tag:blogger.com,1999:blog-33403100622690569612024-02-20T15:11:24.751-05:00Deconstruction / Art ContemplationsWilliam Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.comBlogger280125tag:blogger.com,1999:blog-3340310062269056961.post-73167776193971412362020-06-11T10:29:00.002-04:002020-06-11T10:29:52.945-04:00Archived Blog<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://www.williamevertson.com/" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="451" data-original-width="1500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVX1GJZZwLRNmFeXwD2RFuwJYdWmOfsLgWMrxmRNlnAHdQeEN69Sy8GgzNeq6IdR3c8Dc_LqYj04-1mnSaYfRQVPVmtF9AhJb_pw-NIvqWos31IcxR15sHgD9zBGuOo1s7T7391SrKenpM/s320/evertson_tippingpoint_web.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><b><br /></b></div><div class="separator" style="clear: both; text-align: justify;"><b><font size="4">I have archived this blog. For currant work you can visit my <a href="https://www.williamevertson.com/" target="_blank">website</a> or visit my social media either on <a href="https://www.instagram.com/williamevertson/" target="_blank">Instagram</a> or visit my <a href="https://www.youtube.com/user/williamevertson" target="_blank">YouTube</a></font></b></div>William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-86869167741025408292015-03-24T18:05:00.001-04:002015-03-24T18:05:30.610-04:00The Left Front<div class="separator" style="clear: both; text-align: center;">
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"Severe economic downturn. a dysfunctional government. Wall Street bailouts. Public protests and police clashes. A president accused of "socialism." Struggles for immigrant and minority rights. The threat of military conflict abroad and social turmoil at home: </blockquote>
The United States in the 1930's<br />
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<span style="font-size: x-small;">(Quoted from John Paul Murphy's exhibition essay)</span></div>
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Art catnip for the printmaker and a timely premise for an exhibit. The Grey Art Gallery (100 Washington Square East, NYC) has this thought provoking exhibit up until April 4th. Any similarities to our current political climate is entirely intentional I'm sure. This fresh look at the work of artist activists during the 30's gives an interesting backdrop for examining the canon of political art.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7TpP-R4CrHcWqf2PSqyIYp-yRdU2KfA1VGIqYHgdi6m-dmPd30TBctQULij3SwOC6uKRQm554r94hR2upvEScKrBSxNquNc1AtxTR6APhz78ag1adbQE6m983gjAz9KwaXA6FLVYvi-9H/s1600/Mitchell+Siporin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7TpP-R4CrHcWqf2PSqyIYp-yRdU2KfA1VGIqYHgdi6m-dmPd30TBctQULij3SwOC6uKRQm554r94hR2upvEScKrBSxNquNc1AtxTR6APhz78ag1adbQE6m983gjAz9KwaXA6FLVYvi-9H/s1600/Mitchell+Siporin.jpg" height="400" width="323" /></a></div>
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<span style="font-size: x-small;">Mitchell Siporin, woodcut, <i>Workers Family</i> 1937</span></div>
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<span style="text-align: left;">As Lisa Corrin, director of the Block Museum points out, many of the artists featured in this exhibit paid for their political beliefs by being blackballed or otherwise shunned by the art world. Probably because of the non-commercial nature and political charged content many of the the works represented here were powerful images yet many of the artists name were unfamiliar to me.</span></div>
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<span style="text-align: left;"><span style="font-size: x-small;">Bernece Berkman, woodcut, <i>Toward a Newer Life</i>, 1937</span></span></div>
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Many of the works are by artists affiliated with either The John Reed Clubs or the American Artists' Congress. Referred to as the "Red Decade" the 1930's saw increased agitation for progressive social change among intellectuals, writers and visual artists. By the decades' end many artists had become disillusioned with their support of Communism under Stalin.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv4zCJkgFWp1FsV6zugX6Im7t_Q_CU41bUvJ4gtAeU-upaBkRlZ3BwQbkEs-TB0A0adX3KTdMhLz80qSfJ6HOMRFTCQlsADG1rkiInwl4r6XWlmeWrajrLLBaJFLsVTCsUOArJfkTRMhaL/s1600/Aleksei+IIyich+Kravchenko.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv4zCJkgFWp1FsV6zugX6Im7t_Q_CU41bUvJ4gtAeU-upaBkRlZ3BwQbkEs-TB0A0adX3KTdMhLz80qSfJ6HOMRFTCQlsADG1rkiInwl4r6XWlmeWrajrLLBaJFLsVTCsUOArJfkTRMhaL/s1600/Aleksei+IIyich+Kravchenko.jpg" height="400" width="300" /></a></div>
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<span style="font-size: x-small;">Aleksei Ilyich Kravchenko, wood engraving, <i>On the Barricades</i>, 1925</span></div>
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As co-curator Jill Bugajski points out in her essay; "...the budding USSR became an inadvertent role model for groups the world over seeking to elevate the working class and combat exploitative old-world monarchies or new-world industrial oligarchies."</div>
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The worst recession since the Great Depression led to the creation of the Occupy protest movements and a resurrection of our interest in how artists react to social climates of economic disparity, social injustice and corruptions of the political system.</div>
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The print as a mode political statement derives from their reproducibility and ease of dissemination into "public" hands. The art on display at the Grey Art Gallery is both sobering and yet full of optimism that it has the power to change society.</div>
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<span style="font-size: large;">The Left Front: Radical Art in the "Red Decade," 1929-1940 in on view through April 4, 2015 at the Grey Art Gallery/New York University, 100 Washington Square East, NYC.</span></div>
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<a href="http://www.nyu.edu/greyart/index.html" target="_blank"><span style="font-size: large;">Exhibition Link</span></a></div>
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William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-61599056976143101262015-02-12T19:52:00.000-05:002015-02-12T19:52:37.698-05:00Icarus<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUljIpEBIUGg73M0L71-WeQQIJQPXb3pBb79mC0zwWHwHvtsExeX_KomNJPpeAzJOy8Fg2pn06RGU_MJZgoZ252eyQLsyreqKfLja8U7FcRl0UkYyahxtskAYiNGGsuOY99DVzZG9BKRtt/s1600/Icarus_final_web+res.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUljIpEBIUGg73M0L71-WeQQIJQPXb3pBb79mC0zwWHwHvtsExeX_KomNJPpeAzJOy8Fg2pn06RGU_MJZgoZ252eyQLsyreqKfLja8U7FcRl0UkYyahxtskAYiNGGsuOY99DVzZG9BKRtt/s1600/Icarus_final_web+res.jpg" height="640" width="444" /></a></div>
