Mourning the loss of iconic printmakers…

Sigh.

I went to grad school at the University of Iowa, where the grad printmaking program was pretty much set in stone (or metal…) by Mauricio Lasansky. Lasansky passed away yesterday at the awesome age of 97. In my last year of the MFA program I challenged myself to make big prints. I was partly awe-inspired by the large etchings and engravings of his in the U Iowa Art Museum, and in his gallery in downtown Iowa City. More recently I have begun to look at his work again, this time his series of work from The Nazi Drawings and the ugliness of humanity that gets hidden or ignored.

Just a few weeks shy of her 97th birthday, another Iowa connection passed away yesterday. Elizabeth Catlett was awarded U Iowa’s first MFA degree in 1940 (when it was called the State University of Iowa), studying with Grant Wood. Needless to say that for a black girl who wants to be an artist, the usual suspects of artists I referenced growing up were not necessary representative of me or how I grew up. There were the exceptions, and the exceptional exception was Catlett. My heart sighs and my spirit swoons when  I see her prints. Printmaking can often seem like an old-boys network. There are also relatively few African Americans who list printmaking as one of their primary mediums. So Catlett was that person who for me, growing up, filled that space next to me when I felt lonely or isolated.

Obits for both artists:

Mauricio Lasansky

Elizabeth Catlett 

Case Binding Workshop at the Eliot School in JP

Some pics from teaching a two-part workshop on case-bound hand made books. The first week, we put together the book block signatures sewn with tape supports and started the structure for the covers. Then on the second week, we put it all together including covering the book board with book cloth or some kind of decorative papers. And everyone left with their own lovely completed case-bound book! Yay!

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Two down…

My goal was to complete three editions today. Alas I was foiled from the beginning: simple 30-minute oil change turned into a new set of front tires 3 hours later. Sigh. But I was determined NOT to let that fuck up my day. I was going to print damnit.

I showed up at Carolyn Muskat’s studio in Somerville, and hunkered down at one of her Fuchs & Lang presses for the afternoon. In that time I managed to pull out (kicking and screaming) one edition. Looked nice, but I might throw on another run later on sometime. Of course, leave it to me to make things more complicated when I’ve already fallen behind.

Could’ve printed a second plate but I wasn’t pleased with how the print was looking on the paper I chose, a book weight Zerkall Frankfurt. The dark areas looked too flat and the lines looked kinda mushy. Then again it could’ve been my ink had too much tint base. Or a combination. Nevertheless, I thought better to not continue and waste the paper and the time. There’s a saying about that, something like, don’t do a thing just because you can do it.  If I had printed it, it would not have been because I should or because it looked good or because it was a good idea. None of those were true at the time. To print that image just because I could or because I had time would have been silly.

So for my edition-a-week goal, I have two weeks done.

Stop your worrying. It’s all good.

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That’s A Fact: Young, Gifted and Black – review by Talia Whyte for WGBH Basic Black

Very nice mention of my work in this review of the show at Bunker Hill Community College.

That’s A Fact: Young, Gifted & Black - 

review by Talia Whyte for WGBH Basic Black

Playing Catch Up

I have a lot of work to do.

The last three years have sent me (and my work) into a tailspin so this new year I resolved (I actually don’t like resolutions…) or rather made an intention to slingshot myself back into printmaking. So I am doing an edition a week. Here are the specs:

SIZE: 11 x 15 inches (landscape or portrait)
MEDIUM: lithography, preferably
PAPER/SUBSTRATE: any
THEME: any
EDITION SIZE: 10

In the end when it’s all done, I’ll make a portfolio box for the edition. Some prints will be single run, some multi-color. Some may be variable editions. Some editions may include plates from previous editions. And while I am trying to stick with litho, I may throw in some other print mediums, like silkscreen, relief or etching. Maybe. I can edition a litho in my sleep so when my time is crunched some weeks that will be the easiest thing to do.

So far, I’m at week 6 (or 7? I dunno) and I’ve done ONE edition. Got lots of plates drawn, many processed, got paper torn and ready. I’ll get there, don’t worry. I got this.

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I *heart* Lithography

This spring I am SO excited to be teaching litho again at the SMFA. It’s a one-time gig and that’s cool but it makes me happy. I LOVE teaching litho.

LOVE. LITHO.

There’s something incredibly magical and satisfying about the process of lithography and sharing that magic with a new generation of printmakers is pure joy. We’re at that point in the semester where the lightbulb has turned on, the wheels are cranking (and so are the presses!) and the shit makes sense now. So going forward into the rest of the semester we can deal less with process and more with pure image and the beauty of the lithograph. It makes me giddy!

 

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Wayne Kleppe’s Kickstarter for Argentina!

Wayne Kleppe is an artist I have known and respected for many years. When I first taught litho at the SMFA, he was my TA! (Oh that memory makes me feel old…) He is a very skilled, articulate, passionate and well-studied printmaker, originally from Philadelphia. Recently, Proyecto ‘ace in Buenos Aires, Argentina, extended an invitation to him to do a 2 month residency there, creating a site specific installation in their gallery in the summer of 2012. Wayne has started a fundraising campaign on Kickstarter to help with travel and living expenses while he is in Buenos Aires, as well as the residency fee. Wayne is all kinds of awesome and I hope anyone reading this will join me in supporting him.

Go to Kickstarter to learn more about Wayne and his project.