In this strange, dreamy plague limbo, I guess I thought that my blog would emerge from its own. There’s plenty of time to write, after all. A bit of restlessness has infected my reading, and that’s carried over to writing, I guess.
There’s a lot of both happening, actually, but short pieces seem to be the mode. I’m actually tackling long term tasks- house projects, aid applications, financial tidying, with steady success, but if I thought I’d re-read Ullysses during the shut down that’s not what’s happening. Yet.
We don’t know what will happen this summer as political leaders and medical experts wrangle over when and how to open the country up, and I can’t really tell you much on my various art projects. I did compose a reading list post along with this one, separated out to make it more searchable, and I’ll post that in the next couple of days. This is intended to update my art doings since the lockdown cancelled all of my MoPrint shows.
The Summer Art Market, like everything else, is in limbo. It won’t happen during its regular early June slot, we were informed of that. The League is consulting with the city about a later date this summer, but a city official quoted on Denverite.com has already made remarks discounting a normal schedule of festivals and events this summer, so I don’t know how much faith to place in a postponed SAM. If it does happen, much studio time has been lost, so it would probably involve less new work, and perhaps filling in with older work from the flat files.
I still have quite of work in quarantine, however, at least 16 pieces. This includes 2 prospective sales, which I can only hope are still consummated after this all ends. If they don’t, I’m not sure how I might describe that lost income on an unemployment app. I think it will all work out, but here’s a reminder to spare a thought for the self employed as you make your way through the post-virus political landscape. Our bureaucratic infrastructure is designed to ignore them.
One of my cancelled shows, quarantined in a closed gallery, in a weird limbo of its own- the house section in To The Lighthouse is the unavoidable mental image every time I think of this- may be extended through early summer. This is assuming there is a citywide opening of some form this summer I haven’t been good with the social media, but I will try to post updates. It all depends on what the world looks like if people stop dying, but a gallery might seem to be a place a brave socially distant new world could tentatively open up to.
I did complete a video about Making Monotypes At Home, which is here. It’s my first longer art video, a medium I’ve been intending to explore. As you might expect, it’s kind of a mess. The pay was not glorious, though welcome, of course, so I took it in the spirit of an internship in making art videos. I’ll get back to that sooner than later. Last time I did a (short) video around 2010, I didn’t make time for advancing my craft so I never made more. Like many things it requires repetition to learn, and I want to pursue it.
More than ever, I’m rueing the dysfunctional Woo Commerce freeware on which I wasted my time this winter. It verges on a scam- they have paid software which you can install, and which is supported, I’m sure. The freeware comes with WordPress and was obviously mailed in to fulfill a community promise, and definitely not supported. I have a couple of choices- cave into the scam and just get the paid version, or go on the discussion boards and see if there’s a work around to the crappy freeware. But I will probably have lots of time to do that. Another virus project to keep me occupied.
What does happen after the quarantine ends? Hmm. I’m trying to see this time as a reset, a chance to look at everything I’ve been doing, and how it could be done better. I hope people will see that as a good way to approach the quarantine as a whole. The way we work and commute, the way we protect our planet, the way we treat our ‘essential’ workers ( the word ‘essential’ now exposed as a synonym for low paid and powerless), and from my perspective, the social net as it applies to self employed creatives. Do we really benefit from going ‘back to normal’?
The pre-virus activities were so exciting to me that it’s hard to let them go, though they may in some ways be gone forever. One thing I had planned here was a discussion of my contribution to the In Process show at the Metro State University of Denver Center for Visual Art.
I took some quick snapshots at the opening for social media purposes, intending to come back in a quieter time and spend some time with the display and take better pictures and more notes.
Then the crisis hit, and like everything else, the show shut down, so it is certainly a quieter time. But now I’m glad I grabbed what photos I did. I also have the statement on process that I sent to the gallery, and which is posted with the work, in the now very quiet gallery. The ‘House’ passage in To the Lighthouse comes to mind.
So I’ll reconstruct the show in a mini-virtual form here, with expanded notes. This is as much for my benefit as anyone’s, but if you missed the show and are curious, well, here it is.
