Entry: Anderson Gallery

I entered the Anderson Gallery Student Exhibition last week. Sadly, I did not get in. Proof below:

Artist: Fred Tomaselli

Tom introduced me to Fred Tomaselli's work a few weeks ago in Alternative Processes and Techniques, and I immediately thought of how it related to my Senior Portfolio work through image making technique.

Fred Tomaselli is an American artist known for his unconventional methods and materials for creating his large mixed-media paintings/collages. Most of his works include unorthodox items suspended in resin on wood panels (see Hang Over below, made of pills in resin.)

Aside from the use of collage, our work seems to be related in that it is very personal. My collages speak about my life and feelings, and Tomaselli's depict his interests. Of his work, Tomaselli says "I want people to get lost in the work. I want to seduce people into it and I want people to escape inside the world of the work. In that way the work is pre-Modernist. I throw all of my obsessions and loves into the work, and I try not to be too embarrassed about any of it. I love nature, I love gardening, I love watching birds, and all of that gets into the work. I just try to be true to who I am and make the work I want to see. I don’t have a radical agenda."

Please see a few of my favorites from Tomaselli below, and check out White Cube Gallery's Fred Tomaselli page here.

Fred Tomaselli, Study for Big Hummingbird, 2004
Mixed media, photo collage, acrylic, resin on wood panel

Fred Tomaselli, Hang Over, 2005
Leaves, pills, acrylic and resin on wood panel, 84x120 inches

Fred Tomaselli, Airborne Event, 2003
Mixed media, acrylic paint, resin on wood, 84x60x1 1/2 inches

Research: Photoshop Technique #4

Last semester, I upgraded to a MacBook Pro(!) and Photoshop CS4. I honestly did not use Photoshop that much last semester, and have only recently attempted to perfect some of my collage images before printing them. Much to my dismay, I realized that CS4 is very different, and I do not know how to use layer masks anymore. This is horrifying, because layer masks are my favorite way of selectively correcting color, exposure, et cetera. So this week I found a video on YouTube that walks you through the new process for layer masking. It's way more complicated now, but still so useful. Check it out:

Entry: Hearst 8x10

I entered my collages into the Hearst 8x10 contest tonight. Fingers crossed!

Lecture: Sanford Biggers

I was really happy to have attended the Sanford Biggers lecture yesterday afternoon. Although I was unsure of my feelings towards his method of speaking about his work - I often felt like he was unclear or even unsure in his explanations - and it was slow-moving at times, I enjoyed the lecture, seeing his work, and hearing about his travels and experiences.

An excerpt from his website biography reads: "A native of Los Angeles, California, and current New York resident, Sanford Biggers uses the study of ethnological objects, popular icons, and the Dadaist tradition to explore cultural and creative syncretism, art history, and politics. An accomplished musician, Biggers often incorporates performative elements into his sculptures and installations, resulting in multilayered works that act as anecdotal vignettes, at once full of wit and clear formal intent. Biggers has won several awards including: The Creative Time Travel Grant, Creative Capital Project Grant, New York Percent for the Arts Commission, Art Matters Grant, New York Foundation for the Arts Award in performance art/multidisciplinary work, the Lambent Fellowship in the arts, the Pennies From Heaven/ New York Community Trust Award, Tanne Foundation Award, Rema Hort Mann Foundation Award Grant, James Nelson Raymond Fellowship from the School of the Art Institute of Chicago, and a Camille Hanks-Cosby Fellowship."

The first work that Biggers showed at the lecture was his collaboration with David Ellis, Mandala of the B-Bodhisvattva II, which consists of a hand-cut linoleum floor inspired by Buddhist Mandalas. The two artists created the floor, donated it to a breakdancing competition in the Bronx, and it has been showing in various museums since. Biggers mentioned that at every venue the floor shows in, they make an agreement that it must be available for dancers to use (see video below.)

After the Mandala, my favorite piece was Blossom, a sculpted tree growing out of an actual player-piano, with Biggers' own version of Billie Holiday's Strange Fruit playing on a loop. This work in particular deals with issues of race and discrimination, and was shown at the Prospect. 1 Biennial, New Orleans in 2007.

Please check out some of my favorite images documenting his work and the videos below, and visit Biggers' website here. His website is very thorough, and includes tons of images from his past and present work, as well as the other videos he shared at the lecture, Small World, and Cheshire.

