I sort of love buckthorn roots.  They are these insidious, craggly, deep black, evil looking beauties. I spray painted one gold and it hangs from the ceiling in my studio.  If I could get hold of a bunch of these, I would have a subterranean inverted forest sprouted from my ceiling.

So, naturally I was googling the term “buckthorn root” to see if I could purchase some on the internets.  In doing so, I serendipitously stumbled upon the work of a contemporary artist that I really like.  I promptly emailed Gregory Euclide and told him so.  Then lo and behold, his work appears on the sweet art blog My Love for You is a Stampede of Horses the very next day.  Here are some images of his work.

i flattened whatever pushing made the valley tremble, Acrylic, buckthorn root, cigrette butts, found foam, goldenrod, grass, lichen, Moss, mushroom, mylar, netting, paper, pencil, photo transfer, pine needle, polyurethane foam, sponge, sumac, wood 29 x 23 x 3

capture #12, acrylic, cedar tree, lichen, paint can, polyurethane foam, sponge, stone, wood

a new kind of quiet, warm in the air, bursting forth from the furrow, acrylic, paper, pencil, PETG, bees wax,wood 26 x 42 x 13

C’est belle, non?  This is the work of a visionary.

And then today Daily Serving serves up the work of Adam Friedman.  Downright gorgeous.  And I really like the whys and wherefores of his work, which you can read if you visit his site or the Daily Serving feature on his work.

"A Sky of Rock" 2009 Acrylic, Screen Print, Gel Transfers, and Collage on Panel 18"x14"

"No Vestige of a Beginning, No Prospect of and End" 2010 Screen Print, Acrylic, Gel Transfers, and Collage on Panel 16"x16"

"Oceans Before and Behind Us in Time" 2010 Acrylic, Screen Print, and Collage on Panel 18"x12"

Inspiring.

Come on out to the opening on Friday if you can!  It should be a lot of fun!  Email or message me if you want a shirt to wear to the exhibition.  The info below is from Gallery Project’s website. Visit the site for hours and directions.  Hope to see you there!

Spring 2010 Collection

December 9 to January 11

Opening Reception: Friday, December 11, from 6-9pm.

Gallery Project presents the Spring 2010 Collection, a fashion exhibit showcasing artists as designers and social commentators. The annual fundraising exhibit opens at noon on Wednesday, December 9 and runs to 4pm on Sunday, January 11.  The reception is on Friday, December 11, from 6-9pm.

The 27 local, regional and national artists have created their own collection line or individual pieces specifically for the exhibition, and have made work that will be modeled on the catwalk show during the opening reception.  Artists explore the myriad influences and contexts of fashion, investigating issues such as identity and values, innovation and retrogression, trends and fads, materialism and consumption, high and low fashion, globalism and regionalism, thrift, reusing, recycling and reclaiming.

Artists and art collectives include basement6 (Jon Humphrey and Robin Coe), Jillian Brown, Betsy Brunner, Dorota Coy, Steve Coy, Bianca DePietro, Melissa Dettloff, Reed Esslinger, Jennifer Locke, Lana McKinnon, Modati (Bilal Ghalib, Sarms Jabra, Alexander Lee), Ryan Molloy, Barbara Neri, Amy Sacksteder, Gary Setzer, Bethany Shorb, Alexander Sobolev, Brooks Harris Stevens, Jim Stevens, Britten Stringwell, Jenn Stucker, Talking Squid (Taryn Boyd), Scott Tallenger and Andrew Thompson.

The exhibit is designed as a fun, interactive event.  Visitors are encouraged to come out in their finery to join the debutants, fashionistas, and designers.  A Catwalk Show starting at 7pm will highlight the opening reception.  Paparazzi will be flashing their cameras, with images available for purchase.  Visitors will be able to purchase Photo Passes so that they can photograph themselves, as they model garments and participate in interactive work.  Gallery goers are also invited to make DIY projects throughout the exhibition.

This exhibition is curated by artists Jennifer Locke, assistant professor of art at Eastern Michigan University, Steve Coy, art lecturer at The University of Michigan School of Art and Design, and Alexander Lee, a founding member of Modati, a local silk screening company.

Gallery Project is a fine art collaborative.  Its mission is to provide a venue for contemporary art that is culturally aware, individualistic, courageous, and thought provoking.  Gallery Project is a 501(c)(3) nonprofit organization.  It is located at 215 South Fourth Avenue in Ann Arbor, Michigan.  Fall/Winter gallery hours: Tuesday through Thursday, noon-6; Friday and Saturday, noon-9; and Sunday, noon-4. The gallery is closed on Mondays.  For more information, please call 734-997-7012 or contact us through our website: www.thegalleryproject.com

Here’s the new one for The Beautiful Ones.  It will be in the Gallery Project show coming up, along with several other drawings (some of which haven’t been shown before) and the new big painting…which isn’t exactly finished yet.  Guess what I’ll be doing tomorrow…

