Kip Deeds: Word and Image

7:00 a.m. Start

2012-02-06T20:07:00.009-05:00

I awoke this morning at 7:00 a.m. with acute anxiety (not exactly panic but likely related). My exhibit at Saint Joseph's University is set to begin in 20 days. The opening is the first Thursday in March. Although tired from restless sleep, I was also jolted by racing thoughts. Building on earlier plans, I began to recall unrecorded details (Why didn't I write this down sooner?). Now at 7:00 p.m. the picture frames have been ordered, artwork has been chosen, and a delivery plan has been considered. It's a start, and now the postcard has arrived. Below is an image of my morning notes (a grab at order) as well as exhibit details from the postcard.

Here & Now: A View From Home

2011-12-26T15:59:00.010-05:00

(To learn more about the "Viewfinder Project" see the original post.)

To the right of the computer is an Alvin Cutting Mat (for me this doubles as a mouse pad). Here I noticed the coordinates and measurements and realize my place. I am home.

Detail: Alvin Cutting Mat

Two "Viewfinders" that for me point to home are a house image by Pamela Delaura and a painting describing a map by Kariann Fuqua. Especially in the latter case, these images may not be directly connect to a sense of home. However, for me they have stirred a narrative. Images become transformed by what the viewer (in this case myself) brings to the picture. Without the viewer's interpretation an image lacks meaning. In a similar way, home is a place but it is also a collection of ideas and is built on personal connections.

Pamela Delaura, Sacked, Collograph & screen-print, 6in. x 4 1/4in., 2006

The interior of Pamela Delaura's print (seen above) seems to refer to a microscopic or biological perspective. In this regard, I see the body as our most earthly home.

Kariann Fuqua, Viewfinder, painting, 6in. x 4 1/4in., 2006

Kariann's "Viewfinder" (seen above) refers to a map where the curving dotted lines seem to indicate travel or hopping from island to island. I wonder if one can land and feel at home or is this a temporary sensation? Gazing back at the coordinates on my cutting mat, I consider how I decide an exact position. I suspect that thinking we are in the right spot (even if this is our illusion) is more comforting then aimlessness.

A View of Thanksgiving and Beyond

2011-11-24T22:55:00.002-05:00

(To learn more about the "Viewfinder Project" see the original post.)

I never thought of the winter holiday season in relation to a lime green color. However, perhaps it is useful to envision the season in a broader way. Without allowing for alternative views, it is not possible to see life as having a full spectrum. When looking at Leslie Mutchler's "Viewfinder" (seen below) in the context of Thanksgiving, it is possible to envision a feast in the tropics. This is brought about through color but also because the food presented is all fruit.

Leslie Mutchler, Viewfinder, mixed media collage, 4 1/4in. x 6in., 2006

Inpart because Jesus was Jewish, my thoughts of Christmas are intertwined with Judaism. Noah Simblist has created a series of abstract paintings that build from the Star of David. In the work he sent me (below), I feel like the star is becoming or being born. Again for me the lime color reflects life, growth, and a warmer climate. When Simblist and Mutchler made their "Viewfinders" I doubt they knew each other and they lived in separate parts of the country. Now they both spend there time in the heat of Austin, Texas. Indeed maybe there is something in the stars and why not a brighter green?

Noah Simblist, Viewfinder, Acrylic and Graphite, 6in. x 4 1/4in., 2006

A Working View

2011-11-20T01:16:00.003-05:00

(To learn more about the "Viewfinder Project" see the original post.)

Sometimes it is difficult to have a clear view or perspective. One's mind may be so clouded with thoughts and worries that it is hard to stop and see what is immediate in front of oneself. Relief from this overly stimulated mind may include meditation techniques which center a person in the present. Art making can also shift a persons attention toward specific tasks and away from an overwhelming sense. Creative endeavors can lead to a sense of satisfaction brought about through focus, change, and invention. The key is to be engaged and to work. When doubt is set aside the results can be surprising.

For me, the following "Viewfinders" reflect these artists' desire to work through problems in order to generate a less predetermined view. I say this because the layering of ink and paint in these examples point toward exploration rather than a succinct resolution. In the first two cases the work literally shows through to the other side of the paper.

Eric Huebsch, Viewfinder, mixed media, 6in x 4 1/4in, 2006

Eric Huebsch shows a deftness when drawing a figure wearing rollerblades but the neck and head appear out of control (above). Not only is the neck elongated but I observe at least seven layers of media are used to create this part (e.g. ink, paint, collage,...). At the bottom is the statement "I knew you were no good". Disturbing as this depiction may seems to be, I know some there is some "good". No matter how painful a subject may appear the act of making art ultimately is a construction and an imagined representation that can become a focal point for dialogue.

Rebecca Vicars, Viewfinder, 4 1/4in x 6in, 2006

In the image above, Rebecca Vicars creates a view of a lush world full of growth. The description of space is loose and the painterly approach gives it the sense of a swampy wetland. A sense of control is tenuous; watercolor is applied here to provide unpredictable results. There has to be trust by the artist that through a committed effort the picture will come into focus.

Jennifer Peters, Viewfinder, monoprint, 2006

Jennifer Peters Viewfinder combines relief printing with what appears to be a monotype technique. The relief print requires carving to make a matrix that produces the print. What is carved here is premeditated, in the sense that the shapes are clearly defined, but how the shapes come together is less certain to me. The yellow marking, would make the final image a monoprint, was layered last as if to add an exclamation point. It seems to beg the question of when and what is too much? However, doing enough work to get to a point where this question becomes relavent is paramount.

Julie Mecoli: A View Toward The Shortest Day

2011-11-13T15:56:00.018-05:00

(To learn more about the "Viewfinder Project" see the original post.)

The Winter Solstice will take place (Thursday December 22, 2011) in a little over a month. This has allowed me to consider the qualities of darkness and its psychological range. Darkness will often illicit fear because it obscures sight and represents the unknown. However, darkness also provides the critical function of allowing the eyes to rest. Any relationship with light is bound to darkness (In a broader philosophical way this is expressed in yin and yang). This can become apparent when people pray. Often one's eyes are closed, in this case putting oneself in darkness, in order to find an inner light.

Julie Mecoli's "Viewfinder" (seen below) presents darkness in a multifaceted way. It contains cultural references and a range of material applications. She explained to me that this piece reveals a view from her bathroom window of a cathedral. Cathedrals were built to bring in light through stain glass windows and to present devinity through architecture. Ironically, light often casts the exterior of these buildings as a less colorful compared to the surroundings.

Julie Mecoli, Viewfinder, 4 1/4 inches x 6 inches, (Media: ink, photocopy, tape), 2006

Another element in Mecoli's "Viewfinder" is the portrait. In this case it is self-portraiture developed from observational drawings made using her bathroom mirror. Julie begins by making daily drawings on post-it notes. Then she photocopies them so that one portrait overlaps the next. This means that she feeds the same piece of paper through the copy machine multiple times. Thus, eventually the features of the figure begin to vanish into darkness. Julie told me that the copier can only take this procedure 10 times before it jams.

The layering process that occurs demonstrates how self observation can be intense and at times be destructive while also being a force for positive creative self realization. The portrait is but a representation of one side of ourselves and these portraits serve as reminder that we have a being and a likeness even in darkness.

Julie Mecoli, Dark Matter Gateway, 34cm x 16cm x 4cm, cast bitumen, 2009

Many of Mecoli's other works feature a contrast between dark and light including a series of sculptures cast in bitumen (an example is seen above). These sculptures slowly change form over time and serve as a reminder that no matter how solid a form or idea it is subject to change depending on the right conditions. Julie has also made a series of drawings and blog posts related to the rehabilitation of her hand (one is featured below). Several of her fingers were crushed in an accident. I am happy to report that Julie is on the mend but do check out her drawings and writing.

Julie Mecoli, 18 January 2010 Post therapy New device to Bend fingers not cooperating crushed hand + wire cube

About Order

2011-11-04T22:46:00.001-04:00

Tonight I was putting away paperback books I am not likely to read soon. This is being done in an attempt to gain control of my living space. In the process of packing the books, I have found How to Organize Your Work and Your Life. Although I had this book for years, I never studied it thoroughly. The book appears worn and was eventually taped together. This makes me wonder about the people who used the book before me. Could it be that those that read the book were filled with good intentions about organizing there lives and could not meet the suggested advice or is it worn because it was highly affective? In my case, this book has served as a symbol of the organizing I should do. It is also ironic because the function of putting the book away has made me more organized. However, ultimately I am bothered because I can not bring myself to make it disappear.

A View of the World Unclothed

2011-10-30T11:09:00.009-04:00

(To learn more about the "Viewfinder Project" see the original post.)

Rarely do most of us scrutinize a person's features beyond passing glances much less get a good look at a person unclothed. An essential aspect of drawing the figure from life is an intense study of form. Figure drawing is challenging in part because of judgements about proportions and shape. If the draftsman's observations are off, then the rendering will look less like the model. Figure drawing is also one of the few opportunities to see the human body in an unobscured or unmediated way. After one draws from the figure it becomes easier to imagine or invent figures based on this study.

Heyd Fontenot's "Viewfinder", Paul Sitting On His Feet, 6 by 4 1/4 inches, Ink, 2006

Heyd Fontenot and Brian Jermusyk present a view of life unclothed. However, their work transcends mere study. Both artists offer a commentary on the way we live and the way we choose to see ourselves. They also use a comic style that mixes seriousness with humor. Fontenot will often draw and paint the unclothed figure coupled with animal counterparts. He also emphasizes the relationship between facial expressions and pose revealing a range of raw emotions such as surprise, boredom, disgust, and ecstasy. In the image Hyde sent to me (seen above) the figure appears to turn his head to the viewer, with a coy knowing look, while shifting the body to emphasize his back. Like old Hollywood movies there is mystery; we think we know what is there but we can not see everything.

