Spring 2008 Newsletter
Transcription
Spring 2008 Newsletter
Anchor Graphics @ Columbia College Chicago V OLUME 2 N O . 2 SPRING 2008 ANCHOR GRAPHICS COLUMBIA COLLEGE CHICAGO our mission Anchor Graphics @ Columbia College Chicago is a not-for-profit printshop that brings together, under professional guidance, a diverse community of youth, emerging and established artists, and the public to advance the fine art of printmaking by integrating education with the creation of prints. recent events contents 2 2 letter from the director david jones 3 2009 Southern Graphics Council Conference 4 a few remarks mark pascale 6 the science of safer etching friedhard kiekeben 8 the music and the message james iannaccone 10 upcoming programs A prontoplate print by alain douglas Park dries during a recent worksh0p. Photo by James Iannaccone support Funding for Anchor Graphics is provided in part by contributions from individuals, the Illinois Arts Council-A State Agency, the Chicago Community Trust, the Terra Foundation for American Art, the International Fine Print Dealers Association, the Oppenheimer Family Foundation, the Packaging Corporation of America, Target, Blick Art Materials, and Jet Litho. If you would like to make a donation to Anchor Graphics please contact us at 312-344-6864 or [email protected]. On The cover: Cross Over By Margo Humphrey, 8 color lithograph & gold leaf, 11 1/4” x 14” 1 visiting artist sue coe talks with columbia college students about her lithograph still in progress. Photo by James Iannaccone Sue Coe Artist and activist, Sue Coe, was at Anchor Graphics in late November working on two lithographs and a woodcut that continue her ongoing investigation of human mistreatment of animals. The two stone lithographs, like much of her recent work, focus on the long history of abuses suffered by circus elephants. The woodcut illustrates and reproduces the text of a poem written by her sister, Mandy Coe, lamenting the death of two extremely rare and endangered hen harrier birds allegedly killed by England’s Prince Harry on a hunting trip. These prints will be editioned in early summer 2008. Watch for more information in our next newsletter. During her visit Sue Coe also presented a lecture on her work as part of our Scraping the Surface lecture series attracting the largest audience ever for this series with over 100 people in attendance. New Prints: Autumn 2007 Columbia College’s [C]Spaces and Anchor Graphics brought the International Print Center New York’s New Prints: Autumn 2007 exhibition to Chicago. This group exhibition gathered 50 of the finest prints created in the past year by 40 artists from around the world. The exhibition was on display in [C]Spaces’ C33 Gallery and Hokin Annex. A wide range of printmaking mediums was represented, from the traditional to the cutting-edge. Many of the pieces pushed the fine art print in new and unexpected directions. Highlights included: Chuck Close’s 11 x 8 1⁄2 inch sheet of paper watermarked with his trademark self-portrait; Alex Dodge’s computer numerical controlled engraving accompanied by an executable computer virus; a larger-than-life abstract human form printed in relief from banyan tree aerial roots by Michele Oka Doner; and William Kentridge’s photogravures which when viewed through a stereopticon reveal 3D effects. For more on the exhibition see Mark Pascale’s article in this issue. ANCHOR GRAPHICS COLUMBIA COLLEGE CHICAGO recent events 3 [ continued ] David jones with a student from dodge elementary during a recent class visit. Photo by from the Director James Iannaccone Letter 2 Greetings everyone! On the way to the shop I had a revelation! I realized why I got into this art making. I really enjoy making things. After a long drought of not working on my own projects, I realized while printing, I was actually happy to be working at the press again. The act of working with one’s hands, the physicality of bringing something to life is really satisfying. So, welcome to the fourth issue of the Anchor Graphics Newsletter. I hope you enjoy it. In this issue James Iannaccone writes about Margo Humphrey’s homage to Rahsaan Roland Kirk, Friedhard Kiekeben shares his ongoing research into safe printmaking practices, and Mark Pascale remarks on the nature of group printmaking exhibitions. As we continue to celebrate prints and printmaking, the on going challenge is how to create work with meaning in a world cluttered with images. I am drawn to the imagery of our recent projects with Sue Coe, Laurie Hogin and Margo Humphrey because of their sense of honesty and integrity. These artists as well as others we have worked with all share a singular vision to put down on a surface something that speaks from the deepest parts of themselves. In March of 2009, Columbia College Chicago will host