP-v2GHeDKyWrksHVit1fcgcdckl5QniT4IYKputhSkk8qcWHv0tFrleY87whcgohEwk7-8vYNt-OgGZCs76pPK1goXz8uGpAiGGOWIeW05MH5crVbGJlhyphenhyphenUqKdQ/s320/Image+5.jpg" alt="" id="BLOGGER_PHOTO_ID_5527960311812011058" border="0" style="margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; display: block; text-align: center; cursor: pointer; width: 216px; height: 320px; " /></a></span></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsa5q-I9ahPlzP-v2GHeDKyWrksHVit1fcgcdckl5QniT4IYKputhSkk8qcWHv0tFrleY87whcgohEwk7-8vYNt-OgGZCs76pPK1goXz8uGpAiGGOWIeW05MH5crVbGJlhyphenhyphenUqKdQ/s1600/Image+5.jpg"></a><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><b><span class="Apple-style-span" style="font-size: x-small;">A Russian Couple Holding Hands</span></b></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span" style="font-size: x-small;">, 1861. Utagawa Kunihisa II, Japanese</span></span></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span" style="font-size: x-small;">, 1832 - 1891. Color woodcut, Öban tate-e: 14 1/4 x 9 3/4 inches (36.2 x 24.8 cm). Philadelphia Museum of Art, Purchased with the Lola Downin Peck Fund and with funds contributed by Lessing J. Rosenwald, Mr. and Mrs. Robert A. Hauslohner, Dr. Emanuel Wolff, the Derald and Janet Ruttenberg Foundation, Mrs. Edward G. Budd, Jr., and David P. Willis, 1968.</span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div><div style="text-align: left;"><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">An example is the “Complete Detailed View of Yokohama Main Street and the Miyozaki Quarter” of 1860 by </span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">Utagawa</span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> Sadahide. This is a large format print made of smaller printed sheets glued together – taking advantage of the system of printer and carver. It is much like an illustrated tourist map, with its hovering point of view showing the whole city and its details of commerce and daily life. This map includes a very striking American flag in the lower left, indicating where the foreigners stayed within a walled area of the city. The “map” is pocked with hovering red signs indicating local businesses, tea houses and more, reminiscent of advertisements on diner placemats for local businesses.</span></span></div><div style="text-align: left;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">These mass produced prints have delightful characteristics and misprints resulting from their production. I love the clumsiness with which the artists stylized the unfamiliar dresses of western women to create beautiful patterning. Similarly, in facial features such as facial hair, in one particular portrait from 1861 by Yoshitsuya of an Englishman with musket - his beard rendered like the stylized curls of a Chinese dragon dog.</span></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuxRYI0ItxziD7X8fkOZ9lCeSIeCMnIaNo4MJrBdvoDhB21QYNvDISzKkpfPkDfBKgyK841KTTWWwYA-4QWMCsWEDhyuDJP9vmddnmDEfSvyER4bR78Mb8me6-_5TGvcZ1-HDbqg/s1600/Image+1.+1968-165-117-pma.jpg"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuxRYI0ItxziD7X8fkOZ9lCeSIeCMnIaNo4MJrBdvoDhB21QYNvDISzKkpfPkDfBKgyK841KTTWWwYA-4QWMCsWEDhyuDJP9vmddnmDEfSvyER4bR78Mb8me6-_5TGvcZ1-HDbqg/s320/Image+1.+1968-165-117-pma.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5527968395030790978" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 181px; height: 266px; " /></a></span></span></div><div><b><span class="Apple-style-span" style="font-size: x-small;">An Englishman (with a Musket)</span></b><span class="Apple-style-span" style="font-size: x-small;">, 1861. Ichieisai Yoshitsuya, Japanese, 1822 - 1866. Color woodcut, Öban tate-e: 14 3/8 x 9 3/4 inches (36.5 x 24.8 cm). Philadelphia Museum of Art, Purchased with the Lola Downin Peck Fund and with funds contributed by Lessing J. Rosenwald, Mr. and Mrs. Robert A. Hauslohner, Dr. Emanuel Wolff, the Derald and Janet Ruttenberg Foundation, Mrs. Edward G. Budd, Jr., and David P. Willis, 1968.</span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span class="Apple-style-span"><span class="Apple-style-span"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEbaGL3olkALnQCvmcQqW1YUYLRDh-PjMVkouyZpqLAgXMkUJvLX0-cGUuQB-5ZURN3b0cdJ21cl_b35nMUw41MGQc438DG10FhUgx6xw1phcQgWERNIASxDW8Tf64L7LCLskCDA/s1600/Image+8.jpg"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEbaGL3olkALnQCvmcQqW1YUYLRDh-PjMVkouyZpqLAgXMkUJvLX0-cGUuQB-5ZURN3b0cdJ21cl_b35nMUw41MGQc438DG10FhUgx6xw1phcQgWERNIASxDW8Tf64L7LCLskCDA/s320/Image+8.jpg" alt="" id="BLOGGER_PHOTO_ID_5527960317001916994" border="0" style="margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; display: block; text-align: center; cursor: pointer; width: 221px; height: 320px; " /></a></span></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEbaGL3olkALnQCvmcQqW1YUYLRDh-PjMVkouyZpqLAgXMkUJvLX0-cGUuQB-5ZURN3b0cdJ21cl_b35nMUw41MGQc438DG10FhUgx6xw1phcQgWERNIASxDW8Tf64L7LCLskCDA/s1600/Image+8.jpg"></a><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><b><span class="Apple-style-span" style="font-size: x-small;">A Frenchwoman and a Dutchman</span></b></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span" style="font-size: x-small;">,1860. Ochiai Yoshiiku, Japanese, 1833 - 1904. Color woodcut, Öban tate-e: 14 1/8 x 9 5/8 inches (35.9 x 24.4 cm). Philadelphia Museum of Art, Purchased with the Lola Downin Peck Fund and with funds contributed by Lessing J. Rosenwald, Mr. and Mrs. Robert A. Hauslohner, Dr. Emanuel Wolff, the Derald and Janet Ruttenberg Foundation, Mrs. Edward G. Budd, Jr., and David P. Willis, 1968.</span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span" style="font-size: small;"> </span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></span></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">Often the artists were documenting places they had never seen, and incorporating architecture of far away lands like Paris – and the images take on a peculiar flattening but continue to use that hovering angled point of view.</span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">A few examples show gorgeously clumsy typography of western words, juxtaposed against the tight calligraphy of the Japanese text. In “The Great French Soullier Circus and Equestrian Acrobatic Show” of 1871 by Utagawa Yoshiharua, a wonderful poster advertising a circus with horses and acrobats, “Soullier” is awkwardly carved as the artist struggled to form the western letters.</span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDeNs4att2BCE6hOdYc_LXg7HZ7DLXM9hH7t0lgYWkRuUbbWhbW48IuKfsvmACG3k4TB-tK0C3xp3YXrFtMAwGwvCZ9fvl9wE6j-4LJO5B8ZnWhzR1R9NAc3VN_l_i_OGpe7Wk/s400/1968-165-24a--c-pma.jpg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 400px; height: 209px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5528355377301424322" /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></span></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></span></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></span></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></span></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></span></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></span></div><div style="text-align: center;"><br /></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><b><span class="Apple-style-span" style="font-size: x-small;"><br /></span></b></span></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><b><span class="Apple-style-span" style="font-size: x-small;"><br /></span></b></span></div><div><span class="Apple-style-span" style="font-size: x-small;"><b><br /></b></span></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><b><span class="Apple-style-span" style="font-size: x-small;">The Great French Soullier Circus and Equestrian Acrobatic Show</span></b></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span" style="font-size: x-small;">,1871. Utagawa Yoshiharu, Japanese, 1828 - 1888. Color woodcut triptych, Öban tate-e triptych: 14 1/2 x 18 3/8 inches (36.8 x 72.1 cm). Philadelphia Museum of Art, Purchased with the Lola Downin Peck Fund and with funds contributed by Lessing J. Rosenwald, Mr. and Mrs. Robert A. Hauslohner, Dr. Emanuel Wolff, the Derald and Janet Ruttenberg Foundation, Mrs. Edward G. Budd, Jr., and David P. Willis, 1968.