Brian Jermusyk,"Viewfinder", 4 1/4 by 6 inches, Graphite, 2006

Brian Jermusyk has worked on a series called The “T” Drawings which are informed and influenced by reading the published diaries of Kenneth Tynan. Jermusyk presents a complex view of the sexual being. Sex brings pleasure but attached are inevitable psychological and at times physical costs. Many of these drawings depict a seductive cycle of birth, life, and death all in the same image. When Jermusyk places these stages in close proximity a mixture of pain, pleasure, and anxiety feel palpable.

The drawing seen above seems to be a beginning piece to a narrative. This drawing appears to depict the curiosity found in recognizing another's form as sensual. Given connections both in terms of subject and approach to other drawings included in the "T" series, the assumed result of this encounter point toward a scene of a birth amidst a specter of death. Although the idea of death can not be separated from birth, the latter drawings mentioned serves as a reminder of how dangerous birthing has been (and still is in certain parts of the world) to both mother and child.

Steve Keister's View to the South and East

2011-10-18T16:18:00.017-04:00

(To learn more about the "Viewfinder Project" see the original post.)

Recently, I finished reading the Hermann Hesse novel Journey to the East. There is an unassuming and mysterious character in this book named Leo. He turns out to be a person of utmost importance. Steve Keister reminded me a bit of this character. I worked with Steve for several years at Princeton University and I have always felt a certain balance and kindness about about him (his importance was always apparent to me).

Steve Keister grew up in "Amish Country" (Lancaster PA). However, I feel his view has been consistently directed beyond the local (I suspect in order to explore the larger world and see it in a personal way). Keister spent time in Rome as an undergraduate student and later completed his Master of Fine Art degree there as well. Since the late 1970's Keister's work has been inspired by a study of pre-Columbian artwork and he has made numerous trips to Mexico.

Steve Keister, Skull Plaque III, Ceramic, 2010

What is fascinating about Steve is how he is able to see possibilities and look outward not only in a geographic, and historical way, but also in a material way. I was amazed to learn that Steve started out as a painter, became a sculptor, and then a ceramist. These changes don't seem tentative, he set out for knowledge and a mastery.

Steve Keister, Viewfinder, 6 by 4 1/4 inches, Paint on Paper, 2006

One aspect I fine most compelling about Keister's work is how it skews a modernist time line of artistic advancement by pointing out cubist techniques often overlooked in the genius of earlier graphic and “craft” based works. Perhaps this ancient work did not get the attention it deserved because it's exaggerations and graphic nature often pointed to humor rather than an overt seriousness. A wry sense of humor is apparent in Steve's work. It is a subtle humor (without a punch line) related to the way one can see the world and choose to smile. It is the kind perspective one would imagine a Buddhist monk chuckling about. This leads me to believe (returning to my earlier connection with Hermann Hesse) that Steve Keister has also already made a “Journey to the East”.

For more about Steve Keister's work visit his website also take a look at information about his exhibit at the University of Pennsylvania.

A View of the People by Shelley Spector

2011-10-13T00:44:00.016-04:00

(To learn more about the "Viewfinder Project" see the original post.)

Shelley Spector's "Viewfinder" reminded me of the the Occupy Wall Street movement. It is about ordinary people joining to do something bigger than themselves. I was heartened to read an article in the L.A. Times about how the Occupy Wall Street protesters are generally unexcited about celebrities coming to the protest and making a spectacle. They are concerned that their message (broadly defining problems of income disparity) may be co-opted and used for personal gain. Because Spector's method appears direct she is able to create an image that feels like a spontaneous gathering and event comprised locals (similar to the assembly in New York). Hopefully, the Occupy Wall Street movement will be able to maintain a sense of independence and truly represent the people. This responsibility, much like the human tower depicted, is a tall order.

Shelley Spector, "Viewfinder", 6" x 4 1/4", 2006

For more information visit Shelly Spector's website. Shelley has also created a website called Art Jaw that fosters first hand accounts about the art community in Philadelphia.

J. Todd Allison and Joe Moccia: Views From Another World

2011-10-08T22:14:00.001-04:00

(To learn more about the "Viewfinder Project" see the original post.)

Since I was young, I have been interested in stories about how a distant world may come in contact with our everyday life. Recently, I read a book by Gary Lachman about the German spiritual leader and philosopher Rudolf Steiner. At a certain point in the biography Steiner receives hidden knowledge from a person identified as the "Master". One gets the feeling this mysterious person is either part fiction or comes from a different dimension. It has also been intriguing to hear a recent interview on NPR with physicist Brian Greene who discusses the possibility of parallel universes. Although Greene speaks about plausible science and does not indicate how parallel universes may interact, at the very least his discussion allowed me feel as if my intuition has some connection (if not distant) with concrete data. These visceral feelings are related to the way that art is able to revealed worlds that exist beyond our humdrum routines.

J. Todd Allison, "Viewfinder", 6" x 4 1/4", 2006

Both J. Todd Allison and Joe Moccia sent me "Viewfinders" that point to uncharted worlds. Allison's painting (seen above) seems to combine body organs with mechanical parts and what looks to me like a woodpecker. All of this occurs amidst floating bubbles and a blue background. I can't help but feel like this is an interior scene and this is a world within a larger body. In this regard, I thought of the 1966 film Fantastic Voyage. In this film individuals are miniaturized and travel through a human body.

Joe Moccia is a graphic designer who now works with motion graphics in the Washington D.C. area. However, when I was getting to know Joe he had an obsession with robots (he is also a bit of an inventor). His painting/ pen and ink drawing (seen below) seems to be an extension of his interest in science fiction. The strange cloud made with iridescent paint appears to be an alien life form or U.F.O. that can shift shape.

Joe Moccia, "Viewfinder", 6" x 4 1/4", 2006

Viewfinders: Persistently Red

2011-09-22T15:58:00.019-04:00

(To learn more about the "Viewfinder Project" see the original post.)

Kip Deeds, "Viewfinder", 6" x 4 1/4", 2005

After receiving "Viewfinders" from other artists, I began to think about the suggestive nature of the image initially sent out (seen above). The image sent was printed with two layers. First, a red was printed on white paper and then black was printed on top to provide detail. Given its saturation and contrast, the red had a powerful additive effect. I wondered if this choice influenced the recipients because much of the artwork returned was dominated by red. The approaches varied but the results were persistently on my mind.

Red is associated with dramatic appearances in nature (e.g as seen punctuated in the landscape in the form of flowers, as see in fleeting moments as the sun sets, in the details of a fire, or as blood when we are cut). Red has come to symbolize a sense of passion, vibrance, and at times danger. Perhaps for this reason red is also associated with other temporal states such as when one blushes or when one is angry (one can "turn red" and one can "see red").

John J. O'Connor, "Viewfinder", 6" x 4 1/4", 2005

I can only guess at the system John J. O'Connor used to devise his "viewfinder"(seen above). O'Connor often uses complex data and text to point out highly directed and individualized results. He attempts to visualize mass information using his own idiosyncratic methods. Through his process he creates an abstract picture that in its wholeness captures a transcendent image.

Although John O'Connor's artistic labor is serious, there is also something humorous and ironic about it. When his work uses information of a more politically volatile nature, he seems to be making light of officials who use statistics in selective and less than credible ways. Regarding one of his recent works, John O'Connor states how he used the "largest rises and largest falls in the history of the stock market, connected according to my own invented system. I juxtaposed and connected this structure with statements of great confidence and insecurity, revealed through hypnosis."

Anne Stagg, "Viewfinder", 4 1/4" x 6", 2005

Anne Staggs's "Viewfinder"(seen above) refers to sewing and work stereotypically connected to women. However, Stagg's sewing is not exactly the kind one may expect, the act is not about fashion or decoration but more about keeping "it" together. On her website, when referring to a related series of paintings, Anne described her initial inspiration "comes from a chore that my sisters and I were given when we were young. In order to prolong the life of our socks, my mom asked us to repair the socks that were wearing thin. We stretched them over a bare light bulb and darned them with sock yarn."

Stagg's paintings are unlike the "Femmages" (a kind of feminist collage using fabric) that Miriam Shapiro made in the 1970's. Even though there is a relationship, one has to look harder to see the fabric (what is there both literally and figuratively). The white in the image is also intriguing because it is not the fabric. The white is the unknown icy hot light. In this case the viewer is shielded (or protected) and stitched inside a red sock.

Jason Urban, "Viewfinder", 6" x 4 1/4", 2005

Jason Urban re-contextualizes commercial modes of production and often identifies imagery common in popular and mainstream culture seen through these modes. Urban gives prominence to the background content and details of reproduction processes (e.g. halftone patterns, screen savers, and raster images). By making the pixels more noticeable or by layering information in unpredictable ways (e.g. reproducing a screensaver image that is re-assembled on filing boxes) Jason allows us to consider what we usually overlook and see how this content can have new meanings. What I find compelling about the painting Urban returned to me (seen above) is that it appears unfinished. By recreating pixels by hand and by letting brush marks show, individual parts become prominent and interrupt a collective effect. In a digital realm, at the pixel level, this would be improbable if not impossible.

Taking the repetitious use of red further (and perhaps a bit outside of the realm of this project), I was reminded of the persistent use of the word "red" in the 1978 pop song "I See Red" by Split Enz. Although the artwork I received did not make me hopping mad, the song offers a humorous comparison between lyric and music on one hand and visual art on the other hand. The underlying psychological impact of this color makes itself present in manifest ways.

Billboards

2011-08-27T20:32:00.013-04:00

This past spring I entered a contest where artists could submit designs for a billboard. There was a prescribed scale artists had to consider, but the was no limit on content. I spent a weekend making three designs. My original idea was to make a very small print large and then offer commentary related to the imagery. Initially, I used rubber stamps (these I carved) to make small prints. After the prints were scanned, adjustments and additions were made in Adobe Illustrator.

Ultimately, my plans were rejected. However, I feel that the sayings and imagery offer something to consider. Perhaps the traffic that passes through this site will give the billboard designs greater consideration than viewers might if they passed actual billboards by car. The design at the top depicts the age of the internet, but ironically it is made in a way that alludes to what is handmade and personal. The middle image reflects our habits and how they relate to one's desire to fit in. The bottom image follows the path of history and how information and vision have been passed from place to place. Of course each mode has it's advantage and disadvantage.

