Thursday, December 10, 2009

how to make paper pulp in your kitchen

I save all the scraps when I crop my drawings so I can re-use them as fresh paper. There are 2 reasons for this: fine art paper is expensive (@3$ to 45$+ a sheet) so throwing it away makes me sad, and because making paper is awesome! This batch of paper took several months of saving scraps. That pile underneath is only my most recent edition. So here's the how-to:


Save your scraps, and tear them up



Tear them into even smaller squares.

Place them in a big bucket (or gumbo pot in my case... the family would not approve) and cover the paper with water. Make sure to saturate the paper.
Let this concoction soak for a few days (at least 24 hours) and stir it occasionally. Mine sat for 3 days. The squares should fall apart with little effort.

Use a nifty screen bag (you can find them at paint stores) to strain out the water. At this stage it is ok to use your sink, but later either strain it twice or dump the water elsewhere because the paper fibers will clog your drain. 



Set up plastic on the floor as this part is messy. I have a household blender dedicated to blending pulp labeled "paper". Please do not use the same blender that you make smoothies with to make paper (this is not the kind of fiber you want in your diet)! 
Fill the blender with about one cup of soaked paper squares, and 2-3 cups of water as needed. Pulse at first, then blend to a pulp. Don't blend for long as this will shorten the fibers and weaken the potential strength of the paper. 
Blend only until the fibers easily float around in a glass of water. Should look like this:



Strain the water out (to prevent an awkward call to your landlord, don't dump this water down your sink unless you strain it 2 times). Leave your pulp in the squishy stage because the pulp needs to stay wet until we make the paper. Probably you should have more water in your bag than I did.

Put it in a baggie, or another air/water-tight storage container. Keep it in your refrigerator for short term, or the freezer for longer term storage. 


Will show you how to turn it into paper soon!

Wednesday, December 9, 2009

Amir H. Fallah

Born in Tehran, Iran in 1979 Fallah received an MFA in painting from UCLA (2005) and was named by LA Weekly as one of the top ten emerging artists in the region. His canvasses feel messy yet are skillfully painted with dynamic color. Complex compositions that seem slightly influenced by cubism and decoration, often including flowers, and collage are titled in a poignant/ cryptic way that feels heavy with meaning... or completely unrelated.  Fallah also makes sculpture/ installations, crafting this signature messiness with strong geometry and bright colors. He uses neon (or at least really intense color), pattern, and geometry,  and makes forts out of pillows... so it goes without saying that I’m in love.
http://www.amirhfallah.com/

He is the publisher of Beautiful/Decay:
http://beautifuldecay.com/



“Protected Emergency 1”, 2006, mixed media sculpture, dimensions vary


“Shamans Walk Among Us”, 2009, Watercolor, ink, pencil on paper mounted to canvas, 24”x 30” 



“Robbie Conal”, 2007, Archival C-Print, Info: The Fort series consists of collaborative forts created with male friends in their home. All materials for the forts were found on location and no aspect of the fort was preplanned.

Caroline Falby

Initially Falby’s drawings are reminicent of Japanese block prints, on closer look touches of medieval illuminated manuscripts. Falby’s illustrative style is detailed and dreamy. The dynamic compositions are meticulous and seem part of a grand narrative, except for the intricate touches of personal and political context. Layers of color around a line driven foundation are like wonderfully complex fairy tales.
http://www.carolinefalby.com/



Insurgency No. 6, mixed media on paper, 2006, 30”x 22”


The Eastern Front, mixed media on paper, 2007, 52”x 72”

Jim Lambie

Lambie uses everyday materials, like tape  chairs,  speakers, whatever into installations and sculptures that transform  spaces into optical illusions. Related to Op-Art in the 60’s and some say a foundation of  minimalism, it seems that Lambie steers clear of locking himself into a group. Lambie has a background in music and a strong sense of rhythm  and repetition give his work strength.
http://antonkerngallery.com/artist.php?aid=18#



“four to the floor”, 2006, Ceramic, paint, purses, mirror, dimensions vary

Afruz Amighi


Amighi, an Iranian artist now living in New York, creates installation pieces that play with pattern and light. Working on thin, plastic sheets (to mimic refugee tents), Amighi cuts out traditional pattern motifs from Iran in intricate detail. They are quite beautiful, stunning actually, and fairly politically loaded; enough of both to earn her  a prestigious Jameel Prize and lots of press. Amighi’s work is truly stunning, and I can’t wait to see it in person... I will look for it while in New York in a few weeks!
The gallery website:
http://www.nicellebeauchene.com/afruzamighi.html









“poppy garden” detail, exact media and dimensions unlisted. 