the Southern Graphics Council Conference centered on the theme of “Global Implications.” We are in the midst of planning for this event, which will showcase prints made by artists from around the world, as well as discussions and presentations relevant to art making in both local and global communities. We expect over 1,000 people will attend the conference and we hope you will be able to join us as well. This is an exciting time for us as we find new ways to mesh our work with the education of the students at Columbia College and expand the opportunities we can offer to individuals exploring the printmaking medium. To all of the people who have generously donated to Anchor Graphics’ recent annual campaign thank you very much. You have helped make our special programming possible. Sincerely, Photo by jo atkinson 2009 Southern Graphics Council Conference Global Implications March 25–28, 2009 Printmaking is the art medium most responsive to changing technologies, but also retains many otherwise-obsolete techniques. As print artists, we find ourselves uniquely situated: we employ the latest digital imaging tools and centuries-old techniques for hand mark-making. We make exquisite, precious objects and democratic gestures. We are able to share our imagery and processes with anyone anytime--and also create community, dialog and collaboration in our own shops. As our world becomes increasingly interdependent, local practices are at once threatened, celebrated, worthy of preservation and dangerously divisive. As printmakers, our medium is likewise evolving, it’s borders increasingly permeable. Our traditions are a source of strength, but also a source of isolation. We now realize that our resources are limited, that what is done in one location will probably affect someone, somewhere else. Our community of supportive souls is part of a world in which time has become compressed: digital files can circle the world in seconds, and new technologies change the nature of exchange. Prints can be made and exhibitions can be mounted in ways that break away from sterile white walls to including installations, graffiti prints and paste-ups on city streets, ‘zines and comics, even work that exists only in cyberspace. The 2009 Southern Graphics Council Conference, hosted by Columbia College Chicago, will examine the “Global Implications” of the interdependence of our local cultures. David Jones Executive Director The Display Case Anchor Graphics has started to hang mini exhibitions of print based work in its Display Case located in the hallway between Anchor and Columbia College’s Student Printshop, on the second floor at 623 S. Wabash. The first three exhibits have featured print portfolios by students, staff, and visiting artists of the Printmaking Department at Gray’s School of Art, Robert Gordon University, Aberdeen. Upcoming exhibits will include prints created by students at Chicago’s Harold Washington College as well as other Chicago area printmakers. Calls for proposals for panels, demonstrations, print portfolios, exhibitions and events can be found at: www.colum.edu/globalimplications Proposal deadline is April 25, 2008. Cast plastic sculptures by joanne vena The Multiple in 3-Dimensions In its never-ending efforts to help expand the concept of the multiple Anchor offered its first ever 3-D class last fall. “Plastic Casting: The Multiple in 3-Dimensions” taught various methods of casting objects and small sculptures out of resin using silicone molds. Varying editions and the use of objects as elements in installations were also discussed. Visit our website for a list of upcoming classes and workshops. Workshops, Demonstrations, and Tours Anchor Graphics has continued to partner with arts, education, and social organizations to provide youth and adults with opportunities to learn about fine art printmaking through workshops, demonstrations, and shop tours. Visiting organizations in the last few months have included the School of the Art Institute of Chicago, the Illinois Arts Education Association, the Harris Center for Early Childhood Education, Grand Valley State University, Chicago Academy for the Arts, Arkansas State University, Rockford College, the Young Women’s Empowerment Project, and W.E.B. Dubois Pre-College. Thank you all for helping us to spread the joys of printmaking. 