Sanford Biggers, Blossom, 2007

Sanford Biggers and David Ellis, Mandala of the B-Bodhisvattva II
2000

Research: Paper Types

After talking to Courtney I discovered that the cost of using the printers at Pollak is only $4/square foot. I think that will work out to be relatively affordable for my purposes, so this week I've been shopping around for rag paper. Below are a few options that I found.

Magiclee Torino Canvas Rag: a highly textured canvas-like paper. 100% cotton, satin surface, and claims to have high color accuracy. The long description on Calumet Photo sounds amazing, but I'm not sure how I feel about the heavy texture. I think I definitely want something that isn't smooth, but I may not want a canvas texture.


Moab Entrada Rag: An affordable option at $119 for a 24"x40' roll. Unfortunately this one has an exceptionally bright white surface and I'm not sure how I feel about that. Some good features include that it is dual-sided, waterproof, and 100% cotton.

Museo Silver Rag: Cheaper option at $149 for a 24"50' roll. Has a semi-gloss look (claims to be like fiber photo paper), is 100% cotton, and claims to have superior tonal range.

Hahnemuhle Photo Rag Satin: Has a satin finish where color is printed, white remains matte. 100% white rag, smooth surface, with good surface variation.

Artist: Rick Begneaud

In searching once again for mixed media artists, I found Rick Begneaud this week. He creates collages/assemblages using appropriated images, strips of cloth, and paint. I'm drawn to the color and texture of his work, and I particularly enjoy his collages that incorporate a figure, bringing a human element to an otherwise abstract world.

While reading this brief biography found on his website, I made the interesting discovery that Begneaud is Robert Rauschenberg's nephew: The works of Rick Begneaud are born of place and experience. The impetus for his exotic, collaged inventions began in the heart of Cajun country where he was raised, and then later on, in his travels as the nephew / studio assistant / sidekick to the legendary Robert Rauschenberg. Frayed and bold fabrics seem perfectly right next to photographic reproductions and other ephemera, but most indicative of his “paintings” are the reverberating color and the sense of
formal composition turned on its head, leaps of faith that give the work their unique signature.

Gallery Owner, Don LeBlanc, states, “Rick’s got a very contemporary approach to image making. He uses found materials--patterns, fabrics, printed materials, appropriated photographs, diagrams. Ready-mades. He creates his own world on the surface of the work rather than painting a picture of the world.”

Rick Begneaud currently lives in California and continues to create and show his work. Please visit his website here, and check out a few of my favorites below.

Rick Begneaud, Eagle for Now
collage and paint on canvas, 24x24 inches

Rick Begneaud, Fava Prayer
collage, transfer, and paint on canvas over panel, 47x31 inches

Rick Begneaud, Rue
collage and paint on canvas over panel, 39x22 inches

Extra Post: Image Update

I just wanted to post these collages again. They have been modified since my last meeting with Tom and their last appearance on the blog. I think I like them!

Research: Where to Print

I know, I've blogged about this before! But things change. In this case: technique, scale, funds, and paper types have all changed. Last semester I was simply looking for a place to print my collage elements - I thought that was all I'd need because I never thought I'd be re-photographing my collages in the end. Surprise, surprise.

This semester, I have spoken to Tom several times about what kind of paper I should print my re-photographed collages on, and we have always come to the same conclusion: rag. It looks and feels weighty, important, meaningful. It's also EXPENSIVE. So ... where to print?

I called Action Photo in Carytown last week and was disheartened (but not surprised) to hear that they charge $55 for an 18x24, which is probably the smallest I'd be willing to go for exhibition prints. I didn't think to ask what an 11x14 would cost, but I'll be sure to do that since that size is far more reasonable for my portfolio box.

On a happier note, I looked at El-Co Color's website tonight and was pleased to see that they are at least a little cheaper than Action. And El-Co seems to be good about giving price breaks on large orders, so if I end up ordering all of my 11x14s from them I could be in good shape as far as expenses go.

The last option I explored was Keith Fabry, on Cary Street. They do not list rag paper as an option, but I know that they do direct printing (printing on just about any surface) which leads me to believe I could bring my own paper in for them to print on. I find this to be the most appealing option. I'd LOVE to go pick out the exact type of paper I want and then have it professionally printed. I can't wait to call them and find out how much that would cost!

So, I now have a few options to try out. I'm going to work on getting some samples together next week, and hope to have a solid plan for my final prints soon.