From the statement:
“My process, in general, involves working through a progression of prints ( usually , not always, smaller to larger) until I feel I have worked out my uncertainties about a given idea and “refined” it to its essentials.”
Monotype printmaking is a process that does not result in multiple prints. Part of the Mo’Print mission is to educate the public on what fine art printmaking is. At times, e.g. The Northern Renaissance and the Industrial Revolution, printmaking has fulfilled the need for commercial reproduction. That is no longer the case, and now, unlike Giclees or other reproduced images, each print is considered an original. This is absolutely true of monotype. Here’s a shot of most of the display.
First things first: The largest piece, in the center in blue and black, has been displayed in the wrong orientation. The show was organized last minute, there was limited time to plan for installation, and somehow the fact that all the prelims are in vertical orientation was not noticed. C’est la vie. They should have asked, and I should have attached a note to make sure. Lesson learned.
“Some of these “studies” or “preliminary works” or whatever you may call them become frame-able pieces themselves, and others disappear into the flat files. But by the end of the process, I’m usually exploring various ways forward from the original idea, with a view toward coming up with a finished piece(s) of a given size, as it’s a one-of-a-kind process, so building a portfolio can be time consuming.”
“It’s important to note that “ghost prints” or secondary impressions made from the residue of ink left on the plate after the first impression is printed, are a integral part of my creative process. They can be modified by adding different colors or imagery, and thus, provide a way forward from simple binary judgements of whether a print is successful, or not. Variations on the original subject matter crop up quickly, and sometimes come to dominate my thinking over the first “idea”. It’s a very suggestive, and valuable way of working.”
“The sketchbook provides a place to mull ideas in raw form; most do not ever see a printing press.” The sketchbook, oh yes- the sketchbook, #OMG #LOL. It’s not actually a sketchbook. It’s a little, outdated Star Wars datebook that my part time job was giving away free, and which fit into my pocket. It was the first appearance of this imagery in summer ’19, so I sent it along. It wound up sitting there regally in a vitrine, where it resides still, until quarantine is over. My friends and I had a few snickers about this, back when snickering- and art shows- were still allowed. An artist friend once breathlessly informed me “You have to have to have a Moleskine sketchbook!” but I’ve always scribbled on anything handy. I guess I get it, now. The main question is: will I be allowed to put it back in my pocket after this?
“The small (typically 8×10”) studies are mostly about getting comfortable about how to execute the imagery in ink. They often lack real compositional tension, and most disappear from the public, but sometimes there is a simple elegance, so I show them.
“Medium sized prints (typically 11×15”) are where I work out relationships of color and compositional elements. It’s a great time to ad new elements to test meanings within compositions. I love visual non sequiturs for their expressive potential, so I might play with these and their ghost images for more than one session. Nothing is set in stone, but some half of these never see the light of day.
“Larger full sheet (22×30”) prints are intended to bring in balance and finish and be ready to frame. I do work yet larger, but this size is often where I stop, and over half of these get framed or sold. Interestingly ( to me anyway), I often take elements back out at this stage, to take advantage of the expansive white space. ” This one is unfinished and thus, unsigned, and so the confusion on orientation. Don’t know when I’ll get it back to finish it, and in what *viral* way the idea may change along the way. It’s displayed under the Plexiglas plate (with guide drawing) that I used to print it.
“It is the curse of the monotype artist that sometimes the newsprint slip sheets used to cover the layered-up print elements and protect the press blankets are more attractive-seeming than the actual fine art prints. They get used for multiple layers, and thus may accrue a very unique composition of their own. Many of us cut them up and collage them onto different prints. The process goes on…”
Well that’s my virtual tour, and I thank the Metro CVA and Emily Moyer for this great idea, and the chance to be involved in it. Normally IRL, this is the time when I invite you to walk across the street to the Aztlan Bar for some cheap beer and good live blues. Don’t know if it’s possible to create virtual dive bar experiences, but I’m missing it already.
I have a couple more things to add or update in my last post. I’m also going to do my regular post of my Winter/Spring class schedule, for those curious about the details of making monotypes. This will be another short one. I do have longer drafts queued up, but this is not the time for that. Do stop at some of these show openings (most will be on the same night, February 21, if you catch a glimpse of me walking fast) and tell me what’s going on with you.
