Category: Monotypes

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Art Students League Ideas Monotypes Month of Printmaking

State of the Art

MoPrint Grows a Medium

MoPrint 2024 is finally done now, and there’s a sense of relief for me. It’s hard work, and there are a lot of details and dates to keep track of. Sometimes, I get so busy and tired, I don’t get to see everything I’d like to.

This year I did pretty well, on that point. In general, as the weather improves, I see more shows, and that improves my chances as MoPrint moves farther into Spring. I skipped the opening for the 528.0 show, for example, in frigid weather, but then saw it later on on a beautiful day. I didn’t see every show, or even most. That would be hard to do. But the shows I saw confirmed a pet theory: events like MoPrint make the print community stronger in the state.

It’s amazing how much interesting work there is to see, and it seems to get more interesting each event. Printmaking can be somewhat hidebound. It’s not so surprising, considering it was originally popularized in Northern Europe as a way of illustrating books, and eventually in Netherlands to bring fine art to the growing middle class ( It was also popular in Asia, at an even earlier period, but I’m not as familiar with the history, which I assume includes some of the same motivations. I certainly don’t dispute or minimize this influential history, just can’t speak to it). Advertising and political thought followed, and eventually with commercial processes, graphic entertainments such as comics. I enjoy all of these facets of print, but as fine art, prints have tended to play a subsidiary role to sculpture and painting. And they have tended to stick close to their commercial, didactic roots.

Two reasons come to mind: The first is the aspect of illustration I’ve already alluded to, in which printed images are often utilized in conjunction with words, in very didactic ways. Second is the primacy of process in the medium, in which complex, ever evolving technologies must be mastered in order to get consistent results. And consistency is gospel in fine art printmaking, never far from the commercial imperative of publishing and selling editions of identical images at relatively low margins.

The idea of making monotypes beguiled me ( a former painter and draughtsman ) with their spontaneity and unpredictability, and their unique properties as one-of-a-kind prints. Monotypes have been around since the 1600s, but have always been a bit of a backwater in the medium, itself a backwater in high art. Process adds another layer of didacticism to printmaking, already shuttled into the ghetto of illustrative art. Monotypes are a very simple process, and give themselves to spontaneity and experimentation. They seem to have experienced a resurgence beginning with Abstract Expressionism. With this, I think I’ve made my perspective (bias?) on printmaking clear.

These more traditional, process things seem to me to be baked into printmaking, which is why I am pleased to report that MoPrint 20024 seems to have continued the trend of encouraging experimentation in the medium, and what’s more, is starting to reward it. A strength of printmaking is social exchange, not just in the democratic accessibility of image and word, but at process level as artists gather around not very portable equipment in groups working together.

It’s not a surprising development. MoPrint, by inspiring a plethora of shows, classes and demonstrations, talks and parties, fosters exchange. I mentioned in my last post how those of us on the first organizing committee were surprised by how many printmakers there were in the region. Even at my own school, there are now more than 10 instructors offering classes. That’s a lot of different processes, techniques and approaches.

At one of my shows, the Colorado Print Educators show at Red Rocks CC, the opening was lightly attended. Late on, it devolved into a group of us teachers walking around to hear about each person’s work. One artist, who also teaches ceramics at, I believe, Arapahoe CC ( I apologize for going on my poor memory here, I regret not taking notes but did not intend to write a review ) had figured out how to print ceramic etchings onto vellum or something, and had made light boxes from that. While I can’t accurately describe her process ( I’d had no wine, I swear ), it was only one of many incredible conversations I’d had about techniques I’d never heard of. And each new technique seems to bring its own array of graphic permutations and challenges. Printmakers were forcing themselves to adapt. It’s the crucible of spontaneity and experiment.

Everywhere I went, people were having similar talks. Not to mention the “civilians”, many of whom were learning, for the first time, the difference between intaglio and relief. Or importantly, real printmaking and “fine art” Giclees and other commercial reproductions.

