Monday, February 4, 2013
Monday, November 26, 2012
Two Special Collections exhibits in one week! This post is slightly delayed, but I was actually working on this exhibit at the same time as the Nierman exhibit at the beginning of November. Just slightly delayed...
This exhibit features photographs of women from the 1850s to the 1950s selected from African American Legacy: The Carol Mundy Collection. It was curated by Sandra Varry and was designed and prepared by myself. All of the photos that are on display were scanned, reprinted (some enlarged to assist with viewing), and mounted in order to protect the originals from the UV damage of being on display for several months. The exhibit also has a selection of awesome period cameras that are on loan to us. I feel bad since the photos should be the focus, but the cameras might be my favorite thing.
This exhibit is on the 5th floor exhibit area and will be there until the end of January when it will move into the cases on the main floor during Black History Month. At the end of February it will return to the 5th floor.
Wednesday, November 21, 2012
My first piece of business in the new studio - working on the swinging diptych (seen left). I've been struggling for a while with how to handle the background, and I finally developed a plant motif that I feel walks the line between pattern and object. My current plan is a four color print (black, yellow, brown, blue) and chine collé in the body of the animals (light pink or some other flesh tone). I've got the animal image transferred onto the brown and yellow blocks and I've started carving on the brown blocks. I'm keeping my eye out for some dumpster wood to use for the blue.
My studio hours are Wednesday, Friday, and Saturday from 9am to 5pm (except holidays). Everyone should stop by! And a big thanks go out to Molly Chism, who helped me move in.
Monday, November 5, 2012
Please enjoy the poorly pieced together panorama of the show below:
Tuesday, October 16, 2012
|A page from Kruchonykh's Myatezh I (Mutiny I) 1920 |
created with hectography.
I found a very helpful youtube video outlining the process. I would call it a marriage of carbon paper and Jell-o with a process similar to lithography minus the gum arabic. Since the materials needed are fairly household and the process fairly easy it became the print method of choice for the underground, not to mention it was also easy to destroy without leaving any evidence of insurrection. Besides Prisoners-of-War, it was also well suited for the classroom and many test papers or school newsletters were printed using hectography. All a school teacher needed was a pan of gelatin beside her desk and her classroom was instantly fitted with a copy machine before copy machines were invented.
Hectography may be obsolete, but it is not gone from this world. Tattoo parlors still use hectographic pencils to sketch their designs and then transfer it onto skin. One of the most exciting uses of modern hectography I found are printmakers using the gelatin plate to make monoprints. Linda Germain has a wonderful youtube video showing how easily the ink is released from the gelatin to the paper with just the gentle pressure of ones hands. She also has extensive gelatin printing tips on her website.
Well, I know what I'm doing the next time I'm in the mood for Jell-o.
|Photo of Shelly Thorstensen's hectograph printing demonstration from Theresa Haberkorn's blog.|
Tuesday, October 2, 2012
I am very excited to announce that I've been selected as one of the Artists-in-Action for the 2012-2013 season for Art & History Museums - Maitland. We had our first meeting to go over paper work and get to know each other last Friday (and get a very professional and fancy name badge). It was also the first time I was able to meet A&H's new Director of Art Exhibitions & Education, Rebecca Sexton Larson.
I had a blast getting to know everyone. Trent Tomengo is in Studio 1, Dawn Rosendahl is in Studio 5, and I'll be sharing Studio 8 with Camilo Velasquez. Studio 8 is under going some repairs right now, so Camillo and I haven't been able to move in yet. Dawn is also waiting for Studio 8 to be repaired because she can't move in to Studio 5 until Camilo can move out. Is your brain in a knot yet? In other words, don't expect to catch Dawn or myself on campus until this is all sorted out. I can't wait to move in and get to work!
TheDailyCity.com: Maitland Art and History Museum Shacks Up Four Art...: The Maitland Art & History Museum has announced its 2012-2013 "Artist-in-Action" recipients for 2012/13: Whitney Broadaway, Dawn Rosenda...
Thursday, September 20, 2012
Yesterday was the Mad Hatter Tea Party at the UCF Library. Amanda Richards was on the committee that organized this fundraiser and she asked me to help out with creating Tenniel inspired linocuts for a print-your-own-print station. I, of course, said yes. Amanda and I each carved two of the four linocuts we had available, which was more painstaking than normal since the cross hatching from Tenniel's drawings is not a very intuitive technique for carving in relief. However, we struggled through and I was pleasantly surprised with how well they translated into linoleum. Especially Amanda's work- this was her first time EVER carving and printing and they look as good as I could have done them. She is a testament to anyone who is on the fence about getting into relief printmaking. We decided to depict the four characters (Alice, The White Rabbit, The Mad Hatter, and The Red Queen) in a frame reminiscent of playing cards and gave them each their own suit.
We had a good crowd at the print station - as in Amanda and I never got to sit down - and it seemed like everyone that came over had a good time. There were also several people intersted in possibly doing the linocut process from start to finish, and I'm hoping that will translate into students for the next Not Your Mama's Print Workshop on December 2nd.