4 ANCHOR GRAPHICS COLUMBIA COLLEGE CHICAGO from Left: Beauvais Lyons Association for Creative Zoology: Mazosorbedae, 2007 Lithograph. Edition: 20 28” x 22” Printed by the artist Published by the Hokes Archives Lothar Osterburg Flat Earth, 2007 Photogravure. Edition: 8 22 1/2” x 30” Printed and published by the artist a few remarks B y m ar k pasca l e Trenton Doyle Hancock Untitled, 2007 – From the Fix Portfolio of 18 prints 18 etchings with aquatint, chine collé and silkscreen. Edition: 30 16” x 14” Printed by Randy Hemminghaus Published by the Brodsky Center room for example. In this aspect of the practice, prints can easily gain the scale and importance of painting and sculpture. But, this is not necessarily what the IPCNY sets out to foreground. They are motivated by the possibility that, because prints are generally portable and exist in multiples, it is quite easy and fast to disseminate them. Thus, we have in Chicago an exhibition that was chosen last fall for the IPCNY, while another installment of the show is being readied in New York City. Despite the instantaneous transmission afforded by computers and the internet—another aspect of printmaking—there is no substitute for seeing the thing, feeling the thing, appreciating the thing in front of you. Given the remarkable range of techniques employed by the exhibiting artists, including some I haven’t heard of or prefer not to know more about, it behooves the sensate person to be there looking at the stuff. I for one would never have guessed the crazy veracity of Lothar Osterburg’s photogravure Flat Earth. I had seen it reproduced in a magazine and wondered if indeed it was “special,” but seeing it is a thrilling visual experience. Likewise, Beauvais Lyons has been using/abusing printmaking’s reproductive properties to propagate invented cultures—often right down to the faked foxing of a sheet of an alleged late-19th century book page toned along the edges to appear darkened by years of exposure to acid binding materials. This is to say nothing of the crazy animal inventions that the bookplates purport to illustrate. I have to remind myself whenever I see one of these images of Lyons that I am not watching unused outtakes from the film Napoleon Dynamite (a “Liger” is just about my favorite animal). No, it’s much deeper than that, and it wouldn’t be so comprehensible without seeing the original in the flesh, which I repeat is something that multiple originals excel at—they can circulate rather effortlessly, and frequently be in more than one place at the same time. Mark Pascale is the Associate Curator of Prints and Drawings at the Art Institute of Chicago. He originally Chuck Close Watermark Self-Portrait, 2007 presented these remarks at the opening reception Light and shade watermark, abaca and cotton for the International Print Center New York’s New fiber pigmented with carbon black Prints: Autumn 2007 exhibition on display at Columbia College’s [C]Spaces January 16–February 22, 2008. 11 3/4” x 9 1/4” Edition of 35 Co-published with Dieu Donné Press and Dieu Donné Papermill Light and shade watermark developed by Crane & Company On the occasion of the opening of New Prints: Autumn 2007 exhibition from the International Print Center New York (IPCNY), I was asked to make some remarks. This is an ambiguous thing to ask of someone, but the more I thought of it, the more sense it made. How can you make broad comments on a group exhibition that you haven’t had anything to do with selecting? There is no stated theme or focus, except that these are works that have been made in the very recent past, and artists and publishers submitted the work to the IPCNY for consideration. Not having a theme or curatorial summary is an aspect of group print exhibitions that can be their curse. Nevertheless, it is a characterization of many such exhibitions—often called juried exhibitions—and I have been involved with selecting quite a few over the years. In print, I have wondered whether or not such displays served any purpose, whether educational or otherwise, but overall I concluded that, for obvious reasons, they are valuable both to the exhibiting artists as well as the public. The exhibiting artists have their work seen by a broad cross section of the public. Sponsoring institutions, especially those with an educational mission, serve their immediate student community as well as interested visitors not necessarily connected to the institution (here, Columbia College). The IPCNY was founded expressly to make prints accessible to the public, to celebrate through exhibits, lectures, and publications the broad spectrum of printed art in history, with an emphasis on art of our time. Anyone who knows even a small amount about printmaking must thank and congratulate the good folks at IPCNY and the donors who keep them going, because prints have always been a hard sell. Even after centuries of existence as media in which artists may conceive original visual statements, people in all walks of life have trouble comprehending what makes a multiple image “original.” To this day, it is galling for me to show Durer, Rembrandt, Goya prints to classes in the Art Institute of Chicago’s Glore Print and Drawing Study Room, only to have someone ask incredulously “So, these