tag:blogger.com,1999:blog-61740693362669123322024-03-17T01:16:02.772-07:00That's Inked UpA place for talking about art, social issues, and most anything else I think THAT'S INKED UP.Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.comBlogger332125tag:blogger.com,1999:blog-6174069336266912332.post-19076230795369135932021-04-21T11:18:00.001-07:002021-04-21T11:18:24.925-07:00Worden Day<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie27h5HbJ7gUbE6vN0ADvl6tcYQwoXdmzS5exV9N_7RkRjyvr3NPThHl79xStXUUwhsF-4txCnXc07J0DYzNXYTPkUnVG1vztfA6wNmyhqQRT74tYVc6RRSf7Xnffo3cuvTcHj97FrS20/s2000/cri_000000214730.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="1610" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie27h5HbJ7gUbE6vN0ADvl6tcYQwoXdmzS5exV9N_7RkRjyvr3NPThHl79xStXUUwhsF-4txCnXc07J0DYzNXYTPkUnVG1vztfA6wNmyhqQRT74tYVc6RRSf7Xnffo3cuvTcHj97FrS20/s320/cri_000000214730.jpg"/></a></div>
Worden Day was a painter, printmaker, and sculptor. She was born in Columbus, Ohio on June 11, 1912.
Day earned her B.A. from Randolph-Macon Woman’s College in 1934, and she received her M.A. degree in 1966 from New York University, at the age of fifty-four.
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After receiving her B.A. degree, she moved to New York City where she studied with George Grosz, Jean Charlot and Hans Hofmann, and attended the New School of Social Research, the Florence Crane School, and the Art Students’ League. In 1943 she worked at Stanley William Hayter’s Atelier 17 in New York, where she met Anne Ryan and Sue Fuller, both of whom were working with experimental methods in woodcut and intaglio.
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Day taught at the University of Wyoming at Laramie (1949), Pratt Institute (1955-6), the New School of Social Research (1961-66) and the Art Students' League (1966-70).
Day died on January 27, 1986 in Montclair, New Jersey, of cancer.
This was shortly before a retrospective was due to open at the New Jersey State Museum in Trenton.
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Awards:
J. Rosenwald Awards
Guggenheim fellowships (2)
Public Collections:
Library of Congress
Philadelphia Museum of Art
Metropolitan Museum of Art
the Whitney Museum of American Art
the Worcester Art Museum
Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com0tag:blogger.com,1999:blog-6174069336266912332.post-58664640984321376492021-02-14T08:44:00.001-08:002021-02-14T08:44:54.363-08:00Happy Valentine's Day!Just wanting to send all the inked up clan a bouquet of flowers and tell you to have a Happy Valentine's Day! May this new year be better and brighter for us all.
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The 2020 presidential election is upon us in the United States. The candidates have debated and bantered back and forth for month now, and soon election day will be here. As in past elections, printmaking has been a vital visual component for the public to see the portraits of the candidates, and the posters crested over the years have become popular collector items.
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I have chosen a sampling of different campaign posters and political candidate portraits for this post. The bright, vibrant work of Andy warhol has been popular since the 60s. Other artists have chosen more descriptibe portraits, those of Abraham Lincoln and Stephen A. Douglas.
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The importrant thing to do is exercise our right to Vote for the candidate we each feel is best suited for the presidency. Every vote counts. Let's see what the next month brings....VOTE!
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Indeed, 2020 is proving to be a unique year. This summer has shown itself to be unique as well. Since the pandemic began last spring, people are quarantined, families are isolated and going to a beach or to a barbeque seems like a dream from a bygone era. Instead this summer is one full of marches, protests, gatherings of people, with voices raised in frustration, unified to find justice and overdue recognition. In a few short months of pandemic shutdown, people have come together and have voiced their concerns over health, equality of the races, police brutality, etc., etc. These are not new themes, but ones carried over half a century - really, much longer than that.<br />
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There are too many statistics of people (mainly of color) having been brutally murdered, beaten, wrongly shot. It needs to stop. It needs to stop. It needs to stop. Period.<br />
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I have selected several images detailing protest from the web. Many thanks to everyone included here, but there are so many images to choose from. A sad state of our time where so much pain needs to be addressed. These images cover a number of issues, but the common element is one of protest. <br />
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John Lewis, the great Civil rights era leader from Georgia who recently lost his battle with cancer was memorialized this week. I came across one of his quotes which I think bears repeating...“Go out there, Speak up, speak out! Get in the way, get in good trouble! Necessary trouble! And help redeem the soul of America.” Go forth, my inked up friends, and speak the truth as only we can - through great works.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWPOhmmCltp6g-6kYu73zs_V3LQC5SzTi-sJb8GYQe1REEMqMy5RZGQ5_EXroqWW5QwxpZU2_Zls7tAKmSUAeho3oxgeyFqvdQ3qQ9iJ_faKxQK1A5v7VRunWyzMGo_CNG2d_rMjgLYVs/s1600/a6a42833-c8cd-43c9-924d-8c6134d17d4d.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWPOhmmCltp6g-6kYu73zs_V3LQC5SzTi-sJb8GYQe1REEMqMy5RZGQ5_EXroqWW5QwxpZU2_Zls7tAKmSUAeho3oxgeyFqvdQ3qQ9iJ_faKxQK1A5v7VRunWyzMGo_CNG2d_rMjgLYVs/s320/a6a42833-c8cd-43c9-924d-8c6134d17d4d.jpg" width="240" height="320" data-original-width="1200" data-original-height="1600" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe_M71dG_lj4j42U3Gqxtu7gitU1k_STIYN-m7LvwT4ez1VlpmVrUxnbc0d1KMfO9GL8yTgD_8JdWpztJjwkc612ZeK7ANrvyzYNck6rXzzPmEeZawEAs0nU_Ax6wR-qf6gvmxhzcSXjM/s1600/s-l300.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe_M71dG_lj4j42U3Gqxtu7gitU1k_STIYN-m7LvwT4ez1VlpmVrUxnbc0d1KMfO9GL8yTgD_8JdWpztJjwkc612ZeK7ANrvyzYNck6rXzzPmEeZawEAs0nU_Ax6wR-qf6gvmxhzcSXjM/s320/s-l300.jpg" width="300" height="320" data-original-width="281" data-original-height="300" /></a></div>Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com1tag:blogger.com,1999:blog-6174069336266912332.post-85927646644744803122020-05-23T17:13:00.003-07:002020-05-23T17:13:41.857-07:00Memorial Day Greetings<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4nHh6OkZsan_7nIvOt9hUI7A8qbMoV5aNq67d6OChK3aSEuUK3Zrx36b-DvBjczo5U0310y1nl5uggOEkWQWYsJnK2poQFKMnHBABYFM8nEYV9HWFvQTC-_vEShkxyQMYaY3C4co_YGc/s1600/u-g-PDRB280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4nHh6OkZsan_7nIvOt9hUI7A8qbMoV5aNq67d6OChK3aSEuUK3Zrx36b-DvBjczo5U0310y1nl5uggOEkWQWYsJnK2poQFKMnHBABYFM8nEYV9HWFvQTC-_vEShkxyQMYaY3C4co_YGc/s320/u-g-PDRB280.jpg" width="240" height="320" data-original-width="412" data-original-height="550" /></a></div><br />
Greetings to everyone this holiday weekend. In the present circumstances this day takes on a significance as we remember those who lost their lives in service of their country, but also the global loss of life due to the Covid-19 pandemic. Be safe, and stay well. Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com0tag:blogger.com,1999:blog-6174069336266912332.post-72396243923908426032020-04-10T16:06:00.000-07:002020-04-10T16:06:05.581-07:00Blessings to All this Easter<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbBeL_crW_pB8qK51nZQq2LkLviF_SaxalEZmHEK6MMaunWUDSJQmoDXy92nQadvSjDR4pv330vNiuVcYR39ufooi_rY__iS5YDMgn2U6X9zwOvQpGBBW0TxABBmTwFDezp2YSBKlqt90/s1600/emil-nolde-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbBeL_crW_pB8qK51nZQq2LkLviF_SaxalEZmHEK6MMaunWUDSJQmoDXy92nQadvSjDR4pv330vNiuVcYR39ufooi_rY__iS5YDMgn2U6X9zwOvQpGBBW0TxABBmTwFDezp2YSBKlqt90/s320/emil-nolde-1.jpg" width="240" height="320" data-original-width="564" data-original-height="752" /></a></div><br />
Blessings to all this Easter weekend. Praying that everyone is safe and that we get through this troubling time of pandemic. Take Care.Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com0tag:blogger.com,1999:blog-6174069336266912332.post-84031075492575555352020-01-03T12:55:00.000-08:002020-01-03T16:42:48.751-08:00Aaron S. Coleman: A Printmaker for Our Time<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_-Pme7FFNmSNPzc0TbB9zPu_G7_PFkDrCUyU8JB4vbUpgD5Q40IKmV0UcIF2HpVQzjB18PD2e309tBH6qWN4UUwj66IA9yXVGfcoGo0ZICJwBuu6RC3shX5jhMLL8LcVcMfPP5ypPdcg/s1600/aacoleman-187.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_-Pme7FFNmSNPzc0TbB9zPu_G7_PFkDrCUyU8JB4vbUpgD5Q40IKmV0UcIF2HpVQzjB18PD2e309tBH6qWN4UUwj66IA9yXVGfcoGo0ZICJwBuu6RC3shX5jhMLL8LcVcMfPP5ypPdcg/s320/aacoleman-187.jpg" width="239" height="320" data-original-width="1119" data-original-height="1500" /></a></div><br />
The prints of Aaron Coleman give rise to the old claim that art can change the world. Indeed, the work of Aaron Coleman brings together different factions of philosophy, religion and hip hop culture to make very strong messages about the artist's feelings on society today. They are so strong in fact that they proclaim a day of reckoning is upon us. <br />
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This work is bold, colorful and poignantly creates messages that hit the viewer like a lightning bolt. Here is an artist who is fearless, who deftly blends together images of saints, silhouette beating of Rodney King, graffiti and much more. Coleman is using all imagery at his disposal to create striking and effective work that reflects our fears and hopes. He mashes it all together and through the chaos we will hopefully find redemption and be saved. Let us all revel in his glory, for this is an artist worth watching.<br />
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Coleman is a mixed media artist/printmaker whose works focus on political and social issues. He combines imagery from comic books and stained-glass windows to raise questions concerning misconstrued belief systems and twisted moral values in our society. Coleman’s background in hip-hop culture and street art is also a major influence in his work.<br />
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Born January, 1985, in Washington D.C.<br />
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MFA, Northern Illinois University, DeKalb IL<br />
BFA, Herron School of Art and Design<br />
Assistant Professor of Art, University of Arizona, Tucson, AZ <br />
Also taught at California State University, in Fresno and Northern Illinois University, in Dekalb.<br />
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<b>Public collections:</b> <br />
Ino-cho Paper Museum in Kochi, Japan<br />
The University of Colorado, CO<br />
University of Tennessee Knoxville, TN <br />
Wichita State University, Wichita, KS<br />
Yekaterinburg Museum of Art, Yekaterinburg, Russia <br />
and many other public and private collections.<br />
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Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com0tag:blogger.com,1999:blog-6174069336266912332.post-27553466093849763922019-07-25T16:26:00.004-07:002019-07-25T16:26:57.716-07:00Prints of True Americana: The Work of Ralph Goings<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-o64NjFmtz8eXVHxUKyjerjjeb5ebA1KZyohIt-fKxTcRxyHZL4euLq5saW7WRG1-_wQ7dOm6PIK9ZB180QM_0yGNXtHZqBZVm3fBJA-zVWWzWvrwlA0OYSwL8wjaoqEcDBejLPs71AA/s1600/50699810-b81a-4aa0-be8b-e63f97b25280_570.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-o64NjFmtz8eXVHxUKyjerjjeb5ebA1KZyohIt-fKxTcRxyHZL4euLq5saW7WRG1-_wQ7dOm6PIK9ZB180QM_0yGNXtHZqBZVm3fBJA-zVWWzWvrwlA0OYSwL8wjaoqEcDBejLPs71AA/s320/50699810-b81a-4aa0-be8b-e63f97b25280_570.jpg" width="320" height="248" data-original-width="570" data-original-height="442" /></a></div><br />