</span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">Walking through the galleries, I realized that these prints were much like engravings in a natural history, or an anthropological book. For example, one of the woodcuts is a print about a Dutch couple, and includes a text that describes the Dutch as a people with white skin, red hair, high noses, and round eyes. It goes on to say they wear a great deal of clothing, are intelligent and superior to rest of world in surgery and finally they write horizontally and eat a wide range of fowl and meat.</span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">Another print spoke about people of barbarian nations from 1861, and I realized that we (the westerners) were their barbarians. These truly resembled so many images of “savages” that I’d seen depicted in texts from the 18th and 19th centuries by western artists.</span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">I found this show particularly interesting in the context of what is going on in Japan today in light of economic downturn, earthquakes, and political instability. The Japanese are reeling from a huge unemployment rate, which was recently 15.7%, very close to that of the United States.</span></span></span><span style="font-style: normal; text-decoration: none; vertical-align: super; "><span class="Apple-style-span" style="font-size: x-small;">iv</span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> The employment system where men went to work for one company for life has disappeared, and in its wake seems to be a backlash against the foreigners perceived as taking their jobs. Martin Fackler’s article “New Dissent in Japan Is Loudly Anti-Foreign” describes a new type of ultranationalist group in Japan trying to win attention through protests. Just last December the Japanese group Zaitokukai (the equivalent to the US Teaparty) were picketing outside a Korean kindergarten wearing slogans saying “Expel barbarians.”</span></span></span><span style="font-style: normal; text-decoration: none; vertical-align: super; "><span class="Apple-style-span" style="font-size: x-small;">v</span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "></span><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span class="Apple-style-span"><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; background-color: transparent; "><span id="internal-source-marker_0.3128415737301111" style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "><span class="Apple-style-span" style="font-size: small;">This Yokohama show offers views of a time when Japan was opening, rather than shutting down cultural exchange, and perhaps it offers all of us an alternative of seeing the “other”.</span></span><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: super; white-space: pre-wrap; "><span class="Apple-style-span" style="font-size: x-small;">vi</span></span><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "><span class="Apple-style-span" style="font-size: small;"> </span></span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; background-color: transparent; font-family: 'Times New Roman'; "><span style="font-family: Arial; background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div></span></div><div><h1><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">More information</span></span></span></h1><span style="text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><i><span class="Apple-style-span" style="font-size: small;">Picturing the West: Yokohama Prints 1859–1870s</span></i></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">August 28, 2010 - November 14, 2010</span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">Curator, Shelley R. Langdale • Associate Curator of Prints and Drawings</span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">Berman and Stieglitz Galleries, Philadelphia Museum of Art</span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">You can see the prints online, if you are not able to see them in person by visiting:</span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: underline; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /><a href="http://www.philamuseum.org/exhibitions/407.html"></a></span></span></span></div><div><span style="font-style: normal; text-decoration: underline; vertical-align: baseline; "><span class="Apple-style-span"><a href="http://www.philamuseum.org/exhibitions/407.html"><span class="Apple-style-span" style="font-size: small;">http://www.philamuseum.org/exhibitions/407.html</span></a></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">Also visit, participating </span><i><span class="Apple-style-span" style="font-size: small;">Philagrafika 2010</span></i><span class="Apple-style-span" style="font-size: small;"> artist collective Young Hae Chang Heavy Industries’ exhibition “Down in Fukuoka with the Belarusian Blues” inspired by the story from a translation from French into English and a transposition to the present of a sworn deposition made on July18, 1873, by an 18-year-old French poet, Arthur Rimbaud. Fukuoka happens to be the largest port city, geographically closest to both Korea and China. It’s a small world.</span></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span"></span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: Georgia, serif; "><span style="font-style: normal; text-decoration: underline; vertical-align: baseline; "><span class="Apple-style-span"><a href="http://www.galleryhyundai.com/teaser/"><span class="Apple-style-span" style="font-size: small;">http://www.galleryhyundai.com/teaser/</span></a></span></span></span><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "></span><br /></span></span><hr /><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "></span><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: super; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">i</span></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> Umetaro Azechi, </span></span></span><span style="font-style: italic; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">Japanese Woodblock Prints Their Techniques and Appreciation</span></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> (Tokyo: Toto Shuppan Co., Ltd. 1963)</span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: super; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">ii</span></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> http://www.japan-guide.com/e/e2128.html</span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: super; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">iii</span></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> http://www.japan-guide.com/e/e2128.html</span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: super; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">iv</span></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> New York Times,</span></span></span><a href="http://www.nytimes.com/info/japan/"><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></span><span style="font-style: normal; text-decoration: underline; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">http://www.nytimes.com/info/japan/</span></span></span></a><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> Japan By Martin Fackler, Hiroko Tabuchi</span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span><span style="font-style: normal; text-decoration: none; vertical-align: super; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">v</span></span></span><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> ibid</span></span></span></div></div><div><span style="font-style: normal; text-decoration: none; vertical-align: baseline; "><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span"><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; background-color: transparent; "><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: super; white-space: pre-wrap; "><span class="Apple-style-span" style="font-size: small;">vi</span></span><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "><span class="Apple-style-span" style="font-size: small;"> New York Times, </span><a href="http://www.nytimes.com/2010/08/29/world/asia/29japan.html"><span class="Apple-style-span" style="font-size: small;">http://www.nytimes.com/2010/08/29/world/asia/29japan.html</span></a><span class="Apple-style-span" style="font-size: small;"> New Dissent in Japan is Loudly Anit-Foreign By Martin Fackler</span></span></div></span></span></span></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-89582880608738346822010-08-19T12:42:00.009-05:002010-08-26T11:09:55.573-05:00Space 1026: Today is Our Day<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjysj4-VGRp8-dEwRdDPnzTxnR3b3KhEVVba3Jmf0uWLsNxn5aj8c5-_pHGoKLxTrdyTXz-dJffDDm5TYMcyOP1pu9jtM0pxRgaJMjS4FYOOVd0tQrnb4T4AbtBGfqAnLwzhGHRhA/s1600/DSC_0459w.jpg"><img style="cursor: pointer; width: 335px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjysj4-VGRp8-dEwRdDPnzTxnR3b3KhEVVba3Jmf0uWLsNxn5aj8c5-_pHGoKLxTrdyTXz-dJffDDm5TYMcyOP1pu9jtM0pxRgaJMjS4FYOOVd0tQrnb4T4AbtBGfqAnLwzhGHRhA/s400/DSC_0459w.jpg" alt="" id="BLOGGER_PHOTO_ID_5507185625964405858" border="0" /></a><br /><span style="font-size:78%;">The front cover, designed by Mike Gerkovich and Bonnie Brenda Scott</span><br /><br /><div style="text-align: left;">Recently, we had a copy of Space 1026's awesome new book <span style="font-style: italic;">Today is Our Day</span> floating around the office. It's been getting a lot of exposure on the blog circuit, and for good reason. It was hand printed and bound at Space in an edition of 150, with each page featuring artwork from a different member.<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0_qnhf2_jlopKUrSF3N44Slc6lRIyEpcFn-Rp0wBfPwA5Q61QQ1MHHjw58j7QBn5E6az_tW9PEEooLMXue9GNtj5hfndK-tW0WXLe16NcxclR49w78JxigVtbd1xw3ojfNrxlA/s1600/DSC_0470s.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0_qnhf2_jlopKUrSF3N44Slc6lRIyEpcFn-Rp0wBfPwA5Q61QQ1MHHjw58j7QBn5E6az_tW9PEEooLMXue9GNtj5hfndK-tW0WXLe16NcxclR49w78JxigVtbd1xw3ojfNrxlA/s400/DSC_0470s.jpg" alt="" id="BLOGGER_PHOTO_ID_5509746515811726498" border="0" /></a><span style="font-size:78%;">Spread by Matt Leines and Bill McRight<br /></span></div><br /></div></div>The coolest part about the book are the gatefold pages dispersed throughout the book. Pages unfold into sprawling compositions, with some pages being specially cut to create a layered effect. Already a hefty-sized book at 12.5 " x 9.5 ", the book unfolds to a wingspan of 38 "!<br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxcD1rvIZJl0hcLVDzI57KqMz6E_PlS8B7L1N9QiZg2DaSxTaIJzanjGlUj_XduNixWWcVxXn74irb_OOFHX0jfjiYhtgFgBrnZ6VV5TkEYk9fit5MsR7jfyiIqemfta-5KOBWYg/s1600/DSC_0476b.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 259px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxcD1rvIZJl0hcLVDzI57KqMz6E_PlS8B7L1N9QiZg2DaSxTaIJzanjGlUj_XduNixWWcVxXn74irb_OOFHX0jfjiYhtgFgBrnZ6VV5TkEYk9fit5MsR7jfyiIqemfta-5KOBWYg/s400/DSC_0476b.jpg" alt="" id="BLOGGER_PHOTO_ID_5509749941768131762" border="0" /></a><span style="font-size:78%;">Top Spread by Ben Woodward and Anni Altshuler. Bottom Spread by Leah Mackin</span><br /><br /></div>There are plenty more pictures available on the Space 1026 <a href="http://www.flickr.com/photos/space1026/sets/72157623709281698/">Flickr</a>, but definitely check this one out in person. It's a steal at $50 from the <a href="http://www.store1026.com/products/today-is-our-day-book">Space 1026 Store</a>, and it makes a fine addition to any artist book collection.<br /><br />Oh and here's the list of participating artists: Michael Gerkovich, Bonnie Brenda Scott, Matt Leines, Alex Lukas, Bill McRight, Crystal Stokowski, Jacob Marcinek, Ben Woodward, Anni Altshur, Leah Mackin, Emilia Brintnall, James Ulmer, Kay Healy, Roman Hasiuk, Justin Myer-Staller, Clint Woodside, Kyle Schmidt, Thom Lessner, Chris Kline, Jason Hsu and Andrew Jeffrey WrightUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-60693473212883261512010-06-29T09:15:00.008-05:002010-07-02T11:20:39.244-05:00Dennis McNett Shreds the Barney's WindowsBrooklyn woodcut artist and <a href="http://www.youtube.com/watch?v=PDgbZv2PP8w&feature=related">SGC Take Over-er</a> Dennis McNett has set his sights on a new dragon to slay: the world of fashion... or at least the world of fashion window displays.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwmYsuP5WHkEg6nJvvJBZrLhd-crtrRuxE3z0c18qyg92pwYmfgxVSAmm5BAqsvq4it2ybAraJw3Euo2pf9zCKY1GMK6EHqJgE3avMx7zS5s1IfuAp6tb8sjcRromqqFkwxqebbg/s1600/barneys-display-dennis-mcnett.jpg"><img style="cursor: pointer; width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwmYsuP5WHkEg6nJvvJBZrLhd-crtrRuxE3z0c18qyg92pwYmfgxVSAmm5BAqsvq4it2ybAraJw3Euo2pf9zCKY1GMK6EHqJgE3avMx7zS5s1IfuAp6tb8sjcRromqqFkwxqebbg/s400/barneys-display-dennis-mcnett.jpg" alt="" id="BLOGGER_PHOTO_ID_5488951049677266642" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGu-GDg9OL34ZVIWfoXk7Ogzb-QDBMJnRhwC7SdYQ2TGCQ47msQpzPjTT_mqYNufrddApDj1YhyphenhyphenUnmE4tX-E0629knTkaJ0Ey9ouHcMQX0oO6hK2a0m5W0bSQk3QVQ934WYH4jbw/s1600/barneys-display-dennis-mcnett-4.jpg"><img style="cursor: pointer; width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGu-GDg9OL34ZVIWfoXk7Ogzb-QDBMJnRhwC7SdYQ2TGCQ47msQpzPjTT_mqYNufrddApDj1YhyphenhyphenUnmE4tX-E0629knTkaJ0Ey9ouHcMQX0oO6hK2a0m5W0bSQk3QVQ934WYH4jbw/s400/barneys-display-dennis-mcnett-4.jpg" alt="" id="BLOGGER_PHOTO_ID_5488951073072719954" border="0" /></a><br />McNett just installed 50 feet's worth of block print madness inside the windows of Barney's on Madison Avenue, between 60th and 61st Streets. The installation includes several of McNett's huge banner prints of patterns and creatures inspired by the high-energy of the late 80's punk and hardcore music. Along with the insanely intricate relief prints, he's designed several masks: animals, skulls, animal skulls, wolves, bats, and of course, WolfBats.