August was a month of wedding anniversaries and overseas travel, with a little "what's next?" in life thrown into the mix.
Kelly to Elizabeth, August 2010 (front)
Kelly to Elizabeth, August 2010 (back)
Elizabeth to Kelly, August 2010 (front)
Elizabeth to Kelly, August 2010 (back)
I'm behind on my mailART postings! Here is July, with August to follow next.
Kelly to Elizabeth, July 2010 (back)
Kelly to Elizabeth, July 2010 (back)
Elizabeth to Kelly, July 2010 (front)
Elizabeth to Kelly, July 2010 (back)
Marty Ittner, in action at Pyramid AtlanticKnocked out some good solid prints last night at Pyramid Atlantic, under the expert and paaaaatient guidance of screen print Queen Marty Ittner. These are for my friend/trade buddy Jim Vecchione's portfolios (he's the talent behind the images of my work on this site).
Boy, did I learn a lot through this process: a) screen printing's not as easy as it looks (SO many variables contribute to all kinds of surprises), b) I tend to come up with complex ideas that are best simplified a bit, this project being no exception, c) being picky is a good thing (thanks, Marty, for insisting on super-sharp logos), d) I need to quadruple my time estimates when I'm doing something for the first time.
I love the element of surprise in screen printing, which I hadn't anticipated at all. The interaction between digital image x screen prep x substrate (in this case, three different kinds of book cloth) x ink x how you pull any given print = who knew the image we thought would be our problem-child ended up being the one I like best?
Jim's portfolio covers, drying
Thanks, Marty, for helping produce something that I think Jim (and his clients) will love. Can't wait to bind them and put them to use!
Seems art is no exception to the lack of visibility women have received through the ages. The current exhibition, Unseen Hands: Women Printers, Binders and Book Designers at Princeton University is an illustration (thanks, Mark, for the heads-up!). I was first introduced to the notion of women's diminished visible role in printmaking by Susan King, whose work Women and Cars is included in this show. Susan was part of The Women's Building, a pioneering group of women printmakers in the 1960s.
Other opportunities for visibility are in the air. One of the films we're screening at the Pyramid Atlantic 11th Biennial Book Arts Fair, Who Does She Think She Is?, explores the issue on a very personal level. And then there's the new reality television show, Work of Art, where women and men have equal opportunity to shine or fail.
This is not a new issue and it shouldn't surprise me, since I come from the business world and well know the issues of women's equality in the workplace. So why are we still talking about it today? Instead of talking about it, I'd much prefer women just garner as much recognition, opportunities and success as we can earn.
Things are starting to fall into place for the 11th biennial book arts conference and fair that Pyramid Atlantic hosts. In addition to a panel of exciting speakers and juried exhibitor fair, this year we're including a contemporary print component, four arts documentary films, and an art supplier marketplace. And the venue itself is a draw, in the just-opened Silver Spring Civic Building.
It's been fun to be behind-the-scenes as part of our feisty little organizing committee as we discuss and tackle all the components that comprise a weekend-long event. Our fearless leader, Gretchen Schermerhorn, is doing a great job at balancing a wide range of perspectives (and creative tension - a good thing), with getting things done.
I definitely have a soft spot in my heart for this event - it's where I first discovered that the book arts existed. I walked into the exhibitor fair on that fall day in 2006 and I felt like Alice falling down the rabbit hole into this fantasy world of mind-bending discoveries. An apt metaphor, since this discovery has shaken up quite a few things in my life.
Click here for event details and registration, and here for the latest news.
Just finished hanging an entire gallery on my own for the first time. Part of the deal here at Printmakers is that each member is responsible for completely rehanging the space on a two-month rotating basis. Not only does it keep the space fresh, it allows us to expose stored art that might otherwise be forgotten.
I had done a little online research beforehand, looking for some basic principles to guide me. I didn't find much, so yesterday, when I walked into the studio, I was feeling a mixture of curiosity and overwhelm - where to start and how, exactly, would this go? Nothing like jumping into the water with both feet!
