tag:blogger.com,1999:blog-52286756195382861592024-03-12T20:33:16.837-05:00Happy Faces ChicagoHappy Faces Chicago is about art, artists, and culture in ChicagoAmy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.comBlogger69125tag:blogger.com,1999:blog-5228675619538286159.post-50107090552090236432012-09-23T17:53:00.001-05:002012-09-23T17:57:17.048-05:00Chicago International Sculpture in Lincoln ParkAs part of <a href="http://www.chicagoparkdistrict.com/assets/1/17/091412_Large_Lakefront_Outdoor_Sculptural_Exhibit_CSI2.pdf">Chicago International Sculpture</a>, the Chicago Park District erected large sculptures along the lake front. Here are some of them scattered near North Avenue.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-PJa2Ovsqwuo/UF-NJGunJNI/AAAAAAAABlQ/SqWjFNiQW9g/s1600/01+Die+Tragodie.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://4.bp.blogspot.com/-PJa2Ovsqwuo/UF-NJGunJNI/AAAAAAAABlQ/SqWjFNiQW9g/s640/01+Die+Tragodie.JPG" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Die Tragodie dritter Teil" by John Sauve</td></tr>
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See the installation of John Sauve's sculpture in Lincoln Park <a href="http://vimeo.com/47759411">here</a>.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-LDylft626w4/UF-NiOSbPXI/AAAAAAAABlk/EXc_r_bOKyo/s1600/02+New+Day.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://2.bp.blogspot.com/-LDylft626w4/UF-NiOSbPXI/AAAAAAAABlk/EXc_r_bOKyo/s640/02+New+Day.JPG" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"New Day" by <a href="http://jeffreybreslow.com/">Jeffrey Breslow</a></td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-niK1mx7FU2M/UF-NvTFXx7I/AAAAAAAABls/AVHb3sFz3qc/s1600/03+Love++Embrace+by+leslie+bruning.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://2.bp.blogspot.com/-niK1mx7FU2M/UF-NvTFXx7I/AAAAAAAABls/AVHb3sFz3qc/s640/03+Love++Embrace+by+leslie+bruning.JPG" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Love / Embrace" by <a href="http://bruningsculpture.com/">Leslie Bruning</a></td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-XjM0ohm7Ds4/UF-N8H0Ai2I/AAAAAAAABl4/DLVBS-fVsTs/s1600/03+Love+Embrace.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://2.bp.blogspot.com/-XjM0ohm7Ds4/UF-N8H0Ai2I/AAAAAAAABl4/DLVBS-fVsTs/s640/03+Love+Embrace.JPG" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Love / Embrace" by <a href="http://bruningsculpture.com/">Leslie Bruning</a></td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-pDko7Bxzy5E/UF-OIVxv3dI/AAAAAAAABmA/ABTAjV2v9vE/s1600/04+Urban+Moai+Figure+by+Andrew+Arvanetes.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="http://1.bp.blogspot.com/-pDko7Bxzy5E/UF-OIVxv3dI/AAAAAAAABmA/ABTAjV2v9vE/s640/04+Urban+Moai+Figure+by+Andrew+Arvanetes.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Urban Moai Figure" by <a href="http://www.arvanetes.com/page/page/3601803.htm">Andrew Arvanetes</a></td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-mrvr8pD-6fQ/UF-ORG84qdI/AAAAAAAABmM/YOCBl-b5K-I/s1600/04+Urban+Moai.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://3.bp.blogspot.com/-mrvr8pD-6fQ/UF-ORG84qdI/AAAAAAAABmM/YOCBl-b5K-I/s640/04+Urban+Moai.JPG" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Urban Moai Figure" by <a href="http://www.arvanetes.com/page/page/3601803.htm">Andrew Arvanetes</a></td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-0K_gbbGFy20/UF-Oa0q4qrI/AAAAAAAABmU/e6yc_4fsniw/s1600/05+Gyr+Family+Cycle+by+Perci+Chester.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="http://3.bp.blogspot.com/-0K_gbbGFy20/UF-Oa0q4qrI/AAAAAAAABmU/e6yc_4fsniw/s640/05+Gyr+Family+Cycle+by+Perci+Chester.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Gyr Family Cycle" by <a href="http://www.percichester.com/">Perci Chester</a></td></tr>
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Photo credit: Amy A. Rudberg<br />
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<br />Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com0tag:blogger.com,1999:blog-5228675619538286159.post-46651259410668257692010-03-28T13:54:00.007-05:002010-03-28T14:35:55.091-05:00A New Life for Still LifesAlthough I mainly do illustrations, sometimes I think about doing <strong><a href="http://en.wikipedia.org/wiki/Still_lifes">still lifes</a></strong>. Why paint inanimate or motionless objects such as fruit or flowers on a table when you can paint people, animals, and landscapes? I think that if you learn to paint representational still lifes well because it takes so much skill, concentration, and attention to detail, you should be able to paint just about anything. I've discovered that your subject matter is not as important as your ability to embue your art with subliminal emotions, memories, and energies. When I think of modern still lifes being able to convey these qualities, I think about the art of Susan Kraut. I interviewed her for an article I wrote in November, 2007, for <em>Chicago Artists' News</em>, which is no longer being published by the <strong><a href="http://caconline.org/">Chicago Artists' Coalition</a></strong>. Here is the entire article.<br /><br /><blockquote>Capturing Light in Italian Still Life: An Interview with Susan Kraut<br />By Amy Rudberg<br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/S6-srCqjH1I/AAAAAAAABYI/_9Hzy5-0i2A/s1600/Susan+Kraut+Still+Life+19.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 306px; height: 341px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/S6-srCqjH1I/AAAAAAAABYI/_9Hzy5-0i2A/s400/Susan+Kraut+Still+Life+19.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5453767529218645842" /></a><br /><div align=center>Susan Kraut, Italian Still Life 19, oil on panel.</div><br /><br />About two and a half years ago, Susan Kraut spent a month in Bellagio, in northern Italy on the edge of Lake Como, intently observing the sloping earthy landscape with fruit-laden trees, the heavy white-gray clouds floating on mountain tops, and the blue-green serenity of the sky – but above all, painting what she experienced, trying to capture the essence of that particular moment of time.<br /><br />In her Evanston studio, Kraut surveys her latest series of Italian still life paintings currently under way, and comments, “These were done when I returned from Italy. I start with little studies first before I do the actual paintings. These [objects in the paintings] are all things I found there – persimmons, pomegranates, pears, leaves. I always work on many paintings at once. These are all in various stages, some closer to being finished. I’ve been working on the Italian series for over two years now.”<br /><br />Kraut reveals that in her youth, she could not draw, so she never considered going to art school. Instead she majored in English literature and then went into education, but she felt she was a failure at teaching a classroom of children. In her mid-twenties, she tried social work and then finally decided to take some art classes, and thought of becoming an art therapist. She took a figure drawing class and realized that she could indeed learn to draw the figure. For Kraut, drawing and painting something realistic was magical. She contemplates, “If I can paint something and it looks real, such as capturing the exact quality of light as it falls on the skin of a pear, I’m thrilled. I think that’s the reason I’ve never had any inclination not to paint from real life. I have to see it in the world and then I fall in love with it and then I paint it.”<br /><br />On surveying the Italian series, the viewer can see that Kraut allows the objects in her oil paintings to interact with one another by playing with light and shadow, to reveal the ripeness of their lives with glowing colors and textures, and to provide a natural setting for them to interact with the observer. All at once, the still life comes to life, and the viewer is startled by the recognition of a memory of a similar scene somewhere in the past.<br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/S6-squ_rwMI/AAAAAAAABYA/Ek-_lLYDVH4/s1600/Susan+Kraut+Still+Life+16.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 304px; height: 253px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/S6-squ_rwMI/AAAAAAAABYA/Ek-_lLYDVH4/s400/Susan+Kraut+Still+Life+16.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5453767523938582722" /></a><br /><div align=center>Susan Kraut, Italian Still Life 16, oil on panel.</div><br /><br />In the beginning, Kraut painted figures, which were her first love. She put figures in a room so there was a narrative taking place, and then she started removing the figures and just painted the rooms. She delighted in painting interiors with light coming through the windows, trying to capture a certain moment of daylight. She had visited a Vuillard show at the Art Institute and was inspired by the artist’s depiction of small, intimate interiors. Her paintings started to evolve from an emphasis on the room to the objects in the room, particularly the objects in front of windows. At a certain point, she moved closer and closer to the objects. She never planned it that way. It just happened over time.<br /><br />She ponders why she likes to paint still lifes today. “When I taught at Ox-Bow, in Saugatuck, Michigan, across the lake from Chicago, I began to be interested in the landscape seen from the windows of the little cabins where the faculty and staff stayed. If I went into other artists’ cabins, I often noticed their sketchbook or coffee cup. For several years, the subjects I painted included my own coffee mug or my sketchbook. So those were a little more autobiographical because they were my objects – it was somehow me in that space.<br />“Maybe the paintings I do now aren’t about me,” Kraut continues, “but the objects are representative of me. I was there, observing those things. I like the stillness of the still life. I have always thought that painting can capture stillness, something that you just see at a moment. I want the object to look natural, sitting casually on the window sill, perhaps half natural and half composed.”<br /><br />Working methodically in Italy, Kraut found her objects, took photographs of them and the landscapes, painted a series of studies of the objects and the backgrounds, and then started to paint her first series, all while on location. Like the old masters, she begins by applying a reddish brown underpainting to her canvases and then blocks in the forms, indicating the lights and darks in her composition. She works and re-works the painting in thin layers of colors, sometimes using 30 or more layers of paint, working simultaneously on different paintings to allow the paint layers to dry. She continually struggles to capture exactly the hazy, cool light from cloud-filled skies, and to allow the glow and warmth of the still life forms to come through.<br /><br />In a work-in-progress in Evanston, she is experimenting with layers of texture, light, and shape. She has some water spilled on the table among the other objects. She is studying how light is reflected in the water and how the surface tension provides a certain dimensionality to the painting by the way it echoes the water in the vase and the lake in the background. There’s a leaf with a hole in it and light comes through, and the little red berries echo the hole in the leaf. The glass vase filled with water, the clouds, and the surfaces by the window sill reflect light from the sky.<br /><br />Kraut indicates that she would like her paintings to be “meditative and contemplative, because everything in our daily lives is so fast. I think oil painting is about stopping and slowing down and just looking. The paintings I have always liked best are ones that you look at over a period of time and that stay with you, like a classic Vermeer. It’s all there in front of you but it’s mysterious, the light is tangible, and you are confronted with something beyond the mundane objects described. My goal is to create something that just slows you down and gets you to really look at the world.”<br /><br />Kraut’s paintings reflect a serenity, a satisfaction with where she is in life. She’s happy to have gone through all of the experiences that she’s had, and now she wants to share that serenity with the viewer.<br /><br />Susan Kraut is represented by Addington Gallery, 704 N. Wells Street, in the River North area. She is scheduled to show her new Italian Still Life series this fall, starting November</blockquote>Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com0tag:blogger.com,1999:blog-5228675619538286159.post-80845534779772470762009-10-02T10:14:00.016-05:002009-10-02T14:03:49.721-05:00Double Self Exhibition by Christine Gendre-BergerePrintmaker and artist <a href="http://www.cgb-gravure.com"><strong>Christine Gendre-Bergere</strong></a> is currently exhibiting <em>Double self</em> (in French <em>Double je</em>) in honor of the 340th anniversary of Rembrandt's death. Her exhibition at Galerie La Hune Brenner in Paris includes nine intaglio prints based on a series of Rembrandt's self portraits from 1630 to 1658.<br /><br />Her <a href="http://en.wikipedia.org/wiki/Rembrandt"><strong>Rembrandt</strong></a> portfolio includes some citations (below) from the 17th century philosopher <strong><a href="http://en.wikipedia.org/wiki/Spinoza">Baruch de Spinoza</a></strong> from his <em>Short Treatise on God, Man and His Well-Being</em>. Spinoza alludes to the body and soul as the "double self." Christine said she included both men because Rembrandt had supposedly painted a portrait of Spinoza (<em>David Playing Harp in Front of Saul</em>) during their lifetime. although no one knows if they actually met, they both confronted the ongoing financial, religious, social, and political powers, reflecting similar beliefs. They chose to live their lives in their own way.<br /><br /><blockquote>Why philosophers have confused mind with corporeal things<br /><em>Here the only requirement is that everyone should attend to his perceptions as accurately as possible, so that he may distinguish what is clear from what is obscure.</em><br /><br />Whence it clearly follows that the natural love which prompts everything to preserve its body cannot have any other origin than in the Idea or the « objective » essance of such body which is in the thinking attribute.<br /><br />Now we shall presuppose here, as something already demonstrated, that extension contains no other modes than the motion and rest, and that every particular material thing is nothing else than a certain proportion of motion and rest, so much so indeed that, even if extension contained nothing else except motion only and rest only, then no particular thing could be shown or exist in the whole of extension ; the human body therefore, is nothing else than a certain proportion of motion and rest.<br /><br /></blockquote><br /><br />The followikng prints are 38 cm x 56 cm, with plate size 30 cm x 20 cm. They were printed in an edition of ten on 300 g. Magnani Pescia paper.<br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SsYZAp6D1RI/AAAAAAAABRg/XBDquviz2FU/s1600-h/1630a.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 313px; height: 388px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SsYZAp6D1RI/AAAAAAAABRg/XBDquviz2FU/s400/1630a.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5388021503235446034" /></a><div align="center">Christine Gendre-Bergere. <em>R. 1630(a)</em>, 2009. <br />Etching and mezzotint.</div><br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SsYZA_KyTNI/AAAAAAAABRo/sianAOtEQlw/s1600-h/1630b.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 250px; height: 400px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SsYZA_KyTNI/AAAAAAAABRo/sianAOtEQlw/s400/1630b.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5388021508942744786" /></a><div align="center">Christine Gendre-Bergere. <em>R. 1630(b)</em>, 2009. <br />Etching, mezzotint and soft ground, 2 plates, 2 colors.</div><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SsYZBXFtA9I/AAAAAAAABRw/N2eyZIljI-c/s1600-h/1639a.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 313px; height: 374px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SsYZBXFtA9I/AAAAAAAABRw/N2eyZIljI-c/s400/1639a.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5388021515363877842" /></a><div align="center">Christine Gendre-Bergere. <em>R. 1639(a)</em>, 2009. <br />Etching and mezzotint, 2 plates, 2 colors.</div><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SsYZQIMWcaI/AAAAAAAABR4/NXKpEvCjAqA/s1600-h/1639b.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 314px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SsYZQIMWcaI/AAAAAAAABR4/NXKpEvCjAqA/s400/1639b.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5388021769063264674" /></a><div align="center">Christine Gendre-Bergere. <em>R. 1639(b)</em>, 2009. <br />Etching, soft ground and direct bite, 3 plates, 2 colors.</div><br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SsYZQXKPrJI/AAAAAAAABSA/iy5YFs3-gYI/s1600-h/1651a.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 313px; height: 376px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SsYZQXKPrJI/AAAAAAAABSA/iy5YFs3-gYI/s400/1651a.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5388021773080964242" /></a><div align="center">Christine Gendre-Bergere. <em>R. 1651(a)</em>, 2009. <br />Etching, 2 plates, 2 colors.</div><br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SsYZQ_Gs1oI/AAAAAAAABSI/1Y78KfChaow/s1600-h/1651b.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 288px; height: 400px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SsYZQ_Gs1oI/AAAAAAAABSI/1Y78KfChaow/s400/1651b.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5388021783803516546" /></a><div align="center">Christine Gendre-Bergere. <em>R. 1651(b)</em>, 2009. <br />Etching, soft ground and direct bite, 2 plates, 2 colors.</div><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SsYZRartL-I/AAAAAAAABSQ/3gdYOUiwR3o/s1600-h/1658a.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 313px; height: 374px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SsYZRartL-I/AAAAAAAABSQ/3gdYOUiwR3o/s400/1658a.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5388021791206485986" /></a><div align="center">Christine Gendre-Bergere. <em>R. 1658(a)</em>, 2009. <br />Etching, 2 plates, 2 colors.</div><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SsYZRj5I82I/AAAAAAAABSY/_C6YGqmrJFY/s1600-h/1658b.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 347px; height: 374px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SsYZRj5I82I/AAAAAAAABSY/_C6YGqmrJFY/s400/1658b.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5388021793678750562" /></a><div align="center">Christine Gendre-Bergere. <em>R. 1658(b)</em>, 2009. <br />Etching, soft ground and direct bite, 2 plates, 2 colors.</div><br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SsZNmNDTpoI/AAAAAAAABSo/mLJIHWGIRiw/s1600-h/1658fin.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 313px; height: 374px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SsZNmNDTpoI/AAAAAAAABSo/mLJIHWGIRiw/s400/1658fin.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5388079322929276546" /></a><div align="center">Christine Gendre-Bergere. <em>R. 1658(fin)</em>, 2009. <br />Etching, soft ground and direct bite, 2 plates, 2 colors.</div>Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com1tag:blogger.com,1999:blog-5228675619538286159.post-43424087736199335962009-08-28T14:28:00.030-05:002009-08-28T17:30:21.056-05:00Art Institute of Chicago, Modern Wing, Part 2<a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Spgzp8AwaCI/AAAAAAAABOo/mMAlr_vvKbU/s1600-h/IMG_01+Modern+Wing.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Spgzp8AwaCI/AAAAAAAABOo/mMAlr_vvKbU/s400/IMG_01+Modern+Wing.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375102950843639842" /></a><br /><div align="center">View of the Modern Wing from across <br />the street at Millenium Park</div><br /><br />This blog is a continuation of my visit to the Art Institute of Chicago's new Modern Wing. On the second floor of the Modern Wing, you will find <em>Contemporary Art from 1945 to 1960</em> (although there are some items created after 1960), <em>Contemporary Art After 1960</em>, and <em>Design and Architecture</em>. <br /><br /><h3>Contemporary Art 1945-1960, A Sampling</h3><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SpgzpVXI30I/AAAAAAAABOg/V--7BMtO9M8/s1600-h/IMG_3243+Jasper+Johns+Corpse+and+Mirror+II.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SpgzpVXI30I/AAAAAAAABOg/V--7BMtO9M8/s400/IMG_3243+Jasper+Johns+Corpse+and+Mirror+II.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375102940468535106" /></a><br /><div align="center">Jasper Johns. <em>Corpse and Mirror II</em>, 1974-75.<br />Oil on linen (four panels), with painted frame.</div><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SpgzohTe8-I/AAAAAAAABOY/Rgfj9cW61PU/s1600-h/IMG_3245+Willem+de+Kooning+Head+%233.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SpgzohTe8-I/AAAAAAAABOY/Rgfj9cW61PU/s400/IMG_3245+Willem+de+Kooning+Head+%233.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375102926494561250" /></a><br /><div align="center">Willem de Kooning. <em>Head #3</em>, 1973. Bronze.</div><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Spg0_AdQK-I/AAAAAAAABPA/rJxN33Rm0DY/s1600-h/IMG_3247+Cy+Twombly+The+First+Par+of+the+Return+from+Parnassus.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Spg0_AdQK-I/AAAAAAAABPA/rJxN33Rm0DY/s400/IMG_3247+Cy+Twombly+The+First+Par+of+the+Return+from+Parnassus.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375104412325784546" /></a><br /><div align="center">Cy Twombly. <em>The First Part of the Return from <br />Parnassus</em>, 1961. Oil paint, lead pencil, <br />wax crayon, and colored pencil on canvas.</div><br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Spg0-J9b8BI/AAAAAAAABO4/DybiUI3u1uA/s1600-h/IMG_3250+Robert+Rauschenberg+Lincoln.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Spg0-J9b8BI/AAAAAAAABO4/DybiUI3u1uA/s400/IMG_3250+Robert+Rauschenberg+Lincoln.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375104397696823314" /></a><br /><div align="center">Robert Rauschenberg. <em>Lincoln</em>, 1958. Printed paper<br />and stamped metal, with oil paint, fiber-tipped pen,<br />and silkscreen ink on fabric.</div><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Spg09kneJII/AAAAAAAABOw/DkFFzAQcXG4/s1600-h/IMG_3252+Franz+Kline+Painting.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Spg09kneJII/AAAAAAAABOw/DkFFzAQcXG4/s400/IMG_3252+Franz+Kline+Painting.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375104387672581250" /></a><br /><div align="center">Franz Kline. <em>Painting</em>, 1952. Oil on canvas.</div><br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Spg4Mohf6DI/AAAAAAAABPQ/DaNfdAe_HZ4/s1600-h/IMG_3254+Mark+Rothko+Untitled+(painting).JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Spg4Mohf6DI/AAAAAAAABPQ/DaNfdAe_HZ4/s400/IMG_3254+Mark+Rothko+Untitled+(painting).JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375107944954193970" /></a><br /><div align="center">Mark Rothko. <em>Untitled (Painting)</em>, 1953-54. <br />Oil on canvas.</div><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Spg4L-jFWII/AAAAAAAABPI/srxqrsYgxo8/s1600-h/IMG_3255+Alexander+Calder+Streetcar.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Spg4L-jFWII/AAAAAAAABPI/srxqrsYgxo8/s400/IMG_3255+Alexander+Calder+Streetcar.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375107933686552706" /></a><br /><div align="center">Alexander Calder. <em>Streetcar</em>, 1951. Painted steel,<br />brass, and wire.</div><br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Spg4NQIgwoI/AAAAAAAABPY/uJlwTQq1krI/s1600-h/IMG_3257+Willem+de+Kooning+Excavation.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Spg4NQIgwoI/AAAAAAAABPY/uJlwTQq1krI/s400/IMG_3257+Willem+de+Kooning+Excavation.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375107955586810498" /></a><br /><div align="center">Willem de Kooning. <em>Excavation</em>, 1950. Oil on canvas.</div><br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Spg6nJD31TI/AAAAAAAABPo/tznrNWw5H8A/s1600-h/IMG_3259+Jackson+Pollock+Greyed+Rainbow.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Spg6nJD31TI/AAAAAAAABPo/tznrNWw5H8A/s400/IMG_3259+Jackson+Pollock+Greyed+Rainbow.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375110599388157234" /></a><br /><div align="center">Jackson Pollock. <em>Greyed Rainbow</em>, 1953. <br />Oil on linen.</div><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Spg6mTnzGqI/AAAAAAAABPg/rXqM0EmErlk/s1600-h/IMG_3263+David+Smith+Beach+Scene.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Spg6mTnzGqI/AAAAAAAABPg/rXqM0EmErlk/s400/IMG_3263+David+Smith+Beach+Scene.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375110585043327650" /></a><br /><div align="center">David Smith. <em>Beach Scene</em>, 1949. Steel.</div><br /><br /><h3>Contemporary Art From 1960, A Sampling</h3><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Spg9jiUMyhI/AAAAAAAABQA/Nd49HTMU3sA/s1600-h/IMG_3267+Ed+Paschke+Mid+American.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Spg9jiUMyhI/AAAAAAAABQA/Nd49HTMU3sA/s400/IMG_3267+Ed+Paschke+Mid+American.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375113835982932498" /></a><br /><div align="center">Ed Paschke. <em>Mid American</em>, 1969. <br />Oil on canvas.</div><br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Spg9jIpFHwI/AAAAAAAABP4/VkniGLtFM9U/s1600-h/IMG_3272+Roy+Lichtenstein,+Mirror+in+Six+Panels.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Spg9jIpFHwI/AAAAAAAABP4/VkniGLtFM9U/s400/IMG_3272+Roy+Lichtenstein,+Mirror+in+Six+Panels.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375113829091188482" /></a><br /><div align="center">Roy Lichtenstein. <em>Mirror in Six Panels</em>, 1971.<br />Oil and magna on canvas.</div><br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Spg9ivxcz1I/AAAAAAAABPw/MpZKHk1NLyk/s1600-h/IMG_3274+Andy+Warhol+Self-Portrait.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Spg9ivxcz1I/AAAAAAAABPw/MpZKHk1NLyk/s400/IMG_3274+Andy+Warhol+Self-Portrait.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375113822415408978" /></a><br /><div align="center">Andy Warhol. <em>Self-Portrait, Self-Portrait</em>, 1966. <br />Acrylic and silkscreen ink on linen.</div><br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Spg--bmh7jI/AAAAAAAABQY/mXV0xg-lIxg/s1600-h/IMG_3276+David+Hockney+American+Collectors+(Fred+and+Marcia+Weisman).JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Spg--bmh7jI/AAAAAAAABQY/mXV0xg-lIxg/s400/IMG_3276+David+Hockney+American+Collectors+(Fred+and+Marcia+Weisman).JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375115397548863026" /></a><br /><div align="center">David Hockney. <em>American Collectors Fred and<br />Marcia Weisman)</em>, 1968. Acrylic on canvas.</div><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Spg-9iKKfxI/AAAAAAAABQQ/exD0RN9ookE/s1600-h/IMG_3278+Frank+Stella+De+la+nada+vida+a+la+nada+muerte.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Spg-9iKKfxI/AAAAAAAABQQ/exD0RN9ookE/s400/IMG_3278+Frank+Stella+De+la+nada+vida+a+la+nada+muerte.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375115382129065746" /></a><br /><div align="center">Frank Stella. <em>De la nada vida a la nada muerte</em>,<br />1965. Emulsion with metallic paint on canvas.</div><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Spg-9IVYwwI/AAAAAAAABQI/nr_nzFl9XWc/s1600-h/IMG_3283+Gerhard+Richter+Ice+(Eis)+I,+2,+3,+4.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Spg-9IVYwwI/AAAAAAAABQI/nr_nzFl9XWc/s400/IMG_3283+Gerhard+Richter+Ice+(Eis)+I,+2,+3,+4.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375115375196816130" /></a><br /><div align="center">Gerhard Richter. <em>Ice (Eis) I, 2, 3, 4</em>, 1989.<br />Oil on canvas.</div><br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SphAN_fuDgI/AAAAAAAABQw/L12h7gI1Ao0/s1600-h/IMG_3289+Jim+Nutt++Da+Creepy+Lady.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SphAN_fuDgI/AAAAAAAABQw/L12h7gI1Ao0/s400/IMG_3289+Jim+Nutt++Da+Creepy+Lady.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375116764393639426" /></a><br /><div align="center">Jim Nutt. <em>Da Creepy Lady</em>, 1970.<br />Acrylic on Plexiglas, enamel on wood frame.</div><br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SphANXGOhbI/AAAAAAAABQo/jydLzbCR9pw/s1600-h/IMG_3294+Ellsworth+Kelly+Black+and+White.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SphANXGOhbI/AAAAAAAABQo/jydLzbCR9pw/s400/IMG_3294+Ellsworth+Kelly+Black+and+White.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375116753549297074" /></a><br /><div align="center">Ellsworth Kelly. <em>Black and White</em>, 1960-61.<br />Oil on canvas.</div><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SphAM41ZnnI/AAAAAAAABQg/5tJ9BcItZbs/s1600-h/IMG_3299+Pier+Paolo+Calzolari+Untitled.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SphAM41ZnnI/AAAAAAAABQg/5tJ9BcItZbs/s400/IMG_3299+Pier+Paolo+Calzolari+Untitled.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375116745425657458" /></a><br /><div align="center">Pier Paolo Calzolari. <em>Untitled</em>, 1969. <br />Tobacco leaves, neon, and lead.</div><br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SphBhLlbmjI/AAAAAAAABRI/dcm1Q7BZSvo/s1600-h/IMG_3303+Richard+Serra+Weights+and+Measures.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SphBhLlbmjI/AAAAAAAABRI/dcm1Q7BZSvo/s400/IMG_3303+Richard+Serra+Weights+and+Measures.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375118193567963698" /></a><br /><div align="center">Richard Serra. <em>Weights and Measures</em>, 1987. <br />Hot-rolled steel.</div><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SphBguty9JI/AAAAAAAABRA/uhvtKhoZsCk/s1600-h/IMG_3306+Eva+Hesse+Untitled.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SphBguty9JI/AAAAAAAABRA/uhvtKhoZsCk/s400/IMG_3306+Eva+Hesse+Untitled.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375118185818420370" /></a><br /><div align="center">Eva Hesse. <em>Untitled</em>, 1969. Fiberglass<br />and polyester resin over cloth-covered <br />metal wire with metal grommets.</div><br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SphBgHJRwoI/AAAAAAAABQ4/CZu10Tx3fNs/s1600-h/IMG_3308+Sherrie+Levine.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SphBgHJRwoI/AAAAAAAABQ4/CZu10Tx3fNs/s400/IMG_3308+Sherrie+Levine.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375118175196267138" /></a><br /><div align="center">Sherrie Levine. <em>After Egon Schiele</em>, 1982. <br />Seven gelatin silver and eleven chromogenic prints.</div><br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SphCfIghb-I/AAAAAAAABRY/_93Xsu9uxns/s1600-h/IMG_3310+Lucian+Freud+Sunny+Morning+Eight+Legs.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SphCfIghb-I/AAAAAAAABRY/_93Xsu9uxns/s400/IMG_3310+Lucian+Freud+Sunny+Morning+Eight+Legs.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375119257893957602" /></a><br /><div align="center">Lucian Freud. <em>Sunny Morning—Eight Legs</em>, 1997. <br />Oil on canvas.</div><br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SphCeuVnElI/AAAAAAAABRQ/CFLbI6q9vE0/s1600-h/IMG_3312+Lari+Pittman+The+Senseless+cycle,+Tender+and+Benign,+Bring+Great+Comfort.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SphCeuVnElI/AAAAAAAABRQ/CFLbI6q9vE0/s400/IMG_3312+Lari+Pittman+The+Senseless+cycle,+Tender+and+Benign,+Bring+Great+Comfort.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5375119250868867666" /></a><br /><div align="center">Lari Pittman. <em>The Senseless Cycle, Tender and <br />Benign, Bring Great Comfort</em>, 1988.<br />Acrylic and wood on panel. </div>Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com0tag:blogger.com,1999:blog-5228675619538286159.post-57464010812277890662009-08-20T15:02:00.039-05:002009-08-20T17:30:38.467-05:00Art Institute of Chicago, Modern WingI finally had a chance to visit the <a href="http://www.artic.edu/aic/collections/exhibitions/modernwing/overview"><strong>Modern Wing of the Art Institute of Chicago</strong></a>. Here's a sampling of art on the third floor where they have European Modern Art from 1900 to 1950.<br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/So2tpDw4hZI/AAAAAAAABLA/fP-KBH1TFcw/s1600-h/IMG_3092+Henry+Moore,+Maquette+for+UNESCO+Reclining+Figure,+1957,+Bronze.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/So2tpDw4hZI/AAAAAAAABLA/fP-KBH1TFcw/s400/IMG_3092+Henry+Moore,+Maquette+for+UNESCO+Reclining+Figure,+1957,+Bronze.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372140851419448722" /></a><br /><div align="center">Henry Moore. <em>Maquette for UNESCO <br />Reclining Figure</em>, 1957. Bronze.</div><br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/So2trIYGllI/AAAAAAAABLY/kKiB9f723Xc/s1600-h/IMG_3099+Pablo+Picasso,+Daniel-Henry+Kahnweiler,+1910,+Oil+on+canvas.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/So2trIYGllI/AAAAAAAABLY/kKiB9f723Xc/s400/IMG_3099+Pablo+Picasso,+Daniel-Henry+Kahnweiler,+1910,+Oil+on+canvas.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372140887017428562" /></a><br /><div align="center">Pablo Picasso. <em>Daniel-Henry Kahnweiler</em>,<br />1910. Oil on canvas.</div><br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/So2tqszmJXI/AAAAAAAABLQ/pHC5N9z2IUM/s1600-h/IMG_3097+Constantin+Brancusi,+Suffering,+1907,+Bronze.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/So2tqszmJXI/AAAAAAAABLQ/pHC5N9z2IUM/s400/IMG_3097+Constantin+Brancusi,+Suffering,+1907,+Bronze.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372140879616550258" /></a><br /><div align="center">Constantin Brancusi. <em>Suffering</em>, 1907. Bronze.</div><br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/So2tpxIfk_I/AAAAAAAABLI/r4IA5L_fUw4/s1600-h/IMG_3094+Henry+Matisse,+Bathers+by+a+River,+1909-10,+1913,+1916-17,+Oil+on+canvas.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/So2tpxIfk_I/AAAAAAAABLI/r4IA5L_fUw4/s400/IMG_3094+Henry+Matisse,+Bathers+by+a+River,+1909-10,+1913,+1916-17,+Oil+on+canvas.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372140863598072818" /></a><br /><div align="center">Henry Matisse. <em>Bathers by a River</em>, 1909-10,<br />1913, 1916-17. Oil on canvas.</div><br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So2trivLJRI/AAAAAAAABLg/V0f7FTndGUk/s1600-h/IMG_3101+Constantin+Brancusi,+Sleeping+Muse,+1910,+Bronze.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So2trivLJRI/AAAAAAAABLg/V0f7FTndGUk/s400/IMG_3101+Constantin+Brancusi,+Sleeping+Muse,+1910,+Bronze.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372140894093518098" /></a><br /><div align="center">Constantin Brancusi. <em>Sleeping Muse</em>, 1910. Bronze.</div><br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/So2wtAqegdI/AAAAAAAABMI/eknsWxUfaVc/s1600-h/IMG_3105+Raymond+Duchamp-Villon,+Horse,+1914,+Bronze.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/So2wtAqegdI/AAAAAAAABMI/eknsWxUfaVc/s400/IMG_3105+Raymond+Duchamp-Villon,+Horse,+1914,+Bronze.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372144217841631698" /></a><br /><div align="center">Raymond Duchamp-Villon. <em>Horse</em>, 1914. Bronze.</div><br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So2wsRhcZ_I/AAAAAAAABMA/y1LEignAohU/s1600-h/IMG_3111+Henri+Rousseau,+The+Waterfall,+1910,+Oil+on+canvas.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So2wsRhcZ_I/AAAAAAAABMA/y1LEignAohU/s400/IMG_3111+Henri+Rousseau,+The+Waterfall,+1910,+Oil+on+canvas.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372144205187278834" /></a><br /><div align="center">Henri Rousseau. <em>The Waterfall</em>,1910. Oil on canvas.</div><br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/So2wr6BT0HI/AAAAAAAABL4/Ap6JQtDIbmA/s1600-h/IMG_3113+Henri+Matisse,+1900-04,+Bronze.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/So2wr6BT0HI/AAAAAAAABL4/Ap6JQtDIbmA/s400/IMG_3113+Henri+Matisse,+1900-04,+Bronze.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372144198878482546" /></a><br /><div align="center">Henri Matisse. <em>The Serf</em>, 1900-04. Bronze.</div><br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/So2wrNWqDwI/AAAAAAAABLw/6RxI73GTNfk/s1600-h/IMG_3117+Vasily+Kandinsky,+Painting+with+Green+Center,+1913,+Oil+on+canvas.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/So2wrNWqDwI/AAAAAAAABLw/6RxI73GTNfk/s400/IMG_3117+Vasily+Kandinsky,+Painting+with+Green+Center,+1913,+Oil+on+canvas.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372144186888425218" /></a><br /><div align="center">Vasily Kandinsky. <em>Painting with Green Center</em>,<br />1913. Oil on canvas.</div><br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So2wqMCBWhI/AAAAAAAABLo/urs7go913SY/s1600-h/IMG_3123+Henri+Gaudier-Brzeska,+Stags,+1914,+Veined+alabaster.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So2wqMCBWhI/AAAAAAAABLo/urs7go913SY/s400/IMG_3123+Henri+Gaudier-Brzeska,+Stags,+1914,+Veined+alabaster.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372144169353566738" /></a><br /><div align="center">Henri Gaudier-Brzeska. <em>Stags</em>,1914. Veined alabaster.</div><br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So2y8s4TvUI/AAAAAAAABMw/sI1lEH4uWo4/s1600-h/IMG_3131,+Wilhelm+Lehmbruck,+Bust+of+Kneeling+Girl,+1911,+Cast+stone.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So2y8s4TvUI/AAAAAAAABMw/sI1lEH4uWo4/s400/IMG_3131,+Wilhelm+Lehmbruck,+Bust+of+Kneeling+Girl,+1911,+Cast+stone.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372146686432099650" /></a><br /><div align="center">Wilhelm Lehmbruck. <em>Bust of Kneeling Girl</em>, 1911.<br />Cast stone.</div><br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/So2y797FAZI/AAAAAAAABMo/FxenYIHnaCM/s1600-h/IMG_3133,+Paul+Klee,+In+the+Magic+Mirror,+1934,+Oil+on+canvas,+on+board.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/So2y797FAZI/AAAAAAAABMo/FxenYIHnaCM/s400/IMG_3133,+Paul+Klee,+In+the+Magic+Mirror,+1934,+Oil+on+canvas,+on+board.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372146673827250578" /></a><br /><div align="center">Paul Klee. <em>In the Magic Mirror</em>, 1934.<br />Oil on canvas, on board.</div><br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So2y6x4-ooI/AAAAAAAABMg/bByF4Vysw5E/s1600-h/IMG_3143+Oskar+Schlemmer,+Abstract+Figure,+1921,+Bronze+and+nickel.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So2y6x4-ooI/AAAAAAAABMg/bByF4Vysw5E/s400/IMG_3143+Oskar+Schlemmer,+Abstract+Figure,+1921,+Bronze+and+nickel.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372146653417349762" /></a><br /><div align="center">Oskar Schlemmer. <em>Abstract Figure</em>,1921.<br />Bronze and nickel.</div><br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So2y6NjF3mI/AAAAAAAABMY/qAX7xLbTbRc/s1600-h/IMG_3145+Henri+Matisse,+Lemons+on+a+Pewter+Plate,+1926,+Oil+on+canvas.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So2y6NjF3mI/AAAAAAAABMY/qAX7xLbTbRc/s400/IMG_3145+Henri+Matisse,+Lemons+on+a+Pewter+Plate,+1926,+Oil+on+canvas.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372146643661872738" /></a><br /><div align="center">Henri Matisse. <em>Lemons on a Pewter Plate</em>,1926.<br />Oil on canvas.</div><br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/So2y5XtBFpI/AAAAAAAABMQ/SGQgyuRq7Ac/s1600-h/IMG_3147+Henri+Matisse,+Seated+Nude,+1925-29,+Bronze.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/So2y5XtBFpI/AAAAAAAABMQ/SGQgyuRq7Ac/s400/IMG_3147+Henri+Matisse,+Seated+Nude,+1925-29,+Bronze.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372146629207987858" /></a><br /><div align="center">Henri Matisse. <em>Seated Nude</em>,1925-29. Bronze.</div><br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So21HKK5D2I/AAAAAAAABNY/cpr6bHFxfDA/s1600-h/IMG_3162+Henry+Moore,+Figure,+1937,+Marble.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So21HKK5D2I/AAAAAAAABNY/cpr6bHFxfDA/s400/IMG_3162+Henry+Moore,+Figure,+1937,+Marble.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372149065116618594" /></a><br /><div align="center">Henry Moore. <em>Figure</em>,1937. Marble.</div><br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/So21GWDvKZI/AAAAAAAABNQ/nFN-KRH1fsU/s1600-h/IMG_3165+Man+Ray,+Chess+Set,+1927,+Brass,+silver,+and+gold.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/So21GWDvKZI/AAAAAAAABNQ/nFN-KRH1fsU/s400/IMG_3165+Man+Ray,+Chess+Set,+1927,+Brass,+silver,+and+gold.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372149051127966098" /></a><br /><div align="center">Man Ray. <em>Chess Set</em>, 1927. Brass, silver, and gold.</div><br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So21F8lSOdI/AAAAAAAABNI/K4jiWBQo68Q/s1600-h/IMG_3167+Rene+Magritte,+On+the+Threshold+of+Liberty,+1937,+Oil+on+canvas.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So21F8lSOdI/AAAAAAAABNI/K4jiWBQo68Q/s400/IMG_3167+Rene+Magritte,+On+the+Threshold+of+Liberty,+1937,+Oil+on+canvas.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372149044289354194" /></a><br /><div align="center">Rene Magritte. <em>On the Threshold of Liberty</em>, 1937.<br />Oil on canvas.</div><br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/So21FFs8OmI/AAAAAAAABNA/SHU-k9sLQCs/s1600-h/IMG_3171+Victor+Brauner,+Acolo,+1949,+Encaustic+and+collage+on+paper+on+board.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/So21FFs8OmI/AAAAAAAABNA/SHU-k9sLQCs/s400/IMG_3171+Victor+Brauner,+Acolo,+1949,+Encaustic+and+collage+on+paper+on+board.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372149029557516898" /></a><br /><div align="center">Victor Brauner. <em>Acolo</em>, 1949. Encaustic and collage<br />on paper on board.</div><br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/So21EZWR_qI/AAAAAAAABM4/UD1stH5oFho/s1600-h/IMG_3179,+Rene+Magritte,+The+Tune+and+Also+the+Words,+1964,+Gouache+and+graphite+on+paper.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/So21EZWR_qI/AAAAAAAABM4/UD1stH5oFho/s400/IMG_3179,+Rene+Magritte,+The+Tune+and+Also+the+Words,+1964,+Gouache+and+graphite+on+paper.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372149017651314338" /></a><br /><div align="center">Rene Magritte. <em>The Tune and Also the Words</em>, 1964.<br /> Gouache and graphite on paper.</div><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/So23FBEfoeI/AAAAAAAABN4/RMve0rHEgp4/s1600-h/IMG_3189+Alberto+Giacometti,+Walking+Man+II,+1960,+Bronze,+and+Tall+Figure,+1947,+Bronze.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/So23FBEfoeI/AAAAAAAABN4/RMve0rHEgp4/s400/IMG_3189+Alberto+Giacometti,+Walking+Man+II,+1960,+Bronze,+and+Tall+Figure,+1947,+Bronze.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372151227337384418" /></a><br /><div align="center">Alberto Giacometti. <em>Walking Man II</em>, 1960. Bronze.<br /> <em>Tall Figure</em>, 1947. Bronze.</div><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/So23EhnpXzI/AAAAAAAABNw/4HoPSvQDQNA/s1600-h/IMG_3195.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/So23EhnpXzI/AAAAAAAABNw/4HoPSvQDQNA/s400/IMG_3195.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372151218894888754" /></a><br /><div align="center">View from the second floor of the new wing.</div><br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So23D_La1QI/AAAAAAAABNo/YBuevrSgXfg/s1600-h/IMG_3196.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So23D_La1QI/AAAAAAAABNo/YBuevrSgXfg/s400/IMG_3196.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372151209649689858" /></a><br /><div align="center">View on the ground floor of the new wing <br />facing north towards Millennium Park.</div><br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So23DEDVkhI/AAAAAAAABNg/q5wbEkTrGHA/s1600-h/IMG_3198.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/So23DEDVkhI/AAAAAAAABNg/q5wbEkTrGHA/s400/IMG_3198.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372151193778098706" /></a><br /><div align="center">View after exiting the new wing towards Millenium <br />Park. A bridge connects the park with the museum.</div><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/So3JkI4vfUI/AAAAAAAABOA/Yi1bAJltqlU/s1600-h/IMG_3201+Bridge2.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/So3JkI4vfUI/AAAAAAAABOA/Yi1bAJltqlU/s400/IMG_3201+Bridge2.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372171553220820290" /></a><br /><div align="center">Another view of the bridge looking west</div><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/So3Jlk_1qcI/AAAAAAAABOQ/ByuXFknlAjU/s1600-h/IMG_3205+Old+and+New.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/So3Jlk_1qcI/AAAAAAAABOQ/ByuXFknlAjU/s400/IMG_3205+Old+and+New.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5372171577946646978" /></a><br /><div align="center">The new wing (left) was added to the existing<br />museum. Trains travel below the museum.</div><br /><br />More photos of the Modern Wing and Millennium Park to come.<br /><br /><br />Photo Credit: All photos by Amy A. Rudberg, unless otherwise indicated.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com0tag:blogger.com,1999:blog-5228675619538286159.post-53236321433858252182009-05-09T17:22:00.072-05:002009-05-10T12:02:32.899-05:00The Artistic Process: Amy A. Rudberg's Illustration TechniqueI'm working on illustrations for a new book about animals and their special powers. For this series, I usually come up with an idea and then do some research on images and decide on composite drawings. I use a pencil to draw the illustration on watercolor paper and then ink the drawing. After the drawing is complete, I staple the watercolor paper to a board for support, stapling at 1" intervals all around the perimeter. I apply watercolors and gouache (a highly pigmented watercolor) with small brushes. When I'm done with the painting, I re-ink the illustration, remove the staples, and store the painting in an acid-free box.<br /><br />The following is a step-by-step painting from drawing to final re-inking, which took 11 hours to complete.<br /><br />Materials for this project:<br />- Derwent 2B pencil<br />- Faber-Castelli PITT artist brush pen<br />- Pigma Micron 05 pen<br />- Gel pens, black and silver<br />- Maskque pen<br />- Pencil eraser and mask eraser<br />- No. 6, 1/4" flat shader brush<br />- 3 mm / 1/8" flat brush<br />- 00 round brush<br />- Winsor-Newton watercolors and gouache<br />- Arches 12" x 16", 140-lb cold press watercolor paper<br /><br /><h3>Follow the Leader</h3><br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgY4QMjs5ZI/AAAAAAAABKE/EDQxi4HAsww/s1600-h/01+Draw.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgY4QMjs5ZI/AAAAAAAABKE/EDQxi4HAsww/s400/01+Draw.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5334012659566962066" /></a><br /><div align="center">Draw and ink the figures and horizon line.<br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgY4P68tEaI/AAAAAAAABJ8/7tySnlkC5Xc/s1600-h/02+Cover+up+drawings.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgY4P68tEaI/AAAAAAAABJ8/7tySnlkC5Xc/s400/02+Cover+up+drawings.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5334012654839992738" /></a><br />Put a mask over the figures to work on the background.<br />The mask will cover what you don't want to paint.<br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgY2pEDij5I/AAAAAAAABJ0/4UE58hqfvdA/s1600-h/03+Paint+ocean+pthalo+and+then+dry.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgY2pEDij5I/AAAAAAAABJ0/4UE58hqfvdA/s400/03+Paint+ocean+pthalo+and+then+dry.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5334010887758057362" /></a><br />Add specks on the beach with black and silver<br />gel pens. Paint the ocean with Pthalo Blue<br />gouache and dry with hair dryer.<br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SgY1Vy_0wlI/AAAAAAAABJs/XbmoNzfSkwk/s1600-h/04+Paint+ocean+cerulean+and+then+dry.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SgY1Vy_0wlI/AAAAAAAABJs/XbmoNzfSkwk/s400/04+Paint+ocean+cerulean+and+then+dry.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5334009457249927762" /></a><br />Paint the ocean with Cerulean Blue gouache<br />and dry.<br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgY0S19dANI/AAAAAAAABJk/kpqwCE-hQ6c/s1600-h/05+Shoot+out+the+paint+and+dry.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgY0S19dANI/AAAAAAAABJk/kpqwCE-hQ6c/s400/05+Shoot+out+the+paint+and+dry.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5334008306994053330" /></a><br />With a spray bottle filled with water, <br />spray away the paint in the ocean, and dry.<br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgYx1Aj88LI/AAAAAAAABJc/yJSLkkBBD2U/s1600-h/06+Ocean+showing+waves.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgYx1Aj88LI/AAAAAAAABJc/yJSLkkBBD2U/s400/06+Ocean+showing+waves.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5334005595420553394" /></a><br />Paint dark waves with Primary Blue gouache <br />and dry. The white is the paper showing through.<br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgYwzmzk72I/AAAAAAAABJM/zhj3MtjF2KU/s1600-h/08+Paint+beach+white.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgYwzmzk72I/AAAAAAAABJM/zhj3MtjF2KU/s400/08+Paint+beach+white.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5334004471815270242" /></a><br />Paint the beach with Light Gray, dry, and<br />then paint with Titanium White watercolor.<br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgYvidWgYUI/AAAAAAAABJE/O21gcLKFmMs/s1600-h/09+Dry+with+paper+towel+with+texture+and+paint+perylene+maroon+and+primary+blue+in+touches.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgYvidWgYUI/AAAAAAAABJE/O21gcLKFmMs/s400/09+Dry+with+paper+towel+with+texture+and+paint+perylene+maroon+and+primary+blue+in+touches.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5334003077708013890" /></a><br />Dry the beach with textured paper towel<br />and then paint sparingly with Perylene <br />Maroon and Primary Blue gouache, and dry. <br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SgYuI8QsgWI/AAAAAAAABI0/8fbUY7xk4wI/s1600-h/11+Add+black+gel+pen.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SgYuI8QsgWI/AAAAAAAABI0/8fbUY7xk4wI/s400/11+Add+black+gel+pen.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5334001539816915298" /></a><br />Spray out paint on the beach and then<br />add specks with black gel pen, and dry.<br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgYth3uCJfI/AAAAAAAABIs/4Me7FaFNoPY/s1600-h/12+Add+waves+on+shore+titanium+white.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgYth3uCJfI/AAAAAAAABIs/4Me7FaFNoPY/s400/12+Add+waves+on+shore+titanium+white.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5334000868582893042" /></a><br />Paint waves on the shore with <br />Titanium White watercolor, and dry.<br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgYrL-yt9jI/AAAAAAAABIk/L-VSC0OGH_E/s1600-h/13+Finished+beach+and+ocean.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgYrL-yt9jI/AAAAAAAABIk/L-VSC0OGH_E/s400/13+Finished+beach+and+ocean.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333998293501212210" /></a><br />Completed beach and ocean.<br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgYnL3z6geI/AAAAAAAABIc/QBufE-GJFJI/s1600-h/14+Add+shadows+to+crab+and+robots+tint.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgYnL3z6geI/AAAAAAAABIc/QBufE-GJFJI/s400/14+Add+shadows+to+crab+and+robots+tint.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333993893580669410" /></a><br />Paint shadows using Tint watercolor.<br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgYmN6j3HFI/AAAAAAAABIU/PIYjGHis6Is/s1600-h/15+Remove+mask.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgYmN6j3HFI/AAAAAAAABIU/PIYjGHis6Is/s400/15+Remove+mask.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333992829166754898" /></a><br />Remove the mask on the figures with an eraser.<br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SgYfa2E0K_I/AAAAAAAABHk/3zAd0vdf97M/s1600-h/21+Paint+craf+tint+for+shadows.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SgYfa2E0K_I/AAAAAAAABHk/3zAd0vdf97M/s400/21+Paint+craf+tint+for+shadows.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333985354719702002" /></a><br />Paint the crab using Winsor Yellow, Cadmium<br />Yellow, Golden Yellow, Cadmium Orange, and<br />Cadmium Red watercolors; Cadmium Orange <br />gouache; and Tint watercolor for shadows.<br />Dry between each color.<br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgYZUQUcS-I/AAAAAAAABHM/RquyGCP-TTo/s1600-h/24+Paint+robots+yellow+ochre,+tint,+gel+silver+pen.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgYZUQUcS-I/AAAAAAAABHM/RquyGCP-TTo/s400/24+Paint+robots+yellow+ochre,+tint,+gel+silver+pen.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333978644435717090" /></a><br />Paint the robots with Perylene Maroon, Cadmium<br />Orange, and Yellow Ochre gouache; Tint <br />watercolor; and highlight with silver gel pen.<br />Dry between each color.<br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgYV4VxwXMI/AAAAAAAABG8/JU5YSv4eIQg/s1600-h/26+Finished+crab.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgYV4VxwXMI/AAAAAAAABG8/JU5YSv4eIQg/s400/26+Finished+crab.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333974866329623746" /></a><br />Re-inked crab<br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgYVUDVC7PI/AAAAAAAABG0/ugJxEFnKwHc/s1600-h/27+Finished+robot+1.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgYVUDVC7PI/AAAAAAAABG0/ugJxEFnKwHc/s400/27+Finished+robot+1.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333974242902076658" /></a><br />Re-inked Robot 1<br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgYUzBpgO3I/AAAAAAAABGs/MRhxFMC0teo/s1600-h/28+Finished+robot+2.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgYUzBpgO3I/AAAAAAAABGs/MRhxFMC0teo/s400/28+Finished+robot+2.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333973675515329394" /></a><br />Re-inked Robot 2<br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgYUBPkFCqI/AAAAAAAABGk/4z6Dl6Lh-5A/s1600-h/29+Finished+robot+3.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgYUBPkFCqI/AAAAAAAABGk/4z6Dl6Lh-5A/s400/29+Finished+robot+3.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333972820257213090" /></a><br />Re-inked Robot 3<br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SgYOpjNR9rI/AAAAAAAABGc/-Ll_ldXdpds/s1600-h/30+Finished+painting.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SgYOpjNR9rI/AAAAAAAABGc/-Ll_ldXdpds/s400/30+Finished+painting.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333966915655300786" /></a><br />Finished painting</div><br /><br /><br />Photo Credit: All photos by Amy A. Rudberg, unless otherwise indicated.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com0tag:blogger.com,1999:blog-5228675619538286159.post-73162132572213608732009-05-09T11:03:00.052-05:002009-05-10T08:50:32.645-05:00The Printmaking Process: Ceramic Printmaking with Eric Jensen<div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgW1SuclT-I/AAAAAAAABEE/uKlwfimCywY/s1600-h/53+Eric.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgW1SuclT-I/AAAAAAAABEE/uKlwfimCywY/s400/53+Eric.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333868667000410082" /></a></div><br /><br />I visited <a href="http://www.ericjensenceramic.com/"><strong>Eric Jensen</strong></a> in his studio in Irving Park recently. As one of the original founders of <a href="http://www.lillstreet.com/"><strong>Lillstreet Art Center</strong></a>, Eric taught at Lillstreet for 15 years and also at Evanston Art Center for nearly 10 years. Sharing studio space with Ed Hinkley (with whom I have studied for the past 2 years), Eric currently sells his ceramic art wholesale to retailers and small business owners. With an MFA in ceramics and more than 20 years of professional experience, Eric continues to experiment and learn how to "perfect" his creative techniques. He demonstrated his version of printing on ceramics.<br /><br /><h3>Creating a Printed Vessel</h3><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SgXYsxNJd-I/AAAAAAAABGU/8e1yUHsxU4g/s1600-h/03+Mixing+clay.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SgXYsxNJd-I/AAAAAAAABGU/8e1yUHsxU4g/s400/03+Mixing+clay.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333907597324548066" /></a><br />Mix stoneware and porcelain together until the clay<br />is smooth and has an even consistency.<br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgXYOtC8qZI/AAAAAAAABGM/jY6Wvb3Ato4/s1600-h/04+Mixed+clay+slabs.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgXYOtC8qZI/AAAAAAAABGM/jY6Wvb3Ato4/s400/04+Mixed+clay+slabs.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333907080811948434" /></a><br />Final mixed stoneware and porcelain slab<br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgXVqPrJvrI/AAAAAAAABGE/G2rytNpPKSw/s1600-h/06+Silk+screened+image.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgXVqPrJvrI/AAAAAAAABGE/G2rytNpPKSw/s400/06+Silk+screened+image.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333904255428968114" /></a><br />Transfer a photographic image onto a silkscreen with<br />a removable frame. (The color of the dried emulsion<br />is red in this photo. The white areas are where the<br />"ink" will go through.)