For Melissa and Andrew, who met at U-Maryland, and love the Ravens:
Click here for more information.
For Melissa and Andrew, who met at U-Maryland, and love the Ravens:
Click here for more information.
Sometimes invitations that appear in my inbox are too tantalizing to hit “delete”. About six months ago, I received a “Call For Artists” for an event called “Really Big Prints” in Manitowoc, Wisconsin. It was described as an opportunity to create a huge (3’x 5′) woodcut print and have it printed by a steamroller!
The thought of seeing a steamroller re-purposed as a press to create huge works of art was irresistible. Being inexperienced as a woodcut artist, naturally, I jumped at the chance(!) I conferred with my experts, who were generous with their knowledge and time: Ellen Holtzblatt, who makes exquisite woodcuts; and Alex, the owner of McClain’s Printmaking Supplies.
The event requests that each artist (there will be 45 working over 5 days) create an edition of 4-5 prints and donate one copy to the Rahr-West Art Museum in Manitowoc.
I did the drawing and carving in 3 1/2 days. My cutting marks improved as I got a feel for the tools, and gained some fluidity and expressiveness. The final day I started at 10 a.m. and finished at 8 p.m., and didn’t feel the day pass by. Carving is wonderfully addictive; what a joy to lose myself in work that way, and have the calluses on my hands to show for it.
I will post again after the event, with photos and videos.
A wonderful artist and compassionate spirit, Catherine Meyers, from Catherine Meyers Art Blog, invited me to participate in a Blog Tour. It’s been going on for a while, with many wonderful studios involved! So in order to participate, I’ll answer a few questions and then introduce the next couple of artists who will be the next stops on the Blog Tour.
What am I working on? I have been creating works of calligraphy and illumination. I specialize in the Ketubah (illustrated Jewish marriage contract, a folk art.) Since marriage season is in full swing, I’ve been busy writing out texts by hand in calligraphy with hand-painted, customized illustrations. I’ve also been producing art for reproduction, where the image is printed with a digitally-produced text that I generate in a graphics program. Here are some recent works:
I also participated in a gallery show in March at ARC Gallery called Fractured Yet Rising, about violence against women, where I hand-wrote one of my poems on the gallery wall.
How does my work differ from others of its genre? I think of myself as a painter who includes calligraphy, rather than a calligrapher who decorates text.
Why do I write/create what I do? I was raised in a family environment that was richly steeped in my Jewish cultural heritage, and text (reading lots of books, learning to read and write Hebrew as a child) was a big part of this. So, it seems natural that text would be an integral part of my artistic expression, along with narrative imagery. I also am a people person, and I find the collaborative aspect of my work to be very joyous and inspiring.
How does your writing/creating process work? My commissioned work begins with people requesting a ketubah. I interview them and sketch, which leads to the finished work. For work I produce independently, I work with ideas or materials that engage me, and this feels more like play.
So, now you know a little more about me, let me introduce you to the next amazing artists in the tour.
Peggy Schutze Shearn is a Chicago area painter whose work incorporates letterforms, abstract calligraphy and text into colorful semi-abstractions. Her sense of color and pattern is gorgeous.
Nancy Charak is a committed abstract expressionist who makes paintings and drawings in Tucson, Arizona, recently transplanted from Chicago. Her watercolors are sensitive and reflective of nature.
New ketubah: inspired by the beautiful skyline of Chicago, as seen from out on Lake Michigan. This is a new interpretation of an earlier painting, which I created for my son Cameron and his wonderful wife, Blake, for the save-the-date for their wedding:
Blake’s beautiful mom, Raina, just married her beloved, Jeff, and they asked me to create a ketubah for them inspired by the earlier painting I had done for Blake and Cam.
When I look at Raina and Jeff, I can see the sparks fly between them, so I suggested we add fireworks. Raina asked for lots of flowers, which is also appropriate for love, joy and the motto of the City of Chicago: “Urbs In Horto”, which means, “City In A Garden.”
So much joy and fun for our family this year! Blessings and joy to both couples! See it here on my website.
My new ketubah design is available on museum quality paper or canvas, for more information click here.
Are you interested in the socio-political aspects of typography and calligraphy? Check out this article about Jan Tschichold, calligrapher and graphic designer: persecuted by the Nazis for his modern, sans-serif, asymmetric design (and Communist leanings); later distrusted by the English while he worked for Penguin Books (as a German.)
