wnussbaum reblogged
Fall in love and get your heart stabbed real good, ain’t nothing changed since Meister Casper carved this hand-coloured woodcut in 1485. Swiping right on this one.
BHP loves you, unter Vorbehalt.
wnussbaum reblogged
in the driftless area
* rear flyleaf (detail; 90ºccw; inverted; levels 40 .70 255) Wisconsin Geological and Natural History 36 (1916) University of Chicago copy, digitized March 23, 2011
418 instances of driftless, in this document of loess, 56
sky, seven skies — sky and meadow mingle skyline in every direction
two clouds, but 38 coulds — could not be ascertained could possibly be could possibly do so, unless could not account could not otherwise exist could not do better than to hide among could not escape…
twelve losts — lost rocks lost their horses lost in the waters lost his way in the woods, near where
of meadow again, eleven — muck and meadow meadow land of good quality and meadows away and meadow mingle in the distant horizon
shadow, two which overshadow the grass hills upon deep shadows over the water, and going down
water, much (587 instances of)
and water’s edge, three — water’s edge, the women the water’s edge; higher up the hill slope
1,338 rivers (mostly names)
blue, 75 blues — variations of Blue Mound, mostly, but a blue till a blue wall, and a blue line against the sky
—
wnussbaum reblogged
Gazing at the void
wnussbaum reblogged
Whistler at his press, 1903.
A few years ago the University of Glasgow in partnership with the Art Institute of Chicago and the Freer Gallery unveiled their online Whistler Catalog Raisonne. The evolution of each etching from the copper plate through different states to the final print is described and fully illustrated. The catalogue includes many previously unknown etchings, plus fresh information on titles, dates, subjects and sitters, technique, and the 19th century art market. It’s a truly incredible resource. My colleagues at the Baltimore Museum were working through our Whistler collection in support of this project when I was there and I’ve just recently had a need to use it (not that you need one, it’s great to meander around!)
Whatever that chair thing is to the left of the press, it looks like it’d be blocking the press wheel. Hate to be that guy, but this is just another case of “PRESS BACKDROP BECAUSE ANCIENT CRAFT and so great with all the ink and metal and omg what does this thing even do?!” Which probably isn’t Whistler’s fault, he just didn’t object vehemently enough when the photographer suggested he pose in front of the press (Whistler, whispering: “but I haven’t used this thing in ages… oh, whatever).
This press backdrop theme is timeless, and probably as old as the first printing press (oooh, pose in front of that!) and still going strong today (y'all been on insta). If one did a quantitative analysis of artist portraits a pretty clear pattern would emerge: PRESS IN BACK: Oh, a printmaker. (Price of works drops a little). Wants us to know they get their hands dirty (not bad per se), are in touch with the craft (uhoh, very bad, prices whimper and settle in the low three digits of any denomination). NO PRESS IN BACK: Oh, a real artist. (BUT DO YOU EVEN PRINT yells the true printmaking community) SURE comes the reply, I make prints, but I humbly leave the difficult task of printing them to the amazingly skilled craftsppl I have the honour to work with (SUCH HUMANITARIAN the prices nod in raising approval, clearly an artist who is still in touch with the struggles of the working ppl)
(brb, taking selfie in front of first press I come across, crying)
HONORARY MENTION to all mokuhanga / woodcut printers with your baren / spoons. Couldn’t make up my mind whether y'all just TOO BROKE FOR REAL PRESS (and thus eligible for pity crowdfunding) or on some weird nontoxic zen yoga “art” trip and therefore completely irrelevant. Also: bonus points for everybody who mails me for reals artist portraits with baren visible. I did zero research.
But BHP, what if my pic shows me with printmaking paphernalia other than a press? Like my roller Bessie-Lou or my cool mezzotint knives? - Well, if the mezzotint knife pic isn’t in a TMNT pose a la Raphael about go Renaissance on someone, then you might as well be a car mechanic posing with a monkey wrench (JUST THAT CAR MECHANICS MAKE ACTUAL MONEY, ha!)
Bonus points for spotting the sadness in the eyes of printmaking academics in front of presses “I used to make my own art, you know? now it takes two lines and half a bottle to forget about the last round of crits, and then you remember about the mandatory faculty meeting, for which they’ve made me responsible for the minutes, which is just a thinly veiled payback for me voting down that dumb proposal about that…” (incoherent rambling continues)
but ja anyway, Whistler at his press. Happy weekend everyone
wnussbaum reblogged
illustration by Kate MacNeil
wnussbaum reblogged
Finished roller and roller stand.
Ian Burn ‘No object implies the existence of any other’ , 1967
‘Ian Burn began investigating the act of looking in the mid 1960s. In this work, text across a standard framed mirror quotes from the 18th-century Scottish philosopher David Hume. The original quote continues, ‘if we consider these objects in themselves, and never look beyond the ideas which we form of them’.
The viewer is asked to consider this specific work of art without considering his or her accumulated knowledge and assumptions about either ‘mirrors’ or ‘works of art’ (or the person ‘in’ the mirror). The impossibility of isolating any one thing from all others is emphasised in this conceptual artwork by our reflection in the mirror and that of the space in which it hangs and other art nearby.’ - Art Gallery of New South Wales
wnussbaum reblogged
Mhmmm mhhhmmmm mhhhmm!
8 yummy closer looks at chine-colle prints of older (2013) plates of mine on Italian silk (see full prints minus silk: 33 | No Future, 33 | Black Cats and 33 | Intensity). I love how the ink sits on the fabric. Pls note that the prints on paper were printed with warm Charbonnel 55981 ink, which I chose to leave a lovely plate tone, and the silk prints were printed with Charbonnel RSR ink, wiped rather hard for a cleaner feel of the overall print. Make what you will of that, I had a great time and discovered those scans today ;) *orange dots courtesy of the high res scanner, didn’t notice them while working / before posting. Don’t have the prints anymore, so photoshop it is.
Further reading: https://www.youtube.com/watch?v=Vwyx8_5Dko0
Because why not. #boomerang #lithography
wnussbaum reblogged
tayloryocomart
Half size (Takach) aluminum plate on the Griffin. Again printing a drawing of 육근병 (Yook Kun Byung) #lithography #PARC #Seoul
wnussbaum reblogged
‘Red Window’
3 Colour Screenprint on Somerset Velvet
Andrew Magee
2015
wnussbaum reblogged
‘The Lost Domain’
3 Colour Screenprint on Somerset Velvet
Andrew Magee