Dynamic color and process by Sue Oehme at Arvada Center during MoPrint 2024.

This brings me back to the Arvada Center, which sort of became the holy center of this year’s MoPrint. They hosted the 528.0 show, a regional exhibition juried by print experts from around the nation (open to artists living within 528 miles of the Mile High City, get it?) This had its share of traditional, process-oriented work, but was certainly not afraid of experimentation. Several print installations were included, for example, including one involving car tires inked up and rolled across long sheets of paper, which strikingly addressed innovation in process, but I’m not sure had much else to say. A large wall hanging by Taiko Chandler, printed on Tyvek construction sheeting, and cut into looping designs, was far more successful. There was a beautiful installation of monotypes of ethereal leaf motifs hanging in the center of one gallery by Alicia McKim. On the walls I was struck by a simple, stenciled cyanotype, exposed, then shifted slightly and exposed again, the characteristic blue hues creating watery passages of light. All in all, a nice show. I went there during Print Jam, where crazy printmakers roll presses into the gallery and demonstrate various techniques, including a gentleman (again, apologies for not taking names ) who participates in the burgeoning discipline of traffic cone printing, where those smushed, muddy derelict orange cones we murder with our cars in construction zones are collected from the ditches and carved (they’re essentially linoleum) then rolled and printed.

If AC was the holy center, Sue Oehme was the high priest. She seemed to be everywhere during MoPrint, but her show in the upstairs gallery in Arvada set the tone. Oehme, a master printer who formerly worked in NYC with name artists such as Frank Stella, and who now runs a studio in Steamboat Springs, showed many of her clients, including a Stella, in rare black and white. Printmaking, with its stripped down aesthetics, often offers revelatory moments. And again, here was Taiko Chandler, combining collograph, monotype and stencil. A product of ASLD classes beginning in 2011, her creative progress has been phenomenal.

But the highlight of these shows was Oehme’s installations of hundreds of shards of paper and acetate, stained by their use in her watercolor monotypes and arranged in rainbow patterns of related hues on the walls, and ultimately in the heavens, hanging in resplendent clouds, floating and glittering in the front lobby, in the low early Spring MoPrint sun as one came down the main stairwell.

Other shows also highlighted adventure and innovation. NKollective, in the Santa Fe Arts District, an encaustic/cold wax gallery, showed artists such as Victoria Eubanks and Michelle Lamb, encaustic instructors who have been leaders in the rather saucy love affair between encaustic and printmaking ( using monotypes or other prints as basis for the translucent beeswax ). But a very interesting artist at NKollective is Carol Till, a graduate of the Botanic Gardens’ botanical illustration academy, the epicenter of traditional process, who turned to the polymer etching process to make multiples of her laboriously limned flowers and grasses and bird’s nests, only to see the repeated images as an opportunity for experiment. Now, combining photograms, polymer etchings, printed chine colle’ on textured papers, along with traditional watercolor, she achieves complex layerings of her images in negative and positive iterations, all still, of course, botanically accurate. She’s a sharp woman, fun to talk with, I know her and her equally interesting hub, Greg, well. It’s quite possible her work would have progressed so quickly into such unique directions without the Art Students League print room ( where she worked for a long time before buying a press), or the biennial madness of MoPrint ( with whom, she’s another longtime volunteer ). But I wonder.

Small moments of innovation pop up everywhere-Kathie Lucas smoothly blended up-cycled materials into some otherwise traditional monotype landscapes at Tenn Street Coffee.