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Icarus - woodcut - 48" x 32" ©2015 William Evertson</div>
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I have several inspirations for my interpretation of the Icarus story. The first is the painting by Pieter Bruegal, <i>Landscape with the Fall of Icarus. </i>(attribution is regarded as doubtful by some)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv7EUaji4Z-ydkcUR7RnvFo-vTwJ6ZnjZr3HY9R9xmoF4sYZbSEf0VJcIRGqQu3mZj4SxETLS3CVSogej7P611JdpF52ihUB3YfTxWVaXCBePuGrY-Iqi_DS2HyI0yu5fcVRIZKpTay8pt/s1600/Pieter_Bruegel_de_Oude_-_De_val_van_Icarus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv7EUaji4Z-ydkcUR7RnvFo-vTwJ6ZnjZr3HY9R9xmoF4sYZbSEf0VJcIRGqQu3mZj4SxETLS3CVSogej7P611JdpF52ihUB3YfTxWVaXCBePuGrY-Iqi_DS2HyI0yu5fcVRIZKpTay8pt/s1600/Pieter_Bruegel_de_Oude_-_De_val_van_Icarus.jpg" height="255" width="400" /></a></div>
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In Greek mythology, Icarus succeeded in flying, with wings made by his father Daedalus, using feathers secured with wax. Ignoring his father's warnings, Icarus chose to fly too close to the sun, melting the wax, and fell into the sea and drowned. In this painting his legs can be seen in the water just below the ship. There is also a Flemish proverb (of the sort imaged in other works by Bruegel): "And the farmer continued to plough..." (En de boer ... hij ploegde voort") pointing out the ignorance of people to fellow men's suffering.[</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpFmbB-Y8KIbgAyFQE_svIQav74KXypKsaluGvR0zlC53Id2RSHQF7fIhQjPJxAi4m_vHMIE4OvSSvH5cOd3MYfSoIbaZccoVJ2nHh0-baSnq987SnEXbX1euBEQUfd5vObOB0LpHurfr_/s1600/Der_Sturz_des_Ikarus_(Ausschnitt).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpFmbB-Y8KIbgAyFQE_svIQav74KXypKsaluGvR0zlC53Id2RSHQF7fIhQjPJxAi4m_vHMIE4OvSSvH5cOd3MYfSoIbaZccoVJ2nHh0-baSnq987SnEXbX1euBEQUfd5vObOB0LpHurfr_/s1600/Der_Sturz_des_Ikarus_(Ausschnitt).jpg" height="371" width="400" /></a></div>
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Detail from painting above. The fisherman as well as the shepherd and plowman continue to work oblivious to the plight of Icarus.</div>
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My second inspiration is the poem by William Carlos Williams also entitled <i>Landscape with the Fall of Icarus.</i></div>
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According to Brueghel</div>
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when Icarus fell</div>
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it was spring</div>
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a farmer was ploughing</div>
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his field</div>
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the whole pageantry</div>
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of the year was</div>
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awake tingling</div>
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near</div>
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the edge of the sea</div>
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concerned </div>
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with itself</div>
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sweating in the sun</div>
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that melted</div>
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the wings’ wax</div>
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unsignificantly</div>
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off the coast</div>
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there was</div>
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a splash quite unnoticed</div>
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this was</div>
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Icarus drowning</div>
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This piece is a first for me as the image was worked out as I carved. I began by direct sketching on the cherry plywood instead of my usual method of transferring a drawing on paper that I carve through. Perhaps this is my instance of trying to fly close to the sun but it was my attempt at a looser and more direct relationship to the wood. This image below show a preliminary position for the figure of Icarus in his relation to the wings, sun and waves.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2_9glkQiiwqjzeO6ha4bSjej4eFLh-6UMCfXz0Ax2BQhZbZCh7j6Ohj3FzrRWRRcShl7tSqoHPe4PQHv9fpWVtIfP-1aah7Mb5KNWKhB0Q1CHCmbLtKoTOZuheyIToABVTRcctlLnR0fH/s1600/615175_10204895034229912_7394177563282078702_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2_9glkQiiwqjzeO6ha4bSjej4eFLh-6UMCfXz0Ax2BQhZbZCh7j6Ohj3FzrRWRRcShl7tSqoHPe4PQHv9fpWVtIfP-1aah7Mb5KNWKhB0Q1CHCmbLtKoTOZuheyIToABVTRcctlLnR0fH/s1600/615175_10204895034229912_7394177563282078702_o.jpg" height="400" width="300" /></a></div>
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<span style="font-size: x-small;">First sketch and beginning the carving of the feathers.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhevqGrSGduuGnpPQqa0h3b-H4pwwvP9ZLdF_JydygLEQ-DKFq_PILFlcZV9Qh-km96ozo9_3kjNYFtIXM4PT2gPb_MUOo1_mOl1M5_LpDr2Y8EWlB73dSCumIndfnUE4WAgG_hICxeQqXp/s1600/10687249_10204872982678637_4341912356366958934_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhevqGrSGduuGnpPQqa0h3b-H4pwwvP9ZLdF_JydygLEQ-DKFq_PILFlcZV9Qh-km96ozo9_3kjNYFtIXM4PT2gPb_MUOo1_mOl1M5_LpDr2Y8EWlB73dSCumIndfnUE4WAgG_hICxeQqXp/s1600/10687249_10204872982678637_4341912356366958934_o.jpg" height="300" width="400" /></a></div>
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<span style="font-size: x-small;">Detail of the feathers</span></div>
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The only detail that kept changing over the course of the two to three weeks of carving was the figure of Icarus and the position of the sun. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhaWik8wm-EU0Y2pLHpzZ_h-P2nuSpQ1PmMfqdJDqpPG5VSIfWMN0uRtKe8uGctWGk_UJEFKzJn6zyLARf0BOg6igl60f7W0x5kj_mW8LQa0-rM2oof2wvAHmbAok4WT1pg1YffSgmtAj-/s1600/10560271_10204957165583157_932133174081841125_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhaWik8wm-EU0Y2pLHpzZ_h-P2nuSpQ1PmMfqdJDqpPG5VSIfWMN0uRtKe8uGctWGk_UJEFKzJn6zyLARf0BOg6igl60f7W0x5kj_mW8LQa0-rM2oof2wvAHmbAok4WT1pg1YffSgmtAj-/s1600/10560271_10204957165583157_932133174081841125_o.jpg" height="400" width="298" /></a></div>
