Thursday, 25 December 2008
Another artist from the pages I featured in the "Conceptually Bound" post. Beata Wehr uses all sorts of materials to make artist books and she has mixed media works as well as paintings. I have to say that, for me, her bookart work is her strongest. Such delicacy and subtlety!.
On the Vamp and Tramp website which seems to specialize in artists books Beata has a page which displays very well all of her bookart work. Worth a visit.
Incidentally and coincidentally the image here of Beata's which I have included was created for the Fourth International Artist's Book Triennial Vilnius - the theme for this was "Rabbit and House." , which I was invited to submit for by the organizer
Kestutis Vasiliunas, I did do research and even made some prints but ultimately didn't feel that the creative outcomes which I had arrived at were sufficiently enough successful to make an artists book that would be up to the standard I imagined necessary for this caliber of exhibition.
Incidentally I met Kestutis in Falun, Sweden where we were both invited to exhibit as a consequence of being in the book "Printmaking at the Edge" by Richard Noyce.
See also an album on Flickr about the exhibition/event in Falun
Whilst on the Tramps and Vamps website I came across Palo Pallas' "chair - books" oh they are just wonderful. The website is well worth a visit especially for the series of books made in this way.
I just thought that i would check out the artists works in relation to those whose bookart works I posted in the previous post and found this beautiful image on Cheryls website - it's well worth a visit.
PLEASE CLICK ON THE HEADING OF THIS POST TO CONNECT TO CONCEPTUALLY BOUND DOT ORGS WEBSITE
ALSO CLICK ON THE IMAGES TO SEE THE PAGES FROM THE CATALOGUE
I noticed last year that this book art exhibition was forthcoming and considered making a piece to submit BUT it was one of those projects that piqued my interest which however never came to fruition. With these projects however I do like to have a look and see how they have developed in the end AND most importantly what works were selected and shown in the final production or exhibition.
Conceptually Bound was curated by Nanette Wylde (USA). Her idea being to explore the responses that artists make to any given subject when they create an "artists book" also referred to as "book art".
The way the paper is held together ( concertina - hinged - or exposed spine) OR e.g., the shape of the pages (circular - long and thin - torn edged with tears in the paper) OR the nature of the substrate or surface ( painted or printed on acetate velvet or paper) can all relate to the subject of the book art piece.
I decided to buy the catalogue of the exhibition and at the same time I would be checking out the "quality"of the LULU dot coms 'print on demand' publishing service because it is something that I have considered (a) as a means of producing a catalogue of my own work, (b) as a means of making a catalog for an exhibition whether it be group or 2 person/solo etc and (c) as a means of making an artist book. With the latter I have had ideas about creating interventions in the form of e.g., adding fold out pages or a wallet with another smaller book in - really the possibilities are endless.
There is a very interesting discussion going on regarding this at the moment on Artists Books 3.0 Ning dot com at the moment. UWE's centre for Fine Print Research are researching this area and will be publishing their findings in the future.
I have included scans from pages of the catalogue which I found to be perfectcly acceptable in terms of quality which is good as I had heard of people having difficulties with LULU dot com.
Wednesday, 24 December 2008
I have received post from several people I haven't heard from in a while in the past week which has been great. This might be because quite a lot of those people had no idea what my home address is now (given that I moved twice in the past twp years (never never again - I hope)yep so that might account for it.
I made some cards which was pretty hard work BUT coundn't have done it without the help of B.M. at F.D.P.W. I am now running a blog for FDPW as a means of keeping a newsletter going on a kind of "live" basis. I am actually responsible also for creating the physical printed newsletter in any event so this is just an extension of that. I don't think that all of our membership are on the internet so until such time I guess the printed one will have to be maintained.
Getting back to cards and communication - I like sending cards especially if I have made them myself. I have wanted to print my own cards for years and years and ironically it has been this year, the one in which I have become fully "disabled" that I got it together (ha ha!!)