Early during this MoPrint, I went to the Black Ink show at Trve Brewing. This show exemplifies the democratic spirit of MoPrint, and also the madness. It’s a benefit for the MoPrint org, where artists start in fall, carving donated Lino blocks, which are then printed in editions of 25 at Ghenghis Kern letterpress ( speaking of experiment- in a letterpress shop! Check out their printer’s dingbat assemblage prints next MoPrint Studio Tour ), then sold for $10 apiece. It’s a tiny Broadway South/Baker thrash metal bar with good micro beers. People line up down the block to stream in and look at all the numbered prints on the wall then get in the other line to buy 5 or 6. I was sitting in the back, by the Nashville hot chicken counter, sipping an IPA and trying to keep the prints I’d bought dry. One was actually two prints, by Collin Parson, the head curator at the Arvada Center: first, a set of wavy lines on Bristol, and another print of them on acetate, so that you can create your own adjustable moire’ image. Parson is an accomplished sculptor who saw the print medium as a chance to play with perception and optical effects- all for less than the cost of my meal that night.

The thrash band on the stereo was punishing their vocal cords, while the tattooed kids in all black, jeans, Airwalks, the whole bit, stood next to fashionistas to buy art. It was kind of glorious, a leveling in the art scene. Most of these printmakers could never get into a museum. But, on the other hand, that night, the museum people couldn’t get into the thrash metal bar.

Thus, a very quotidian medium meets its moment with verve, fearlessness, and a democratic spirit ( not to mention, prices ). After 11 years, MoPrint has changed the art scene in Denver.

#MoPrint #Printmaking #Art Shows #ASLDprintmakers

Categories
Books, Comics, Music Monotypes

A Library of Ideas

“Library of Babel”, Monotype, 42×30, 2022. Inspired by a Borges short story.

Library of Babel is a Jorge Luis Borges short fiction that clearly inspired the library in Umberto Eco’s The Name of the Rose. It’s a delightful story, and the themes of infinity and mathematical abstraction appealed to me at a time when I was beginning a cycle of work so I put it to the test as subject matter.

I’ve mentioned that I have a process that involves working up ideas from small sketches to larger, ‘finished’ works. Each size level may yield satisfying results, however, so I’ll post a condensed history.

“Library”, Monotype, 12×9″, 2022. Ghost of a larger study

This is a ghost detail from a preliminary print. When I refer to a “study”, it can function as a finished monotype, but it alludes to a larger monotype I have in mind. Thus, there may be several versions, and this is an example.

“Library of Babel” Monotype, 21×15″ 2022. It actually came before the smaller study, as indicated by the first impression of the top inset circle image.

This is a larger monotype from the same “thread”, though it does include the exact source of the top inset circle. So it The threads can often intersect partially in the form of ghost images to which I add new imagery. I don’t religiously document these various stages, so I can’t always describe the order of their making. As you can see, it is a related but slightly different image, which includes my interpretation of the hexagonal imagery in the original story. The leaf imagery relates to the idea of replication, the letter imagery to the book themes in Library, and other abstract imagery such as the dot/branch motif; and the threads, to the rhythms of Borges’ narrative. The colors I’ve flippantly referred to as my “Summer of Love” theme, bright combos of secondaries and primaries.

It led to the one I began the post with. Brighter colors, more letters and hexagons, a larger stack of tables; and the addition of the star/asterisk motif with connecting threads. Asterisks are sometimes referred to as stars, asterisks signify: additional info available. So I felt they fit thematically. The question of when to stop layering additional imagery is always a prickly one; I chose to simplify, partially because of the technical challenges of working so large, and partially because some ideas lend them selves to white space.

The entire sequence taking something like 3-4 months, with possibly 6-7 studio sessions. I’m happy with it, and thus have moved on to other images and themes. And I owe it all to Borges, with his rich imagery, thought provoking themes and the overall wit of his invention. As I’ve noted, Borges is great to pick up sporadically, not just for inspiration, but for the sheer pleasure of his intriguing imagination.

