Someone on one of the book arts communities I belong to on LiveJournal posted this video, which I think is just amazing. So much time and skill and hard work goes into editioning a fine book like that. I'm not sure I have the patience for it, so I guess I'll probably stick to one-offs I can make at my dining room table... for now, anyway. This has really inspired me!
Enjoy!
Friday, November 20, 2009
Thursday, November 12, 2009
Lady Godiva's Operation
In case you haven't visited my Etsy shop in a while, I just posted another painting there and should have another couple in the coming days... going through my inventory and getting ready to say farewell to things, I guess. It would be great to see a few things find new homes before the end of the year!
Available now is Lady Godiva's Operation, an acrylic painting on canvas, 30" x 42".
This painting was recycled from a previous work, some remnants of which still remain visible, but fully integrated into the new work. I was inspired by those gorgeous Italian Renaissance portraits in profile, as well as the crazy cascade of my own hair. It was named after the Velvet Underground's amazing song, which came into my head as I chose to leave the disconnected heart in the new painting from the old. It was such an apt title! I consider this painting among the few real jewels of my collection of own work. I hope you will think so, too!
Available now is Lady Godiva's Operation, an acrylic painting on canvas, 30" x 42".
This painting was recycled from a previous work, some remnants of which still remain visible, but fully integrated into the new work. I was inspired by those gorgeous Italian Renaissance portraits in profile, as well as the crazy cascade of my own hair. It was named after the Velvet Underground's amazing song, which came into my head as I chose to leave the disconnected heart in the new painting from the old. It was such an apt title! I consider this painting among the few real jewels of my collection of own work. I hope you will think so, too!
Tuesday, November 10, 2009
Books books books
On Saturday I taught a bookbinding class at the WNYBAC to a group of seven very cool ladies. We had amongst us a rocket scientist (yes, really!), a chef, a museum worker, a women's studies professor/writer/poet, an actress, a writer/homemaker, and an artist, a full range of ages, 20s–60s. The class had a great energy that I as a teacher just thrived on. In fact, it was the best class I ever taught, student-wise, and my performance as a teacher-wise! So many books were made, the class just took off with the techniques I showed them and ran.
I've been asked to come back for the winter session and teach another class or two, including a continuation of the beginner's class, so that is good. I am glad that they were pleased with how I did, too, obviously.
We managed to cover quite a lot of territory in the seven hours we had together, everything from that simple one page folded book to a single signature hardcover book with wrapped covers. Each student walked away with at least five books to take home; some were still working even as class time was over and I was walking out the door! (Alas! I didn't take photos... too busy teaching/binding!)
***
In other news, I haven't been making much art per se lately, although I have been pretty active over at the website Swap-bot, writing letters, putting little packages together, and even making the occasion art-like item. Actually, one of the things I was really pleased with was a doll quilt (not necessarily for a doll, but a quilt that is quite small, less than 24" on any side) that I made for a swap. I had a quilt top that I had put together a couple years ago and never figured out what to do with... so this was the perfect opportunity to use it! I really enjoyed the process of hand-quilting and see this as a potential new medium for me to tap my creativity. I'd see them more as art pieces than anything functional, at least at this point.
Not too shabby for my first time out. And wouldn't you know, I forgot to measure it, even? It's probably about 7" x 12" or so. I can always ask the person to whom I sent it.
Swap-bot has been good for me in that it gets me doing creative stuff, even if it's nothing "big" or "important". It's also helping me get better working with deadlines, getting things done in time because someone else is waiting on you. Not to mention, it's a nice place to "get around"—that is, to see and be seen, so to speak. More exposure for my work when people look at my profile and decide to visit my website or whatever. That's always nice. And there are some interesting folks there! (Some not so interesting, too, but isn't that the case anywhere?)
I'd say anything that keeps me making stuff is a good resource. Even if it is just things like handmade bookmarks and typed-out stuffing recipes and doll quilts.
In MORE other news, I'm signed up to table at the WNYBAC's Last minute gift buying panic marketplace on December 11 and 12. Here's their description:
At the main gallery, 1st floor of the Western New York Book Arts Center
468 Washington St at Mohawk in Downtown Buffalo
Friday Dec 11, 4-8pm and Saturday Dec 12 12-6pm
Free admission and open to the public
Artists, craftspeople, printers, & other handmade/self published/locally produced items. Perfect gifts for giving or hoarding.