Christopher Davison: A View of Relief

2011-08-20T01:11:00.007-04:00

(For more information about the "Viewfinder Project" click here.)

Several years ago I met Christopher Davison at his MFA exhibition in Philadelphia. After this exhibit, I invited Chris to make a “Viewfinder”. The drawing I received (seen below) led me to more questions than answers. Although illustrative, the image also seems somewhat atypical of Davison's work because it is relatively minimal and focuses on a single subject. The figure or form that Davison presents does not fit a neat characterization. Is it a depiction of a machine, is it a creature, or is it some tree or natural formation? It seems to be spouting out steam which initially caused me to make a mental leap to my memory of Old Faithful.

Christopher Davison's "Viewfinder", Size: 6" x 4 1/4, 2005

As my teaching position this summer came to a close, my sense of Christopher's drawing had evolved. I began to see his picture more specifically as a metaphor for a kind of exhale of relief. I feel that Davison's view is not so much of an object but more of an illustration of a feeling that transcends a complete description. No matter what job one has or what stresses life presents people need a means to “blow off steam”. This enables one to recharge or to heal. To “blow off steam” does not necessarily imply destructive or self-destructive acts, but it does indicate a limit and a change of course. In the case of individuals it indicates our physical and psychological limits.

In comparison to Davison's other works, he often uses layers of active drawing marks in a variety of media. Ultimately, this provides his drawings with a kind of psychic energy. For example, within many of these drawings figures that may not appear to be in motion may also appear to pulsate. In contrast to the "Viewfinder" (seen above) that provides an exhale,these drawings are like the energy one receives following the deep long breath. Below is an example from Christopher Davison's website.

Christopher Davison, Cronies, 11" x 15" · gouache on paper, 2011

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2011-07-26T21:57:00.001-04:00

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For prices and information contact: kipdeeds@gmail.com

Summer Gift

2011-07-17T15:46:00.003-04:00

This summer a friend and fellow artist Amy Long gave me a collection of canceled stamps. After organizing the stamps I found several unusual examples. The cancellation mark in the stamp below seems perfectly placed to indicate the future direction of the characters.

The most unlikely stamp I found in the collection (seen below) features ermine (a kind of weasel) in a Christmas motif. Although this animal has a white winter coat, it seems like a surprising choice for a holiday greeting.

Finding diverse stamps among the given assortment provided a welcomed diversion and a chance to imagine myself in other places among varied company.

Eva Wylie: A View From The Ledge

2011-07-03T17:54:00.004-04:00

(For more information about the "Viewfinder Project" click here.)

Eva Wylie's "Viewfinder"- Relief Print, String, and Book Board Ledge

Eva Wylie was the only artist who sent back a "Viewfinder" in parts as a sculptural project. She wrote to me saying that her work evolved through many stages including one that involved sewing. The end result is a shelf like display for a "Viewfinder" that she ultimately cut apart. Below is a descriptive drawing she sent as part of a letter.

For a long time Eva's shelf rested on my desk. However, it is this summer when I fully felt its relevance. While at a six week summer teaching job, I live in a cabin that has several simple shelves that allow me store necessities. Below are two images from this cabin.

After considering these shelves, I realized that they function like a pedestal and a kind of three dimensional viewfinder. The ledge frames and organizes the image within a rectangle providing a context for the objects. Also, the conventional use of a shelf creates norms in which objects that are alike in either form or function are grouped together. Eva's small sculpture inspired me to consider how the everyday objects around me can be framed by conventions of three dimensional display. It seems that a shelf can be as powerful a prompt for organizing an image as the most traditional viewfinder.

Although Eva Wylie often uses print, sculpture, sewing, and installation in her artwork, her more involved projects usually build from many prints and break out of the rectangle or square. Below is an example from Wylie's website.

A detail of Eva Wylie's installation titled Roaring Garden

Training the Eyes, Mind, and Body

2011-06-12T20:04:00.036-04:00

Occasionally I see something particular or peculiar that may not make a great photograph and may not inspire a sculpture or a painting, but it does stir some thoughts. This occurred recently while out on my daily walk. In this case, I passed by a collection of exercise equipment in front of a house. It is rare to see such equipment (equivalent in quantity to that of a fitness center) out in front of a home. The objects were positioned in such away to form a jumbled overlapping unity.

Although the equipment looks like it is in disrepair, it is unclear if the machinery is headed for disposal. The equipment appears in limbo between the garage and curbside trash pickup. Not only is it a compelling menagerie of devices that seem to address every exercise craze and every part of the body, it also seems to beg to tell a story. Had the owner given up on exercise and banished the equipment? Is there a new device to replace all of the old equipment? Was the equipment bought on impulse, based on the allure of infomercials, and then left unused? Without knowing the owner of the equipment these questions can not be known. However, in a neighborhood where one residence usually merges with the next revealing only the smallest differences, this unique collection is a jolt and a reminder of our own (perhaps less visible) idiosyncrasies.

By taking a break from practical concerns and getting my own dose of exercise I was able to move beyond passive observation and to consider what I was seeing. The eyes, the mind, and the body were in concert thanks to the exercise equipment.

Everywhere A View Is Found

2011-05-26T23:54:00.036-04:00

(For more information about the "Viewfinder Project" click here.)

Last week I was in New York City and went gallery hopping. Toward the end of my visit in the gallery district of Chelsea, I noticed signage (seen below) for an exhibit titled Viewfinder at Artgate Gallery. Though I have been unable to find a statement about the exhibit online, I get the sense that the show has little to do with viewfinder devices. Rather, the title has to do with finding new talent through the Nars Foundation International Artists Residency Program. Although I took a nicely composed picture of the window displaying the exhibit announcement, complete with a reflection of the building across the street, I did not get many pictures of the exhibit (related images can be found in the links provided above).

Even though I know that my ideas are not completely original and feel that originality is finite, I felt something jarring about seeing an exhibit that also borrows the concept of a viewfinder. Am I just writing a series of reviews that present a view of specific artwork or can something conclusive be said about the way artists approach seeing and observation in the twenty-first century? Everywhere there is a potential view. So, what is important and how is this determined? Because I have many more "Viewfinders" to review, I wonder if it is inevitable that I will lose focus? Will I veer too far away from how a view is found and focus too heavily on what is in each unique picture?

Although I know that conclusions are inconclusive and I understand this paradox, I am still determined to make conclusions anyway. If one believes that the universe is an interrelated entity, then conclusions will also be beginnings. Thus, conclusions may be as relative to human interpretation as having an artistic view. However, it seems like it is the boundaries, both mentally and physically, that keeps us from drifting in a sea of random visions. Having a view is a first step toward an artistic conclusion. For me, as a writer, having thirty five to forty "Viewfinders" to review means taking a lot of small steps as I work toward a conclusion to this project. This leads me to know that patience is a requirement in gaining an insightful perspective.

Susanna Bluhm's "Viewfinder", Ink Drawing, 6" by 4 1/4"

The "Viewfinders" featured above and below tap into a kind of randomness. I did not give very many requirements for the "Viewfinders" I mailed out. In the case of the work featured here, I mailed out "Viewfinders" to two artists I knew who both live at the same address. I received back one of the drawings from an addressed artist and the other from an artist I had not solicited (this was fine with me). I suspect both "Viewfinders" were made at the same time and quickly as if they were made as a part of a game. I feel that this mode of working led to a spontaneity and playfulness that a traditional view finding device (the kind typically designed for art making) seems to psychologically inhibit.

Amy Lin's "Viewfinder", Ink Drawing, 6" by 4 1/4"

Two final notes: Susanna Bluhm has a wonderful website and will be exhibiting work at Michael Rosenthal gallery in San Fransisco. Lastly, in the note written on Amy Lin's drawing ("Winnie is a naughty dog"), Lin is ironically and humorously referring to Susanna's lovable pooch.

Chad Andrews: The Daily View

2011-05-15T02:48:00.008-04:00

(For more information about the "Viewfinder Project" click here.)

The "Viewfinder" made by Chad Andrews involves a layered reflective approach to daily events and is similar to other collage work he is currently involved with. Andrews begins by tracing over calendars. Then he draws on top of the tracing. Finally, the semitransparent paper is adhered to thicker paper that includes painted elements. The reality implied by the tracing along with the notes about everyday experiences meld with more abstract wanderings. It is as if Andrews is trying to say that everyday can be flexible and that there are guides but ultimately they are not fixed.

Chad Andrews artwork is an unfolding act and there is fluidity about his work from piece to piece. From 2001 through 2004, Andrews focused on meticulously rendered drawings of cardboard boxes that are juxtaposed with abstract marks and personal symbols. In the past couple of years, Andrews has also installed large scale dimensional drawings made of silicone that have the meandering line quality of a pen and ink sketch. In a certain regard the silicone drawings are unlike his work on paper. However, there are connections in terms of imagery and the continuous line of silicone seems akin to the ongoing connected days visualized in the schematic of a calendar.

Chad Andrews "View Finder", Size 4 1/4 inches by 6 inches.

Title: My second hand best Graphite and Gouache on Rives BFK - 8 inches by 16 inches 2009

Detail: Going to Philly (West Side)
Silicone Polymer - 8 feet by 32 feet
2009 - Installed: Eckhaus Gallery, Kutztown, PA

Chad Andrews lives on a farm outside of Williamsport, Pennsylvania and maintains a studio in the Pajama Factory in the heart of town. For more information and images visit the website of Chad Andrews. For more information about the Pajama Factory visit my post from last July.

Spring Travels

2011-04-26T20:42:00.028-04:00

In March I flew to St. Louis and then in April I drove from Pennsylvania to Chicago. Between the St. Louis and Chicago trips I also visited New York and Philadelphia. Given this recent movement, I felt it would be worthwhile to organize and show some of the highlights.