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqPphooayY1MsCCk9OdRX3TCJCYJaNOROUc6CEnIulIdX6a2JOQBUmcsT4bJxWKoJoGCKaNEu_0uGvlpkgHn3B8Tmy0fmHKQrN3Isny6vMeiIhSqbor6lwWfxnmYmzjs-8wN_V_g/s1600/barneys-display-dennis-mcnett-1.jpg"><img style="cursor: pointer; width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqPphooayY1MsCCk9OdRX3TCJCYJaNOROUc6CEnIulIdX6a2JOQBUmcsT4bJxWKoJoGCKaNEu_0uGvlpkgHn3B8Tmy0fmHKQrN3Isny6vMeiIhSqbor6lwWfxnmYmzjs-8wN_V_g/s400/barneys-display-dennis-mcnett-1.jpg" alt="" id="BLOGGER_PHOTO_ID_5488951063072395666" border="0" /></a><br />There's something really strange yet completely appropriate about the combination of stark white-emaciated mannequins dressed in high end fashion with these intense renderings of crazed beasts and other imagery inspired by mythology, punk rock, and skateboarding. They seem to be total opposites on paper, yet complement each other beautifully when seen in person.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijWBn1PeuZ1fLOXxYGhZfOhrflkrBbKUy9SV1D1f3TnNaFMKxAKp1IdNU_pGMq4-e5l6_qL_TYANq4S3ooSUtATTC6HXiq6WLuiveI11kwCsfqWqGEj0G0AeMzin9vCc7FkRDP8g/s1600/barneys-display-dennis-mcnett-3.jpg"><img style="cursor: pointer; width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijWBn1PeuZ1fLOXxYGhZfOhrflkrBbKUy9SV1D1f3TnNaFMKxAKp1IdNU_pGMq4-e5l6_qL_TYANq4S3ooSUtATTC6HXiq6WLuiveI11kwCsfqWqGEj0G0AeMzin9vCc7FkRDP8g/s400/barneys-display-dennis-mcnett-3.jpg" alt="" id="BLOGGER_PHOTO_ID_5488951073778135762" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY-JaJZ-hB0D3TWQo_xtejVp13JWqRWsJKnYfDKdwt5aSmDXlrdyOGkpmVtrOc9Ydmb1_cyf46TVmJUYfIW2ZsMepjrMS8t-7r-zAE8l9jK_182gKVCDyYyQp9QF3-BkW3qz9IYw/s1600/barneys-display-dennis-mcnett-2.jpg"><img style="cursor: pointer; width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY-JaJZ-hB0D3TWQo_xtejVp13JWqRWsJKnYfDKdwt5aSmDXlrdyOGkpmVtrOc9Ydmb1_cyf46TVmJUYfIW2ZsMepjrMS8t-7r-zAE8l9jK_182gKVCDyYyQp9QF3-BkW3qz9IYw/s400/barneys-display-dennis-mcnett-2.jpg" alt="" id="BLOGGER_PHOTO_ID_5488951065970130226" border="0" /></a><br />Speaking of in person, word on the street is to check these windows out at night for the full effect, as they've been professionally lit. Check out more of Dennis McNett at <a href="http://www.wolfbat.com/">wolfbat.com</a>.<br /><br />-Dan HaddiganUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-20974216908828251492010-06-28T09:47:00.008-05:002010-07-02T11:20:11.729-05:00Cannonball Press: Woodcut Thrill Ride!If you've been following Philagrafika at all, you know two things: we're all about pushing the boundaries of the capabilities of the printed image, and that one of our consistent allies is <a href="http://www.cannonballpress.com/">Cannonball Press</a>, the Brooklyn-based collaboration of artists Mike Houston and Martin Mazorra. So naturally, when Cannonball Press comes up with a project like "Woodcut Thrillride", we take notice:<br /><br />"...We’re combining hand-carved woodblock prints made on a 1938 Vandercook proof press with state-of-the-art 3D digital animation software. Old school meets new school in the inimitable Cannonball monochromatic style. We’re teaming up with acclaimed jazz saxophonist John Ellis, his band Double-Wide and accomplished animator Eric Knisley to create our own 3-minute long woodcut Petrushka."<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNe_N0RSMX7Gew5zrdcyk_ZXUp0QlwIKleCOQiylQo3yhMeg1clboEiOKpSG_T4Fa1I8xjhVyoPhQSK_MZpVpfXBO6MhyphenhyphenxjIhUoxSudFBfHD6oJnoetoYRGQdMcl1xnpE95Nrruw/s1600/90222f355024aaeb2dff42cfbbd861df5aeeb4fe_274x250.jpg"><img style="cursor: pointer; width: 274px; height: 206px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNe_N0RSMX7Gew5zrdcyk_ZXUp0QlwIKleCOQiylQo3yhMeg1clboEiOKpSG_T4Fa1I8xjhVyoPhQSK_MZpVpfXBO6MhyphenhyphenxjIhUoxSudFBfHD6oJnoetoYRGQdMcl1xnpE95Nrruw/s400/90222f355024aaeb2dff42cfbbd861df5aeeb4fe_274x250.jpg" alt="" id="BLOGGER_PHOTO_ID_5487841938256989634" border="0" /></a><br /></div><br />The project does have it's obstacles, and as is an inevitability for any artist, that obstacle is lack of funds. Cannonball is seeking $3500 by August 31 in order to produce the video, and they need your help.<br /><br />Of course, it's not like Cannonball Press to take your money without giving back, so for your contribution, you will receive "perks" that correspond to your level of donation: For a $20 donation, you'll get a signed copy of John Ellis's album "Puppet Mischief." For $30, you reveive a Double-Wide letterpress playbill, for $40 a Double-Wide letterpress broadside and for $60, a souzasaxophone 3-color woodcut. Everyone wins.<br /><br />For more about the project, and to donate, visit <a href="http://projectsite.unitedstatesartists.org/project/woodcut_thrillride_animation">http://projectsite.unitedstatesartists.org/project/woodcut_thrillride_animation</a><br /><br />-Dan HaddiganUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-27445244788603899962010-06-22T08:46:00.009-05:002010-06-28T09:43:57.786-05:00Summer Solstice Benefit 2010 Featured Artists: Kaitlin Mosley and Katie Tackmanby Marianne Bernstein<div><br />If you haven't met the two K's of <a href="http://www.fineartprint.com">Silicon Gallery</a> yet, you're missing out on a big treat. Don't be fooled by their age (20's) or total adorableness--they are the backbone of this esteemed digital printmaking studio, a Mecca for Philadelphia artists and printmakers. Kaitlin Mosley and Katie Tackman are also excellent photographers and, like horses at a racetrack, are pawing at the gate ready for a big breakout. I've watched their evolution over the years, first at Silicon, marveling at their patience and printing expertise, and more recently as artists and friends. I believe they have discovered recently what many of us mid-career artists slowly figure out-- that encouraging one's friends and contemporaries oftentimes is exactly what's needed to take oneself as an artist more seriously, to be less self-critical, while moving forward...</div><div><br /></div><div style="text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidCGZWKTH_OQsGQb2oMKnTfvEksiSmB6bfvK7copxbTpoVDY696_mXFfCYrCWdHvd4i-7_PbMppxMdVdNBeFIHn3uGjHCYcxJ1UhKGdAXytp96FYC8z3bITO70_ZKQ6oNMBMZT/s200/clip_image001.jpg" style="cursor: pointer; width: 200px; height: 176px;" alt="" id="BLOGGER_PHOTO_ID_5485619330067944882" border="0" /></div><div><br />Kaitlin and KT's photographs share many qualities. They both shoot film. Mostly set in natural settings, with water nearby, each image can be read as both a portrait and a landscape. They are serene, timeless, and nostalgic. The viewer often feels as if they have stumbled upon a private moment, a Cartier-Bresson "decisive moment" of harmony and balance, which a second later will change completely.