To me it matters to be personal and an aspect of this is that, it is, for example, extremely difficult for me to send a Christmas card where I have not written a little message on the blank inside page of the card. I can not just say "from A." or "from A. and C."
There are some people that I would have loved to have been able to send one of my bear cards but I don't have their postal addresses and if I asked them then that would spoil the surprise - you see that's another thing --- I like for it to be a surprise.
I received a beautiful card today my absolute favorite this year. It was from Elisabeth in Norway. Where the Christmas trees come from, at least that's what I was told when I was a little kid!!
Heres the 'card - its not quite as good a photo as I thought it was but I will add it for now as its way past my bedtime AND I will replace it with a better quality one soon. It certainly deserves it. Thank you Elisabeth - I will treasure it.!!!
Anne Forte/ Joyce Gunn Cairns/ Leena Nammari at Edinburgh Printmakers
17 January to 07 March 2009
Opening Hours: Tuesday - Saturday 10am - 6pm
Anne Forte, ‘Feels Like Forever’: An exhibition exploring the cognitive processing of memories and the unconscious re-writing of personal histories.
Joyce Gunn Cairns, ‘Bodily Traces’: An exhibition of etchings and drawings reflecting the artist's fascination with all sentient life, whether it be literary figures or crows.
Leena Nammari, ‘Space to Breathe’: An exhibition of photography, printmaking and film reflecting her constant search for what she considers as home in all its manifestations.
Location: 23 Union Street, Edinburgh Call: 0131 557 2479
For more information visit: www.edinburgh-printmakers.co.uk
Tuesday, 23 December 2008
Visual Arts Scotland’s next Annual Open Exhibition will be held in The City Art Centre, Edinburgh, from Saturday 31 January – Thursday 19 March 2009.
Submissions are sought from contemporary artists and makers in all fine art, applied art and craft disciplines.
Hand in: Saturday 9 January 11am–4 pm & Sunday 10 January 2009 10am–7pm
NOTE: IF ANYONE IS INTERESTED IN ORGANIZING A "HAND IN" OF ARTWORKS THEN PLEASE LET ME KNOW. I WOULD HAVE TO HAVE SOMEONES ASSISTANCE IN GETTING MY WORK THERE OTHERWISE I WOULD NOT BE ABLE TO DO IT.(AINE)
For an entry form and labels send an A4 SAE to:
6/8 Newhaven Road,
To download a form online visit: www.visualartsscotland.org
Image above is by the artist Elizabeth Shepherd, found on the Visual Arts Scotland Website. To see more of her work check her website
DEADLINE: MONDAY 26 JANUARY 2009
A three-month residency for a professional artist running from 4 May - 31 July 2009. The artist will receive a fee of £5,200, materials allowance of £750, accommodation and private studio.
For further information
email: firstname.lastname@example.org website:
Cove Park, Peaton Hill, Argyll and Bute, Scotland
"Winter Warmth" continues at the Smith Art Gallery and Museum, in Stirling.
NOTE: If yours is here please identify/ post in comments (Aine S.)
15 November to 11 January 2009
as stated on the Stirling Smiths website:
"This is the first time artists from the Fife Dunfermline Printmakers Workshop have exhibited their fine art original prints within Stirling.
The works on show are created using a huge range of printmaking techniques. Small delicate etchings of landscapes, medium sized screen prints evoking images of autumn and winter, mixed media prints through to large scale works of landscape and human figures reflect the plethora of styles held by the FDPW members.
There are 19 artists taking part in the exhibition including Clare Yarrington, from Rumbling Bridge in Kinross-shire, an artist who exhibits throughout Scotland. She displays her beautifully controlled use of colour in her large collages in contrast to her subtle hand coloured collographs. She is a geologist and rock climber and these references feature regularly in her work.