The article touches on the Nazi relationship to black-letter type. On the one hand, they promoted it as part of their national identity; on the other, it ran counter to the fascist embrace of the streamlined style of Futurism.
I get a funny feeling when someone brings me a piece of my work from decades ago. I’m nervous. Will the work look awkward? Will it look amateurish? Will this work of art be the painted equivalent of looking in a mirror and seeing a juvenile version of myself, with braces on my teeth and pimples on my face?
The oddest thing is when I don’t even remember the work. I look at it, and I recognize the style, it’s unmistakably mine, yet I have no recollection of having made it.
The ketubah pictured here was made for a dear friend’s wedding in 1983. I must have been in a hurry, because I didn’t get a photo of it, which is very unusual for me. She moved with it far away, and I didn’t see it (although I have seen her) for at least 25 years.
She recently loaned me the ketubah so I could photograph it for my portfolio. I never did a similar work, before or since. The arches in the ketubah are cut into 4-ply ragboard, so there is a layered, dimensional quality. I used metallic gold ricepaper, which is still shiny. I was in a phase of using silhouetted dancers in my paintings, they appear here.
I look in the mirror of the past, and I see my younger self, smiling and joyous for my friend.
What is it like for you, when you see something you made many years ago?
“Fractured Yet Rising” is a juried multi-media exhibition of works on the subject of violence against women. In addition to works submitted by artists, the artist-members of ARC, a women’s co-op gallery, worked with residents of a domestic violence shelter on collaborative pieces, giving voice to their experiences.
Dates: March 5-29, 2014. Details here.
JAMEEL PRIZE EXHIBIT, VICTORIA & ALBERT MUSEUM, LONDON (through April 21, 2014)
The Victorian & Albert Museum is focused on design and decorative arts. According to the V&A website, the Jameel Prize “ is an international award for contemporary art and design inspired by Islamic tradition. Its aim is to explore the relationship between Islamic traditions of art, craft and design and contemporary work as part of a wider debate about Islamic culture and its role today.”
In addition to viewing the exhibit, I attended a panel discussion at King’s College, London, about the exhibit. The panelists I quote here were:
According to Tim Stanley, the history of the V&A is bound up with Islamic design from the beginning. In the 1830’s, Britain realized it had industry, but no design education. Owen Jones, the author of the classic Grammer Of Ornament, was a Welsh architect who travelled to the Middle East in the 1830’s. He published a work about Moorish ornament on the Alhambra, which led to his involvement with the Great Exhibition of 1851, the Government School of Design and the creation of the V&A Museum.
The Jameel Prize, an international award for contemporary art and design inspired by Islamic tradition, began in 2006. Curators, gallerists and art historians from around the world recommend artists for participation.
Reedah El-Saie, Director of Mica Gallery, said the strongest unifying theme in the exhibit is calligraphy, which brings the past into the present. She pointed out, “Calligraphy is the strongest tradition of Islamic art.” As a gallery director, she says that calligraphy sales in auction houses are huge—“booming.” She said that her gallery can’t keep up with the demand. Forty percent of the collectors of Arabic calligraphy served by Mica Gallery are from the non-Islamic world.
The V&A website has wonderful videos about each artist, but I will mention two here:
NASSER EL SALEM: He presents the world “Kul” (all) in hand-written, contemporary calligraphy: black ink on white paper, very stylized, both modern and traditional. Next to it, a devotional phrase is created by the peaks on a heart monitor. As Ms. El-Saie pointed out, “The heartbeat shows Islamic art is alive—the past is so relevant to the present—it is a living organism. You can’t separate Islamic calligraphy from the Divine message in which it’s rooted.”
PASCAL ZOGHBY is a font-designer. Arabic fonts are very new—they were only created in the 18th century. Zoghby created a huge concrete carpet, similar to tatami mats from Japan (his birth-place) and also traditional Islamic carpets. Each panel of “carpet” contains Arabic letters in fonts by his design. Each section has one letter that is inlaid with mother-of-pearl. The “fringe” on the “carpet” is made from strings of steel ball-bearings. He incorporates the play of hard materials against expectations of softness, and puts letters where we would not expect to see them. One could say that the letters underfoot are our foundation.
In addition to the Jameel Prize, I observed Islamic ornamental design as an influence in the current fashion collection of designer Roberto Cavalli, in the shop windows of Knightsbridge.
(also see this review on The Culture Trip )