Please respond to the readings in at least 150 words. Follow the guidelines for completing lectures and research before posting your work under the appropriate blog entry.
John Babcock Streamer 2010 32’ x 4’6” Unique aspects of Babcock’s work are his use of his own manufactured paper as well as his exploration of color relationships on colored paper. His use of the paper as the art rather than printing an image on the paper takes on a different approach to tackling the viewer’s emotional response. A technical aspect I found intriguing was the amount of focus Babcock has on his paper works. For over 30 years he has been creating similar works and is still interested in the development of new paper colors and patterns. I differ greatly in this area in that I cannot focus on an area of my work for more than a semester and then I move on to a new idea – in this way I envy or look up to Babcock. His use of color and abstract shapes creates varying moods for each work created. He experiments with transparent layers and uses the works as installations to envelop the viewer. In this piece, John uses a rainbow of colors extending these long, thin ‘streamers’ 32 feet above the viewer to create an immersed feel. http://www.babcockart.com/recent-work/
Linda Lee Boyd American Tourists, Dordogne Village Market 2010 24" x 21" http://www.prints-design.com/large_images/dordogne.html Boyd uses color and absence of color to reflect a conceptual idea of the people being lifeless compared to the area they are exploring. In this piece, the tourists reflect a lack of identity or cultural richness compared to the native items of the country they are visiting which, in this case, are the various vegetables and fruits on display. By highlighting background items with color, Boyd adds depth to her prints. Boyd’s use of multiple images in one wood-cut improves the three-dimensionality of her works.
Vicky Meichen Land in Sections 2012 12" x 12" http://www.vickymeichen.com/Gallery/Sections.html In Land in Sections, Meichen uses abstract shapes and lines as a form of the desert landscape. Her use of yellows, oranges, blues, and pinks on a wood background reinforce the landscape in which she is trying to represent. A vast emptiness to the space is created with the blank vertical space. Something I found very intriguing was her use of screen printing on wood. I was unaware of the ability to use distinct separate colors in the same image.
Thomas Kilpper is a German artist who is well known for his giant woodcut or linocut prints. He, and usually a group of assistants, create these enormous prints by cutting into the floors of buildings that are set to be demolished or are under construction. He originally worked with large-scale drawings, but decided to get into printmaking to “intensify the physical process of the work” (1). His works are usually commentaries on societal or political issues, and the place where the reliefs were created influences the meanings of the works. According to the artist, “his work always shows a historical relation and a biographical relation. The interest lies in ‘building a relationship with history and the place where I am. I place myself in that relationship’” (3).
Thomas Kilpper, The Ring, 2000, Orbit building, London, Woodcut, 400 square meters (about 43,056 square feet). Print: http://media.tumblr.com/tumblr_lsiw46bnYK1qem8ca.png Close-up: http://1.bp.blogspot.com/_jZblCBt8N94/SlT_9e69hQI/AAAAAAAAAas/fOhezk882hg/s400/kilpper_the_ring.jpg
“The Ring” is a connection to the past. It was constructed from the floors of the Orbit Building in London, which once was the site of a well known boxing ring (4). Although the site of the ring was long-gone, Kilpper tied the site to its past by carving the reliefs into the floor and then creating a massive print to display on the outside. Seventy different figures, which represent people who once had a connection to the site, crowd the print. This exhibition was during a time in which the Orbit Building was also about to be demolished, so the work revived life to the building, which was otherwise vacant. The figures contrast with one another due to the nature of printmaking and fill the façade of the building, allowing the lives of these individuals to stir thoughts to the past and to the history of the site.
