Skip to main content

The Lucerne Project opening tonight

If you're reading this and you're in Chicago, and you have a spare hour tonight, consider joining me for the official artist's preview of my exhibition "The Lucerne Project: People I've Never Met, in a Place I've Never Been." It's from 5pm till 9 pm at Finestra Art Space, on the 5th floor of the Fine Arts Building, 410 S Michigan Avenue. Get a ride in the gilded brass and glass, polished wood, human-tended art deco elevators. Drink some free wine. Get a close look at the 100-page accordion book:


Read excerpts from the imaginary Lucerne travel diary (or listen to me reading them via your smartphone):

from an imaginary Lucerne travel diary
We were halfway up the mountain, hanging almost vertically off its side in the old cog railway, when the person sitting next to me in the train said: “I’m going to be sick.”
I wasn’t feeling too well either. The ascent had been fun at first, with a great wide view of the town below the mountain gradually emerging through the clouds, as the carriage pulled up and away from the boarding station. The train inched upwards at a steep angle, but it was no worse than other funicular railways I had travelled on in other parts of the world. The chain car that takes you up to Pest, as in ‘Budapest’, is pretty steep, too, and that didn’t give me the vertigo that everyone had warned me about.  Like the other twenty or so people in the carriage, I was enjoying the sights, snapping the occasional picture, listening to the murmur of the engine and the ‘tock’ of the gears as they moved the car closer to the mountain top.

And maybe shake hands with the Swiss Consul General (well, I did send him an invitation).

 Subscribe to Praeterita in a reader

Comments

Popular posts from this blog

Brancusi in Plastic

Artist Mary Ellen Croteau is showing these columns made from recycled plastic cartons and lids in the window of the Columbia College bookstore on Michigan Avenue. They are a playful homage to Brancusi's "Endless Columns", with a serious environmental message for our times:

Mary Ellen also runs a wonderful experimental art gallery in a window space in west Chicago, called Art on Armitage. I will be exhibiting a mixed media piece there during August 2012.

How to etch a linoleum block

Linoleum as a material for printmaking has been used for nearly a hundred years now. Normally, you cut an image out using special gouges similar to woodcut tools, cutting away the lino around the image you want to print. This is called relief printmaking, because if you look at the block from the side, the material that remains stands up in relief from the backing material. You then roll ink with a brayer over the surface of the block, place paper over it, and either print by hand or run it through a press. You can do complex things this way (for example, reduction linocuts), but the beauty of the process is that it is quick, simple, and direct.


A few years ago, I saw some prints that were classified as coming from etched linoleum blocks, and I loved the textures I saw in them. In the last few months, I've been trying to use this technique in my own studio, learning about it as one does these days from websites and YouTube videos. I've also had email exchanges with several pr…

Restoring my Printing Press

I've just finished restoring and assembling my large etching press -- a six week process involving lots of rust removal, scrubbing with steel wool, and repainting. Here is a photo of the same kind of press from the Chicago Printmakers Collaborative:


And here is a short YouTube video of me testing the press, making sure the motor still works after nearly seven years of lying in storage: