Myths, Tales, & Illusions: Printstallation 

Opening Exhibition @ 6pm, Saturday June 14th, 2014
Kent State University School of Art, Sculpture Gallery

Come see the work of artists Stephanie Mote, Alex Buzzalini, Julie Friedman, and Mark Schatz.  This show is the culmination of the summer Blossom Printmaking program, a two week intensive open studio.  This year’s theme was printmaking in an expanded medium.

The above photos are work in progress shots of my work in the show containing laser-cut feathers, screen printed gloss varnish, and beeswax.

The Mid-America Print Council Conference is coming up and early bird registration ends on My 20th!  If you’re a printmaker, you should definitely check this out and consider going!  There’s going to be some amazing panels, awesome speakers, and a print exchange!  If you’re a student definitely sign up for the portfolio review.

I hope to see you there!  Let me know if you’re going!

Ballons, Candles
Balloons, candles, monofilament, April 2014

In April 2014 a group of KSU graduate and undergraduate students put together work for the show called Corn, Socks, Alligator Skull.  The work was determined by what two materials were pulled blindly from a hat.  The two materials I pulled — balloons and candles.

I wanted the piece to have a sense of interactivity, passive or intentional.  Hovering balloons allow for that movement as every small gust of wind of people walking by makes the piece sway and turn.  Plenty of people also blew directly on the piece causing it to spin.  Due to the strong adhesive, despite looking delicate even pushing or poking the cloud was possible to make the candle-drops bounce and shake as the cloud oscillated.  

blackheartpress

blackheartpress:

(Aight, so if this post doesn’t get mad likes and shares within the week, umma gonna be real disappointed. Just so you know.)

DUSTING PRINTS WITH DRY PIGMENTS

While I was in Berlin last week I ofc had to stop by Keystone Editions' wonderful shop in Neukölln. It's a really charming shop, their custom painted red takach press being the centerpiece, the atmosphere there is great, pulling off that mixture between efficient space with great setup and homely charisma, a kind of feeling of instant comfort that makes you want to be in the shop and work there, with double Tamarind master printer knowledge backing you up.

I met Sarah, Uli and Gabrielle, and Sarah gave us a tour of their recent editions, among others these two prints by Brigitte Waldach. The video just gives you a small glimpse into how the prints are made, they look absolutely stunning irl, the double layer dusting is great.

It’s those small things that make prints outstanding, a slightly different shiny texture of grass in the background adding so much to the image - on the print it looks so natural and great, in the shop this meant very dedicated collaborating printers going the extra mile (miles) and paying Lehrgeld*

Anyway, gogogo watch this video, unfortunately no printshop animals, just a great tutorial on how to dust your prints with dry pigments.
Enjoy!

Keystone Editions sounds familiar? Loving BHP long time? Then this might ring a bell: snail time!

Woah!  This is awesome and something I’d love to try in the near future!

REVIEW: The Whitney Biennial 2014

I’ve been wanting to write about the Whitney Biennial since I saw it last week but I’ve been struggling to find the right words.  The Week put out an article earlier this month that I think sums up my feelings on this show extremely well.  Since The Week makes it difficult to read things on their website I’m sharing the full article below the cut as this is something I’d like to discuss.

However, I wanted to say that I think the direction the museum chose to go wasn’t necessarily a bad choice.  I felt that, artistry wise, the exhibition left a lot to be desired.  There were a few pieces that stood out to me as inspiring.  Pieces that ensnared the viewer and inspired thought and response.  On the other hand, I also felt that many of these pieces were set in for “shock value”.  We discussed, afterwards, the underlying ‘queer narrative’ represented — and while I agree that that queer culture was certainly there it felt very poorly handled to me and more like an insult than something good.  

The things that didn’t have shock value were, for the most part, unmemorable.  There was a lot of bad “animation” — you know, that “”“”fine arts animation”“”” that is somehow incredibly popular and I have yet to fathom why (this is coming from someone who was formerly going into animation of course which might be a part of the problem).  There was a great deal of social discourse but none of it seemed to be actually speaking to me.  If this is the direction that fine art is going in the contemporary setting then I feel incredibly out of touch with what is happening and with what is being considered “great art”. 

There WERE a fair amount of works I enjoyed, including in mediums I usually dislike.  There was some monumentally astounding concepts and breathtaking visualizations of those ideas.  But despite this, the whole tone of the show shoved the good things to the back of my head as I tried to wrap my head around everything else.  My overall feeling as I left the Whitney was one of disappointment and I can easily say that many of my fellow peers felt the same.  There were pieces we enjoyed but on the whole the 2014 Whitney Biennial just didn’t make the cut for us.

Now, on to, THE WEEK: Whitney Biennial 2014

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