Thomas Kilpper, State of Control, former Ministry of State Security (Stasi), Berlin, Linocut, 2009. Inside building: http://4.bp.blogspot.com/_jZblCBt8N94/SlT9U81GasI/AAAAAAAAAak/urKdIDWBfLc/s400/Linoleum-cut.jpg Close-up print: http://4.bp.blogspot.com/_jZblCBt8N94/SlT5t-we8VI/AAAAAAAAAaU/yi_jMdJgXms/s400/R0013267.jpg
“State of Control” was cut into the floor of the former headquarters of the Stasi, the secret police of the German Democratic Republic, and is Kilpper’s first project using a linoleum floor. This is the first time this building has been open to the public, and when individuals come into the space, they are met with Kilpper’s cuts that “recall different aspects of German history, intertwined with images from Kilpper’s own biography as well as references to State repression, censorship, and resistance to injustice throughout history” (1). The building’s floor has been dominated by these cuts, which can be seen as artwork in themselves, as they take on the appearance of sculpture. Additionally, Kilpper has made enormous prints of the reliefs and displayed them in other places. The figures within the cuts are filled with contrast to make the individual components of the compositions stand out from one another. Due to the sheer size of the works within this space, it’s interesting to think how the space was once a headquarters of power and is now dominated by an artistic commentary on the issues related to the space. It is such a bold, public display of a specific viewpoint that engages the viewer to see the space as well as the artwork in a different way by physically having the two connected. There is resistance in this work as it comments on a state of injustice.
Thomas Kilpper, CÓMO PUEDE SUPERARSE EL ESTADO DE NEGLIGENCIA?, Teatro Pablo Tobon Uribe, Colombia, 2011, about 13’ by 35’. In building: http://www.printeresting.org/wp-content/uploads/2011/09/R00225071.jpg Print: http://www.printeresting.org/wp-content/uploads/2011/09/R0023037.jpg
This work turned a Colombian theater’s orchestra pit into a relief that was subsequently printed (2). The text translates to “How can one overcome the state of neglect?” The words are written in Spanish, tying together the place of installation to its viewers and tying to societal issues within Colombia that the viewers could recognize. The placement of the text in the front of what would be a theater’s audience implies the presentation of the artist’s words to a group of people. Again, the enormity of the work shows a need for the words to be viewed and thought about, as it is difficult to avoid something that is so conspicuous.
hat discusses the form (appearance) and content (meaning) of the book. Also, discuss why you chose each print to research.
These three prints all deal with a typical Alice and wonderland imagery reworked to form a new metaphor that Bloom works with. These metaphors deal with self-awareness and human value but her reuse of common imagery is what drew me to her work. The ability of an artist to take well known and identifiable images and make them their own is something that I have struggled with in my own work so seeing these prints really helped give me an example of how to deal with this issue. Bloom’s series of prints here all share a common color palate and a layering of old typical Alice imagery redone amongst photographic images. What intrigues me the most about this work was the line quality of the etches in these prints. Lastly since Bloom is working with etching in addition to these old Alice and wonderland imagery there is a nostalgic, old world element that sets up the audience to a certain frame of reference that I hope to mimic in my own work often.
Brian Hartley Sago He started college as biology major and the University of Minnesota, but switched to Studio Art and American Indian Studies. His subject matter is composed of history and combining modern printmaking techniques with olden day techniques. Things such as tile patterns influence Brian, and his passion for biology that didn’t disappear, he makes use of Math science and history in his art. Dance was a big influence when he was a young kid, so this effected
Caravan: Cairo Screenprint: 19 X 48 November 2005 The style is very pop art looking to me, with bold, solid colors and use of a black stencil aesthetic. The top half of the screen print is more like a photo realistic image in contrast to the graphic feel of the dancing women. I enjoy the way this piece is made.
Catfish Are Jumpin’ Screenprint: 8 X 10 March 2006 This image is a still life, with a transfer look to it, it has great lighting and a disheveled look to it. And the title of this piece is reminiscent of a dance, with the fact that it says Jumpin’. This goes back to his childhood dance connection. Uses a natural palate, but it is not boring.
Crumple Screenprint: 15 X 20 August 2004 This is another part of Brian’s dance series, it has a grainy transfer feel once again, and the separation created from the empty non shaded space ofher skin creates a disconnect in the piece. This is similarly seen in the first dance piece we talk about Caravan: Cairo. I read that the wood floor is created with a varnish to make it distinct from the figure. It is very successful.
I chose to look at Pop Surrealist screen printer & graffiti artist Trafford Parsons.