Current info and links about my classes: https://www.joehigginsmonotypes.com/monotype-workshops/

#monotypes #wip #borges

Categories
Books, Comics, Music Culture wars Monotypes Politics

Chillin’

Illustration of post on monotypes
A secondary stage of a study for “Library of Babel”, monotype

As the news of the world continues to get worse, the urge to escape, into making art, reading, domestic tasks, grows. I create space for these essential tasks by blocking out politics during election off-years, but now the election is here and it’s hard to engage as the fascist politicians grub for money and votes so they can ride the gravy train. The Supreme Court’s Christian Ayatollahs announced their plan to roll back reproductive rights, and the corrupt thug who started the whole movement remains out of jail and living lavishly from the donations of his ignorant and rage filled sycophants. The slouching beast with the orange fright wig is moving toward Bethlehem. Hearings about the January 6 coup attempt are under way, but it’s clear that the white power faction will continue to sow the big lies even as the truth of corruption is revealed. Action is needed, and I’ve picked up a book (or two).

It can be hard to justify escape into the magic realism of a Borges, the delicate perversities of metaphor and language of a Dickinson, and colorful landscapes of the mind in the studio, but those don’t become suddenly irrelevant simply because the brute realities of greed, racism and willful ignorance are ascendant. As a matter of fact, they complete, and redeem the declarative mottoes of activism: ‘bans off my body’ -in this Information Age. What do these slogans mean? They are of immediate urgency to the bodies directly affected, but to the rest of us, ‘bans off my mind’ is equally relevant.

The activists are correct: a declaration has to be made at some point. Just ‘keeping keeping on’ is admirable, but can seem inadequate when the solid ground of democratic society is slipping from beneath your feet.

“I’ve always envisioned Paradise as a sort of library”, Borges is quoted as saying and the library is often a refuge from the assaults of ignorance. Not always, though; the same fascists who seek to control women’s bodies often target the corpus of great works on the shelves of the local library. Meanwhile the thugs have turned the Supreme Court into a corrupted theocratic hideout, destroying rights rather than protecting them. It’s hard to be an optimist these days, and making or enjoying art that is not sloganeering ( not that there’s anything inherently wrong, or un-creative with that, see: Banksy) often requires optimism.

Borges’ Library of Babel provides the sort of thoughtful magic realism that can act as a tonic to the cynical power mongering happening in the news daily. I’ve adopted it as a theme for new work, and as a metaphor for creative possibility.

In Umberto Eco’s version of the medieval library, apparently lifted almost wholly in homage to the author whose brief, fantastic stories inspired postmodernist giants such as Eco himself and Thomas Pynchon, etc. the library burns to the ground. In Borges’ library, the sublime is shelved side-by-side with gobbledygook. Every combination of letters is there, in infinite proliferation. Just like the internetses!

In my own small ‘library’, Borges is shelved next to my bed with some other small collections of quick reads, such as some Nick Hornby book blurbs from Believer Magazine, some Granta and McSweeney’s short stories, and a collection of C.F.’s zines, etc, to provide bedtime escape from anxiety-producing blue screen realities.

I do donate to important candidates and causes, and have often been active on the streets in various campaigns, but the culture of disinformation promoted by the Republican Party has supplanted actual debate. Their lies are intended to devalue honest, searching political debate in favor of their memes of fear and bigotry. It’s hard to feel your voice counts against these unhearing oligarchs, some of whom pretend to work for democratic causes, while aiding the rich, white zombies of control.

Authentic voices these days can be found in books, art and music, but the oligarchs seek to control the means of production there as well. It seems to me that authentic ideas, no matter how small, and no matter how distant from topical issues, can be very empowering. I try to make as many as I can.

Thus, I trundle off to the studio on a weekly schedule to putter around with my abstractions. I suppose it seems trivial, but independent thinking is exactly what most scares the fear mongers. This year’s studio projects are not intended to fill frames in shows. I use very simple images, such as tables, chairs, trees, trestles, etc. to explore formal solutions, but also to free my anxious mind for new ideas.