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Ralph Goings (1928–2016) was an influential artist and teacher associated with the American Photorealism movement of the 1960s and 1970s. He was best known for his highly detailed images of diners, ketchup bottles, and salt & pepper shakers and pick-up trucks.<br />
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Born in Corning, California, Goings grew up during the Great Depression. His first exposure to art was in high-school, and he was inspired by the work of Rembrandt from books in the local library. His aunt encouraged his artistic interests and he began painting using paint from the local hardware store and old bed sheets.<br />
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After he served in the Army, Goings briefly enrolled in Hartnell College, and was quickly encouraged to attend art school. He studied art at the California College of Arts and Crafts in Oakland, and while there, he met other artists like Robert Bechtle and Nathan Oliveira. He received his MFA from Sacramento State College. Later on, he taught art in Crescent City, and was the head of the Art department at La Sierra High School in Sacramento. <br />
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He was inspired by the realistic artwork of Wayne Thiebaud and Thomas Eakins. With artists like Robert Bechtle, Robert Cottingham, Audrey Flack, Don Eddy and Richard Estes, Goings helped establish the Photorealist Movement.<br />
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<i>"It occurred to me that projecting and tracing the photograph instead of copying it freehand would be even more shocking. To copy a photograph literally was considered a bad thing to do. It went against all of my art school training... " (edited quote from Realists at Work) </i> <br />
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In the mid 1970's, Goings and his family relocated from Sacramento to upstate New York so he could be close to, but not in, the New York City art scene. He enjoyed a long relationship with OK Harris Gallery. In 2006, he and his wife chose to permanently relocate to Santa Cruz. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggMq46v3Trc0Dn7y1s3nuoOTgvl5PZy3NuanBlf2ef5rDMrFefgvnZX2BCxjYS9HcxQkeLBcavXewOEeQG0mljlQoMjoXUQweHr0Z-gNHs2Rz-x2z0rgviKpf1XNuf_142eW3jdJPnfh4/s1600/Ralph_Goings_Sweet_And_Low.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggMq46v3Trc0Dn7y1s3nuoOTgvl5PZy3NuanBlf2ef5rDMrFefgvnZX2BCxjYS9HcxQkeLBcavXewOEeQG0mljlQoMjoXUQweHr0Z-gNHs2Rz-x2z0rgviKpf1XNuf_142eW3jdJPnfh4/s320/Ralph_Goings_Sweet_And_Low.jpg" width="320" height="237" data-original-width="360" data-original-height="267" /></a></div><br />
Remembered as a highly skilled artist, Goings’ work portrayed everyday objects with such a purposeful and distinct realism that their extreme details amazed and fooled the eyes of his audience. His prints compare very favorably with his other media. They are a marvel to behold with their rich surfaces, and numerous reflections. His compositions are intimate and tightly woven. The ketchup bottle and sugar dispenser images are as one would naturally experience them in a restaurant, or a roadside diner. They are cool, clean objects neatly lined up on the countertop, accessible and always ready to pick up.<br />
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Going’s affinity for the everyday subject was a step up from pop art that preceded his work. He left out the novelty and Americana glam that one finds in a Warhol or a Lichtenstein. His was a down to earth, real version of American culture. His work reflected an aura of honesty and no-nonsense unmatched in his colleagues’ work. Goings was a <i>true</i> American artist.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAMXAaNckfMIQ_5xHg6edPE6ZFi9LJdkqMheLGkypJrRRpnKHVDpU2tJYRwyW6aatZ6LoAKewlDUO6klQgWpbzVr1YGo7xPOxAVYzjECeK4ggcVzIIdlPP8jgnUZ7bDebTWUzSRTWtrdg/s1600/vintage-photorealistic-lithograph_1_7d023f6d09dabae701a36f20b32a621d.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAMXAaNckfMIQ_5xHg6edPE6ZFi9LJdkqMheLGkypJrRRpnKHVDpU2tJYRwyW6aatZ6LoAKewlDUO6klQgWpbzVr1YGo7xPOxAVYzjECeK4ggcVzIIdlPP8jgnUZ7bDebTWUzSRTWtrdg/s320/vintage-photorealistic-lithograph_1_7d023f6d09dabae701a36f20b32a621d.jpg" width="320" height="269" data-original-width="900" data-original-height="756" /></a></div><br />
<b>Education</b><br />
MFA - 1965 Sacramento State College, Sacramento, CA<br />
BFA - 1953 California College of Arts and Crafts, Oakland, CA<br />
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<b>Public Collections</b><br />
Benedictine University, Lisle, IL<br />
Boca Raton Museum of Art, Boca Raton, FL <br />
Flint Institute of Arts, Flint, MI <br />
H.J. Heinz Company, Pittsburgh, PA <br />
Lucasfilm, San Anselmo, CA<br />
Museum of Contemporary Art, Chicago, IL <br />
Museum of Modern Art, New York, NY<br />
Portland Museum of Art, Portland, OR<br />
Rose Art Museum, Brandeis University, Waltham, MA<br />
Sheldon Art Museum, Lincoln, NE <br />
Solomon R. Guggenheim Museum, New York, NY<br />
Tampa Museum of Art, Tampa, FL<br />
Virginia Museum of Fine Arts, Richmond, VA<br />
Whitney Museum of American Art, New York, NY<br />
Yale University Art Gallery, New Haven, CT<br />
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Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com0tag:blogger.com,1999:blog-6174069336266912332.post-34887097198527251532019-07-03T17:04:00.002-07:002019-07-03T17:04:59.016-07:00Celebrating the 4th of July!<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7yB6gQQeASgtTDwVIqp7lUF_k9rDwAk1rJpA9_Fw28j2wGnezDLQcnfw2LW-4EJi8JDXfAah_iuMMgvIqfauayJfAhOn8yhSj9V9oTZzxyqHXNYuP9Bcv1cbBLqDAe8Ia40EWsZoVgEA/s1600/47d8f664f23aacc86beeb077dd719e95.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7yB6gQQeASgtTDwVIqp7lUF_k9rDwAk1rJpA9_Fw28j2wGnezDLQcnfw2LW-4EJi8JDXfAah_iuMMgvIqfauayJfAhOn8yhSj9V9oTZzxyqHXNYuP9Bcv1cbBLqDAe8Ia40EWsZoVgEA/s320/47d8f664f23aacc86beeb077dd719e95.jpg" width="226" height="320" data-original-width="339" data-original-height="480" /></a></div><br />
It's that time of year my friends, when we set our work aside for a day or two, (or three) to celebrate our independence, our way or life, and remember the sacrifices of the many before us so we can live our lives today. It is the 4th of July for America, and that means families gather, they barbecue, go to the beach, or the movies, or the races. It means a good time to be had by all as we go see small town parades, baseball games, fireworks, and eat, drink and be merry. There is more to the story, of course, but we are truly blessed to live in a country that lets us be ourselves, and do what we choose. The same cannot be said of other nations. So, think on the history of this great country and celebrate. Below are a few prime prints by some amazing artists on the theme of Lady Liberty. Enjoy, and be safe!<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEtIy1satJryX4ZKAMG1-_ODpyV_0LUYN9OEqMZnmoiqXmjCOkd0gT_nMX1gLS9OaQOzVmC2Wq-MTm6qg3laodCmFKXarTmznlOndmIsy_ftVIIbktqaiK4pVdVBYedqHcrlUbUCwRqlE/s1600/RobertRauschenberg_94.E005_1994_KenedyCampaignPrint.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEtIy1satJryX4ZKAMG1-_ODpyV_0LUYN9OEqMZnmoiqXmjCOkd0gT_nMX1gLS9OaQOzVmC2Wq-MTm6qg3laodCmFKXarTmznlOndmIsy_ftVIIbktqaiK4pVdVBYedqHcrlUbUCwRqlE/s320/RobertRauschenberg_94.E005_1994_KenedyCampaignPrint.jpg" width="231" height="320" data-original-width="1038" data-original-height="1440" /></a></div>Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com1tag:blogger.com,1999:blog-6174069336266912332.post-13540525081955955692019-04-10T10:25:00.000-07:002019-07-08T14:28:58.686-07:00Emma Nishimura " Reckoning with Memories " <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJFJP4TcwGwbzm5fUbGvUCDs-BE99UsqWW15YHENbfwg-HZwGI9HuSpuflmKwd0cvgtrxv2qFGFLA1CV-QCYA9T7UxnHFY4wJ_nGzXNyc7KfQeY_ao2o84JS-FRiB-TjdA44Ql3lHdhyA/s1600/Baachan%2527s%252Bpatterns-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJFJP4TcwGwbzm5fUbGvUCDs-BE99UsqWW15YHENbfwg-HZwGI9HuSpuflmKwd0cvgtrxv2qFGFLA1CV-QCYA9T7UxnHFY4wJ_nGzXNyc7KfQeY_ao2o84JS-FRiB-TjdA44Ql3lHdhyA/s320/Baachan%2527s%252Bpatterns-1.jpg" width="320" height="129" data-original-width="1600" data-original-height="646" /></a></div><br />
<b>Queen Sonja Print Award</b><br />
The Queen Sonja Print Award is the world’s leading award for graphic art, and is presented every two years. Originally a Nordic prize, the prize became international in 2016. The winner receives a cash prize of NOK 400,000 and a residency at the Atelje Larsen art studio in Helsingborg, Sweden. <br />
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Curators, museum directors and fellow artists from all over the world nominated forty-two artists for the 2018 Award. The nominees reflect the breadth of contemporary printmaking today, ranging from traditional forms to new approaches involving installation, collage and performance.<br />
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<b>In 2018, The Queen Sonja Print Award was given to Emma Nishimura, from Canada. </b><br />
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Emma Nishimura (b.1982) lives and works in Toronto, Canada. Her work ranges from traditional etchings, archival pigment prints, drawings, and audio pieces to art installations. Her work is in public and private collections and has been exhibited nationally and internationally.<br />
The artist explores notions of memory and how history is interpreted and re-negotiated, through a varied use of traditional and contemporary printmaking techniques. Her body of work is exquisite and consistent – exhibiting an exceptional thoroughness of aesthetic. Nishimura bridges the boundaries between mediums. Her works incorporate traditional prints, sculptural objects, installations, audio pieces, photogravures, drawings and writing. <br />
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<i>The following is from an interview with Nishimura after receiving the award:</i><br />
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<b>How did your work become so rooted in your own family history?</b><br />
I got a grant from the Ontario government for a project in which I investigated my heritage and being mixed race. So I went to my mum’s basement, rummaged around, looking for old photos and I came across this box that said “Baachan’s Sewing Patterns”. [Baachan meaning grandmother in Japanese] I open it up and inside there was about 200 miniature paper garments of beautiful craftsmanship. To match all of those clothing patterns were five books of drawings – she had taken a drafting course in 1941 in Vancouver. Inside one of those books was a sheaf of notebook pages dated 1943. It was just Japanese names and measurements. In 1943, she was interned in the camps, she was making clothes in the camps. So, I found this box and I thought how do I talk about her work and her journey? How do I make my own work about all of these stories? <br />
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<b>Why choose printmaking?</b><br />
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I’ve always loved working with my hands. And I sewed a lot. I’ve always been very physical with work and manipulated things. I discovered printmaking in high school and then really focused on it in university. <br />
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<b>You have incorporated various types of papers – from photographs and written testimonies to maps – in your works. What potency do you think documents have?</b><br />