“1001 Pages” exact media and dimensions unlisted.

Jeremiah Teipen


Working primarily with digital art and video, Tiepen has a consistent, often funny, critique of human: tech interactions. Teipen’s digital ‘paintings’ can be difficult to view as they contain so much layered information. It seems that is the point. His displays are really nice, and definitely add another element to consider within the “white cube”.
His website has great video’s, although they take some time to load.
http://www.teipen.com/jeremiah/
another link with an artist statement
http://www.crossingart.com/ar_jere.html

“Social Network”, video

Jackie Matisse

I have mixed feelings about this artist. Being the granddaughter of Henri Matisse and the stepdaughter of Marcel Duchamp probably has some advantages to being acknowledged in the art world. Honestly, if she were one of my peers I would be impressed with some of her work as some is quite intriguing; however, much of it boarders on a cheesy Calder rip-off (I would say the same to my peers). It is interesting to me how my impression of her work didn’t change when I read her bio, but my expectations changed and I suddenly expected a lot more; maybe I’m just jealous! 
Collections of objects suspended by a thread inside what looks like a deconstructed curiosity cabinet that is less curious than beautiful. In “Magic Hair” the collected and arranged objects look as though they are spilling out of what was originally intended to hold them in. It is hard to tell if the objects are collected or made by the artist and likely are a combination of found objects that the artist manipulated; there are a lot of feathers in there.  It looks as though the cast shadows would tell another story about this object, but the gallery’s lighting in this photo does not show the potential. The artist in her words:  "I make and fly kites to play with color and line in the sky. My kites play games with the light, hide and seek with the clouds. They push and pull on the wind. They challenge the birds.”
http://www.raykass.com/html/Information/info.html


“Magic Hair”, 1981-91, Mixed Media, wire frame, 39x 16.8cm


Gallery Installation

Paolo Ventura

Ventura’s Winter Stories series is a collection of surreal photographs that blur the boundaries of what a 2-D image can be. Each image is a mixture of paintings, performance, and costume captured in digital then printed on paper; just the mediums are enough to consider. However we are further bombarded with concept as these theatrical scenes boarder reality and fantasy as well. Knowing that we exist in a post-modern, and post-Freudian society, this work automatically will get slammed into a surrealist dialogue where the artists dream psychology will be informing how we interpret what we see. However, I think that there is more to it than old fashioned dream analysis. There is a sense of nostalgia and memory here but overriding that is a macabre aesthetic that seems to desire creating a fantasy. Fantasy to me is equivalent with miracle, and leaves me with a sense that the world can be more than what we make it on a day to day basis. The potential for miracles is almost realized in Ventura’s Winter Stories, and I’m left inspired.
http://www.hastedhunt.com/photos.php?a=paolo_ventura&i=57806


Winter Stories, #48, 2009, digital C-print 40x 50


Winter Stories, #31, 2009, digital C-print 40x 50

Hiroshi Watanabe

This is from the introduction of his book: “Ideology in Paradise” by Mado-sha, Japan

"In fact, the experience of looking at Hiroshi Watanabe’s images is eerily like stepping into a Social Realist painting: the ruddy-cheeked young girl playing the accordion, the traditional gowns in brilliant pinks and greens of dancers swirling beneath the omnipresent image of the dear leader and the DPRK flag. One is quietly lulled into the sense that life in North Korea might, in fact, be just as it appears within the frames of these images—normal—instead of like the stories of kidnappings, military posturing, and famine. To Watanabe, it is this sense of tension between the news stories flooding the media in both Japan and in the U.S. and his experiences traveling and photographing—under careful surveillance of his two guides and assigned driver—that interests him in this topic. The results, engaging, yet still mysterious, bring us one side of this closed-off place, introducing us to a vibrant, compelling set of individuals, but still leave us to wonder."
Lesley A. Martin, Aperture Book Program


This work actually makes me think about Matthew Barney’s theatricality and heightened drama of a simple moment taken out of context. An odd correlation, I know.
While much of his work has a documentary feel, and may actually be documentary, it seems Watanabe makes even simple feel very important with a burden of context on their shoulders. Again, the photos of North Korea allow a western viewer to see some images that we normally wouldn’t, but like a social-realist painting, we have to question how much of this content was constructed, either by photographer or official people.
http://www.hiroshiwatanabe.com/index.html


“Kim Il Sung’s Birthday” Photograph, 2006, dimensions and specifics of media unlisted