<br /><br />Prepare a silkscreen: In a darkroom, put photo<br />emulsion on 140 mesh screen on a removable frame<br />and then dry the screen. Using a bright light<br />source and glass, expose the screen to a high<br />contrast b&w photocopied image on acetate. The<br />light will harden only the exposed white image<br />areas on the screen and will not affect the dark<br />areas. When you wash the screen after exposure,<br />just the dark image areas will wash away, and this<br />is where the "ink" will go through the screen.<br />Dry the screen and remove the frame.) <br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgXVN_jym7I/AAAAAAAABF8/4P1gScpf3PM/s1600-h/07+Roll+out+porcelain.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgXVN_jym7I/AAAAAAAABF8/4P1gScpf3PM/s400/07+Roll+out+porcelain.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333903770066787250" /></a><br />Roll out a porcelain slab about 1/16" thick and the <br />size of the screened image.<br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgXUxpiYwFI/AAAAAAAABF0/gZSuK41t4_Y/s1600-h/09+Apply+colored+slip.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgXUxpiYwFI/AAAAAAAABF0/gZSuK41t4_Y/s400/09+Apply+colored+slip.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333903283118981202" /></a><br />Prepare colored porcelain slip with black mason <br />stain added by pushing the mixture through a 100-<br />mesh screen to get out large particles. Put the<br />screen on the porcelain slab, wet it a little, and<br />then paint the mixture on the screen with a brush.<br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SgXUJT3v4uI/AAAAAAAABFs/iaAyivA6HYU/s1600-h/10+Remove+screen.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SgXUJT3v4uI/AAAAAAAABFs/iaAyivA6HYU/s400/10+Remove+screen.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333902590108230370" /></a><br />Lift the screen off the porcelain slab.<br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgXTs_RM2XI/AAAAAAAABFk/qP9_2IfMxgE/s1600-h/12+Printed+image.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgXTs_RM2XI/AAAAAAAABFk/qP9_2IfMxgE/s400/12+Printed+image.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333902103541504370" /></a><br />Screenprinted porcelain<br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgXOwT3AnqI/AAAAAAAABFc/6JacjeqRhck/s1600-h/16+Put+porcelain+on+mixed+slab.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgXOwT3AnqI/AAAAAAAABFc/6JacjeqRhck/s400/16+Put+porcelain+on+mixed+slab.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333896663050264226" /></a><br />After drying the screenprinted porcelain, put it on top<br />of the previously mixed porcelain / stoneware slab. <br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgXOwH1rjoI/AAAAAAAABFU/xpmI5EVJ1-4/s1600-h/17+Smooth+out+layers.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgXOwH1rjoI/AAAAAAAABFU/xpmI5EVJ1-4/s400/17+Smooth+out+layers.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333896659823464066" /></a><br />Put newspaper on top and press down on the surface<br />with a small squeegee.<br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SgXOv61lsVI/AAAAAAAABFM/wtv5-3etCMI/s1600-h/19+Printed+image+attached+to+slab.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SgXOv61lsVI/AAAAAAAABFM/wtv5-3etCMI/s400/19+Printed+image+attached+to+slab.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333896656333418834" /></a><br />Screenprinted porcelain attached to porcelain / <br />stoneware slab.<br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SgXOvhamDrI/AAAAAAAABFE/clB2v-YFyNg/s1600-h/21+Stretching+the+clay.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SgXOvhamDrI/AAAAAAAABFE/clB2v-YFyNg/s400/21+Stretching+the+clay.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333896649509310130" /></a><br />Stretch the clay lifting and throwing it down until the<br />entire slab is about 1/4" thick (do this about 4 times).<br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgXOvSZOy6I/AAAAAAAABE8/29XgVTijWD0/s1600-h/22+Cut+into+pieces.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgXOvSZOy6I/AAAAAAAABE8/29XgVTijWD0/s400/22+Cut+into+pieces.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333896645477059490" /></a><br />Cut the slab in half to create the main sides of the<br />vessel. <br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgXMrsCEe4I/AAAAAAAABE0/8lQknpIAj4Y/s1600-h/31+Put+pieces+together.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgXMrsCEe4I/AAAAAAAABE0/8lQknpIAj4Y/s400/31+Put+pieces+together.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333894384616504194" /></a><br />Use the porcelain / stoneware slab to create two<br />smaller sides and a bottom for the vessel. Start<br />to attach the sides of the vessel, which is now<br />lying horizontally on its side.<br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgXMrZK629I/AAAAAAAABEs/1XWXBlv5z2A/s1600-h/38+Attach+sides.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SgXMrZK629I/AAAAAAAABEs/1XWXBlv5z2A/s400/38+Attach+sides.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333894379553348562" /></a><br />Insert mailing bubbles inside of the vessel to <br />provide support and attach the second screen<br />printed side.<br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgXMrEwRvLI/AAAAAAAABEk/qoIsaF-A13E/s1600-h/41+Move+to+vertical.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgXMrEwRvLI/AAAAAAAABEk/qoIsaF-A13E/s400/41+Move+to+vertical.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333894374072892594" /></a><br />Move the vessel to a horizontal position.<br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgXMq9I6sZI/AAAAAAAABEc/6MU5yMjIAls/s1600-h/47+Finished.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SgXMq9I6sZI/AAAAAAAABEc/6MU5yMjIAls/s400/47+Finished.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333894372028756370" /></a><br />The vessel was dried, fired in a kiln to harden it, <br />glazed and then fired again at a high temperature.<br />The feet were attached after the final firing.<br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgXMqcBZusI/AAAAAAAABEU/orelp1YuUC4/s1600-h/48+Dried+second+vessel.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgXMqcBZusI/AAAAAAAABEU/orelp1YuUC4/s400/48+Dried+second+vessel.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333894363138865858" /></a><br />Second screenprinted vessel drying on a shelf<br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgW10ez92MI/AAAAAAAABEM/WdZ8ZD_g2iQ/s1600-h/50+Finished+second+vessel.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SgW10ez92MI/AAAAAAAABEM/WdZ8ZD_g2iQ/s400/50+Finished+second+vessel.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5333869246919071938" /></a><br />Second screenprinted vessel in its finished state<br /><br />For more information about Eric and his art, visit <a href="http://www.ericjensenceramic.com">http://www.ericjensenceramic.com</a>.<br /><br /><br />Photo Credit: All photos by Amy A. Rudberg, unless otherwise indicated.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com1tag:blogger.com,1999:blog-5228675619538286159.post-64953429663940800452009-04-23T14:33:00.025-05:002009-04-23T16:10:43.783-05:00Printmaking: Edvard Munch and PeersToday, I visited the Prints and Drawings Room at the Art Institute of Chicago, where you can submit a request to view up to 20 prints/drawings of your choice. I tagged along with my husband, who is taking a class on Edvard Munch through the OLLI program at Northwestern University. His instructor, Lois Gordon, put together a thoughtful selection of art (along with a handout) to complement the ongoing show <em>Becoming Edvard Munch</em>, which closes on Sunday. Lois' selection includes Munch's prints not included in the show as well as some art work of Munch's peers, who may have influenced his work. <br /><br /><h3>Solitude, Loneliness, Melancholy</h3><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SfDKBSs80TI/AAAAAAAABDU/L2Pb5DBUifY/s1600-h/01+Girl+at+Window.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SfDKBSs80TI/AAAAAAAABDU/L2Pb5DBUifY/s400/01+Girl+at+Window.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327980482728350002" /></a><br />Edvard Munch. <em>The Girl at the Window</em>. 1894. Drypoint, roulette and burnishing on paper, 219 x 158 mm (plate, 444 x 341 mm (sheet). Clarence Buckingham Collection.<br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SfDKBKcnckI/AAAAAAAABDI/4R8Hvb1CC0o/s1600-h/02+Two+Human+Beings.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SfDKBKcnckI/AAAAAAAABDI/4R8Hvb1CC0o/s400/02+Two+Human+Beings.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327980480512356930" /></a><br />Edvard Munch. <em>Two Human Beings. The Lonely Ones</em>. 1894. Drypoint, roulette, and burnisher on copper plate printed on cream wove paper, 168 x 225 mm (plate), 343 x 480 mm (sheet). Clarence Buckingham Collection.<br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SfDKAw5Yy7I/AAAAAAAABDA/EfRhz1jkipQ/s1600-h/03+Girls+on+Bridge.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SfDKAw5Yy7I/AAAAAAAABDA/EfRhz1jkipQ/s400/03+Girls+on+Bridge.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327980473653709746" /></a><br />Edvard Munch. <em>The Girls on the Bridge</em>. 1918. Woodcut in blue and lithography (from multiple stones) in yellow, green, orange and blue on white wove paper, 500 x 430 mm (image), 630 x 528 mm (sheet). Clarence Buckingham Collection.<br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SfDKAn3Z4BI/AAAAAAAABC4/Rk2XmTlJu1s/s1600-h/04+Melancholy+III.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SfDKAn3Z4BI/AAAAAAAABC4/Rk2XmTlJu1s/s400/04+Melancholy+III.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327980471229472786" /></a><br />Edvard Munch. Printed by Lassally (German), late 19th-early 20th century). <em>Melancholy III</em>. 1902. Color woodcut from two blocks, with gouges, chisel and fretsaw, on paper, 377 x 471 mm (image), 440 x 590 mm (sheet). Art Institute of Chicago Prints and Drawings Purchase Fund.<br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SfDKAXVVqtI/AAAAAAAABCw/0bvY3gB_Hyw/s1600-h/05+Aha+Oe+Feii.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SfDKAXVVqtI/AAAAAAAABCw/0bvY3gB_Hyw/s400/05+Aha+Oe+Feii.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327980466791623378" /></a><br />Paul Gauguin. <em>Aha Oe Feli? (What! Are You Jealous?)</em>. 1894. Watercolor monotype, with pen and red and black ink on tan Japanese vellum, 195 x 232 mm. Gift of Edward McCormick Blair.<br /><br /><h3>Persona of Women</h3><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SfDIxjoEjpI/AAAAAAAABCo/jhyub84hMTs/s1600-h/06+Woman+Sphinx.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SfDIxjoEjpI/AAAAAAAABCo/jhyub84hMTs/s400/06+Woman+Sphinx.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327979112881753746" /></a><br />Edvard Munch. Printed by Petersen and Waitz. <em>Woman (The Sphinx)</em>. 1899. Lithograph on paper, 461 x 593 mm (image), 494 x 645 mm (sheet). Clarence Buckingham Collection.<br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SfDIxTUhS6I/AAAAAAAABCg/4E3Ra-BM-ug/s1600-h/07+Eve.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SfDIxTUhS6I/AAAAAAAABCg/4E3Ra-BM-ug/s400/07+Eve.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327979108504783778" /></a><br />Paul Gauguin. <em>Eve</em>. 1889/90. Gouache on millboard, 170 x 130 mm. Gift of Edward McCormick Blair.<br /><br /><h3>Bathers</h3><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SfDIw5VbWtI/AAAAAAAABCY/4vBhTzr2vw8/s1600-h/08+Women+Bathing.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SfDIw5VbWtI/AAAAAAAABCY/4vBhTzr2vw8/s400/08+Women+Bathing.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327979101529266898" /></a><br />Edvard Munch. Printed by Sabo or Angerer. <em>Women Bathing</em>. 1895. Drypoint with open bite and burnishing on buff wove paper, 125 x 180 mm (image), 220 x 321 mm (plate), 335 x 419 mm (sheet). Clarence Buckingham Collection.<br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SfDIwmb2CFI/AAAAAAAABCQ/h34d3ezrzZY/s1600-h/09+Neutralia.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SfDIwmb2CFI/AAAAAAAABCQ/h34d3ezrzZY/s400/09+Neutralia.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327979096455907410" /></a><br />Edvard Munch. Printed by Halvorsen and Larsen. <em>Neutralia</em>. 1915. Color lithograph on paper, 543 x 495 mm (image), 734 x 585 mm (sheet). Robert A. Waller Fund.<br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SfDIwWpjRiI/AAAAAAAABCI/l5m9-xXIhMg/s1600-h/10+Bathers.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SfDIwWpjRiI/AAAAAAAABCI/l5m9-xXIhMg/s400/10+Bathers.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327979092218431010" /></a><br />Paul Cézanne. Bathers. 1890-1900. Color lithograph on off-white China paper, 230 x 280 mm (image), 294 x 355 mm (sheet). Bequest of Walter S. Brewster.<br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SfDHZCd-OBI/AAAAAAAABCA/BVkanGFKTvk/s1600-h/11+Baths+at+Ostend.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SfDHZCd-OBI/AAAAAAAABCA/BVkanGFKTvk/s400/11+Baths+at+Ostend.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327977592152537106" /></a><br />James Ensor. <em>The Baths at Ostend</em>. 1899. Etching, with hand coloring, on cream wove paper, 212 x 268 mm (image), 225 x 277 mm (plate), 284 x 398 mm (sheet). Gift from the Estate of Curt Valentin.<br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SfDHYr0HwUI/AAAAAAAABB4/THIP4L-Q1DY/s1600-h/12+Auti+Te+Pape.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SfDHYr0HwUI/AAAAAAAABB4/THIP4L-Q1DY/s400/12+Auti+Te+Pape.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327977586071421250" /></a><br />Paul Gauguin. Printed by Louis Roy. <em>Auti Te Pape (Women at the River)</em>, from Noa Noa. 1893-94. Woodcut on boxwood printed in black, yellow and brick red applied with stencils on tan Japanese paper, 207 x 358 mm (image), 246 x 393 mm (sheet). Albert Roullier Memorial Collection.<br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SfDHYXOy0jI/AAAAAAAABBw/Mw1wPtP3r1Y/s1600-h/13+The+Forest.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SfDHYXOy0jI/AAAAAAAABBw/Mw1wPtP3r1Y/s400/13+The+Forest.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327977580546150962" /></a><br />Edvard Munch. <em>The Forest</em>. 1908/09. Lithograph on paper, 325 x 416 mm (image), 481 x 651 mm (sheet). Clarence Buckingham Collection.<br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SfDHYOvF02I/AAAAAAAABBo/IK6N-9ohoAw/s1600-h/14+The+Mountain.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SfDHYOvF02I/AAAAAAAABBo/IK6N-9ohoAw/s400/14+The+Mountain.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327977578265695074" /></a>Édouard Manet. Written by Charles Cros, printed by Auguste Delâtre and Cochet, and published by Librarie de l'au-forte. <em>The Mountain</em>, plate 2 from Le Fleuve. 1874. Etching, drypoint and aquatint on ivory laid paper, 74 x 96 mm (image), 78 x 98 mm (plate), 279 x 243 mm (sheet). Gift of Robert M. Light in memory of Harold Joachim.<br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SfDHX3eSXmI/AAAAAAAABBg/-Yb5Eu6EmsM/s1600-h/15+Mahana+Atua.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SfDHX3eSXmI/AAAAAAAABBg/-Yb5Eu6EmsM/s400/15+Mahana+Atua.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327977572021198434" /></a><br />Paul Gauguin. <em>Mahana Atua (The Day of God)</em>. 1894-95. Woodcut printed in black and touched with watercolor in blue, crimson and orange on Japanese paper, 181 x 202 (image), 184 x 205 mm (sheet). Clarence Buckingham Collection.<br /><br /><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SfDGAwRS__I/AAAAAAAABBY/JbbF6oqW_Ds/s1600-h/16+Weeping+Tree.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SfDGAwRS__I/AAAAAAAABBY/JbbF6oqW_Ds/s400/16+Weeping+Tree.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327976075439046642" /></a><br />Vincent van Gogh. <em>Weeping Tree</em>. 1889. Reed pen and black-brown ink, with black chalk on off-white wove paper, 498 x 613 mm. Gift of Tiffany and Margaret Day Blake.<br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SfDGAnoy5PI/AAAAAAAABBQ/2xiwrLKKOV0/s1600-h/17+Flower+Clouds.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SfDGAnoy5PI/AAAAAAAABBQ/2xiwrLKKOV0/s400/17+Flower+Clouds.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327976073121686770" /></a><br />Odilon Redon. Flower Clouds. c. 1903. Pastel, with touches of stumping, incising, and brushwork, on blue-gray wove paper with multi-colored fibers altered to tan, perimeter mounted to cardboard, 445 x 542 mm. Through prior bequest of Mr. and Mrs. Martin A. Ryerson Collection.<br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SfDGAWUCdOI/AAAAAAAABBI/Z3WY0CWX3lY/s1600-h/18+Boat+Tied+to+Pier.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SfDGAWUCdOI/AAAAAAAABBI/Z3WY0CWX3lY/s400/18+Boat+Tied+to+Pier.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327976068471223522" /></a><br />Edvard Munch. <em>A Boat Tied to a Pier</em>. 1892. Brush and black and gray wash, over touches of graphite, on tan wove paper, 224 x 159 mm. Restricted gift of Frank B. Hubachek.<br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SfDGANfKNMI/AAAAAAAABBA/LctnSkppkl4/s1600-h/19+Nocturne.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SfDGANfKNMI/AAAAAAAABBA/LctnSkppkl4/s400/19+Nocturne.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327976066101949634" /></a><br />James McNeill Whistler. <em>Nocturne</em>. 1878, published 1887. Lithotint, on a prepared half-tint ground, in black with scraping, on blue laid chine, laid down on ivory plate paper, 171 x 259 mm (image), 170 x 258 mm (primary support), 341 x 498 mm (secondary support). Gift of the Crown Family in honor of James N. Wood.<br /><br /><h3>Munch Himself</h3><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SfDF_yFgdlI/AAAAAAAABA4/1VkC15Zs_To/s1600-h/20+Self+Portrait.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SfDF_yFgdlI/AAAAAAAABA4/1VkC15Zs_To/s400/20+Self+Portrait.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5327976058746598994" /></a><br />Edvard Munch. Self-Portrait. n.d. Blue crayon on paper, 265 x 235 mm. Kate S. Buckingham Fund.<br /><br /><br />Photo Credit: All photos by Amy A. Rudberg, unless otherwise indicated.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com0tag:blogger.com,1999:blog-5228675619538286159.post-3823308906921051662009-03-26T18:23:00.043-05:002009-03-26T21:25:50.358-05:00The Printmaking Process: The Ceramic PrintI am attending the <a href="http://www2.colum.edu/sgc/"><em><strong>Southern Graphics Council Conference: Global Implications</strong></em></a> in Chicago from March 25th to 29th. Columbia College of Chicago is hosting the conference this year.<br /><br />Today, I attended the Ceramic Print demonstration at the Art and Design Center at Columbia College. Tom Lucas, director of Hummingbird Press at Lillstreet Art Center, and Matt Harris, ceramicist and instructor at Lillstreet, demonstrated the techniques for printing on ceramics. Tom showed us the photocopy transfer process, and Matt demonstrated screen printing directly on clay and a slip-newsprint transfer process.<br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Scwlm5B46EI/AAAAAAAAA_U/IXAWt4QZwvU/s1600-h/02+Mixing+Ink.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 314px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Scwlm5B46EI/AAAAAAAAA_U/IXAWt4QZwvU/s400/02+Mixing+Ink.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5317666610091714626" /></a><br />Tom mixes special ceramic ink with a modifier.</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/ScwmpW9rFQI/AAAAAAAAA_c/IBeoBftog1s/s1600-h/03+Sponging+off+gum+arabic.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/ScwmpW9rFQI/AAAAAAAAA_c/IBeoBftog1s/s400/03+Sponging+off+gum+arabic.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5317667751998461186" /></a><br />Tom applies and then wipes off gum arabic from<br />a photocopy print, and then inks and sponges it<br />carefully several times without tearing the paper.</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/ScwnmvAxfeI/AAAAAAAAA_k/RR3LITsJYUo/s1600-h/04+Print+from+Xerox+Copy.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/ScwnmvAxfeI/AAAAAAAAA_k/RR3LITsJYUo/s400/04+Print+from+Xerox+Copy.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5317668806425935330" /></a><br />Tom applies the print to damp slip with a terra<br />cotta base, and carefully burnishes the print.<br />Here he begins to peel off the print.</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/ScwpgaYzp-I/AAAAAAAAA_s/zj8bxz35x_0/s1600-h/05+Inking+Woodblock.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/ScwpgaYzp-I/AAAAAAAAA_s/zj8bxz35x_0/s400/05+Inking+Woodblock.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5317670896833636322" /></a><br />Several prints can be laid on the same ceramic piece. <br />Tom applies heavy blue ink to a wood block he<br />created with silk screening and sand blasting.</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Scwq_1Y3z_I/AAAAAAAAA_0/spRx5wSfLjs/s1600-h/06+Woodblock.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Scwq_1Y3z_I/AAAAAAAAA_0/spRx5wSfLjs/s400/06+Woodblock.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5317672536169238514" /></a><br />Tom creates a new image on top of an old<br />one (center) by using the wood block (below).</div> <br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/ScwtZ60y7QI/AAAAAAAAA_8/F5i6K6cTpq0/s1600-h/07+Screenprinting+ceramic.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/ScwtZ60y7QI/AAAAAAAAA_8/F5i6K6cTpq0/s400/07+Screenprinting+ceramic.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5317675183328390402" /></a><br />Matt demonstrates screen printing directly<br />on the damp slip and terra cotta base.</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/ScwuQS8na9I/AAAAAAAABAE/BUuxz2O0EY8/s1600-h/08+Slip+and+Screenprint.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/ScwuQS8na9I/AAAAAAAABAE/BUuxz2O0EY8/s400/08+Slip+and+Screenprint.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5317676117516577746" /></a><br />Matt also demonstrates transferring a screen<br />printed image on newsprint to clay. Here<br />(clockwise from center right) we have the results<br />of the two methods: (1) direct screen print on<br />clay, (2) screen print on newsprint with wet slip<br />applied, dried, and then used to transfer to the<br />clay, and (3) the transferred image to the clay base.</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/ScwzyIj093I/AAAAAAAABAs/2QDSkgvtKsM/s1600-h/12+Samples.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/ScwzyIj093I/AAAAAAAABAs/2QDSkgvtKsM/s400/12+Samples.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5317682196401944434" /></a><br />Ceramic Print Demo Samples</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/ScwzxrcoFBI/AAAAAAAABAk/nC9GTCmnGUQ/s1600-h/11+Samples.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/ScwzxrcoFBI/AAAAAAAABAk/nC9GTCmnGUQ/s400/11+Samples.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5317682188587111442" /></a><br />Ceramic Print Demo Samples</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/ScwzxeaBthI/AAAAAAAABAc/XZYKkcXsjg8/s1600-h/10+Samples.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/ScwzxeaBthI/AAAAAAAABAc/XZYKkcXsjg8/s400/10+Samples.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5317682185086547474" /></a><br />Ceramic Print Demo Samples</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/ScwzxSW9HzI/AAAAAAAABAU/Ng_G4y6QCZQ/s1600-h/09+Samples.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/ScwzxSW9HzI/AAAAAAAABAU/Ng_G4y6QCZQ/s400/09+Samples.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5317682181852438322" /></a><br />Ceramic Print Demo Samples</div><br /><br />For more information on classes and workshops on printing on ceramics and the ongoing <em>Ceramic Print Group Exhibition</em>, contact <a href="http://www.lillstreet.com/"><strong>Lillstreet Art Center</strong></a>, 4401 N. Ravenswood Avenue, Chicago, at 773.769.4226, email: lillstreet@lillstreet.com. <br /><br /><br />Photo Credit: All photos by Amy A. Rudberg, unless otherwise indicated.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com2tag:blogger.com,1999:blog-5228675619538286159.post-14538419759335691442009-03-14T19:06:00.002-05:002009-03-17T09:58:07.910-05:00The Printmaking Process: Two Lithuanian Printmakers<div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SbrdoaConlI/AAAAAAAAA7k/VRWppWEMxFU/s1600-h/Blog+Birute+and+Egle.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 387px; height: 400px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SbrdoaConlI/AAAAAAAAA7k/VRWppWEMxFU/s400/Blog+Birute+and+Egle.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5312802396691799634" /></a><br />Photo: Courtesy of the artists.</div><br /><br />Eglë Vertelkatë and Birutë Zokaitytë are Lithuanian artists who combine traditional and contemporary printmaking techniques to explore gender, cultural, and social issues and identities. Their current exhibition at the Chicago Cultural Center (CCC) through March 29th was organized by the Chicago Department of Cultural Affairs in collaboration with the Ciurlionis Lithuanian Gallery and with support from the Consulate General of the Republic of Lithuania.<br /><br />Eglë and Birutë, both born and raised in Lithuania, met at the Vilnius Art Academy in Lithuania. Although they have participated in group exhibitions with one another over the years, their current show at the CCC is the first time they have exhibited together. <br /><br /><blockquote>"I work with traditional printmaking techniques, such as <a href="http://en.wikipedia.org/wiki/Etching"><strong>etching</strong></a>, <a href="http://en.wikipedia.org/wiki/Aquatint"><strong>aquatint</strong></a>, deep etching, woodcuts, and combine them with digital prints, drawings, photo copy transfer prints, and collage. I consider myself to be a <a href="http://en.wikipedia.org/wiki/Conceptual_artist"><strong>conceptual artist</strong></a> using printmaking techniques. I like to work with other artists' images -- <a href="http://en.wikipedia.org/wiki/Cindy_Sherman"><strong>Cindy Sherman</strong></a>, <a href="http://en.wikipedia.org/wiki/Marcel_Duchamp"><strong>Marcel Duchamp</strong></a>, <a href="http://en.wikipedia.org/wiki/Man_Ray"><strong>Man Ray</strong></a>, <a href="http://en.wikipedia.org/wiki/Eadweard_Muybridge"><strong>Eadweard Muybridge</strong></a>, <a href="http://en.wikipedia.org/wiki/%C3%89tienne-Jules_Marey"><strong>E.-J. Marey</strong></a>, and others. My focus is on subjects such as infinity and repetition (spinning, eating, running, working, walking, and so forth) and creating <a href="http://en.wikipedia.org/wiki/Postmodern_art"><strong>postmodern art</strong></a> with different interpretations of images and personalities. I work with themes that are interesting to me -- artists, nature, and cinema -- anywhere in the world, regardless of the culture, nation, race, or age." --Eglë Vertelkatë</blockquote><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SbrdogLFdvI/AAAAAAAAA7s/YgU8qOBG3S8/s1600-h/Blog+A+Target.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 276px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SbrdogLFdvI/AAAAAAAAA7s/YgU8qOBG3S8/s400/Blog+A+Target.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5312802398337857266" /></a><br />Eglë Vertelkatë. 2006. <em>A Target, Infinity In Dots</em>. <br />Etching, stamp, 70 cm x 85 cm. <br />Courtesy of the artist. At CCC.</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SbrdLCHIi3I/AAAAAAAAA7c/8DAewcP9HjY/s1600-h/Blog+face_vs_face.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 44px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SbrdLCHIi3I/AAAAAAAAA7c/8DAewcP9HjY/s400/Blog+face_vs_face.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5312801892052011890" /></a><br />Eglë Vertelkatë. 2005. <br /><em>Face Vs Face (Cindy Vs Cindy)</em>. <br />Etching, mixed media, 25 cm x 140 cm. <br />Courtesy of the artist.</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SbrdLKgxqeI/AAAAAAAAA7U/x90ysHF4xHk/s1600-h/Blog+Horizontas_HiRes.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 180px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SbrdLKgxqeI/AAAAAAAAA7U/x90ysHF4xHk/s400/Blog+Horizontas_HiRes.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5312801894307047906" /></a><br />Eglë Vertelkatë. 2006. <em>Horizon</em>. <br />Mixed media on canvas, 55 cm x 120 cm.<br />Courtesy of the artist.</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SbrdKpPO07I/AAAAAAAAA7M/_f4N7TMEr0o/s1600-h/Blog+ID+of+Shell.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 116px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SbrdKpPO07I/AAAAAAAAA7M/_f4N7TMEr0o/s400/Blog+ID+of+Shell.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5312801885375091634" /></a><br />Eglë Vertelkatë. 