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It’s how do you make sense of them and what you do with them. I have these amazing photos but then they stay in this album. And there’s something incredibly special about sharing them. I’ve found my way to meeting people who my grandparents knew. But then everything stays tucked away in these boxes, or on the shelf or relegated to a basement. That has been a push in my work, how do I make these accessible.<br />
Thinking about the weight of memory and the stories that are passed down from one generation to the next (and the stories that are lost as well), this body of work explores the idea of what it might look like to package and archive memory. An extension of the Collected Stories series, this work is part of an ongoing installation project that focuses on the narratives surrounding the Japanese Canadian internment.<br />
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The series consists of hundreds of small bundled forms, known as furoshiki. This Japanese wrapping technique can be used to both store and protect. It may wrap a gift or be purely utilitarian. Working with photo-intaglio and sculptural papermaking processes, the bundles appear to contain an assortment of objects and have varying illusions of physical weight. However, all of the bundles are empty - mere shells that bear only the traces of what they once held. Many of the forms reveal elements of photographic imagery, small moments that link and connect with different stories and memories. All of the photographs have been archived from family albums, my own, as well as others. I will continue to make more bundles, as I complete further interviews and collect photographs from different storytellers.<br />
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<b>Your work looks at the telling and retelling of stories. What interests you about that ongoing process?</b><br />
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Initially when I was doing the research I was talking to my mum and talking to my aunt, realizing that they have very different versions of the same story. All of these gaps. And I went back and reread this novel that I read as a kid and all of a sudden I discovered that what I had concocted as my grandmother’s experience was really that of the main character in the novel. There is this beautiful way that memory conflates. We don’t really know what the real version is.<br />
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<b>Do you think there are parallels between the act of printmaking and that of revising and adapting tales?</b><br />
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Absolutely. Everything is endlessly reworked. I can make a finished piece but then I cut it up and reassemble it. Print affords you a bit of a structure but then there are so many steps along the way for different paths to appear.<br />
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<b>You have turned prints into three-dimensional sculptural works using photographs and texts relating to the period of the internment. Was that always the plan?</b><br />
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No, I had no idea. I took sculpture early on and thought I don’t know if this is really for me. And now it’s a lot of how I think. With the sculptural pieces, the next step is to really grow that installation. I’ve made 350 and the goal is to make 1,000, for viewers to be really immersed in those stories and those memories.<br />
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<b>Congratulations!</b>Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com0tag:blogger.com,1999:blog-6174069336266912332.post-8383764829102240392019-03-15T16:16:00.003-07:002019-03-15T16:16:44.971-07:00Robert Riggs: Refined Brutality<b>Robert Riggs</b> (1896-1970) was an artist well known for his realistic images of the circus, boxing matches, images of the great outdoors and hospital and psychiatric wards. He was born in Decatur, Illinois, and he began his art studies at Millikin University. At the age of nineteen, he won a scholarship to study in New York City at the famed Art Students League. After two years, he moved to Philadelphia to work for the advertising firm A. W. Ayer & Company.<br />
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During WWI, Riggs served in Europe with a Red Cross hospital unit where he made sketches of wounded soldiers and horrific battle scenes. He also studied at the French private art academy, Académie Julian.<br />
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After the war, Riggs returned to Philadelphia and did freelance magazine illustrations and advertisements. In 1924, he took an extended journey to North Africa, China, Thailand, and the Caribbean islands. He became an avid collector of European, Asian and African artifacts, and his home was like a museum.<br />
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Riggs produced most of his graphic art prints between 1934 and 1936, when the economic conditions of the Great Depression made prints popular. He gave up printmaking around 1950 but continued to produce black-and-white drawings for reproduction. His most distinctive prints, however, are unflinching images of mental illness and domestic violence.<br />
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Known for his prize-fighting and circus-genre scenes Riggs became a highly successful artist, in the 1930s and 40s. His interest in circus scenes and the grotesque certainly makes sense, given the things he saw when he ran away to join the circus as a young boy. <br />
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His subject matter was simplified of all unnecessary detail, favoring basic, yet actively charged symmetrical compositions. He viewed the world in a powerful, almost refined and brutally muscular way. He imbued every subject with great solidity and substance. <br />
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He was fascinated with the all-male worlds of the boxing ring and the military, passionate about the muscular male form and of homosocial environments. He seems to have been influenced by some of the other more openly gay illustrator-artists of the day: Jared French, George Tooker, and Paul Cadmus<br />
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There is an element of WPA influence in his subjects of men hard at work. His figures are a kind of everyman who does the task he is given, and who takes pride in a job well done. His artwork was stripped down to essential elements. His massive, brutal male figures showed an appreciation for the beauty and raw power of the male form.<br />
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<b>Honors</b><br />
1939 - Associate member, National Academy of Design <br />
1946 - Full member, National Academy of Design<br />
Society of Illustrators' Hall of Fame <br />
1961 – 1963 - taught at the Philadelphia College of Art (now University of the Arts). <br />
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<i>"Robert Riggs was awarded the Gold Medal for Excellence by the New York Art Directors Club for ten consecutive years and received many additional awards." <br />
- Walt Reed </i><br />
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<b>Public Collections</b><br />
Metropolitan Museum of Art in New York <br />
Philadelphia Museum of Fine Arts <br />
U.S. Library of Congress<br />
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Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com0tag:blogger.com,1999:blog-6174069336266912332.post-92012017628168559682019-02-22T13:47:00.002-08:002019-02-22T13:47:47.616-08:00Gertrude Hermes: Fluidity of Nature<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1PFzznvwgrpdVbepi25xFWMx8JhRaeLGNR4r9v-394xG0fPKdiBEybMdt1WnfKt11_RBVZhP-VsGL7oUHJBX9QEtx-mTZY0ARQhVcUaT9_tPxdCpZ1DAKWwLU7hIpND0loxglzOg0FCZm/s1600/gertrude-hermes-proof-impressions-of-ten-large-wood-engravings.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1PFzznvwgrpdVbepi25xFWMx8JhRaeLGNR4r9v-394xG0fPKdiBEybMdt1WnfKt11_RBVZhP-VsGL7oUHJBX9QEtx-mTZY0ARQhVcUaT9_tPxdCpZ1DAKWwLU7hIpND0loxglzOg0FCZm/s320/gertrude-hermes-proof-impressions-of-ten-large-wood-engravings.jpg" width="210" height="320" data-original-width="309" data-original-height="470" /></a></div><br />
<b>Gertrude Anna Bertha Hermes</b> OBE RA (1901 – 1983) was an English printmaker and sculptor, born in Kent, England. Her parents were originally from Germany.<br />
She attended the Beckenham School of Art in 1921, and the next year she enrolled at the Brook Green School of Painting and Sculpture, where fellow students included Henry Moore and Blair Hughes-Stanton, (whom she married in 1926, but later divorced in 1933). <br />
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Hermes produced a commission for the British Pavilion at the Paris World Fair in 1937. She exhibited regularly at the Royal Academy, and her work was included at the Venice International Exhibition in 1939. She worked in Canada from 1940 to 1945. <br />
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As a teacher, she taught printmaking at the Central School of Art in London, and she taught printmaking at the Royal Academy Schools. Her graphic work focused on natural themes. Her illustrations were used for books such as Gilbert White’s Natural History of Selbourne, and the famous The Complete Angler.<br />
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Her work is in many public collections including the Tate, and the National Portrait Gallery. Her commissions include a fountain for the Shakespeare Memorial Theatre in Stratford-upon-Avon, and she is included in numerous private collections such as the musician David Bowie. <br />
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<b>Honors: </b><br />
Associate of the Royal Academy - 1963<br />
Royal Academician - 1971 <br />
appointed an OBE -1981 <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyZtfbndE_yX-JRMY6WNEFisoXcLO3JU7qlUO6v8KGPA06Dn0Lt6I8b7Yj_MUW41rVB6cat__voSS_eWoseCOPi6priw3MxtBoVBrsYrFnl193il0h38Ov8B5dIEXDfTOUubOQXtpfgkLj/s1600/hermes.burningstubble.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyZtfbndE_yX-JRMY6WNEFisoXcLO3JU7qlUO6v8KGPA06Dn0Lt6I8b7Yj_MUW41rVB6cat__voSS_eWoseCOPi6priw3MxtBoVBrsYrFnl193il0h38Ov8B5dIEXDfTOUubOQXtpfgkLj/s320/hermes.burningstubble.jpg" width="320" height="240" data-original-width="400" data-original-height="300" /></a></div>Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com1tag:blogger.com,1999:blog-6174069336266912332.post-75491061042845384992019-02-14T14:47:00.001-08:002019-02-14T14:47:17.043-08:00Nothing Says LOVE like Robert Indiana<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-T6S5R18DO2g77qu647If_n-b35kGNtmvidnGjL7BWRj4hlIAvWRkvGEoAmRd51n-x8D1v8S8TxdzdBsScGFobbl4YzkNEYxpatrvEIyHnHC_GSaUvMkS2yzFHH0HCn1Zk50twB8alLc/s1600/download.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-T6S5R18DO2g77qu647If_n-b35kGNtmvidnGjL7BWRj4hlIAvWRkvGEoAmRd51n-x8D1v8S8TxdzdBsScGFobbl4YzkNEYxpatrvEIyHnHC_GSaUvMkS2yzFHH0HCn1Zk50twB8alLc/s320/download.jpg" width="320" height="240" data-original-width="259" data-original-height="194" /></a></div><br />
<b>Robert Indiana </b>(born Robert Clark, 1928 – 2018) was an American artist associated with the Pop Art movement. He was also a theatrical set and costume designer. <br />
Indiana was born in New Castle, Indiana. He moved to Indianapolis to attend Arsenal Technical High School (1942–1946), from which he graduated as valedictorian of his class. After serving in the United States Army Air Forces, Indiana studied at the Art Institute of Chicago (1949–1953) and Edinburgh University and Edinburgh College of Art (1953–1954). He settled in New York City after returning to the United States in 1954.<br />
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Indiana lived and worked in a five-story building at Spring Street and the Bowery. In 1973, he bought a lodge in Vinalhaven, Maine where he later resided until his death in 2018.<br />