“Lim Chun Sil”, Photograph, 2006, dimensions and specifics of media unlisted

Georgina Valverde

Valverde’s work seems to be about connecting things, in a literal way. While the objects have a simple grace about them, so simple at times that it is on the edge of poignant and cliche. Using many found objects, yarn, and a camera. Valverde installs in and out side of the white cube, and place seems to be important to her work.
Her website:
http://www.georginavalverde.com/


Blue Extension, 2004, Nylon, acrylic, and synthetic hair, 18’x 17”x 17”


Untitled Installation View, 2002, mixed media, dimensions vary



Route of Exposure, Installation View, 2006

Terry Braunstein

Braunstein’s work adresses different levels of looking. Working in miniature, with photos, found objects, and wire, Braunstein sets up whimsical scenarios. The added layer of photos of this work is also interesting to me. However, gallery information (Craig Krull Gallery in LA) was quite limited, I would have liked more to go from as I am interpreting the work online.
Here is the website for the gallery:

http://www.craigkrullgallery.com/



Installation, 2008, mixed media/ assemblage, dimensions unknown





Installation detail

Monday, December 7, 2009

Haegue Yang

Using interactive media, where the elements are triggered by the movement of visitors, Yang develops changing spaces. These installations reference community, how we interact within space, and how spaces separate us too. Inspired by Maurice Blanchot’s Unavowable Community, where community is defined by distances between people, Yang explores the tensions between being connected and being independent.  I’m not a big fan of her website, but if you have 20 minutes here is a link to a great article from ArtForum:
http://findarticles.com/p/articles/mi_m0268/is_5_41/ai_96223226/


“Three Kinds”, aluminum venetian blinds, moving spotlight, floodlight, 2008

 







“Series of Vulnerable Arrangements- Shadowless Voice over Three”, aluminum venetian blinds, moving spotlights, mirror, infared heater, fan, sound system, scent emitters (Fresh Air, Fresh Cut Grass, Earth, Dinosaur Dung, Buddha Temple, French Bread, Coffee Shop, Garlic Butter), 2008

Jen Bandini

Bandini is the author of one of my favorite blogs : Escape to New York: the life of an artist in new york city, where I live vicariously (temporarily).
http://escape-to-new-york.blogspot.com/

Bandini recently had an exhibition in the National Portrait Gallery. She is an excellent art critic and while I don’t always agree, I always appreciate what she has to say.
Bandini often works with portraiture, both in photography and painting. There is an emotional sense of urgency, noting the sometimes awkward and beautiful everyday moments of human interaction. Also, she would probably critique the hell out of my little critique...extra awesome.



wil, 2008
 



















 Untitled, from Domestic Bliss series, 2008

Aaron McIntosh

McIntosh explores the abundance of “heteronormative ideals of love” that overwhelm contemporary visual culture.  Using printed material, patterned cloth, lace, romance novels, and erotic magazines McIntosh selects and edits the content from the print material and juxtaposes the images with different materials in a witty critique. He is an MFA student (Fibers) at Virginia Commonwealth University
http://aaronmcintosh.com/home.html 


“Captive Heart Boyfriend”, straight romance novel pages fused to canvas, pen, marker, gouache, highlighter, colored pencil, 49”x 82”, 2009

Alissa Joy Kloet

Kloet aims to discover more about her past, her familiy, and her identity. Through the use of old photographs, painting, printmaking, applique, an fibers her works evoke a sense of memory that is vivid and current. Stitching and other details draw the viewer in close to the work. allowing them an intimate peek into what seems to be a private family history. She is a BFA student (interdisciplinary) at Nova Scotia College of Art and Design.
http://www.alissakloet.com/main.html#


“snapshot woman”, mixed media (I don't think these are the correct titles!)
 























“snapshot group”, mixed media (again: title)

Rosemary Dardick


Andrea Donnelly

A recent MFA (fibers) graduate from Virginia Commonwealth University, Andrea Donnelly weaves large scale portraits. While subtle in their graphic nature, these portraits communicate an introspective veil that is very clear. This veil is literal, and metaphorical in that these curtains of woven cloth create an image of the subject that calls attention to the media and that the subject is merely an image. I couldn't find many examples of her work, but as she is still an emerging artist that is somewhat expected; hope to see more in the future.
http://www.1708gallery.org/blog/?p=19

"holding in", cotton, pigment, fiber-reactive dye, thread, hand woven into five panels, dyed weft, pigment painted warp, 8'6"x 17'x 2'.