1. http://cache1.bigcartel.com/product_images/72727167/300.jpg Bleeding Heart Silkscreen 70 x 50 cm.
I chose this image because of how kind of revolting it is, and because of how simple of a design it was compared to his other works. This print features a lime-green throbbing-looking human heart. This piece was inspired by traditional representations of Jesus' "sacred heart" and turning it into something garish and gaudy. It is the artists intention to create a dichotomy between something that attracts the eye (such as the neon green) and something grotesque.
2. http://cache0.bigcartel.com/product_images/67436557/300.jpg Marilyn 5 (green) Silkscreen 50 x 70 cm
I chose this piece because it interested me due to the fact that it is quite reminiscent of Warhol's silkscreen of Marilyn Monroe. I was curious to find out more as to what the significance of the number "5" was, as well. This silkscreen contains several images of Marilyn Monroe with subtle variations in expression over a lime-green number 5. This print, I found out, is actually one of a collection of prints for a series entitled "In The Long Run We're All Dead." It turns out that the number 5 is supposed to be representative of August 5th, which was the day Marilyn Monroe died. Furthermore, the print was created to commemorate the 50th anniversary of her death. The piece is dealing with the theme of memory and death, and in some ways also immortality.
3. http://cache1.bigcartel.com/product_images/55167699/300.jpg Deer Hunter Silkscreen 50 x 70 cm
I chose this piece because it was the first image I saw from Parsons and I found it really aesthetically beautiful and intriguing. It is my favorite of his work, since it is very decorative and aesthetically enchanting but also has a sort of strangeness to it. It also reminded me of Julia L.'s senior studio work. This print features a hot-pink trophy deer-head printed on top of a background made up of butterflies. Conceptually, this piece was created as a comment on street art and pop-surrealist style. It was meant to show how graffiti is at odds with most people; it is something that is wild and in-your-face which is then hunted and killed when it is eventually painted over. It also references traditional collections of butterflies, which Parsons uses as a metaphor for the consumer culture.
I was first drawn to this piece because it looked like a mermaid at first glance. When I saw the image enlarged, I noticed there was text etched in the background behind this woman predominantly featured in the foreground wearing a pink tank top, nautical jewelry, pink nail polish, blue eyeshadow, her hair braided into a fishtail, and holding a heart keychain in her left hand, and a fish on her lap. Her arms and chest are tattooed with angel wings, stars, birds, and numbers. From what I can make out from the text in the background it is relating to her love of whimsical dreams and kisses. The artist briefly explains that she likes to provide some text, but leave a lot up to the viewer's imagination. As a viewer, I am a bit puzzled but think the piece as a whole is aesthetically pleasing, whimsical, and like how she combined etching with bright colors. It makes me wish I had chosen etching for my first project!
This work is illustrative and clearly inspired by folk and fairytales. Two elves wearing red sweaters, socks, and cone hats rest their backs against one another below a tree that seems to be in a house. It looks as though they are napping but very comfortable with one another. This piece reminds me a lot of Alice in Wonderland because the red colors and composition resembles the Ace of Spades a bit. The image is obviously unrealistic because a tree is inside of a house but I think that is part of what makes it so special and whimsical. I can see the artist putting together a fairytale book/narrative if she made her prints in to a series!
3. "Indian Brave" Screenprint 71 x 55 cm. 2003 Gordon Boyd
I love this piece for many reasons. The colors (pink and purple), composition and imagery all come together so fluidly. The main focus of the print, the purple skull-like indian in the foreground, is powerful in the midst of more realistic images of native americans bordering the center. It has a bit of a spooky feel, yet rich in history. I love the contrast between the unrealistic/cartoon-y image of the native american with the almost photograph-looking images that are more blended together with colors and overlapping. It reminds me a bit of modern day vs. olden days. The reason I chose this piece is because of its all-encompassing allure. I think I could get really creative with this if I tried it in class (the first thing that comes to mind is Karl Lagerfeld's head..but I will spare everyone). I will keep brainstorming, I think it would be interesting!