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The bulk of Indiana's work consists of iconic words like his best known piece, called LOVE, in upper-case letters, arranged in a square with a tilted letter "O". The piece originally appeared in a series of poems written in 1958. The image was used for a Christmas card for the Museum of Modern Art in 1964, and as an eight-cent U.S. Postal Service postage stamp in 1973.<br />
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The first print of "Love" was printed as part of an exhibition poster in 1966. <br />
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In 1977, he created a sculptural Hebrew version of LOVE for the Israel Museum Art Garden, in Jerusalem. <br />
In 2008, Indiana created an image showcasing the word "HOPE", and donated all proceeds from the sale of reproductions to Democrat Barack Obama's presidential campaign, raising in excess of $1,000,000. <br />
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For Valentine's Day 2011, he created a similar variation on LOVE for Google, which was displayed on the search engine site's logo. <br />
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Between 1989 and 1994, Indiana painted 18 works inspired by the war motifs paintings of Marsden Hartley.<br />
He was the star of Andy Warhol's film Eat (45 minute, 1964), which is a film of Indiana eating a mushroom. Warhol also made the brief silent film Bob Indiana Etc. (4 minutes, 1963), as a portrait of the artist.<br />
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In 1964, the architect Philip Johnson commissioned one of Indiana’s pieces for the New York State Pavilion at the World's Fair. <br />
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<b>Selected Public Collections</b><br />
Albright-Knox Gallery, Buffalo, NY <br />
Baltimore Museum of Art, MD <br />
Carnegie Institute, Pittsburgh, PA<br />
Delaware Art Museum, Wilmington; DE<br />
Detroit Institute of Art, MI <br />
the Hirshhorn Museum in Washington, D.C. <br />
Indianapolis Museum of Art, IN <br />
Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA <br />
Israel Museum, Jerusalem<br />
Los Angeles County Museum of Art, CA<br />
McNay Art Museum, San Antonio, TX <br />
Metropolitan Museum of Art, NY<br />
Museum of Modern Art, NY <br />
San Francisco Museum of Modern Art, CA <br />
Stedelijk Museum, Amsterdam, The Netherlands <br />
Whitney Museum of American Art, NY <br />
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Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com0tag:blogger.com,1999:blog-6174069336266912332.post-73729376050837044722019-01-14T11:34:00.000-08:002019-01-17T15:32:53.328-08:00Commemorating the Life of Irwin Hollander, Master Printer<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9U64x5b_iFk8cOs96lxTVnoghohl6_UIO-hdTpxMZ4UqhxXftNYd3AoV2S5vwc65XrEs7Trh-r3gaX4fkzFbUb31ZuXR72e0wZeKuAbsJ20jUfgXGq7MAB7cv1YhhabOJK8ts6Buo-ow/s1600/1962.16.32.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9U64x5b_iFk8cOs96lxTVnoghohl6_UIO-hdTpxMZ4UqhxXftNYd3AoV2S5vwc65XrEs7Trh-r3gaX4fkzFbUb31ZuXR72e0wZeKuAbsJ20jUfgXGq7MAB7cv1YhhabOJK8ts6Buo-ow/s320/1962.16.32.jpg" width="320" height="252" data-original-width="1600" data-original-height="1262" /></a></div><br />
To start off 2019, I decided to recognize the achievements of Irwin Hollander, who died on Nov. 16, 2018, in Brooklyn. He was 90. Like the rest of us inked up brethren Hollander was a printmaker, but he decided early on in his career to become a Master Printer. For those uninitiated, a Master Printer is a person who is trained in all manner of printmaking technical skills. He/she then goes on to run a printmaking workshop, or contract independently with other print shops to print images for other artists who are not printmakers. That type of business has been around for a few hundred years, and has permitted artists in other media the opportunity to make original printed editions. Hollander worked with some of the best artists of the 20th century, and he devotedly taught printmaking in his later years. The man’s contributions to the medium are noteworthy so I wanted to share a little of the life and the prints he printed for other artists….<br />
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Hollander started out as an artist who developed a reputation as a commercial master printer. He was an important part of the revival of fine art printing in the 1960s that became popular in the United States. He often said that his main goal was “to serve artists.”<br />
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Irwin Hollander was born on the Lower East Side of Manhattan in 1927 to Henry and Ida (Burak) Hollander. His father was a taxi driver, and his mother worked in the garment industry. The family eventually moved to Williamsburg, Brooklyn. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZo1pvnIzKKKtIVPpH0HYktNqoG12bDqMYHOCQ_KSh4i2WP3t7bgb_fyffGrQQ5VYn3Y6U-8jUZcaBVmhDvY-ISFZI9aIv17VQJSKxRhIE1kVV5-6OJZYMCPY4__JR3dy12Lj0qOnaF5M/s1600/images.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZo1pvnIzKKKtIVPpH0HYktNqoG12bDqMYHOCQ_KSh4i2WP3t7bgb_fyffGrQQ5VYn3Y6U-8jUZcaBVmhDvY-ISFZI9aIv17VQJSKxRhIE1kVV5-6OJZYMCPY4__JR3dy12Lj0qOnaF5M/s320/images.jpg" width="320" height="236" data-original-width="262" data-original-height="193" /></a></div>Hollander dropped out of school at 14 but he later attended the School of Industrial Art, (now the High School of Art and Design), and studied fashion illustration, life drawing and photography at Washington Irving High School. By 1945 he was taking photographs for advertisements at R. H. Macy’s.<br />
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Hollander’s artistic training assisted him in the Army in 1946, while he served in Guam with a photography technical unit. After leaving the Army, he attended the Brooklyn Museum Art School, the Esmeralda National School of Painting, Sculpture and Printmaking in Mexico City, and the Art Students League in New York City.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCpbP-hioUUTT6q2McyZW1h9tW3x0ObH0VGEIH2htuBAQ1f3KaH-SMRVHZj0G_FF3SqiSgIjnl7XMxkrBmxGdSLsabWmo0xkbUT3kLnHe89zbPd607ivgDh6kMQhsizbZx2AV0Cvs-SRk/s1600/download.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCpbP-hioUUTT6q2McyZW1h9tW3x0ObH0VGEIH2htuBAQ1f3KaH-SMRVHZj0G_FF3SqiSgIjnl7XMxkrBmxGdSLsabWmo0xkbUT3kLnHe89zbPd607ivgDh6kMQhsizbZx2AV0Cvs-SRk/s320/download.jpg" width="274" height="320" data-original-width="208" data-original-height="243" /></a></div>In 1955, he married Nina Serser, a social worker. They moved to California, settling in San Diego where Hollander worked for a commercial printing company and fell in with the city’s art scene. The company agreed to let him use their equipment at night to work with artists.<br />
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That year, Hollander became acquainted with June Wayne, whose newly opened Tamarind Lithography Workshop in Los Angeles would play a major role in introducing American artists to printmaking, and in training master printers. Within a year he was the first master printer trained at Tamarind. <br />
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In 1964, he returned to New York and opened a print workshop in a studio that had been vacated by Philip Pavia. Hollander later rented the first floor of the building as a display area and gallery. The first print his workshop published was by Leonard Baskin. Later on he developed a partnership with Fred Genis, a Dutch master printer.<br />
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He was best known for working with Willem de Kooning and Robert Motherwell, convincing them that their gestural style would adapt well to printmaking. Hollander’s workshop also published portfolios and prints by Pierre Alechinsky, John Cage, Jim Dine, Sam Francis, Ellsworth Kelly, Roy Lichtenstein, Richard Lindner James MacGarrell, Louise Nevelson, Claes Oldenburg and Saul Steinberg. <br />
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After he closed Hollander’s Workshop in 1972, he taught printmaking at the Cranbrook Academy of Art in Bloomfield Hills, Michigan. He later moved to Wells Bridge, NY, and spent the rest of his career on his own art. Rest In Peace…..<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj7RdoiVecgt3NggO9boCVcnhRq3c1DUc2VvW_WHQQI3bprL2GMVMAp0HNbrdKzFrldvyiV3GQ7dEM4WkDDtrxUL5-GsBPY-wcP_SdMPU-gIha04v2YnOVBhqOOaTnnqlJQKLxGf4hT9U/s1600/15HOLLANDER1-articleLarge-v2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj7RdoiVecgt3NggO9boCVcnhRq3c1DUc2VvW_WHQQI3bprL2GMVMAp0HNbrdKzFrldvyiV3GQ7dEM4WkDDtrxUL5-GsBPY-wcP_SdMPU-gIha04v2YnOVBhqOOaTnnqlJQKLxGf4hT9U/s320/15HOLLANDER1-articleLarge-v2.jpg" width="320" height="229" data-original-width="600" data-original-height="429" /></a></div>Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com1tag:blogger.com,1999:blog-6174069336266912332.post-19314927658966385812018-11-13T16:21:00.000-08:002018-11-13T16:21:06.601-08:00The Sublime Prints of Martin Puryear<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj4wLIZ88qeAGS8XLBlL-CRfWMDlH_HoiZaATI4QEUxQn112DYpi6V526kfJ4FlnxFIBBcKRilI63JHe2AjG2b5809XhUB7T8UOQrpQVK3JhdL4PnjdeBHCvZwM5sAQtgMWAYvtXA56r4/s1600/2001_4_8_m1_2012.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj4wLIZ88qeAGS8XLBlL-CRfWMDlH_HoiZaATI4QEUxQn112DYpi6V526kfJ4FlnxFIBBcKRilI63JHe2AjG2b5809XhUB7T8UOQrpQVK3JhdL4PnjdeBHCvZwM5sAQtgMWAYvtXA56r4/s320/2001_4_8_m1_2012.jpg" width="320" height="279" data-original-width="1600" data-original-height="1394" /></a></div><br />
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The notable art critic Robert Hughes once called Martin Puryear "America's Best" of sculptors. He has become an internationally renowned artist known for his exceptional craftsmanship, powerful and elegant forms, and his poetic approach to technique often pushes the physical boundaries of material. His work is distinguished by its inventive form and meticulous craftsmanship. His images are described as organic abstractions, pared down forms that refer to the natural world, like seedpods, sunbursts, tree-rings, etc.<br />
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His works enclose space, suggesting a combination of protection, survival, sanctuary, or captivity. His prints combine the organic and the geometric; creating a rationality in each work derived from the artist’s act of creating.<br />
Often associated with both Minimalism and Formalist movements, Puryear’s works suggest narratives filled with the possibility of meaning; they are not only compelling objects but they are enticing for the revelation one discovers from engaging with them. <br />
In some of his prints his delicately drawn interlacing lines create vessel-like forms, linear shapes with darkened stippled marks, latticed and woven structures. His lines suggest inside/outside space, containment/freedom and what is interior/exterior.<br />
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Born in 1941 Washington, D.C., Puryear began as a child making various tools, boats, musical instruments, and furniture. As his art his developed, his love for natural form and materials became pronounced. He currently lives and works in New York’s Hudson Valley. <br />
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<b>Education:</b><br />
1971 MFA Yale University, New Haven, CT<br />
1966-68 Royal Swedish Academy of Arts, Stockholm, Sweden<br />
1963 BA Catholic University of America, Washington , D.C.<br />
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<b>Awards:</b><br />
1979, 1981 and 1989 - included in the Whitney Biennial at the Whitney Museum of American Art in New York City. <br />
1982 - Guggenheim Memorial Foundation Fellowship, to study Japanese architecture and garden design. <br />