Given my escape into reading during quarantine (I’d recently read The Name of the Rose, for example, only coincidentally picking up my bedside Borges to discover the library homage) it was probably inevitable that Borges would leak into my interior scenes, which are all about finding metaphor in generic imagery. Borges’ Fictions, aren’t that complex either- except in their conceptual richness, are intended to add the ‘magic’ to my very schematic ‘realism’.

These are studies on a half sheets of the basic idea, which will be worked on in large format this Summer. I’m taking my time, as there’s no show deadline upcoming. So I’m focusing on the details which are intended to tell the tale in a thematic, rather than a literal sense.

I’m reminding myself to take pictures at various stages and will probably do some video at some point when I have a good idea of where I’m going. In addition to Borges, I’m reading a biography of Emily Dickinson ( My Wars Are Laid Away In Books ). There’s a rather surreal retrofuturist TV series about Dickinson on Apple TV, too. I’m working my way through Harold Bloom on Shakespeare: The Invention of the Human ( with BBC productions of the plays I haven’t seen), David Goldblatt on The Age of Football ( because, World Cup!), and various magazines on Printmaking and Comics.

It’s not political activism, but I do consider it to be active and engaged. It’s a ‘retreat’ in the sense of contemplation and ideas of the human, rather than a retreat from humanism. It’s a refuge, but I’m not a refugee. It’s an activism of the mind, which could go a long way toward inventing some newer, better humans.

Illustration of post
Finished study for “Library of Babel” Monotype, 21×15″ 2022

I’ve noticed that some comics creators like to cite the music they listen while creating their projects. This sounds like great fun. Among others: Dandy Warhols, Thirteen Tales From Urban Bohemia and Be-In; Lush, Gala and Spooky; and Wilco, Sky Blue Sky and Whole Love.

#Monotypes #Resist

Categories
Monotypes Month of Printmaking

LessPrint

At MoPrint Print Jam at the Denver Art Museum, I got the opportunity to tell the world everything I know about printmaking. Photo is by Denver photographer and photography teacher Tom Finke

Most of my major participation in MoPrint is now complete, and all of the events went pretty well.

Last weekend was the latest, Print Jam at the Denver Art Museum, produced by Month of Printmaking and featuring 14 artists giving demonstrations and drop in workshops, including me. The crowd was very steady all day (11-4), and the organizer, Emily Moyer did a great job.

I helped with the Monotype table featuring 3 artists, 2 of whom had taken their first monotype classes with me. That’s always a source of pride. I fancied that we had some of the largest gatherings at our station, but that may just be team spirit on my part.

There are still openings and ongoing shows featuring my work, as well as many many others, but the events that required planning and organization on my part are now finished, which means I’m now essentially a tourist. What a relief!

The party began early for me Saturday, as I was one of the first artists to complete my demo, and spent the day relaxing and enjoying the other artist demos as well as assisting my own team at the monotype station. I took a ton of photos and some video that I hope to turn into a MoPrint promo that I will donate to MoPrint.org, should they want it. With that project, I hope to again jumpstart production of my own videos for this site, and for my YouTube channel.

But the pace of that will be much more relaxed and leave time to produce some larger monotypes for a new show, whenever that may happen. My class schedule will also be somewhat reduced as I recharge my batteries. I’ll update soon, but the next post here will undoubtedly be about reading projects. Other than that, I’ll see you next weekend on the #studiotour and at #steamrollerprinting in April.

#moprint2022 #asldprintmakers #monotypes #denverart #artstudentsleaguedenver

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Art Shows Art Students League Etchings and Small Work Monotypes Month of Printmaking

Month of Printmaking 2022

Illustration of artist's monotype process in relation to Month of Printmaking
This monotype is one of several ghosts and variants I created from a trace monotype image I did in 2021. The chair imagery is simple, but lends itself to multiple treatments and suggests to me a state of being in the present, with the asterisk suggesting more info to come, or in other words, change. It’s about presence. Showing at Art Gym imPressed show, March 24-April 17.