Above is a print by St. Louis artists Gina Alvarez and Jana Harper. I was in St. Louis for the Southern Graphics Conference and Alvarez and Harper's collaborative print series was on exhibit at the Sheldon Art Gallery. The prints were inspired by a child's notebook of poems made by a relative of Alvarez. I found it fascinating to see how and when synergy occurred between the artists.

This April, I attended the opening of the Tyler School of Art alumni works on paper exhibit at the Crane Arts building in Philadelphia. The painting/drawing seen above by Mark Mahosky was created on segments of newspaper. Here parts of stories and captions show through the paint. This provides a compelling relationship between the ephemeral nature of the paper and the more permanent associations of painting. I enjoy the lumpy form of greys and muted colors that the painting creates. The lump and its grungy associations in part reminded me of Philip Guston paintings.

As a part of the alumini exhibit Chris Golas created a performance where he draws himself out of a giant paper bag. The performance seemed at once fun, exhausting for the artist, and a daunting challenge. At its heart art is step by step and in a way if broken down into its elements it can seem simple. However, what worked about this installation/performance is that Golas was able to make the simple steps both grand and human. The artist brought vision, and energy to the process. Thus, transforming the simple steps into ideas and feelings that are complex and worthy of lengthy consideration.

Below Chris Golas makes his way out of the bag. Even while choosing a difficult bag, Golas proves, if one is willful, one will make it out of the bag.

Later in April I drove to Chicago. Here I saw the Jim Nutt exhibit at the Museum of Contemporary art. While taking a break at the museum, I noticed the wonderful stone garden (seen below) designed by Sol Lewitt. I enjoyed how either weather, people, or small animals displaced some of the stones making Sol Lewitt's complete system of vertical, horizontal, and diagonals a little bit imperfect.

Above is an early painting by Jim Nutt. Here I learned that he employed a technique used by graphic artists for pinball machines. Nutt would use a detailed sketch and place plexiglass over it. Then he would begin by painting details directly on the glass. Subsequently, he would layer the more general parts. Finally, the painted plexiglass would be mounted in a frame and the non-painted side would face outward.

The work above shows one of Nutt's later paintings. Through a video playing in the gallery, I learned that there was a lot left unseen in the exhibit because Jim Nutt often paints messages and images on the backs of the paintings. The work on the verso side tends to be addressed to the owners or handlers of the painting.

Although I visited New York City twice this spring, I did not take many pictures. A highlight from the first trip was a visit to the exhibit Reconfiguring an African Icon: Odes to the Mask by Modern and Contemporary Artists from Three Continents at the Metropolitan Museum of Art. Above is an example of work by Romuald Hazoumé (Beninese, b. 1962. Ear Splitting, 1999. Plastic can, brush, speakers). These masks often present pathos and humor in a way similar to the inventive portraits by Jim Nutt.

A View of Baker's Bomb

2011-04-08T18:07:00.026-04:00

(For more information about the "Viewfinder Project" click here.)

When I received a "viewfinder" back from Tom Baker, what I got was a bomb in the mail. As a greeting, Baker's card is a paradox because the image is both menacing and beautiful. The background indicates a elegantly nuanced world of repetitious pattern. It seems unlikely that the world, as depicted in the background, will be shattered. Although we will never know if the bomb depicted will explode (we only know it appears to land in water), it reminds me of nuclear tests where bombs were dropped on the ocean. Ultimately, I do not see Baker's bomb as threatening. Rather, I view the image as a metaphor for explosive questions that have a revelatory quality and I became it's target.

Print by Tom Baker (Size: 6" x 4 1/4")

April 4th

2011-04-04T13:08:00.015-04:00

On April 4th, 2008, I quickly made a print using the headlines that were in the paper that day. I considered the headlines as thought bubbles for the day. It was a challenge to make an image quickly in the same hasty manner that newspapers have to shape stories everyday. I thought of my image as a kind of time capsule. Although the news is about current events, it is also partly about remembering. Each year, there is a headline on April 4th about the sorrowful day in 1968 when Martin Luther King was killed. Regardless of how important events appeared, the other news items of April 4th, 2008 now seem like small parts in a stream of information.

Print made by Kip Deeds on April 4, 2008.

Lauren Schiller's Stereoscopic View

2011-03-26T23:02:00.019-04:00

(For more information about the "Viewfinder Project" click here.)

Lauren Schiller's "View Finder" depicts a stereoscope and a stereoscopic card. Schiller's work often presents food in a way that creates a sense of longing along with a sense of mild guilt. It is not that sweets like cupcakes or cookies are that bad, it is more that they present temptation. However, it seems that the better a person is (e.g. kinder, more studious, careful, generous, etc.) the more smaller temptations can take on a greater significance. For this reason Schiller's style lends itself to this perspective. Her pencil drawings and prints are rendered in the most precise manner placing the artist in a perfectionistic category. This also makes the drawings and prints richly ironic since they often deal with such seemingly superficial yet psychologically charged flaws (e.g. enjoying sugar).

Promiscuous Experience of Sweetness, Graphite Drawing by Lauren Schiller (Size: 4 1/4" x 6")

In the drawing Schiller sent me (seen above), the viewer's relationship to the couple and cake depicted is explicitly voyeuristic. The viewer is twice removed from the activity. Through the stereoscope the cake and the couple exist as nostalgia for a time when the cake and the gaze of the lovers were pure sweetness. We can only imagine what happens after the couple turn from each other toward the cake. It does not seem like the image would become sweeter if the cake were being devoured.

Detail: Promiscuous Experience of Sweetness, by Lauren Schiller

Below is an etching Lauren schiller made for a 2005 portfolio of prints titled "Guilty Not Guilty". For more images and information visit Lauren Schiller's website.

Etching by Lauren Schiller

Rachel Welling, Viewfinder, and Chance

2011-03-02T21:53:00.036-05:00

(For more information about the "Viewfinder Project" click here.)

I met Rachel Welling in 2003 at the Vermont Studio Center's artists' residency program. Rachel is a native of Indiana and at the time was finishing college at Indiana University in Bloomington. While in Vermont, Rachel was struggling to both use the traditional skills in painting she had gained at Indiana University while also breaking free from some of the rules of observation. She was aiming for representations that had more of a metaphorical impact. Later, she attended the M.F.A. program at the Pennsylvania Academy of Fine Arts. While there, I once met up with her for a studio visit.

Painting by Rachel Welling, Size: 6" x 4 1/4"

What I find most interesting about the "Viewfinder" that Rachel Welling sent me (the painting seen above) is how it emphasizes chance. I am specifically directed to the dice in the picture. What I find compelling about the dice is that they seem to present a paradox. They represent chance yet they are the most grounded and exacting information in the painting. The figure an the surroundings have a gestural unfinished quality. However, because of their detail, the tiny dice stand out with a sense of permanence that is not realized elsewhere in the picture.

Another element I am attracted to is the mysterious circular outline in the upper right part of the picture. It reminds me of the stain from a coffee cup and seems to reaffirm the notion that anything can happen.

Emphasizing the role of chance may have a heightened sense of relevance to artists who have less than stable financial situations. For some artists chance and art making may remain more of a constant than relationships, paychecks, and living arrangements. Although permanence is an ideal, chance may seem more predictable than other factors in an artist's life. One never knows when or if the the "big break" will come or when or if the "other shoe will drop". In the mean time the artist keeps working and keeps rolling the dice.

A detail of Rachel Welling's Painting

Below is another painting by Welling; it also seems to be fraught with fluctuation and variability. This piece seems to be like a compressed play where the various acts have been superimposed and arranged together. Rachel currently lives and works in Chicago. For more images visit Rachel Welling's website.

From the Desperate City, 22 inches by 30, (Media: Ink, Acetone Transfer and collage) 2010

Joshua Mosley's Mirror, Mirror and Geoffrey Beadle's Puzzler

2011-02-14T23:27:00.024-05:00

(For more information about the "Viewfinder Project" click here.)

I met Joshua Mosley at an opening at the Fleisher Art Memorial in 2005. Since then, I have not seen him often but have kept in contact (Mosley is a Professor of Animation at the University of Pennsylvania). I sent him a request to contribute to the "Viewfinder Project" and received a prompt response and result. At first I didn't know what to think because he had scanned and flipped the image I had made. I received a mirror image printed on the back of the "Viewfinder" card I had sent him. It felt as if he had sent the print back to stare at me in the way one looks at a mirror.

Overtime Mosley's adaptation has grown on me. The colors from the inkjet printer used are a little softer and have settled in the paper in a way that my oil based ink did not. As far as I can tell, Mosley's version was printed directly on the original paper I sent. This meaning that a bleed print would be near impossible (digital printers are not equipped to print over the edges of paper). Hence, he had made an image slightly smaller with a minimal border. These differences became unnoticeable once I scanned Mosley's image and posted it below. Unless one wants to make an appointment to see the original, viewers will have to trust it's authenticity. Perhaps being one step removed can reveal limitations similar to those found when one looks in the mirror? However, There are times when we have to trust even when we can't fathom the reflection.

Digital Print (A Flip of Kip's Print) by Joshua Mosley

Originally I thought Geoff Beadle's viewfinder involved mirrors but now I am not so sure. Geoff is a painter and professor at Edinboro University of Pennsylvania who makes revealing self portraits. He is aided by mirrors and sometimes uses mirrors coupled with a photographic views. These paintings are about intently and fearlessly observing even when the view is not always flattering. However, a mastery of materials and technique present a paradox where a grittier more complex conception of beauty is possible. I found his viewfinder compelling because it is literal like Mosley's digital print yet it also is transformative. Try as I may, I am uncertain whether light is emanating from an object being framed or whether it is some how a reflection shining off the viewfinder being held. I get the feeling that Beadle is in the photograph and is illusively revealing another self portrait. Here he is directly revealing the the tricks of his trade, namely, through camera work, the viewfinder (like that being held), as well as through lighting and reflection.

Photograph by Geoffrey Beadle

Painting by Geoffrey Beadle

Above is a more stately view of the painter. To see more paintings by Geoffrey Beadle visit the Edinboro University of PA faculty web page.