2006. <em>I.D. Of Shell</em>. <br />Digital print, mixed media, 60 cm x 220 cm.<br />Courtesy of the artist.</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SbrdKCwuinI/AAAAAAAAA7E/o8H5gQh8sS0/s1600-h/Blog+Lilly_vs_wave.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 80px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SbrdKCwuinI/AAAAAAAAA7E/o8H5gQh8sS0/s400/Blog+Lilly_vs_wave.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5312801875046599282" /></a><br />Eglë Vertelkatë. 2005. <em>Lilly Vs Wave</em>. <br />Etching, aquatint, mixed media, 25 cm x 100 cm.<br />Courtesy of the artist.</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SbrdHvzQqLI/AAAAAAAAA68/OvViYhpn_kI/s1600-h/Blog+Lithuanian+Folk+Song+47s.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SbrdHvzQqLI/AAAAAAAAA68/OvViYhpn_kI/s400/Blog+Lithuanian+Folk+Song+47s.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5312801835597211826" /></a><br />Eglë Vertelkatë. 2007. <br /><em>Lithuanian Polifonic Folk Song</em>. <br />Book A4, digital print. <br />Courtesy of the artist. At CCC.</div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbrcfmp97JI/AAAAAAAAA60/RdpYSzHZ0RY/s1600-h/Blog+Lithuanian+Polifonic+folk+song.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 72px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbrcfmp97JI/AAAAAAAAA60/RdpYSzHZ0RY/s400/Blog+Lithuanian+Polifonic+folk+song.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5312801145947548818" /></a><br />Eglë Vertelkatë. 2006. <br /><em>Lithuanian Polifonic Folk Song II</em>. <br />Etching, mixed media, 15 cm x 42 cm. <br />Courtesy of the artist. At CCC.</div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbrcfq9x6wI/AAAAAAAAA6s/_5mbJdA8aBE/s1600-h/Blog+LUX+Life.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 199px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbrcfq9x6wI/AAAAAAAAA6s/_5mbJdA8aBE/s400/Blog+LUX+Life.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5312801147104389890" /></a><br />Eglë Vertelkatë. 2005-2006. <em>Lux Life</em>. <br />Etching, aquatint, 90 cm x 180 cm.<br />Courtesy of the artist.</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SbrcfZAZ9SI/AAAAAAAAA6k/TzWYntGZ8AA/s1600-h/Blog+Swimming+Woman.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 213px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SbrcfZAZ9SI/AAAAAAAAA6k/TzWYntGZ8AA/s400/Blog+Swimming+Woman.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5312801142283564322" /></a><br />Eglë Vertelkatë. 2006. <em>Swimming Woman</em>. <br />Digital print on canvas, 80 cm x 150 cm.<br />Courtesy of the artist.</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SbrcfSzwz2I/AAAAAAAAA6c/sET0xMGqxXY/s1600-h/Blog+when+C+Sherman+reflected.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 157px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SbrcfSzwz2I/AAAAAAAAA6c/sET0xMGqxXY/s400/Blog+when+C+Sherman+reflected.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5312801140619923298" /></a><br />Eglë Vertelkatë. 2004. <br /><em>When Cindy Sherman Reflected, Man Ray</em>. <br />Digital print, mixed media, stamp, 20 cm x 50 cm.<br />Courtesy of the artist.</div><br /><br /><blockquote>"My works for the show are from my most recent series, <em>The Rituals of Women</em>, depicting their social and cultural roles and identities. I work primarily with traditional techniques such as <a href="http://en.wikipedia.org/wiki/Etching"><strong>etching</strong></a>, <a href="http://en.wikipedia.org/wiki/Aquatint"><strong>aquatint</strong></a>, <a href="http://en.wikipedia.org/wiki/Mezzotint"><strong>mezzotint</strong></a>, soft ground, and <a href="http://en.wikipedia.org/wiki/Dry_point_engraving"><strong>dry point</strong></a>, and combining those techniques with collage, stencil, and photo copy transfer prints. I am always inspired by my environment." -- Birutë Zokaitytë</blockquote><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sb-30sldMCI/AAAAAAAAA-k/jVYmCB-q00I/s1600-h/Beautiful+man,40x40,soft+ground.2000.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 305px; height: 400px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sb-30sldMCI/AAAAAAAAA-k/jVYmCB-q00I/s400/Beautiful+man,40x40,soft+ground.2000.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5314168201269817378" /></a><br />Birutë Zokaitytë. 2000. <br /><em>Beautiful man</em>.<br />Soft ground, 40 cm x 40 cm.<br />Courtesy of the artist. At CCC.</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sb-30PW8dbI/AAAAAAAAA-c/tUTyxdVxVlU/s1600-h/Map+of+the+moon,40x60,soft+gound,aquatint.2003.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 303px; height: 400px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sb-30PW8dbI/AAAAAAAAA-c/tUTyxdVxVlU/s400/Map+of+the+moon,40x60,soft+gound,aquatint.2003.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5314168193424324018" /></a><br />Birutë Zokaitytë. 2003. <br /><em>Map of the moon</em>.<br />Soft ground, aquatint, 40 cm x 60 cm.<br />Courtesy of the artist. At CCC.</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sb-3z-JlYyI/AAAAAAAAA-U/BZtOCR8bFmE/s1600-h/molecule+of+love+,80x50,color+etching,soft+ground,aquatint.2003.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 247px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sb-3z-JlYyI/AAAAAAAAA-U/BZtOCR8bFmE/s400/molecule+of+love+,80x50,color+etching,soft+ground,aquatint.2003.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5314168188804883234" /></a><br />Birutë Zokaitytë. 2003. <em>molecule of love</em>.<br />Color etching, soft ground, aquatint, 80 cm x 50 cm.<br />Courtesy of the artist. At CCC.</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sb-3zuXtRjI/AAAAAAAAA-M/h8XvlslfpOs/s1600-h/Salomeja+(2),40x40,soft+ground.2000.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 303px; height: 400px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sb-3zuXtRjI/AAAAAAAAA-M/h8XvlslfpOs/s400/Salomeja+(2),40x40,soft+ground.2000.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5314168184569153074" /></a><br />Birutë Zokaitytë. 2000. <em>Salomeja (2)</em>.<br />Soft ground, 40 cm x 40 cm.<br />Courtesy of the artist. At CCC.</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sb-3zauEZpI/AAAAAAAAA-E/ocLpRkoN9R8/s1600-h/Salomeja,50x70,soft+ground,2000..jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 284px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sb-3zauEZpI/AAAAAAAAA-E/ocLpRkoN9R8/s400/Salomeja,50x70,soft+ground,2000..jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5314168179294234258" /></a><br />Birutë Zokaitytë. 2000. <em>Salomeja</em>. <br />Soft ground, 50 cm x 70 cm.<br />Courtesy of the artist. At CCC.</div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sb-1mvHYexI/AAAAAAAAA90/icdrs7O5V0A/s1600-h/The+crew,62x62,soft+ground.2008.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 388px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sb-1mvHYexI/AAAAAAAAA90/icdrs7O5V0A/s400/The+crew,62x62,soft+ground.2008.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5314165762407562002" /></a><br />Birutë Zokaitytë. 2008. <em>The crew</em>. <br />Soft ground, 62 cm x 62 cm.<br />Courtesy of the artist. At CCC.</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sb-1mVFTkYI/AAAAAAAAA9s/qpo9l6U4W8g/s1600-h/The+picture+of+the++bedroom,40x80,color+etching,soft+ground,aquatint.2002.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 244px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sb-1mVFTkYI/AAAAAAAAA9s/qpo9l6U4W8g/s400/The+picture+of+the++bedroom,40x80,color+etching,soft+ground,aquatint.2002.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5314165755419529602" /></a><br />Birutë Zokaitytë. 2002. <em>The picture of the bedroom</em>. <br />Color etching, soft ground, aquatint, 40 cm x 80 cm.<br />Courtesy of the artist. At CCC.</div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sb-1mGgWlcI/AAAAAAAAA9k/FnfWKlij5qc/s1600-h/Trying+to+fly,50x70,color+etching,aquatint.2003.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 290px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sb-1mGgWlcI/AAAAAAAAA9k/FnfWKlij5qc/s400/Trying+to+fly,50x70,color+etching,aquatint.2003.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5314165751506441666" /></a><br />Birutë Zokaitytë. 2003. <em>Trying to fly</em>. <br />Color etching, aquatint, 40 cm x 60 cm.<br />Courtesy of the artist. At CCC.</div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sb-1l2gvbJI/AAAAAAAAA9c/DKiY-fexYDc/s1600-h/Trying+to+fly+(2),40x60,color+etching,aquatint.2003.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 302px; height: 400px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sb-1l2gvbJI/AAAAAAAAA9c/DKiY-fexYDc/s400/Trying+to+fly+(2),40x60,color+etching,aquatint.2003.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5314165747213102226" /></a><br />Birutë Zokaitytë. 2003. <em>Trying to fly (2)</em>. <br />Color etching, aquatint, 40 cm x 60 cm.<br />Courtesy of the artist. At CCC.</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sb-2nmMvoEI/AAAAAAAAA98/-YUlKBM_OvI/s1600-h/Perfection,62x62,soft+ground.2009.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 360px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sb-2nmMvoEI/AAAAAAAAA98/-YUlKBM_OvI/s400/Perfection,62x62,soft+ground.2009.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5314166876705628226" /></a><br />Birutë Zokaitytë. 2009. <em>Perfection</em>. <br />Soft ground, 62 cm x 62 cm.<br />Courtesy of the artist. At CCC.</div>Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com0tag:blogger.com,1999:blog-5228675619538286159.post-44822485667970355692009-03-12T15:16:00.038-05:002009-03-12T17:34:31.586-05:00The Printmaking Process: Pasta Machine Printing at Lillstreet Art CenterThis winter I’ve been taking the <em>Intermediate / Advanced Printmaking Workshop</em> at <a href="http://www.lillstreet.com/"><strong>Lillstreet Art Center</strong></a> in the <a href="http://www.hummingbirdprint.com/"><strong>Hummingbird Press Studios</strong></a>. We’ve been working mainly with the etching process, which involves drawing on a protected metal plate, immersing the plate in a chemical bath to “etch” or cut the drawing into the plate, cleaning and then inking the plate, and, finally, printing on paper. <br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbl1BiSWqZI/AAAAAAAAA40/Gp_nr-MUw9k/s1600-h/Blog+01+Printmaking+Class.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbl1BiSWqZI/AAAAAAAAA40/Gp_nr-MUw9k/s400/Blog+01+Printmaking+Class.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5312405904704317842" /></a><br />Instructor Julian (left) and students Maya and George<br />working at the print table</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sbl1BOiGvEI/AAAAAAAAA4s/hmFCb_66wCU/s1600-h/Blog+02+Printmaking+Class+2.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sbl1BOiGvEI/AAAAAAAAA4s/hmFCb_66wCU/s400/Blog+02+Printmaking+Class+2.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5312405899401673794" /></a><br />Julian helping Maya (turning the press wheel) with her <br />chine collé etching (putting Japanese paper on a print)</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbl1AzlwreI/AAAAAAAAA4k/Hyk8B_ElsG8/s1600-h/Blog+03+Printmaking+Class+2a.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbl1AzlwreI/AAAAAAAAA4k/Hyk8B_ElsG8/s400/Blog+03+Printmaking+Class+2a.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5312405892169248226" /></a><br />Examining the print</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbl38oqtsBI/AAAAAAAAA48/eItsRMMXt3k/s1600-h/Blog+04+Printmaking+Class+3.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 324px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbl38oqtsBI/AAAAAAAAA48/eItsRMMXt3k/s400/Blog+04+Printmaking+Class+3.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5312409119052640274" /></a><br />Student work this semester (left to right)<br /><em>Light, No Starch</em> by <a href="http://www.iun.edu/~enggrb/art/"><strong>George Bodmer</strong></a><br /><em>The Magician</em> by Amy A. Rudberg<br /><em>Organic Object Series</em> by <a href="http://mayadurham.com"><strong>Maya Durham</strong></a><br /><em>Goddess Series</em> by Diana Kast<br /></div><br /><br />Our instructor, Julian Cox, who is an artist, printmaker, and director of <a href="http://www.onehorsepress.blogspot.com/"><strong>One Horse Press</strong></a> (the printmaking department of Evanston Art Center), has lived and worked in the Chicago area for the past 20 years. He teaches printmaking classes at One Horse Press and the Lillstreet Art Center. Today, he demonstrated printing with a hand-cranked pasta machine. He suspects he may be the very first person to have ever printed with a pasta machine. <br /><br /><h3>Printing with a Pasta Machine</h3><br /><ul><strong>Materials</strong>:<br /><br />- Hand-cranked pasta machine (Imperia brand or whatever is available)<br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sbl9HNY54jI/AAAAAAAAA6M/SaZ_Kn4wsTQ/s1600-h/Blog+05+Pasta+machine.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sbl9HNY54jI/AAAAAAAAA6M/SaZ_Kn4wsTQ/s400/Blog+05+Pasta+machine.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5312414798266884658" /></a><br />Clamp the pasta machine to a flat surface.</div><br /><br />- Soft, resilient printmaking paper (Graphic Chemical heavyweight paper or Rives BFK), measuring about 4¾ inches by 5½ inches<br /><br />- Felt pad, 1/16 inch (obtained from a printmaking supplier or a felt blanket used under a Christmas tree)<br /><br />- Etching ink (tube of Renaissance Black Etching Ink or similar ink obtained from a printmaking supplier)<br /><br />- Several small etched plates that will fit in your pasta machine (about 2½ inches long by 3 inches wide). Copper or zinc plates are generally used.</ul><br /><br /><ul><strong>Steps</strong>:<br /><br />1. Tear paper to the correct size and soak in water for at least 10 minutes.<br /><br />2. Crank the felt about 1 inch into the machine.<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbl9GXFrJqI/AAAAAAAAA6E/x7ggaDXxCug/s1600-h/Blog+06+Insert+felt.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 267px; height: 400px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbl9GXFrJqI/AAAAAAAAA6E/x7ggaDXxCug/s400/Blog+06+Insert+felt.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5312414783690712738" /></a></div><br /><br />3. To test embossment, set the machine to No. 3 to start. Put the etched plate on top of a piece of dry paper, and then put the layers on the felt (plate facing you) and run them through the machine. Push the layers through the rollers with one hand as you crank the machine.<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbl9GdIXhMI/AAAAAAAAA58/jXWW0ZiHVz8/s1600-h/Blog+07++Adjust+the+setting.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 267px; height: 400px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbl9GdIXhMI/AAAAAAAAA58/jXWW0ZiHVz8/s400/Blog+07++Adjust+the+setting.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5312414785312621762" /></a><br />Use setting No. 3 to start<br />and adjust as necessary.</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sbl9GF3ZmUI/AAAAAAAAA50/8_L_I0A3qZ8/s1600-h/Blog+08+Put+plate+image+down+on+the+paer.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sbl9GF3ZmUI/AAAAAAAAA50/8_L_I0A3qZ8/s400/Blog+08+Put+plate+image+down+on+the+paer.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5312414779067439426" /></a><br />Put the image side of the plate down and<br />centered closer to one end of the paper.</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sbl9F3yfSNI/AAAAAAAAA5s/XLIMNtc0HV4/s1600-h/Blog+09+Put+the+layers+in+the+machine.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sbl9F3yfSNI/AAAAAAAAA5s/XLIMNtc0HV4/s400/Blog+09+Put+the+layers+in+the+machine.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5312414775288744146" /></a><br />Crank the machine and start feeding the end with<br />the plate closer to one end of the paper.<br />Push the layers down with your other hand.</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbl7uoNZtII/AAAAAAAAA5k/aKFGWm8f51U/s1600-h/Blog+10+Test+embossing.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 372px; height: 400px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbl7uoNZtII/AAAAAAAAA5k/aKFGWm8f51U/s400/Blog+10+Test+embossing.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5312413276458038402" /></a><br />Write notes on your embossed paper.</div><br /><br />4. Once the desired embossment is achieved, ink and wipe your etching plate, and blot the printing paper.<br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sbl7uCYl2vI/AAAAAAAAA5c/iqIgEPAx13U/s1600-h/Blog+11+Ink+the+plate.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sbl7uCYl2vI/AAAAAAAAA5c/iqIgEPAx13U/s400/Blog+11+Ink+the+plate.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5312413266304424690" /></a><br />Ink the plate with black etching ink and wipe<br />excess ink with a tarlatan (stiffened fabric).</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sbl7tk9nzWI/AAAAAAAAA5U/MO4n4fd6rJs/s1600-h/Blog+12+After+soaking,+blot+the+paper.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sbl7tk9nzWI/AAAAAAAAA5U/MO4n4fd6rJs/s400/Blog+12+After+soaking,+blot+the+paper.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5312413258406677858" /></a><br />Blot the soaked paper between blotting paper with<br />a rolling pin or use towels.</div><br /><br />5. Repeat the process of feeding the layers of plate (image side down, plate facing you, and closer to one end of the paper)and blotted paper through the machine.<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbl7tTJX9cI/AAAAAAAAA5M/Cplf9QVnBBU/s1600-h/Blog+13+Put+inked+plate+on+paper+and+insert+in+the+machine.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbl7tTJX9cI/AAAAAAAAA5M/Cplf9QVnBBU/s400/Blog+13+Put+inked+plate+on+paper+and+insert+in+the+machine.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5312413253624133058" /></a><br />Be ready to catch the plate and printed image as <br />they are released from the machine.</div><br /><br />6. Tear off any excess paper. The printed image can be dried between sheets of paper with a weight on top so the print dries flat.<br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sbl7tDoyIJI/AAAAAAAAA5E/DZ-VEEDPMu0/s1600-h/Blog+14+Plates+and+prints.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sbl7tDoyIJI/AAAAAAAAA5E/DZ-VEEDPMu0/s400/Blog+14+Plates+and+prints.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5312413249460904082" /></a><br />Plates on top and prints below</div><br /></ul><br /><br />Julian is the head juror for <em>Hand Made Prints</em>, a show presented by One Horse Press, on Saturday, March 28th, running concurrently with the Southern Graphics Council (SGC) Conference. One Horse Press is located at the Noyes Cultural Arts Center, 927 Noyes Street, Evanston, IL. Gallery hours: Monday-Sunday, 10 a.m. to 6 p.m. Phone: 847.448.8260.<br /><br />Tom Lucas, the founder and director of Hummingbird Press, is part of the group exhibition <em><a href="http://lillstreet.hostasaurus.com/mm5/gallery.htm"><strong>The Ceramic Print</strong></a></em>, running concurrently with the SGC Conference, in the Lillstreet Gallery at 4401 N. Ravenswood Avenue in Chicago. Office/Gallery Hours: M-Th:10-7:30 p.m., F-Sa:10-6 p.m., Su:10-5 p.m. Phone: 773.769.4226.<br /><br /><br />Photo Credit: All photos by Amy A. Rudberg unless otherwise indicated.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com2tag:blogger.com,1999:blog-5228675619538286159.post-45207665360825990392009-03-11T21:01:00.000-05:002009-03-11T21:02:14.870-05:00The Printmaking Process: Jennifer ThomasAs part of my research on printmaking, I visit artists working in the studio setting and ask them about their materials, methods, and practices. Some of these artists are participating in the <a href="http://www2.colum.edu/sgc/"><em><strong>Southern Graphics Council Conference: Global Implications</strong></em></a> in Chicago from March 25th to 29th. Columbia College of Chicago will be hosting the conference this year.<br /><br />I went to visit Jennifer Thomas' studio in the Butcher Shop Building on West Lake Street in Chicago. Jennifer teaches graphic design at the International Academy of Design and Technology in Chicago and spends about ten hours a week in her studio. She shared her techniques for screenprinting with pulp as well as inaugurating the printing process on her new-old Charles Brand etching press, manufactured about the 1930s.<br /><br /><h4>Screenprinting with Pulp</h4><br />Jennifer will be <a href="http://www2.colum.edu/sgc/Demos.html">demonstrating screen printing with pulp</a> at Columbia College as part of the SGC Conference. Pulp printmaking involves creating pulp from finely beaten cotton paper, adding water and special pigments to the pulp, creating an image on a silk screen, putting the screen on a sheet of handmade paper, and then using a garden sprayer to spray the pulp over the screen. The end result is a highly textured image on paper. <br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbar5tlUYqI/AAAAAAAAAz8/pxV5EDflpLI/s1600-h/Blog01+pulp_print1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 266px; height: 400px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbar5tlUYqI/AAAAAAAAAz8/pxV5EDflpLI/s400/Blog01+pulp_print1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5311621818507092642" /></a><br />Putting a screen of a bird image<br />on handmade paper.<br />Photo credit: Jennifer Thomas.</div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbar5134XtI/AAAAAAAAA0E/neEbuYoadsE/s1600-h/Blog02+pulp_print3.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 266px; height: 400px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbar5134XtI/AAAAAAAAA0E/neEbuYoadsE/s400/Blog02+pulp_print3.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5311621820732432082" /></a><br />Spraying liquefied and pigmented<br />pulp from a garden sprayer.<br />Photo credit: Jennifer Thomas</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sbar56nBpxI/AAAAAAAAA0M/Fbwa7jEuBUs/s1600-h/Blog03+pulp_print7.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 266px; height: 400px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sbar56nBpxI/AAAAAAAAA0M/Fbwa7jEuBUs/s400/Blog03+pulp_print7.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5311621822003914514" /></a><br />Removing the screen and <br />inspecting the image.<br />Photo credit: Jennifer Thomas.</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sbar6Vi3v_I/AAAAAAAAA0U/DJ2w8cYr1BY/s1600-h/Blog04+Pulp+paper+screening.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sbar6Vi3v_I/AAAAAAAAA0U/DJ2w8cYr1BY/s400/Blog04+Pulp+paper+screening.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311621829234245618" /></a><br />Samples of experimental images<br />using different sprayers.</div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbar67YQJGI/AAAAAAAAA0c/ND1HmCly9Co/s1600-h/Blog05+pulp_prints_withletterpress.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 266px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbar67YQJGI/AAAAAAAAA0c/ND1HmCly9Co/s400/Blog05+pulp_prints_withletterpress.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5311621839390254178" /></a><br />Jennifer Thomas. 2009. <em>She longed to travel.</em><br /><em>He should never have let go.</em> Screenprinted <br />pulp and letter press on handmade paper.<br />Photo credit: Jennifer Thomas.</div><br /><br /><h4>Etching and Chine Collé</h4><br />Jennifer said she bought her press on eBay and on the day I was visiting, she planned to use her etching press for the first time using her etched image of a trailer on a zinc plate. Etching usually involves using an acid or chemical to "etch" or cut into the unprotected parts of a metal surface. In chine collé, usually Japanese paper or light paper is bonded to a heavier paper in the printing process.<br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SbauP7eV59I/AAAAAAAAA0s/4wMsyq3ujZ8/s1600-h/Blog+07+Trailer+Etching+on+Zinc.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SbauP7eV59I/AAAAAAAAA0s/4wMsyq3ujZ8/s400/Blog+07+Trailer+Etching+on+Zinc.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311624399216306130" /></a><br />Etching of <em>Trailer #10</em> on a zinc plate by <br />Jennifer Thomas. She put a ground (for protection)<br />on the plate, drew the image with a metal tool, put<br />the plate in an acid bath (to cut the image into<br />the plate), removed the plate, and removed the ground.</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SbauQLtpLtI/AAAAAAAAA00/c_SpewaYF2s/s1600-h/Blog+08+Inking+Plate.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SbauQLtpLtI/AAAAAAAAA00/c_SpewaYF2s/s400/Blog+08+Inking+Plate.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311624403575451346" /></a><br />Inking the plate with black etching ink</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SbauQi7yQNI/AAAAAAAAA08/4b_sH7G1Oes/s1600-h/Blog+09+Using+Tarlatan+on+Plate.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SbauQi7yQNI/AAAAAAAAA08/4b_sH7G1Oes/s400/Blog+09+Using+Tarlatan+on+Plate.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311624409808781522" /></a><br />Using a tarlatan (stiff fabric) to wipe off ink.<br />The ink goes into the lines of the drawing.</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SbauQwe91fI/AAAAAAAAA1E/sh1DHjGd4mc/s1600-h/Blog+10+Printing.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SbauQwe91fI/AAAAAAAAA1E/sh1DHjGd4mc/s400/Blog+10+Printing.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311624413446002162" /></a><br />She put the plate image side up, put paper on top <br />of the plate, and hand cranked the press to send <br />everything through the press.</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sbav3iPrZgI/AAAAAAAAA1M/EKrLHC05S7M/s1600-h/Blog+11+First+Print.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sbav3iPrZgI/AAAAAAAAA1M/EKrLHC05S7M/s400/Blog+11+First+Print.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311626179150308866" /></a><br />Plate (top) and first print (below)</div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbav4LY7EnI/AAAAAAAAA1U/B_ihE3qNR_I/s1600-h/Blog+12+Cutting+Paper.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbav4LY7EnI/AAAAAAAAA1U/B_ihE3qNR_I/s400/Blog+12+Cutting+Paper.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311626190194938482" /></a><br />For the chine collé process, she first cuts Japanese <br />kozo paper for areas she wants to add color to<br />on the print. She uses the plate as a model.</div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbav4aCCsII/AAAAAAAAA1c/JFVpqNWjj6s/s1600-h/Blog+13+Dampening+Paper.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbav4aCCsII/AAAAAAAAA1c/JFVpqNWjj6s/s400/Blog+13+Dampening+Paper.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311626194125500546" /></a><br />Spraying the kozo paper with water and later<br />adding methylcellulose as a glue</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbaw6sKw65I/AAAAAAAAA2M/EqeFaTpuyWY/s1600-h/Blog+14+Chine+Colle.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 267px; height: 400px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbaw6sKw65I/AAAAAAAAA2M/EqeFaTpuyWY/s400/Blog+14+Chine+Colle.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311627332865289106" /></a><br />The pre-pasted kozo paper is laid<br />glue side up on the plate. The<br />printed image is put on top of<br />the plate and everything is sent<br />through the press. Plate (top),<br />print (middle), and chine collé.</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbav45wz5cI/AAAAAAAAA1k/FkpuYpjXsAk/s1600-h/Blog+15+Trailer3mint.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 301px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbav45wz5cI/AAAAAAAAA1k/FkpuYpjXsAk/s400/Blog+15+Trailer3mint.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5311626202643162562" /></a><br />Jennifer Thomas. 2008. <em>Trailer #3</em>. <br />Etching with aquatint and chine collé.</div><br /><br /><h4>Fun and Games</h4><br />Jennifer will be discussing and playing with her board game / artist's book <em>I Do (I Don't)</em> at the SGC Conference on Saturday, March 28th.<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbav4xf0aZI/AAAAAAAAA1s/4v6HnH0-VI8/s1600-h/Blog+16+Cake.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 267px; height: 400px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbav4xf0aZI/AAAAAAAAA1s/4v6HnH0-VI8/s400/Blog+16+Cake.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5311626200424409490" /></a><br />Jennifer Thomas. 