All posts tagged: artist

Brooklyn Photographs : exhibit @ BRIC Arts Media

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OPENING RECEPTION: Wednesday, September 6, 2017 ON VIEW: September 7 – October 29, 2017 CURATED BY: Elizabeth Ferrer   A photo by Max Kozloff in the center of this series is astonishing. A young Jamaican girl slouches in a gold woven chair set against a palm background. Her head rests against her couched elbow and she gazes just left of the cameras 3ye, much like how I look at someone without looking at them. Someone next to her sees or decides to acknowledge the camera. A young child reaches for something in a middle aged mans hands. The series reminds me of an artist Osiris.  The color palate is rich, the light is even, and the artist has not inserted himself into the details. V good.      Max Kozloff, The Pensive Girl, Brooklyn, 1993

Dear Tech Employee Making 6 Figures and Still Finding It Necessary to Steal Artwork:

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I understand that your 9 to 6pm guarantee of making more money than you’re realistically worth given the extreme economic disparity in this country has you feeling impervious to the same moral system that governs most of us,   Allow me to remind you of the general code of ethics which has existed since the early centuries of patronage. Art-WORK requires time, train fare, and intelligence. It is impossible to support such intelligence and effort if we are not paid for our products and skills. Considering your relative cluelessness to the creative process,   I assume you imagine that I simply sit down with a quill pen and a fireplace by my side and begin constructing drawings on the hide of dead lambs from last summer. These constructions of mine are simple, the discomfort of a cramped hand is easily soothed by the touch of a woman with her arms draped across my leather chair or by the clink of ice cubes under a splash of desert liquor after dinner.   Allow me to break …

Power sanding panels with Marjorie Welish

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Marjorie Welish hired me to sand 12 wood panels down from old paintings to new slabs she intends to paint on. Her work is concerned with a search for post-modern primary colors ; “what would be a post modern blue,’ she asks while we work together on the wood panels. The paintings I am sanding away are covered with black and white grids and areas of red, yellow, and blue paint. They are reminiscent of Mondrian’s color fields, interesting because of her use of shades; she has included two shades of red in one painting : I had an opportunity to briefly explain my practice to the artist, who quickly engaged me in conversation regarding the attentiveness of line. She referenced Hercules Seghers, who’s show of etchings just came down at the Metropolitan. “That man can think,” she says. ‘He is attentive to each line.’ I nod and tell her that “I find my attention comes and goes, I have areas drawn with a lot of focus and others where my mind wanders. I wonder, now, …

Assisting Michael Krueger

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I kicked a s s today assisting Michael Krueger on a series of woodblock prints at the Elizabeth Foundation for the Arts Robert Blackburn Printmaking Workshop. Michael is an artist from Kansas who works in printmaking, animation, painting and drawing. He is visiting New York to publish a series of prints with the shop. The images are drawings which have been lazar cut into woodblocks and printed in multiple colors on Kozo #8 rice paper. We are printing three small editions, which will be divided between the printshop and Michael and sold. The drawings feature references to artists in the canon of art history which Michael says he is taking ownership of by including in his own work. In one image, Lee Krazer stands in front of a portrait of Edvard Munch with a paintbrush dripping red paint. Simple drawings without backgrounds, the referents float in a color field. I began on Tuesday by coating the Kozo paper with a methyl-cellulose glue. One side is painted with the wet glue and left to dry on large …

artist in focus

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What themes or subjects are you currently addressing in your work? I am currently addressing narrow environment; exploring vertical space. A print is a subjective response to my experience of perpendicular architecture, to movement within upright bounds. What materials do you work with? I work with paper, ink, and copper plate. I am a printmaker. I use acid (ferric chloride) to alter the surface of the copper plate. I use grounds to control what areas of the plate are exposed to ferric. I draw line into hard ground using a steel needle. The plate is etched for a longer duration to achieve more density in the line. Rosin is used to create areas of tone. I prefer charbonnel inks, the grain is smaller. I usually print in black and blue ink, but I may add areas of color using rice paper glued to the printmaking sheet. This process is called chine collé, the glue is made from methyl cellulose. I do also take 35 mm film photographs and use objects from the negatives. What is …

can i show you something

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met with ambie abano after seeing a video of her printmaking. she works wth large wood blocks and carves bodies into the blocks. the blocks are printed on paper using a spoon, and some are printed on cloth. her work is displayed in the philippines, where she is from, and she says in the video her work is about confronting death. i showed her the image transfers i made on saturday night, this time working with a cutout of the shoecrab. the images are small versions of what will later be large prints. the shape of the crab on its side is printed on fine japanese paper, i believe leftover kozoshi from the image transfer class with golnar adili. ambie didn’t ask what the shapes were, but she suggested pronto plate lithography after i explained the image transfer process. she explained the sponging method to me, which i recognized from college, and suggested litho paper. I’m not sure what litho paper is… ‘do you like pattern,” she asked me after seeing my experiments. yes, i …

I know who Devraj is

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He works on lithographs across from the monitor desk at the Bob Blackburn printshop. Devraj hunches a bit, as many master printers tend to. I watch him pull prints from stones with two hands and arms which would wobble on another man his age. I sit here on Wednesdays, checking people in and glaring at them when they steal my pens. Mostly my job consists of fetching newsprint and politely informing the shop guests that we do not have any chargers available for your iPhone 6000. The other day he asked me for a dozen sheets of newsprint, I gave him one. He held up two fingers, signaling he wanted 11 more. I thought he meant he wanted two total, and I brought him one more. He laughed and shook his head and said one dozen. Frustrated with myself I fetched him 10 more sheets and sank back into my best-guessed desk. Devraj took an interest in my work. He saw two of my largest prints last week, I intentionally left them against the wall …

@Liz Sibley Fletcher, re: chicken not food

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NOT Chicken, 2011. image cite Liz Sibley Fletcher is an artist from Mason, NH, she works in sculpture and is concerned with the health of local rivers. She writes that “making art and protecting the environment have been the two strong threads of my working life” (ava). Her sculptural forms contain a combination of human and animal characteristics and gestures. Fletcher writes,”I love to shape clay into creatures and strange beings whose combinations of human, beast, and bone embody the interpenetration of the natural and human worlds, of geologic time and daily life” (ava). This piece, “NOT Chicken (2011)” is of particular interest to me. I find it’s posture quite familiar, one I catch myself making in protection from situations of discomfort. The piece makes material my sense of being commodified. This is not so cut and dry (pun intended). It is sculpture; in my reading, a human form has taken the appearance of a chicken. This chicken is not so pleased with the confusion of itself with an animal to be eaten. Catch me in Union Square with …