Sunday, September 15, 2019

"Submission Fee No. 11"

Submission Fee No. 11
7.2 x 14 inches (before folded) 
Woodcut 
Edition of 2
Price: Pay what you want by September 23rd, 2019

This print is part of a time-based conceptual art project. Read more about it here.

If I sell this print for at least $38, the submission I send will only include one image. This one.

OPPORTUNITY REFERENCED BY THIS PRINT:
Institution: 3 Square Art
Opportunity: Juried show: "100 Square Inches of Art"
Venue Location: Fort Collins, CO
Fee: $38 for 3 images Deadline: September 23



Saturday, September 14, 2019

"Submission Fee No. 10"

Submission Fee No. 10
7.5 x 8 inches
Woodcut 
Edition of 2
Price: Pay what you want by September 22th, 2019

This print is part of a time-based conceptual art project. Read more about it here.

One trend with submission fees for artists is to charge a base fee for a minimum number of images, and then additional costs for more images, and so I have referenced this trend with the line "Starting at". I'm featuring the base price on the tag because if I do sell this print for at least $35, the submission I send will only include one image. This one.

OPPORTUNITY REFERENCED BY THIS PRINT:
Institution: Ashton Gallery/Art On 30th
Opportunity: Juried show: "In Gold We Trust"
Venue Location: San Diego, CA
Fee: $35 for 1 image, $5 more for each additional up to 6/$60 Deadline: September 22



Thursday, September 12, 2019

Deadline Passed for "Submission No. 7"

Documentation of the destruction of unsold copies of “Submission Fee No. 7" (burned). Also documentation of the block (gouged). 

NOTES: Three copies of "No. 7" were created. One Artist Proof has been archived (NFS), one was sold (revenue less than $40. so no application was submitted) and the last was destroyed as documented here. 



Wednesday, September 11, 2019

Deadline Passed for "Submission Fee No. 5 and No. 6"

Documentation of the destruction of unsold copies of “Submission Fee No. 5" and "Submission Fee No. 6", (both burned). Also documentation both blocks blocks (gouged). 

NOTES: Four copies of "No. 5" were created. One Artist Proof has been archived (NFS), one was sold (revenue less than $35. so no application was submitted), and the remaining two copies were destroyed as documented here.

Three copies of "No. 6" were created. One Artist Proof has been archived (NFS), one was sold (revenue less than $40. so no application was submitted) and the last was destroyed as documented here. 




"Submission Fee No. 9"

Submission Fee No. 9
4.5 x 7 inches
Woodcut 
Edition of 2
Price: Pay what you want by September 20th, 2019

This print is part of a time-based conceptual art project. Read more about it here.

INFO PARTICULAR FOR THIS PRINT:
Institution: ARC Gallery
Opportunity: Juried show: "EMERGING"
Venue Location: Chicago, IL
Fee: $40 for up to 3 works Deadline: September 20





Tuesday, September 10, 2019

Deadline Passed For "Submission Fee No. 2 & 3"

Documentation of the destruction of unsold copy of “Submission Fee No. 2" (burned) and the block (gouged). Also documentation of the destruction of the block for "Submission Fee No. 3" (gouged). 

NOTES: Three copies of "No. 2" were created. One Artist Proof has been archived (NFS), one was sold (revenue less than $25. so no application was submitted), and the remaining copy was destroyed as documented here. Two copies of "No. 3" were created. One Artist Proof has been archived (NFS), and one was sold (revenue less than $40. so no application was submitted.) 

 

Sunday, September 8, 2019

"Submission Fee No. 8"

Submission Fee No. 7
9.5 x 13.5 inches
Woodcut 
Edition of 3
Price: Pay what you want by September 15th, 2019

This print is part of a time-based conceptual art project. Read more about it here.

INFO PARTICULAR FOR THIS PRINT:
Institution: First Street Gallery
Opportunity: “9 for 19" - an exhibition with 8 other artists, each with 12'x12' of gallery space
Venue Location: New York, NY
Fee: $55 for up to 5 works Deadline: September 15



Saturday, September 7, 2019

"Submission Fee No. 7"

Submission Fee No. 7
4 x 5.5 inches
Woodcut 
Edition of 3
Price: Pay what you want by September 11th, 2019

This print is part of a time-based conceptual art project. Read more about it here.

INFO PARTICULAR FOR THIS PRINT:
Institution: Manifest Creative Research Gallery
Opportunity: Juried show: “Dark"
Venue Location: Cincinnati, OH
Fee: $40 for up to 5 works Deadline: September 11



"Submission Fee No.6"

Submission Fee No. 6
4 x 5.5 inches
Woodcut 
Edition of 3
Price: Pay what you want by September 10th, 2019

This print is part of a time-based conceptual art project. Read more about it here

INFO PARTICULAR FOR THIS PRINT:
Institution: Manifest Creative Research Gallery
Opportunity: Juried show: “Light”
Venue Location: Cincinnati, Ohio
Fee: $40 for 5 pieces
Deadline: September 10

Thursday, September 5, 2019

"Chopping" and "Stirring"

Chopping (above) and Stirring (below)
Woodcuts
Both 18" x 20" (blocks)

These are 2 woodcuts I made in conjunction with Red Earth Farm CSA, a time-based conceptual art project where for 22 weeks in 2018 I saved all stems, peels, and seeds leftover from the produce in my vegetable share from Red Earth Farm in Kempton, PA and turned them into sheets of paper. Each week yielded 2-4 sheets of 10" x 10" paper. Examples of the paper from the project can be viewed on my website here.