Stephen Ratomski from Dunfermline had his prints included in the SSA and RSA annual exhibitions in Edinburgh this year. His artworks are powerful screen prints with rich combinations of vivid colour and shape. They evoke understated references to the changing mood of landscape and nature.
Sheila Carnduff from Aberdour also exhibited at the SSA this year as well as other group shows. Her prints are colourful collographs and etchings inspired by recent visits to the Middle East and Japan.
Lynne Rickard from Thornhill has been a member for a number of years and is exhibiting etchings inspired by nature.
Catherine King from Larbert lectures at Forth Valley College and is exhibiting large collographs of human figures and landscapes.
On Saturday 15 November at 2.30pm artists Catherine King and Alison Leeper will be giving a short talk about printmaking.
Admission is free and opening times are Tuesday to Saturday 10.30am - 5.00pm and Sunday 2.00pm - 5.00pm. Closed Mondays. All works are for sale. "
A BIG THANK YOU TO MARY FAIRGRIEVE FOR SUPPLYING PHOTOGRAPHS OF THE PRIVATE VIEW.
Star Wheel Press Information
An etching press in good condition with two sets of blankets
( one set nearly new )
Bed size: 63.5 x 136 cm
The press is in good working condition and is a very robust press.
It has been used regularly for 20+ years by many members of Fife Dunfermline
Printmakers Workshop until it was recently replaced by a geared etching press.
Diameter of wheel: 1775 mm
Height of frame to centre of wheel: 1105 mm
Floor to ceiling Height just under 2300 mm.
Bed size is 63.5 x 1.36 cm.
We have two sets of blankets with the press, one of which is almost new. These may be sold with the press but the press can also be sold minus one/both sets of blankets.
The press is available now and has been stripped down ready for transportation.
We have no idea of the weight of the press, apart from very very heavy. very heavy
Thursday, 18 December 2008
I am on the verge of doing a proper update concerning my activities in the studio of late. One thing I needed to do immediately was to download all of the work folders from my Powerbook G4 laptop. I put these on memory sticks which take 4 GB, they are then transferred onto DVD's on the Macbook ( our most powerful up to date Mac) compliments, so to speak of my long suffering partner C. !!
In the mean time, I came across this image, which I saved from Luz Darriba's website.
She is from Lugo in Galicia in the north west of Spain. A beautiful region, I have been there twice, on both occasions through a "Riverside Artists Group"exhibition.
Sadly the groups website seems to have 'expired'. That's a shame but perhaps it all got to be too much for Jose Saurez( one of the founding members), who bravely restarted the group, about 4 years ago after it had been dormant for a few years.
I was a member of the group for a good number of years. In RAG's early days an exhibition was co ordinated with a group of Moscow - based artists. That was before "Perestroika" so quite a feat. I would have liked to have been involved in that but it was before my time. There were a few artists who were in that show who were also in both of the exhibitions in Galicia.
Jose is from Lugo and that was how we had the link with Spain. We were very well received there and the local authorities treated us very well organizing a reception dinner in both cases with all of the local VIP's. They were very smart too with liaising with the press and television reps for the openings.
They really excelled themselves. Printing catalog and so on as well, with ( of course!!) the predictable spelling errors given that we had a language difference to contend with.
I sent Jose a Christmas card so now he knows where I live and my contact details so maybe I will hear from him as to how things are going with RAG and indeed himself.
Photo taken of my printmaking based installation at the last exhibition Riverside Artists Group presented in Spain (2002) - this being held at Museo Ourense.
Footnote- I have had a card from Jose indicating that Riverside artists group is alive and well after all.
Riverside Artists Group
Friday, 21 November 2008
Sunday, 16 November 2008
Wrexham Print International 2008
Submissions are now being accepted for the fourth Wrexham Print International exhibition and is open to all printmakers around the world.
Works are selected by open submission and the exhibition will tour across the UK.
Previous venues have included The Haven Gallery, Boston, Lincolnshire; Sidney Cooper Gallery, Canterbury; Billingham Art Gallery, Stockton-on-Tees and Rhyl Arts Centre.