New show added: Process Show at Metro CVA on Santa Fe Drive. I’m assembling a series of recent work with an eye toward highlighting the progression of that idea for this show, a last minute addition to the #MoPrint2020 schedule. I’m pleased to be invited, mostly because in working on other projects, I had generated several variations on a theme suggested by a quick sketch I did last fall for future works. All of these materials will be in the show, in raw form, an idea that was much too intriguing to pass up, made possible by not needing to provide framing.
Work progresses on Monotype-A-Thon: we have a good committee assembled, and some details are being hammered out:
You’ll see a Call for Entry soon. It’s incredibly cheap, and a nice way to dip your toe in the water for showing and selling, if that’s your ultimate goal. Collectors, I’m imagining that these will be some of the cheapest work you’ll see in a while, and yet 13 (!) of the League’s artists and instructors were represented in the 528.0 and Imprint: Print Educators show at Arvada Center.
ASLD Workshops for Winter/ Spring are here, and I guess the newer additions such as Non Toxic etching have to be considered the highlights, though I’m enjoying the old stalwarts such as Monotype Portfolio. I haven’t gotten sick of being present when the eyes open, and the alchemy of ink under pressure is first discovered. The creative process does require a bit of openness to new ideas; a beautiful room in a historic building, among new friends, turns out to be a congenial atmosphere for new ideas. Put your dreams to the test.
The holiday break was brief, as #MoPrint2020is upon us and I’m up to my neck in the sort of events that that 3-month fiesta of the pressure arts brings us. Call it over commitment, call it opportunism, call it giving in to ‘pressure’. I’m calling it a great source of material for a blog that is supposed to be about my so-called printmaking career.
The official Month of Printmaking 2020 will be, as always, March of this even-numbered, biennial year. But MoPrint has always had a way of spreading through the first four months, and the first shows kick off this month, with a juried show at D’art last week and the two signature shows at Arvada Center beginning this Thursday, January 16, 6-9 PM.
I’m in the Arvada Center’s “Imprint: Print Educators” invitational show which is concurrent with the “528.0” juried show. IFine art prints are becoming more popular as affordable collection starters. If that interests you, it’d be hard to top this night as a place to jump in.
You can pick up a schedule-flyer for all MoPrint events there, or any of the events I’m about to list. If you make it to every #MoPrint2020 event, I’m thinking there ought to be some sort of cultural “Ironman” medal waiting for you. I’m exhausted just thinking about only the events I’m involved with.
“Rhythm in Balance: Five Contemporary Printmakers” is a show assembled by Patricia Branstead a fellow Art Students League instructor. I’m in it with Judith Bennett, Austin Buckingham, and Charles Woolridge. It’s at Niza Knoll gallery on Santa Fe. Opening night is February 21, and there will be a First Friday event as well.
That same night there will also be work of mine, along with student work at the nearby Very Special Arts Colorado’s Access Gallery. This is a celebration of a class I co-taught with Javier Flores from VSA with special needs young adults. Two shows in one place! They are also planning a First Friday event.
I’ll again be a part of the Artma Benefit Auction for Childhood Cancer, February 8. They do put on a good party, and they treat donating artists well , something I emphasize is an important consideration when I’m donating. My piece has sold each time, so get there early.
Teen Mad Science Monoprint workshop, March 14. The idea is to offer MoPrint2020 events for kids, too.Go to ASLD.org to register online. If this doesn’t fill, you’ll see me at:
The Open Potrfolio event at Redline March 14 is a very casual affair with artists simply showing prints on a table. I generally show things that are too old for my other shows, which means I can offer some bargain prices. If I can’t do this ( because of teen class, above) you can still see my bargain portfolio at:
Pop-up Print Sale and Show at ASLD March 28. Yes, same thing as the Redline event, but with Art Students League printmakers. There will also be framed work for sale, and the Monotype-A-Thon will be going on during the same time. A can’t -miss event.
That’s it so far, I suppose there may be more, and I’ll be posting about my DPL workshops soon, which are always open to the curious public. I’ll post my regular Adult classes at ASLD, also. Stay warm and hope to see you at one of these events.