With little other than instinct to guide me, I just started looking through bins and bins of art. It was interesting to step back and observe myself being drawn to certain pieces, and not to others. In my own work, I always need an inspiration - a starting point. It happened here, as well. I hadn't intended for this to be the case, but there was one print that caught my eye as a perfect companion for one of my artist books. Bam, I was off to the races and the ideas just flowed.
I also stuck with what I know at this point: color. I'm not an experienced printmaker or trained artist, so I didn't have a lot of "rules" or technique to show me the way. I do know color and "energy" and pacing, all of which seemed to flow, as I moved pieces around, experimented with surprising combinations and just got my hands on the art.
At the end of two days, I'm pretty happy with the results. I might look back on this some time from now with a more experienced eye and see things I'd do differently, but that's okay. Four of my fellow artists stopped in at various times today and were very encouraging, happy to frame unseen work that I'd dragged out of bins to hang.
What I'm most excited about is that I got to know more about each artist's work, taking time to really look at it. There are so many prints here, that it's easy to flip through them and miss a lot. I loved learning more about the ideas behind several pieces, as I interacted with the artists that were here today.
I've been working with screenprinter Marty Ittner at Pyramid Atlantic to help me create portfolio covers for my friend Jim Vecchione, who shoots all of my work. My idea is to use Jim's images in a Warhol-esque way as art screenprinted onto bookcloth, which I'll use to make his portfolios. I think it's going to be really cool, even if the testing, trial and error is taking way longer than I anticipated.
Last night's tests revealed vast differences in how a grayscale image responded on various types and colors of bookcloth. A few surprises, no real winner yet, but more direction for next week's testing. It looks like simpler is better, eliminating some variables (e.g., black and white threshold images, no grayscale). Apparently Warhol did that, sticking with solid blocks of ink and color. So far, Marty and I are using black ink only, letting the bookcloth be the color.
Poor Jim - he's been so patient while I learn and experiment. Thanks for your patience - I think it'll be worth it!
Last month when I said that rejection wasn't a buzz-kill? I lied. It totally derailed me. I fell hard, and wallowed in self-doubt and criticism despite my pep talk via blog post. And then, thanks to some clear messages from my post-op knee, I realized this "turning on myself" was contraindicated for my health. So I dropped the harshness.
Feels like I'm back on track, doing the basics: morning pages, PT, client work ramping up. Most importantly, I'm getting my hands on my art, daily. This feels crucial to my sanity, frankly. I also pulled out books from my touchstones and guides: Julia Cameron, Natalie Goldberg, Anne Lamott. These women have lived the artist's life far longer than I and their advice feels like it's written specifically for me right now.
June's mailART exchange with my friend Elizabeth reflects a lot of this, although we didn't plan it. That seems to be the thing with collage and our wavelength across the miles these days.
Elizabeth to Kelly June 2010, front
Elizabeth to Kelly June 2010, back
Kelly to Elizabeth June 2010, front
Kelly to Elizabeth June 2010, back
This week I got two rejections: MCBA's Prints Now in 3-D! and 23 Sandy's Book Power! exhibitions will not include my work. The rejection emails I received couldn't have been kinder, coming from artist curators who know the sting of being told no. It still sucks.
My initial reaction was to take it lightly and move on - after all, I'm still riding high from a string of recent acceptances and big steps related to my art. But then it hit me - ouch. Tiny panicky doubts popped up...is this all just a fluke? beginner's luck? am I not as grounded in my art as it feels? with time, will I be revealed as not a "real" artist?
This morning I woke up and didn't believe any of those things. I did, however, realize that I need to get my hands on my work and create. To keep moving. To stop stalling on some pieces that feel a little intimidating to me right now (a feeling I've come to recognize as: you're on to something).
I also did a little exploring to see how more seasoned artists navigate the necessary evil of rejection. One of the most thoughtful and comprehensive pieces I've found is by Joanne Mattera, an encaustics artist who also writes a terrific blog about navigating life as an artist.