"Submission Fee No. 5"




Submission Fee No. 5
7.5 x 11 inches
Woodcut 
Edition of 4
Price: Pay what you want by September 10th, 2019

This print is part of a time-based conceptual art project. Read more about it here

INFO PARTICULAR FOR THIS PRINT:
Institution: Brooklyn Gallery
Opportunity: Juried show: “Monochrome"
Venue Location: Brooklyn, New York, NY
Fee: $35 for up to 3 works Deadline: September 10

Wednesday, September 4, 2019

"Submission Fee No. 4"

Submission Fee No. 4
4 x 6 inches
Woodcut 
Edition of 4
Price: Pay what you want by September 15th, 2019

This print is part of a time-based conceptual art project. Read more about it here

INFO PARTICULAR FOR THIS PRINT:
Institution: Northville Art House
Opportunity: Juried show: “Small Works"
Venue Location: Northville, MI
Fee: $35 for up to 6 works Potential benefits to the artist beyond exposure and sales: $650 in cash awards for 1st – 4th Place: $300, $200, $100, and $50; Honorable Mention Award Deadline: September 15






Tuesday, September 3, 2019

Deadline Passed for "Submission Fee No. 1"

Documentation of the destruction of unsold copy of “Submission Fee No. 1" (burned) and the block (gouged)

This woodcut was the first step in this new project. From August 31, 2019-August 30, 2020 I am creating a woodcut of the submission fee for an artist's opportunity. The fee must be for application only, meaning that if a submission is not accepted, the applicant receives no benefit - just a lost investment.
NOTES: Four copies of this print were created. One Artist Proof has been archived (NFS), two were sold (revenue less than $35. so no application was submitted), and the remaining copy was destroyed as documented here. 


Monday, September 2, 2019

"Submission Fee No. 3"

Submission Fee No. 3
6 x 10 inches
Woodcut 
Edition of 2
Price: Pay what you want by September 8th, 2019

This print is part of a time-based conceptual art project. Read more about it here

INFO PARTICULAR FOR THIS PRINT:
Institution: Manifest Creative Research Gallery
Opportunity: Juried show: “Transcendence”
Venue Location: Cincinnati, Ohio
Fee: $40 for 5 pieces
Deadline: September 8

Sunday, September 1, 2019

"Submission Fee No. 2"

Submission Fee No. 2
7 x 8 inches
Woodcut 
Edition of 3
Price: Pay what you want by September 8th, 2019

This print is part of a time-based conceptual art project. Read more about it here.

INFO PARTICULAR FOR THIS PRINT:

Institution: Contemporary Art Gallery Online
Opportunity: international call for the 7th annual “ALL Color” online exhibition
Venue Location: Internet
Fee: $25 for 5 pieces
Deadline: September 8, 2019

Saturday, August 31, 2019

New Project: SUBMIT/"Submission Fee No. 1"

Submission Fee No. 1
7.5 x 11.5 inches
Woodcut, three layer reduction
Edition of 4
Price: Pay what you want by September 3rd, 2019

This woodcut is the first step in a year-long conceptual art piece titled SUBMIT. From August 31, 2019-August 30, 2020 I will create a woodcut depicting the required fee, or price tag, for submission to an artist's opportunity that I would likely apply for if there were no fee. The fee must be for application only, meaning that if a submission is not accepted, the applicant receives no benefit. They have simply lost a small investment.

I will post all of the price tag woodcuts for sale on my social media accounts at least three days before the deadline for the opportunity associated with the fee. These woodcuts will be "pay what you want", and if I earn enough from a particular print to cover the cost of the submission fee by the deadline, I will submit an application.

INFO PARTICULAR FOR THIS PRINT:
Institution: Bauhaus Prairie Art Gallery, a host of online art show competitions
Opportunity: international call for artists in a group exhibition “The Human Figure”
Venue Location: Internet
Fee: $35 for 1-3 pieces
Deadline: September 3, 2019



Sunday, July 28, 2019

Naked Selfies No. 13-20

 These are the latest "Naked Selfies", numbers 13-20. They are all white line woodcuts printed from blocks that are approximately 3 x 4 inches in size. Read the post that has my artist statement regarding this ongoing series here.







Sunday, February 24, 2019

"Naked Selfie No. 12"

3.75" x 4" (block)
White line woodcut
Watercolors on Arches

The latest in the "Naked Selfie" series. I was just tickled when I found the photo of this guy casually waving to the camera in his naked selfie. Check out all of them on this Pinterest album.