My Mad Science Monoprint workshop is this close to filling up. It’s my last publicly available class this year and runs for five Monday evenings, ending in time for Holidays.
I’m also co-teaching a class in large monoprints for Very Special Arts Colorado students with Javier Flores, of VSA and Metro State. It’s been fun, with the side benefit that I am working on a Lino cut for the first time in decades.
I’ll have two pieces in the Arvada Center’s January show Print Educators. It will be one of the signature shows for #Moprint2020. The opening is January 16.
The winter-spring catalog is now open for registration online at Art Students League of Denver. My first workshop availability in 2020 will be Jan 7. That will be my Monotype Starter beginner’s class, which prepares you for my other classes, and also certifies you to use our big airy print room independently ( for a reasonable fee per month). I don’t know whether it will fill up, but it can’t hurt to register now.
My last library workshop of the season, at Green Valley Ranch branch, has once again been re-scheduled for November 20 at 5:30-7 PM.
I’m going to do my Besties top ten book list for comics and graphic novels again this year. I can’t say I’ve kept up on this year’s releases that well- mostly because of still catching up on last year’s releases, but I realized that this is a decade-turning year and I have lots of opinions on this decade’s batch of comics, some of which will be noted for a long time. So I’ll have plenty of candidates. I’m adding a link to last year’s version, my first attempt at this holiday staple.
My webstore is again making progress after upgrading my website programming and security to hopefully accommodate the finicky Woo Commerce plug-in. I’m taking a few days’ break after a busy fall, but will return to it within days. Still hoping for a Thanksgiving launch.
The Summer Art Market was one of my better ones in terms of sales, and also one of the hotter ones. After this cool spring it was not that surprising, but it didn’t melt the crowd- I had sales in almost every two hour block of the weekend, which also keeps the time moving. Thank you to everyone who came by and helped me celebrate a positive year!
I had fun with the posters featuring my artwork, giving them away with sales and to my friends. Beginning with my “Best Of Show” award at 2017’s show (which landed me on the poster), I had a fun year; appearing in Westword, showing in the State Capitol, participating in MoPrint.
So after a very busy Winter/Spring, it’s a month to enjoy some relaxation, and the World Cup.
The World Cup is living proof of American exceptionalism. It’s by far the greatest sporting event in the world, but especially with the USA having crashed out, it gets little real attention here, not that attention span is something Americans excel at in sports viewing. Some overweight fool somewhere is on his couch, trying to convince himself- with ESPN’s help- that the four hour baseball game he’s watching has more significance than, say, Portugal v Spain, a gripping early clash of titans in the Group Stage.
One for the ages? Hard to say, as there were many mistakes. Ronaldo jobs Nacho for a PK early, then Spain works their way- patiently with characteristic precision passing, back into it for a number of chances before equalizing on a brilliant Costa run.
Patience is required to enjoy Soccer. More than any sport, it takes place in real time- it’s not bloated with commercials, fantasy league statistics, and long-winded analyses. One must actively read the ebbs and flows of momentum on the field, rather than passively await a scoring highlight or statistical benchmark, as in American sports.
Now Ronaldo sneaks a counterattack goal past DeGea to bookmark the first half. Again, a mistake by Spain. But Spain is patient and works a brilliant set piece goal from Costa. Then Nacho gets redemption with a brilliant, trailing whiplash shot off both posts.
Spain has clearly been the better team, yet they made two major mistakes at the beginning and end of the primer tiempo. They must close this out efficiently, or their WC will be in question from the get go. The Group Stage seems to offer multiple chances to get into a rthym, but for favored teams like Spain, it can be unforgiving.
Another mistake, and Ronaldo lasers the equalizer. What a game! If the rest of the WC is as good as its start, perhaps Ronaldo- and even Putin- can be excused for taking his shirt off.
The intensity ramps up with Peru v Denmark(0-1): the most intense 90+ minutes of football seen so far; end to end for most of the second half. The cruelty and drama of the stereotypically reviled one-nil: Peru will play entertainingly for all three matches, but will be eliminated after the second.“Insufficient guile” is Derek Rae’s assessment of a Peruvian FK late in their game v France. They couldn’t turn their exciting play into goals. That sums up their tournament.
