Skip to main content

Forthcoming Exhibition: Places I Have Never Been

I am extremely pleased and proud to announce that a collaborative exhibition I proposed to 1078 Gallery in Chico, California, has been accepted and scheduled for January 2014.




The gallery is a huge, marvellous space in this buzzing university town in northern California, which is also home to the Janet Turner Print Museum. The gallery hosts live events as well as exhibitions (see above photos), and my proposal consisted of a combination of these things. Called Places I've Never Been, it's a reimagining of two previous projects: The Lucerne Project (my solo show from 2011), and Climbing the Crooked Trails (my joint show with Patty from 2009). To quote from my proposal document:

The title Places I Have Never Been unites the common themes of these two bodies of work: imagining the lives of people in remote places; creating a narrative that is based on ‘facts’ but develops into a different, parallel, oblique form of ‘truth’; arriving at a third space somewhere between the ‘show’ of visual art and the ‘tell’ of written narrative. For 1078 Gallery, the exhibition will consist of the following:
  • The 100-page accordion book from The Lucerne Project – the large space will enable the book to be fully displayed for the first time.
  • The prints on panels from Climbing the Crooked Trails.
  • Some of the letters and photographs of the Reverend Victor Hugo Wachs – also displayed for the first time.
  • A new set of QR codes fixed to the gallery walls, linking to cloud-based audio recordings of Hartigan’s fictional Lucerne diaries, and McNair’s readings from her grandfather’s letters.
  • Related special events: an evening of readings by Hartigan and McNair, plus invited local writers, speaking to the theme of the show.
  • A printmaking workshop by Hartigan, demonstrating the paper-litho transfer technique that forms the basis of the accordion book and the prints on panel.
Patty and I are both extremely excited about this, and can't wait to get started on the additional work. 

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.

My Work Acquired by Important Collection

When so much of making work as an artist involves slogging away in a room with no idea if it's ever going to be seen by the world outside, it's satisfying when a little success comes your way. I am very proud that two of my handmade books were acquired recently by the Joan Flasch Artist's Book Collection at the School of the Art Institute, Chicago. This collection is one of the most renowned collections of books made by artists in the United States, so it's a huge honour to be included.

Here is one of the pieces, an interleaved slit accordion fold of two etchings:


And here is the other, a heavily collaged accordion book bound together by sisal:


Each piece is now being catalogued and digitized, and at some point in the future they will be on display at the library, possibly in the company of books by artists such as Joseph Beuys:

And Christo:


And Richard Tuttle:

I have paintings in my studio that are six feet square, yet it's these two small books that have given m…

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…