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Eventually, the head and hand position became more obvious during the carving of the waves. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrj3dPasQ8yxJTOXj_keurGL-iU_lpoLYQS0tnfdwzSGJVeeOYd3VguSVBOT2aUPJeK74b8x1nbNkY9WqP07IrhDgRRfdvWF7MqfO_YsYpIcwc2hBnd6hr2Kocj1A-CZWAeEpgzPPcVwT9/s1600/10959935_10204980323282085_9049660685915881287_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrj3dPasQ8yxJTOXj_keurGL-iU_lpoLYQS0tnfdwzSGJVeeOYd3VguSVBOT2aUPJeK74b8x1nbNkY9WqP07IrhDgRRfdvWF7MqfO_YsYpIcwc2hBnd6hr2Kocj1A-CZWAeEpgzPPcVwT9/s1600/10959935_10204980323282085_9049660685915881287_o.jpg" height="400" width="300" /></a></div>
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<span style="font-size: x-small;">Finished carving</span></div>
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<span style="font-size: x-small;">Copies of the edition drying in the studio.</span></div>
William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-24100694668873517192014-10-13T19:52:00.001-04:002014-10-13T19:52:49.391-04:00International Mokuhanga Conference 2014<div class="separator" style="clear: both; text-align: center;">
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The International Mokuhanga Conference 2014 became the start of a memorable trip to Japan. I was honored that one of my works was selected for the International Open Exhibition. A reward that became much more valuable as I saw the quality of printmaking on display in Tokyo.<br />
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Mokuhanga is simply relief prints made by hand using a baren and water-based pigments; a technique greatly admired and arguably perfected in Japan. I learned the basics of this technique from traditionally trained Keiji Shinohara almost a decade ago and am still finding new ways of expression. A rare but exciting medium and as such fosters a supportive community.<br />
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This (second) conference was a valuable venue for artists, curators, academics and the manufacturers of paper, brushes, blocks and barens to connect.<br />
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My Photobooth Kabuki piece on display</div>
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<span style="font-size: x-small;">In this wonderful venue; the Chinretsukan Gallery, Geidai Art Plaza, Tokyo</span></div>
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I especially enjoyed the demonstrations; </div>
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Makaoto Nakayama demonstrated gold skills</div>
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I'm not sure when I'll be printing over gold leaf but now I know the basics, so who knows! Very difficult art technique from the Kyoto master.</div>
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I also had the opportunity for a short lesson from master printer Takuya Okada. </div>
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Takuya Okada holds one of the blocks he will be printing from.</div>
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A finished print. This was a demonstration of how a contemporary print is made using traditional methods. In this case the publisher, Takahashi Kobo, selected the artist, Meo Saito who produced a sketch, the carving was completed over the summer by Tsunehisa Sato and finally printed at the demonstration by Takuya Okada.</div>
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An exciting demonstration by Seiichiro Miida using his handmade "crazy barens"</div>
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Otherwise our days were filled with lectures and presentations on every topic ranging from the history of mukuhanga to the most contemporary aspects. Many residency programs presented details on their offerings. Tool makers, papermakers also put on a trade fair </div>
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Overall the conference ran smoothly, attesting to three years of what I imagine was extraordinary effort on behalf of the organizing committee. Tokyo University of the Arts in the Ueno District of Tokyo was a generous and inspired host for the the event.</div>
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<span style="font-size: large;"><a href="http://www.printeresting.org/2014/10/05/2nd-international-mokuhanga-conference-part-1/" target="_blank"><span style="color: #990000;">Link to an excellent photoset of the main location at Tokyo University of the Arts</span></a><span style="color: #cc0000;">,</span><span style="color: #cc0000;"> (</span>Geidai<span style="color: #cc0000;">)</span></span></div>
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<a href="http://www.printeresting.org/2014/10/05/2nd-international-mokuhanga-conference-part-2/" target="_blank"><span style="color: #cc0000; font-size: large;">Link to an excellent photoset of the satellite venue, 3331 Arts Chiyoda</span></a></div>
<br />William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-39466783889810298352014-06-16T16:54:00.003-04:002014-06-18T07:42:44.882-04:00Big Ink<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;">© William Evertson 2014 - As printed during BIG INK</span></div>
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Back in March of this year I sketched out a piece in pastels that became the basis for the large woodcut I recently completed for BIG INK. BIG INK was a two day printing event for invited artists organized by Lyell Castonguay at Zea Mays Printmaking in Florence, MA. (see links for Zea Mays and Lyell at the bottom)<br />
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Twelve artists who work with large scale woodcuts were invited to use the 42″ x 70″ Takach etching press in the Annex Studio. Each artist would make three prints, two for their portfolios and one for future BIG INK exhibits.<br />
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<span style="font-size: x-small;">"<i>Protect Yourself</i>" Sketch from March 2014 - © William Evertson</span></div>