This print by Alan Davie called The Day of the Fish, size 66 by 50 cm, an etching made in 2004 I like a lot because of its cartoonish look to it. Although I’ve seen many etchings with a more serious tone to it, this piece greatly contrasts those and I think that’s what I like so much about it. To me, although they may just be senseless doodles, they actually look like fish, like the title says, and I quite enjoy the black and white color of it. It looks like a little kids’ doodle and I think that’s what I like so much about it.
Chair 1 by Brian Baker, is a screenprint made in 2011 and is 7 by 9.5 cm. I think I like this piece not only because it’s a screenprint, which I found I tend to like a lot, but also because of the theme of it. Looking at more of Brian Baker’s work he uses a lot of simply objects, such as chairs and outsides of buildings, but makes them very colorful and adds a different meaning to it. To me it’s like he’s trying to say that we miss the beauty in everyday objects, such as chairs, as well as signifying the art and complexity that goes into things like that, specifically like this chair.
Epidural by Mariiene Oliver, a photopolymer intaglio with collograph, is 47.2 by 72.3cm. I actually really like these pieces by Mariiene because they’re different than everything I’ve ever seen before. I really like the look of the x-ray, especially in this piece, and the addition of the lines out of the spines.
John Babcock
ReplyDeleteStreamer
2010
32’ x 4’6”
Unique aspects of Babcock’s work are his use of his own manufactured paper as well as his exploration of color relationships on colored paper. His use of the paper as the art rather than printing an image on the paper takes on a different approach to tackling the viewer’s emotional response. A technical aspect I found intriguing was the amount of focus Babcock has on his paper works. For over 30 years he has been creating similar works and is still interested in the development of new paper colors and patterns. I differ greatly in this area in that I cannot focus on an area of my work for more than a semester and then I move on to a new idea – in this way I envy or look up to Babcock. His use of color and abstract shapes creates varying moods for each work created. He experiments with transparent layers and uses the works as installations to envelop the viewer. In this piece, John uses a rainbow of colors extending these long, thin ‘streamers’ 32 feet above the viewer to create an immersed feel.
http://www.babcockart.com/recent-work/
Linda Lee Boyd
American Tourists, Dordogne Village Market
2010
24" x 21"
http://www.prints-design.com/large_images/dordogne.html
Boyd uses color and absence of color to reflect a conceptual idea of the people being lifeless compared to the area they are exploring. In this piece, the tourists reflect a lack of identity or cultural richness compared to the native items of the country they are visiting which, in this case, are the various vegetables and fruits on display. By highlighting background items with color, Boyd adds depth to her prints. Boyd’s use of multiple images in one wood-cut improves the three-dimensionality of her works.
Vicky Meichen
Land in Sections
2012
12" x 12"
http://www.vickymeichen.com/Gallery/Sections.html
In Land in Sections, Meichen uses abstract shapes and lines as a form of the desert landscape. Her use of yellows, oranges, blues, and pinks on a wood background reinforce the landscape in which she is trying to represent. A vast emptiness to the space is created with the blank vertical space. Something I found very intriguing was her use of screen printing on wood. I was unaware of the ability to use distinct separate colors in the same image.
Thomas Kilpper is a German artist who is well known for his giant woodcut or linocut prints. He, and usually a group of assistants, create these enormous prints by cutting into the floors of buildings that are set to be demolished or are under construction. He originally worked with large-scale drawings, but decided to get into printmaking to “intensify the physical process of the work” (1). His works are usually commentaries on societal or political issues, and the place where the reliefs were created influences the meanings of the works. According to the artist, “his work always shows a historical relation and a biographical relation. The interest lies in ‘building a relationship with history and the place where I am. I place myself in that relationship’” (3).
ReplyDeleteThomas Kilpper, The Ring, 2000, Orbit building, London, Woodcut, 400 square meters (about 43,056 square feet).
