All posts tagged: newyork

If The People Have No Bread

Dear White Women in the Arts, Please continue eating cake in the corner with each other. I am using your Marie-Antoinette-havin-asses as something to look at while I stand in a group of boys clubs and discuss the new photographic prints which just came into The Gallery in large lead frames. Or, put your guns up and your cakes down, Ladies. (Source)

Conversations Pt. 1

My first question for you is why in the hell are you making songs about the projects? I’m sorry pardon me I believe you mean photographs.  You are a rapper, yes? I’m making photographs of project buildings. My working with geometric square and cube shaped geometry has been consistent. I am entertaining the thought that I am imposing a spot into the structure which may open room for political consideration. What do you think? What Do You Mean, collaboration? Yes, I am speaking of something that may be possible for you. If you consider a culture to have a shape you must wonder of your own. Imagine two shapes, where are it’s points. What happens when a culture imposes a geometry on another? Yes, that is a good question . One I will consider in the context of public housing in New York City. I suppose the most obvious answer is discomfort . Another person should answer this as well . Discomfort meaning the opposite of comfort, or lack of? Both , a am thinking …

Re: The price of art/work

I assist classes at the printshop in Manhattan. My duties include gathering class materials, answering technical questions, and cleaning up after the class has finished. Tonight, after completing my tasks adequately for a Japanese Woodblock class, I settled myself in a corner and continued working on my own print which utilized the techniques taught in the workshop. As I was working, a student came to my corner and interrupted my drawing into soft ground to ask if I was paid to assist the instructor today. I put down my number whatever pencil, took out my headphones and spun in my stool to look at her. “No, I am not paid cash.” I said. “Oh, How Come You Get So Much Time To Work?” she asked. I assume she was bothered by my working on my own artwork, so I ignored her intrusion and politely informed her that “Class ended at 4:30, you are here because of the generosity of your instructor.” It was about 5. “You don’t work very hard,” she replied. SO I SAID LISTEN …

Power sanding panels with Marjorie Welish

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

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 …

new york near new year

I left Detroit with a milk crate hiked on the back of my bicycle and a heavy portfolio full of plates swinging from the handlebars. I bought a bus ticket to Boston. One of my prints, a copper etching entitled “Elizabeth Mine” had been selected for the Arches Student Show back in May, 2015. The Arches show was at Lesley College in Cambridge, Willie Cole was the juror. I enjoyed the juror’s talk and was impressed with the student work, humbled to see my little print high up on the wall among other etchings, relief, and screenprints. The Boston Printmaker’s Biennial was just down the street, and I stopped in with two college friends to see. We made quick use of the free wine and carrot sticks, and I soon realized that the proper etiquette was to eat after viewing the work. Oops. I spent a few minutes examining a print called “Motherboard” by artist Ann Conrad from New Canaan, CT. The print is a mix of intaglio and relief, a large piece with rectangular …