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This piece developed from the phrase "Life is a Bowl of Cherries" which I discussed in an earlier post concerning another version of this work <a href="http://billevertson.blogspot.com/2014/03/life-is-bowl-of-cherries.html" target="_blank"><span style="color: #cc0000;">HERE</span></a>. I'll speak more to the inspiration at the end of this post.</div>
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<span style="font-size: x-small;">Detail of the block for <i>Bird on a Wire</i></span></div>
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The planning for the BIG INK piece which is 32" x 44" began with a small 11" x 17" study block since I rarely print only in one color and the event was for single black ink pieces only. I carved this small block in about a day and it gave me an idea how long the larger more detailed piece would take. (about three weeks)</div>
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<span style="font-size: x-small;">Finished print, <i>Bird on a Wire</i> - © William Evertson 2014</span></div>
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The original pastel was 16" x 22" so I created a full size ink drawing on a thin paper to be glued to the cherry plywood. The drawing is pasted face down and I carve right through the paper. You will see from the finished block and print that the drawing is only a guide. Over the course of three weeks the process of carving resulted in some changes and additions. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis24aQ2GmtP1e5YS6Kdyd_jwTFf3tgJH4pxHNr1U1czsVQzerr8styB_yP-R-KFy_LAvev1SJic48Cue7PNimu5TQJeW3Uu1-jDhh4oXY9YJriN-GwsBdf9k-lIhRIJD2sppjratZEcVTE/s1600/bw+mock+up.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis24aQ2GmtP1e5YS6Kdyd_jwTFf3tgJH4pxHNr1U1czsVQzerr8styB_yP-R-KFy_LAvev1SJic48Cue7PNimu5TQJeW3Uu1-jDhh4oXY9YJriN-GwsBdf9k-lIhRIJD2sppjratZEcVTE/s1600/bw+mock+up.jpg" height="400" width="292" /></a></div>
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<span style="font-size: x-small;">Black ink and wash drawing before gluing to the block</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKKgmBT9HuumwPtFzudUsCnGJ-SLcxbMEsGesiJapkuHDow5yKGZ2llEkFn0fTmefensGJyJ36L7tWrqCyv2Ym61s088j-zR93IZxE38ZVFi4FEGwXnrnWaFHwXm8S3Hxht0z4Sls98mHs/s1600/IMG_3044.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKKgmBT9HuumwPtFzudUsCnGJ-SLcxbMEsGesiJapkuHDow5yKGZ2llEkFn0fTmefensGJyJ36L7tWrqCyv2Ym61s088j-zR93IZxE38ZVFi4FEGwXnrnWaFHwXm8S3Hxht0z4Sls98mHs/s1600/IMG_3044.jpg" height="400" width="300" /></a></div>
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<span style="font-size: x-small;">Early progress on the block</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjunsuMle7I4KQPmUuOlPkh83dQSDoxX2ERTCsPThYeczN9WQFVYS2v5jYtEatAyldqBXKv8kIghNM1clCDAbahWr-Bn-1xGR7DtpHYL488Iwq-wuxDyELJz_ODh5-Gmc6n5UpvtjX5XW8q/s1600/IMG_3051.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjunsuMle7I4KQPmUuOlPkh83dQSDoxX2ERTCsPThYeczN9WQFVYS2v5jYtEatAyldqBXKv8kIghNM1clCDAbahWr-Bn-1xGR7DtpHYL488Iwq-wuxDyELJz_ODh5-Gmc6n5UpvtjX5XW8q/s1600/IMG_3051.jpg" height="400" width="300" /></a></div>
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<span style="font-size: x-small;">Similar detail to the <i>Bird on a Wire</i> trial piece</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMvYQXmzzeoPnc8gdy6Cj03-fBruzl28UGvyLfUdT5mKSIVK-RtASKUa7Bh94MEh9CYU5-LXw1cAc_ohFxyPoIP1aPFE7yJ7M3ycElDoA9vg9ldwqaCneSEf_HXRYR_9ox9p2vFqaPaUTh/s1600/IMG_3053.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMvYQXmzzeoPnc8gdy6Cj03-fBruzl28UGvyLfUdT5mKSIVK-RtASKUa7Bh94MEh9CYU5-LXw1cAc_ohFxyPoIP1aPFE7yJ7M3ycElDoA9vg9ldwqaCneSEf_HXRYR_9ox9p2vFqaPaUTh/s1600/IMG_3053.jpg" height="300" width="400" /></a></div>
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<span style="font-size: x-small;">The storm clouds in the upper portion inspired the waves for the lower portion</span></div>
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<span style="font-size: x-small;">The title is carved into the block "Life is a Bowl of Cherries. Protect Yourself with Essential Geometries</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK50GrOOkowGJDlKNxYHByiv2v2jX5RKYyTWmE2uAI5E_gSh7mceUdY2nXoGq2WLNEmcj2vOaxJSfdmkp2BxGJ8hu79gB9imKnCJDihpjr7bLep6JVM8OKY7tOxuQfiVA5D6mN9P1M1Grr/s1600/IMG_3064.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK50GrOOkowGJDlKNxYHByiv2v2jX5RKYyTWmE2uAI5E_gSh7mceUdY2nXoGq2WLNEmcj2vOaxJSfdmkp2BxGJ8hu79gB9imKnCJDihpjr7bLep6JVM8OKY7tOxuQfiVA5D6mN9P1M1Grr/s1600/IMG_3064.jpg" height="400" width="300" /></a></div>
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<span style="font-size: x-small;">Finished block before inking</span></div>
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BIG Ink printing day at Zea Mays began on Sunday, June 15th with five of the selected artists working together to pull the oversize prints. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoDaMMz104jJ6MvdvFCCC_fN8u-Sm4Mhzv2qkfzHnlVhhP44ddKc0UbTeh67XVWplMg-aG2ZrhDJYcrPPs1bqrwj-1_K_v9ibxNo4hjmABYbDDsgPCZi-m9Kx0g688OEbklIUpe5mpy3v6/s1600/IMG_3135.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoDaMMz104jJ6MvdvFCCC_fN8u-Sm4Mhzv2qkfzHnlVhhP44ddKc0UbTeh67XVWplMg-aG2ZrhDJYcrPPs1bqrwj-1_K_v9ibxNo4hjmABYbDDsgPCZi-m9Kx0g688OEbklIUpe5mpy3v6/s1600/IMG_3135.jpg" height="320" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoagwPhk3BEZ8zXtW9Hde9e0pHHpJZZQIRAwQSZwqJN-EFlD-fXiks3hx_waNolbO1PHtcQeEl8MIdIP-OfwZwkeG37oY8quB0j_fNCC4gnt6y14KL7chILQGEaDY4UeUyCKQqyGP8WAq3/s1600/IMG_3148.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoagwPhk3BEZ8zXtW9Hde9e0pHHpJZZQIRAwQSZwqJN-EFlD-fXiks3hx_waNolbO1PHtcQeEl8MIdIP-OfwZwkeG37oY8quB0j_fNCC4gnt6y14KL7chILQGEaDY4UeUyCKQqyGP8WAq3/s1600/IMG_3148.JPG" height="240" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie_8xNha8nzmMoFyrghG7pU6PAcNrzBcZslSLxnDjdj7jQ_VnjVMfpE4PbSseCEzkVZ7KJnKuqV-9DCn1WupqEB2OdVZ9kAAdXrsBrfk3NuTxD54fILIlxOn2mMvOGddYOO_gfTFzfm5A5/s1600/IMG_3147.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie_8xNha8nzmMoFyrghG7pU6PAcNrzBcZslSLxnDjdj7jQ_VnjVMfpE4PbSseCEzkVZ7KJnKuqV-9DCn1WupqEB2OdVZ9kAAdXrsBrfk3NuTxD54fILIlxOn2mMvOGddYOO_gfTFzfm5A5/s1600/IMG_3147.JPG" height="240" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijFshuNq_l5iFg47zq4xPWb-qVrCSBVAPmkiRqfjKzEKXugi3t7PARz18umMhypnD4LKfXWWBGPUXRIQmUAvre2GbcEduzu8MWjsDsJnw3IFZfTRWdf371dol6-0dvDoUO6OK9ENqK-Aw3/s1600/DSC05162.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijFshuNq_l5iFg47zq4xPWb-qVrCSBVAPmkiRqfjKzEKXugi3t7PARz18umMhypnD4LKfXWWBGPUXRIQmUAvre2GbcEduzu8MWjsDsJnw3IFZfTRWdf371dol6-0dvDoUO6OK9ENqK-Aw3/s1600/DSC05162.JPG" height="360" width="640" /></a></div>