<br /><br /></div><div style="text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrqGLtohf-WVNH_-AT3nVSejIFRqbJIXOoVVqtLDzhUUNvrE97O5BQcPJ6ciOcFG-DoPkt-AslnoUQJaK5ZO-irb98tBV0z42tInvIlQ0Ixf45-1vJiA_0vxXZQGTLHgskipTI/s320/clip_image002.jpg" style="cursor: pointer; width: 320px; height: 318px;" alt="" id="BLOGGER_PHOTO_ID_5485619613832929058" border="0" /></div><div style="text-align: center;"><span class="Apple-style-span" style="border-collapse: collapse;font-family:arial,sans-serif;" ><span class="Apple-style-span" style="font-size:x-small;">"Bambi"- Kaitlin Mosely</span></span></div><div><span class="Apple-style-span" style="border-collapse: collapse;font-family:arial,sans-serif;font-size:13;" ><br /></span></div><div style="text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYNy3P6ivLgnTxqv0BCkfyWfSLHPpalfmn42PSiXNhPYvQZGwGuBWtm7F_lgs72pzmOiQbTnwWsSWeAvSoLBB1_EY9KvADjc1gdDkk0WgsENcqwvJb3qV44md4toUWUEpcZ_7E/s320/2010_Tackman_Katie.jpg" style="cursor: pointer; width: 257px; height: 250px;" alt="" id="BLOGGER_PHOTO_ID_5485620889084067458" border="0" /></div><div style="text-align: center;"><span class="Apple-style-span" style="border-collapse: collapse;font-family:arial,sans-serif;" ><span class="Apple-style-span" style="font-size:x-small;">"Olomouc"- Katie Tackman</span></span></div><div><span class="Apple-style-span" style="border-collapse: collapse;font-family:arial,sans-serif;" ><span class="Apple-style-span" style="font-size:small;"><br /></span></span></div><div style="text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH14n9AKrsCfzztEAAMEzg1mTkauOxDgwUIyUvzjE_meE01NdQ4KWZgkAaSL194_R4zH93nNgV4h9AuyZD2qwduGxZ5sqoSbwX2KwgwavI-klf-OtCwcengQmAzRgufyVxkUnv/s320/Katie-9.jpg" style="cursor: pointer; width: 320px; height: 315px;" alt="" id="BLOGGER_PHOTO_ID_5485664265449039058" border="0" /></div><div style="text-align: center;"><span class="Apple-style-span" style="border-collapse: collapse;font-family:arial,sans-serif;font-size:x-small;" >Katie Tackman</span></div><div><span class="Apple-style-span" style="border-collapse: collapse;font-family:arial,sans-serif;font-size:x-small;" ><br /></span></div><div>For Summer Solstice, Kaitlin contributed "Ship" a haunting image of a sailboat adrift in the fog, where water and sky are almost indistinguishable. KT created a stunning body of work while traveling recently in the Czech Republic, using only a Holga camera, of families on a lakeside vacation. "Olomouc", her contribution to Solstice is perfectly composed and intensely felt; a family outing so familiar, sad, haunting, and lovely, it takes my breath away.</div><div><br /></div><div style="text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv3DlI8ib-j1ZFPToupmfrhaF0f337Zl9O2U1f8NIY83o5Cwkv4qsSx3ThZf6O8vrYDrUOdANk_xb7Lj2XjzTD80YW3WNfhTlbwZ8kC6is60QGo8x9frLzAGMBvHffO6xuHGb4/s320/2010_Mosley_Kaitlin.jpg" style="cursor: pointer; width: 320px; height: 227px;" alt="" id="BLOGGER_PHOTO_ID_5485620204485786178" border="0" /></div><div style="text-align: center;"><span class="Apple-style-span" style="border-collapse: collapse;font-family:arial,sans-serif;" ><span class="Apple-style-span" style="font-size:x-small;">"Ship"- Kaitlin Mosely</span></span></div><div><br />Recently I spoke with them about their work:<br /><br />MB: When did you first pick up a camera and why? What did you photograph?<br /><br />KAITLIN: I don’t remember the first picture I ever took, but guessing by the age of my siblings in the photos I must have been around 7. I still have copies of the photos I took of my sisters standing on my bed posing for glamour shots that I styled. They couldn’t have been more than 5. My mom was always photographing us (I am one of 5 kids, have a twin brother, two sisters who are 1 and ½ years younger than me and then a single sister who is 6 years younger than me.) and one of our favorite things to do would be to sit on the couch and look at photo albums with my mom as she would point us out in the pictures, younger versions of ourselves. My first camera was either my pink Vivitar (110 film!) or the Kodak instamatic (210 film), then I moved on and learned how to load actual film myself.</div><div><br />KT: I started photographing in high school because I was kind of an outsider. Growing up in Connecticut was very different than my life is now. I was surrounded by people who were more concerned with money and a certain social status, which made me want to escape. But the amazing thing about growing up in New England was nature is always around you. I would escape to the water or the woods and photograph my observations. Some of my first Polaroid’s were taken in Connecticut and I still remember every scene from that day because taking photos widens my senses making me super aware of details.</div><div><br />MB: What do you photograph now- and why?<br /><br />KAITLIN: I photograph my loved ones and the places we go, or the places I go. I prefer to shoot with my cameras, which are a Minolta x700 and my Yashika for medium format. It’s just what I know, and what I like and enjoy.<br /><br />KT: I photograph now because it is one of the only things that excites me about life. I am a very quiet person so I think my photography gives me a platform to speak through my eyes. I also use photography as a way of meeting people when searching along the Schuylkill for subjects to photograph. I mainly use Polaroid and instant film because I love the immediacy and the colors it produces. I have started using sepia toned Polaroid and experimental film made by the Impossible Project, which is fun to experiment with and get a different effect each time.</div><div><br />MB: Which photographers have influenced you?<br /><br />KAITLIN: Francesca Woodman, and Wynn Bullock.<br /><br />KT: Hellen van Meene, Man Ray, and William Eggleston<br /><br />MB: What are your other interests? Do they affect your photographs in any way?<br /><br />KAITLIN: My interests are nature, family, and friends. I like getting out of the city and I like camping a whole lot. I like being with the people I care about. I wouldn’t be able to photograph strangers the way some people do.<br /><br />KT: My two passions are photography and sailing which both give me a sense of freedom. I grew up sailing and worked on a Tall Ship for a year after graduating college. The ocean both excites and scares me at the same time. I would like to explore that idea through my photographs someday. I have also been known to rip it up on the basketball court, which really has nothing to do with photography but it is just as fun!<br /><br />MB: How has working at Silicon affected your photography? Have you influenced one another?<br /><br />KAITLIN: I have grown fond of color since I have been at Silicon. I was primarily into black and white, in the darkroom in college and working here has definitely influenced my appreciation of color. I think you could say that I am sensitive to color, which makes me a careful and good printer for others. I also care about others and what they want to achieve with their art, so I try to let myself be a bridge for them into this process.<br /><br />KT: When I started working at Silicon I became immersed in the art scene in Philly. I have met so many artists but more importantly created relationships with them outside of work. We try to support all the artists who come into the shop and in turn they support all of our work. Kaitlin, Steven, Gus and I all go to each other’s shows and we are constantly talking about our ideas and our experiences creating art. Kaitlin and I look at each other’s work and give each other advice or tell each other about shows. I think it is interesting that we have a similar style of photography but before we even knew each other. Not really in subject or technique but in feeling. I try to make my photos look timeless and I think Kaitlin just does that naturally. I admire her for that and for the personal content in her work.<br /><br />MB: If the sky were the limit, what would you be doing now?<br /><br />KAITLIN: I would be camping, with my loved ones, preferably on the beach. And I would be taking pictures.