Friday, November 21, 2008
Posted by shauna lee lange at Friday, November 21, 2008
Saturday, November 15, 2008
Friday, November 14, 2008
Posted by shauna lee lange at Friday, November 14, 2008
Thursday, November 13, 2008
We came across a fantastic article from World Bulletin explaining the origins and the method of creating EBRU or Turkish Paper (we know it as marbled paper or paper marbeling). The link is here.
The Allen Library has an amazing collection of book arts which includes over 14,000 examples of historical and modern aspects of the physical book. We just love this one for inspiration.
Image Shown: Sande Wascher-James, How Long? Renton, WA, 1994. Silkscreen and color photocopy printed
Vienna's The Soundry is moving its Grand(er) Opening Party to Saturday December 13th. It will be a jolly time and artists will have items at the show that will make unique and wonderful holiday gifts. They will also have plenty of good food, drinks, and even a few surprises.
The Capitol Hill Art League (CHAL), a program of the Capitol Hill Arts Workshop (CHAW), features small, original works at its popular, annual show, “Wrap It Up” which opens with a reception for the public. The unjuried show features works by CHAL members who submit five pieces of ready-to-hang small works. Three pieces are hung for the opening and as the pieces sell, the two pieces in reserve replace sold works. Artists receive a 90% commission on the sales. “Wrap It Up” exudes a shiny, fun spirit as shoppers eagerly purchase bargain, quality art and announce “wrap it up.”
We could not have been more excited to receive Todd Savitch's press release about Sidney Lawrence's Ink Cities Book Signing where Lawrence will provide personalized inscriptions and sketches for his new 200-edition artist's book.
Inspired by pocket-sized sketchbooks artists often carry while traveling, the 32-page, spiral-bound publication ($26) presents Lawrence's highly detailed, often fantasy-laden drawings of 24 cities from around the world-DC, Shanghai, Fez, Buenos Aires, Copenhagen and Sydney, to name a few---with a handwritten fact, anecdote or impression to accompany each image. Ink drawings, Lawrence says, are "my Ouija Board for capturing a city's buzz and sense of adventure."
Ink Cities is meant to appeal to all ages, Lawrence stresses. "At the end, readers may use their own words and images to portray their favorite cities on five blank pages," he says. The reproduced drawings date from 1987 to 2008; several are in local and national collections. Ink Cities appears as part of Lawrence's current show at DFA of paintings, reliefs and works on paper (Nov. 15, 2008 to Jan. 17, 2009), and is much appreciated after all the photography we will have seen during DC Fotoweek. Lawrence has exhibited in the DC area since the early 1980s and also in California and Massachusetts.
Wednesday, November 12, 2008
Tuesday, November 11, 2008
Friday, November 7, 2008
The Sundaram Tagore Gallery (New York, Beverly Hills, Hong Kong) is exhibiting Qadri's work under the title "Seer: The Art of Sohan Qadri" in their Hong Kong location. All works are ink and dye on paper and 55 x 39 in. You can get a sneak peak at www.sundaramtagore.com.
Posted by shauna lee lange at Friday, November 07, 2008
Thursday, November 6, 2008
A complement is something that completes, makes up a whole, or brings to perfection. It is also either of two parts that complete the whole or mutually complete each other. Susan Calloway has demonstrated excellence in selecting Robert Rea and Linda Press as demonstrable works in complementary vision.
Linda Press’ architectural paintings make use of the play of light and shadow across buildings in dense city centers including Paris, New York, and Washington, DC. Robert Rea’s works, influenced by memories of his Alabama childhood, embody that same light in its purest form, in their subtle studies of color. See more at:
Opening Reception Friday, November 7, 6-8:30 pm.
Susan Calloway Fine Arts
Banks also appears in the December issue of Artist's Magazine -- as she was a finalist in their Annual Art Competition. Just a note: in 2005, Banks won her first Best of Show at the Art League and was a finalist in Artist's Magazine's Annual Art Competition for the first time. This year is her second time winning both of those honors. The Art League is located at 105 North Union Street, Alexandria, VA.
“Family Pictures” is a photographic series that will bring visibility to the plight of the Afro-Latino populations in Latin America. For too long wide watery oceans and barren information deserts have kept apart Descendants of Africa in the Americas… For too long history has made them invisible and unknown to their extended family in the United States. Though there was no interaction between these African Descendants in the past this project will help establish a relationship.