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<span style="font-size: x-small;">The artist, the print and the block</span></div>
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The genesis of the work occurred to me as I watched one of the morning news shows, or what passes for news since we seem to have disasters, political opinion formation, the lives of celebrities vying with the the feel good antics of the hosts to start our days. The jumps from the latest school shooting to puff pieces on Kim Kardashian setting her wedding date; from banks once again making record profits to celebrity chief making a lo-cal dishes to get their celebrity client ready for the red carpet made me wish for a magic circle of protection. A mandala to ward off our contemporary barrage of bedevilments. A second meaning also crept in with my wife in the midst of chemotherapy and well wishers advising the power of positive thinking. Thanks, but there's also something to be said for screaming, "life isn't fair" every once in a while.<br />
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Many thanks to Lyell Castonguay for organizing the event and artists and to Zea Mays Printmaking for providing the facilities!<br />
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Links:<br />
<a href="http://www.zeamaysprintmaking.com/" target="_blank">Zea Mays Printmaking</a><br />
<a href="http://www.lyellcastonguay.com/" target="_blank">Lyell Castonguay</a><br />
<a href="https://www.flickr.com/photos/99876167@N08/sets/72157641033969064/" target="_blank">Flicker Photo set of print day</a><br />
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William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-47285269593472106832014-05-11T07:53:00.001-04:002014-05-11T07:53:24.047-04:00Machine #15 <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim6AE0HhSyvyn2vc1uBf2zqoU7ymc_LLq1b4qS6Gg4nij1VwYlqMLMrT3AkUlqspr7o37AhcGWmbPddGsB3YRUhAdCPXCh8BJVOV3qR3i1Fuz2cWwoTHmPmVU_LXng3rXE7qu91E1h9CpG/s1600/machine+%2315_%C2%A9+2014+william+evertson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim6AE0HhSyvyn2vc1uBf2zqoU7ymc_LLq1b4qS6Gg4nij1VwYlqMLMrT3AkUlqspr7o37AhcGWmbPddGsB3YRUhAdCPXCh8BJVOV3qR3i1Fuz2cWwoTHmPmVU_LXng3rXE7qu91E1h9CpG/s1600/machine+%2315_%C2%A9+2014+william+evertson.jpg" height="640" width="346" /></a></div>
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<span style="font-size: x-small;"><i>Machine #15, </i>Woodblock print, © William Evertson 2014</span></div>
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This latest print, titled Machine #15 after the "magic square" in the bottom center began as a tribute to the seals used to annotate traditional moku hanga prints. The seals we often see on woodcuts are used as an artists or publishers signature; they can also indicate titles dates, the printer, carver, poems or other declarations.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiREjglRgx5GV_rcoJqnH63R1dsxFOg22YR2FMJYAyXvq-e0uHG1RKBV96vB0grJH0xnZSMxzg18jLcMzBdkejsjjFAhCL92R89n7aQ7QfsfDN_9imKt8csU5UNnDHr6dT5eJhYFEaBAlIt/s1600/seals_%C2%A9+william+evertson_2014.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiREjglRgx5GV_rcoJqnH63R1dsxFOg22YR2FMJYAyXvq-e0uHG1RKBV96vB0grJH0xnZSMxzg18jLcMzBdkejsjjFAhCL92R89n7aQ7QfsfDN_9imKt8csU5UNnDHr6dT5eJhYFEaBAlIt/s1600/seals_%C2%A9+william+evertson_2014.jpg" height="300" width="400" /></a></div>
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<span style="font-size: x-small;">Seals_© William Evertson</span></div>
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The idea of the declaration, annotation or poem as a footnote to a piece has intrigued me. The tiny but beautifully carved and thoughtfully placed seals often help add balance to a work. Over the years I've carved many seals as a tangential thought or an addition to a signature on a piece and I thought it would be interesting to carve a piece where they were the focus.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHLGHtCgjvuPIcgTqltkcQh_TXovhZA425FTYPR40kCZc9PZhz-Au0wp9EJ7UzqKjIJlnOkUlWZl07X0MzdaBIOI0vPh0M8W-KqaRZ3dJZh2cX-WqdyzzmDYtfgVkD5EnGJC9VQKnS3u63/s1600/machine+%2315+deail_%C2%A9+william+evertson+2014.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHLGHtCgjvuPIcgTqltkcQh_TXovhZA425FTYPR40kCZc9PZhz-Au0wp9EJ7UzqKjIJlnOkUlWZl07X0MzdaBIOI0vPh0M8W-KqaRZ3dJZh2cX-WqdyzzmDYtfgVkD5EnGJC9VQKnS3u63/s1600/machine+%2315+deail_%C2%A9+william+evertson+2014.jpg" height="300" width="400" /></a></div>
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<span style="font-size: x-small;">Detail of seal stamps</span></div>
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The keys on the machine/ typewriter have my previously carved image seals individually applied. I made small woodblock enlargements of several to use in the upper areas of the piece.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJzgQZxJku4RuSZ1oUCZNslJXqLGaqBKfigZn1ZHo2kS_BxjGABFgKb_c4f5MQ6Z9_UCJpKjGAu-qvbXtnzsN55nk4mMVpSGU5gSZ8hC_CXp3ZvD-YsAoTya5w2BHOzlDnjqoEdPlwUx-d/s1600/small+blocks_%C2%A9+william+evertson+2014.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJzgQZxJku4RuSZ1oUCZNslJXqLGaqBKfigZn1ZHo2kS_BxjGABFgKb_c4f5MQ6Z9_UCJpKjGAu-qvbXtnzsN55nk4mMVpSGU5gSZ8hC_CXp3ZvD-YsAoTya5w2BHOzlDnjqoEdPlwUx-d/s1600/small+blocks_%C2%A9+william+evertson+2014.jpg" height="400" width="300" /></a></div>
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Overall the piece has a slightly different look than some of my recent work. A bit simpler design; more graphic and less dense as the emphasis is on the smaller elements. The small pictographs have their basis in the mythologies and folklore that I often mine for elements of intersections among differing cultures and our contemporary globalized and internet connected world.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeiiqTTHtGvEqFGEMgcR57q7tj2Tyf5C93PIVPB1I33JscjvkwSDOXe4VrsrOqp_Edz2Msaqbk5hflB-VwBnH2BfO8v6GRIV-HwAEClMNRcSRK245BnYsnU1vJp-FAt_dkEgLA8aNd6qJu/s1600/gradient_william+evertson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeiiqTTHtGvEqFGEMgcR57q7tj2Tyf5C93PIVPB1I33JscjvkwSDOXe4VrsrOqp_Edz2Msaqbk5hflB-VwBnH2BfO8v6GRIV-HwAEClMNRcSRK245BnYsnU1vJp-FAt_dkEgLA8aNd6qJu/s1600/gradient_william+evertson.jpg" height="320" width="320" /></a></div>
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<span style="font-size: x-small;">A carved woodblock and the beginning of building a gradient. </span></div>