are the originals??!!” Yes, they are, because as I have been pointing out, the artist designed or drew the work, transferred it onto the plate, block, stone, or stencil and then printed it so that there would be many impressions of the same image. Sometimes the artist manipulated each impression by hand, so that they created a series of unique or variable multiples. In addition to the practice being time honored and making good business sense, it also allows an artist to save what they have done and rework it later. Many artists choose to do this. Printmaking, therefore can be economical—to own and to make. Beyond the commercial aspects of printmaking, there is the possibility of stretching an artist’s ideas. So many prints made today conceive of the entire project or edition being one thing—a wallpapered Maria de la Providencia Casanovas Sleep and Candies 1, 2006 Photo etching. Edition: 13 17” x 24” Printed and published by artist 5 The Science of Safer Etching B y Fr i e d h ar d K i e k e b e n COLUMBIA COLLEGE CHICAGO I must have absorbed my dad’s interest in chemistry and this combined with a natural curiosity about the stuff of printmaking. Was there an alternative to acids and solvents? What do you get when you cross a lemon and iron chloride? Can you etch with salt? It wasn’t so much that I wanted to meddle with the history of printmaking, just some of the ingredients. Many are preoccupied with healthy living and I wanted to apply similar principles to healthy working. Meeting other innovative printmakers who were already developing ideas and practice in line with safer printmaking, galvanized my own experiments. And here comes the science: Metal salt etching comprises two kinds of processes for the entire spectrum of metals suitable for intaglio printmaking and etched sculpture. The Edinburgh Etch contains the reddish ferric chloride and it etches the warm colored metals: copper and brass. The Saline Sulfate Etch, based on copper sulfate, etches the silvery metals: zinc, mild steel, and aluminum. Both these salts have been used for centuries but what had been overlooked is that their potential for etching is not fully harnessed when used without a catalyst. In fact, I would argue that this knowledge remained unexplored because metal salts were judged as if they were acids. But metal salts do not corrode metal through the destructive and harmful processes that typify acid etching. By contrast they owe their etching properties to electrical attraction in which atoms of the metal plate are elegantly removed by the metal compounds that are dissolved in a salt solution. Today we know that this is an electrical kind of chemistry, which is more akin to the workings of a battery than to the corrosive action of strong acids. In 1997, I developed the catalyzed version of ferric chloride known as the Edinburgh Etch in which a small addition of citric acid literally dissolves the sedimentation of the iron salt. Thus creating a much more potent, yet safe, mordant. This process has since been adopted throughout the printmaking world and etchers have likened its crisp biting characteristics on copper to Rembrandt’s more harmful Dutch Mordant solution. Friedhard Kiekeben Blast Intaglio type print Soon after this research was published in Printmaking Today the electro etching expert, Cedric Green, noted that the Edinburgh Etch is ideal for etching copper but that a solution based on copper sulfate, the Bordeaux Etch, should be used for a safe zinc etch. Eva Figueras has presented evidence that such a process was used as far back as Goya. However, for a number of historical and technical reasons it did not catch on. Intrigued, I introduced copper sulfate into my own research program. Trials showed that a straight copper sulfate solution makes a good mordant for zinc but not for aluminum and consumes a large amount of copper sulfate crystals. I realized that once again the right catalyst would accelerate and improve the efficiency of the etching process. As before I ALL IMAGES BY Friedhard kiekeben clockwise from Left: Shatter, 2002 etched brass object Field of vision, 2000 Digital prinT “It wasn’t so much that I wanted to 30’ x 20’ Tinflowers, 2002 meddle with the history of printmaking, Etched zinc object just some of the ingredients.” systematically introduced different ingredients to the process and monitored their effects, quantities and by-products. I had a pretty good idea that due to its conductive effect in water, simple cooking salt (sodium chloride) might be the key ingredient. Much time was spent researching the perfect ratio of salt to sulfate. The addition of an exactly equal quantity of salt to copper sulfate dramatically increases the speed, quality and longevity of this new etching solution, the Saline Sulfate Etch. This solution now provides a universal etching bath for all three silvery metals: zinc, aluminum and mild steel. It will no doubt become an extremely useful method in the repertoire of printmaking and in my own work it has enabled me to etch large-scale aluminum sculptures. According to a safety evaluation by Dr. Paul Craig and Dr. Paul Rosenberg at the Rochester Institute of Technology.