Viewfinder Continued: A Collage By Katie Parry

2011-01-25T13:32:00.028-05:00

(For more information about the "Viewfinder Project" click here.)

Several of the artists involved in the "Viewfinder Project", including Katie Parry, transformed the initial "Viewfinder" print in sculptural ways. Parry built outward glueing new materials to the back of the print. Below is a view of the print after Parry had worked on it.

Relief print by Kip Deeds, collage by Katie Parry

On the other side of the card Katie continued to collage and made a drawing. She wrote me a descriptive note about how she arrived at the image. Initially, she imagined personalities for the figures depicted. Parry's free association was a catalyst that ultimately led toward her own narrative thread. In many ways, Katie's delicately constructed collage and drawing are a contrast to the more contained graphic content of the print. Parry's written description of her drawing is almost as stirring as the artwork she made.

Letter from Katie Parry

Parry writes, "I would like there to be a way to hold onto things that have no shape, slippery, weightless things that stir our hearts like wind. What if you could fill a balloon with a song, send it up into the air, and let it travel to a faraway place? What if a person in that far away place could release the song as easily as opening an envelope?"

Collage and Drawing by Katie Parry

It seems Katie Parry's view is expansive. Her process involved wandering, wondering, building outward, and thoughtfully communicating. Parry's letter seems an extension of the drawing. One view leads to another, then action, and then dialogue.

Viewfinder And A Painting By Anda Dubinskis

2011-01-09T00:22:00.021-05:00

One task that stands out in my mind from high school art class and later college drawing class was making a viewfinder. We were assigned to cut a square out of the center of a piece of matboard. Thus, making a device to help one compose pictures. By using this window to frame a view one can get a sense of what should fit in a drawing and what should be left out (students are suppose to consider the edges of their pictures and the use of positive and negative space to their advantage).

I don't remember using the device much and I don't recall thinking it was very practical because there was no way to hit the pause button when one found a useful view. However, the idea behind the viewfinder did stick in my mind and it did make me aware of how vision involves constant movement and is unframed until we ascribe meaning to it.

Years later I wondered about other ways to find views, and I subsequently made a print that became a catalyst for finding views (see below). I mailed the print to artist friends for the purpose of collecting perspectives that could then be re-examined. I gave each artist a sample print and an extra copy. On the back of the extra copy the artist applied a view and returned the completed work to me.

Relief Print by Kip Deeds (Size: 6" x 4 1/4")

After receiving the cards back, I now have a collective view and examples of different ways people are viewers. Every other week I will post a result. Some artists spent hours laboring on there little card, others responded quickly, and some were never returned (this is also a kind of view). I am not disappointed about the printed viewfinders that went missing. After all, I am blessed to have two eyes and wonderful results on both rectangles and in other forms.

One of the first "views" that was returned to me in the mail was a painting by Anda Dubinskis. Anda exhibits work at Fleisher Ollman Gallery in Philadelphia and is the drawing coordinator at Drexel University.

Painting by Anda Dubinskis (Size: 4 1/4" x 6")

I was amazed by the image that had been returned to me. Not only does the painting have the wonderful movement of a sketch but the image seems rich in story. The figure, dressed better than that of a typical woodsman, appears swinging an ax. It is uncertain what the figure is striking at. The tree is curious because it is behind her. It is also painted in a manner that allows one to see through it (as if the tree is an illusion). All of these factors lead to a mysterious depiction and I can not help but feel empathy for this displaced character and what seems to be unresolved action.

A New Press and A Hunter Finds Her Target

2010-12-29T16:56:00.016-05:00

I finally had a chance to go to Philadelphia (December 18th) and to see some artwork and socialize. I visited Rebekah Templeton Gallery and then went to the grand opening of the Second State Press. Jackie Hoving’s exhibit Crypsis was on view at Rebekah Templeton. The exhibit featured two large collaged wall pieces, several smaller collage works (in both the gallery and the back room), and a video on a pint-sized screen. With regard to the large work, one collage referred to gaps in the content of the other. Below is one wall of the gallery and the following image shows the adjacent wall.

Jackie Hoving, Hunter in Forest, paper, spray paint, acrylic, ink, 2010, 108 x 224.25 inches

Jackie Hoving, Forest in Hunter, paper, spray paint, acrylic, ink, 2010, 108 x 175 inches

Hunting themes dominate Hoving’s work whereby she uses camouflage and references finding one's target. I feel most art making involves hunting for images, content, meaning, or a look. However, the artist’s inspiration very rarely purposefully hides. Although art usually does not involve hunting for the kill, I still find art more illusive and for the most part more valuable than the hunters pelt. What is most compelling about this work is the effort to find a view amidst difficult circumstances whether that is about finding a target in a dense forest or about the ethical or cultural issues relating to a hunting culture. In a day and age when hunting is rarely a necessity for food and clothing, this exhibit shows how close hunting is related to ritual as well as to a fashion that is political, visual, and social. For more images and information visit the Rebekah Templeton website.

After leaving the gallery, I headed over to the Crane Arts Building to the opening of the Second State Press. This is a new nonprofit print center that allows artists to rent time in order to use the presses. The rates are rather modest if one has specific printing needs.

Above is an image of one of the lithographic presses. The picture was taken after the opening festivities. To me the press looks lonely, as if it is waiting for an artist to come along. I bought sixteen hours of press time. So, Mr. Lithopress I will see you this spring.

(This is the last post of 2010 and in many ways the hunting theme foreshadows my next post about viewfinders. I hope you will come back in January. Until then, happy new year.)

Lost and Found Part 2

2010-11-14T20:16:00.017-05:00

This fall I received an email from Liz Ainslie. Liz is a friend and an artist living in New York City. Liz informed me that she was out with another friend of mine Maanik Singh Chauhan and they spotted one of my paintings in an antique store. Maanik saw the painting first and noted my signature on the back. I guess the painting was a bargain because Maanik bought it right away.

I could not fathom how Maanik and Liz could stumble upon my painting because I have made so few. Also, when Liz described the artwork to me I could not recollect it. I considered that Liz might be mistaken. I figured that what she had could be a print because I had made many like the image she described. Yet, Liz assured me that it was a painting. Still confused, I asked Liz to email me an image so I could verify it. Once I received the image, I recognized the painting (see below). It was made at the Millay Colony in 2003 and I donated it for an auction. Somehow the painting made it back into circulation.

Kip Deeds, Entering the Carousel, oil on canvas, 12" x 12", 2003

My friends finding this painting has been a fortuitous for several reasons: first, now I know the artwork is in good hands; second, this event has allowed me to converse with Liz and Maanik; third, now I have a great reason to highlight these wonderful artists' work.

Liz Ainslie, The Pieces XI, oil on wood, 24" x 18", 2010

When I am absorbed by Liz’s paintings I think of a kind of abstract depiction of home through shape, form, and color. I am reminded of the playfulness of Milton Avery and the sensitivity of color that Morandi brought to his paintings. One of Maanik's paintings, seen below, is humorous in part because of its title and also because Maanik is a Sikh. This is one of my favorite paintings; it mixes humor and seriousness in a way that causes rumination.

Maanik Singh Chauhan, Sikh and Tired, oil on panel

The chances of finding one of my paintings in a resell store and recognizing it seems slim. I feel that winning the lottery might be greater. Although the payout in this case may not be nearly as great, the power of art has once again brought people together.

Edgar Allan Poe

2010-10-28T21:09:00.029-04:00

Nathan Oliveira, title page and print from the series To Edgar Allan Poe, 1971

Halloween is approaching, and it seems like a good time to investigate visual artists who were inspired by Edgar Allan Poe. Since I have been teaching in Baltimore this fall, Poe has been on my mind. Poe lived in Baltimore (he moved often) and is also buried there. Currently, there is an Edgar Allan Poe Society of Baltimore that now keeps the memory of the writer alive.

Édouard Manet, Lithograph, published with the poem "The Raven",1875

After some online research, I found that the Baltimore Art Museum recently had an exhibit that featured artists inspired by Edgar Allan Poe (The University of Virginia also had a similar themed exhibit). Poe’s writing is now in the public domain and much of his writing can be found online. The website The Literature Network has a thorough collection of Poe’s writing (If you do not see the links to Poe’s stories and poems on this site, look for the column on the left as you scroll down).

Odilon Redon, The Eye Like a Strange Balloon Mounts Toward Infinity, Plate 1 in the Series For Edgar Allan Poe, Lithograph, 1882

Artists for generations have been attracted to Edgar Allan Poe’s imagination, depth, and vividness. It is these qualities that pierce through the macabre for which his best literary works are known. Some artist’s like Edouard Manet have made more literal illustrations of Poe’s writing. Manet made lithographs to illustrate Stephane Mallarme's French translation of "The Raven". Artists Odilon Redon and Nathan Oliveira have made suites of prints inspired by Poe. For artists like Edvard Munch much of their art work is ladened with a mood akin to Poe's writing.

Odilon Redon, After Reading Edgar Allan Poe, or: The Eye, Charcoal drawing, 1883

Life is ripe with paradox. For example, one cannot truly know the lighter side of life without feeling its darkness and despair. For all of Poe's focus on the darker side of life, he also understood its opposite. For example,“The Pit and the Pendulum” is relentlessly dark. However, it would not be memorable without the light at the end.

Edvard Munch, Angst, Oil on Canvas, 1894

(For further reading about Redon's connection with Poe see: Norbert Miller's essay, pages 58-67, in the book Odilon Redon: As in a Dream. Also see: Nathan Oliveira, by Peter Selz, pages 3, 78-80, and 154)

Lost and Found Part 1

2010-10-24T21:24:00.011-04:00

Currently, I am taking digital design classes at Bucks County Community College. Numerous prints are hung in one of my classrooms below the library. After observing the various styles and techniques represented, I noticed a print that looked familiar and seemed to be part of a series. I had seen another print that looked very similar on another part of the campus. Upon closer inspection I realized that the print found in my classroom and the other print I had seen were made by Pamela DeLaura.