It’s been a busy, snowy run-up to #moprint2022. But the pandemic seems to be easing, at least in the vaccinated parts of the state, so we can keep our fingers crossed that this one will go off as planned, unlike 2020.

I committed to a lot of events, which has kept me running, but it’ll be fun if it all comes off. Note: I do not anticipate doing the Summer Art Market this year, to give myself a break, and to re-fill my inventory. So MoPrint may be the best opportunity to see work by me this year. Of course, you can always contact me (above) for a private showing. Here’s as complete a list as I can give right now:

February 26, 4 PM: Opening for Print Educators of Colorado show at Lincoln Center, Ft. Collins. I have 2 pieces in the show and anticipate being there for the opening. The show runs through April 9.

March 4, 5:30-8:30 PM: Opening for ASLD Print Fair Exhibition, Art Students League of Denver, 200 Grant St. I’ll have 1-2 pieces in the show. There are free demos by ASLD faculty and artists upstairs. I will be here most of the night.

March 4, 5-10 PM, Trve Brewing, Broadway and 2nd, Black Ink fundraiser for MoPrint. I will have an edition of 20 lino cuts available at a ridiculously low price of $10 apiece, along with 60 other artists. It all benefits Month of Printmaking. I will be here for part of the night.

March 5, 10-4 PM: ASLD Print Fair Pop Up Portfolio show and free artists demos at ASLD 200 Grant. I will have a portfolio of selected prints available for sale, and I’ll be here all day. Prints are an affordable way to start a collection!

March 11, 5-10 PM, Core New Art Space. A show of many techniques in printmaking, that I juried from a national call for entries. Show runs through March 27. I will be at the opening, at least for the later hours.

March 12, 1-4 PM, MoPrint Open Portfolio, Denver Botanic Gardens, Mitchell Hall. This is also a portfolio show, so no framed work, and mostly small pieces that I can display on a table. I predict prices will be very affordable.

March 19, 11-4 PM. I will be doing a demo this year at the MoPrint Print Jam at the Denver Art Museum, Martin Building Creative Hub. There will be 14 separate demos ( by various artists, in various techniques), and 3 workshops you can participate in. My demo will be at 11 AM.

March 24, 5-8 PM, imPressed, opening for juried sprint show, Art Gym. I will have one medium sized piece in the show, and I plan to attend the opening. Show runs through April 17.

All info is on the MoPrint.org website, along with all of the other Moprint-associated events. I will be seeing as many as I can; hope to see you there!

#moprint2022 #ASLDprintmakers #ASLDprintfair #denverart

Categories
Art Students League Ghost

Work In Process

Regular studio work is necessary for any artist. The power of a disciplined schedule has been noted by writers, such as Hemingway; and some artists such as Picasso, seem to never leave the studio. For most of us it’s hard, especially as real wages have nose dived under corporate/conservative economics. One just works harder and longer to pay the basic expenses that the studio time can’t provide for, at least immediately.

So for me, one or two days a week is pretty normal, with two edging into luxury. I work in the print studio at the school where I teach, so for 6 months during the shut down, it was no days. Since the studio has reopened, I’ve been engaged as a monitor, to ensure covid protocols are being met, and in the 6 months since then there’ve been no cases recorded ( which would have necessitated re-closure), so I’ve been making up for lost time with a regular schedule.

Having to commit to a regular schedule actually helps with my own work. I can cover all the bases with a day to test concepts in smaller work, and then a day to expand my idea onto a larger sheet. Also, breaking news- the Summer Art Market will be back this year, but has been pushed back to late August. So I’ve been able to settle into a regular rhythm of working that isn’t as rushed by spring deadlines. I think it’s had a good effect. The ability to build up incrementally, in layers, or even set a monotype aside for a week to mull it over isn’t great for getting a lot of work finished, photographed, and framed in 3 months, but over the course of 6, it can lead to a lot of work in the flat file. That makes for a better show ultimately, as I can afford to pick and choose items for that show. It’s one small benefit of the quarantine.