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<i>Machine #15</i> is printed in an edition of 15 with 3 AP. The carving was completed in April of this year and printed in early May. The print is 15.5" x 29.5" on washi. Seven large blocks are used along with eight smaller pictograph blocks. Fifteen of my small one inch diameter seal stamps were added after the the main printing of the blocks.</div>
William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-13838518709502798582014-04-15T14:06:00.000-04:002014-04-20T07:09:34.297-04:00Sigmar Polke: Alibis<div class="separator" style="clear: both; text-align: center;">
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<i>Seeing Rays</i>, Polke 2007</div>
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The much anticipated Sigmar Polke exhibition is currently at MoMA in NYC. This is an extensive retrospective of the artist's work and the largest single artist exhibition mounted at MoMA. This will probably be the most discussed topic this spring. (at least until the spring art fairs return our attention to money and art) I'll leave the heavy critical lifting to the critics and will add links to various sources as they are written.<br />
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Shirts, Polke,1964</div>
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I do have several observations to share. Polke doesn't have a signature style that allows one to walk into a room and instantly know who the artist is; indeed one could wander through this exhibit and be fooled into thinking it is a group exhibition. Polke (1941-2010) worked in a variety of mediums; painting, photography, film, sculpture, performance, collage, print and often combining these to form hybrids.<br />
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<i>Potato House</i>, Polke 1967</div>
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I found that particularly refreshing and actually affirming in my approach to art making. In fact after seeing the creative explosion of ideas and experimentation that Polke explored I realize the half dozen or so phases I've gone through seem like minor diversions in comparison. I think we'll recognize in the aftermath of this exhibit that many contemporary artists have built careers mining single facets that Polke has touched on.<br />
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My second observation concerns how liberating the absence of wall tags felt. Each room has an overall description that touches on the period it the work references otherwise we are left to our own eyes to decide what it is we're seeing. (there is a handout available with the title dates and material) The titile of the exhibition, Alibis in part refers to the deflection of responsibility which shaped German behavior during the Nazi period during Polke's childhood as well as an absorbing interest in deflating absolutes as an artist.<br />
Polke is at once a master of illusion, slight of hand and a dedicated alchemist recombining artistic elements not for gold but for the thrill alone.<br />
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<i style="text-align: center;"> Seeing Things as They Are</i><span style="text-align: center;">, Polke 1991</span></div>
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<b>Alibis: Sigmar Polke 1963–2010</b> opens to the public on April 19th and runs through August 3rd at MoMA in NYC.<br />
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Links:<br />
<a href="http://www.moma.org/visit/calendar/exhibitions/1407" target="_blank">MoMA -Alibis: Sigmar Polke 1963–2010</a><br />
James Kalm videos - <a href="http://www.youtube.com/watch?v=F_jEzpQJygw" target="_blank">Part 1</a> - <a href="http://www.youtube.com/watch?v=8F8Q0U00tGA" target="_blank">Part 2</a><br />
Jerry Saltz from New York Magazine - <a href="http://www.vulture.com/2014/04/seeing-out-loud-saltz-on-sigmar-polke-at-moma.html" target="_blank">Saltz on MoMA’s Frustratingly Near-Great Sigmar Polke Retrospective</a><br />
Walter Robinson from Artspace - <a href="http://www.artspace.com/magazine/contributors/walter_robinson_on_sigmar_polke_at_moma" target="_blank">Sigmar Polke, Bad Ass of German Pop, Rocks MoMA Senseless</a><br />
Holland Cotter from NY Times - <a href="http://www.nytimes.com/2014/04/18/arts/design/a-sigmar-polke-retrospective-opens-at-moma.html?_r=0" target="_blank">Found Everything, Tried Everything, All His Own Way</a>William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-29252642116494396012014-03-30T15:44:00.003-04:002014-03-30T15:44:29.860-04:00A Very Big Dragon!<div class="separator" style="clear: both; text-align: center;">
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Soga Shōhaku, Dragon and Clouds (Un ryu- zu), Japanese, Edo period, 1763.</div>
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Unveiled last week at Boston's Museum of Fine Arts, Shōhaku's dragon had long been under wraps as it received extensive conservation and repair, including custom-made wooden lattice cores with multiple layers of paper on each side.</div>
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Extraordinary in person, the panels extend to a full 35' length despite two missing and long lost to history. The missing panels would have been just to the right of the dragons face in the picture above. </div>
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The dragon's face panel.</div>
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The piece dominates its room at the MFA; the lights low. All the better to imagine that it originally was inside a temple. Painted with ink, the piece while looking very graphic, is actually very nuanced with greys, giving the work a three dimensional feel.</div>
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A dragon's claw</div>
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Interestingly, the curators descriptions include mention of Soga Shōhaku's penchant for painting in a wild style fueled by copious amounts of alcohol. They point to areas such in the claw area above where it seems that large rags have been used to smear background. I'm not sure how much is lore or exaggeration, but much of the power does come from the tension of tightly controlled areas playing off of deft but loose handling of the ink. Indeed there is much splattering in the composition.</div>
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Panel with clouds.</div>
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The end panel above is typical of the wet on wet, very abstract handling of the clouds. Take away that claw and it's a close step to imaging a Pat Steir painting. Two scrolls and a powerful two panel ink drawing of a hawk round out this outstanding look into Soga Shōhaku's work.</div>