The panel will be looking for innovation in all techniques of printmaking.
To apply, send a completed application form, up to six images and an application fee of £15.
Further information, guidelines and an application form are available from:
Wrexham Arts Centre, Rhosddu Road, Wrexham, LL11 1AU
Tel: 01978 292093
Deadline: 4 December 2008
this link shows six prints from one of its recent exhibitions
This link another four images from one of its exhibitions. Its peculiar because it used to have all of the selected works available to view online, and these now seem to have disappeared.
Saturday, 15 November 2008
For those of you who don't have an online website how about Carbonmade? Although there are plenty of other options. Email me if you would like to have help with this, and we can arrange a meeting.
Here is one place to establish a free portfolio website. It's called Carbonmade and I have a link to it in the fine art portfolio - printmakers category.
Looks fairly simple and straight forward.
INTERNATIONAL PRINT CENTER NEW YORK
New Prints Program
INTERNATIONAL PRINT CENTER NEW YORK
The New Prints Program at IPCNY presents a series of juried exhibitions of current prints by artists at all stages of their careers. IPCNY accepts submissions from artists, publishers and galleries four times a year which are reviewed by a Selection Committee made up of prominent members of the print community.
IPCNY ANNOUNCES A QUARTERLY CALL FOR ENTRIES FOR
NEW PRINTS THROUGHOUT THE YEAR
Calls for entry are announced on
IPCNY's website, and sent to IPCNY's email list of artists.
To be placed on this list send an email to email@example.com
program manager, and you will be added to the email announcement list.
Criteria for selection are:
Only original fine art (limited edition and unique) prints are eligible; reproductions of other artwork such as drawings or paintings are not acceptable.
Selections will represent a broad diversity of sources, geographical and otherwise.
Prints must have been completed within a year of the submission deadline.
THERE IS NO ENTRY FEE
go to their website for details on how and when to submit.
An image from Summer 2005 by Penny Siopsis, a South African artist whose work I am familiar with after encountering it initially on the David Krut publishing website
Also included are prints by Desiree Alvarez and William Howard, both from the Summer 2008 exhibit. One of the things I particularly like about the IPCNY website, is that, all of the shows that have been on the program, have been documented. Regretfully many exhibition venues do not do this and in this day and age there's really no excuse. Anyway, by doing this it fulfills it's role in the educational sense, in that you can see each of the individual artists works, plus the technical details.
I find this to be informative particularly in relation to the research I am doing for my tradigital blog, which explores how printmakers are combining inkjet with traditional techniques.
The other perspective I am considering , is from that of a practising printmaker, who is always seeking to develop my knowledge in relation to technical combinations and approaches.
One of these days I will get around to making a submission myself !!
Thursday, 13 November 2008
2009 Guanlan International Print Biennial
The First Guanlan International Print Biennial in 2007 was a great success which has been highly praised by both Chinese and foreign artists. This is what was written in the invite I received to submit for the forthcoming exhibition deadline of Jan 31st 2009
If you click on to the website you can see some example of absolutely wonderful and exquisite printmaking by international artists. The site is well worth a look.
I have just revisited the website and actually found it nigh on impossible to find my way around although the details for submission etc are on this page
Some images from the 2007 show are featured here.
Organizers: China Artists Association
Shenzhen Federation of Literary and Art Circles
Shenzhen Bao'an District People's Government
Conductors: China Artists Association – Artistic Commission on Print Arts
China·Guanlan Print Original Industry Base
Exhibition Place: Guanlan Museum, Shenzhen, China
Exhibition Period: May 14, 2009-July 14, 2009
Number of Works: about 200 pieces
Application: Artists from all over the world could submit works.
Artists who take part in should fill out the registration form and send us 1-2
Works created within the past two years. The works should not have been shown in this kind of international print exhibition. Chinese artists should send us the digital image of the work first while foreign artists send us actual works directly.