I’ll pick one piece to illustrate the idea. In picking up the lost thread after shutdown, I had a fairly big stack of unfinished prints from last Spring and before to start with. This one is a ghost from my Fall ’20 return to the studio to complete work Left unfinished for all the various MoPrint 2020 shows I’d been invited to. So the original idea ( ladders, dreamy skyscapes) dates to 2019, although this one came in 2020. When on a deadline I use ghosts as insurance- if a print fails, I can use the other to pursue the idea. When not on a deadline, I use them to push the idea in different directions. By the time I was ready to finish it in January 2021, it had been a year since I worked on the concept, and my train of thought had changed a little.

Here is one of the 2019 works that inspired it. Also a ghost, it was displayed during MoPrint 2020 in the Colorado Print Educators show at Arvada Center before shutdown.

Here is the first impression of Wishful Thinking, inspired by a song on a past Wilco album, about the power of fantasy in love and life. I had been exploring ladders and nightscapes in previous images. The sky is a stenciled field of circles, the ladder is assembled of inked mylar scraps.

Another impression simply developed the ladder and skyscape.

The final state looks like this. I confess to forgetting whether there was an intervening addition to the sky and ladder before I added the organic leafy elements, and the box/nest in lower right. But it’s starting to get busy, and now I’m done. In my opinion, one can put too fine a point on a narrative or verbal concept, and lose some of the mystery. I like the contrast of the box/ nest figure to ground the ascending ladder and counterpoise the teeming sky. It gives a sense of place, which I like to think helps the viewer enter, but leaves the ultimate narrative open.

See it at the Summer Art Market, August 28-29, in the West Washington Park neighborhood , in front of the school!

Categories
Art Students League Monotypes

Holiday In the Studio

Sundays tend to be quiet in the studio. The school is open for artists who want to use the presses with a monitor (me), and there has been steady traffic on other days, but I’ve had Sundays mostly to myself. Whatever the repercussions for school revenue, the quiet time is welcome. There has been 7 months without regular studio work, and the quiet has been helping as I dream myself back into a good rhythm for creativity.

Smaller works are over too quickly and there is not enough white space to stretch my mind, so I went with larger work. Full sheet (22×30) after a couple of half sheet warm ups. Blobby, cloud like shapes allowed me to open up space, while also carrying the assortment of yellow, pink and salmon that popped up immediately on my palette (oops- no pictures yet).

Clouds are compatible with my subject matter, ladders (Jacob’s Ladders: I’d been recently reading Emily Dickinson). But the placement and execution of these wasn’t apparent at first, so the next week, I switched to an older, incomplete print from before the shutdown which turned out to be almost screaming for a ladder as central figure. Then a couple of ghosts followed on from that. This is in a deep blue that was appealing to my more crepuscular subconscious visions.

Illustrate work in progress
Partial image left over from pre-pandemic working sessions.
Illustrate work in progress
Adding preliminary ladder imagery dropping down to a plane in ochre from a deep blue sky/field.

That’s where I stand now. All potential and no resolution, wondering how it might all coalesce. The ladder image clearly needs more emphasis, but the open space behind it is probably going to need restraint, or it will get too busy. The theme, from a Wilco song on my earbuds: Wishful Thinking. I don’t really have anymore than that right now, but it feels like it’s building nicely.

I’ll be in studio a few more weeks, then I’m taking a break in mid December. I’m taking lots of process pics that I will post later. If I don’t post again before the holiday/solstice week, then here are my wishes for a safe happy season of light to you and yours!

Categories
#MoPrint2020 Art Shows Ghost Monotypes

New 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.”

Picture of preliminary studies to illustrate post
The three similar images in this photo were all executed on the same winter day, from modified ghost images on the same plate. They are examples of exploring variations on the same idea using ghost prints. The upper right image was a study for the idea, the first made, back in fall.