Wednesday, November 5, 2008
The Mind’s Eye is a member show juried by Steve Uzzell. Be sure to hit the reception on Saturday, November 22 at 5:30 p.m. and stay until 8 p.m., when Uzzell will present Open Roads; Open Minds: An Exploration of Creative Problem Solving, an inspiring challenge to make any venture an adventure.
“All of us are enthusiastic about Fotoweek and are pleased to be part of it. We are totally supportive of the first celebration of the art of photography in the Washington area and appreciate all the work that has gone into making it happen, ” -Grace Taylor, member & Treasurer, Multiple Exposures Gallery
Multiple Exposures Gallery
Torpedo Factory Art Center 105 N. Union Street #312 Alexandria, VA 22314
T: 703.683.2205 http://www.multipleexposuresgallery.com/
The Alex Gallery - Gallery A
Brought to you by:Ten Miles Square The Pink Line Project Scion Duplex Diner
Music:The JonesDJ Anish
Suggested donation: $10
Friday, November 14 8:30 pm - 2 am
Food by On the Fly will be available for purchase.
Tuesday, November 4, 2008
Monday, November 3, 2008
I have a confession. I had a small green plastic container from Herbalife that Lord only knows where it came from and I had been hanging on to it for ages. Years maybe. Anyway, this plastic container is divided into six neat little compartments, too small for anything significant, and too big for really small things. So when I started thinking about incorporating watercolor washes in artists journals, I knew I was on to the perfect container for pans of watercolor.
Schmincke is the only watercolor manufacturer in the world that uses the exact same formula for their tube and pan colors. Other manufacturers extrude their pan colors. Schmincke hand pours the same watercolor paint that is in their tubes into convenient pans. Then the pans are left to air dry. This process is repeated three more times. The pan colors are consistent all the way to the bottom, and they last and last!
When tried over red pen ink (Uniball Signo 207 Red), the ink gel ran a bit however I wasn't completely sure it was dry to begin with - I can be impatient in these areas. Come to find out, Winsor & Newton offer a bleed-proof white - who would have thought. When tried under ink, the application of ink on top of the gouache was a bit splotchy (kind of like trying to write over white-out, but not as thick). The gouache definitely acted better when applied in straight, flat, thin layers with a German Loew-Cornell 6F fabric dye flat brush and was not at all chalky at application or at drying.
Visual art journalists would want to use the opaque gouache when trying the watercolor as a mask, but transparent colors might be nifty with words and layers and color application in artists journals. However, when tried over other collaged pieces already adhered to our journal, the gouache made the collage paper buckle slightly which gave a textural feel, but not a smooth and flat surface.
I was happy with the gouache - it dries relatively quickly. I'm thinking my next trip to the store might result in purchasing a Naples Yellow, Yellow Ochre, Raw Sienna or Raw Umber as tints. I was surprised to find there was no availability in a nice Eggshell or Antique White - it looks like you might have to mix your own. I'd also like to try the higher level formulas to see how they compare.
Art is a funny thing. It has a way of seeping into your unconsciousness and when you least expect it, has you waking up at 2am with obsessive thoughts. A month or so ago, I attended a Business Women's event at the Corcoran. There on display, but roped off with yellow-do-not-cross-ticker-tape, was Elena Del Rivero's work (it was being filmed).
When you're an artist and art enthusiast and everyone is looking to "see" something, yellow ticker tape doesn't necessarily keep you from doing everything humanly possible to drink in an interesting subject, and the first image above is what greeted my eyes as I twisted and turned around the door jam under the watchful eyes of the very bored and mean security guards. Out of paper. The whole thing. Translucent and impermanent and free-floating and light-capturing. Gorgeous. Is it textile, is it paper, is it composition, is it really there? Called A Chant, 2001–2006, it is an installation of found papers mended, burnt, embroidered, and stitched to five rolls of muslin.