<br /><br />KT: I would like to be traveling, exploring in the Czech Republic. In college I studied abroad in Prague and traveled throughout the country. The escape from the regular academic lifestyle and traveling allowed me to photograph for fun again. I came back with some amazing photos, which I did not pre-visualize; they just came out of me while I was exploring the pools and lakes in the country. Now I try to recreate that same imagery that I saw there.<br /><br />MB: Why is Silicon special to the Philadelphia print community? What is it that Silicon offers that you can't find elsewhere here?<br /><br />KAITLIN: Silicon is the information Hub for the art scene in Philadelphia. We are involved with most projects and support most artists. We do our best to be accessible to all who have an interest and we help spread the word of what is going on to those new to the city who are interested in getting more involved in the arts. There is always a dialogue here and it is always about helping others achieve their goals and meet their challenges. I think we make a lot of people happy with what we do. We print for so many people from all around, from printing paintings from William Egglestons’s cousin somewhere outside of Memphis, Tennessee who was very happy to be working with a “Kaitlin, a good southern name”, to the local and fabulous Zoë Strauss, to whom I must say 143…<br /><br />KT: I think Silicon is a place where artists can get high quality digital prints and work with people who actually care about the end product. We are all artists so we know how much work our customers put into their work, so we try to give the same amount. This shop is important to the Philly art community because it connects so many people. Rick does projects with Philagrafika, Fresh Artists, Cindy Ettinger, and many other local non-profits, usually as a favor or just to help support their causes. I admire that about this company and feel good about helping out other artists in the community. Also the late Dog was what made this shop different from others. He was our mascot and friend; we will miss him dearly!<br /><br />Check them out. And thank you so much, Rick DeCoyte, Silicon Gallery and Fine Art Prints for all that you have done for the Philadelphia art community and for Philagrafika!<br /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-3224346477191464252010-06-21T09:32:00.004-05:002010-06-21T12:06:32.405-05:00Summer Solstice Benefit 2010 Featured Artist: Charles FahlenMuseum of Modern Art<br />Philadelphia Museum of Art<br />Albright-Knox Art Gallery<br />Oakland Museum of California<br />...you?<br /><br />With a purchase of a Summer Solstice 2010 ticket, you could add your name to this prestigious list by adding a Charles Fahlen piece to your collection!<br /><br />While he is from San Francisco, and returned there a few years ago, artist and sculptor Charles Fahlen spent a large portion of his career right here in Philadelphia, leaving a trail of influential gallery and museum shows as well as several public sculptures in and around Center City.<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmQaa_H53Fkw9o8qE-pwZ57XW2jPsxMHJxyCx-etAIGpZKpenHi6WGXnGwOQ-4aGCcAtf8hpWSW1EFJpi9JukhbBrUGoJeS9_vxHQ64NZRiYv4DFPcRT3EQREv7G1JUkV3suQOSA/s1600/6f4e94ab-cb12-4ec8-b17a-88e1e83382be.jpg"><img style="cursor: pointer; width: 267px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmQaa_H53Fkw9o8qE-pwZ57XW2jPsxMHJxyCx-etAIGpZKpenHi6WGXnGwOQ-4aGCcAtf8hpWSW1EFJpi9JukhbBrUGoJeS9_vxHQ64NZRiYv4DFPcRT3EQREv7G1JUkV3suQOSA/s400/6f4e94ab-cb12-4ec8-b17a-88e1e83382be.jpg" alt="" id="BLOGGER_PHOTO_ID_5485248887882396722" border="0" /></a><br /><span style="font-size:78%;">Charles Fahlen, <span style="font-style: italic;">Major</span>. Public Sculpture at 8th and Locust Street</span><br /></div><br />His distinctly post-minimalist forms are simultaneously monumental and mundane, usually referencing the materials from which they were constructed - industrial items that are commonplace in most hardware or home improvement stores. His enigmatic works seem to transcend time - based on his materials and his construction is is difficult or impossible to correctly guess the date of his works without prior knowledge.<br /><br />For Summer Solstice 2010, The Fabric Workshop and Museum donates a piece created in collaboration with Fahlen during his time as an Artist-in-Residence at the Workshop. <span style="font-style: italic;">Fresh Start </span>is reminiscent of patterns typical of Southwestern American Indians, and somewhat resembles a woven Navajo Rug, even appearing to be woven. However, Fahlen plays with space on a flat object, breaking his pattern into three distinct sections, as if folded onto itself. Closer inspection proves that the pattern isn't woven at all, but masterfully screenprinted onto .75 inch thick industrial felt. Whether this piece is a tribute to these early American craftsmen or a statement on mass-production and commercialization of these ancient patterns is up to the viewer. Regardless, this is a "fresh" take on an iconic part of American craftsmanship, and like many prints is a perfect marriage of fine art and craft.<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-_UMdyRHlkm8-Ww5IZPWa5qvpWdz0ggBB-Ga3mfIMoWhyqrLR5ZQwQq-FxbKB73edLAJb4NhPXehc2EmcFDR_7__mztc_-SOPLl-pli6merxbEGVZ5NzDlSIAUm1E14-QfJ8wfA/s1600/Fahlen_Chuck.jpg"><img style="cursor: pointer; width: 289px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-_UMdyRHlkm8-Ww5IZPWa5qvpWdz0ggBB-Ga3mfIMoWhyqrLR5ZQwQq-FxbKB73edLAJb4NhPXehc2EmcFDR_7__mztc_-SOPLl-pli6merxbEGVZ5NzDlSIAUm1E14-QfJ8wfA/s400/Fahlen_Chuck.jpg" alt="" id="BLOGGER_PHOTO_ID_5485248902530160066" border="0" /></a><br /><span style="font-size:78%;">Charles Fahlen, <span style="font-style: italic;">Fresh Start</span></span><br /></div><br />This piece is one of many other treasures waiting to be discovered and selected by attendees of Summer Solstice 2010. Check the Philagrafika website to <a href="http://www.philagrafika.org/solstice2010-featured-artists-page1.html">find your favorites</a>, and <a href="http://www.philagrafika.org/solstice2010.html">RSVP</a> to own them!<br /><br />-Dan HaddiganUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-36578985281925351022010-06-17T16:02:00.002-05:002010-06-21T09:28:32.964-05:00Summer Solstice Benefit 2010 Featured Artist: Alex Lukas<p><span style="font-family:arial;">It would be quite an understatement to say that there is a lot of discussion about the place of printmaking in contemporary fine art practice. Philadelphia artist and Space 1026 member Alex Lukas is a fine example of the driving force behind Philagrafika 2010. </span></p><p><span style="font-family:arial;">Some artists use print because they need to create hundreds of multiples. Others use print because of it's traditional role in art history. Still others use it because of it's allusions to media culture and history. There are plenty of reasons to use print in contemporary practice, but many, Alex Lukas included, use print because they just can't achieve their desired results through any other process. "I think there is a mis-conception that somehow incorporating printmaking into the process is a time-saver. It really isn’t... I need to use these methods to make the images I want." </span></p><p