Also, I've finally written an artist statement about the Naked Selfie series that I think rightly suits it! Here it is: 


My latest work – a series of “Naked Selfies” of others - explores the translation of visual information from photographs to woodcuts. At the start of this process are people standing naked in front of a mirror, usually in their own bathroom, cell phone in hand, posing in a manner they presumably feel best represents how they wish to be seen. Or maybe they simply want to document the honest appearance of their body at this moment in time. They snap a photo, and at some point the image ends up on the Internet. Maybe the person who took the photograph posted it to an amateur photography or pornography site, or maybe a mistake was made, or someone they sent it to betrayed a trust. One way or another, the image appears on Google searches, which is how I find it.  
At this point in the process there is how I subjectively view the original naked selfie, which is different from the perhaps millions of others who have also seen it. The proliferation of naked selfies on the Internet is simultaneously shocking and banal, depending on who is doing the Google search. My subjective perspective influences how I re-create the image as a white line woodcut. I drop the rectangular border, background, and focus on the isolated figure. Crisp, white lines combined with airy gradations and woodgrain textures emphasize the shape and volume of the body in a way that is more aesthetic than lascivious. I work on small blocks because I want viewers to have an intimate experience with the physical work. Working small scale in woodcut also renders faces abstract enough to give the subjects anonymity. 
At the end of this process there is the print I made as it is received by an audience. The translation into woodcuts recontextualizes this photographic imagery and thereby invite reactions and associations that greatly differ from those typically evoked by the original images. Perhaps some of these woodcuts will be seen by the people who took the original photographs. If so, I wonder, would they recognize themselves?  

Saturday, February 23, 2019

"Naked Selfie No. 11"

4" x 4" (block)
White line woodcut
Watercolors on Arches

The latest in the "Naked Selfie" series. Check out all of them on this Pinterest album.

Saturday, February 9, 2019

Elizabeth Catlett's "Survivor" and the Distillation of Photographic Imagery

Every year I take several groups of grade school students to La Salle University's Art Museum for field trips, and I was pleased to discover a copy of Elizabeth Catlett's print "Survivor" on view in the current exhibition. The show is Teaching and Learning in the Art Museum: La Salle University Faculty Selections, and is on view through the month of May. This woodcut by Catlett was chosen by a professor who teaches Introduction to Public Health (see label with more info below.)

This image has always been a striking and therefore memorable one for me and I'm sure many others. The print was created from a photograph by Dorothea Lange called Ex-slave with a Long Memory. (Anne Nydam wrote a thoughtful post discussing this on her art blog a few years ago.) Just as Catlett distills Lange's title with her own, shorter one, with her carving she also eliminates details and context, yet intensifies certain aspects of this person depicted in the original photograph.

This sort of distillation is something woodcuts inevitably do to representational imagery. In my recent post featuring The Round Table of King Arthur, I referred to it as a game of whisper down the lane. We think something is being copied, but it is not. It is being transformed. A specific kind of subtle yet profound change happens with images sourced very directly from photographs, such as this one.

This transformation of visual information from photographs to woodcuts is something I'm particularly exploring with my new Naked Selfies series. At the start of it are people standing naked in front of a mirror, cell phone in hand, posing in a manner they feel best represents how they want to be seen. They snap a photo, and later I stumble across it while surfing the Internet. There is how I subjectively view it, which is different from the perhaps millions of others who have also seen it, and my perspective influences how I transfer it to a woodcut. Finally there is the print I made as it received by the audience. Perhaps some of them will be seen by the people who took the original photograph. If so, will they recognize themselves?



When compared side by side, Catlett's woodcut looks like Lange's photograph, but how much does the woman in Catlett's woodcut resemble the flesh and blood woman whose photograph was taken by Lange? Had she never seen the photograph, would she have recognized herself in the woodcut? Would her friends and family recognize her? I feel this transformation, this obliteration and re-creation is some of the power and purpose, yet also the deep sadness of woodcuts.

Tuesday, February 5, 2019

"Pigs In A Blanket" (Chinese New Year Exchange)

Happy Lunar New Year! This is my Year of the Pig 2019 card for the Baren Forum's Chinese New Year Exchange. It is dedicated to my daughter Bebe who is currently obsessed with pigs.

This is a 4" x 5" linocut printed with black Caligo safe wash relief ink, hand colored with Prismacolor markers and watercolor paint. I still have 7 more to hand-color, so they will be sent out a little late, but worth the color.

Monday, February 4, 2019

Year of the Dog Baren Exchange

Tomorrow will be the Lunar New Year. According to the Chinese zodiac, the year of the dog will have ended, and the year of the pig will begin.

Last year was the first year that I participated in the Baren Forum for Wood Block Printmaking's Chinese New Year card exchange. For that exchange, I made this little hand-colored print of Mary, the chiweenie that we had recently adopted. I received most of the cards from other participants around January-March of last year, though some came later, and it's been fun to have them trickle in. I recently received the last of my dog cards (all that I've received are shown in this post.) Thanks to all of the artists who made these cards, some quirky, some quiet and contemplative, some bold, and some surprising. I absolutely love this little collection.

I am participating in the Year of the Pig exchange, and tomorrow I will post about my print for it.