2008. <br /><em>I Do (I Don't)</em>. <br />Handmade paper and letterpress<br />printing. Photo credit: Jennifer Thomas. </div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SbawLZnoMhI/AAAAAAAAA10/Z3iM9So_1pY/s1600-h/Blog+17+openboards.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 267px; height: 400px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SbawLZnoMhI/AAAAAAAAA10/Z3iM9So_1pY/s400/Blog+17+openboards.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5311626520432226834" /></a><br />Jennifer Thomas. 2008. <br /><em>I Do (I Don't)</em>. <br />Open game board. Handmade paper<br />and letterpress printing. <br />Photo credit: Jennifer Thomas. </div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SbawLvZYJ_I/AAAAAAAAA18/Swy37Px91ho/s1600-h/Blog+18+closeup.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 267px; height: 400px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SbawLvZYJ_I/AAAAAAAAA18/Swy37Px91ho/s400/Blog+18+closeup.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5311626526278035442" /></a><br />Jennifer Thomas. 2008. <br /><em>I Do (I Don't)</em>, detail.<br />Handmade paper and letterpress<br />printing. Photo credit: Jennifer Thomas. </div><br /><br />For more information on Jennifer Thomas and her art, go to <a href="http://www.etsy.com/shop.php?user_id=57454"><strong>Veronica Press on http://www.etsy.com</strong></a>.<br /><br />Photo Credit: All photos by Amy A. Rudberg unless otherwise indicated.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com0tag:blogger.com,1999:blog-5228675619538286159.post-67470753194205282052009-03-11T09:03:00.001-05:002010-07-28T20:39:43.618-05:00The Printmaking Process: Is Polaroid Transfer A Lost Art?As long as there is Fujifilm, the Polaroid transfer image process is not dead, just renamed -- Polaroid / Fuji transfer or Fujiroid(?) transfer. Since Polaroid is no longer making peel-apart film, people have turned to Fujifilm. <br /><br />There are two types of transfer processes using peel-apart film: image transfer using the film back (the part you would throw away) and emulsion lift (lifting off the entire developed-image along with the chemicals from the paper). <br /><br />I had an opportunity to do a Polaroid / Fujifilm workshop at <a href="http://www.edhinkleystudio.com/"><strong>Ed Hinkley's Studio</strong></a>, where I also take a watercolor class. We used both Polaroid and Fujifilm so people could see the differences in the techniques and the results. Using the Daylab and Daylab Copier, the Polaroid transfer compared to the Fujifilm has more subtle tones, whereas the Fujifilm has brighter hues. As for the emulsion lifts, the Polaroid lift is more ephemeral, whereas the Fujifilm looks and handles more like a decal. One film is not necessarily better than the other, just different. Note that each transfer or lift, with its own individual marks, is distinct and cannot be duplicated.<br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbb1mgFctlI/AAAAAAAAA2U/gfxOWvU41V4/s1600-h/Polaroid+Transfer+Sailboat.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 280px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbb1mgFctlI/AAAAAAAAA2U/gfxOWvU41V4/s400/Polaroid+Transfer+Sailboat.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5311702852326700626" /></a><br />Polaroid Transfer of Sailboat. <br />Slide image copied to Polaroid film using Daylab.</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbb1mxtvR0I/AAAAAAAAA2c/407S9p8KS_Y/s1600-h/Polaroid+Emulsion+Sailboat.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 270px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbb1mxtvR0I/AAAAAAAAA2c/407S9p8KS_Y/s400/Polaroid+Emulsion+Sailboat.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5311702857059092290" /></a><br />Polaroid Emulsion Lift of Sailboat. <br />Slide image copied to Polaroid film using Daylab.</div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbb1nIEHtFI/AAAAAAAAA2k/qq40-DV4ixQ/s1600-h/50+Fuji+Transfer.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 280px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbb1nIEHtFI/AAAAAAAAA2k/qq40-DV4ixQ/s400/50+Fuji+Transfer.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5311702863058547794" /></a><br />Fuji Transfer of Objects on Daylab Copier</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbb1nfPZ5oI/AAAAAAAAA2s/kdAZnj9q9ZY/s1600-h/Fuji+Emulsion.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 269px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbb1nfPZ5oI/AAAAAAAAA2s/kdAZnj9q9ZY/s400/Fuji+Emulsion.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5311702869279893122" /></a><br />Fuji Emulsion Lift of Objects on Daylab Copier</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SbfC5gO96pI/AAAAAAAAA4M/SQPa9glTkgc/s1600-h/Fuji+Photo+of+Ed+and+Marie.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SbfC5gO96pI/AAAAAAAAA4M/SQPa9glTkgc/s400/Fuji+Photo+of+Ed+and+Marie.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311928578667834002" /></a><br />Ed and student Marie-Pier.<br />Fujifilm in Polaroid Camera</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SbfC59b11rI/AAAAAAAAA4U/ICzHGleUzIg/s1600-h/Fuji+Transfer+of+Ed+and+Marie.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 305px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SbfC59b11rI/AAAAAAAAA4U/ICzHGleUzIg/s400/Fuji+Transfer+of+Ed+and+Marie.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5311928586506458802" /></a><br />Fujifilm Transfer of Ed and student <br />Marie-Pier. Fujifilm in Polaroid Camera.</div><br /><br /><h3>The Transfer Process</h3><br /><br />We used the <a href="http://www.fujifilmusa.com/shared/bin/CableRelease_May_2008_CR08.pdf"><strong>transfer process</strong></a> described on the Fujifilm website, which involves pulling apart the film in a "dark box" so that the film is not exposed in the light. Once the film is pulled apart, you press the chemical backing (not the positive image) to paper.<br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sbb5uepQK4I/AAAAAAAAA20/lq0eTtopnRw/s1600-h/10+Daylab+Copier.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sbb5uepQK4I/AAAAAAAAA20/lq0eTtopnRw/s400/10+Daylab+Copier.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311707387425467266" /></a><br />Objects put on the glass of the Daylab Copier</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sbb5uRXLjgI/AAAAAAAAA28/5M1KRegcKoc/s1600-h/20+Fuji+film+from+Daylab+Copier.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 291px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sbb5uRXLjgI/AAAAAAAAA28/5M1KRegcKoc/s400/20+Fuji+film+from+Daylab+Copier.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5311707383860006402" /></a><br />Sample image of objects copied to Fujifilm<br />in Daylab Copier</div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbb5uoRp9QI/AAAAAAAAA3E/EFV7Mob14uk/s1600-h/30+Remove+from+darkroom+and+squeegee+on+paer.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/Sbb5uoRp9QI/AAAAAAAAA3E/EFV7Mob14uk/s400/30+Remove+from+darkroom+and+squeegee+on+paer.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311707390010848514" /></a><br />Marie-Pier removed the Fujifilm backing, <br />clipped on paper, from the dark box and<br />is now squeegeeing the image on paper.</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SbcMDhbi3WI/AAAAAAAAA4E/xuRI65U4X4c/s1600-h/40+Apply+vaseline+and+rub+image.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SbcMDhbi3WI/AAAAAAAAA4E/xuRI65U4X4c/s400/40+Apply+vaseline+and+rub+image.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311727540159831394" /></a><br />Marie-Pier rubbing Vaseline on the surface</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbb5vMtGDfI/AAAAAAAAA3U/inKbVlr1LuE/s1600-h/50+Fuji+Transfer.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 280px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbb5vMtGDfI/AAAAAAAAA3U/inKbVlr1LuE/s400/50+Fuji+Transfer.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5311707399789612530" /></a><br />Finished Fujifilm transfer</div><br /><br /><h3>The Emulsion Lift</h3><br /><br />The emulsion lift process involves soaking the Polaroid or Fujifilm developed-image in hot water, lifting off the image along with the chemicals from the paper backing, and putting the image on paper.<br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbb-flok7UI/AAAAAAAAA38/dLVbUaMLbOY/s1600-h/01+Put+photo+in+hot+water+and+peel+off+image.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbb-flok7UI/AAAAAAAAA38/dLVbUaMLbOY/s400/01+Put+photo+in+hot+water+and+peel+off+image.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311712629161782594" /></a><br />Put the Fujifilm developed-image in hot water <br />and peel off the image from the paper backing.</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbb-fJLWxiI/AAAAAAAAA30/1WYE-t5ezBY/s1600-h/02+Put+image+in+cold+water.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbb-fJLWxiI/AAAAAAAAA30/1WYE-t5ezBY/s400/02+Put+image+in+cold+water.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311712621523027490" /></a><br />Put the emulsion lift in cold water.</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sbb-eiFiSkI/AAAAAAAAA3s/2Z7NuDRnWBk/s1600-h/03+Put+matte+medium+on+paper.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/Sbb-eiFiSkI/AAAAAAAAA3s/2Z7NuDRnWBk/s400/03+Put+matte+medium+on+paper.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311712611029633602" /></a><br />Put matte medium on the paper as a glue.</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbb-eAzqkYI/AAAAAAAAA3k/eKukjW8sr-c/s1600-h/04+Put+image+on+paper.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/Sbb-eAzqkYI/AAAAAAAAA3k/eKukjW8sr-c/s400/04+Put+image+on+paper.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311712602096308610" /></a><br />Transfer the emulsion lift to the paper<br />and add more matte medium on the surface.</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sbb-d-gCCNI/AAAAAAAAA3c/HnpbGlpqJ-8/s1600-h/05+Fuji+Emulsion+Digital+Photo+on+left.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/Sbb-d-gCCNI/AAAAAAAAA3c/HnpbGlpqJ-8/s400/05+Fuji+Emulsion+Digital+Photo+on+left.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5311712601477089490" /></a><br />Marie-Pier's original digital photo of Moroccan rugs,<br />on the left, and the Fuji emulsion lift on the right.</div><br /><br /><br />Photo credit: All photos by Amy A. Rudberg unless otherwise indicated.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com4tag:blogger.com,1999:blog-5228675619538286159.post-6501654279927513502009-02-28T16:58:00.046-06:002009-02-28T20:56:05.075-06:00The Artist's Studio: Judith RothAs part of my research on artists' studios, I visit artists working in the studio setting and ask them about their materials, methods, practices, and approach to life. The emphasis of these forays is to examine the studio setting and how the artist functions and creates art in that space.<br /><br />It just so happened that on the day I was going to visit Judith Roth at her studio, I had a flat tire, so I had to take a cab to my class at Lillstreet Art Center at Ravenswood and Montrose. After class, I thought about walking to Judith's home / studio, located at Irving Park Road and Larchmont, about a quarter of a mile away. I called Judith because I couldn't get a cab right away, and she graciously volunteered to pick me up. She drove to her condo building, which was previously a clock-tower factory owned by Bell and Howell. After parking her car in the garage, we walked to the front of the building, took the elevator, and entered her 2500-sf loft space -- divided into her living space and her studio. Looking out from her large windows, I could see a spectacular view of the city skyline in the distance. Entering a doorway with a sign on the door indicating "Employees Only," we were at the entrance of her office / computer area. Another doorway led to her expansive studio space.<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SanEJUEjuLI/AAAAAAAAAys/uwdAeZzy3g4/s1600-h/Blog+Judith+Sitting.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SanEJUEjuLI/AAAAAAAAAys/uwdAeZzy3g4/s400/Blog+Judith+Sitting.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5307989300118534322" /></a></div><br /><br />Near the windows, on the south wall, there was a pile of sketch books on a small table. Judith said she likes to do graphite sketches of figures across two pages in these books. Next to the sketching table was a platform for a figure model to sit and pose. Judith set up her bench and taboret to do pastels on paper in front of the platform. On the north wall, Judith set up a table with brushes and oil paints. In the middle of the studio, she has a painting table and three easels for her canvases. The rest of the space consists of storage area for a lifetime of work, a sink, and a large bathroom. Although she has a lot of light coming in through the windows from the southern exposure as well as from her studio lights, she said she would like more -- preferably daylight warm / cool flourescent overhead lights -- and a strong, adjustable overhead spotlight above the model stand. She also wants to construct a slightly tilted moveable wall about 6' by 10', on wheels, to tack on large sheets of drawing paper; a larger model stand; and a Victorian sofa.<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SanEJMMUnBI/AAAAAAAAAyk/RSDQ3u96HsA/s1600-h/Blog+Graphite.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SanEJMMUnBI/AAAAAAAAAyk/RSDQ3u96HsA/s400/Blog+Graphite.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5307989298003614738" /></a></div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SanFFTjdhxI/AAAAAAAAAy8/8jkSkT7bC_M/s1600-h/Blog+Pastel.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SanFFTjdhxI/AAAAAAAAAy8/8jkSkT7bC_M/s400/Blog+Pastel.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5307990330771867410" /></a></div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SanEIY5W6GI/AAAAAAAAAyU/QNZ-Zfloalc/s1600-h/Blog+Brush.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SanEIY5W6GI/AAAAAAAAAyU/QNZ-Zfloalc/s400/Blog+Brush.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5307989284233865314" /></a></div><br /><br />"I just love being here: the ambience of this old building, the size of the space itself and the height; the views of the neighborhood from my windows and being set between two sets of tracks -- the Metra on the east and the Brown Line just to the west -- where I can watch the trains coming and going and see the city itself in the distance while maintaining a neighborhood feeling. It is having the best of both worlds: trains, houses, trees, birds singing in the summer, seeing both the sun rise and set because of the southern exposure's broad panoramic views; fireworks blasting off all over the neighborhood on the fourth of July and New Year's Eve; the world covered in snow on wintry days, and nights all asparkle, seen from my balcony's fourth floor 'penthouse' just high enough to get a great overview, yet low enough to feel in the midst of whatever is going on outside."<br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SanFFDXxR2I/AAAAAAAAAy0/iEASR5AXduQ/s1600-h/Blog+Painting.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SanFFDXxR2I/AAAAAAAAAy0/iEASR5AXduQ/s400/Blog+Painting.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5307990326427862882" /></a></div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SanEIB_ZPyI/AAAAAAAAAyM/F0hylLJQW8c/s1600-h/Blog+3+Paintings.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SanEIB_ZPyI/AAAAAAAAAyM/F0hylLJQW8c/s400/Blog+3+Paintings.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5307989278085168930" /></a></div><br /><br /><blockquote>"I sometimes hire a model here in my studio, sometimes sharing the model fee with one or two other artist friends, but had also been doing much of my work over the years at the Figurative Art League (FAL) in the Noyes Cultural Art Center, Evanston, because they were one of the very few studios offering 3-hour, 4-hour, 12- and 16-hour poses over two-week periods in interesting settings and at a very reasonable rate."<br /><br />"At Noyes I had also shared studio space with portrait artist Richard Halstead for about ten years until I bought my present loft space. However, the sense of community with a group of like-minded artists such as that at Noyes counteracted the isolation of solitary work as well as the expense of hiring and arranging for models. They (the FAL) have recently disbanded after about 30 years, much to my sorrow and sense of loss. They are presently trying to get an article published, describing their history and evolution, since the days when the great figurative painter Fred Berger founded it. This would also be an interesting and important group to document, if only for the historical and archival importance of its existence and now it's passing."</blockquote><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SanHOlbDJzI/AAAAAAAAAz0/sQV-F8MutFk/s1600-h/Young+Man.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 190px; height: 320px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SanHOlbDJzI/AAAAAAAAAz0/sQV-F8MutFk/s400/Young+Man.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5307992689210500914" /></a><br />Judith Roth. <em>Young Man</em>. <br />2008. Oil on canvas, <br />60" x 36".</div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SanHOpKipKI/AAAAAAAAAzs/B8a0Jytq_Rw/s1600-h/Seated+Dancer.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 223px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SanHOpKipKI/AAAAAAAAAzs/B8a0Jytq_Rw/s400/Seated+Dancer.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5307992690215003298" /></a><br />Judith Roth. <em>Seated Dancer with Red <br />Hair</em>. 2006. Pastel on Arches, 32" x 46".</div><br /><br /><blockquote>"I am involved with the precarious balancing of realistic and abstract expression. When successful, they intensify each other, the one drawing you into its illusion of depth, weight, and the raw grace of human form; the other making you dramatically aware of the process of paint and drawing materials being moved about on a two-dimensional surface."<br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SanHENdm3SI/AAAAAAAAAzk/Md5yGlC2lw8/s1600-h/Pink+Blouse.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 240px; height: 315px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SanHENdm3SI/AAAAAAAAAzk/Md5yGlC2lw8/s400/Pink+Blouse.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5307992510980087074" /></a><br />Judith Roth. <em>The Pink Blouse /<br />Marge's Chair</em>. 2007. Oil on<br />canvas, 48" x 36".</div><br /><br />"Sometimes my work is concerned with very controlled modulated tones, carefully and slowly built up with a wide range of graphite sticks and dramatic use of negative or open space. Another body or work was developed in mixed technique, utilizing pastel, chalks, oil crayon, graphite, and turps or wash in various combinations, and in a very free style with strong linear components."<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SanHD3H1RvI/AAAAAAAAAzc/PI0jrg4lkBs/s1600-h/Male+Dancer.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 300px; height: 400px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SanHD3H1RvI/AAAAAAAAAzc/PI0jrg4lkBs/s400/Male+Dancer.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5307992504983176946" /></a><br />Judith Roth. <em>Male Dancer in <br />Yellow-Orange Shirt</em>. 1985. <br />Oil on canvas, 72" x 48".</div><br /><br />"The classical training I received at the Boston Museum School was based on the precept that good drawing is the basis of all art; hence, drawing everyday. Learning the traditions and techniques of the masters – anatomy and perspective; the grinding of our own pigments; preparing rabbit-skin glue, gesso and old painting mediums; stretching, sizing, and priming of canvas; laying of gold leaf; fresco painting – contributed to my love for the traditions of the past, and simultaneously, a struggle to break away from them."<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SanHD7ndY-I/AAAAAAAAAzU/MwEVYsaila0/s1600-h/Lady+with+Book.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 215px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SanHD7ndY-I/AAAAAAAAAzU/MwEVYsaila0/s400/Lady+with+Book.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5307992506189571042" /></a><br />Judith Roth. <em>Lady with Book</em>. 1990.<br />Oil stick and graphite, 29" x 48".</div><br /><br />"Raw edges, the feeling of life and process which exist in an unfinished study; the use of space in which the silence – that which is left unspoken – is allowed to manifest itself as articulately as the completed image – these have become basic elements of my work. The medium and techniques used vary, but most of my work itself deals with the abstract essence of the human form and with its poetic interpretation." </blockquote><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SanHDsuzapI/AAAAAAAAAzM/A0DupYrjr30/s1600-h/Knee+Socks.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 212px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SanHDsuzapI/AAAAAAAAAzM/A0DupYrjr30/s400/Knee+Socks.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5307992502193842834" /></a><br />Judith Roth. <em>Knee Socks</em>. 1990.<br />Oil stick and graphite, 29" x 48".</div><br /><br />Judith has exhibited widely including Butler Institute of American Art, Youngstown, OH; Maier Museum of Art, Lynchburg, VA; National Academy of Design, NY; J. Rosenthal Fine Arts, Ltd., Chicago. She has a large body of work currently on view at the Berman Center, a women’s health and wellness facility at 211 E. Ontario St. in Chicago. Currently an affiliate member of <a href="http://www.arcgallery.org/member-artists_detail.aspx?mem_id=25"><strong>ARC Gallery</strong></a>, Judith is represented by the <a href="http://www.mapleavenuegallery.com/Judith1.htm"><strong>Maple Avenue Gallery</strong></a> in Evanston, IL, and <a href="http://morphogallery.com/super/?page_id=54"><strong>Morpho Gallery</strong></a> in Chicago.<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SanHDl_S1CI/AAAAAAAAAzE/RJQtL5ckUoE/s1600-h/Equestrian.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 240px; height: 320px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SanHDl_S1CI/AAAAAAAAAzE/RJQtL5ckUoE/s400/Equestrian.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5307992500383962146" /></a><br />Judith Roth. <em>The Equestrian</em>, <br />detail. 2008. Oil on canvas,<br />48" x 24".</div><br /><br /><br />Credits: Art images labeled with the artist's name were provided by the artist, and all other photos were provided by Amy A. Rudberg, unless otherwise noted.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com5tag:blogger.com,1999:blog-5228675619538286159.post-15808310484487594492009-02-25T21:27:00.001-06:002009-02-25T21:27:46.290-06:00The Artist's Studio: Martina NehrlingAs part of my research on artists' studios, I visit artists working in the studio setting and ask them about their materials, methods, practices, and approach to life. The emphasis of these forays is to examine the studio setting and how the artist functions and creates art in that space.<br /><br />I drove to the western edge of the Chicago city limits to visit Martina Nehrling, who lives in a two-story house with her husband in the Galewood Park neighborhood. The former owner had converted the garage in the back of the house into a workspace, and Martina and her husband added heat, insulation, and skylights. Martina said during the summer, the garden is filled with flowers and the entrance to the studio (on the south wall) has ivy-filled trellises, now bare. <br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SaWjqsG4t_I/AAAAAAAAAwk/8pv1z-2Dzoc/s1600-h/Blog+Door.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SaWjqsG4t_I/AAAAAAAAAwk/8pv1z-2Dzoc/s400/Blog+Door.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5306827689715873778" /></a></div><br /><br />Martina uses the 400-sf space as her studio, where she has two desks, small tables, chairs, a sofa, lamps, a ladder, an easel, shelving, storage space, and miscellaneous supplies and equipment. The north wall is a large expanse of space, where Martina hangs her ongoing or newly completed work (<em>Garden Drink</em>, below, was completed in 2008 and measures approximately 4 feet high by 12 feet wide).<br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SaWlWLhN0NI/AAAAAAAAAw8/3_YWGxhK2ao/s1600-h/Blog+New+Work.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SaWlWLhN0NI/AAAAAAAAAw8/3_YWGxhK2ao/s400/Blog+New+Work.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5306829536393810130" /></a></div><br /><br />On the east wall, Martina has sculptured substrates for painting, and her art materials and supplies are arranged neatly on her desk and on shelves. She said she's experimenting with relief sculptures and painting.<br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SaWl0HDDLKI/AAAAAAAAAxE/-Ozlf3K9LKw/s1600-h/Blog+Sculpture.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SaWl0HDDLKI/AAAAAAAAAxE/-Ozlf3K9LKw/s400/Blog+Sculpture.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5306830050589617314" /></a></div><br /><br />On the day of my visit, Martina was working on a commission for a client who has a home in a sunny climate. As she climbed up her ladder to work on the painting, which measures about 9 feet high by 5 feet wide, she said the painting has to do with the rhythms and progress of time. The finished painting will be in an area with a view of water, so she wanted to provide a sense of motion like the movement of waves, palm fronds swaying in the wind, and lingering clouds in the blue sky. The natural light from the two skylights above seemed to make the brush strokes vibrate on the canvas.<br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SaWkPIpRRTI/AAAAAAAAAws/UfkKMtsBPGw/s1600-h/Blog+Ladder+Painting.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 267px; height: 400px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SaWkPIpRRTI/AAAAAAAAAws/UfkKMtsBPGw/s400/Blog+Ladder+Painting.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5306828315851572530" /></a></div><br /><br />Martina's studio practices: "I’m a morning person so I usually get an early start and tend to work into evening if I can. Preparing canvases (stretching, gessoing), painting, drawing, sketching, and documenting finished work are the main things I do in my studio. Mostly I listen to NPR and sometimes music, but sometimes music can be too directive."<br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SaWoygMfEkI/AAAAAAAAAyE/LRAh9LGcZfo/s1600-h/Through+a+Purple+Patch,+42H+x+252L+in.,+acrylic+on+canvas,+2007,+72+dpi.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 66px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SaWoygMfEkI/AAAAAAAAAyE/LRAh9LGcZfo/s400/Through+a+Purple+Patch,+42H+x+252L+in.,+acrylic+on+canvas,+2007,+72+dpi.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5306833321515225666" /></a><br />Martina Nehrling. 2007. <em>Through a Purple Patch</em>. <br />Acrylic on canvas, 42" x 252".</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SaWoyqvV07I/AAAAAAAAAx8/cVAHg-otLeo/s1600-h/Throes,+acrylic+on+canvas,+30+H+x+30+L+in.,+2008+-+72+dpi.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 396px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SaWoyqvV07I/AAAAAAAAAx8/cVAHg-otLeo/s400/Throes,+acrylic+on+canvas,+30+H+x+30+L+in.,+2008+-+72+dpi.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5306833324345775026" /></a><br />Martina Nehrling. 2008. <em>Throes</em>. <br />Acrylic on canvas, 30" x 30".</div><br /><br /><blockquote>"When I paint I am sounding out elements of my everyday and I am captivated by the pulsation of such disparate events, information, ideas and things. In our cultural landscape of abundant consumer goods and the privilege/burden of access to information, I create compositions of accumulation about that beautiful and horrific, relentless clash; at once the weight and the flimsiness of daily life, both the inspiring and the mundane." <br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SaWomxj6fKI/AAAAAAAAAx0/IaE9ZquhE4c/s1600-h/Susurrus,+18+H+x+24+L+in.,+acrylic+on+canvas,+2008+-+72dpi.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 299px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SaWomxj6fKI/AAAAAAAAAx0/IaE9ZquhE4c/s400/Susurrus,+18+H+x+24+L+in.,+acrylic+on+canvas,+2008+-+72dpi.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5306833120018463906" /></a><br />Martina Nehrling. 2008. <em>Susurrus</em>. <br />Acrylic on canvas, 18" x 24".