“Both the Edinburgh Etch and the Saline Sulphate Etch are mild and much safer than the traditional nitric acid bath for etching of metals, especially if proper precautions are taken and when exhausted materials are disposed of properly. The simple addition of measured quantities of crystalline lemon juice (citric acid) and cooking salt (sodium chloride) respectively, produces an etching environment safer and more effective than the traditional nitric bath and that’s the science.” Friedhard Kiekeben is Professor of Printmaking at Columbia College Chicago where the discussed etching processes are in use. More information on the Edinburgh Etch and the Saline Sulphate Etch can be found at www.nontoxicprint.com. 7 8 ANCHOR GRAPHICS Images by Margo Humphrey The Music and the Message B y J a m e s Iannacc o n e “Now there’s the black cross, the green cross, the white cross, the double cross, the criss-cross, and the lost cross. And the cross gets awful heavy at different times, but one is supposed to keep on going on and carrying the cross on his shoulder, because you ain’t supposed to let no cross cross you up.” — Rahsaan Roland Kirk, “Old Rugged Cross” Born and raised in Oakland, California, Margo Humphrey took to art at a young age and her mother nurtured her artistic talents. This early interest never waned as she went on to earn a BFA in painting and printmaking from the California College of Arts and Crafts. Later she would become the first African American to graduate from the Fine Arts Program at Stanford, where after studying under renowned printmaker Nathan Oliveria, she would receive her MFA in printmaking, graduating with honors and distinction. However, her education did not come easy and it tested her dedication to art. But the quality of her work saw her through, helping her to receive grants and fellowships to assist with the cost of her education. Since then Humphrey has gone on to become a highly regarded artist and printmaker. Her work often reflects the influences of contemporary African-American experience through its psychological vantage point and its strong spiritual content. Her use of pattern and color mimic those found in African textiles and sculptures, but seen through a uniquely American filter. As equally pertinent to her work is the Binney & Smith eight pack of color crayons she used in her youth. She is perhaps best known for her lithograph “The Last Bar-B-Que” done at the Tamarind Institute. This print is a reworking of the traditional theme of the Last Supper where Christ and the apostles are all depicted as African-Americans. In addition, chicken and watermelon are elevated to ceremonial status and take their place on the table along with the conventional bread and wine of the Eucharist. Through this print Margo is simultaneously challenging racial stereotypes and the assumptions of religious dogma. It is a work Margo has described as, “The rewriting of a history of cultural division into a new history of togetherness.” In contrast to its charged content the print appears to have been drawn with a certain whimsical humor. This light heartedness allows for the imagery of the lithograph to flow into the viewer’s consciousness in a nonconfrontational way that adds to its covert message. This notion of being whimsical while challenging common ideology is similarly reflected in the music of Rahsaan Roland Kirk, who is memorialized in Margo’s latest series of lithographs done with Anchor Graphics. Kirk was born Ronald Theodore Kirk in 1936. He went blind at the age of three due to poor medical treatment and, like Humphrey, (from Left to right): was drawn to his art form in his youth. At 16 he dreamed he saw himself playing three saxophones at once, a feat he would later master and which would become a signature example of his showmanship during concerts. Subsequent dreams would compel him to switch two letters in his first name to become Roland and later add Rahsaan. In 1975, Kirk suffered a major stroke, which led to partial paralysis. Despite the use of only one arm, he continued to perform and record, an incredible accomplishment for a saxophone player. A second stroke in 1977 resulted in his death. Live performances were the hallmark of Kirk’s music. They were often surrounded by a vaudeville atmosphere, where virtuoso improvisation was offset with comic banter and political expounding. Kirk was capable of amazing musical feats like