Artist Philip Hartigan talks about art, interviews other artists, and more
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Art in the Desert
I was in the Tucson Museum of Art last week, a compact building with an inner ramp that goes all the way from below ground to two storeys above street level. It's similar in that respect to the Guggenheim museum in New York. The last time I visited, in 2005, I remember seeing lots of paintings of cowboys, and then a Mark Rothko, which was a jarring juxtaposition. This time, there was an engrossing exhibition of art featuring the face and the body, from a private collection. On display were many great prints, all the way from Goya in the early 1800s to 1960s artist James Rosenquist.
The first one that caught my eye was this beautiful, haunting woodcut by printmaker Leonard Baskin, one of my favourites.
In the last week, I saw two terrific exhibitions of work in and around Chicago.
The first was at a small but beautiful gallery space in Evanston. The work on display consisted of prints by Socorro Mucino and Janet Webber, who took one of my printmaking classes at the Lillstreet Art Center nearly two years ago. The title of the show, Paper Dolls, suggested a pun on the fact that these were works on paper depicting either a child's play-doll, or women as objects of desire (as in "hey, doll!").
Janet Webber's pieces were altered images of mannequins, ball gowns, and beauty queens, presented in rows or in combination with overprinted images and text. Very often the faces were obscured, and the image itself subjected to deterioration in the printmaking process, perhaps as a way of interfering with how these images of banal and old-fashioned female beauty would normally be seen by the male gaze.
Socorro Mucino's images of dolls struck me first as sweet and childlike, …
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…
I first read Ernest Hemingway's 1926 novel "The Sun Also Rises" when I was a teenager, and immediately fell in love with it. For the last couple of years, I have had the incredible privilege of teaching a class based around Hemingway in Paris -- while living and teaching in Paris itself, close to the Boulevard du Montparnasse, where most of the action of the novel's first half takes place.
Of the many things that one notices about the book, the colossal amount of drinking is something that stands out. These people didn't just drink like fish: they drank like whales, as if the ocean they swam in was alcohol and they had set themselves the task of drinking the seas of the world dry of it. During my read-through of the book before class started last year, I tried to underline every mention of drink in the book. And now, purely in the interests of science, I am listing the entire menu of booze mentioned directly by name. Some preliminary observations: Most of this is…