School has been very stressful lately.  S-T-R-E-S-S-F-U-L.  When all of my time seems dictated by meetings, appointments, grading, committee work, etc. I often forget to take care of myself.  Unless Mark puts a sandwich in front of me, I forget to eat.  I make my tea for the day in the morning and forget in on the shelf at home.  Yoga, studio, reading books, all of the things I love to do that define my happiness, fall to the wayside.  I am trying to remember, amidst all of the stress, to live with more intentionality, to summon the energy to do these things instead of functioning on autopilot.  Yesterday was great for that.  I got my grading done during the day, and thus was able to spend my afternoon and evening cleaning up the house from a week’s worth of neglect, and was able to draw and listen to music for the whole night.  Man, it rocked.  You know it’s a good studio experience you find yourself drawing in silence with headphones still in your ears, long after the music has stopped, and you didn’t even notice.  This morning, I jumped out of bed and ran straight into house studio to check on last night’s work.  I love that feeling!

unicorn girl drawing in progress for The Beautiful Ones series

"the fates" drawing in progress for Afterlife series

I’d love to hear the things you do to “remember yourself.”

I have a show coming up at Gallery Project in Ann Arbor curated by three other artists, one of whom is my good friend and colleague at EMU, Jennifer Locke.  The show is called The Spring 2010 Collection (aka Fashion Show), and thus all of the work is about issues surrounding fashion, from a more cynical look at consumer culture, to a positive look at DIY and preloved movements.  The work in my series The Beautiful Ones, falls somewhere in between these two areas.  In 2007, I made a painting that had t-shirts that people could purchase and wear–something affordable to take away from the gallery-going experience–which was akin to being able to purchase band merch at a rock show.  In short, my painting could have groupies.  The goal was to allow people to be in a sort of performative dialog with the work.  The painting is “about” this sort of indie hipster culture, and also propagates it as well.  So, I had originally conceived of making two paintings and up until recently, just had the one.  This show was the perfect opportunity to realize the other.  They are both based on small drawings I did in France in 2007.  Below are some images of the piece in progress.  Progress continues.

Here are two images of the t-shirt designs (printed by VGKids), one or both of which will be sewn into the surface of the painting.  They are printed on American Apparel Classic Girl and Standard American styles in the color natural and made from organic cotton.  I have sizes ranging from small to XL in both unisex and women’s shirts.  If you’re interested in a shirt, just email me with your size, style, and design preference.  They cost $15, but there’s a free shirt for anyone who is willing to come to the opening sporting the shirt and who stays for at least a half hour.  Let me know (by commenting on this post) if you want to participate, so that I can get you a shirt before the show.  I have already hired a bunch of my students, so it should be a lot of fun!

Here’s the info for the show.

What: The 2010 Collection (Fashion Show)

Where:  Gallery Project, 215 South Fourth Avenue, Ann Arbor, Michigan 48104

When: Opening Friday December 11, 2009, 6-9 p.m. Show runs from Dec 9 – Jan 11.

Gallery hours are:

Fall/Winter hours:

Tue -Thu, noon-6

Fri -Saturday, noon-9

Sun, noon to 4

I have been noticing a lot of crystals, skulls and mirrors in art and design in the last few years.  It appears to be a “thing.”  I readily embrace this “thing” and have even busted out a skull or three in my recent work.  There’s a very The Dark Crystal / The Never Ending Story aesthetic to a lot of this work which can probably be explained by the fact that many of the artists embracing it are of the generation that likely grew up with those movies and other like films, books, programs (media in general)  ingrained into our consciousness.

While some incidents of crystalskullmirror I’m seeing are mediocre (one can apparently make abominably cliché work with mirrors, for example) I find myself gravitating toward a lot of this work.  If this post makes it seem like I am lumping artists using these motifs into the same aesthetic category, then please take a look at some of my favorite folks in this realm and judge for yourself.

I am a huge fan of the work of Will Yackulic.  He shows with two galleries I really like: Jeff Bailey in New York and Gregory Lind in San Francisco.  He uses ink and gouache (two media I like to work with) and, somehow, a typewriter to make these stunning two-dimensional otherworlds.

Bearings & Ballast, 2009, ink, gouache and typewriter on paper, 30" x 22.25"

Aspects & Allowances, 2008 ink, gouache, watercolor and typewriter on paper, 22 x 17.75 inches

Invocation 5th, 2008, gouache, watercolor and typewriter on paper, 10.625" x 8.5"

Then there’s the work of David Altmejd, whose work Mark and I first came across in the 2007 Venice Biennale, where he put together a fantastic, nay, phenomenal exhibition for the Canadian pavilion.  He uses mirrors A  LOT, but SO much better than anyone else out there using mirrors to do similar things.  They are just one aspect of the insane worlds he creates, which also include:  taxidermied birds,*  giants, genitals, both flora and fauna, fur, body parts, and YOU because there are so many mirrors in his work, that you inevitably become part of the work.  I could barely photograph it without getting myself in a shot.  Like this:

The Index, exhibition at the Canadian pavilion

Note please that I am not a professional photographer and that there are way sweeter images of his work online.  See? But I thought it would be neat to post some photos I took while experiencing the exhibition.