Mexico make no mistakes. Their tactics are excellent against the World Champions. The first half they show a fairly high press with very concise long balls over the top to keep Germany out of rhythm. They stay wide and keep up a nice tempo- short, short, long; basically playing Germany’s slow midfield press against themselves, lengthening the field, where Germany loves to shorten it. The goal is a brilliant bit of cutback and a seeing eye shot by Lozano.
They bunker a bit in the segunda tiempo, with Germany slowly shortening the field, and Mexico with just enough counter to relieve pressure, though they misfire on all. GK Memo Ochoa is there for the inevitable final siege. Mexico puts themselves in good position to go through, if they can maintain their aggressive tempo.
This plays out in the second round of games, where the stakes are suddenly higher, and teams walk a fine line. Mexico v Korea (2-1) and Germany v Sweden (2-1), a late thriller with one of this tournament’s many extra timegame winners= one of the more thrilling days of the Cup, and it carries over into Sunday with Japan v Senegal (2-2), and Poland v Columbia (0-3) which actually puts Senegal in a bad place in the final match day. This, too, would prove significant. Monday, the first day of the third round, is also dramatic with Spain coming back (2-2) and Portugal being hauled back (1-1) intense, complex, Video Assistant Referee-flavored battles that decide knockout round pairings.
France v Denmark (0-0), not so much. The commentators are fond of saying “This game needs a goal”. Sometimes that’s all it needs, but here it’s a stultifying bird-in-the-hand type game between two teams who already have what they want, and little to gain in future pairings, unlike Mexico, who have a real incentive to avoid Brazil in the next round. So we get the only nil-nil of the Cup so far, as the crowd whistles, but it’s plenty enough to perpetuate the soccer stereotypes, I’m sure.
Now, today, it’s the last day of Group Stage -always bittersweet. I’m on the couch, well-coffee’d and watching an intriguing start for Columbia v Senegal, two dangerous teams. Senegal does take their usual aggressive attitude toward attack, but after half time, Columbia’s quality and resilience begin to turn the tide. Final score- yes, 1-0. Senegal is out of the knockouts on a tie breaker. I had already watched a complete collapse by Mexico (not to mention Germany) on replay last night. But Mexico ends up on the right side of the math, and goes on, at least as far as Brazil.
Now, there is bacon in the skillet and I’m awaiting the kick off for Belgium v England. Both teams also already through, but the well regarded, high-scoring Red Devils and the underrated Three Lions have a lot to prove with top of the group at stake, and I’m not expecting nil-nil. Commentators are the erudite Derek Rae, and former WC player Ally Wagner, who retains her field-level feel for tactics, and is thus far unsullied by pundit-speak. Fox has had an up and down WC so far. Rob Stone is a football lightweight, Lalas apparently the designated loudmouth, with Terry Bradshaw the model. Rae and Wagner are firmly in the “ups”.
We’ll see what kind of match we get. Group Stage has been surprising and very evenly matched. Even the bigboys- Brazil, France, Spain, have struggled to find rythym, and some- like Germany and Argentina have not found it at all, or rarely. There’s been a lot of late drama, and half my bracket is in shambles. My predicted finalists, Spain and Brazil are still alive, though.
Baseball and NFL are for bean-counters. Baseball flatters itself that its cheap stats make any of its long slogging progress toward September and October meaningful. When the brain rattling violence on the claustrophobic gridiron is done, the last team to do an end zone dance will be declared “World Champion”, having never ventured out of the astro-turf infested suburbs, none of their “highlights” having aroused any interest in the world. To Americans, soccer’s a game that doesn’t “count”, but in 2026, The USA will find out that no travel ban will keep it out.
My own experience with other Americans, especially those of my generation, who created the hype machine that is the Super Bowl, and are often heard extolling the copious commercials- is a frustration. Even friends who profess a positive attitude toward the game, when they can be coaxed out to the park, seem to see the jockeying in the midfield as some sort of pause in the action, rather than integral to it. They treat it as an opportunity to drift into triviality, as if it was a commercial break in NFL, or the interminable tics and twitches between pitches in baseball. Soccer, where one pass can define an entire game, measures itself on a continuum of emotion, it’s a game defined by persistence of the heart. It provides few defined periods, incremental territorial gains or mandated possessions. Politically, culturally, and especially in sports, Americans have little patience for the grey areas of life. They are considered “boring”.