I met Pamela on a trip to Detroit. She is a Professor of Printmaking at Wayne State University in Detroit. I sent her an email to confirm it was her work. She was surprised because it turns out the work came from her time as a graduate student at Temple University. She was not sure how the work became a part of the college collection but was pleased to know it fell into good hands.

The print I witnessed (seen above with some glare on the glass) is an interior with writing visible as part of the printed image. The writing describes what she saw out of her window when she was a child.

Pamela's prints at Bucks County Community College seem to foreshadow her later work that depicts the form of a house filled with reminders and symbolic information. Below is an image of a more recent print by DeLuara that was included in a national print exhibit at Artlink in Fort Wayne, Indiana. Having lived for three years in the Midwest, I know that Artlink has been very active in support of contemporary art and printmaking. After doing a web search, I found that Artlink has a new website. This was a little confusing because I found Pamela’s work on what must have been their older site. Anyway, it is all good. What was lost has now been found.

Pamela Delaura, Intersections III, 2005

Science and Art

2010-09-30T13:33:00.046-04:00

Leonardo da Vinci (1452-1519) is perhaps the artist most identified with science. The drawing above by Leonardo demonstrates his interest in proportion. Proportional study was critical to science during Leonardo's lifetime because a standard system of measurement did not exist. Systems of measurements often varied from city to city (See Fritjof Capra's excellent book The Science of Leonardo page 169).

Since the renaissance, technology has more often than not allowed artists and scientists to drift apart. There is still the need to illustrate, graph, and describe science with traditional artists tools. However, In the nineteenth and twentieth century a dramatic increase in scientific invention and information has ushered in an age of specialization where scientific understanding is no longer dependent on the artist's power to observe and record. Electron microscopes, x-rays, and cameras small enough to be inserted in the body are now allowing scientists, engineers, and doctors to see in enhanced ways.

Although most artists are not deeply engaged in science and most scientists don't have time to become full time artists, the two fields of study share many common aspects. For instance, both disciplines are likely to begin with studies or tests, comparison is key to both scientific and artistic analysis, perspective and observation remain critical, and finally imagination and creative thinking is essential to scientific and artistic development.

Art involves a study of life as it relates to the senses and intellect. So, we should see some connections between art and the techniques used for investigating our universe (scientific method). Art remains capable of presenting scientific findings in unique ways. Art can also provide a humanistic context for science that is capable of critiquing mankind's use of science.

Below are examples of art that describe, critique, and presents science in a variety of ways. What is art and what is science can often be hard to separate. Notably, my initial inspiration for this post was a contest and exhibit titled The Art of Science that students at Princeton University take part in annually. The contest challenges students, who study a range of subjects, to consider science as art and art as science.

National public Radio had a series called "Where Science Meets Art" and one example from this series involves science told through comics. The artwork above is by Leland Purvis and Jay Hosler.

GFP Bunny is a genetically engineered rabbit by Eduardo Kac (born 1962).

Based on study by Niccolo Fontana Tartaglia (1499/1500 - 1557) this illustration exhibits the relationship between geometric analysis, physics, and canon fire.

Galileo Galilei (1564-1642) said "Mathematics is the language with which God has written the universe." This image is from Galileo's Dialogues.

Dorothea Rockburne's (born 1932) work has also been inspired by a study of geometry. Above is her work: Pascal’s Provincial Letters, Oil on gessoed linen , Size 67" x 67" x 8", Date 1987.

Here are links to other serious artists inspired by science: Beauvais Lyons, Beverly Fishman, Vija Clemins also on Art 21, Walter De Maria, and Damien Hirst. (I hope to add more soon)

Relief Prints

2010-09-16T14:20:00.029-04:00

Lyonel Feininger (German/American 1871-1956), Volcano, 1918

This fall I am teaching relief printing as part of an introductory printmaking course. During the first class, I introduced examples of relief prints from art history. Many of these images are included in this post. After this presentation/lecture, students began to work on preparatory drawings that would lead them toward their own print. Although this stage of design can't be seen in the prints shown here, during this sketch stage the aesthetic treatment of one's subject and its compositional layout can be considered and revised. Once a plan is made, the design is render on the surface of the carving block (usually linoleum or wood). When the drawing is in place then the remainder of the work revolves around carving and printing. Surprises can arise while carving, and adjustments can be made after a proof is printed. However, it is the initial planning which I believe to be the most critical to the success of this kind of print (one that relies on describing form).

The prints included in this post are related to German Expressionist prints and prints made in Mexico during the first half of the 20th century. When discussing these prints with the students, I asked them to notice how the negative space (the space around the main subject or subjects) can contribute to the organization of a picture. If the shapes that the negative spaces make are complex then this can lead to a more active image. Although a larger amount of white or black around a figure or subject can lead to a dramatic presentation, rarely is the background (or negative space) all white or all black in these examples. Here marks are often used to activate spaces that can be undervalued to the passive viewer. In other words, the type of mark made according to its width, length, and direction is integral and an important subject unto itself.

Francisco Dosamantes (Mexican 1911-1986), Scandal, 1945

Carving does not allow for shading but value differences can be created optically by the proximity of marks. The smaller and farther apart marks are the lighter a picture will appear. In other words, the more one carves the lighter the image will be when printed because there will be less raised surface area for the ink roller to make contact with. However, exceptions will occur when the printing method involves explicitly over inking the matrix or that the carved marks remain too shallow and collect ink.

Below are examples with notes and links. Some of the artists are less known and I am pleased to include them here because they made important contributions to the larger milieu of their time and culture.

Karl Jakob Hirsch (German 1892-1952), Self Portrait, 1915

Franz M. Jansen (German 1885-1958), 8 O'clock, 1920

Käthe Kollwitz (German 1867-1945), The Widow II, 1923

Isabel Villaseñor (Mexican 1909-1953) Self Portrait, 1929

I could not find a lot of information about Villaseñor. She was a poet and artist who also appears as a model in many well regarded photographs.

Tamiji Kitagawa (Japanese, 1894-1989) Extracting Sap from a Maguey Plant, 1930

Tamiji Kitagawa was born in Japan but came to live in Mexico.

Scroll Drawing

2010-08-22T16:47:00.022-04:00

Currently, I am exhibiting artwork at the Kalamazoo Book Arts Center in Michigan (August 6 - 27th). Included in the exhibit is a thirty-two foot long drawing of a scroll.

In 2003 or 2004 I had bought a roll of paper. Having not used it by 2005, I thought about the possibility of making the entire roll into one long drawing. At that point, I didn't know how long the roll was or how long it would take to use all of the paper. This summer I was able to measure the drawing and for the first time I was able to see the finished piece at one time.

When trying to comprehend a work that is very large and or sculptural, it requires multiple views to piece together a sense of the whole work. For this reason, I took multiple photographs to document this work.

The drawing was completed in three different stages. At each stage I would work on a section for a particular exhibit. During the first stage, I completed a part that was included in an exhibit at the Pennsylvania College of Art.

I continued work on the scroll for the exhibit "Naked Paper" at Tower Gallery in Philadelphia (Tower Gallery is now closed). For this part of the drawing, I depicted many large towers.

I completed the last part for the exhibit "Dig" in the Washington D.C. area. The gallery had only enough space to exhibit the last section. The last part is comprised of a collage related to the "Dig" exhibit as well as depictions of well-known people spewing forth quotations or aphorisms they are known for.

By the time I had the chance to show the entire scroll in Kalamazoo I had only a few corrections to make. For me one of the biggest surprises of this project was the shape at the beginning and end of the roll of paper. I don't think the manufacturer considered that artists would use these parts.

Gwen Frostic and the Cherry Hut

2010-07-21T17:41:00.031-04:00

(The front entrance of Gwen Frostic's print shop and store)

This summer I visited two popular destinations in Northern Michigan. One of these sites is Gwen Frostic's print shop and store in Benzonia, Michigan. The other destination is the Cherry Hut in near by Beulah, Michigan.

(A portrait of Gwen Frostic)

Gwen Frostic (1906 -2001)was an artist who made linoleum cut prints using motifs from nature to make cards and books. A few of the cards feature unlikely themes for greeting cards (e.g. cards that feature rainfall or one animal devouring another). I feel Frostic tried to reveal nature's beauty without simplifying its complexity.

(Printing presses at Gwen Frostic)

Recently, Gwen Frostic's Printshop seems to have fallen on some hard times and was shut down for a while. However, with new owners the printing center and store have re-opened. Although the website for this popular destination could use some updating, the actual location is a fascinating excursion. Frostic created a facility where people could watch the printing of her uniquely designed cards. Many cards and products are featured in the store and are favorably priced. Year after year I have come back to visit the press and shop to buy more cards. Seeing the unique building and grounds, the press operation, and the many cards and books is well worth a few hours of time.

(Gwen Frostic's cards)

(Books by Gwen Frostic)

Finally, after I left Gwen Frostic's shop this year, I stopped at the Cherry Hut. The Cherry Hut is opened seasonally in the spring and summer months and is minutes from Gwen Frostic. The graphic sign out front is well known in the area (see the image below). This local diner (established in 1922) offers a fine cherry pie.

(The Cherry Hut sign and entrance)

The Pajama Factory

2010-07-05T14:55:00.015-04:00

This summer I have traveled from Pennsylvania (near Philadelphia) to Michigan. I am teaching in the summer program at Interlochen Center for the arts. Interlochen is in Northwest Michigan, near Traverse City. On the way there, I stopped in Williamsport, Pennsylvania to visit the artist Chad Andrews. Chad has been an early tenant in the Pajama Factory. The Pajama Factory is a building that holds artist studios and performance space. It is owned by Mark Winkelman who is an architect from New York City.

This floor of the Pajama Factory has yet to be developed.

I have seen other cities convert old factory buildings into studios (e.g., the Crane Building in Philadelphia or the Goggle Works in Reading, PA) but I have never seen a building this large with so much potential. This makes me wonder if projects like the Pajama Factory will have a greater impact on the art we see in the future? As the internet has made images of artists' work more accessible and art fairs have made it easier for galleries to make sales in multiple markets, will artists seek out these new centers where the rent is relatively inexpensive compared to big cities? One of the smart choices that the Pajama factory has made was to start an artist residency program. This allows young artists to consider being an artist in a less than obvious place.