1989 - MacArthur Foundation Fellowship <br />
2007 - Gold Medal in Sculpture by the American Academy of Arts and Letters<br />
2011 - National Medal of Arts<br />
2019 – sole artist to represent the United States at the Venice Bienale<br />
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<b>Public Works:</b><br />
City of Chicago, IL<br />
John P. Getty Museum, Los Angeles, CA <br />
Washington D.C. <br />
York College, Queens, NY <br />
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<b>Teaching:</b><br />
Fisk University, Nashville, TN <br />
University of Maryland, College Park, MD<br />
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<a href="http://">https://art21.org/watch/extended-play/martin-puryear-printmaking-short/</a><br />
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Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com1tag:blogger.com,1999:blog-6174069336266912332.post-6731690968688204412018-09-14T12:42:00.002-07:002018-09-14T12:42:28.919-07:00A Significant Printmaker, Warrington Colescott...R.I.P.In commemoration of Warrington Colescott's significant achievements in printmaking, I am re-posting this article on his work. R.I.P. 9/14/2018<br />
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<b>Warrington Colescott</b> is mostly known as an American printmaker of satirical subjects. His work expresses a vivid imagination, interpreting contemporary and historical events. Yet, in his earlier more abstract phase, his work borders on something reminiscent of the curvilinear figures one finds in the works of Matisse and Cezanne; and the arabesque gestural lines he uses deftly lead the viewer through the composition to see all the lovely, weirdly grotesque and erotic figures we find therein. This article will focus on his earlier work, which shows his homage to Hayter and other well-known artists.<br />
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Colescott was born in 1921 to Warrington, Sr. and Lydia Colescott. His parents who were of Louisiana Creole descent moved to Oakland in 1920 where he was born. His younger brother, Robert, is also an artist. Comic strips, vaudeville and the burlesque at Oakland’s Red Mill/Moulin Rouge theater were important influences upon Colescott’s work. He made cartoons and did some writing for both the Pelican and The Daily Californian when he attended University of California at Berkeley. <br />
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Colescott studied painting at the University of California, Berkeley, and started to make prints in 1948 while he was teaching at Long Beach City College. He continued to make prints when he moved to Wisconsin to teach at the University of Wisconsin - Madison. Alfred Sessler introduced Colescott to etching in the mid-1950s, and Colescott continued to his study of printmaking at London’s famous Slade School of Fine Art. <br />
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Colescott gained critical attention in the 1950s, when he was included in the Museum of Modern Art’s 1953 Young American Printmakers exhibition, and exhibits at the Whitney Museum of American Art in 1955 and 1956. Critics have compared his graphic and satirical style, to artists like Francisco Goya, Honoré Daumier, Max Beckmann, and George Grosz. <br />
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His early graphic work was more abstract. That work contains some reference to the linear flow of Stanley William Hayter’s work, but his colors are dark and sometimes more tonal than colorfully expressive. By the early 1960s his satirical imagery evolved and he devoted his time to complex color etching, and incorporated bits of letterpress into his compositions. As his work became less abstract and more narrative, this allowed him to fully explore his satirical commentary on subjects of the civil rights struggles in the South, racism, violence, and a series on Depression-era gangster, John Dillinger. <br />
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Colescott’s mature style became evident in his series The History of Printmaking (1975–78), where he describes important developments in the evolution of printmaking with various printmakers. Since the 1970s, Colescott has continued to pursue social satire in his work with subjects on burlesque, popular culture, the afterlife, and places like California, Wisconsin and New Orleans, the home of his ancestors. Recently, Colescott has turned his attention to the Middle East conflicts in Iraq and Afghanistan. He lives and works in Hollandale, Wisconsin.<br />
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<b>Education</b><br />
1942 - BFA at the University of California, Berkeley. <br />
1942-46 – served in the Army in World War II <br />
1947 - MFA at the University of California, Berkeley<br />
1947-1949 taught art at Long Beach City College <br />
1949- 1986 taught at the University of Wisconsin–Madison<br />
Continuing studies:<br />
1952-53 -Académie de la Grande Chaumière, Paris <br />
1956–57 Fulbright Fellow, Slade School of Fine Art, University of London <br />
1963 - Guggenheim Fellowship, London<br />
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<b>Exhibitions </b><br />
1979 – A History of Printmaking, Madison Art Center <br />
1988-89 Elvehjem Museum of Art (now the Chazen Museum of Art), University of Wisconsin–Madison<br />
1996 and 2010 - Milwaukee Art Museum<br />
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<b>Honors</b><br />
1957 - Fulbright Fellowship <br />
1965 - John Simon Guggenheim Memorial Foundation Fellowship <br />
1975 - National Endowment for the Art Printmaking Fellowship <br />
1979 & 1983 - National Endowment for the Arts <br />
1992 - Academician of the National Academy of Design <br />
Fellow of the Wisconsin Academy of Sciences, Arts, and Letters <br />
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<b>Collections</b><br />
Art Institute of Chicago <br />
the Bibliothèque Nationale de France<br />
Brooklyn Museum <br />
Carnegie-Mellon Museum <br />
Chazen Museum of Art in Madison <br />
Cincinnati Art Museum <br />
Columbus Museum of Art <br />
Los Angeles County Museum<br />
Madison Museum of Contemporary Art<br />
Metropolitan Museum of Art <br />
Milwaukee Art Museum<br />
Museum of Modern Art<br />
Museum of Wisconsin Art in West Bend <br />
National Gallery of Art<br />
New York Public Library<br />
Portland Art Museum <br />
Smithsonian American Art Museum <br />
Tate Gallery of Modern Art<br />
Victoria and Albert Museum <br />
Whitney Museum of American Art <br />
Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com0tag:blogger.com,1999:blog-6174069336266912332.post-32219168385094135702018-08-06T15:39:00.002-07:002018-08-06T15:50:32.619-07:00Cecil Tremayne Buller's Songs of Solomon <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTxz7qwz9wlXPLsuT5yxSPUFVQmw3A4QqGsbuinolMW2JG1wug_Npixt1fCzqyfASyDExEwdxQF4ZHHyoNGpfE0j0jTmbA61pkD4i83SKp6s3J9ukaF0sGJrx_Zp44f69c_jKVeYxWIy0/s1600/4b79bd3c8642cb0a3f2e945619c9e223.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTxz7qwz9wlXPLsuT5yxSPUFVQmw3A4QqGsbuinolMW2JG1wug_Npixt1fCzqyfASyDExEwdxQF4ZHHyoNGpfE0j0jTmbA61pkD4i83SKp6s3J9ukaF0sGJrx_Zp44f69c_jKVeYxWIy0/s320/4b79bd3c8642cb0a3f2e945619c9e223.jpg" width="222" height="320" data-original-width="367" data-original-height="530" /></a></div><br />
The prints of Canada’s Cecil Buller are both analytic and evocative, passionate and diagrammatic. It is a rare ability for an artist to dually describe events and subjects in such measured and balanced equal terms, but she does it with aplomb. <br />
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Cecil Tremayne Buller (1886 –1973) was born and raised in Montreal. She is well-known for producing a series of prints for her book Song of Solomon in 1929. She also provided illustrations for Cantique des cantiques which were published in Paris in 1931. I have selected some of these images to review for this article. <br />
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The Songs of Solomon set is one of the scrolls found in the last section of the Tanakh, and a book of the Old Testament. This set is unique within the Hebrew bible because it celebrates sexual love and the yearning between two lovers. The two each desire each other and rejoice in their intimacies; and we, as the audience, witness the lovers' erotic encounters. In a sense, one can even see the sweet engagement between the two lovers as they embrace, similarly to Antonio Canova's Cupid and Psyche. The feelings we take away from both pieces is the same.<br />
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Buller’s ability to transform the human figure from sinuous biomorphic forms into loosely fragmented sections that resemble the works of Fernand Leger and some of the German Expressionists, yet retain their organic origins, is amazing.<br />
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Her figures are engaged with each other to the exclusion of we the audience, who are privy to their encounters. The hunger and need of the figures for one another is earthy and basal. We feel their desire, and we can ourselves escape into their reverie for one another. Truly, Buller has evoked a sensual and gentle depiction of these two lovers, and we are blessed to know of it.<br />
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As for Buller’s artistic studies, she studied at the Art Association of Montreal, and the Art Students League, in New York City. In 1912, she went to Paris to where she studied with famed Fauve artist Maurice Denis. Four years later, she went to London to study printmaking at the Central School of Art and Design. While there, she met her future husband John J. A. Murphy; they eventually settled in New York City in 1918. She later returned to Montreal in 1961, and lived there the rest of her life. <br />
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<b>Awards:</b><br />
1945 the Pennell Prize from the Library of Congress <br />
1947 and 1953 the Audubon Society Award <br />
1949 the National Academy of Design Graphic Art Award<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcb5I_JVhzL0F5JtQph9jw2spooqXguRm5gELIg8A1bfy-C_BRSpd5uaOGbnLC6GCHRqgA1LxO9et5siEkanoezvvP1Bu_wjjOI_9p5qFpOtVsCqUk6-DBgDpH5qqfrWCvsjlrOvFS9wU/s1600/default.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcb5I_JVhzL0F5JtQph9jw2spooqXguRm5gELIg8A1bfy-C_BRSpd5uaOGbnLC6GCHRqgA1LxO9et5siEkanoezvvP1Bu_wjjOI_9p5qFpOtVsCqUk6-DBgDpH5qqfrWCvsjlrOvFS9wU/s320/default.jpg" width="244" height="320" data-original-width="610" data-original-height="800" /></a></div><br />
<b>Public collections:</b><br />
Bibliothèque nationale de France in Paris <br />
British Museum <br />
Library of Congress <br />
Metropolitan Museum of Art <br />
National Gallery of Canada<br />