Soccer is poetry in motion, possibility centered squarely in the moment. It’s the game that breathes and sings. A team (and nation) in the 80th minute of a 1-nil match are only seconds from a blowout disgrace, a life-saving draw, or a glorious fight back triumph. It is always up to the players. Each one on the expansive field has the power to change the result. Even for Ronaldo, it takes a career for any impressive numbers to be tallied up, but his greatness is visible on the grass long before then.
It’s on to the Knockout Round, where, sorry, bean-counters, the tension ramps up and the goals are fewer. (Update: often fewer. Not on the first day, though.)
Greatness and glory poised on a knife’s edge. The whole world is watching, not counting. To the world, it’s only the game that counts and thus it’s the only game that matters.
Again, SAM! The Art Students League Summer Art Market posters are out, and guess who’s the poster child? It’s a reward for winning “Best of Show” in 2017. I’ll be there again this year in booth, number 97, on Grant St. between 2nd and 3rd Avenues.
I’ll have new work, as well as some older stuff from the flat files, at older prices. And I’m giving signed SAM posters, while they last, with every purchase of $150 or more. I have enough for a typical show, though I’ve had shows where they wouldn’t have made it to Sunday afternoon, so get there early, as I’m not sure if I can get more.The League will also have them available for a donation in their booth.
In addition, I’ll have a few copies of the beautiful catalog for the now dearly departed Open Press’ 2014 25th Anniversary show. 9×12”, 64 pgs, with over 50 of the best printmakers from Denver and beyond, including moi ( Really, Nick Cave is in there, along with Dale Chisman and Joellyn Duesbury). These are signed and free with any purchase of $400 or more.
SAM is a classic, and a real social scene, featuring 180 artists and the first blast of summer. I hope you’ll come down!
Classes: I’ll have three this summer, and the first, Monotype Starter, June 19- July 10 is already full. You can call the League to get on a waiting list in case of last minute drop outs, which are common.
The other two, Monotype Portfolio, July 24-August 21, for experienced printmakers, and Monotype Blast, an all day Saturday sampler on August 4, are filling, but if you have questions, you should be able to stop down at SAM and ask me, then register at the ASLD booth. Fair warning: Blast is half full already, so it will eventually fill.
I’m hoping to debut a new workshop in Fall. It’s called Monoprint Mad Science, for intermediate and advanced artists. Monoprints are monotypes with repeating elements, such as drypoint, Chine Colle’, and polymer etching, etc. It’s starting as a 4-week workshop, which will keep it affordable. I’ll get confirmation sometime soon.
It’s been a very fun year, and people taking my classes and buying work make that possible. Thank you so much for your continued interest.
My interview with Westword’s Susan Froydis up on the site today. It’s in association with Month of Printmaking Colorado, along with several other printmakers: Jennifer Ghormley, Taiko Chandler, Sue Oehme. It’s a privilege to be included in this series, and it’s a joy to be involved in the burgeoning Denver printmaking community, which for reasons mentioned below, is very supportive and friendly. This includes Westword itself, really. Mo’Print has an all volunteer organizing committee; we try hard to market and publicize professionally, but over the last five years, Susan Froyd, Michael Paglia, and Patty Calhoun have never failed to give it the attention I feel it deserves. This has really helped prevent it from slipping through the cracks during its early stages. I try to return the favor to the community in the interview, and in other ways, as printmaking really enriches my life.
It’s been a busy month owing to #MoPrint2018, and I’m pretty happy with most of the shows and events I’ve been involved with. I had a blast Saturday at the Open Portfolio event at Redline, selling and trading prints in a relaxed setting.
I have two more events upcoming, one of which is the Studio + Print Tour, which I’ll do at the Art Students League Print Room from 10-4 with two or three other artists from the League. Mami Yamamoto and Taiko Chandler will be there too. We’ll probably have snacks and prints there, but later that evening, there will be the Ink Mixer at Ink Lounge, where you can get beer and snacks and see their silk screen set-up and mix with artists and printmakers.