</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SaWom3ynjXI/AAAAAAAAAxs/gpYB9akjlQA/s1600-h/In+Waves,+acrylic+on+canvas,+36+H+x+48+L+in.,+2008+-+72+dpi.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 302px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SaWom3ynjXI/AAAAAAAAAxs/gpYB9akjlQA/s400/In+Waves,+acrylic+on+canvas,+36+H+x+48+L+in.,+2008+-+72+dpi.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5306833121690750322" /></a><br />Martina Nehrling. 2008. <em>In Waves</em>. <br />Acrylic on canvas, 36" x 48".</div><br /><br />"Grouped or tangled together, I use multiple distinct brushstrokes for their graphic directness, but rich color in order to engage and explore its imprecise language. I am utterly seduced by color’s formal complexity while I revel in its emotive slipperiness and enjoy mining its controversial decorativeness. The inextricability of these aspects, unique to color, continually spurs my engagement. Additionally, color is significant to the marked auditory aspect of my painting process. To develop the tenor, tonality and rhythm of a piece, I listen to the spatial relationships and interrelation of color, often combining both fluid and percussive qualities. I use particular color relationships to interrupt or punctuate the tracking of patterns of value and intensity, creating moments of concord and discord, enjoying syncopation and visual rhyming. With color that refuses to be ignored in patterns akin to lists, sentences, or notes, my paintings often operate as lyrical musing, lush celebration, high pitched lament, or raucous rebellion."</blockquote> <br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SaWommwTaNI/AAAAAAAAAxk/w3mtvS9GDNk/s1600-h/Garden+Drunk,+48H+x+144L+in.,+acrylic+on+canvas,+2008+-+72+dpi.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 133px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SaWommwTaNI/AAAAAAAAAxk/w3mtvS9GDNk/s400/Garden+Drunk,+48H+x+144L+in.,+acrylic+on+canvas,+2008+-+72+dpi.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5306833117117638866" /></a><br />Martina Nehrling. 2008. <em>Garden Drunk</em>. <br />Acrylic on canvas, 48" x 144".</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SaWomuasZqI/AAAAAAAAAxc/dgynLb6phio/s1600-h/Crux,+acrylic+on+canvas,+25+H+x+28.5+L,+2008+-+72dpi.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 341px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SaWomuasZqI/AAAAAAAAAxc/dgynLb6phio/s400/Crux,+acrylic+on+canvas,+25+H+x+28.5+L,+2008+-+72dpi.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5306833119174485666" /></a><br />Martina Nehrling. 2008. <em>Crux</em>. <br />Acrylic on canvas, 25" x 28.5".</div><br /><br />Martina's ongoing and recent exhibitions: <em>Clusterf?#*k!</em>, Zg Gallery, Chicago, 2009; <em>Winter Show</em>, Zg Gallery, Chicago, 2009; <em>Through a Purple Patch</em>, solo exhibition, Zg Gallery, Chicago, 2008; <em>Faculty Exhibition</em>, Sonnenschein Gallery, Durand Art Institute, Lake Forest, IL, 2008; <em>Painters & Sculptors Make Prints</em>, Crisp-Ellert Art Museum, St. Augustine, FL; <em>Summer Show</em>, Zg Gallery, Chicago, 2008; <em>Summer Show</em>, Zg Gallery, Chicago, 2007; <em>Echo</em>, solo exhibition, O’Connor Gallery, Dominican University, River Forest, IL, 2006; <em>ArtFutura</em>, Chicago Cultural Center, Chicago, 2006; <em>Bridge Art Fair</em> / Zg Gallery, Miami, FL, 2006; <em>(un)Natural History</em>, Zg Gallery, Chicago, 2006; <em>Faculty Exhibition</em>, Sonnenschein Gallery, Durand Art Institute, Lake Forest, IL, 2006; <em>Art Chicago</em> / Zg Gallery, Chicago, 2006.<br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SaWomQSJLoI/AAAAAAAAAxU/73dRuUmxb5I/s1600-h/Blue+Million,+acrylic+on+canvas,+36H+x+48L+in.,+2008+-+72+dpi.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SaWomQSJLoI/AAAAAAAAAxU/73dRuUmxb5I/s400/Blue+Million,+acrylic+on+canvas,+36H+x+48L+in.,+2008+-+72+dpi.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5306833111085559426" /></a><br />Martina Nehrling. 2008. <em>Blue Million</em>. <br />Acrylic on canvas, 36" x 48".</div><br /><br />For more information on Martina and her art, go to <a href="http://martinanehrling.com/">http://martinanehrling.com</a>.<br /><br /><br />Credits: Art images labeled with the artist's name were provided by the artist, and all other photos were provided by Amy A. Rudberg, unless otherwise noted.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com1tag:blogger.com,1999:blog-5228675619538286159.post-58456565801052537882009-02-12T17:59:00.004-06:002009-02-25T09:19:40.147-06:00The Artist's Studio: Bruce ThornAs part of my research on artists' studios, I visit artists working in the studio setting and ask them about their materials, methods, practices, and approach to life. The emphasis of these forays is to examine the studio setting and how the artist functions and creates art in that space.<br /><br />After my watercolor class, I drove to the 4001 N. Ravenswood building at the corner of Irving Park and Ravenswood to visit artist and printmaker Bruce Thorn at his studio. It was a cold and rainy day, but I was able to find parking near the El (elevated train) on Ravenswood. I entered the building and called Bruce, who then buzzed me in. Rather than taking the stairs, I wanted to use the old elevator, whose capacity was maybe 6 people packed together. I had to pull open two heavy metal gates to get into the elevator and then closed them securely to get the elevator to work. I then went through a door and then a long hallway, where Bruce met me to take me into his studio, which turned out to be very warm and inviting.<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SZSU83liJYI/AAAAAAAAAvE/FblPoBgm_oQ/s1600-h/Blog1+Building.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SZSU83liJYI/AAAAAAAAAvE/FblPoBgm_oQ/s400/Blog1+Building.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5302026434756355458" /></a></div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SZSUcSfnCFI/AAAAAAAAAu8/WvJMDHBuhqI/s1600-h/Blog2+Elevator.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SZSUcSfnCFI/AAAAAAAAAu8/WvJMDHBuhqI/s400/Blog2+Elevator.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5302025875043584082" /></a></div><br /><br />Bruce had finished rehabbing a house for resale at the end of last year and wanted to do his artwork in a studio setting rather than at home, and he found a space that was ideal for him in terms of size, function, comfort, and community. The space is 15' x 55' with three large south-facing windows. The ceiling is 12-ft high, and he has 120 running feet of wall space since the bathroom and slop sink are outside in the hallway. Bruce installed picture rail molding where the walls meet the ceiling, so he can rehang his art work without damaging the walls. The studio contains all hand-built work tables (four), a desk, chairs, a small 90-lb Etan press, two easels (his son Tobey occasionally works in the space), scaffolding, and miscellaneous equipment. <br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SZOfReM7NWI/AAAAAAAAAu0/FBB2wLM49sE/s1600-h/Blog3+Prints+studio+view.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SZOfReM7NWI/AAAAAAAAAu0/FBB2wLM49sE/s400/Blog3+Prints+studio+view.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5301756308859073890" /></a></div><br /><br />Bruce's studio practices: "The idea is to have a work and display space in the same environment, kind of the traditional artists' way. I've learned that the studio can be fully utilized without making a huge mess. Presentation is very important, so I keep it professional. I prefer day light for working because it creates less strain for the eyes, and color seems correct. Sometimes I listen to music, sometimes to the traffic outside the window, often to silence. I keep a guitar around so I can take breaks and musically interact with the visuals. Usually I work about six hours a day. I believe an artist has to be able to work no matter what is going on. If I get tired of painting, I carve linoleum. Art is an engaging activity, and I feel fortunate that I'm able to do such a wonderful thing." <br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SZN4uzeTQxI/AAAAAAAAAuk/4IbMQfBxlCs/s1600-h/Blog5+Painting.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SZN4uzeTQxI/AAAAAAAAAuk/4IbMQfBxlCs/s400/Blog5+Painting.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5301713931831821074" /></a></div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SZOZyA-i9OI/AAAAAAAAAus/u_JxZ_Ag6EE/s1600-h/Blog4+New+work.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SZOZyA-i9OI/AAAAAAAAAus/u_JxZ_Ag6EE/s400/Blog4+New+work.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5301750270880052450" /></a></div><br /><br /><blockquote>"My work with images emphasizes invention and questions ways that we form associations and meanings. The artworks do away with narrative, replacing it with the vocabulary of color, shape, line and movement. Meandering line often serves as the beginning of a process, suggesting forms and interactions. Anthropomorphic, organic and geometric shapes offer multiple, ambiguous interpretations. Simplified visual vocabularies are utilized to enable complex results."<br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SZSaIqjVz9I/AAAAAAAAAvc/Yo9SADCsaYs/s1600-h/hipster.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 313px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SZSaIqjVz9I/AAAAAAAAAvc/Yo9SADCsaYs/s400/hipster.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5302032134974066642" /></a><br />Bruce Thorn. <em>Hipster</em>. 2005. <br />Oil on panel, 24" x 30".</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SZWOLzJLQkI/AAAAAAAAAwU/9SMztS6vdoY/s1600-h/dsc_1097+teenager.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 309px; height: 400px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SZWOLzJLQkI/AAAAAAAAAwU/9SMztS6vdoY/s400/dsc_1097+teenager.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5302300469657027138" /></a><br />Bruce Thorn. <em>Teenager in Love</em>. 2009. <br />Oil on panel, 24" x 18".</div><br /><br />"At first glance, these images appear to be nonobjective abstractions, teeming with enigma. Upon further study, one can discover references to urban and natural environments. Eyes, faces and figures abound. Crowds and sounds of the city converge. Fluid movements, curves, vortexes, color schemes and exquisite details reference the natural world of landscape, ocean and sky. These are objective and subjective abstractions of the world we live in. The message here is about the freedom to imagine and enjoy."<br /><br />"I am attracted to both the microcosmic and the macrocosmic. How much information can be gained from a close reading of details? What coherent, elegant and powerful messages are offered from an overall glance? What is hidden, what is exposed? The images work well from a distance or close up. From a distance, many are simple and graphic. Upon closer viewing, they offer subtle details and rich textures." <br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SZWOL_oT7PI/AAAAAAAAAwM/JlOrZ5aC4W8/s1600-h/dsc_1088+hen+house.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 316px; height: 400px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SZWOL_oT7PI/AAAAAAAAAwM/JlOrZ5aC4W8/s400/dsc_1088+hen+house.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5302300473008844018" /></a><br />Bruce Thorn. <em>Hen House (Picasso's Niece)</em>. 2009. <br />Oil on linen, 34" x 26".</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SZSaOAPLxgI/AAAAAAAAAvk/p4ghKLi_7Kc/s1600-h/dsc_1090+meltdown.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 315px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SZSaOAPLxgI/AAAAAAAAAvk/p4ghKLi_7Kc/s400/dsc_1090+meltdown.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5302032226694448642" /></a><br />Bruce Thorn. <em>Meltdown Man</em>. 2009. <br />Oil on linen, 26" x 34".</div><br /><br />"My work addresses the notion that life confronts us with chaos and that the arts help us to come to terms with this chaos. These artworks encourage contemplation and exploration of conflicting beliefs, assumptions and cognitive processes."</blockquote> <br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SZNaurwzLQI/AAAAAAAAAuU/BxVUWyT_rOY/s1600-h/Blog7+Carving+linoleum.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SZNaurwzLQI/AAAAAAAAAuU/BxVUWyT_rOY/s400/Blog7+Carving+linoleum.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5301680944413093122" /></a></div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SZSaCs9XBOI/AAAAAAAAAvU/0ylXc9tFtjo/s1600-h/walk+in+the+park.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 285px; height: 400px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SZSaCs9XBOI/AAAAAAAAAvU/0ylXc9tFtjo/s400/walk+in+the+park.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5302032032540853474" /></a><br />Bruce Thorn. <em>Walk in the Park</em>. 2004. <br />Linoleum block print, 7" x 5".</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SZSZ8pqEcmI/AAAAAAAAAvM/yeYa3bVVxU8/s1600-h/early+owl.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 276px; height: 400px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SZSZ8pqEcmI/AAAAAAAAAvM/yeYa3bVVxU8/s400/early+owl.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5302031928575423074" /></a><br />Bruce Thorn. <em>Early Owl</em>. 2004. <br />Aquatint etching, 22" x 15".</div><br /><br />Bruce's upcoming and recent exhibitions: <em>Fantasy Exhibition Series</em> and open studio, Bruce Thorn Studio, Chicago, March, 2009; <em>The Artist Project</em>, Chicago, 2007; <em>Abstract Imagism</em>, Corbett vs. Dempsey Gallery, Chicago, 2006; Bruce Thorn and Liz Quisgard, Flaten Art Museum, St. Olaf College, Northfield, MN, 2006.<br /><br />Before our meeting, Bruce had emailed me a press release about celebrating his <em>Fantasy Exhibition Series</em> at his new studio on March 1st. He said the press release -- depicting his art in an upcoming MOMA (Museum of Modern Art) show as well as participating in a Sotheby's auction and a signed photo of Obama standing in front of Bruce's art -- is what he calls a "parody" of the "valuation of artists and their work." In other words, the press release is a "fantasy," but his opening on March 1st is real. Join him at his open studio at 4001 N. Ravenswood on Sunday, March 1st, 1:00 to 6:00 p.m., featuring live boogie woogie piano music by Erwin Helfer.<br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SZNzZv225HI/AAAAAAAAAuc/72eQRuJvoyQ/s1600-h/Blog6+Parody.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SZNzZv225HI/AAAAAAAAAuc/72eQRuJvoyQ/s400/Blog6+Parody.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5301708072525685874" /></a></div><br /><br />For more information on Bruce and his art, go to <a href="http://www.brucethorn.com/">http://www.brucethorn.com</a>.<br /><br /><br />Credits: Art images labeled with the artist's name were provided by the artist, and all other photos were provided by Amy A. Rudberg, unless otherwise noted.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com0tag:blogger.com,1999:blog-5228675619538286159.post-557973129906044242009-02-10T13:16:00.002-06:002009-02-25T09:20:10.868-06:00The Artist's Studio: Sandra PerlowAs part of my research on artists' studios, I visit artists working in the studio setting and ask them about their materials, methods, practices, and approach to life. The emphasis of these forays is to examine the studio setting and how the artist functions and creates art in that space.<br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SY4WuQnvmPI/AAAAAAAAAuE/5I1SaXr40YY/s1600-h/WAVE-AFTER-WAVE-30X22-MARKER-OI.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 301px; height: 400px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SY4WuQnvmPI/AAAAAAAAAuE/5I1SaXr40YY/s400/WAVE-AFTER-WAVE-30X22-MARKER-OI.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5300198795453110514" /></a><br />Sandra Perlow. <em>Wave After Wave</em>. 2008. <br />Oil stick, collage on paper, 30" x 22".</div><br /><br />I took a cab to visit artist Sandra Perlow at her studio at State and Monroe, located in downtown Chicago. When I entered her building, I was greeted by a security person and after I signed in, he called Sandra to let her know that I had arrived. Then I took an elevator to the 4th floor, where I navigated a long hallway to find Sandra's unit on the far east end of the building. Sandra greeted me at the door and led me down a 15-ft foyer to a small seating area, where she had some chairs, a table, a computer on a desk, books on shelves, and storage. Another hallway adjacent to the seating area led to a small bathroom and then expanded into a large space with eastern-facing windows at the far end. This room, making up most of the 1400-sf unit, was clearly her creative space with a kitchenette, counter space, two large working tables, an office chair, storage shelves, and her work-in-process hanging on the walls. Sandra said that 50% of the people in the building owned their condos, and the others were renters (she's an owner). She said she likes the space because it's relatively close to where she lives, it's warm, the lighting is good, there is security, it's off State Street, and it's large enough to accommodate her work.<br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SZHPE79m2MI/AAAAAAAAAuM/SFLGnHWYgv0/s1600-h/Blog+Work+Space.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 276px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SZHPE79m2MI/AAAAAAAAAuM/SFLGnHWYgv0/s400/Blog+Work+Space.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5301245920114301122" /></a><br /><br />Sandra's studio practices: "I work with collage, papers I have painted, found paper or wallpaper, and mixed media on paper. During the week, I usually come to my studio about 9:30 in the morning and work until 4:30 or so. I check the computer and phone messages. I usually don't put everything away. I like to have layers of things lying on the work space. I also like to have my sketchbook out to get my mind moving. Although I usually work on one piece at a time, sometimes I have two going at the same time. If I'm having problems with a piece, I go to work on another project. For inspiration, I listen to music as well as read poetry. I like to travel and visit different cities -- I like the combination of an old city with new buildings. The markings on buildings as well as layers of paint inspire me. State Street, the Palmer House (hotel), and the way people move on the street stimulate my imagination." <br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SY4V2lY45_I/AAAAAAAAAtU/X9bUqP68wCk/s1600-h/Blog+Sketchbook.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SY4V2lY45_I/AAAAAAAAAtU/X9bUqP68wCk/s400/Blog+Sketchbook.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5300197838955276274" /></a></div><br /><br /><blockquote>"When I start a piece, I start from a sketch and then go to my drawer of papers and pull out the ones I need and then put everything on the floor along with my canvas or paper. I start to cut the papers and then glue and iron them to the surface. Then I move the piece to the work table and start to use oil sticks and markers. When that's done, I hang the piece on the wall, and then I paint it with acrylic paints. I erase areas and rework them and then erase and add more oil stick, marks, and paint."<br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SY4T9MsUAlI/AAAAAAAAAs0/pupCvq9WT_s/s1600-h/Blog+Cutting+Paper.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SY4T9MsUAlI/AAAAAAAAAs0/pupCvq9WT_s/s400/Blog+Cutting+Paper.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5300195753561686610" /></a></div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SY4WUpVlpcI/AAAAAAAAAtc/BsP2dOxZxVs/s1600-h/Blog+Work+Table.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SY4WUpVlpcI/AAAAAAAAAtc/BsP2dOxZxVs/s400/Blog+Work+Table.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5300198355411248578" /></a><br /></div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SY4UdSkxmhI/AAAAAAAAAs8/DNUAFl7a0No/s1600-h/Blog+Marker+on+Paper.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SY4UdSkxmhI/AAAAAAAAAs8/DNUAFl7a0No/s400/Blog+Marker+on+Paper.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5300196304896498194" /></a></div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SY4VYIrdg1I/AAAAAAAAAtM/7G9yLnl_nRI/s1600-h/Blog+Painting.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SY4VYIrdg1I/AAAAAAAAAtM/7G9yLnl_nRI/s400/Blog+Painting.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5300197315852469074" /></a></div><br /><br />"My new series is about the interior life of the self. <em>Bending Forward</em> (below) -- Lights come to mind in terms of reflecting surfaces as well as reflecting on life and coming to a decision. Your eyes play tricks on you."</blockquote><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SY4WtnianGI/AAAAAAAAAt0/a_O9-vdgA8s/s1600-h/BENDING-FORWARD-30X40-ACRY.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 301px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SY4WtnianGI/AAAAAAAAAt0/a_O9-vdgA8s/s400/BENDING-FORWARD-30X40-ACRY.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5300198784424909922" /></a><br />Sandra Perlow. <em>Bending Forward</em>. 2008. <br />2008. Acrylic, oil stick on paper, 30" x 40".</div><br /><br /><blockquote>"The new painting on my left (below) is about moving from one place to another, and the painting on my right is about drapery covering a window. I get my ideas from the city -- urban life and architecture."</blockquote><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SY4U6s9w1LI/AAAAAAAAAtE/I1OFeDmBrbU/s1600-h/Blog+New+Paintings2.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SY4U6s9w1LI/AAAAAAAAAtE/I1OFeDmBrbU/s400/Blog+New+Paintings2.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5300196810196833458" /></a></div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SY4WudxUjgI/AAAAAAAAAt8/F7ZdlVpaW9w/s1600-h/RESTING-ON-ITSELF-48-X48-O.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 399px; height: 400px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SY4WudxUjgI/AAAAAAAAAt8/F7ZdlVpaW9w/s400/RESTING-ON-ITSELF-48-X48-O.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5300198798982942210" /></a><br />Sandra Perlow. <em>Resting on Itself</em>. 2008.<br />Oil stick, acrylic on paper, 30" x 22".</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SY4WtV9QXxI/AAAAAAAAAts/X1G7w8BJysU/s1600-h/A-SUDDEN-FLAP-30X22-COLLAGE-OILS.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 308px; height: 400px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SY4WtV9QXxI/AAAAAAAAAts/X1G7w8BJysU/s400/A-SUDDEN-FLAP-30X22-COLLAGE-OILS.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5300198779705646866" /></a><br />Sandra Perlow. <em>A Sudden Flap</em>. 2008.<br />Oil stick, acrylic on paper, 30" x 22". </div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SY4WtdvQulI/AAAAAAAAAtk/-1Xg9ovrjg0/s1600-h/ALL-NIGHT-LONG-42X35-ACRYLIC-OI.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 338px; height: 400px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SY4WtdvQulI/AAAAAAAAAtk/-1Xg9ovrjg0/s400/ALL-NIGHT-LONG-42X35-ACRYLIC-OI.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5300198781794433618" /></a><br />Sandra Perlow. <em>All Night Long</em>. 2008.<br />Oil stick, acrylic, collage on canvas, 50" x 40".</div><br /><br />Sandra's upcoming and recent exhibitions: Solo show in project room, Linda Warren Gallery, Chicago, second week of June, 2009; <em><em>Extra Roomy</em></em>, solo show, Harper College, Palatine, IL, Jan. 20 to Feb. 13, 2009; The Art Center, Highland Park, IL, 2008; Alfedena Gallery, Chicago, 2007; Museum of New Art, Detroit, MI, 2007; Elmhurst College, Elmhurst, IL, 2006. <br /><br />For more about Sandra and her art, go to <a href="http://www.sandraperlow.net/"><strong>http://SandraPerlow.net</strong></a>.<br /><br />Credits: Art images labeled with the artist's name were provided by the artist, and all other photos were provided by Amy A. Rudberg, unless otherwise noted.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com1tag:blogger.com,1999:blog-5228675619538286159.post-87009175568030042352009-02-08T13:21:00.002-06:002009-02-25T09:20:26.576-06:00The Artist's Studio: Sarah KaiserAs part of my research on artists' studios, I visit artists working in the studio setting and ask them about their materials, methods, practices, and approach to life. The emphasis of these forays is to examine the studio setting and how the artist functions and creates art in that space.<br /><br />I drove down to Hyde Park, south of Chicago, to visit Sarah Kaiser, who lives with a family in a large two-story Victorian house built in the 1890s. When I got there, Sarah led me up the stairs to the second floor, and then we went through a doorway and up a narrow staircase to the attic space, which has three rooms, a kitchenette, and a bathroom. She said the family, whom she had known previously as neighbors while she attended the University of Chicago, built the kitchen area and bathroom for her when they decided to rent the space to her. Her studio, located on the southwest end of the space, has a large window that captures the afternoon sun. On the west side, the Green Room (named after the green paint on the walls)has a desk where she works and occasionally draws with the two young girls in the family. Her bedroom, which also has a desk where she draws and does collages, is on the east side of the space.<br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYuHgRFT9uI/AAAAAAAAAqM/19PZepkBDvQ/s1600-h/Blog+Studio.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYuHgRFT9uI/AAAAAAAAAqM/19PZepkBDvQ/s400/Blog+Studio.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5299478374942766818" /></a></div><br /><br />When she's not teaching, Sarah works in her 110-sf studio about 15 hours a week, usually every night and some mornings. She usually draws at the desk in her bedroom, where her ideas are created, and then goes into her studio to paint or put together collages on canvases. While she works, she listens to music, NPR, or books on tape. She uses the cedar chest of drawers to store some of her work and occasionally puts her work up on old pieces of wood scattered around the studio. <br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SYuHC0ZC1nI/AAAAAAAAAqE/JWSgzhX4wc4/s1600-h/Blog+Green+Room.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SYuHC0ZC1nI/AAAAAAAAAqE/JWSgzhX4wc4/s400/Blog+Green+Room.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5299477869024695922" /></a></div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SYt_VPrB68I/AAAAAAAAApk/wXheMWNLwxk/s1600-h/Blog+Bedroom.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SYt_VPrB68I/AAAAAAAAApk/wXheMWNLwxk/s400/Blog+Bedroom.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5299469389492513730" /></a></div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYuAOfGKSTI/AAAAAAAAAp0/SMtrdbI2Qa4/s1600-h/Blog+Collage.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYuAOfGKSTI/AAAAAAAAAp0/SMtrdbI2Qa4/s400/Blog+Collage.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5299470372885383474" /></a></div><br /><br />She believes her work has a significant amount of memorabilia embedded in her images, and she is starting to do more abstract work. While I was there, she was continuing to work on a painting she had started in December about winter. Now she was adding small collages of birds in the white translucent landscape. She also likes to do sketchy comic book panels, which she calls isolated frames out of context, where epic images dominate and people have to analyze them more. She inserts revealing phrases she has heard on public transportation into "bubbles" spoken by western or early 20th-century figures.<br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SYuGc8HSPtI/AAAAAAAAAp8/MViC3ZzV3mw/s1600-h/Blog+Comics.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SYuGc8HSPtI/AAAAAAAAAp8/MViC3ZzV3mw/s400/Blog+Comics.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5299477218262662866" /></a></div><br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYuJpo5lf3I/AAAAAAAAArM/FdOc9lpdx94/s1600-h/threesome.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 384px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYuJpo5lf3I/AAAAAAAAArM/FdOc9lpdx94/s400/threesome.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5299480734978113394" /></a><br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYuJlc5-lNI/AAAAAAAAArE/noW1rHj1JL4/s1600-h/tazer+kitten.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 317px; height: 400px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYuJlc5-lNI/AAAAAAAAArE/noW1rHj1JL4/s400/tazer+kitten.