New York Public Library <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQNkH_Vp3X2sX_aIeRpQB-nTd_eU5cloD81lrpgGEz5vweh5nrlXfvBpL82ZzZp_dz91x3ml5iFGLEyxMgNOW9h16HE1jK8VbMK2tv27L2UHDQr5ACk28__ADokCe3vzHyV3qBR2VuR9c/s1600/img-0299.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQNkH_Vp3X2sX_aIeRpQB-nTd_eU5cloD81lrpgGEz5vweh5nrlXfvBpL82ZzZp_dz91x3ml5iFGLEyxMgNOW9h16HE1jK8VbMK2tv27L2UHDQr5ACk28__ADokCe3vzHyV3qBR2VuR9c/s320/img-0299.jpg" width="257" height="320" data-original-width="366" data-original-height="455" /></a></div>Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com0tag:blogger.com,1999:blog-6174069336266912332.post-81535395506379539312018-07-06T20:09:00.002-07:002018-07-06T20:09:33.170-07:00The 'Other' Capriccios Prints by William Gropper<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_RCxW_ZiRZTbLDBK_VTWsDbU2nGIHss30gYhP46SfNzMHdFufZKGsBN4-nDh9HsRPcshIzCdQRauGL-xogbzmUhldgr-quPyyX4msslhDZ1-RWjlSWG7bO7OUgnIeygoX2FN98hoGznY/s1600/cri_000000180368.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_RCxW_ZiRZTbLDBK_VTWsDbU2nGIHss30gYhP46SfNzMHdFufZKGsBN4-nDh9HsRPcshIzCdQRauGL-xogbzmUhldgr-quPyyX4msslhDZ1-RWjlSWG7bO7OUgnIeygoX2FN98hoGznY/s320/cri_000000180368.jpg" width="241" height="320" data-original-width="1206" data-original-height="1600" /></a></div>Just to scare the crap out of you, you must witness something weird and wonderful in William Gropper's 'Capriccios' print series. Talk about some compositions that can fill a child's dreams with nightmares..... Gropper's prints have some extremely creepy scary creatures. The prints are filled with maniacal faces, bared teeth and ghoulish eyes. These 'things' swoop in from the stealth of night and are eager to devour something (we hope it isn't us). I, for one, am both mesmerized by these creatures' appearance, and reviled by their ability to easily entice us to join them to a journey to the netherworld. They are fiendish, evil and you can't look away from them. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBSVZvz_-NhAD1Em5bUvxnF_kLarzT7cyR_Ywxqn-JVuwvpzqiE4XnFD5ugZde2xjrW0at0mikkNzyV__fscJsaEZ2ZN8CVFAy7dnAE4yV8RMZiJ_pdCdiFviSwnzVZ2wOQsgutUfRY7k/s1600/3.6_gropper_02.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBSVZvz_-NhAD1Em5bUvxnF_kLarzT7cyR_Ywxqn-JVuwvpzqiE4XnFD5ugZde2xjrW0at0mikkNzyV__fscJsaEZ2ZN8CVFAy7dnAE4yV8RMZiJ_pdCdiFviSwnzVZ2wOQsgutUfRY7k/s320/3.6_gropper_02.jpg" width="239" height="320" data-original-width="746" data-original-height="1000" /></a></div>Gropper's works have an uncomfortableness about them. No sense of groundedness. Floating figures within wind-swept environments. No place to rest from the craziness that surrounds us. The artist knows how to keep us off-kilter. We can't find a quiet place to sleep, or hide from these 'things'. Night of the Living Dead is an apt description for some of this, but Gropper's roots for this series are found further back in time. A place called Spain, in the late 1700s, emanating from the critical vision of an artist we know as Francisco de Goya. There was another Caprichos series, one highly critical of the social strata of the day, and the social folly of the ruling class. Goya was scathing in his series and left no stone unturned that didn't deserve it. Those prints are exceptionally great and we can derive a better understanding of our own current political craziness if we but look at those prints and compare them to events in our own time. But I digress....<br />
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Gropper's compositions are chaotic, and uncomfortable. His lines are a bit lyrical, but also clipped and chopped up. I am reminded of some similiarities to the linear qualities of Willem DeKooning's paintings and drawings. <br />
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In this capriccios series, there are depictions of the working class. The endless toil and struggle of work that never ends. There are also apocalyptic scenes of ghouls and skeletal figures ready to sweep in to take a soul or two with them to wherever they came from. They are the undead, and we are their prey.<br />
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Other images of horses and piles of the dead remind us of works by Picasso during his Guernica period, but Gropper's work is more bleak. These legacies, and Gropper's interest in the work of Daumier, are evident in his prints. <br />
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I will share with you Gropper's biography so you can know more his motivations for this richly dark series. Enjoy my friends....<br />
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William Victor "Bill" Gropper (1897 – 1977) was an American artist, best known for his radical political work. He was born in New York City, to Jewish immigrant parents from Romania and the Ukraine. While Gropper’s father was a university-educated man fluent in several languages, he was unable to find employment. The result was that his parents worked in abject poverty in the city's garment industry on the Lower East Side.<br />
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Gropper’s artistic beginnings came from his chalk drawings on the sidewalks in front of his home. At age 13, he studied art at the Ferrer School, under notable artists George Bellows and Robert Henri. When he graduated from public school, he earned a medal in art, and a scholarship to the National Academy of Design. A couple of years later he was offered a scholarship to the New York School of Fine and Applied Arts (now the Parsons School of Art).<br />
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In 1917, Gropper was offered a position on the staff of the New York Tribune, where he earned a steady income creating drawings for the paper's Sunday feature articles. Gropper also contributed his work to a revolutionary socialist weekly called The Revolutionary Age, as well as to The Rebel Worker, a magazine of the Industrial Workers of the World.<br />
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In August 1921, Gropper married Gladys Oaks, but the marriage was short-lived.<br />
Three years later he married Sophie Frankle. Together, they built a house and raised their family in Croton-on-Hudson, New York. The couple spent a year in the Soviet Union, where Gropper was employed on the staff of the newspaper of the All-Union Communist Party, Pravda.<br />
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Back in the states, Gropper also worked on mural projects for the Works Progress Administration (WPA). <br />
During the second half of the 1930s, Gropper dedicated his art to the efforts to raise popular opposition to fascism in Europe. Due to his involvement with radical politics in the 1920s and 1930s, Senator Joseph McCarthy, chair of the Committee on Government Operations, subpoenaed Gropper to appear before the House Un-American Activities Committee’s Permanent Subcommittee on Investigations in May 1953. Invoking the Fifth Amendment, Gropper refused to answer any questions and was subsequently blacklisted. This experience inspired him to create a series of prints entitled the Capriccios. <br />
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Writing on his Capriccios series, Gropper said, “‘The right to life, liberty or pursuit of happiness’ are mere words without meaning when mouthed by corrupt politicians, the State Dept., intellectual [sic] or artists who stand by in silence while bigotry is at work”.<br />
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Although he faced opposition to his work following the McCarthy hearings, Gropper’s Capriccios series presented a specific response to McCarthy’s committee, which struck an accord with the underprivileged public and enraged the corrupt politicians. Gropper’s Capriccios expressed his disdain for the American ideological culture of the 1950s.<br />
Nixon’s Watergate scandal in 1973 sparked the artist’s last political series in his long struggle against political corruption.<br />
Gropper died at the age of 79 in Manhasset, New York.<br />
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<b>Honors and Awards:</b><br />
Instructor at American Art School, New York, NY<br />
Founder of Artists Equity Association<br />
Los Angeles County Museum Purchase Prize<br />
National Academy of Design as an Associate Academician<br />
Young Israel Prize<br />
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<b>Exhibitions:</b><br />
Galerie Benezit, Paris, France<br />
La Galerie del Frente Nacional des Artes, Mexico City, Mexico<br />
Judah L. Magnus Museum, Berkeley, California<br />
Piccadilly Gallery, London, England<br />
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Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com0tag:blogger.com,1999:blog-6174069336266912332.post-70495018938017846132018-07-03T10:18:00.002-07:002018-07-03T10:18:21.933-07:00Celebrate the 4th!Greetings to all my inked up brethren. I am wishing you all a happy and safe 4th of July, wherever you may be. Pull out the grill, heat up some hotdogs and burgers, drink a few cold brew and enjoy watching the kids splash in the pool, or skiing at the lake. It's a time to celebrate what's great about our country and being with family and friends. Enjoy this treasured print about Lady Liberty and the Star-Spangled Banner from Currier & Ives. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG_RIbEQqIKH8KvwhkEXnsJRMJH9JPcMa5ZK6sqotUCBG2X5rLnl6CrRoy06f52l09-PiGJTu9NM2b5N_gOUpRAmgEDVBjJh8TNpBndoLHHIni9IoQkSAlF4u-oosgGToig_p8tDa5tE4/s1600/99a92f149b4556ef6e46add3887f41d7--star-spangled-banner-modern-times.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG_RIbEQqIKH8KvwhkEXnsJRMJH9JPcMa5ZK6sqotUCBG2X5rLnl6CrRoy06f52l09-PiGJTu9NM2b5N_gOUpRAmgEDVBjJh8TNpBndoLHHIni9IoQkSAlF4u-oosgGToig_p8tDa5tE4/s400/99a92f149b4556ef6e46add3887f41d7--star-spangled-banner-modern-times.jpg" width="284" height="400" data-original-width="510" data-original-height="719" /></a></div>Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com0tag:blogger.com,1999:blog-6174069336266912332.post-50045457482459782822018-06-26T19:59:00.004-07:002018-06-26T19:59:58.360-07:00Frances Gearhart Glorifies California's Landscape<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisLH_Xb9Dmqds3t4zJ0Eqd9PIvtL1Qn10aOOv3Cp8FyrP5vKvWAii5f3EP4qGE3Ru-JHEZ4Ujdxu7dIkOW4WgLXPYJsnrDcUIivkCOcyCCgzPKkhIdSTgPTcQBODAC6GqICTTpASBLdCM/s1600/5a15182aba8bd33b04e8d15d78a994e6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisLH_Xb9Dmqds3t4zJ0Eqd9PIvtL1Qn10aOOv3Cp8FyrP5vKvWAii5f3EP4qGE3Ru-JHEZ4Ujdxu7dIkOW4WgLXPYJsnrDcUIivkCOcyCCgzPKkhIdSTgPTcQBODAC6GqICTTpASBLdCM/s320/5a15182aba8bd33b04e8d15d78a994e6.jpg" width="277" height="320" data-original-width="614" data-original-height="710" /></a></div><br />
Frances Hammell Gearhart (1869 –1959) was an American artist known for her vibrant and colorful prints of America’s (Californian) landscape. <br />
Born in a small village called Sagetown, in Illinois, she moved to California in 1888 and began studying at the State Normal School at Los Angeles (now UCLA). After graduation she supported herself by teaching high school English. <br />
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At her first one-person exhibition in 1911 at Los Angeles’ Walker Theatre Gallery the local art critics described her as a promising colorist. Gearhart’s sisters, May and Edna, taught her printmaking after they studied at the Ipswich Summer School of Art in Massachusetts with Arthur Wesley Dow. It is estimated that she created 250 editioned prints. <br />
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Influenced by the Arts and Crafts movement, Gearhart made prints that featured strong use of black or blue lines with rich colors offset against deep backgrounds. She frequently made compositions of country paths, roads, and waterways to lead the viewer into the image. The combination of her lines with atmospheric color was well suited to depict California's beautiful landscapes. <br />
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Gearhart devoted herself full-time to art in 1923. She and her sisters then set up an art gallery in Pasadena, CA, where they curated printmaking exhibitions. <br />
Her art production declined after 1940 when her eyesight began to fail. She died in Pasadena, California. She is now recognized as one of the most important American printmakers of the early 20th century.<br />
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<b>Memberships:</b><br />
San Francisco-based California Society of Etchers (California Society of Printmakers) <br />
Print Makers Society of California (PMSC) <br />
Prairie Print Makers <br />
American Federation of the Arts <br />
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<b>Exhibitions:</b><br />
Oakland Art Gallery <br />
Casa de Maňana Gallery of Berkeley <br />
San Francisco Museum of Art <br />
Print Rooms of San Francisco <br />
Stanford University Art Gallery <br />