The diversity is incredible. When I joined the 12-15 member Month of Printmaking Colorado organizing committee in early 2013, I think we felt that we knew, or knew of- all the major players in Colorado printmaking. Wrong. Silkscreeners, lithography artists, bookmakers, letterpress artists and more came out of the wood work. Not students or dabblers, mind, though there are plenty of those as well, but career printmakers, small business people, educators. Accomplished creatives, in other words.
One of the few perks of being an artist is the ability to trade for an art collection. For me, lately that has meant prints. Here’s a photo of my haul from Saturday. It’s worth noting that several of these are from artists I had just met that day. I think because printmaking is regarded traditionally as a fairly humble corner of the art market, and because we often need to congregate in groups to utilize public presses, that printmaking has a social component that some media don’t have. One of these community presses, Mark Lunning’s Open Press is moving out of town owing to the real estate inflation. I’ll miss Mark and Open Press, and I’ll write a post about them soon.
I’m Preparing art for a number of different shows and events this Spring. Most are related to the MoPrint (Month of Printmaking) festival of events and I’m organizing one event myself. It makes for a busy schedule.
“Master Printer and Print Educators of Colorado”, McNichols Building 3rd Floor, January 13-April 8 : This one has already opened, though viewing hours are limited, and the venue is often closed for private parties. The best way to see it may be the MoPrint Kick Off event on February 23 at 6-9 PM. I will be there. I have 3 pieces in the show ( I fall into the second category in the title), but I did not have any large work ready for the show.
“Hand Pulled: Mark Lunning’s Open Press”, PACE Center, Parker, Co, March 2-April 30: This is a show honoring the Open Press artists. The printmaking facility on Bayaud Ave run by Master Printer Mark Lunning is soon to close and move to Sterling, Colorado owing to the rapidly dwindling affordable space for arts orgs during the recent development boom. I haven’t worked there in a couple of years, since I now do most of my work at the Arts Students League, so this show will feature 3-5 large pieces from my past work there. It will be a mini retrospective of sorts. Opens March 2, 5:30-8 PM
Open Portfolio, Redline Gallery, March 17, 2-5 PM: This will probably be the most affordable show I’ve done in a long time. It was a fun show during the last MoPrint (2016) so I’ve decided to join it this year. Every artist has more art than they can sell, and this will be for printmakers, a chance to clean out the flat files at bargain prices, and that’s just what I’m doing. You’ll also see a lot of young artists trying to launch a name for themselves, I’m sure. Starting a print collection, and on a budget?
Art and Soul, Art Students League, February 10: This is the major fundraiser for the League, a big party with food and art auctions to benefit the school, and I always donate a piece. Tickets here.
artma, February 8: A fairly glitzy event that benefits The Morgan Adams Foundation.org. This year it will be in the Evans School at 11th and Acoma, an opportunity in itself to see this historic building.
I’ll mention here that many of us artists are approached by charity auctions on a regular basis. Any auction is risky to begin with, as it can be damaging to your ‘market value’, especially if poorly organized and callous about their donating artists’ career needs, as many appallingly are.
This is not one of those, however. artma is the creme de la creme of charity auctions, with artists on the board of the event, professional treatment for donating artists, and an overall spirit of gratitude for artists’ generosity. I’ve been donating for several years because of this.
Meininger Art Supply, Broadway, March 3, 11-1 PM: I’ll be doing a monotype demo here. It’s a fun place to do one, and well equipped for the large groups they usually get. It’s about an hour, but you get a coupon at the end. Come early for a good seat, though they have mirrors and PA, so it works in the cheap seats, too.
Monotype-aThon, Art Students League, March 3, 9-5 PM: Same day! I’ll rush over there to join eight other artists doing 2-3 hour shifts, with the public invited to watch and kibbitz. There will be prints donated for sale to benefit the League and MoPrint, light snacks and lots of different approaches to monotype making.