This Biennial will issue 15 “Guanlan International Print Prizes. The prized works will be selected by jury committee and collected by the organizing committee with offering collection certificate and prize certificate and 20 thousand RMB.
Artists who’s works was selected for the exhibition will receive a participating certificate, one catalog of biennial works and an exhibition activity CD.
The organizing committee will invite the prize winners to participate the opening ceremony and academic forum and responsible for the accommodation. The committee accepts donation, and collection a part of works.
Regulations for Participants:
1. Submitted works of each artist are limited to 1 or 2 original work of print created in the recent two years in the exhibition. The works should have never been show in this kind of international print exhibition. All print techniques will be accepted. The works shall have signature and do not need to be mounted.
2. The size of the largest for the submitted works is 100×100cm and the smallest is 30×30cm. A set of work consist of two or three separate formats (such as triptych) also cannot surpass this limit.
3. Based on the need of education, promotion and publicity, the organizers have the image copy rights such as the photography of the submitted works, publication and developing souvenirs and can publish works in related media and network for long term.
4. In order to convenience operation, artists please fill in the participation form seriously, print the form is needed, at least please write clearly, especially about the name, address and email. Don’t forget submit art resume and personal picture.
5. Works should be packed in sturdy tube or thick flat boards before being posted. They shall be delivered within the prescribed time. Those works come beyond the time limit will not be handled.
6. The expenses, insurance, taxes and related responsibilities generated in work delivery will be born by the participation artists; the expenses for returned works will be born by the organizers.
7. During the period between the receipt of the works and the return of the works, the organizers are responsible for their insurance. But the organizers will not be responsible for compensation for the damages or losses caused by force majeure.
8. All the works will be returned within three months after the completion of the Exhibition, except the prized and donated and collected works.
9. The Organizing Committee has the sole right to the interpretation of all items of this Biennial.
August 20, 2008: Release the bidding for participation and begin to receiving submitted works
January 31, 2009: End for receiving the submitted works for preliminary selection, (contribution date is according to local postmark)
April 15, 2009: re-selection and publish the name list of prized works and selected works.
May 14 2009: Opening ceremony
Address for receiving submitted works:
Organizing Committee Office
2009 Guanlan International Print Biennial,
Guanlan Print Original Industry Base (Dashuitian, Niuhu),
Contact Person: Zhao Jiachun E-mail: firstname.lastname@example.org
Website of Guanlan print :www.guanlanprints.com/
ul. Dunajewskiego 2/6, 31-133 Kraków
tel. +48 12 422 19 03
Our web page: www.triennial.cracow.pl
In order to sign out from our newsletter which is worthwhile then drop
an email to email@example.com
with the subject: [Newsletter:SIGN - UP]
If you would like to be a part of the upcoming 8th World Art Print Annual 2009
So it seems to be a good one. Have any of you previously entered this? I always mean to but seem to miss the deadline. Get printmaking for it !!!!
Saturday, 18 October 2008
I have posted these as I came across them on my computer, in relation to a technique mentioned in the second last post.. Whilst they are not the best examples of the technique - they none the less give an idea as to the possibilities.
I plan to photograph the folder of the other prints made using this technique soon, using my new digital SLR camera + will upload them here.
I plan to photograph the folder of the other prints made using this technique soon, using my new digital SLR camera + will upload them here.
Thursday, 16 October 2008
Saturday, 11 October 2008
Meg Rahaim (U.S.A.) made this life sized installation called 'The Line Forms Here', using wood cut. I love the nature of the images and the way she has used the woodcut process to realize these images which have an everyman aspect. Its the sort of thing that I mainly go for myself and of course I love most things pertaining to anatomy.
Click on the title of this post to go to her photo album on Inkteraction.