A renovated floor with new studios.

After touring the building with Chad Andrews, I began to feel that another advantage to a facility of this kind is that resources can be consolidated. For example, Andrews has refurbished several printing presses and just opened a printmaking workshop akin to Second State Press (located in the Crane Building, Phila. PA). So far Andrews has signed up several talented local artists (e.g., Jeremiah Johnson and Lori Crossley) for membership and access to his print shop. Only time will tell how large projects like the Pajama Factory will work. However, I feel a wider range of studio options will only benefit to the artists of the the future.

Chad Andrews's new printmaking studio.

Anchorage

2010-06-16T11:29:00.028-04:00

Two years ago I started a painting (acrylic on canvas) that was to be dominated by the chroma white. Initially, I was inspired by the abstract paintings of Robert Ryman. Ryman is known to use an abundance of white. Rather than making an abstract painting, I wanted to paint a boat I called the "Arkadelphia" making its way to Anchorage, Alaska. My painting was to depicted extreme cold through extreme white.

As I started to paint, I quickly realized that what appeared to be white on the palette no longer looked white on the canvas. Any little bit of color mixed with white had a profoundly colorful effect when placed on my canvas and compared with other more pure whites. I found that my image began to suffer from two flaws: either I made it too white and the imagery became difficult to see or I added too much color and then it was no longer dominated by white paint.

Not knowing how to proceed, I left the painting alone for two years and this June, after what I consider a long detour, I began to work on it again. Forgetting about my original objective, I began painting portraits inside the boat. Later, as I worked I tried to make these portraits whiter and concentrate on cool colors (blues and greens).

After working on the painting for a couple of days, I arrived at a point of decision again. Rather than continue and obliterate the image with more white, instead I stopped. This is the point at which I dropped anchor and the painting remained still. This metaphor of "dropping anchor" became an apt description and I wondered if the city of Anchorage was founded in a similarly specific and arbitrary way. After finishing this not so white painting (see the image below), I wondered if I would ever successfully make a painting truly dominated by the color white. Perhaps this future painting will have to depict a scene in route to Antarctica.

Anchorage, by Kip Deeds, 25" x 26 1/2", Acrylic on Canvas, 2010

Crack Update

2010-06-04T19:06:00.000-04:00

The cracks in my previous post (as seen in the photographs) are located on State Route 3003 near Laceyville PA.

Cracks In the Pavement

2010-06-04T11:30:00.000-04:00

For the last two weeks I have been spending time in upstate Pennsylvania (about a 45 minute drive northwest of Scranton). Driving around this part of the state I have noticed and often tried to avoid patches of broken asphalt in the road. It seems dirt roads are less worrisome than these dreaded jagged piles of broken asphalt. Although I felt that the pictures of the ravaged roads were impressive just as images, I thought posting a few pictures might also highlight the need for road repair. I can't imagine what these roads would be like with a lower tax revenue. The following image was made while I was going for a walk.

The image below is a little further down the road.

The Digital Book

2010-05-28T10:27:00.000-04:00

Cover of Key Note

I have yet to try digital book displays like the Kindle. I know that the digital book would save space. However, for my purposes I have found books made of paper efficient enough. Plus I like to make notes by hand in the margins of my books. This favoritism for the tangible has not stopped me from exploring digital possibilities.

Recently, I have been working on digitizing two of my artist book projects. One of these projects, entitled Key Note, I uploaded to my website yesterday. The analog version of this book was bound in the codex form. This book in part illustrates a scroll that continues from page to page till the end of the book.

Detail of Key Note

Recreating this exact scroll in a codex relationship online is impossible because a web page does not have a literal front and back. For the online version of the book, I created a window that limits what is seen to the scale of a single page and I added a scroll bar that allows the viewer to advance through the narrative. By limiting what can be seen, the online version becomes similar to the analog book and becomes manageable, given the size constraints of a webpage.

For my purposes, creating a webpage is about conventions of usability. In the case of Key Note, not being able to see the whole picture or story at once is beneficial because it creates a sense development and allows the audience to be surprised along the way.

For the complete online version of Key Note click here.

Steve Emmett

2010-05-14T19:23:00.000-04:00

I am a little behind the times regarding news. Recently, I heard that the painter Steve Emmett had died suddenly in 2008 and in 2009 there was a memorial exhibit at Edinboro University of Pennsylvania's Bruce Gallery. From the memorial retrospective the University has produced an extensive catalogue. Emmett was a professor of painting and drawing at Edinboro University from 1988 till 2008. I got to know Steve during the fall 2004 semester while I also taught at Edinboro.

We would chat from time to time outside of the art building. Also on occasion I could hear him lecture to his class in the room next to mine. We shared some of the same students and I realized that Steve was a well-informed and serious artist. From his website and other information I found online I learned that he spent much of his life in the Northwestern part of Pennsylvania above Pittsburgh. His paintings often appear deeply personal and indicated a complex inner life that seemed to contrast with his calm outward personality.

Gallery director and Professor John Bavaro states at the end of an interview with GoErie.com that he would love to see Emmett get national exposure. Emmett's work serves as a reminder that there are artists quietly making important art outside of large urban areas. There were 60 paintings in the retrospective exhibit and many can be seen at his website. I have included several of my favorite paintings by Emmett below. Hopefully, I am giving Steve a little more of the exposure he deserved.

Steve Emmett, 100 Pound Wait, 1993

Steve Emmett, A Place to Stay, 1991

Steve Emmett, Shell of a Man, 1995

Steve Emmett, Hare, 2007

Spring Break

2010-03-25T15:30:00.000-04:00

This March, I took a trip to Seattle and traveled into the mountains east of the "Emerald City". I did not venture into museums or galleries this trip but I did enjoy the outdoors. I have included here several views from this journey.

Above is a hill at Gas Works Park. The park is situated, not far from the University of Washington, at the edge of Lake Union . Below are two other views of the park.

Having grown up in Pennsylvania, I am continually amazed at the shift in landscape as one travels from Seattle east. One gets to see water, snow covered mountains, and then desert all in a three hour drive.

Above is a mountain found in the Wenatchee National Forest not far from Leavenworth, WA. On the return flight, back to Philadelphia, I was lucky to get a good view of Minneapolis and captured the image seen below. (Click on the image for a larger view.)

Re-Review Or Gone But Not Forgotten

2010-03-15T12:54:00.000-04:00

The exhibit has come down (“Imprint/Impact" at Bucks County Community College). The review I wrote has been posted at The Artblog. However, I thought now would be a good time to post a link to the review in case it was missed. The review highlights not only the exhibit but also the state of the arts in Bucks County (a county known for the "Pennsylvania Impressionist" movement.) Click here for a link to the review.

Books of Mold by Gail Deery

Seeing Snow

2010-02-11T20:34:00.000-05:00

Recent snow storms in Pennsylvania have allowed me to take a closer look at snow. I am reminded of the painter Rockwell Kent (1882-1971) who keenly observed how circumstances effect the appearance of snow. When a storm is brewing a range of grays compete; when the storm passes (and the sun is shining) the shadows can hold stunning blues. At sun rise and at sun set, following the storm, the snow can glow with pinks, purples, and oranges. I am also reminded of the short time in which the trees hold the snow. Snow fall causes trees bloom with white until the warmth and wind melts and shakes the snow to the ground. For me this is a reminder of the flowering of the spring and provides a respite from winter routines. Below are samples of Rockwell Kent's artwork.

Recharged

2010-02-04T17:56:00.000-05:00

I am aware that my blogging output has steadily decreased as the months have past (shame on me). I have noticed that I either forget my camera when I go out or I bring my camera and the batteries are dead. This situation has not help my blogging. However, I am proud to say I acquired a new fifteen minute battery charger. So more images should be forthcoming.

Secondly, I have been distracted from blogging by web design. I have recently redesigned my website www.kipdeeds.com and it includes a short film I made this fall about drawing.

Now I will get out there and mix it up.

Fall News

2009-10-30T17:41:00.000-04:00

This fall I have been taking courses in web and media design at Bucks County Community College and I am learning many fantastic programs, techniques, and processes. Soon I will have post-able examples of my progress. So far I have made ice cream melt in Adobe Flash, a poster in Photoshop, a kangaroo logo in Illustrator (it is a copy but I am mastering the pen tool), and finally I have made a button which when pushed meows like a cat. Other than school work, I have made new drawings and have made one journey to "The Big Apple". While in NYC, I sought out Paul Klee's drawings at the Met. Below is a work I saw at the Met. It is titled One Who Understands and is dated from 1934.

Paul Klee, German (1879-1940)

Finally, of note, I will be having an exhibit at the Abington Art Center which runs November 28 - January 31 2010. An opening is scheduled for Saturday December 12 from 3 to 5pm. Also on December 5th the Art Center holds a "Coffee Break" at 9:30 am and I will talk about the exhibit and coffee will be sampled.

Summer Hiatus

2009-08-27T18:31:00.000-04:00

Since my last post in May, I have been traveling and busy making art. I spent much of the summer in Northern Michigan teaching at Interlochen Center for the Arts. In June I drove westward and stopped in Detroit. My main destination was the Detroit Institute of the Arts. A sunny day added to the allure of the visit. I found many folks out on the front lawn of the museum catching rays as they faced Woodward Avenue. The Institute houses Diego Rivera’s installation of murals titled Detroit Industry. The murals portray Ford’s assembly line and chronicles mankind’s advances and struggles with science and technology.

Diego Rivera, Detroit Industry (Detail), 1932-33

The Rivera murals occupied a whole court yard of the museum and are stunning to see. As it turned out I was equally impressed with the rest of the museum. When I arrived in Detroit I had low expectations given the press the city has gotten in recent years. However, I left the museum feeling that its collection is on equal footing with the best museums in the country and that the city will have better days ahead. The museum's $158 million expansion project (completed in 2007) is partly responsible for this feeling but the collection, the curatorial work, and the staffs helpfulness sealed the deal for me.