I recently discovered Steve Miller's Book Artists and Poets podcasts on iTunes, as I was searching for distractions to listen to while I recover from recent knee surgery. What a goldmine of oral history, context and inspiration. This is what I've been yearning for - an intimate view into the thinking, journey, and work of people who have made their life in the book arts.
Steve's podcasts are turning out to be way more than a distraction. I look forward to my endless physical therapy sessions because they’re my next chance to listen to another intriguing interview with the likes of Hedi Kyle, Betsy Davids, Audrey Niffenegger, and Julie Chen.
Steve does a great job drawing thoughtful insights from his subjects, all the while painting a vivid scene of what's happening around them. I feel like I'm right there, listening in on a great conversation. One of my favorites so far is when he interviewed Andrea Peterson while she rowed him around Ox-bow lake at dawn.
The esteemed Hedi Kyle, mother of inventive book structures, juried this exhibition. I've got two pieces in it, Archetypes: Journey to Self and Moving Parts. What an thrill to be included in Hedi's show, along side some of the rock stars of the book arts!
In March, my friend Elizabeth and I took a workshop together at Kripalu, Vibrant Visionary Collage, led by Karen Arp-Sandel. We had no idea what we were in for! We thought it an opportunity to mix girlfriend time, yoga retreat, spa and getaway with a little art. Little did we realize how transformative, fun and mind-shifting four days of "innocent" collage making in a roomful of mostly middle-aged goddesses could be.
One of my favorite discoveries that Karen turned us onto is mail art, where the postal system is medium, and the art is handmade collaged postcards to friends, family, or really anyone. Karen and her partner-in-crime, Suzi Banks Baum, call it FEmail, which I love. Karen and Suzi are the Queens of FEmail as far as I'm concerned - check out their current (extended!) exhibition at Berkshire Art Kitchen.
Elizabeth and I were so inspired by all of this that we vowed to send each other a piece of mail art every month. What better way to stay in touch with the yin and yang of our distant and often out-of-touch lives throughout the year, when what we really want is more time for connection and being present with one another? I wasn't sure if I could make my April deadline, though, with recent knee surgery packing me a wallop I'd not fully anticipated - my convalescence was more like a hibernation as I navigated drug allergies, infection and deep fatigue.
I felt more than a little protective letting go of E's postcard. I wasn’t sure what to expect from the postal attendant - would s/he give me a hard time for sending something that didn't comply with postal standards, or would they be game for a little art? I also knew my little masterpiece would be immediately changed the moment I handed it over for postage and hand-cancelling.
And that's exactly what happened. Not only did the attendant smile and take a moment to look at both sides of the piece, he patiently looked through all of his stamps to find just the right combination to arrange in the space I'd left. "See?" I said, "You're a collaborator on this piece of art!" He smiled. I felt so good leaving it in his hands, knowing that the first part of it's journey to Elizabeth was good.
When I returned home today, guess what was waiting for me in the mail? Elizabeth's April postcard to me. I got a little weepy has I caressed it and gazed, the message both powerful and tender to me.
Binnewater Arts Center, home to WSW studiosSo you've been looking for the perfect papermaking and printmaking workshop this summer, preferably in an idyllic little town somewhere up north?
Then you must check out Gretchen Schermerhorn's class this June up at Women's Studio Workshop in Rosendale, NY. If you are unfamiliar with WSW, they are a 30 year old arts organization with an emphasis in printmaking, papermaking and book arts. Gretchen (Pyramid Atlantic's Director the Papermill, Artistic Collaboration and Outreach) did a residency there back in December and now wants everyone to share in the joy that is WSW.
This is your chance, if you've ever wanted to explore this medium. Gretchen's an internationally-known and sought-after artist, so you'll be learning from the best. Plus, she's very cool and lots of fun. Details below:
From Paper To Print with Gretchen Schermerhorn
Paper is to printmaking as banana skins are to bananas, the structure that contains and supports the delicious product. In this hybrid workshop we will focus on creating customized handmade papers for monoprint, relief and intaglio printmaking. We will begin with the basics of sheet formation, using cotton rag, flax, and abaca fibers, and the focus will be on variation of thick to thin and opaque to translucent sheets. Pigmentation and the use of additives will be covered. Then we will move on to stencil work, pulp printing and chine colle (collage)-all methods that will later register with printed matter. The second half of the class will be spent printing on our handmade papers. Polyester plate lithography, relief and screenprinting will be taught, with an emphasis on using the papers that were made in the first part of the class, to create richly layered prints.