Print: http://media.tumblr.com/tumblr_lsiw46bnYK1qem8ca.png
Close-up: http://1.bp.blogspot.com/_jZblCBt8N94/SlT_9e69hQI/AAAAAAAAAas/fOhezk882hg/s400/kilpper_the_ring.jpg
“The Ring” is a connection to the past. It was constructed from the floors of the Orbit Building in London, which once was the site of a well known boxing ring (4). Although the site of the ring was long-gone, Kilpper tied the site to its past by carving the reliefs into the floor and then creating a massive print to display on the outside. Seventy different figures, which represent people who once had a connection to the site, crowd the print. This exhibition was during a time in which the Orbit Building was also about to be demolished, so the work revived life to the building, which was otherwise vacant. The figures contrast with one another due to the nature of printmaking and fill the façade of the building, allowing the lives of these individuals to stir thoughts to the past and to the history of the site.
Thomas Kilpper, State of Control, former Ministry of State Security (Stasi), Berlin, Linocut, 2009.
ReplyDeleteInside building: http://4.bp.blogspot.com/_jZblCBt8N94/SlT9U81GasI/AAAAAAAAAak/urKdIDWBfLc/s400/Linoleum-cut.jpg
Close-up print: http://4.bp.blogspot.com/_jZblCBt8N94/SlT5t-we8VI/AAAAAAAAAaU/yi_jMdJgXms/s400/R0013267.jpg
“State of Control” was cut into the floor of the former headquarters of the Stasi, the secret police of the German Democratic Republic, and is Kilpper’s first project using a linoleum floor. This is the first time this building has been open to the public, and when individuals come into the space, they are met with Kilpper’s cuts that “recall different aspects of German history, intertwined with images from Kilpper’s own biography as well as references to State repression, censorship, and resistance to injustice throughout history” (1). The building’s floor has been dominated by these cuts, which can be seen as artwork in themselves, as they take on the appearance of sculpture. Additionally, Kilpper has made enormous prints of the reliefs and displayed them in other places. The figures within the cuts are filled with contrast to make the individual components of the compositions stand out from one another. Due to the sheer size of the works within this space, it’s interesting to think how the space was once a headquarters of power and is now dominated by an artistic commentary on the issues related to the space. It is such a bold, public display of a specific viewpoint that engages the viewer to see the space as well as the artwork in a different way by physically having the two connected. There is resistance in this work as it comments on a state of injustice.
Thomas Kilpper, CÓMO PUEDE SUPERARSE EL ESTADO DE NEGLIGENCIA?, Teatro Pablo Tobon Uribe, Colombia, 2011, about 13’ by 35’.
In building: http://www.printeresting.org/wp-content/uploads/2011/09/R00225071.jpg
Print: http://www.printeresting.org/wp-content/uploads/2011/09/R0023037.jpg
This work turned a Colombian theater’s orchestra pit into a relief that was subsequently printed (2). The text translates to “How can one overcome the state of neglect?” The words are written in Spanish, tying together the place of installation to its viewers and tying to societal issues within Colombia that the viewers could recognize. The placement of the text in the front of what would be a theater’s audience implies the presentation of the artist’s words to a group of people. Again, the enormity of the work shows a need for the words to be viewed and thought about, as it is difficult to avoid something that is so conspicuous.
Sources:
(1) http://philagrafika.blogspot.com/2009/07/interview-thomas-kilpper.html
(2) http://www.printeresting.org/2011/09/12/thomas-kilpper/
(3) http://mde11.org/?page_id=1000&lang=en
(4) http://www.kilpper-projects.net/the-ring/gb/abstract.htm
Artist: Louise Bloom
ReplyDeletehttp://www.louisebloom.com/catalogue/AA_-_Checkmate.html
“Mate check”
2010
Edition – 18
Etching/ eaux-forte
Arches cream/crème 250 grams
22”h. x 28” w.
http://www.louisebloom.com/catalogue/Alice_Awakening_Book_Print.html
“Alice Awakening”
2009
Special Edition - 18 copies
Édition Spécial - 18 examplaires
lithograph/etching/eaux forte
BFK Rives 270 grams
9.25” h. x 34” w.
http://www.louisebloom.com/catalogue/AA_-_Pawn_Party.html
“Party Pawn”
2010
Edition - 18
Etching/eaux-forte /chine collé Kozu (red)
Somerset 250 grams
22” h. x 28” w.
hat discusses the form (appearance) and content (meaning) of the book. Also, discuss why you chose each print to research.