Gun ownership is inevitably in the news again. For most who defend its increase in the wake of the carnage it creates, it is a power fantasy. In a country where the long term trend is downward in crime, and where terrorism hasn’t gotten the foothold it has in Europe and other places, the actual need for firearms is quite low, and the fetish of gun ownership is mostly about a male cowboy/crime fiction fantasy scenario where problems (including psychotic rage) are easily solved with the correct ordnance.
The proven fact that the opposite is the actual result of unlimited ownership of weaponry- the society becomes less secure, more regimented, less just- hasn’t intruded in any meaningful way into the NRA-sponsored fantasy. Where did it come from?
Westering: When I got the invitation to show with other ASL instructors at the state capitol, I thought immediately of this piece, which is older, but has been seen only in a couple of small shows. It is ostensibly a landscape, one of many, I’m sure, that have hung under Colorado’s golden dome, but its theme is much more complex, as it alludes to the American push westward. Though the print hasn’t been a centerpiece in my exhibition history, I’d like to explicate the thinking behind it which holds a very central place in my landscape years, roughly 1999-2009.
The association in the American spirit/mind of heading west with individual freedom and opportunity dates back to the Puritans. It is now expressed in xenophobic ultra right wing politics of survivalists and gun fetishists, but other subcultures, such as environmentalists have also drawn inspiration from the American move westward. Artists such as Moran, Twain and Bierstadt have made both poetry and cash from selling this vision back to the populace. And the Arcadian/Rousseau myth of humans at peace in nature’s solitude relates in a complex way with the gun totin’ loner.These Right and Left fantasies are inextricably linked. I myself left my decaying Great Lakes region rust belt childhood home to escape the decay and drug fueled lassitude there as a teen, and spent time in transcendently beautiful and stubbornly racist Wyoming,
I’m quite vocal about my politics elsewhere, but in my artwork, this is about as political as it often gets. One of the last elements added to the print was the small enclosure next to the windowless structure, symbolizing isolation, aggressive aquisitiveness and the closed mind of the typical “home on the range”, now a fortified compound in many minds. This bunker mentality has had a big effect on American politics of late, and certainly is intrinsic to the gun fantasy.
This isn’t a criticism of rural living per se, or even gun ownership. We could all use a little dialogue with our neighbors, and our poisonous politics proves how the urge to ‘head west’, rather than learn to live with each other, is one of the country’s greatest threats. It derives from the Puritan notion of the individual’s right to ‘treat with God’ in his own way. It reaches horrifying apotheosis in the ‘lone wolf’- style shooting spree, one against the hordes.
In an age where ‘compromise’ is a dirty word (sometimes on both sides of the aisle), an understanding of this complex psychological, and very American impulse can get lost. I was always very satisfied with what I was able to say in this picture, and now through December, I’ll have my ‘say’ in the halls of government. If only the majority wishing for an end to carnage had theirs.
Carrying a Torch: While I’m glorying in the exhibition, I’ll mention that I’ve had work hanging in both the state and nation’s capitol complexes. This print, entitled “Man with Torch” hung in Senator Bennet’s office in DC for a year as part of a juried program to showcase Colorado’s artists. Many also consider this one pretty political, and while I don’t argue with the obvious ecological interpretation, it was actually concieved of as a commentary upon memory and our human urge to destroy and remake the past constantly, in the process endangering our future relations. I quickly realized how apropos it was to the environment, but that’s not how my mind was working as I made it, as a reaction to an earlier smaller piece, “Woman With Torch”, which really isn’t political or even existential commentary at all, but as often happens with early, smaller pieces of mine, made simply as a compelling image. But a picture’s allusive qualities often creates great appeal for the viewer, I’ve learned, through many conversations in my booth at the Summer Art Market.
There’s always more than the surface intention to the story of a work’s creation of course, but I try to honestly convey what I was thinking at the time, for what it’s worth. The viewer often gives me a -valuable- different story. John Lennon always maintained that “Lucy in the Sky with Diamonds” was inspired by the innocent words of his five year old son, but most of us who lived through its popularity always considered it a song about hallucinogens. It’s disingenuous to believe Lennon was unaware of this, and art creates a meaning of its own. The artist is often not in control of this process.
Please comment with your own take if you have seen “Westering”.