July 19 - 23, 2010. To learn more, click here and scroll down to Gretchen's workshop
I'm particularly excited about being included in this exhibition, WomanMade at Target Gallery in Alexandria, VA as part of the Minds Wide Open Virginia statewide celebration of women in the arts. This is my first multi-media show, and I feel truly honored to be one of 28 artists chosen from over 400 worldwide.
I love Su Blackwell's paperart, so it's great to see her work get wider visibility. Check out this short video on the making of her ad for Beringer Wine.
I received great news yesterday: I've juried in as a studio artist at the Torpedo Factory Art Center. This is something I've dreamed of for awhile, but in no way whatsoever did I think it would happen so quickly. I was told that nobody juries-in on their first attempt, and I certainly didn't see myself as a "real" artist ("I'm still very new at this," I say to people). Be that as it may, I got in...and my self-perception has just been flipped on its head.
Over the past 24 hours, all kinds of explanations have run through my head. Anything from, "there must have been little competition," to "artists are disappearing in this economy - they must be hard-up for fresh blood." Whew, I can be harsh on myself.
However, today at the Torpedo Factory, I felt like Cinderella. Not only did people gush about my work, they seemed genuinely excited to welcome me to the fold. I'll be learning a lot over the next few weeks about what's involved - apparently there's a fairly well-honed mentoring process for new "associate artists" that's intended to set us up for success, not launch us in over our heads too quickly.
Next week, there's an exhibition of the juried-in class of 2010's work at Target Gallery, with a reception to meet the art center's artists for possible sub-lease matches (feels a little like a sorority rush!). Of course since I didn't expect to be participating in any of this, I scheduled my knee surgery for next week. I am, however, determined to not miss a thing, crutches and all. What a nice high to carry me through what may otherwise be a tough week!
The original motivation for starting this blog a mere two years ago was to explore, integrate and share what it means to consciously live my life. I can't believe that was only 24 months ago, because, boy, when you put your intentions out there in the world, stuff happens.
I love this display of fine fellowship at the handmade papermill at Tryst Press. Makes production look fun!
Oh, there's so much amazing paper art out there! This lamp from Jo Neville of Paper Couture just lights me up.
Stumbled onto this video by singer/songwriter Lisa Hannigan just now and am giddy with how happy it makes me. The combination of cut paper art by Maeve Clancy, a sweet storyline, and Lisa's songbird quality just give me a nice high.
As I re-engage slowly after a long, restorative break from too much of a good thing late last year, it's tempting to let overwhelm kick in and chase me back into hibernation. A recovering workaholic from my day job, it's safe to say I'd unwittingly found another substance (my book art) to take its place.
At 15 books and 10 clamshell boxes into an edition of 50, the end does not feel anywhere in sight. But I don't have to let that rattle me from what I'm re-learning: take it one day at at time. Quite literally, my intention (and actions, so far) is to get my hands on the edition once a day. Some days it's for ten minutes, others it's for an hour or two...but every day, I make a little progress.
This is not a new idea. I've used it in the past, taking it down to one hour at a time in the worst of times. Talented classmate and friend Leslie Patterson-Marx inspired its application to art last summer during our artist book workshop with Susan King. In her altered book, One Day at a Time, Leslie carved one mark into the book each day for thirty days - a meditational performance piece of sorts - the fruits of her effort only clear after she steadily showed up every day to do as she had committed.
This is very satisfying. It keeps extreme thinking and behaviors at bay, and grounds me in the present. This promises to be an extraordinary year, glimmers of opportunity to come already on my radar. As things ramp up - and they are, for sure - I'll serve myself and others well by taking it one day at a time.