These three prints all deal with a typical Alice and wonderland imagery reworked to form a new metaphor that Bloom works with. These metaphors deal with self-awareness and human value but her reuse of common imagery is what drew me to her work. The ability of an artist to take well known and identifiable images and make them their own is something that I have struggled with in my own work so seeing these prints really helped give me an example of how to deal with this issue. Bloom’s series of prints here all share a common color palate and a layering of old typical Alice imagery redone amongst photographic images. What intrigues me the most about this work was the line quality of the etches in these prints. Lastly since Bloom is working with etching in addition to these old Alice and wonderland imagery there is a nostalgic, old world element that sets up the audience to a certain frame of reference that I hope to mimic in my own work often.
Brian Hartley Sago
ReplyDeleteHe started college as biology major and the University of Minnesota, but switched to Studio Art and American Indian Studies. His subject matter is composed of history and combining modern printmaking techniques with olden day techniques. Things such as tile patterns influence Brian, and his passion for biology that didn’t disappear, he makes use of Math science and history in his art.
Dance was a big influence when he was a young kid, so this effected
Caravan: Cairo
Screenprint: 19 X 48
November 2005
The style is very pop art looking to me, with bold, solid colors and use of a black stencil aesthetic. The top half of the screen print is more like a photo realistic image in contrast to the graphic feel of the dancing women. I enjoy the way this piece is made.
Catfish Are Jumpin’
Screenprint: 8 X 10
March 2006
This image is a still life, with a transfer look to it, it has great lighting and a disheveled look to it. And the title of this piece is reminiscent of a dance, with the fact that it says Jumpin’. This goes back to his childhood dance connection. Uses a natural palate, but it is not boring.
Crumple
Screenprint: 15 X 20
August 2004
This is another part of Brian’s dance series, it has a grainy transfer feel once again, and the separation created from the empty non shaded space ofher skin creates a disconnect in the piece. This is similarly seen in the first dance piece we talk about Caravan: Cairo. I read that the wood floor is created with a varnish to make it distinct from the figure. It is very successful.
I chose to look at Pop Surrealist screen printer & graffiti artist Trafford Parsons.
ReplyDelete1. http://cache1.bigcartel.com/product_images/72727167/300.jpg
Bleeding Heart
Silkscreen
70 x 50 cm.
I chose this image because of how kind of revolting it is, and because of how simple of a design it was compared to his other works. This print features a lime-green throbbing-looking human heart. This piece was inspired by traditional representations of Jesus' "sacred heart" and turning it into something garish and gaudy. It is the artists intention to create a dichotomy between something that attracts the eye (such as the neon green) and something grotesque.
2. http://cache0.bigcartel.com/product_images/67436557/300.jpg
Marilyn 5 (green)
Silkscreen
50 x 70 cm
I chose this piece because it interested me due to the fact that it is quite reminiscent of Warhol's silkscreen of Marilyn Monroe. I was curious to find out more as to what the significance of the number "5" was, as well. This silkscreen contains several images of Marilyn Monroe with subtle variations in expression over a lime-green number 5. This print, I found out, is actually one of a collection of prints for a series entitled "In The Long Run We're All Dead." It turns out that the number 5 is supposed to be representative of August 5th, which was the day Marilyn Monroe died. Furthermore, the print was created to commemorate the 50th anniversary of her death. The piece is dealing with the theme of memory and death, and in some ways also immortality.
3. http://cache1.bigcartel.com/product_images/55167699/300.jpg
Deer Hunter
Silkscreen
50 x 70 cm
I chose this piece because it was the first image I saw from Parsons and I found it really aesthetically beautiful and intriguing. It is my favorite of his work, since it is very decorative and aesthetically enchanting but also has a sort of strangeness to it. It also reminded me of Julia L.'s senior studio work. This print features a hot-pink trophy deer-head printed on top of a background made up of butterflies. Conceptually, this piece was created as a comment on street art and pop-surrealist style. It was meant to show how graffiti is at odds with most people; it is something that is wild and in-your-face which is then hunted and killed when it is eventually painted over. It also references traditional collections of butterflies, which Parsons uses as a metaphor for the consumer culture.