align="center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirdGj1AwhLAFdLl-k3hXYInQK6a4K5mNmNgHMoBiZJRsWDtcXV-wsjqxWdwehfWKyNwrEK0LpXyVzaxvtH0_oNQcaWTu08wkL9aDd7HWR4pciRRgkb0630c8xl6lGiyJz-7yy4Rw/s1600/lukas_3.jpg"><img style="cursor: pointer; width: 400px; height: 319px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirdGj1AwhLAFdLl-k3hXYInQK6a4K5mNmNgHMoBiZJRsWDtcXV-wsjqxWdwehfWKyNwrEK0LpXyVzaxvtH0_oNQcaWTu08wkL9aDd7HWR4pciRRgkb0630c8xl6lGiyJz-7yy4Rw/s400/lukas_3.jpg" alt="" id="BLOGGER_PHOTO_ID_5484196493194993938" border="0" /></a></p><p align="center"><span style="font-size:78%;"><span style="font-family:arial;">Alex Lukas, </span><em><span style="font-family:arial;">Untitled</span></em></span></p><span style="font-family:arial;">Lukas is referring here to the series of almost exclusively untitled images he calls the "disaster drawings". The drawings themselves are absolute wonders - mixed media compositions of scenes of urban decay, flooded cities, and deserted fields of rubble. They are masterfully crafted using watercolor, gouache, spraypaint and silkscreen that culminate in a very intriguing back-and-forth between illustration and photorealism that really makes the scenes come to life. </span><p align="center"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj5XOTuxD78hMTsbGtJ6I-v9Yt9TAQdUYBlPsAVlg8RrV6AdUxPp1odS_tHyhXFqkviGjQMkgg3DpieFotP5nK7hRsmuMqyB8IX-9VARmhLTenkt2bn_lnlmRpNQgo4_jYYtTIog/s1600/Lukas_Alex.jpg"><img style="cursor: pointer; width: 300px; height: 230px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj5XOTuxD78hMTsbGtJ6I-v9Yt9TAQdUYBlPsAVlg8RrV6AdUxPp1odS_tHyhXFqkviGjQMkgg3DpieFotP5nK7hRsmuMqyB8IX-9VARmhLTenkt2bn_lnlmRpNQgo4_jYYtTIog/s400/Lukas_Alex.jpg" alt="" id="BLOGGER_PHOTO_ID_5484196490243085874" border="0" /></a></p><p align="center"><span style="font-size:78%;"><span style="font-family:arial;">Alex Lukas, </span><em><span style="font-family:arial;">Untitled</span></em></span><span style="font-size:78%;"><span style="font-family:arial;">. Available at Summer Solstice 2010!</span></span></p><p><span style="font-family:arial;">Lukas has donated one of these compositions, a flooded city scene, for Summer Solstice 2010. These drawings rely on Lukas's screenprinting chops. He takes scenes of cities usually torn straight from books, and layers them with various media. The buildings are painstakingly masked out, and then he begins a very scientific process: using a split fountain technique, testing and retesting colors, working with different size screen mesh and several other variables until the waters that rise to the tops of skyscrapers looks just right. For such morbid images, they are absurdly beautiful.</span></p><p><span style="font-family:arial;">In addition to these drawings, Alex Lukas makes humorous posters inspired by comic book art, publishes zines through his company Cantab Publishing, and is the Philadelphia correspondent for San Francisco's excellent multidisciplinary art and culture website <a href="http://www.fecalface.com/">fecalface.com</a>. Check out Alex at <a href="http://www.alexlukas.com/">www.alexlukas.com </a>and don't forget to <a href="http://www.philagrafika.org/solstice2010.html">RSVP for Summer Solstice 2010</a>!</span></p><p>-Dan Haddigan<br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-33600260.post-36402764662537712062010-06-16T10:08:00.009-05:002010-06-16T15:12:25.895-05:00Summer Solstice Benefit 2010 Featured Artists: Nicholas Santore and Karen DowBy Marianne Bernstein<div><br /></div><div>One of the great quotes I heard recently was “that the only difference between artists and non-artists is that artists don’t give a #$&@ what others think of them”. I love the spirit of this and believe there is some truth to it.<br /><br />That being said, there are two Summer Solstice artists I know well who not only don’t care what others think of them (or their work) but have consistently pursued their art with a singular vision against all odds, simply because they need to create.<br /><br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXjELoB1M9YLFiApZj3Pnep-W88K3qhVgXx55v7AoI2-bqpdO2wpAuZHXIbMy1Bpnj-eIbsbdpcJHfdoKrntIPE4jeml4EG0xw4b5ck0LFJvr2IzcXtOl3iWNN4YBxwPYSUIoOlQ/s1600/karen4.jpeg"><img style="cursor: pointer; width: 375px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXjELoB1M9YLFiApZj3Pnep-W88K3qhVgXx55v7AoI2-bqpdO2wpAuZHXIbMy1Bpnj-eIbsbdpcJHfdoKrntIPE4jeml4EG0xw4b5ck0LFJvr2IzcXtOl3iWNN4YBxwPYSUIoOlQ/s400/karen4.jpeg" alt="" id="BLOGGER_PHOTO_ID_5483408945833458898" border="0" /></a><br /><span style="font-size:78%;">Karen Dow</span><br /></div><br />They don’t know each other, but share a lot in common. Both received Graduate degrees from the Yale School of Art- an institution which has influenced (I say that rather than “produced”) some amazing artists over the years, maybe because acceptance there is so competitive). They are also both extremely modest – wary of the commercial art world and the trappings of fame; they are the real deal…honest, kind, direct and unassuming, and extremely hard working. Their creativity is not a spigot that is turned on and off. They never stop being artists. Karen is a mother, teacher, gardener; Nicky is a surfer, carpenter, and musician. They breathe life into whatever it is they do.<br /><br />Their prints and paintings are intricate, detailed, painstaking, requiring razor-sharp concentration and skill, methodical- produced by hands that are steady, unwavering, but with hearts full of passion, longing, and nostalgia for days when quality and skill actually mattered.<br /><br />Karen Dow and Nicholas Santore graduated art school two years apart from one another (1998 and 2000, respectively). They have won prestigious awards, and each has had numerous solo and group shows. I have followed the careers of both over the past decade, and feel that they are at a critical juncture (as are many young artists) of needing financial support and encouragement from collectors and museums.<br /><br />Nicholas Santore’s work is derived from a nostalgia for certain views, impressions and influences that he has observed and experienced at various times throughout his life. These include objects, figures, music, structures, patterns, colors and light specific to subject matter that is often dated, overlooked and/or neglected. The grid, pattern and seriality in his surroundings form the visual and compositional basis for his images, often exploring and distorting perspective, while constructing representational views- both invented and observed- which are realized from visual references, direct observations, memories and intuition.<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDLE5wXHOmVvizTKxPKsa0_XcI3WfvKP6F35JCRv7G-Evxi8e-QTKyImoQkYoWQ4AQDziwPgCvy4LEhziRHuz3VcEQW9cv7TfVnj8NHRuzM84rOSj1aWLE5TGJKHq6zJ5DNPOoSg/s1600/after+the+gold+rush.jpg"><img style="cursor: pointer; width: 264px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDLE5wXHOmVvizTKxPKsa0_XcI3WfvKP6F35JCRv7G-Evxi8e-QTKyImoQkYoWQ4AQDziwPgCvy4LEhziRHuz3VcEQW9cv7TfVnj8NHRuzM84rOSj1aWLE5TGJKHq6zJ5DNPOoSg/s400/after+the+gold+rush.jpg" alt="" id="BLOGGER_PHOTO_ID_5483408956508286722" border="0" /></a><br /><span style="font-size:78%;">Nicholas Santore, <span style="font-style: italic;">After the Gold Rush</span></span><br /></div><br />Karen Dow’s inspiration “comes from home catalogs where fantasy, the geometry of modern architecture, and interior spaces reign. She finds beauty in these scenes and is able to break it down to its bare essence of color, line, patterns and space. Dow sees the beauty in everyday life, but knows that nothing is as it seems on the surface and when you break it down to its core, you begin to see a whole new world”.