Carmel's Arts & Crafts Club<br />
Brooklyn Museum <br />
Chouinard Art Institute <br />
Toronto Museum <br />
Worcester Art Museum <br />
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Her work is included in numerous museum collections. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrff17Y08cK3RYqvaEvawJmRNGtcLvsMBtrgWZEahRQ8ai8Y3t7eboY3ddmqembuXs7lG9tM_PLJQ-MS_n-Xlc7H-ChzscmFRAD-iLC9nPadVc6j91tEaLT47zMDbgkO01uVJyFVTiS5E/s1600/SAAM-1984.36.2_1-000001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrff17Y08cK3RYqvaEvawJmRNGtcLvsMBtrgWZEahRQ8ai8Y3t7eboY3ddmqembuXs7lG9tM_PLJQ-MS_n-Xlc7H-ChzscmFRAD-iLC9nPadVc6j91tEaLT47zMDbgkO01uVJyFVTiS5E/s320/SAAM-1984.36.2_1-000001.jpg" width="320" height="294" data-original-width="325" data-original-height="299" /></a></div>Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com3tag:blogger.com,1999:blog-6174069336266912332.post-35750408829220444942018-06-03T16:32:00.004-07:002018-06-03T19:20:27.822-07:00American Innocence Through the Eyes of Winslow HomerGreetings everyone! Hoping your summer is turning out to be a pleasant one. I was looking for a printmaker whose work portrayed the joys of summer, and the joys of an idyllic period when people could walk the beach, play along the shoreline and admire the beauty mother nature continues to bless us with. To my surprise I found that Winslow Homer had created such images in his prints.Being more familiar with his other media, these images were a delight to find, so I decided to share them with all of you inked up family out there.<br />
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Homer's got a fantastic sense of light, line and composition. He captures our activities on the beach or playing in an open field. His era is late in the 19th century, when America still felt innocent of the terrors of the world. The scenes are sedate, showing a slower pace of life, and they are most welcome. Homer gives us a slice of life nearly lost. We can view these images and feel the quietude of sitting by a campfire, or digging for shells on the beach, or fishing alone on a river. We can see the intenseness of the task at present and can appreciate the ability of the subjects to focus on the project before them. The characters aren't distracted with iphones, or earbuds, or motor boats. This is an time when one can commune with Nature and being present with our friends is expected rather than fight for someone's attention to get them away from their cell phone. <br />
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Homer's prints reflect similar subjects as are found in his other works. They have the same feel, although he tended to keep these images fairly literal more than his painted media pieces which evolved into a semi-abstraction. They are clear in minute focus. The soldier sitting in the tree setting his bead on a target is a quirky composition, but we feel his intense stare. The girls walking on the beach in their swimwear are a marvel for us when compared with their scantily clad granddaughters of today. The boys on the canoe fishing and playing in the sand have a Huckleberry Finn vibe. <br />
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All in all, Homer made some mighty fine prints. Here's his biography for you to get more information about his work and influences. <br />
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Homer (1836 – 1910) was the preeminent figure in 19th c. American art. He was mostly self-taught and began his career as a commercial illustrator; eventually he developed a reputation for capturing the essence of simple 19th c. American life. Born in Boston, Massachusetts, he grew up mostly in the Cambridge, Massachusetts area. Homer’s mother was an amateur artist and his first teacher. Homer's father sought fortune in the California gold rush, but when that failed, he left his family to go to Europe. After Homer graduated from high school, his father arranged for an apprenticeship for Homer with J. H. Bufford, a Boston commercial lithographer, with whom he worked for the next two years. <br />
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Homer's illustrations contributed to several magazines about life in Boston and rural New England. His early works are often defined by his use of clean lines, simplified forms, dramatic contrast of light and dark and engaging figures. Prior to 1859, Homer lived in Belmont, Massachusetts in his uncle's mansion, which was the inspiration for a number of his early works.In 1859, he moved to New York City and opened a studio in the Tenth Street Studio Building. He attended classes at the National Academy of Design until 1863. His mother tried to raise funds to send him to Europe for further study but Harper's magazine sent him to the front lines of the American Civil War, where he sketched scenes of battles and camp life. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheZ_FGCmmm03Wti5_Fllf3h1U0RHj3dX6h9hNS9hWaqS3ZyXUH5NpXEUgQB5DhqaorU4eRT-cBdNwF_AVgULiRqJ3r7tFZq0Fcb4Cv1iRZYVoXqItEir3sx7Rl2xMRWdmGbfPyhNTQoA0/s1600/DadsComingLG.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheZ_FGCmmm03Wti5_Fllf3h1U0RHj3dX6h9hNS9hWaqS3ZyXUH5NpXEUgQB5DhqaorU4eRT-cBdNwF_AVgULiRqJ3r7tFZq0Fcb4Cv1iRZYVoXqItEir3sx7Rl2xMRWdmGbfPyhNTQoA0/s320/DadsComingLG.jpg" width="320" height="218" data-original-width="679" data-original-height="462" /></a></div><br />
Homer also illustrated women and the effects of the war on the home front. During this time, he also continued to sell his illustrations to periodicals. After the war, Homer turned his attention primarily to nostalgic scenes of childhood and young women.<br />
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Near the beginning of his career, Homer demonstrated a maturity, depth of perception, and mastery of technique. His realism was objective, true to nature. <br />
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Before exhibiting at the National Academy of Design, Homer traveled to Paris, France in 1867 where he lived for a year. He practiced landscape painting while continuing to work for Harper's, depicting scenes of Parisian life.<br />
Homer's main subject for his paintings was peasant life, showing more affinity with the French Barbizon school and the French artist Millet. His interest in depicting natural light parallels that of the early impressionists, as he was already a plein-air painter in America. <br />
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Throughout the 1870s, Homer continued painting mostly rural scenes of farm life, children playing, and young adults courting.<br />
He became a member of The Tile Club, and for a short time, he designed tiles for fireplaces.<br />
He started painting with watercolors on a regular basis in 1873 during a summer stay in Gloucester, Massachusetts. From the beginning, his technique was natural, fluid and confident. The impact of these works was extraordinary.<br />
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Homer became reclusive in the late 1870s, living in Gloucester. For a while, he even lived in secluded Eastern Point Lighthouse . In re-establishing his love of the sea, Homer found a rich source of themes while closely observing the fishermen, the sea, and the marine weather. After 1880, he focused mainly on working men and women. <br />
In 1883, Homer moved to Prouts Neck, Maine (in Scarborough), and lived at his family's estate in the remodeled carriage house close to the ocean. During the rest of the mid-1880s, Homer painted the sea.<br />
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Homer had become a "Yankee Robinson Crusoe, cloistered on his art island" and "a hermit with a brush". The New York Evening Post wrote, "in a place by himself as the most original and one of the strongest of American painters." <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHtZhtpkouzz93NtCsiGX3CUWUvMdsnuCilQr5rInrJ5kNiI_owMoo3e2i0tL9JvLtrpW5mn8CSvFw0jwS4-R4HlnJ1T4VY4BM5K6k6G6ERidNmthFHOvn__TyYTcElQ71IZKFFZs0Zv4/s1600/JB01628.2L.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHtZhtpkouzz93NtCsiGX3CUWUvMdsnuCilQr5rInrJ5kNiI_owMoo3e2i0tL9JvLtrpW5mn8CSvFw0jwS4-R4HlnJ1T4VY4BM5K6k6G6ERidNmthFHOvn__TyYTcElQ71IZKFFZs0Zv4/s320/JB01628.2L.jpg" width="320" height="240" data-original-width="1024" data-original-height="768" /></a></div>Homer frequently visited Key West, Florida between 1888 and 1903. He also traveled to Canada and the Caribbean. He died at the age of 74 in his Prouts Neck studio, which is now a National Historic Landmark owned by the Portland Museum of Art. <br />
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Homer never taught art but his works strongly influenced later generations of painters for their direct and energetic interpretation of man's relationship with Nature. Robert Henri once called Homer's work an "integrity of nature". The innocence that his images project is appealing; a view of a simpler time, a state of being.<br />
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Homer's attitude about his working method is best captured in this quote: "Look at nature, work independently, and solve your own problems."<br />
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In 1962, the U.S. Post Office released a commemorative stamp honoring Winslow Homer's famous oil painting "Breezing Up", which hangs in the National Gallery in Washington DC. In 2010, The Postal Service issued a commemorative stamp featuring Homer's "Boys in a Pasture", as a part of a series entitled "American Treasures". <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDiPk5MVs4JMgeswdESe6v7Zx6ECIpwHCP9iDC3_TxMjiG4cY51SBqYsSQQj-cZ_xl4mK997WShl5mMH8bl4CxGkqFPzaJ3ldF_kL19Q38BUb9iCmg3nlt1HvJowQ0i7EIwTwdTJYvDDQ/s1600/2016.02.22-American-Prints-1024x777.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDiPk5MVs4JMgeswdESe6v7Zx6ECIpwHCP9iDC3_TxMjiG4cY51SBqYsSQQj-cZ_xl4mK997WShl5mMH8bl4CxGkqFPzaJ3ldF_kL19Q38BUb9iCmg3nlt1HvJowQ0i7EIwTwdTJYvDDQ/s320/2016.02.22-American-Prints-1024x777.jpg" width="320" height="243" data-original-width="1024" data-original-height="777" /></a></div>Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com0tag:blogger.com,1999:blog-6174069336266912332.post-19801928701481020242018-05-26T17:20:00.000-07:002018-05-26T17:20:46.758-07:00Celebrated World War I Artist Christopher Richard Wynne NevinsonChristopher Richard Wynne Nevinson,1889 –1946, was one of the most famous war artists of World War I. He studied at the Slade School of Art and later became affiliated with the Italian Futurist movement. <br />
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Born in Hampstead, he the only son of the war correspondent and journalist Henry Nevinson and the suffrage campaigner and writer Margaret Nevinson. He went to study at the St John's Wood School of Art and later on decided to attend the Slade School of Art. <br />
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Nevinson also studied at the Academie Julian from 1912 to 1913. In Paris, he met several artists, including Pablo Picasso, shared a studio with Amedeo Modigliani, became acquainted with Cubism and also met the Italian Futurists Marinetti and Severini. In June 1914 he published with Marinetti, a manifesto for English Futurism called Vital English Art which declared Futurism as the only way of representing the modern machine age. He identified with the futurist movement, which focused on technology, industrialization, violence, and death. <br />
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At the outbreak of World War I, Nevinson spent time in France with the FAU and the British Red Cross Society, mostly working at a disused goods shed by Dunkirk rail station known as the Shambles. It housed thousands of badly wounded troops, who had been evacuated from the Front and were practically left abandoned to fend for themselves. His works depicted soldiers suffering and dying on the battlefield. Some found his work too controversial to display.<br />