This is a large monoprint I created during the period 1997-99. It's about 80 x 100 cm. I can not remember what kind of paper it's on although it is a fairly heavy gsm. I had access to a litho press in the printmaking studio at Wimbledon School of art and one of the technicians there Simon Burder, mentioned that you could actually use this to make monoprints so I thought that I would have a go.
Seeing it again makes me think that working in this way i.e., where I was just rolling up the plate with oil based extender, and then working into the plate with oil bars or oil sticks themselves as well as using a rag to rub away, would be an interesting method to explore again.
Using the image of the grid or chess board as a starting point and connecting a figurative element was a strategy that I explored time and time again. I had sketchbooks with 'Karisma' water soluble graphite pencil drawings ( no longer being produced - sadly) filled with these kinds of images with weird kinds of figures. I even made a bookart work of sorts, using trace monotype, as well as some made using acrylic , watercolour and indian ink - all in black and white.
I scanned them into my computer a while back. I have never done anything further with them though. I don't have a title for this piece as of yet by the way.
One irritating thing is the 'line' which runs across the centre, towards the right. It wasn't something that I noticed at the time. Looks like something was taped to the press bed perhaps ?! Anyway it rather spoils it. So maybe I will work on it further. I don't know yet.
There was a time when I used to employ oilbars a lot. I would make trace monotypes using etching ink and sometimes a tiny bit of microcrystalline wax mixed in with it. This gives a gorgeous "velvet" like quality to the prints. The thing with that technique though is that you have to add the correct amount of microcrystalline wax other wise it can go too waxy and thick making it impossible to work with. Conversely if you don't put enough you hardly notice any difference.
Oh the other thing is to place some newsprint ( I mean a newspaper is fine it doesn't necessarily have to be blank newsprint or anything) and rub the ink rolled plate to get rid of the surface excess ink before you place your paper onto it to do your trace monotype.
Of course its best to use lightweight paper about 100 gsm or equivalent and it's a good idea to have a little 'bridge' made by using e.g. a couple of objects (about 1 inch or 2 cm's high) either side of your inked up plate, and then place e.g., a steel ruler or something similarly rigid across, so that you don't place unwanted 'pressure' on your paper and thereby marks resulting on the paper (which is face down on the ink). It really is best to do this or you will end up wasting your time and your paper. Best to practice initially using ordinary photo copy or printer paper.
I must look for those 'velvet' prints and consider working more with this technique but do it using a press. We have a lovely etching press at the FDPW print workshop, can't call to mind it's brand name but it would be interesting to see what difference it would make to run the 'ghosts' of the trace monotypes, through that press. I have even purchased paper for doing them - hence my doodle proofs to test the papers that John Purcell Paper sent me.
By the way anyone that is interested in trying the microcrystalline wax mix with the etching ink do get in touch so I can tell you how to prepare the wax so that it is then mixable with the etching ink.
Today, I received notice of an exhibition of the work of Sylvia Buettner being opened just about now. If I was in a position to, then I would love to attend.
In her prints and drawings, I like how she interplays animals (of whom many, are from the monkey family) as well as artefacts from various cultures - these often include musical instruments. Her use of colour and composition is beautiful and there's an overall sense of whimsy, meditation and wonder in these pieces.
To see more of her work http://www.hanumette.com/
Thursday, 9 October 2008
I logged on to Etsy as I had been taken there in the course of following through via some other links. Essentially - I found myself on there and thought to myself 'Oh I know - I will pop along to my friend Elisabeth Omdahl's new shop on there to see how things are going and whether theres anything that I can do to support her.
Anyway I added her to my favourites ( she is after all an artist whose work I admire!) and then checked out who had already added Elisabeth as their favourites. There were 4 or 5 (which is good) and the last one I clicked on was Olivia Jeffries and I really liked her work.
Finding or discovering artists who I find interesting happens fairly often - I would say I find somebody interesting to me, about once a month.
BUT I don't always get round to adding them to my blog !! So today I have acted on things immediately !!!!
Elisabeth Omdahls Blog