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5299480663039055058" /></a><br /><br /><blockquote>"For me, comic relief often takes the form of a bumbling, wisecracking sidekick of the hero or villain in a work of fiction, which, in my case, happens to be old comic books. The sidekicks in my work usually comment on the absurdity of the hero's situation and make comments that are sometimes inappropriate for a character who is to be otherwise taken seriously.<br /> <br />"The process of making these images provides a sense of comic relief. In some cases, appropriating such imagery is a cathartic release of emotional tension that may have resulted from a comic episode interposed in the midst of dramatic events. Inspired by Woody Allen, events from my everyday experience become fodder for the narratives I construct. At times, I use poetic license and stretch the truth in my narratives." -- <em>Sarah Kaiser – Conversations: A Comic Relief</em>, Gallery UNO, Feb., 2009</blockquote> <br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYuJeRwOboI/AAAAAAAAAq8/X8gzP_X1qaA/s1600-h/pretty+girl.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 259px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYuJeRwOboI/AAAAAAAAAq8/X8gzP_X1qaA/s400/pretty+girl.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5299480539786276482" /></a><br /><br /><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SYuJQHLRahI/AAAAAAAAAqs/w2rsWfKJ_gk/s1600-h/married+man.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 250px; height: 400px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SYuJQHLRahI/AAAAAAAAAqs/w2rsWfKJ_gk/s400/married+man.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5299480296428759570" /></a><br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYuI051l2rI/AAAAAAAAAqU/F9A9tNd3jvk/s1600-h/2+cowboys+in+love+or+is+it+lust.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 313px; height: 400px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYuI051l2rI/AAAAAAAAAqU/F9A9tNd3jvk/s400/2+cowboys+in+love+or+is+it+lust.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5299479828991695538" /></a><br /><br /><blockquote>"My paintings and drawings are merely the skin that covers the deep inner life inside of me. I support my work in the same manner that a father would support a wife and a child. Making art serves a definite purpose in my life. The process functions as a visual diary, and helps me to sort out current 'events.' Furthermore, it enables me to construct my own sense of order, especially when I cannot control the chaos that is external to me. No part of my process is purely technical. Even if I have not planned out a piece, spontaneous gestures come from within. For me, making art is the means in which I process events. Only what I construct myself will ever be real to me. In summary, making art helps me to escape the prison of my own mind. It's a form of meditation, which slows me down, and helps me focus."</blockquote><br />Sarah's upcoming and recent exhibitions include: <em>Conversations: A Comic Relief</em>, ARTexhibitionLink, Gallery UNO, Chicago, Feb. 2009; <em>And You Think That's Funny</em>, group show, Woman Made Gallery, Jan. 2009; <em>Emerging Artist Exhibit</em>, Morpho Gallery, Chicago, 2008; <em>Faster, Cheaper, Bolder</em>, silkscreen works on objects, fabric and paper, Hyde Park Art Center, Chicago, 2008; <em>Tie One On</em>, A Benefit Auction to Support Art Education at Lillstreet Art Center, Chicago, 2008; <em>One Inspired Evening</em>, A Benefit Auction to Serve Chicago’s Homeless Population, River East Art Center, Chicago, 2008; Subject/Object, American Academy of Art, Chicago, 2008.<br /><br />For more about Sarah and her art, visit <a href="http://sarah-kaiser.com/home.html">http://www.sarah-kaiser.com</a>.<br /><br /><br />Credits: Art images labeled with the artist's name were provided by the artist, and all other photos were provided by Amy A. Rudberg, unless otherwise noted.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com0tag:blogger.com,1999:blog-5228675619538286159.post-70931244002881233602009-02-06T19:01:00.003-06:002009-02-25T09:20:39.556-06:00The Artist's Studio: Cynthia KingAs part of my research on artists' studios, I visit artists working in the studio setting and ask them about their materials, methods, practices, and approach to life. The emphasis of these forays is to examine the studio setting and how the artist functions and creates art in that space.<br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYyVPpQM28I/AAAAAAAAArs/YMu9WCf9hWM/s1600-h/Noyes+Art+Center.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYyVPpQM28I/AAAAAAAAArs/YMu9WCf9hWM/s400/Noyes+Art+Center.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5299774957512612802" /></a></div><br /><br />I visited Cynthia King, a printmaker and gaming enthusiast, at <a href="http://www.onehorsepress.blogspot.com/"><strong>One Horse Press</strong></a> at the Noyes Cultural Arts Center in Evanston. The printmaking shop, located in the basement, has three presses, a plate cutter, a hot plate, a light box, a table for working with paper, six tables to work on, cabinets for storage, drying racks, a sink, a homemade exhaust system, vertical tanks with etching chemicals, and miscellaneous equipment and supplies. For the past three years, Cynthia has worked as a volunteer studio monitor there, which allows her to use the facilities as her "studio." <br /><br />On the day of my visit, there were three students working on various printmaking projects. While Cynthia provided assistance to them, she was also able to show me a demonstration on what she called "Xerox transfer," a type of <a href="http://en.wikipedia.org/wiki/Lithography"><strong>lithographic process</strong></a> she uses to create her own prints. The process involves making a photocopy of a drawing, applying liquid gum arabic to the surface of the copy, inking the image, and then printing on paper using the press. (After the print dries, she could then scan the image into the computer and use graphics software to manipulate the image.) She also printed an image on paper of a robot she etched on a zinc plate.<br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYyUMOB2REI/AAAAAAAAArc/r1Q3DNvRJ8E/s1600-h/Cynthia.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYyUMOB2REI/AAAAAAAAArc/r1Q3DNvRJ8E/s400/Cynthia.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5299773799153419330" /></a></div><br /><br />"I work very fast. I usually do my drawings at home and then go to Kinko's to make copies. If I'm drawing in the studio and not concentrating heavily on drawing, I like to listen to music, although silence is good too. The shop gets me out of the house and puts me in a place where I'm forced to do work. It's easy to get distracted with a studio in your home. I like working with a group of people -- I get energy from them." <br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SYyWKyBWhxI/AAAAAAAAAr0/1U874u_femI/s1600-h/Viewing+proof.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SYyWKyBWhxI/AAAAAAAAAr0/1U874u_femI/s400/Viewing+proof.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5299775973478532882" /></a></div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SYyUshmSrdI/AAAAAAAAArk/drRxOAAQQnU/s1600-h/From+sketch+to+print.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SYyUshmSrdI/AAAAAAAAArk/drRxOAAQQnU/s400/From+sketch+to+print.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5299774354162363858" /></a></div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SYyWvHVwSKI/AAAAAAAAAr8/uyd7oI5AyRs/s1600-h/Robot+etching.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SYyWvHVwSKI/AAAAAAAAAr8/uyd7oI5AyRs/s400/Robot+etching.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5299776597676542114" /></a></div><br /><br />Cynthia has been working on drawings for a computer game, which she's been creating and processing for nearly a near. Here's a synopsis of Cynthia's PC game, <em>Darkdevil County</em>. <blockquote>"War is coming ever closer to Darkdevil County. Magwyn Urban-Dweller, a tech worker, has been oblivious to much of the outside world because of the demands of her job. All that changes the morning she gets an urgent message from her best friend, Lina, begging her to go to the hospital and donate blood. She rushes from her apartment to help her friend.<br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYyXMTlWoyI/AAAAAAAAAsk/nr1ZBE6WzYg/s1600-h/print004r.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 389px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYyXMTlWoyI/AAAAAAAAAsk/nr1ZBE6WzYg/s400/print004r.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5299777099179402018" /></a><br />Cynthia King. <em>Darkdevil Hospital #1</em>, <br /><em>Darkdevil County</em> Series. 2008.<br />Xerox transfer, 8" x 8".</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYyW7tABwmI/AAAAAAAAAsE/kgYQiI4yeEA/s1600-h/hospital.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYyW7tABwmI/AAAAAAAAAsE/kgYQiI4yeEA/s400/hospital.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5299776813944390242" /></a><br />Cynthia King. <em>Hospital</em> Screen Shot,<br /><em>Darkdevil County</em> Series. 2009. <br /></div><br /><br />"Magwyn soon begins to understand that not everything or everyone is what it seems. The warring factions include robots, clones, Queen Miria and the reigning royals, scientists, gnomes, doctors, and friends. Some are interested only in developing and using new weaponry -- others vow to stop them -- and others are dedicated to peace and a quiet life.<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SYyW_2JW0pI/AAAAAAAAAsM/Gykk1izUdXA/s1600-h/nurse.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SYyW_2JW0pI/AAAAAAAAAsM/Gykk1izUdXA/s400/nurse.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5299776885118915218" /></a><br />Cynthia King. <em>Nurse</em> Screen Shot,<br /><em>Darkdevil County</em> Series. 2009. <br /></div><br /><br />"A mystery in her family's past links her to a world seemingly gone mad. To save herself, she must save the world. And maybe change it too.<br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYyXD06wFAI/AAAAAAAAAsU/0EJq4YjF8ls/s1600-h/package.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYyXD06wFAI/AAAAAAAAAsU/0EJq4YjF8ls/s400/package.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5299776953508697090" /></a><br />Cynthia King. <em>Package</em> Screen Shot,<br /><em>Darkdevil County</em> Series. 2009.</div><br /><br />"But first she must figure out how to get out of the hospital..."<br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYyXIu597aI/AAAAAAAAAsc/nTCnwha3IWk/s1600-h/print003r.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 304px; height: 400px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYyXIu597aI/AAAAAAAAAsc/nTCnwha3IWk/s400/print003r.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5299777037794143650" /></a><br />Cynthia King. <em>Security Robot</em>, <br /><em>Darkdevil County</em> Series. 2008. <br />Xerox transfer, 7" x 10".</div></blockquote><br />Cynthia's recent exhibitions include: <em>Printworks</em>, NSAL, 2008; School of the Art Institute Ox-Bow Benefit, Chicago, 2008; Evanston Art Center 1st Winter Print Show, 2008; Chicago Printmakers Collaborative Small Prints, 2007-2008.<br /><br />For more about Cynthia, her art, and her game, <em>Darkdevil County</em>, go to <a href="http://www.freshpaint.blogspot.com">http://www.freshpaint.blogspot.com</a>.<br /><br /><br />Credits: Art images labeled with the artist's name were provided by the artist, and all other photos were provided by Amy A. Rudberg, unless otherwise noted.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com0tag:blogger.com,1999:blog-5228675619538286159.post-7558147970517645512009-01-30T14:25:00.004-06:002009-02-25T09:20:53.400-06:00The Artist's Studio: Bert MencoAs part of my research on artists' studios, I visit artists working in the studio setting and ask them about their materials, methods, practices, and approach to life. The emphasis of these forays is to examine the studio setting and how the artist functions and creates art in that space.<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SYJdOWLa7MI/AAAAAAAAAm4/9EH_BB5HkTM/s1600-h/IMG_0756.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SYJdOWLa7MI/AAAAAAAAAm4/9EH_BB5HkTM/s400/IMG_0756.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5296898612794158274" /></a></div><br /><br />I drove to Evanston to visit Bert Menco, originally from the Netherlands, at his residence / studio, where he creates his drawings, paintings, and art for printmaking. Located in a quiet neighborhood, with signs indicating which side of the street to park on depending on the day, his Bauhaus-inspired condo building was designed by architect David Hovey and built in the mid-1980s. When I arrived, Bert had been working on a drawing he has tentatively named <em>The Singing Siblings</em> (a protective mother and her two daughters), which he created used pencil and colored pencil on pastel paper. He prepares many of his drawings in his cozy living room, which has sliding doors, and with the drapes drawn, you have, at this time of year, a partial view of his snow-covered yard with a wooden fence in the back.<br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SYJgk9FXBII/AAAAAAAAAno/iDT6RqjTTuY/s1600-h/IMG_0775.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SYJgk9FXBII/AAAAAAAAAno/iDT6RqjTTuY/s400/IMG_0775.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5296902299729724546" /></a></div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SYJjj_6oS5I/AAAAAAAAAn4/CkLteBGJPCY/s1600-h/Inside+Out-Outside+In.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 301px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SYJjj_6oS5I/AAAAAAAAAn4/CkLteBGJPCY/s400/Inside+Out-Outside+In.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5296905581845040018" /></a><br />Bert Menco. <em>Inside Out - Outside In</em>. 2005. <br />Etching and aquatint, 21" x 27".</div><br /><br />Upstairs in his 140-sf studio, including a drawing desk, storage area, drawing / painting easel, small table, lamps, and chair, Bert works on paintings and plates for printmaking. He uses the easel for his oil paintings, and the drawing desk for his plate making, which involves using a magnifier, metal tools, and metal plates. His <a href="http://en.wikipedia.org/wiki/Intaglio_(printmaking)"><strong>intaglio</strong></a> printmaking includes <a href="http://en.wikipedia.org/wiki/Etchings"><strong>etching</strong></a>, <a href="http://en.wikipedia.org/wiki/Aquatint"><strong>aquatint</strong></a>, <a href="http://en.wikipedia.org/wiki/Drypoint"><strong>drypoint</strong></a>, and <a href="http://en.wikipedia.org/wiki/Mezzotint"><strong>mezzotint</strong></a> techniques. For some of his prints, he has been known to work with 12 to 15 separate plates to create one large image. <br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SYJeNMnb7mI/AAAAAAAAAnI/Hs9v2wK07ZU/s1600-h/IMG_0764.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SYJeNMnb7mI/AAAAAAAAAnI/Hs9v2wK07ZU/s400/IMG_0764.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5296899692559068770" /></a></div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYJeydYjfRI/AAAAAAAAAnQ/_5zcsF6afoQ/s1600-h/IMG_0767.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYJeydYjfRI/AAAAAAAAAnQ/_5zcsF6afoQ/s400/IMG_0767.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5296900332715212050" /></a></div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYJfkZVDosI/AAAAAAAAAnY/kqgGcUNwsCQ/s1600-h/IMG_0770.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYJfkZVDosI/AAAAAAAAAnY/kqgGcUNwsCQ/s400/IMG_0770.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5296901190620259010" /></a></div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SYJiW93svLI/AAAAAAAAAnw/_0ami35nEmo/s1600-h/Musical+Chairs.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 330px; height: 400px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SYJiW93svLI/AAAAAAAAAnw/_0ami35nEmo/s400/Musical+Chairs.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5296904258445950130" /></a><br />Bert Menco. <em>Musical Chairs</em>. 1997. <br />Mezzotint, 18" x 14".</div><br /><br />Bert's studio practices: "I use my whole house, more or less, as a studio. I draw in a dedicated studio space as well as in my living room and kitchen. I use my kitchen to 'bite' my etchings, although on a nice summer day, I might also do this on my small patio. I have a drawing table that I mainly use for drawing on an etching plate or for an occasional woodcut. More often than not I draw in my living room, but also when I'm traveling -- trains, sometimes planes -- as is obvious from my sketchbooks. I always work on my paintings in my studio. I tend to work simultaneously on one or more prints (etchings, drypoints, mezzotints, or woodcuts), drawings, and paintings, but finishing each of these can take quite some time, sometimes over a year. When working, I tend to mostly listen to WFMT or classical music, in addition to WBEZ."<br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYJkkzyK0HI/AAAAAAAAAoI/QvznFCDEnS0/s1600-h/Dominatrix.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 270px; height: 400px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYJkkzyK0HI/AAAAAAAAAoI/QvznFCDEnS0/s400/Dominatrix.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5296906695279825010" /></a><br />Bert Menco. <em>Dominatrix</em>. 1994. <br />Oil on canvas, 29" x 22".</div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SYJkO-kbEoI/AAAAAAAAAoA/v-nAOWGZne0/s1600-h/Aso+and+Anansi,+2007.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 306px; height: 400px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SYJkO-kbEoI/AAAAAAAAAoA/v-nAOWGZne0/s400/Aso+and+Anansi,+2007.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5296906320217838210" /></a><br />Bert Menco. <em>Aso and Anansi</em>. 2007. <br />Pen and ink on paper, 24" x 18".</div><br /><br />"Although some of my drawings, intaglio prints, and paintings may appear simple, they are actually quite elaborate because it's not unusual for me to spend half a year's work on an image. I draw directly or use small sketches, even doodles, as image-generating nuclei, often combining two or three that appear to complement each other. I rarely use concrete references but rather work from inner visions. I tend to be narrative in my own art, perhaps poetically narrative. I don't see my images as telling a story but rather as reflections of inner feelings, similar to some poetry, and would like observers to read them as such. I like to believe that my work carries a certain mystery. My images are very much 'inside out.' I have usually some idea of what I want to obtain, but much of the image is generated while I draw or paint. The end product always surprises me, and I am often amazed that there even is an end product. Analyzing my own art is difficult, but I think that the dreamlike images tend to deal with confined spaces, which contain certain characters that reach out to one another but do not quite succeed in meeting, a reflection of this precarious balancing act that many of us have to deal with in our lives."<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SYJkxjZpygI/AAAAAAAAAoQ/xhCztgju44Y/s1600-h/D.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 68px; height: 400px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SYJkxjZpygI/AAAAAAAAAoQ/xhCztgju44Y/s400/D.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5296906914220329474" /></a><br />Bert Menco. <em>D</em>. 2007. <br />Drypoint and chine collé, <br />12" x 2".</div><br /><br />Bert is represented by <a href="http://morphogallery.com/super/?page_id=9"><strong>Morpho Gallery</strong></a>, <a href="http://www.avrameisengallery.com/"><strong>Avram Eisen Gallery</strong></a>, and Michael Greany Fine Art, all in Chicago. His upcoming and recent exhibitions include: Upcoming solo exhibition, Avram Eisen Gallery, Chicago, 2009; <em>Beyond Boundaries</em>, Chicago Printmakers Collaborative, Chicago, and the American Print Alliances's <em>Soap Box Prints</em> (both traveling shows); Southern Graphics Conference: Morpho Gallery and Columbia College (portfolio show: <em>Picturing the Beast</em>, Chicago, spring 2009; <em>Atelierroute Groot Woerden '09</em>, Studio Ilja Pronk, Kamerik, The Netherlands, summer 2009; <em>Nuances of Printmaking</em>, Koehnline Museum of Art, Des Plaines, IL, 2008; <em>7th Lessedra World Art Print Annual-Mini Print</em>, Lessedra Gallery, Sofia, Bulgaria, 2008; <em>Voorjaarstentoonstelling Het Kunstgebeuren</em>, Ede, The Netherlands, 2008; <em>Paradeigmas of Silent Spring</em>, solo exhibition, Oculus Gallery, Chicago, 2007.<br /><br />For more about Bert and his art, go to <a href="http://www.bertmenco.com">http://www.bertmenco.com</a>.<br /><br />Credits: Art images labeled with the artist's name were provided by the artist, and all other photos were provided by Amy A. Rudberg, unless otherwise noted.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com1tag:blogger.com,1999:blog-5228675619538286159.post-37502926807866511262009-01-21T15:59:00.028-06:002009-02-25T09:21:08.111-06:00The Artist's Studio: Cathy SorichAs part of my research on artists' studios, I visit artists working in the studio setting and ask them about their materials, methods, practices, and approach to life. The emphasis of these forays is to examine the studio setting and how the artist functions and creates art in that space.<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXpCalH5s0I/AAAAAAAAAlg/hiLW_ttZ_t4/s1600-h/IMG_0754.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXpCalH5s0I/AAAAAAAAAlg/hiLW_ttZ_t4/s400/IMG_0754.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5294617336336724802" /></a></div><br /><br />I visited artist and curator Cathy Sorich at her rented home / studio / storefront in the near west side of Chicago in the TriTaylor neighborhood, considered to be one of the most diverse in the city. After residing in the Switching Station Artist Lofts for nearly two years, Cathy moved to this 700-sf space in October, 2008. Her space is located at the corner of Western and Taylor, where I parked on the street and walked along the ice-covered sidewalk to her front door, which is next to a storefront window displaying some of her art.<br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXpCaLzFPkI/AAAAAAAAAlQ/MlQnReSUjt8/s1600-h/IMG_0751.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 267px; height: 400px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXpCaLzFPkI/AAAAAAAAAlQ/MlQnReSUjt8/s400/IMG_0751.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5294617329538514498" /></a></div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SXpCZlue5ZI/AAAAAAAAAlI/LWotBWF4lTE/s1600-h/IMG_0749.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 267px; height: 400px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SXpCZlue5ZI/AAAAAAAAAlI/LWotBWF4lTE/s400/IMG_0749.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5294617319318676882" /></a></div><br /><br />Cathy said she has been working day and night on getting the gallery ready for her grand opening in March. Entering the space from the front door on the far east corner, I saw that the room was divided nearly in half -- the side near the door and window was for displaying work, and the other side, for living and working. A small staircase in the live / work area led up to a compact loft bedroom, hidden by a filmy curtain and a row of potted plants. A wall divided the loft and live / work area from a very narrow kitchen and bathroom on the east side of the space. As we talked about the layout, Cathy mentioned that she may install another wall to separate the live / work space from the gallery. In the meantime, she was working on a mural on her kitchen wall. <br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXpCaTJurQI/AAAAAAAAAlY/7OxEIvcJMWw/s1600-h/IMG_0752.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 267px; height: 400px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXpCaTJurQI/AAAAAAAAAlY/7OxEIvcJMWw/s400/IMG_0752.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5294617331512552706" /></a></div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SXpCbNEAVsI/AAAAAAAAAlo/jQjAupl5E_c/s1600-h/IMG_0755.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SXpCbNEAVsI/AAAAAAAAAlo/jQjAupl5E_c/s400/IMG_0755.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5294617347057800898" /></a></div><br /><br />Cathy had worked in arts administration for a while and wanted to have her own place to work and show as an artist, curate shows, and rent space to artists who wanted to show their work. She calls her space Canito Studio (after her dog) and is open to any type of art except anything depicting misogyny and animal cruelty. Her gallery will be open to the public for certain days starting in March, and is currently open by appointment only.<br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXpHQC8psTI/AAAAAAAAAmo/wXOGcrxRxm0/s1600-h/blog+camab44web.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 233px; height: 400px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXpHQC8psTI/AAAAAAAAAmo/wXOGcrxRxm0/s400/blog+camab44web.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5294622652922179890" /></a>Cathy Sorich. <em>Untitled</em>. 2008. <br />Acrylic on canvas, 3' x 5'.</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SXpHQGBkLWI/AAAAAAAAAmg/ZP9C2-S-10U/s1600-h/blog+camab24web.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 227px; height: 400px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SXpHQGBkLWI/AAAAAAAAAmg/ZP9C2-S-10U/s400/blog+camab24web.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5294622653748096354" /></a>Cathy Sorich. <em>Untitled</em>. 2008. <br />Acrylic on canvas, 3' x 5'.</div><br /><br /><blockquote>Cathy's studio practices: "I work as an acrylic and watercolor painter. I seem to really get productive in the evenings and late at night, but I am able to work at any time. I will put the radio on low or listen to a favorite CD. Sometimes if I need to fully concentrate, I will have no sound. I also usually like to keep some sort of studio journal. I never keep any of the writing. I just use it to sort of center or focus my self into the space and work mode. I also like to have my tools organized and ready to go. This is part of my process and can take me a day or two to fully get to the piece, but I consider the cleaning and organizing a part of the process. If I could change anything about my studio, I would make it larger to work out of. The space is inspiring because it is an actual dream come true. I used to visualize what a perfect day was for myself, which included me painting at my own live work space. I have also done a relaxation exercise that includes 'the perfect space' which was always me at an easel painting at my studio. I believe this translates into the feel of the space. There is a certain naturalness and harmony present that I think I brought with me."</blockquote><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXpHPnCDScI/AAAAAAAAAmY/9WDmF-N85S4/s1600-h/blog+camab3forweb.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 232px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXpHPnCDScI/AAAAAAAAAmY/9WDmF-N85S4/s400/blog+camab3forweb.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5294622645428636098" /></a>Cathy Sorich. <em>Untitled</em>. 2008. <br />Acrylic on canvas, 3' x 5'.</div><br /><br /><blockquote>"My art is the result of showing up to the canvas to create. The relationship that ensues, artist to canvas / canvas to artist, is a unique gift that exists solely between myself and the work I am creating. This process is strengthened when I complete the piece and what I have created is reflected onto those who view / experience the work. The final work also serves as the catalyst for inspiration to continue to create, relate and reflect. My current work involves taking pieces of my older watercolors, finding a specific abstract area that works, and then recreating it on a larger scale. This process allows me to live in the space of the actual creation and reflection of the piece simultaneously and live completely in the creative moment that is taking place."</blockquote><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXpHPnh5laI/AAAAAAAAAmQ/qM0ddtwcI3k/s1600-h/blog+camab1forweb.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 279px; height: 400px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXpHPnh5laI/AAAAAAAAAmQ/qM0ddtwcI3k/s400/blog+camab1forweb.