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<span style="color: #cc0000;">"</span><b style="color: #cc0000;"><a href="https://www.mfa.org/exhibitions/return-dragon" target="_blank">Return of the Dragon" at Museum of Fine Arts in Boston through July 6th</a></b></div>
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William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-15070113000441339852014-03-27T19:38:00.000-04:002014-03-27T19:38:22.327-04:00Life is a Bowl of Cherries<div class="separator" style="clear: both; text-align: center;">
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<i>Bowl of Cherries</i>_ woodcut_©William Evertson 2014</div>
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The latest piece to be completed in the studio is my woodblock, "<i>Bowl of Cherries". </i>The work evolved over several weeks and preliminary sketches and pastels. Overall the piece evolved from the phrase Life is a bowl of cherries, which obviously is often used to mean the opposite. "Life is Just a Bowl of Cherries" was the title of a song by Lew Brown and Ray Henderson, sung by Ethel Merman in Scandals (1931).<br />
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Life is just a bowl of cherries; </div>
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Don't make it serious; </div>
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Life's too mysterious. </div>
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You work, you save, you worry so, </div>
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But you can't take your dough when you go, go, go. </div>
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So keep repeating it's the berries; </div>
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The strongest oak must fall. </div>
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The sweet things in life </div>
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To you were just loaned, </div>
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So how can you lose what you've never owned? </div>
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Life is just a bowl of cherries, </div>
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So live and laugh at it all. </div>
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My particular gripe lately has been the dismal state of our broadcast news. Currently our news seems to be all gloss and no substance, or sensationalized, or false equivalents, or formatted with agenda.....and heavily seasoned with bowl of cherry thoughts.<br />
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<i>Life is a Bowl of Cherries. Protect Yourself with Essential Geometries </i>©William Evertson 2014<br />
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My first work on this topic was a pastel. I gave it the slightly longer title of "<i>Life is a Bowl of Cherries. Protect Yourself with Essential Geometries." </i>Essential geometries and what they would mean is deliberately left to the viewer because I have no answers what will finally push us to more compassion.<br />
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When I decided to move this idea to the woodcut format I also wanted to simplify and refine the visual. My pastel was a nice complex piece and a stand alone work. For the graphic version I wanted to further distill elements that made up the idea.<br />
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Pencil sketch with watercolor overlay</div>
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Inking the sketch</div>
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Carving the key block</div>
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First print pulled from key block</div>
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Originating from the same place as the pastel but very different look.</div>
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William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-3348542884095033972014-02-18T07:56:00.000-05:002014-02-18T07:56:09.060-05:00Kali Print Edition in Belgium<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyk2hnvsOVcZVwkrPkm9FJl70MnP5KGGXVmY6l1Axy66x8MkgFW50o8okrmIESIVTGj4Qwthqn1urDZgK5LwJk7hj8Eh5rSgptWawcUaVboF1r4c3qyf909CXNVEVulICcrZbH03_d3JzW/s1600/kali_book_pr+card.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyk2hnvsOVcZVwkrPkm9FJl70MnP5KGGXVmY6l1Axy66x8MkgFW50o8okrmIESIVTGj4Qwthqn1urDZgK5LwJk7hj8Eh5rSgptWawcUaVboF1r4c3qyf909CXNVEVulICcrZbH03_d3JzW/s1600/kali_book_pr+card.jpg" height="426" width="640" /></a></div>
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I am happy to announce that through the persistence of artist and collaborator Ria Vanden Eynde the Kali Print Edition has been accepted into the collection of KADOC. <a href="http://kadoc.kuleuven.be/eng/" target="_blank">KADOC</a> is the abbreviation for The Documentation and Research Center for Religion, Culture and Society; part of prestigious KU Leuven, (<a href="http://en.wikipedia.org/wiki/Katholieke_Universiteit_Leuven" target="_blank">University of Leuven</a>, located in Leuven, Belgium). The University, established in 1465, is considered the oldest University in Belgium and one of the top universities in Europe.<br />
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The Kali Edition was created as a collaboration between artists Ria Vanden Eynde (Belgium), Susan Shulman (Canada) and myself. The edition takes on the subject of the Hindu goddess Kali with each artist contributing six double sided prints that are housed in a presentation folio case.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEign5GtNEZ7z0A2HQEZglUQiEvJEcvpJYwBQfDceXCGYr3FD_P6Ge517dRQDGrDIhA0u3bUBRrd4WMd_CRDAzSWPMo7pUATRUxmwIb0jyf_RJ9RMk48B_p6UcvS1gvZ1oIhsxLGtwj4YWSs/s1600/Kali_edition.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEign5GtNEZ7z0A2HQEZglUQiEvJEcvpJYwBQfDceXCGYr3FD_P6Ge517dRQDGrDIhA0u3bUBRrd4WMd_CRDAzSWPMo7pUATRUxmwIb0jyf_RJ9RMk48B_p6UcvS1gvZ1oIhsxLGtwj4YWSs/s1600/Kali_edition.jpg" height="360" width="640" /></a></div>
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A unique aspect of the collaboration is that none of us met in real life until the signing of the edition in NYC in the fall of 2011. For an entire year we communicated almost daily with the help of Skype video conference calls and sharing thoughts and images in our private Facebook group.<br />