Jenny Saville

Saville is grouped with the YBA's (young british artists) but doesn't totally fit because she works with traditional oil painting. However the content can be shocking in that she confronts the viewer with crazy flesh. Her monumental paintings get all the nitty gritty details and are overwhelming to take in. Kent and Vicki Logan shared one in their collection with the Denver public during the Radar show in 2006. Up close there the texture is hypnotic, and from a distance this work is truly a spectacle.
http://www.gagosian.com/artists/jenny-saville/














"self-portrait", 1992, oils on canvas
































"nieve little piggies", 2008, oils on canvas

Renee Cox

Renee Cox creates stunning and controversial photographs. Cox uses her own self, nude and clothed to celebrate black womanhood and create dialogue around a still racist and sexist society. Often incorporating religious imagery as further critique of social structures, Cox's work can be shocking in the blatant way she depicts lack of integrity from those who hold trust.
http://reneecox.org/


















  

"Yo Mamma", 1993, Silver-gelatin print, sizes variable























"The Liberation of Lady J and U.B." 1998, Cibachrome, 48x60"

Sunday, December 6, 2009

Zhang Xiaogang

Zhang Xiaogang hailing from China has become a name in the states, gaining popularity for his lonely feeling portraits. A contemporary Chinese surrealist and symbolist, which have slightly different connotations outside of Western history, Xiaogang works with themes of family and groups and what it means to be an individual, if that is even a reality. A more muted palatte is set off by chunks of bright color placed strategically, as if to suggest that is what the painting is really about.
http://www.mbergerart.com/xzg/

Untitled, 2007













http://www.nytimes.com/imagepages/2005/08/31/arts/31zhan_CA1.html

Sisun Song

Sisun Song works with tracing paper, toilet paper, plaster dolls and traditional drawing media to create drawings, installation, video art, and paintings that are all about identity, or the lack thereof. No faces are portrayed but rather emotion and personality are seen through gesturing in the figures. Using a very neutral palatte gives a feeling of loneliness even around multiples.
http://www.sisunsong.com/
Doll Doll Mari series 2, toilet paper and plaster doll. installation, 2005


Jonas Burgert

I first saw Jonas Burgert at the MCA in Denver then again at the Victoria H. Myhren Gallery, and then again at the DAM. They actually kicked me out of the Victoria H. Myhren after I'd been there for 2 hours. The thing about Burgert's work is that it is overwhelming. The sheer size of some of these canvases is legendary, not to mention the subject matter is infinite and personal so that one painting can absorb the better half of a day, over and over again.  Another absorbing aspect of Burgert's work is the palatte of neutrals and neon, vibrancy and space, it's seductive and feels ethereal to me. He uses personal iconography that is recurrent in many works. Pots of color could represent a physical change that is metaphorical, and remind me of the Indian holiday Holi, and yes that is a shaman with the feathers, he shows up a lot in different fascets, as do ivy, games, and people of different sizes. All are important to the meaning, which is personal to him and therefore private and left to the viewer to relate to on their own level. A blog is no place to view this work as they are monumental and the net does no justice, see it in person. Gritty dirty street scenes depict a sense of spirituality that is not iconic, but earthy, real, and human just the way I like it. I'm saving up my barista tips to hopefully buy one one day....
http://jonasburgert.net/
"Hitting every head" 380x 495 cm, oil on canvas

John Copeland

Copeland is a very renowned painter. He works large scale in a painterly style. Also, if not just as important, maybe more important are his sketchbooks. These are amazing. His website is fun as you can pick one and scroll through. He normally leaves a white boarder around the pages to contain the drawings inside, which are vibrant, compositionally fantastic, highly emotive and personal. http://www.johncopeland.com/



Dave Cole

Dave Cole uses knitting to create thought provoking sculptures, like a teddybear knit out of lead... give that one a hug!  Actually Cole uses this traditionally functional medium that carries with it a mountain of feminist theory and makes some heavy (get it) statements that nod at the medium's history while drawing attention to diverse issues that lean towards the political.
http://www.theknittingmachine.com/Dave_Cole/theknittingmachine.com.html


Knit Lead Teddy Bear, 2006, ribbon, hand-cut and knitted over armat of lead  wool. 

Rob Wynne

Wynne is a pretty diverse artist utilizing such mediums as installation, glass, print and embroidery. Strong senses of irony, fantasy, and humor run through his work. Here I will show only the embroidered paintings because I think they are hilarious. Using appropriated paintings and images Wynne completely changes the meaning in a witty way, maybe not the most original idea but his execution is meticulous in craftsmanship which I appreciate.
Here's his website:
http://www.robwynne.net/

"Faux" 2008, Pigment print with embroidered text on canvas, 30x 36"




















"He was dressed in a romantic manner..." (detail), 1996, embroidery on fabric, 95x 59"