The Institute has a particular diverse and strong collection of contemporary art including a special emphasis on art made by African Americans. Below are three more samples from the Detroit Institute.

Donald Lipski, Waterlilies #58, 1990

Jane Hammond, Mad Elga II, 1997

Kehinde Wiley, Officer of the Hussars, 2007

Beyond this excursion off the beaten path I spent most of the summer in a relatively rural spot in Northern Michigan not far from Lake Michigan and Sleeping Bear Dunes National Park. Reflecting upon this veritable isolation from urban life I produced a (seen below)drawing titled Off the Grid.

Kip Deeds, Off The Grid, 2009

Soaking Stamps

2009-05-28T17:46:00.000-04:00

Stamps often provide an introduction to subjects and people

that are unfamiliar. Finding a good stamp can be exhilarating.

It can be akin to finding a little work of art.

Having outbid everyone else on e-bay (accidentally), I was blessed

with several pounds of canceled stamps. At least four pounds

were American flags. However, I managed to find some less common

ones in the mix. I have spent the last week sorting and soaking off the

paper adhered to the back of the stamps. Below is one of the little

miracles I found.

Next time you go to the post office consider helping out the postal
service by buying unusual stamps and avoiding the forever stamps.
Forever stamps also equal more of the same for stamp collectors.
You will be helping out collectors and artists like me who
use stamps in their art. Below is one of my watercolor/drawings
that includes stamps.

Wall Drawing, 22" x 15", 2008

Spring Training

2009-05-10T17:56:00.000-04:00

When I consider the spring season the first thought that comes to mind involves Baseball. I think of the Phillies practicing in Clearwater, Florida. If Baseball has spring training I thought there ought to be a spring training for art or at the very least I thought I needed a project to spring me into action. The image above, titled "Spring Training", is my vision of the spring time and my attempt to move forward. It brings together and attempts to balances several artistic approaches including abstraction, collage, observation, and a bit of playfulness. In Pennsylvania spring would not be spring without a little rain hence the little lady with the umbrella seen in the detail below.

My spring training regiment this year involved a piece of Arches watercolor paper (16 inches by 12 1/4 inches), ink, watercolor, acrylic paint, and stamps.

The Path of Least Resistance?

2009-04-15T17:27:00.000-04:00

Whenever I can, I try to go for a walk because I find it meditative and I notice that I begin to see objects and places in ways that I do not ordinarily. Ordinarily, I am in too much of a rush to really look closely. I walk for about a mile and a half and I mostly follow the same route or a slight variant. Part of the walk is on a path. I marvel at one of the trees along the path for it appears to be tipping over and at the same time it seems to be trying to right itself through growth. It seems to be in a hopeless battle to keep itself from prematurely falling over. This is a little sad to me. However, if the tree were not so precarious I wonder if I would have noticed it or considered its life. The irony about this situation is that the tree is right next to the path. The path is suppose to be the safest route. Every time I pass the tree on the path I feel like I am tempting fate and that both myself and the tree are locked in the same struggle to stay upright. Sometimes the road most travelled can make all the difference. Perhaps seeing the road and what surrounds it is key.

Intaglio a Go-Go: Etching Moves Forward

2009-03-27T16:24:00.000-04:00

Libraries are one of my favorite places to hang out. I love being around books and people who love being around books. The library is a place of words. However, it is easy to forget that it is also a place of images. Printed images and picture are close kin to printed words. For this reason, libraries have extraordinary potential as places to exhibit art, in particular art related to words.

There is no place better to feel the aura of books, reading, and deep thoughts than at a big city library. The exhibit "Intaglio a Go-Go: Etching Moves Forward" at the Free Library of Philadelphia finds its home in this environment. The library is at 1901 Vine Street right off of the Ben Franklin Park Way. This is an exhibit of prints by Philadelphia area artists working with the intaglio process. Intaglio includes etching, engraving, dry point, aquatint and mezzotint. Artists exhibiting include: Cindy Back, Amze Emmons, David Fertig, Donald Forsythe, Carrie Scanga, Bill Scott, Evan Summer, Rochelle Toner, Shelly Thorstensen, and yours truely.

Another idiosyncratic aspect of library exhibits involves the display in cases rather than on austere white walls. Below are a few images of artwork in display cases. The following are works by artists I ran into at the opening.

Above are prints by Evan Summer who has been a long time Professor at Kutztown University. Evan often makes images of complex, geometrically inspired landscapes. I was surprised to see his prints on a gray paper. This particular gray reminded me of zinc plates that etchings are often made from. It is as if he is making prints of the print matrix.

Rochelle Toner exhibited a number of prints (seen above) that demonstrates her working process. She is especially adept at making a copper plate print dark through aquatint and then scraping and burnishing areas of the plate to bring out a range of values.

Amze Emmons work (seen above) draws from contemporary industrially produced objects. These are objects that we often take for granted such as containers for gasoline or cement dividers. Through his fluid use of line and and flat minimal coloring he highlights the beautiful geometry of these items.

P.S. for more information visit www.friendsofpix.org

The City of Angels:

2009-03-04T21:10:00.000-05:00

It is easy to generalize about the outsized dreams and excesses of the people who built Los Angeles and those who make it run. However, it is impossible to summarize a city of over ten million people.

Last week, I visited Los Angeles for the first time. I stayed in the city for most of five days, rented a car, and slept on two different couches. For the first two days, I was mostly downtown at the convention center for the College Art Association conference. I was surprised to find that the hustle and bustle of down town L.A. seemed similar to eastern cities. There were a lot more shops and eateries than I expected. I arrived on a Thursday and by Saturday I was exploring the art galleries in China Town with some friends. What I expected to find was large spaces and big egos but what I found was quite the opposite.

Most of the gallery owners seemed eager to talk about the work. Some of the people I met working in the galleries that day were among the friendliest I had ever met. I don't often feel like I get this kind of treatment in other cities I have visited. I think this kind of good behavior goes along way in convincing the larger public that art is not just for a select group of people but for anyone who has a mind and an eye to be curious. The art that I saw was also surprising to me; I saw a lot of humanism. Below are some pictures, captions, and highlights from my journey.

Above is work by Elizabeth Higgins O'Connor at David Salow Gallery.

The gallery was inhabited by wonderful sculptures of animal like creatures created out of stuffed animals and other fabrics. My friends and I marveled over the varied poses and the pathos that these creatures presented. One can see more of Elizabeth's work at www.davidsalowgallery.com

Painting by Joan Snyder

Another exhibit which stood out was Joan Snyder's exhibit at Solway Jones Gallery. Online images and reproductions do not do her work justice. Her work is among the best painterly abstractions I have seen lately. Ms. Snyder's vocabulary of mark and form is diverse. She often builds up paint in a sculptural way. Included in the paint are bits of different materials such as fabrics and dried debris from plants. These artifacts are barely noticeable in reproduction. The small bits that I found in her paintings were like little surprises and reminded me of the insects and little details, found only through close inspection, in dutch still life painting from the sixteenth and seventeenth centuries. For more images visit: www.solwayjonesgallery.com

Seen above is the L.A. County Museum of Art which underwent a grand expansion making it a first rate museum to visit. The new edition emphasizes modern and contemporary work.

One of the great advantages of being an artist is that you get to make friends with other artists and often see their work in their own space. While in L.A., I stayed with Dawson Weber who is a recent M.F.A graduate of Art Center. Dawson makes painterly abstractions which he contrasts with different systems and systematic thinking. Above is a picture of Dawson in front of his L.A. apartment. Below is an image of his works on torn Pantone colors. The Pantone color matching system is used by designers to determine how printing results will match design work.

Above is one of Dawson's paintings. To learn more about Dawson's work visit his site:
www.riverofglass.com

There never has to be a dull moment in L.A., but if one needs to slow down one can relax by the pool and there are a lot of pools in L.A. I was sad to leave the warm weather and return to a snow storm in Philadelphia. However, the snow does have its own charm.

Overwhelmington

2009-02-22T18:16:00.000-05:00

Overwhelmington is a place within proximity of Wilmington, Delaware. If you find your self in Overwhelmington and wish to retreat, head north by car on I-95 from wherever you are. If you are not near I-95 or if you do not have a car, head north by foot. If you think you are heading north but are not, keep going anyway. When you see a sign for a park or a nice safe place, exit and go for a 30 minute walk. Observe the flora and fauna. Notice how the plants and animals are just being and will continue to be and how they seem unaware of not being at a future time. If after 30 minutes you are not out of Overwhelmington, I suggest a cup of green tea. If you do not believe that Overwhelmington exists, look at a drawing I made last year called "Walden, Sprawl, and All". The sky scrapers of Overwhelmington can be seen on the top right above the cabin.

Exhibit at H&F Fine Art

2009-02-21T19:49:00.000-05:00

Mr. Kip will be showing his latest series of prints titled "Alasktic" at H&F Fine Arts in the Washington D.C. area.

Opening: March 7th 5-8 pm
Running time: March 5th-29th

“Alasktic” portrays the pleasure and the strain of travel on the mind and body. The series is comprised of fifteen prints produced between 2006 and 2008. The prints fit together to form a narrative about travel beginning in Mexico and ending in Alaska.

This project was initially inspired by Utagawa Hiroshige’s 1834 print series, “53 Stations on the Tokaido,” which depict scenes along the famous eastern sea road in Japan. For the contemporary viewer, Hiroshige’s prints function as a virtual trip allowing one to imagine what once was. Secondarily, the expeditions of Meriwether Lewis and William Clark inspired “Alasktic,” along with John Steinbeck’s Travels with Charlie and lyrics by Woody Guthrie.

The goal of this project was to create a pictorial and verbal overview of an imagined journey. The first and last prints in the series represent literal and figurative edges of the American territory.

H&F Address: 3311 Rhode Island Ave., Mount Rainier, MD. 20712