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5294622645562217890" /></a>Cathy Sorich. <em>Untitled</em>. 2008. <br />Acrylic on canvas, 3' x 5'.</div><br /><br />Cathy's recent exhibitions include: Phantom Gallery Exhibition, various locations in Chicago, 2008; Murphy Hill Group Show, Chicago, 2008; Canito Studio, Chicago, 2008; Crows Nest, Kalamazoo, MI, 2008; Switching Stations Artist Lofts, Chicago, 2008; Whole Foods, River Forest, IL, 2008.<br /><br />For more information on Cathy's gallery and art, contact Cathy at casorich@yahoo.com.<br /><br />Credits: Art images labeled with the artist's name were provided by the artist, and all other photos were provided by Amy A. Rudberg, unless otherwise indicated.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com1tag:blogger.com,1999:blog-5228675619538286159.post-76530436269573994302009-01-20T15:59:00.023-06:002009-02-25T09:21:22.291-06:00The Artist's Studio: Johannah SilvaAs part of my research on artists' studios, I visit artists working in the studio setting and ask them about their materials, methods, practices, and approach to life. The emphasis of these forays is to examine the studio setting and how the artist functions and creates art in that space.<br /><br />I visited Johannah Silva at her studio in the Cornelia Arts Building, at Cornelia and Ravenswood in Chicago, in the Roscoe Village area. She shares a nearly 400-sf space with fellow painter Darrell Roberts. Located on the west side of the building, their space is divided in half by a north-south wall with a small curtained doorway on the south end. They have been in the space since June, 2008. <br /><br />Working with watercolor paintings on paper and acrylic paintings on canvas, and more recently oil on canvas, Johannah creates most of her art in her studio and usually sketches nearly everywhere she goes. Her work space is a rectangular room with a small window on the west wall. From the window, there is a view of the El (elevated train) and the courtyard below with snow-covered kilns for ceramics. Johannah hangs her work on nearly all four walls in the space. She has shelving, a desk, shelf space for storage, and two work tables, where she does her drawings. She tends to stand and paint on the canvases on her wall and uses a taboret (portable cabinet) on wheels to hold her painting materials. (Note regarding photos: The paintings on the wall are works-in-progress.)<br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYtSH2lVJkI/AAAAAAAAApU/UfGORFKy35Y/s1600-h/IMG_0730.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYtSH2lVJkI/AAAAAAAAApU/UfGORFKy35Y/s400/IMG_0730.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5299419681396172354" /></a></div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYtSG5MFAMI/AAAAAAAAApM/A9HPDSFzW9s/s1600-h/IMG_0722.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SYtSG5MFAMI/AAAAAAAAApM/A9HPDSFzW9s/s400/IMG_0722.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5299419664915693762" /></a></div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYtSIoxhK8I/AAAAAAAAApc/mN--2u6tJug/s1600-h/IMG_0732.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SYtSIoxhK8I/AAAAAAAAApc/mN--2u6tJug/s400/IMG_0732.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5299419694869064642" /></a></div><br /><br />Johannah's studio practices: "My studio practice involves trying to spend time in my studio as much as I can. Because I teach full-time, I find myself going there at the end of the teaching day or in between classes sometimes. I come as often as I can because even just being in the space and staring at the work is part of my working process. It's really difficult to get started again whenever I take long breaks (which are sometimes necessary). I usually listen to the radio (NPR) or put on CD's when painting. Occasionally, I read to get inspired and motivated. Often, I just have to make myself work sometimes, especially during drier or more difficult periods, because it's through the working and doing that I get through these spells."<br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXZTXJP1fxI/AAAAAAAAAkE/moTUZB2DMPM/s1600-h/IMG_0738.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXZTXJP1fxI/AAAAAAAAAkE/moTUZB2DMPM/s400/IMG_0738.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5293510069105032978" /></a></div><br /><br /><blockquote>"In the last few years, I have been making work using the circular shape/form as a starting point for my paintings and drawings. The circles allude to micro as well as macro forms -- cells and atoms as well as planetary bodies, for example. My working process involves the repetition and placement of these shapes and marks on the painting surface, in consideration with formal elements such as color and space, to arrive at surprising and discovered compositions that follow an internal logic.<br /><br />I am interested in theories and/or imagery derived from physics, chemistry, biology, astronomy and geology, and in philosophical and spiritual notions regarding concepts of space and time, being and nothingness, internal mind and exterior reality, as they relate to our place in the universe. Thinking about these things influence my work although the end-result is ultimately arrived at through a personal and intuitive working process."</blockquote> <br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXZTXdEM01I/AAAAAAAAAkM/BhVs8C3156c/s1600-h/JSilva1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 274px; height: 400px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXZTXdEM01I/AAAAAAAAAkM/BhVs8C3156c/s400/JSilva1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5293510074424939346" /></a>Johannah Silva. <em>Untitled</em>. <br />2008. Watercolor on paper.</div><br /><br />Johannah has an upcoming installation project at The Whistler in Chicago this February. Her recent exhibitions include <em>Art Evolution</em>, Brickton Art Center, Park Ridge, IL, 2008; <em>Science in Art</em>, University of Chicago, Hyde Park, 2008; Cornelia Arts Open Studios / ArtWalk Ravenswood, Chicago, 2008; and Looptopia and Around the Coyote, Chicago, 2008.<br /><br />For more information about Johannah and her art, go to <a href="http://www.johannahsilva.com">http://www.johannahsilva.com</a>.<br /><br />Credits: Art images labeled with the artist's name were provided by the artist, and all other photos were provided by Amy A. Rudberg, unless otherwise noted.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com0tag:blogger.com,1999:blog-5228675619538286159.post-91680388760285599612009-01-18T13:41:00.030-06:002009-02-25T09:21:36.074-06:00The Artist's Studio: Darrell RobertsAs part of my research on artists' studios, I visit artists working in the studio setting and ask them about their materials, methods, practices, and approach to life. The emphasis of these forays is to examine the studio setting and how the artist functions and creates art in that space.<br /><br />On one of the coldest days of the year in Chicago, I ventured out to visit some artists in the Cornelia Arts Building in the Roscoe Village area. After a visit to Nancy Charak's studio, I went next door to meet with Darrell Roberts, who shares his studio with fellow painter Johannah Silva. Located on the west side of the building, Darrell and Johannah's studio consists of a nearly 400-sf space divided in half by a north-south wall with a small curtained doorway on the south end. They have been in the space since June, 2008. <br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXOpyy31VsI/AAAAAAAAAi0/rEMjbwpJxEI/s1600-h/Darrell+center.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXOpyy31VsI/AAAAAAAAAi0/rEMjbwpJxEI/s400/Darrell+center.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5292760677204973250" /></a></div><br /><br />A long hallway leads to Darrell's studio door, which he has painted red on the inside. His drawings and paintings cover nearly all four walls in the space. He has a table for drawing and is currently working on artist's books with pencils and pastels, which cover the entire table. He also has a small table he uses to mix paints and pumice for his paintings. Generally, he works with small canvases, which he holds in his left arm as he paints with his right. To save space, he has storage racks above his studio space for paintings as well as supplies, which he accesses with a tall ladder. Near the curtain dividing his space from Johannah's, there is an area with a rug and chair for sitting and observing. He has a laptop, microwave, a small refrigerator, and a radio in the space.<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXOqaMxqCKI/AAAAAAAAAi8/HRb_L3qyK8k/s1600-h/Darrell+artist+book.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXOqaMxqCKI/AAAAAAAAAi8/HRb_L3qyK8k/s400/Darrell+artist+book.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5292761354173286562" /></a></div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXOs0oEUy8I/AAAAAAAAAjc/9ZILKyNKKQw/s1600-h/Darrell+painting2.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXOs0oEUy8I/AAAAAAAAAjc/9ZILKyNKKQw/s400/Darrell+painting2.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5292764007199198146" /></a></div><br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SXOrmj4jX_I/AAAAAAAAAjM/vTx4zqTpMy4/s1600-h/Darrell+latest+series.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SXOrmj4jX_I/AAAAAAAAAjM/vTx4zqTpMy4/s400/Darrell+latest+series.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5292762666046283762" /></a></div><br /><br />Working as an art teacher at Hyde Park Art Center and other organizations for nearly 10 years, Darrell decided to focus all of his energies on his own art in June, 2008. Represented by Thomas McCormick Gallery in Chicago, he has received art grants for his art and has been well received by corporate clients. As a result, he has been able to spend 6 to 8 hours at a time in his space, which he mainly uses for creating artwork.<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXOjsVVZ6CI/AAAAAAAAAis/QqG6bN5XrWA/s1600-h/untitled+07.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 399px; height: 400px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXOjsVVZ6CI/AAAAAAAAAis/QqG6bN5XrWA/s400/untitled+07.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5292753969126959138" /></a>Darrell Roberts. <em>Untitled</em>. 2009. <br />Oil and pumice on canvas.</div><br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SXOjscPWc3I/AAAAAAAAAik/S3UGfFkF3Cg/s1600-h/untitled+06.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 394px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SXOjscPWc3I/AAAAAAAAAik/S3UGfFkF3Cg/s400/untitled+06.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5292753970980615026" /></a>Darrell Roberts. <em>Untitled</em>. 2009. <br />Oil and pumice on canvas.</div><br /><br />Darrell's studio practices: "I get up mid-morning about 9:30 a.m. or 10 a.m, eat breakfast, and go workout. Then I walk to my studio. Once I'm there I check my email and the New York Times and other art articles. Then I eat lunch. Around 1 p.m., I may put a few marks of paint on a canvas or two or draw. I eat dinner around 5 p.m. and sometimes get into painting or drawing around 8 p.m. I have been drawing in artist books lately, and I may paint until 2 a.m. Late at night is usually when it really happens for me. I have my iTunes on my computer playing on random constantly." <br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SXOjsOZTFxI/AAAAAAAAAic/vNLfDUohYXs/s1600-h/2008013.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SXOjsOZTFxI/AAAAAAAAAic/vNLfDUohYXs/s400/2008013.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5292753967264241426" /></a>Darrell Roberts. <em>Untitled</em>. 2009. <br />Oil and pumice on canvas.</div><br /><br /><blockquote>"I am an abstract painter who creates paintings with thick built-up layers of oil paint with pumice for texture to the point of being almost sculptural. The paintings are definitely low relief with the edges of the canvas being just as important as the front in creating surface, texture, and color. My abstract paintings are documentations of the metropolis of Chicago as well as my environment. I work in series sometimes 10-15 paintings at a time and have over 50 paintings in progress in my studio. It takes 6-8 months for me to get a body of work to come together, or I should say for 'the paintings' to come together, as they subconsciously tell me what needs to be done. I have to wait and can not rush them or they may be ruined. The time spent looking and thinking is really important, and leads to the fun of the physical painting, which I work in an intuitive way. I just know that it is right or it will lead me in the right direction. I have to trust it."</blockquote><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXOjsIsAwEI/AAAAAAAAAiU/e9CivmBgyyQ/s1600-h/2008010.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXOjsIsAwEI/AAAAAAAAAiU/e9CivmBgyyQ/s400/2008010.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5292753965732118594" /></a>Darrell Roberts. <em>Untitled</em>. 2009. <br />Oil and pumice on canvas.</div><br /><br />Darrell has a solo show <em>Surface Matters</em> at <a href="http://www.thomasmccormick.com/">Thomas McCormick Gallery</a> in February. <blockquote><em>Roberts' work is rooted in the everyday where landscape, architecture and his surrounding environment inform his paintings. Thick, richly textured surfaces convey movement and the tension of space, form, line and color are evident. Roberts has exhibited extensively in the Chicago area and trained at the Art Institute of Chicago.</em></blockquote> In addition, he will be participating in a two-person exhibition at the Galesburg Civic Art Center in April.<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXOjrn5ANEI/AAAAAAAAAiM/w1EBOxjPjLw/s1600-h/2008008.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXOjrn5ANEI/AAAAAAAAAiM/w1EBOxjPjLw/s400/2008008.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5292753956928238658" /></a>Darrell Roberts. <em>Untitled</em>. 2009. <br />Oil and pumice on canvas.</div><br /><br />For more information about Darrell and his art, go to <a href="http://darrell-roberts.com"><strong>http://darrell-roberts.com</strong></a>.<br /><br />Credits: Art images labeled with the artist's name were provided by the artist, and all other photos were provided by Amy A. Rudberg, unless otherwise indicated.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com0tag:blogger.com,1999:blog-5228675619538286159.post-44152941637759011862009-01-16T16:44:00.006-06:002009-02-25T09:21:51.446-06:00The Artist's Studio: Nancy CharakAs part of my research on artists' studios, I visit artists working in the studio setting and ask them about their materials, methods, practices, and approach to life. The emphasis of these forays is to examine the studio setting and how the artist functions and creates art in that space.<br /><br />On one of the coldest days of the year in Chicago, I ventured out to visit a trio of artists in the Cornelia Arts Building in the Roscoe Village area. Nancy Charak makes drawings and paintings and works in a 300-sf space. Her neighbors, Darrell Roberts and Johannah Silva, both painters, share a 400-sf studio (their separate blogs will appear after Nancy's).<br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SXJl8jUWCUI/AAAAAAAAAh8/BqWyIIzQxIQ/s1600-h/Cornelia+Arts.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SXJl8jUWCUI/AAAAAAAAAh8/BqWyIIzQxIQ/s400/Cornelia+Arts.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5292404603060881730" /></a></div><br /><br />When I got to the corner of Ravenswood and Cornelia,I decided to park on the side street on Ravenswood just west of the El (the elevated train) and promptly got stuck in the foot-high snow. I eventually arrived at the loading dock of the Cornelia Arts Building, and I encountered a locked door with instructions on the keypad. I followed the instructions and tried to locate Nancy's name, and everything came up as gibberish on the screen, perhaps because of the extreme cold. I looked for my phone to call her and in some mysterious way, the phone I had just used to call her to tell her I was going to be late had disappeared. I dialed a random number on the key pad and someone answered, and I said I was there to see Nancy but didn't know her code, and I was freezing to death and to please let me in. Coincidentally, when I finally entered the building, Nancy had just come down the stairs.<br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SXEAkVluL7I/AAAAAAAAAhU/7lIwLfSCTbw/s1600-h/Nancy+at+Computer.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SXEAkVluL7I/AAAAAAAAAhU/7lIwLfSCTbw/s400/Nancy+at+Computer.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5292011661407694770" /></a></div><br /><br />Nancy said although the building had recently installed a new heating system, there is still no wi-fi, which the artists have been asking for, as well as no air conditioning, which can be a problem during the summer. She said that the Cornelia Arts Building is very affordable in the city; her 300-sf studio, which has no windows, is about $1.25 per square foot with heat included. There are three floors in the building, and each studio has a different configuration with enclosed walls and a locked door, but the studios have open ceilings. There is a shared slop sink in the hallway on each floor. As someone who has a full-time day job in another profession, she spends about 20 hours a week in her studio, which she has occupied for the past 5 years. She normally works in her studio in the evenings and weekends. <br /><br /><div align="center"><a href="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SXEBhlfV4OI/AAAAAAAAAh0/0qyAL7cPvRc/s1600-h/Nancy+working.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_hWaeU9Eq2vw/SXEBhlfV4OI/AAAAAAAAAh0/0qyAL7cPvRc/s400/Nancy+working.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5292012713647923426" /></a></div><br /><br />Nancy said she enjoys the camaraderie of the more than 40 artists in the building, which has housed art studios for the past 20 years. She added that the artists are planning a self-organized open house in March or April this year. Typically, they participate in the annual ArtWalk Ravenswood every October during Chicago Artists Month as well as the first weekend in December for an annual holiday show. They do not hold open studios during the summer because of the air conditioning issue. <br /><br />Nancy generally uses colored drawing pencils, pastels, and acrylic paints in her drawings and paintings. Her materials are stored in organized containers on shelving, which she has installed, and on three small tables: one for her computer, another for drawing, and another for miscellaneous work. At the far end of studio, she hangs her work on the wall and has crisscrossed string overhead, where she can hang white boards to act as reflectors / deflectors for photographing her work. She has a large storage rack on one side of the wall to store her finished work.<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXEBhHXo9KI/AAAAAAAAAhs/FwjfkZLtomE/s1600-h/Nancy+storing+painting.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXEBhHXo9KI/AAAAAAAAAhs/FwjfkZLtomE/s400/Nancy+storing+painting.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5292012705562555554" /></a></div><br /><br />Her studio practices: "I work just about every weekend day, starting early and ending late and as many evenings as I have the strength to do after an 8-hour day-job work day. I go to the Harold Washington library to read art books that are in the reserved stacks about two or three times a month. I have good internet access and some bits of spare time at my day-job, which allows me to do some emailing and publicity type work during the 40-hour work week. As for my art-making practices and processes, I play music, lately alternating between modern klezmer by Dave Krakauer and Scottish acid-rock by Shooglenifty. I have learned that time not spent making art, but organizing a pile or just sitting and reading is still a good thing, because I'm still in my creative space. I also enjoy talking to my fellow artists in the building, from whom I have learned a lot about art, art practice, processes, safe criticism."<br /><br /><div align="center"><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SXJl9CmAVdI/AAAAAAAAAiE/ZhroNR8Xbhc/s1600-h/Nancy+Red+Painting.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SXJl9CmAVdI/AAAAAAAAAiE/ZhroNR8Xbhc/s400/Nancy+Red+Painting.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5292404611456456146" /></a></div><br /><br /><blockquote>"I see art as a series of visual problems asking to be defined and not necessarily to be solved; in simplest terms, how much is enough, when is it done, is more needed, another color, another line, what should that color be, how thin, how thick, how many, how much, how flat, how full, is this artwork about the edge or the center and when is it finished. As I work I am making what seem to be a thousand million decisions while trusting my hand, eye and years of experience. I am always looking at the work of other artists for two big reasons, for the sheer joy of it and to see how other artists are defining their visual problems. I am in constant dialogue with the work of other artists. I stand on the shoulders of giants.<br /><br />"My function as an artist is not to tell the truth—it is to captivate viewers for as long as I can hold their attention. It is not necessary for the artwork to be any more than what it is. What is necessary is for the art to flow from inside and to allow the paintings and drawings to spring from my entire set of experiences and sensibilities as an artist. <br /><br />"My current favorite giants, to name just the women, are Agnes Martin and Joan Mitchell for the purity of their thought and action on the canvas; Linda Karshan, Sandra Blow, Vija Celmins, and Katherina Grosse. Whether what they do is lyrical, expository or just plain brash to my way of thinking they are all pure abstract expressionists who make marks, lines, shapes, colors on paper,canvas, even buildings, and say to us, 'here look at this, make of it what you will.'”</blockquote> <br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXEAki5ojdI/AAAAAAAAAhc/uUGWT9cRWVc/s1600-h/Nancy+in+front+of+painting.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXEAki5ojdI/AAAAAAAAAhc/uUGWT9cRWVc/s400/Nancy+in+front+of+painting.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5292011664980872658" /></a></div><br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXEAjyFdusI/AAAAAAAAAhE/Awe-XvDq62k/s1600-h/Babylon+II.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 324px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXEAjyFdusI/AAAAAAAAAhE/Awe-XvDq62k/s400/Babylon+II.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5292011651877157570" /></a>Nancy Charak. <em>Babylon II</em>. 2008. <br />Acrylic, pencil, Prismacolor on acrylic-primed <br />masonite panel, 24" x 30".</div><br /><br />Nancy's recent exhibits include: <em>Marks in Time and Space</em>, solo exhibit, Fred P. Giles Gallery, Eastern Kentucky University, Richmond, KY, 2008; October Members' Show, ARC Gallery, Chicago, 2008; Artwalk Ravenswood, Cornelia Arts Building, 1800 West Cornelia, Chicago, for Chicago Artists Month, 2008; Art Open, Chicago Artists Coalition, Merchandise Mart, Chicago, 2008; <em>Drawing on Experience</em>, solo exhibit, Woman Made Gallery, Chicago; <em>Resonance</em>, solo exhibit, University Center Gallery, University of Montana, Missoula, MT; <em>Art on the Move</em>, studio visit, Art Institute of Chicago.<br /><br /><div align="center"><a href="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXEAkMvY3UI/AAAAAAAAAhM/4osX1Fk2h4E/s1600-h/I+Took+Some+Lines+to+the+Circus.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 316px;" src="http://4.bp.blogspot.com/_hWaeU9Eq2vw/SXEAkMvY3UI/AAAAAAAAAhM/4osX1Fk2h4E/s400/I+Took+Some+Lines+to+the+Circus.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5292011659032321346" /></a>Nancy Charak. <em>I Took Some Lines to the Circus</em>. <br />2008. Pencil, Prismacolor on acrylic-primed <br />masonite panel, 24" x 30"</div><br /><br /><div align="center"><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXX4eYAZM0I/AAAAAAAAAjk/5lkExbLTbGE/s1600-h/dragons+teeth+large.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 316px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SXX4eYAZM0I/AAAAAAAAAjk/5lkExbLTbGE/s400/dragons+teeth+large.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5293410137767752514" /></a>Nancy Charak. <em>Dragon's Teeth</em>. 2008. <br />Pencil, Prismacolor on acrylic-primed <br />masonite panel, 24" x 30"</div><br /><br />For more about Nancy Charak and her art, go to <a href="http://www.rounderstudio.com">http://www.rounderstudio.com</a> and <a href="http://rounderstudio.blogspot.com">http://rounderstudio.blogspot.com</a>.<br /><br />Credits: Art images labeled with the artist's name were provided by the artist, and all other photos were provided by Amy A. Rudberg, unless otherwise indicated.Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com0tag:blogger.com,1999:blog-5228675619538286159.post-51714801466388785712008-12-26T10:43:00.011-06:002008-12-26T11:40:11.358-06:00Endangered Species SeriesHere are five paintings I did for the Endangered Species Series I, which will eventually be included in a book about endangered species. I'm selling limited edition giclées (high resolution reproductions) at Lakeview Art Supply in Chicago. A percentage of the profit earned from the sales of the series will be donated to the nonprofit organization <a href="http://www.savingspecies.org/">SavingSpecies.org</a>, created by Dr. Stuart L. Pimm, 2006 winner of the Heineken Prize for Environmental Sciences, the Nobel of the ecology world. SavingsSpecies.org uses donated funds for the conservation of land to mitigate the destruction of the natural habitats of endangered species.<br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SVUUP4wP6-I/AAAAAAAAAgc/I_kBbMlnnxI/s1600-h/Asian+Elephant.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 305px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SVUUP4wP6-I/AAAAAAAAAgc/I_kBbMlnnxI/s400/Asian+Elephant.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5284152000954493922" /></a><br /><div align="center">Amy A. Rudberg. <em>Asian Elephant</em>. Endangered <br />Species Series I. 2008. Ink, watercolor, gouache<br />on watercolor paper, 12" x 16".</div><br /><br /><a href="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SVUUQOlhmlI/AAAAAAAAAgk/Bz-uq63cdII/s1600-h/Bengal+Tiger.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 298px;" src="http://1.bp.blogspot.com/_hWaeU9Eq2vw/SVUUQOlhmlI/AAAAAAAAAgk/Bz-uq63cdII/s400/Bengal+Tiger.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5284152006815095378" /></a><br /><div align="center">Amy A. Rudberg. <em>Bengal Tiger</em>. Endangered<br />Species Series I. Ink, watercolor, gouache<br />on watercolor paper, 12" x 16".</div><br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SVUUQVLdCmI/AAAAAAAAAgs/AAT0Ro1oruY/s1600-h/Black+Rhino.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 297px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SVUUQVLdCmI/AAAAAAAAAgs/AAT0Ro1oruY/s400/Black+Rhino.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5284152008584792674" /></a><br /><div align="center">Amy A. Rudberg. <em>Black Rhinocerous</em>. Endangered<br />Species Series I. Ink, watercolor, gouache<br />on watercolor paper, 12" x 16".</div><br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SVUUQqC04cI/AAAAAAAAAg0/jCRbe4SYPSk/s1600-h/Giant+Panda.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 296px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SVUUQqC04cI/AAAAAAAAAg0/jCRbe4SYPSk/s400/Giant+Panda.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5284152014185750978" /></a><br /><div align="center">Amy A. Rudberg. <em>Giant Panda</em>. Endangered<br />Species Series I. Ink, watercolor, gouache<br />on watercolor paper, 12" x 16".</div><br /><br /><a href="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SVUUQqpE1JI/AAAAAAAAAg8/LcoLksjkOVo/s1600-h/Western+Lowland+Gorilla.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://2.bp.blogspot.com/_hWaeU9Eq2vw/SVUUQqpE1JI/AAAAAAAAAg8/LcoLksjkOVo/s400/Western+Lowland+Gorilla.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5284152014346179730" /></a><br /><div align="center">Amy A. Rudberg. <em>Western Lowland Gorilla</em>. <br />Endangered Species Series I. Ink, watercolor, <br />gouache on watercolor paper, 12" x 16".</div>Amy A. Rudberghttp://www.blogger.com/profile/00869648180621450116noreply@blogger.com2