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)
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
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 …
Golnar Adili is an artist from Iran who lives and works in New York. Adili experiments with archival material, the content of her work is often related to the longing and distance between two cultures. Adili grew up separated from her mother, who remained in Iran after her family moved to the United States. Adili cuts and forms images using craft materials to create sculptural ‘images.’ I ask her about the relationship between 2 and 3 dimensional art works. “We’ll see,” she says. (image taken from Adili’s website) I am taking her “Image Transfer to Sculpture” class at the Robert Blackburn Printshop. Last night, Adili taught us how to transfer inkjet prints on to fine art papers using citrasolv, a cleaning chemical available at whole foods or other fine grocers. This process can be repeated at home. You’ll need digital images, citrasolv, cotton balls, an inkjet printer, bone folder or wooden spoon and fine art paper such as japanese rice paper or Arches etching paper. If you don’t have a bone folder or wooden spoon, you can use an etching press. 😉 Begin …
Jeffery Lapid via Vermont Center for Photography
This collection of photographs made by Joan O’Beirne depict people looking at deadly car crashes. “Onlookers” was made from a series of police photographs taken at vehicular homicide sites. A fragment of gesture is transferred to Plexiglas. ‘Segregated from the whole and greatly enlarged, the faces become barely recognizable as the image breaks down into its essential elements of silver salts,’ O’Beirne writes. The subjects are white and the location of the photographs is not noted. http://www.joanobeirne.com/onlookers.html