So, if you are in town that weekend, you should stop by and check out all the lovely, locally-made wares! I plan to have available some of my old zines (hm, mayyybe a new one!), some little blank journals (hard and soft cover), and art. In fact, my idea is to make a new series of house paintings, but quite small so that they will be very affordable and accessible. I'm still working out what sizes and grounds would be best for these, but I do hope to churn out quite a few for the Marketplace (and beyond, like my Etsy shop). I'm excited about this! I tend to produce and perform best when I have a deadline.
I've been asked to come back for the winter session and teach another class or two, including a continuation of the beginner's class, so that is good. I am glad that they were pleased with how I did, too, obviously.
We managed to cover quite a lot of territory in the seven hours we had together, everything from that simple one page folded book to a single signature hardcover book with wrapped covers. Each student walked away with at least five books to take home; some were still working even as class time was over and I was walking out the door! (Alas! I didn't take photos... too busy teaching/binding!)
***
In other news, I haven't been making much art per se lately, although I have been pretty active over at the website Swap-bot, writing letters, putting little packages together, and even making the occasion art-like item. Actually, one of the things I was really pleased with was a doll quilt (not necessarily for a doll, but a quilt that is quite small, less than 24" on any side) that I made for a swap. I had a quilt top that I had put together a couple years ago and never figured out what to do with... so this was the perfect opportunity to use it! I really enjoyed the process of hand-quilting and see this as a potential new medium for me to tap my creativity. I'd see them more as art pieces than anything functional, at least at this point.
Not too shabby for my first time out. And wouldn't you know, I forgot to measure it, even? It's probably about 7" x 12" or so. I can always ask the person to whom I sent it.
Swap-bot has been good for me in that it gets me doing creative stuff, even if it's nothing "big" or "important". It's also helping me get better working with deadlines, getting things done in time because someone else is waiting on you. Not to mention, it's a nice place to "get around"—that is, to see and be seen, so to speak. More exposure for my work when people look at my profile and decide to visit my website or whatever. That's always nice. And there are some interesting folks there! (Some not so interesting, too, but isn't that the case anywhere?)
I'd say anything that keeps me making stuff is a good resource. Even if it is just things like handmade bookmarks and typed-out stuffing recipes and doll quilts.
In MORE other news, I'm signed up to table at the WNYBAC's Last minute gift buying panic marketplace on December 11 and 12. Here's their description:
At the main gallery, 1st floor of the Western New York Book Arts Center
468 Washington St at Mohawk in Downtown Buffalo
Friday Dec 11, 4-8pm and Saturday Dec 12 12-6pm
Free admission and open to the public
Artists, craftspeople, printers, & other handmade/self published/locally produced items. Perfect gifts for giving or hoarding.
So, if you are in town that weekend, you should stop by and check out all the lovely, locally-made wares! I plan to have available some of my old zines (hm, mayyybe a new one!), some little blank journals (hard and soft cover), and art. In fact, my idea is to make a new series of house paintings, but quite small so that they will be very affordable and accessible. I'm still working out what sizes and grounds would be best for these, but I do hope to churn out quite a few for the Marketplace (and beyond, like my Etsy shop). I'm excited about this! I tend to produce and perform best when I have a deadline.
Monday, November 2, 2009
Never-before seen
I just got photos of these paintings sent from Nahcotta Gallery in Portsmouth, NH, where they have been living since the beginning of August, when they were included in their annual Landscape Show. They'll be coming back to me eventually (unless they sell, of course), but they asked to keep them for a while longer. Stupid me, in a mad rush before I delivered them to the gallery, neglected to document them, write down dimensions, anything! Bad, bad practice indeed, and won't ever happen again. Anyway, it was almost like Christmas when I received the photos yesterday. I'd forgotten how nice they were (if I say so myself!). Hope you enjoy them, too!
Little Red, 12" x 18", acrylic on canvas, 2009.
Big Red, 18" x 24", acrylic on canvas, 2009.
Things We Lost, 36" x 24", acrylic on canvas, 2009.
In other news, I submitted my application to the NYFA Fellowship, cutting it close to the deadline! I've applied several times in the past; maybe this will be my lucky year! Of course, I have a long wait to find out... not until April 2010 or so. It's going to be a loooong winter...
I also have another thing up my sleeve but can't talk about it. It's an exciting prospect, though! Keep your fingers crossed for me.
Little Red, 12" x 18", acrylic on canvas, 2009.
Big Red, 18" x 24", acrylic on canvas, 2009.
Things We Lost, 36" x 24", acrylic on canvas, 2009.