“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?

Illustrate post on art show
Please reverence my little 2018 Star Wars datebook.

“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…”

Illustrate ancillary materials to process
A number of ancillary materials; Mylar stencils, Lino block, Mylar working sheet and newsprint slip sheet, along with a preliminary study.

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.

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#MoPrint2020 Art Shows Art Students League Monotypes Month of Printmaking Workshops

Under Pressure: Twigs and Berries for a New Decade

The holiday break was brief, as #MoPrint2020 is 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.

Here goes:

“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.

Categories
Art Students League Monotypes Workshops

Twigs and Berries: Small, Dangly Bits I’ve Left Hanging

Yes! A somewhat vulgar pop cultural reference to describe the dregs of my high art musings and literary pretensions. I think I’ll make it a regular feature. This, after I was just thinking to myself while walking to the grocery, ‘I should try posting some long form pieces’. And maybe I will ( when I have time to write one), but don’t worry- I’ll skip the suggestive titles.

First, There are just days remaining to register for my next workshop, Monotype Portfolio, intended for those who have some printmaking experience and want to develop a portfolio of finished prints or just need a refresher.

I posted the rest of my Fall Denver Public Library workshop schedule on the ‘Workshops’ page, find it on the top menu bar. It’s really only two additional dates; October 17 at Green Valley Ranch, and November 7 at Ross-Barnum. They’re free and open to the public, and one of the nice things about them is you can come and try out the Akua water-based inks, and/or explore the concept of hand-rolling monotypes, which I know from questions in classes that many of you are curious about.

Monotypes are a very versatile and simple to learn medium
Foothills Autumn features many different ways to apply ink in a monotype. In my various workshops, we explore many more.

Yes, there are kids there. Sometimes, many kids. But look, if I can survive working with kids kidding about for over 5 years now, you can make it for an hour and a half. Click on the contact page or message me on social media if you have questions about this, I’m sure you’d enjoy it.

I also posted some new images in the ‘Portfolio’ section and will soon post more. These are larger monotypes I’ve been doing to fulfill upcoming show and jury deadlines, and I’ll be back in studio to do more soon. I’m going to try to start posting brief blurbs about older pieces to explicate concepts I’ve been discussing in the longer posts, too. In most cases, these will be much older, say from before this blog existed (2009).

I think I alluded to working on a web store ( for the millionth time) in a recent post. I had to put that aside when the software wouldn’t work, and I needed to concentrate on deadlines and classes. It’s freeware, and glitches, along with piss-poor documentation comes with the territory. They are trying to sell their product to developers and are probably required to offer a free version and helping some poor shrub with a WordPress.org site is far down the list of priorities.

I’ll take it back up when things settle down a little- maybe as early as this weekend. In the interval, I discovered an upgrade I can make to the actual WordPress software that might help the freeware work better. WordPress.org usually has much better documentation, too. I’m optimistic I can still have it ready by Xmas/Black Monday sales opportunity season, fa la, and will certainly offer discounts and premiums to get it rolling, probably right through Spring, so if you’ve been wanting to creatively fill a blank space in your walls, hang on, help is coming. I should be able to offer gift certificates, too. I apologize for maundering on about this since who tied the pup*, but hey- internetsing is hard.

I’ll put up a new reading list soon too. Mostly, I’ve been wrapping up odds and ends from Summer, but I feel a new long project coming on. I did buy a used copy of Tristram Shandy a few months ago, because since I read Michael Schmidt’s The Novel: A Biography, I’ve wanted to read it. To which sentiment one friend asked pointedly: Why?

Well, now how can I answer that, until I’ve read it, hmm? And with that, a blog that thought SEO stands for ‘Still Expressing Oddstuff’ barrels into its 11th year.

*Strange expression my late mother used often. I don’t have any idea what it means either, and she always refused to explain it. But I’ve been thinking of her lately, so- Hi Mom!

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