using circular breathing to hold an endless note or playing several horns simultaneously to create harmonies with himself. Many of the instruments he used for performances were rare or no longer widely used, some were home-made, and others were found objects such as alarm clocks, whistles, sirens, or a section of a garden hose he called “the black mystery pipes.” Such found instrumentation was used in the early jazz of Jelly Roll Morton and Fats Waller and later would be reproduced electronically by the samples and synthesizers of hip-hop and club music. This is but one example of the timelessness that can be found in Kirk’s music. His style carried elements of jazz’s earliest history in New Orleans, through swing and bebop, to the abstract free form of the 1970s. When asked about his music, Kirk modestly stated that he was only trying to emulate the sounds he heard in his head. In addition to playing music, Kirk used the stage and his recordings as a platform to address black politics, civil rights, and current affairs as well as racial and economic injustice. He participated in protests against TV show hosts like Merv Griffin who were unwilling to hire nonwhite musicians. Records incorporated his spoken commentaries on Richard Nixon and Watergate. His song “Volunteered Slavery” was adopted by members of the black nationalist movement and his version of Burt Bacharach’s “I Say a Little Prayer” was heard as a eulogy for the then recently murdered Bobby Kennedy. Kirk’s political leanings were inevitably bracketed by humor and puns, and the use of strange instruments and sound effects in his music lends to the same levity of social All Crossed Up 7 color lithograph 14” x 11 1/4” Cross Over 8 color lithograph & gold leaf 11 1/4” x 14” Double Cross 8 color lithograph & gold leaf 14” x 11 1/4” Bright Moments 6 color lithograph & gold leaf 11 1/4” x 14” consciousness found in Margo Humphrey’s prints. It’s this similar sensibility that has led to Humphrey’s fondness for Kirk’s music and her recent series of lithographs that pay him tribute. Titled after lyrics from Kirk’s songs “Old Rugged Cross” and “Bright Moments,” the four prints exhibit similar use of vivid color and pattern as her earlier work but in this context they take on the vitality and improvised rhythms of Kirk’s music. She uses repeated and layered images to construct visual versions of Kirk’s auditory collages and humorous language games while capturing the energy and abandonment of his performances. Margo Humphrey currently teaches at the University of Maryland. She has been widely exhibited and has work in the collections of major museums including the Museum of Modern Art in New York, the Museum of Modern Art in Rio de Janeiro, and the Victoria and Albert Museum in London. For more information on purchasing this suite of prints contact Anchor Graphics. Anchor Graphics @ Columbia College Chicago 623 S. Wabash Ave., 2nd Floor Chicago, IL 60605 312-344-6864 [email protected] upcoming programs www.colum.edu/anchorgraphics Busted Amp June 26–July 23, 2008 Along side Chicago’s robust music scene is a vibrant and thriving set of designers and artists producing its show posters, t-shirts and album covers. This group exhibition will feature a selection of fine art prints by some of the leading screen printers associated with Chicago music. You have seen their work for your favorite bands, now come see what they do for themselves. Curated by Anchor Graphics and on exhibit at the A+D Gallery located at 619 S. Wabash in Chicago. Publishing Projects Artist Residencies Anchor Graphics will be working with Art Spiegelman, MacArthur Binion, and Phyllis Bramson on limited edition prints over the next year. Watch future newsletters for more information on these projects. Anchor Graphics is proud to present its 2008 Artists-In-Residence. Each artist will be in the shop from two to three weeks working on projects with the assistance of Anchor’s staff. Artists will present a lecture on their work and host a reception at the end of their residencies. Lectures and receptions will take place at Anchor Graphics and are free and open to the public. Scraping the Surface Lecture Series Our lecture series will return starting this summer with six more discussions of the multiple’s past, present, and future. Lectures being scheduled include Lea Rosson Delong on the lithographs of Grant Wood, James D. Sullivan on poetry broadsides from the 1960s, Jim Sherraden from Hatch Show Print on the history of this Nashville based letterpress founded in 1879, and others to be announced. Nicholas Conbere, March 5–20 Amanda Burk, April 1–19 John Jacobsmeyer, May 19–June 7 Lauren Kussro, June 9–27 Joel Feldman, August 5–September 1 Amanda Knowles, September 1–20
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