In other news, I submitted my application to the NYFA Fellowship, cutting it close to the deadline! I've applied several times in the past; maybe this will be my lucky year! Of course, I have a long wait to find out... not until April 2010 or so. It's going to be a loooong winter...
I also have another thing up my sleeve but can't talk about it. It's an exciting prospect, though! Keep your fingers crossed for me.
Thursday, October 22, 2009
Where to show, where not to show
This is something that I've been thinking about a lot since I had my exhibition at the museum this year—where to show my work, and where not to show it.
I've had different pieces of advice, each from people who are art professionals. I've also kept an eye on what other artists (those who are perhaps a rung or two or three above me in status/recognition/success) in my region have been up to.
My instinct is that I would only like to show at dedicated art spaces, "real" galleries (and yes, I will take another museum show, please!), but there are alternatives that seem like they could be good opportunities for my work to be seen, too. For instance, the restaurant where I'll be showing my work next summer. It's a small, upscale bistro where they seem to have shown quality artists in the past. They have wonderful receptions for the artists (best food I ever had at an art reception, in fact!), and it strikes me that my work would be seen by a desirable clientèle, one who is more apt to actually buy original art than others. On the other hand, people go to a restaurant to eat, not to look at or buy art. On still another hand, people expect that when they go to this restaurant, they'll be seeing some good art, and can buy it if they like.
So one piece of advice I received was that I should show my work at every opportunity afforded me, no matter where it is. You never know who will see it. And just that the more you're "out there" and visible as an artist, the better.
The other piece of advice was the opposite. "You've had a museum show now, you should not show at a restaurant! You should show at places that will further your career, not take it backward."
See, I agree a little bit with the first but lean toward the second line of reasoning. For my upcoming restaurant show, I am keeping it (against the second advice-giver) because I love the place and I just want to see what happens—I'm curious whether I will sell well there, if anything will come of it. After that, no more non-gallery/museum shows for me... I have bigger fish to fry, and my sights set higher.
Hm, will saying that get me in trouble? What do you think about this issue? I'd like to hear all points of view on this.
***
Now, I'd like to share an artist named Kareem Rizk, who is based in Australia. I love the graphic design sensibility in his gorgeous collages! He's also got a blog and an Etsy shop.
I've had different pieces of advice, each from people who are art professionals. I've also kept an eye on what other artists (those who are perhaps a rung or two or three above me in status/recognition/success) in my region have been up to.
My instinct is that I would only like to show at dedicated art spaces, "real" galleries (and yes, I will take another museum show, please!), but there are alternatives that seem like they could be good opportunities for my work to be seen, too. For instance, the restaurant where I'll be showing my work next summer. It's a small, upscale bistro where they seem to have shown quality artists in the past. They have wonderful receptions for the artists (best food I ever had at an art reception, in fact!), and it strikes me that my work would be seen by a desirable clientèle, one who is more apt to actually buy original art than others. On the other hand, people go to a restaurant to eat, not to look at or buy art. On still another hand, people expect that when they go to this restaurant, they'll be seeing some good art, and can buy it if they like.
So one piece of advice I received was that I should show my work at every opportunity afforded me, no matter where it is. You never know who will see it. And just that the more you're "out there" and visible as an artist, the better.
The other piece of advice was the opposite. "You've had a museum show now, you should not show at a restaurant! You should show at places that will further your career, not take it backward."
See, I agree a little bit with the first but lean toward the second line of reasoning. For my upcoming restaurant show, I am keeping it (against the second advice-giver) because I love the place and I just want to see what happens—I'm curious whether I will sell well there, if anything will come of it. After that, no more non-gallery/museum shows for me... I have bigger fish to fry, and my sights set higher.
Hm, will saying that get me in trouble? What do you think about this issue? I'd like to hear all points of view on this.
***
Now, I'd like to share an artist named Kareem Rizk, who is based in Australia. I love the graphic design sensibility in his gorgeous collages! He's also got a blog and an Etsy shop.
Monday, October 19, 2009
Acceptance/Rejection
Whew, I have been one busy bee this past week, and I am exhausted and halfway ill to show for it... man, I am too old for this kind of schedule. Maybe other people work ~60 hour weeks with no problem, but for me? Too much to take physically and emotionally. I need time to myself and/or with my family, it's so valuable to me.