1. "He Loves Me He Loves Me Not"
ReplyDeleteHand Colored Etching
June Carey
http://www.edinburghprintmakers.co.uk/artist/june-carey
I was first drawn to this piece because it looked like a mermaid at first glance. When I saw the image enlarged, I noticed there was text etched in the background behind this woman predominantly featured in the foreground wearing a pink tank top, nautical jewelry, pink nail polish, blue eyeshadow, her hair braided into a fishtail, and holding a heart keychain in her left hand, and a fish on her lap. Her arms and chest are tattooed with angel wings, stars, birds, and numbers. From what I can make out from the text in the background it is relating to her love of whimsical dreams and kisses. The artist briefly explains that she likes to provide some text, but leave a lot up to the viewer's imagination. As a viewer, I am a bit puzzled but think the piece as a whole is aesthetically pleasing, whimsical, and like how she combined etching with bright colors. It makes me wish I had chosen etching for my first project!
2. "Celebrate"
Mina Braun
http://www.edinburghprintmakers.co.uk/artist/mina-braun
This work is illustrative and clearly inspired by folk and fairytales. Two elves wearing red sweaters, socks, and cone hats rest their backs against one another below a tree that seems to be in a house. It looks as though they are napping but very comfortable with one another. This piece reminds me a lot of Alice in Wonderland because the red colors and composition resembles the Ace of Spades a bit. The image is obviously unrealistic because a tree is inside of a house but I think that is part of what makes it so special and whimsical. I can see the artist putting together a fairytale book/narrative if she made her prints in to a series!
3. "Indian Brave"
Screenprint
71 x 55 cm.
2003
Gordon Boyd
http://www.edinburghprintmakers.co.uk/shop/artist-prints/1475/indian-brave
I love this piece for many reasons. The colors (pink and purple), composition and imagery all come together so fluidly. The main focus of the print, the purple skull-like indian in the foreground, is powerful in the midst of more realistic images of native americans bordering the center. It has a bit of a spooky feel, yet rich in history. I love the contrast between the unrealistic/cartoon-y image of the native american with the almost photograph-looking images that are more blended together with colors and overlapping. It reminds me a bit of modern day vs. olden days. The reason I chose this piece is because of its all-encompassing allure. I think I could get really creative with this if I tried it in class (the first thing that comes to mind is Karl Lagerfeld's head..but I will spare everyone). I will keep brainstorming, I think it would be interesting!
http://www.edinburghprintmakers.co.uk/artist/alan-davie
ReplyDeleteThis print by Alan Davie called The Day of the Fish, size 66 by 50 cm, an etching made in 2004 I like a lot because of its cartoonish look to it. Although I’ve seen many etchings with a more serious tone to it, this piece greatly contrasts those and I think that’s what I like so much about it. To me, although they may just be senseless doodles, they actually look like fish, like the title says, and I quite enjoy the black and white color of it. It looks like a little kids’ doodle and I think that’s what I like so much about it.
http://www.edinburghprintmakers.co.uk/shop/artist-prints/1415/chair-i
Chair 1 by Brian Baker, is a screenprint made in 2011 and is 7 by 9.5 cm. I think I like this piece not only because it’s a screenprint, which I found I tend to like a lot, but also because of the theme of it. Looking at more of Brian Baker’s work he uses a lot of simply objects, such as chairs and outsides of buildings, but makes them very colorful and adds a different meaning to it. To me it’s like he’s trying to say that we miss the beauty in everyday objects, such as chairs, as well as signifying the art and complexity that goes into things like that, specifically like this chair.
http://www.edinburghprintmakers.co.uk/shop/ep-print-editions/3381/epidural
Epidural by Mariiene Oliver, a photopolymer intaglio with collograph, is 47.2 by 72.3cm. I actually really like these pieces by Mariiene because they’re different than everything I’ve ever seen before. I really like the look of the x-ray, especially in this piece, and the addition of the lines out of the spines.