What I didn't get to see that day, but later saw via the Internet, and the image that's stuck with me over the past several weeks, and has now become "my purpose in life," "my cause," or "my addiction." It is the second image above called Home (Reference Library) (detail), 2000–2001, mixed media and paper. It is the detail of paper art, art journals, and visual diaries the artist used to chronicle items found immediately after September 11th - which is not only an admirable project (to have the state of mind to systematically collect and chronicle items during a world crisis) but is also so powerful because I'm not sure any of us are over THAT big one (even seven years later), especially reflecting on the state of the country on this historic, dramatic, and imperative Election Eve. Let not any of us ever forget that Tuesday for any reason.
del Rivero's bio from the Corcoran's exhibition reads: Elena del Rivero’s art inhabits the boundary between domestic space and public activity, between experience and memory, and between the desire for control and the surrender to chance. Both [exhibitions] explore the passage of time and the ways that daily routine and large-scale events intersect to shape our ideas about place and home. Fundamentally concerned with how materials gain and transmit meaning, Del Rivero works primarily with paper. For the two projects presented at the Corcoran, the artist drew and walked on, ripped, stained, bound, embroidered, wove, spun, cleaned, mended, and archived the paper that ultimately became her finished works of art. In this way, paper became a medium through which to both register and present the effects of activity and time.
On view through September 21, Home is, according to Del Rivero, “the story of a year.” She began the project in July of 2000, conceiving of it as an ongoing performance which would attempt to capture the entirety of her life during that period. Placing twenty large sheets of handmade paper throughout her home and studio in lower Manhattan, Del Rivero marked them with the traces of her daily existence—walking, eating, washing, and working. At the end of six months, she gathered the trampled sheets and transformed them over the second half of the year. They became the basis of [Swi:t] Home, where they hang amongst drawings, maps, books, and sculpture. Using the phonetic spelling in the first word of the title, Del Rivero’s piece evokes both “suite,” as in a series of works, but also “sweet,” with all its attendant associations of the memories and comforts of home.
In one sense, [Swi:t] Home: A Chant grew organically from the concerns of the earlier work; in another, it is the product of pure chance and outside intervention. When the World Trade Center was attacked on September 11, 2001, Del Rivero’s living and working space—located just across the street from the towers—was also a casualty. Returning home to find her windows blown out and every surface covered with ash and debris, the artist began the process of making sense of an event that had, in an instant, supplanted the memories made and recorded there during the previous year.
Over the next five years, Del Rivero painstakingly collected, catalogued, and, ultimately stitched together the bits of paper and debris that she found in her apartment. The result is a majestic curtain of sewn paper, more than 500 feet long. Installed in the Corcoran’s rotunda through November 16, the work cascades from the ceiling onto the floor—at once dramatic and humble, mournful and reparative. Like [Swi:t] Home, it speaks to the complex intermingling of daily routine and chance events, and the ways in which life intersects with art.
Elena del Rivero was born in Valencia, Spain, and has lived in New York since 1991, gaining U.S. citizenship in 2003. She earned her BA from the University of Valencia in 1974 and a diploma in English Literature from Cambridge University in 1977. Del Rivero has had one-artist exhibitions at the Drawing Center and Art in General in New York, and at the University of Salamanca, the Museo Nacional Centro Arte Reina Sofia, Madrid, and the Caixa Foundation, Barcelona, in Spain. She has also been included in group exhibitions in museums in the United States and abroad.
In 1995, Del Rivero represented Spain at the Johannesburg Biennale. In 2006, the Institute of Modern Art in Valencia (IVAM), along with Patio Herreriano in Spain, organized At Hand, 15 Years of Works on Paper. Del Rivero has been the recipient of two grants from Creative Capital (2003, 2001), two NYFA grants (2002, 2001), and two grants from the Pollock-Krasner Foundation (2002, 1991). In 1988, she won the Prix de Rome. In 2005 the Rockefeller Foundation awarded Del Rivero a residential fellowship at the Bellagio Center in Italy.
She has been a visiting artist at the University of Barcelona; the College of New Rochelle; Wellesley College; the Whitney Museum of American Art at Champion, Stamford, CT; and Brooklyn College. From 1993 to 1997, she was on the artistic staff of the Studio in a School, New York. Del Rivero’s work is in the collections of IVAM in Valencia, Spain; The Museum of Modern Art, New York; Yale University; the National Gallery of Art, Washington D.C.; the Fogg Art Museum at Harvard; and the Museo Nacional Centro Arte Reina Sofia, Madrid, among other institutions.
Where is elena del rivero today? If anyone knows, please contact me. I'd love to meet her to thank her for my awakening and ask her what she thinks of our new President-to-be.
Images Credit: Corcoran Gallery of Art, Washington, D.C., and the artist. Home image is (Courtesy of Patio Herreriano, Valladolid, Spain, 2007, and the artist. (c) Elena del Rivero