That said, it's been an interesting week. Did I mention that I'm working as an artist's assistant for a while? The artist I am working for, Bingyi Huang, is preparing for a solo exhibition in Shanghai in November. The schedule is tight, so I've been giving her as much time as I can. I love that I am getting such an intimate view into another artist's creative process; she works quite differently from me and it is very inspiring. I really admire her paintings and her work ethic... she is quite prolific and manages to put out these amazing, surreal images... I don't know where they come from. Me, I like to have something to refer to, whether it is a photo or a model of some kind. It's very hard for me to just pull something out of my head and spew it out onto the canvas.
This is like getting a supplemental education, in a way.
But it is tiring, as I said. This week I have off from the studio until the weekend and will be working on updating her website. Then, hopefully when Saturday arrives I will feel refreshed and ready to work more hours in the studio with her.
Here is one of her paintings:
Epitaph, oil on canvas, 2007.
Just gorgeous stuff. I feel so fortunate to be working with her.
***
Acceptance: I recently found out that two of my paintings will be appearing in the Winter 2010 issue of Calyx, A Journal of Art and Literature by Women. This is a great publication, and I am very excited for this opportunity to have my work seen by its readers.
Rejection: I got my rejection letter on Friday from the committee of Beyond/In Western New York, the regional biennial. I have since found out that the competition was VERY stiff and that many prominent local artists didn't get in, either, including most of the faculty of the local university. That makes me feel a little bit better, but I admit that I still had high hopes this time around. The past year has been so full of little successes, I figured it would just keep going... well, never assume. So, I am a little bruised but it is something I will certainly get over and move on from. I do wish all the artists who did receive an acceptance letter my heartiest congratulations, truly.
Maybe next time, if I am still in town.
***
Working for Bingyi has sparked my own creativity. She's got me working on paintings that will eventually become something else entirely—something of her own, obviously... but as I said, it's been a little hard for me trying to work in a totally different way, it's like being without a net. I don't think what I am making is as good as I know I am capable of, but I think another part of the problem is working in front of someone else, especially someone I am working FOR. It's worse than the times I was taking a painting class and having the professor hovering over you looking for mistakes (not that Bingyi does that—she is worried about her own paintings). It paralyzes me. I have no idea what I am doing. I tell her as much, and she replies that she doesn't think any of us do.
I feel like a fledgling baby bird.
That said, it's been an interesting week. Did I mention that I'm working as an artist's assistant for a while? The artist I am working for, Bingyi Huang, is preparing for a solo exhibition in Shanghai in November. The schedule is tight, so I've been giving her as much time as I can. I love that I am getting such an intimate view into another artist's creative process; she works quite differently from me and it is very inspiring. I really admire her paintings and her work ethic... she is quite prolific and manages to put out these amazing, surreal images... I don't know where they come from. Me, I like to have something to refer to, whether it is a photo or a model of some kind. It's very hard for me to just pull something out of my head and spew it out onto the canvas.
This is like getting a supplemental education, in a way.
But it is tiring, as I said. This week I have off from the studio until the weekend and will be working on updating her website. Then, hopefully when Saturday arrives I will feel refreshed and ready to work more hours in the studio with her.
Here is one of her paintings:
Epitaph, oil on canvas, 2007.
Just gorgeous stuff. I feel so fortunate to be working with her.
***
Acceptance: I recently found out that two of my paintings will be appearing in the Winter 2010 issue of Calyx, A Journal of Art and Literature by Women. This is a great publication, and I am very excited for this opportunity to have my work seen by its readers.
Rejection: I got my rejection letter on Friday from the committee of Beyond/In Western New York, the regional biennial. I have since found out that the competition was VERY stiff and that many prominent local artists didn't get in, either, including most of the faculty of the local university. That makes me feel a little bit better, but I admit that I still had high hopes this time around. The past year has been so full of little successes, I figured it would just keep going... well, never assume. So, I am a little bruised but it is something I will certainly get over and move on from. I do wish all the artists who did receive an acceptance letter my heartiest congratulations, truly.
Maybe next time, if I am still in town.
***
Working for Bingyi has sparked my own creativity. She's got me working on paintings that will eventually become something else entirely—something of her own, obviously... but as I said, it's been a little hard for me trying to work in a totally different way, it's like being without a net. I don't think what I am making is as good as I know I am capable of, but I think another part of the problem is working in front of someone else, especially someone I am working FOR. It's worse than the times I was taking a painting class and having the professor hovering over you looking for mistakes (not that Bingyi does that—she is worried about her own paintings). It paralyzes me. I have no idea what I am doing. I tell her as much, and she replies that she doesn't think any of us do.
I feel like a fledgling baby bird.
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