The Index, exhibition at the Canadian pavilion

a mirrored giant monster with Lee Press-On Nails (TM)

We like him so much, in fact, that we just ordered two monographs on him.  One is the catalog for this exhibition, and the other is this lovely book:

For example of this crystal mirror phenomenon in contemporary media, someone caught indie pop lady Mirah fiddling with these mirror pyramids and put the photo in the liner notes of her latest album.

Skulls.  Lots of skulls.  When in Europe, whenever I saw a skull in contemporary art, I photographed it.  Here are the results of my self-assigned scavenger hunt:

skull in a gallery window in Venice (as a bonus, it even has a skull tree growing from it)

butterfly skull in a gallery in Venice

glass skull on glass bones by Jan Fabre at the exhibition Glasstress in Venice

ceramic vessel by Miquel Barceló, representing the Spanish pavilion at the Biennale

skull in a drawing by Jef Geys, representing the Belgian pavilion

And now, my own contribution:

still life I composed out of a postcard and an eraser from the Pinault Collection gift shop

I am so enamored of people’s fascination with skulls (just go on The Selby and see how many skulls you can count in people’s homes alone), that I was making portraits of skulls in Budapest, remember? I’ll get back to those soon I think.

That reminds me, I need to get amakin’, as I am yet again a contributing artist to my friend Krista Peel‘s Calendar Project.  This time the theme is Art Museum, for which I have to create a mini model of a museum.  It can be ANYTHING I want it to be, can be made of any material, and, (blessedly) does not have to be in the least functional.  So, which will it be: Crystals, Skulls, or Mirrors?  I suppose we’ll see…

* Taxidermy is another “thing” in art right now altogether.  Perhaps I’ll tackle that stuffed, lifeless beast in a future post.

Sorry to get a Meatloaf song stuck in your head.  But today I acquired some new stuff and it’s somehow all art related, so I thought I would share my successes and sorrows.  First here’s the stinker.  I ordered this paper from Canson in “indigo”

to make more island drawings and it’s not the right damn stuff.  It’s the wrong size and slightly the wrong color and there is a sticker annoyingly adhered to all 50 sheets.  But the kicker is that I can’t find the right paper anywhere online.  I guess that’s what happens when you pick up some single sheets of colored paper on a whim in Budapest–it’s ne’er to be found again–at least on this side of the Atlantic…or in cyberspace, for that matter, which I hear is a pretty big place.

But now for some good purchases.  I got this big blingy book that I had been drooling over for awhile and wanting since seeing the wonderful grotesque paintings in Italy:

I actually did two things:

1) I finally put the images of the work I made in Budapest onto my website.   That’s  an important step in the artmaking process for me.  Seeing the work together, online, is a way for me to digest it differently than seeing it on the wall.  It also officially puts it “out there” (wherever that is) for others to see and comment on.

2) Also, and bigger and potentially better (yet all part of the same package), the universe collided in such a way so that today I found myself writing an email to Richard Gillespie, TIGHAR‘s (The International Group for Historic Airline Recovery) executive director in charge of leading yet another expedition to what is now called Nikumaroro Island (formerly Gardner).  I am writing to see if I can go along on the month-long expedition starting in May 2010 to search for DNA on the island that could lead to knowledge of Amelia Earhart’s whereabouts at the time of her death and a big “mystery solved” stamp on one of the most compelling enigmas in recent history.

Now if I get a response at all from this supremely busy man, that will be great.  If I get an affirmative response from him, that will be epic.  Then I can start the extensive grant writing process that will consume me for the next few months.  Thanks to NPR’s The World for featuring an interview with Ric Gillespie about the trip and my friend Brian Spolans for alerting me to this article from ABC News.  These two bits of media helped kick me in the butt to write the email.

In other news, when I finally bring all of this work together in an exhibition, I hope to make it somehow museum-like in appearance and presentation, as though I am presenting artifacts rather than artwork, or a hybridization of the two.  On this topic I just received this book in the mail today:

which I am very excited to read.  The Museum of Jurassic Technology in LA presents fictions as though they are fact.  I am very compelled by this aesthetic of painstakingly contrived deceptions.  It is a historically rich, yet very current mode of presenting information.  I have witnessed this phenomenon in the writing of Ben Marcus, and the artwork of Hyungkoo Lee who’s work we saw at the Korean Pavilion during the 2007 Venice Biennale.  He creates realistic skeletal remains of cartoon characters.

Now, I am going to use all of this excited energy to head off to the studio!

So, what with all of the vegan brunch hosting, Shadow Art Fair going, blogging, and uploading and categorizing hundreds of travel photos to flickr, the semi-annual rearranging of the water studio has suffered a bit.  But fear not!  It’s ready for action and with more work space and room to move around, I can’t wait to nestle in with my audiobooks, drawing pens and fancy papers.  Behold the glory that is organization!

I feel like a mad scientist…perhaps an anthropologist spelunker.

I am really into the work of the artist Mike Peter Smith lately.  Can you guess why?