<br /><br />Karen and Nicky mostly paint in oil, but also are printmakers. I was curious how their printmaking affected their paintings and vise versa. Always curious about artists’ process and influences, I asked each of them the same questions. Here are their answers:<br /><br /><span style="font-weight: bold;">MB</span>:<span style="font-weight: bold;"> When did you realize you were an artist and why do you continue to make art?</span><br /><br /><span style="font-weight: bold;">Karen</span>: Junior year of college, I became a potter. I continue to make art because I am an artist. I feel bad when I stop, and I feel great when I'm painting.<br /><br /><span style="font-weight: bold;">Nicky</span>: After the first week of Grad school it felt legitimate to me …sometimes I feel like I'm chronicling points in time and views which are nostalgic and beautiful to me, and sometimes to honor some inner compulsion.<br /><br /><span style="font-weight: bold;">MB</span><span style="font-weight: bold;">: Where did you grow up and what childhood influences shape your work?</span><br /><br /><span style="font-weight: bold;">Karen</span>: I grew up in Buffalo, NY. I spent every Sunday having brunch at the Albright Knox Art Museum. There is a great collection of art from the 60's; giant color-field paintings, Warhols, Pollocks, it felt like home to me.<br /><br /><span style="font-weight: bold;">Nicky</span>: Center City Philadelphia- my father and his work certainly influenced<br />me throughout my life, also the late 70's - early 80's era also informs much of my work<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKmturbh7x_goQ89eClnX722sbk2czMMWdoI71o2E7n7A_sb8Olwcw_FJdOXMP0keu0GiLTxks9VYlhrG5ha_Y0ENz-B_-LTmNmip8ZdGtJydGBGXlqn7Cd3hsUxbb75kq1OgJmg/s1600/2010_Santore_Nicholas.jpg"><img style="cursor: pointer; width: 400px; height: 195px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKmturbh7x_goQ89eClnX722sbk2czMMWdoI71o2E7n7A_sb8Olwcw_FJdOXMP0keu0GiLTxks9VYlhrG5ha_Y0ENz-B_-LTmNmip8ZdGtJydGBGXlqn7Cd3hsUxbb75kq1OgJmg/s400/2010_Santore_Nicholas.jpg" alt="" id="BLOGGER_PHOTO_ID_5483409123339810722" border="0" /></a><br /></div><div style="text-align: center;"><span style="font-size:78%;">Nicholas Santore, <span style="font-style: italic;">Radio</span> (Available at Summer Solstice 2010)</span><br /></div><br /><span style="font-weight: bold;">MB</span><span style="font-weight: bold;">: Who (and what) has inspired and continues to inspire you?</span><br /><span style="font-weight: bold;"><br />Karen</span>: My husband; painter Christopher Mir, teaching, and my children<br /><br /><span style="font-weight: bold;">Nicky</span>: Valerie Ferus, family, Bowie<br /><br /><span style="font-weight: bold;">MB</span><span style="font-weight: bold;">: Who are your favorite artists?</span><br /><br /><span style="font-weight: bold;">Karen</span>: Josef and Anni Albers, Sol Lewitt, Mel Bochner, Agnes Martin, Gene Davis and Anne Truit. I love these artists for the way in which their art and their lives were/are fused. They all have an approach that is straightforward and uncomplicated. It feels very honest to me. I try to live up to this influence.<br /><br /><span style="font-weight: bold;">Nicky</span>: Hard to pick a favorite but recently I've been looking at very early Lucien Freud, early David Hockney, Gregory Gillespie, Jean Prouve.<br /><br /><span style="font-weight: bold;">MB</span>: <span style="font-weight: bold;">What are your hobbies and how do they inform your work?</span><br /><br /><span style="font-weight: bold;">Karen</span>: At first I was just going to say, "I am a teacher, mother of two and a painter! I don't have time for hobbies." Then I remembered I garden. I garden with a desire to bring beauty into my life. I organize my gardens in much the same way I organize my paintings. It brings me great joy to see things constantly changing and in need of tending and adjusting. It's always in process, and will never be finished.<br /><br /><span style="font-weight: bold;">Nicky</span>: Basketball, surfing, music, yoga, vintage design, not really sure how these<br />connect with my work. I think music gets into my work the most.<br /><br /><span style="font-weight: bold;">MB</span>: <span style="font-weight: bold;">What would you like art collectors to know about you or supporting artists in general?</span><br /><br /><span style="font-weight: bold;">Karen</span>: That living with works of art is wonderful and enriches you everyday. I have paintings and prints in my house that I look at every day. They bring me a constant sense of joy. I also see new things in these works when friends and family come into my home and remark on things they see in them. Living with art has had an impact on how I see the world since I was a child. It is important to me to see my work have a life in my collector's homes – that my paintings are lived with.<br /><br /><span style="font-weight: bold;">Nicky</span>: If broken down hourly, I'm making less than minimum wage making my work.<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0lBmA4WI1xsnZD3DV1vsRCVFODTUwiTAIkDfprfl2N9LWTOOP0uvu-Mi6pa-3iOMmpgUWA2VoOz-Qh9ZPWPXmJ2PtqTdpXkKi_b1WMVXFluamuXeOkrtrmtjPKjO2esAjNuR6w/s1600/karen5.jpeg"><img style="cursor: pointer; width: 400px; height: 204px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0lBmA4WI1xsnZD3DV1vsRCVFODTUwiTAIkDfprfl2N9LWTOOP0uvu-Mi6pa-3iOMmpgUWA2VoOz-Qh9ZPWPXmJ2PtqTdpXkKi_b1WMVXFluamuXeOkrtrmtjPKjO2esAjNuR6w/s400/karen5.jpeg" alt="" id="BLOGGER_PHOTO_ID_5483458414795012562" border="0" /></a><br /><span style="font-size:78%;">Karen Dow</span></div><br /><span style="font-weight: bold;">ON PRINTMAKING</span><br /><span style="font-weight: bold;">Karen</span>: I prefer etching and woodcut, both because they are so different from painting. The process is slow and completely different; subtractive rather than additive. The prints usually come after the paintings and are copies of images I have already made using a different process. This changes the images dramatically, but by using an image I have already made, I can focus solely on the process. (which is what I love about printmaking.)<br /><br /><span style="font-weight: bold;">Nicky</span>: The process of making linoleum reduction prints changed the way I make paintings. The prints inherently need to be pre- planned from the drawing and composition to color choices. When I started approaching my paintings that way, I felt like I was connecting more with my subject matter, and leaving less up to chance. That's not to say that spontaneity was completely eliminated from the work…<br /><br />Philagrafika chose its Summer Solstice artists very carefully this year. Each artist has immense talent, a singular vision, and a story to tell. My advice would be to<a href="http://www.philagrafika.org/solstice2010.html"> come on June 23rd to Locks</a> and choose someone whose work you respond to. Stay in touch with them. Encourage them, share yourself, be inspired, and give them the support they so much deserve. We are all in this together.<br /><br />-marianne bernstein 6/16/10</div>Unknownnoreply@blogger.com0