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Nevinson enlisted as a private in the Royal Army Medical Corps and spent the rest of 1915 working as an orderly and laborer at the Third London General Hospital in Wandsworth. He was released from service in 1916 with acute rheumatic fever. <br />
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These experiences inspired him to create a powerful series which used the influences of Futurism and Cubism. In 1917, Nevinson was appointed an official war artist by the Department of Information, where he visited the Western Front. When he returned to London, he first completed six prints on the subject of Building Aircraft for the War Propaganda Bureau portfolio of pictures. Nevinson was now focused on individuals, either as people displaying heroic qualities or as victims of warfare. <br />
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Shortly after the end of the war, Nevinson visited New York in May 1919 and spent a month there while his prints were shown to great acclaim. He claimed to have been the first artist to depict New York in a modernist style but several British avant-garde artists had painted in the city before World War I. His exaggerated claims of his war experiences, together with his temperamental personality, made him unpopular, and the result was that his post-war career suffered.<br />
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In the 1930s Nevinson painted a number of cityscapes in London, Paris and New York which were well received. His large painting of 1932 and 1933, The Twentieth Century used futurist devices to attack Fascism and Nazism. <br />
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During World War II, he worked as a stretcher-bearer in London throughout the Blitz, during which his own studio was hit by bombs. Nevinson obtained a commission from the Royal Air Force to portray airmen which allowed him to fly in their planes to develop pictures of the air war. <br />
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He presented a painting to Winston Churchill, which still hangs in Downing Street. Shortly afterwards he suffered a stroke which paralyzed his right hand, caused a speech impediment and left him wheelchair-bound. Nevinson eventually taught himself to paint with his left hand. He died at the age of fifty-seven. <br />
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<b>Awards:</b><br />
1939 Associate of the Royal Academy <br />
1938 Chevalier of the Legion d'Honneur <br />
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Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com0tag:blogger.com,1999:blog-6174069336266912332.post-67307897059060277512018-05-16T14:31:00.001-07:002018-05-16T14:31:47.728-07:00The Velvety Prints of Grace Thurston Arnold Albee<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsBbeEjc_ITD3780zK5dAHS4ItJEft5YKq1tdS3FNf4ZlAlrjfAeKlXi9ywgCbY32QSxRyd_jYbzOSCE3FWtCYGszpo86jgNo-qS1FmSenzMs5mNz72poZGZknuDW3AVYzPvAstdhqU14/s1600/H0143-L16452795.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsBbeEjc_ITD3780zK5dAHS4ItJEft5YKq1tdS3FNf4ZlAlrjfAeKlXi9ywgCbY32QSxRyd_jYbzOSCE3FWtCYGszpo86jgNo-qS1FmSenzMs5mNz72poZGZknuDW3AVYzPvAstdhqU14/s320/H0143-L16452795.jpg" width="243" height="320" data-original-width="550" data-original-height="723" /></a></div><br />
Grace Thurston Arnold Albee (1890 –1985) was an American printmaker, born in Rhode Island. She is recognized as an important American Regionalist printmaker of the twentieth century. <br />
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She won two scholarships to study art at the Rhode Island School of Design. She married in 1913 and made art while living in Paris with her husband, muralist Percy F. Albee, and their five sons between World Wars I and II. While there she associated with artists, including Norman Rockwell and Paul Bornet. <br />
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As one of the most productive periods of her career, Albee perfected her art and gained entry into the French salons, exhibited her works at independent French galleries and at art shows back in the United States. All of these venues gave her significant positive reviews from both French and American art critics. <br />
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Albee developed a passion for depicting urban and natural environments when she lived in France. Her work was received well; exhibited at several Paris Salons and had her first one-woman exhibition at the American Library in Paris in 1932. <br />
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She and her family returned to the United States in 1933 and lived in New York City. In 1937, they moved to Pennsylvania where her subjects switched to rural themes. These images of rural life are considered her best known works. <br />
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From 1933 onward, Albee was able to dedicate herself to full-time printmaking and her art began to command serious national attention. Her work from this point forward demonstrates confidence as a professional artist. Her prints also became increasingly recognized in the American art community with the best printmakers in the field. <br />
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Back in the United States she began to gain significant recognition into museum collections. Albee became known for imagery about the effects of human habitation in the country and city. She became a keen observer of the world around her, and her career was shaped by outside forces affecting the American art scene, viewed through her personal life. Her images often narrate a story.<br />
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During her sixty-year working life, she created more than two hundred and fifty prints. She won numerous awards and honors, and worked actively into her 90s.<br />
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Awards:<br />
1942 National Academy of Design Associate member in 1942, full member in 1946.<br />
The second woman in the history of the Academy to receive the Associate distinction in the class of Graphic Arts,<br />
The first female graphic artist ever to attain full Academician membership.<br />
Upon her death at the age of ninety-five, she had accumulated over fifty awards.<br />
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Public Collections: <br />
Boston Public Library, Boston, MA<br />
Brooklyn Museum, Brooklyn, NY <br />
Cleveland Museum of Art, Cleveland, OH<br />
Georgia Museum of Art, Atlanta, GA <br />
The Library of Congress, Washington, DC <br />
Metropolitan Museum of Art, New York, NY <br />
National Gallery of Art, Washington, DC <br />
National Museum of Women in the Arts, Washington, DC <br />
Smithsonian Institution, Washington, DC <br />
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Agnes Miller Parker (1895–1980) was a printmaker and illustrator whose work is not as well-known amongst admirers of 20th century UK printmakers. While her colleagues, such as Gwen Raverat, Robert Gibbings, and Paul Nash, have all received critical admiration Miller Parker is just now receiving her due. <br />
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She was born at Irvine, Ayrshire, Scotland. She studied at the Glasgow School of Art from 1911 to 1917, and briefly taught at the school.<br />
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In 1918 she married the painter, William McCance; and spent most of her career in London and southern Britain. She was one of four engravers who worked at the Gregynog Press in the early 1930s. Miller Parker's technique created a light not seen before in printmaking and she successfully introduced a new element into the medium, and few printmakers have been able to emulate it. <br />
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In 1955 she moved to Glasgow. She then lived at Lamlash on the Isle of Arran. She died in 1980 at Greenock.<br />
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Her first prints, made in 1926, reflect her interests in cubism and the short-lived movement called Vorticism, active in London in the 1920s. She learned the print medium from her colleagues, Gertrude Hermes and Blair Hughes-Stanton.<br />
Miller Parker turned away from the private press movement towards the commercial publishers, and it was here that she was to produce some of her most distinguished books.<br />
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The main body of her work consists of prints for book illustrations, demonstrating fine drawing skills and her love of black and white design. She illustrated the following books: <br />
The Fables of Aesop (1931) <br />
Through the Woods by H. E. Bates(1936) <br />
The Open Air by Richard Jefferies (edited by Samuel J. Looker, 1949) <br />
Various titles for the Limited Editions Club of New York <br />
and editions of the works of Shakespeare and Thomas Hardy.<br />
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Miller Parker's body of work show her love of nature through her curving sinuous lines and elegant combination of textures and flow of composition. It is a pleasure to find this printmaker's work is seeing a resurgence of attention. Check her out and see if you can collect some prints before they become too hard to find. <br />
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Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com0tag:blogger.com,1999:blog-6174069336266912332.post-90067220139737470672018-04-04T10:55:00.000-07:002018-04-04T10:55:48.310-07:00SGCI Annual Print Conference Is Going to Vegas, Baby!Yes, the time has come for all good little printmakers to gather together and commune about the medium we love. The Southern Graphic Council International organization has selected Las Vegas as the city of choice, and the hotel where one can find all manner of inked up artists is the Bally's Las Vegas, from April 4 - 7. <br />
Seriously, folks, this will be a conference to behold. Plenty of original prints to see, and excellent artists to meet. Throw in a few slot machines and a couple of shows on the strip and you have a combustible situation that only a printmaker could handle. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2981wxtPW8conjzhduFEWis800PjMNx2rkcOfDVUzNY-scQAvKrYd0ysPtzTdBWsA_Mud4t-emiL7eK2SY0px2npbNdPLHOmBln0rZLykywAVUM3F2tJOo-fLrbt3K9IsAspswEHHvco/s1600/download.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2981wxtPW8conjzhduFEWis800PjMNx2rkcOfDVUzNY-scQAvKrYd0ysPtzTdBWsA_Mud4t-emiL7eK2SY0px2npbNdPLHOmBln0rZLykywAVUM3F2tJOo-fLrbt3K9IsAspswEHHvco/s320/download.jpg" width="320" height="213" data-original-width="275" data-original-height="183" /></a></div><br />
This year, That's Inked Up will be attending the conference, and it will be my pleasure to meet and greet as many printmakers as possible. I will be looking at art and hope to talk to as many of you as I can squeeze into my trip. If you are going to be at the Bally's and you want to meet with me, please leave a message with the front desk (under the name Teresa Parker). Looking forward to inking it up with everyone! <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghQT7cqY9k3vr0D69WK0yc2PH9-sC3awFpokK3S408S2Esl3MexItuKyaTB-iKlxNm84U1lhfsqtpEWnLMv1nLh6OGplF7djTTuCm5gxYwd1kQckWAW15Oi0c2P63Whd_GC4VMFnL-RYo/s1600/1307137377005204100997.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghQT7cqY9k3vr0D69WK0yc2PH9-sC3awFpokK3S408S2Esl3MexItuKyaTB-iKlxNm84U1lhfsqtpEWnLMv1nLh6OGplF7djTTuCm5gxYwd1kQckWAW15Oi0c2P63Whd_GC4VMFnL-RYo/s320/1307137377005204100997.jpg" width="320" height="170" data-original-width="350" data-original-height="186" /></a></div>Tparkerhttp://www.blogger.com/profile/09674817539294148681noreply@blogger.com0