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In fact the idea for a collaboration was born out of a Facebook thread of comments concerning goddess iconography and cultural differences. As a compliment to the work we were doing as a collective team we also hosted an international online artist call for works exploring the concept of the goddess Kali.<br />
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While travel and the Internet has brought the world closer, in many cases Kali became a mere broker in the West of commodities and services. At times she has been a New Age movie distortion or a symbol of feminist rage. Many times this cross cultural borrowing seems far removed from the mystery and paradox present in an archetype that is mother and goddess, yet also a symbol of destruction.<br />
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This successful call resulted in over 80 international artists contributing art in all media, sharing concepts and creative approaches to archetypes. A blog was launched to host the artist submissions. A compilation of the contributions were assembled into a DVD which has been shown in galleries worldwide. An archival copy of the Kali DVD is also with KADOC.<br />
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The Seeking Kali blog has become a forum for artists world wide and features work with archetype and myth based on their personal and cultural narratives. A second artist call examined cross cultural references to the Medusa myth.<br />
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<a href="http://www.seekingkali.com/kali-editions.html" target="_blank"><span style="color: #cc0000;">Link to Kali Edition prints</span></a> (scroll to bottom for a slideshow of each artist's prints)<br />
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<a href="http://seekingkali.blogspot.com/" target="_blank"><span style="color: #cc0000;">Link to the Seeking Kali blog</span></a><br />
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The edition is also in the collection of The State Library of Victoria, Melbourne, Australia.<br />
<a href="http://billevertson.blogspot.com/2012/02/kali-down-under.html" target="_blank"><span style="color: #cc0000;">Link to blog post on Susan Shulman's presentation to the library.</span></a>William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-70060432309584523912014-02-08T12:35:00.001-05:002014-02-08T12:35:30.420-05:00Hello Minnesota<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgICK4l82vnOA1jlOsn231aph0n5PQW0gpD4oXPHdN-ocoe3Px_3RO3hWejVeMjpp5qe9iB7-w_5rndpF3WFbqOyKC4V5TEGaZVQSPptPGR8SztP1mqSnvh4WFsvw7dhxMH1iRgCgqbG1Gp/s1600/5_Play+Money_William+Evertson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgICK4l82vnOA1jlOsn231aph0n5PQW0gpD4oXPHdN-ocoe3Px_3RO3hWejVeMjpp5qe9iB7-w_5rndpF3WFbqOyKC4V5TEGaZVQSPptPGR8SztP1mqSnvh4WFsvw7dhxMH1iRgCgqbG1Gp/s1600/5_Play+Money_William+Evertson.jpg" height="480" width="640" /></a></div>
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<span style="font-size: x-small;"><i><b>Play Money</b></i> - ©William Evertson 2010 - collage game box</span></div>
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I have several pieces in the<span style="color: red;"> </span><b><a href="http://www.mnbookarts.org/index.html" style="background-color: white;" target="_blank"><span style="color: #cc0000;">Minnesota Center for Book Arts</span></a></b> exhibit <b>Fluxjob: Purging the World of Bourgeoisie Sickness Since 1963 </b>which<b> </b>opened Friday, February 7th in Minneapolis, MN. The show which runs through July 6th is described on the MCBA website; </blockquote>
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"<i>In the 1960s, George Maciunas urged a small group of artists to purge the world of bourgeois sickness and dead art. The result was Fluxus, a non-movement that expanded the definitions of what art can be. Fluxjob is an exploration of contemporary artists who continue to create interdisciplinary anti-art that is ephemeral, inexpensive, and interactive. The exhibition is co-curated by MCBA Executive Director Jeff Rathermel and noted Fluxus artist, publisher and performer Keith Buchholz.</i>"</blockquote>
I created a series of game boxes in 2009 and 2010 based on tic tac toe. Tic-tac-toe is most often played by young children. Players soon discover that best play from both parties leads to a draw. In my version the boxes refer to unequal opponents, or advantaged and disadvantaged player. The boxed set, aside from having prints and an "instruction book" also contain small stamping tools in the shape of hands that are used to mark the tic-tac-toe grid. In <i>Play Money</i> the instructions are a poem referring to our bankers, the men of great appetites. The carved images used for stamping are a child at play and Mr. Monopoly. <a href="http://billevertson.blogspot.com/2010/05/art-and-conscience.html" target="_blank"><span style="color: #cc0000;">Link to more on Play Money.</span></a><br />
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<span style="font-size: x-small;"><i><b>Power Play</b></i> - ©William Evertson 2010 - collage game box</span></div>
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The second game box, <i>Power Play </i>is a similar format. Prints line and collage the boxes interior while an instruction manual and game pieces complete the piece. Power Play instructions references and contrasts the innocent non-structure of the play ground with institutional violence.<a href="http://billevertson.blogspot.com/2010/05/powerplay.html" target="_blank"><span style="color: #cc0000;"> Link to more on Power Play.</span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW5nM9f0kIGuwzNfs_qtPMo54w52gHvBNoM0Z-TqmiYqO9LVEjynmFlqrLhQsSBKvIDgkgJCC-VRe1TS6N9UevFIZCzbQHIFhfxsTfRDpdWl5jGft7JGJQPGCcLHSsvI-PxbNctNmQ4_eU/s1600/8_ReKindle_William+Evertson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW5nM9f0kIGuwzNfs_qtPMo54w52gHvBNoM0Z-TqmiYqO9LVEjynmFlqrLhQsSBKvIDgkgJCC-VRe1TS6N9UevFIZCzbQHIFhfxsTfRDpdWl5jGft7JGJQPGCcLHSsvI-PxbNctNmQ4_eU/s1600/8_ReKindle_William+Evertson.jpg" height="640" width="480" /></a></div>
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<span style="font-size: x-small;"><i><b>Three Little Kittens Re-Kindled</b></i> - ©William Evertson 2013 - artist book</span></div>
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Also included is my analogue version of the Kindle. The interior contains digital pigment prints of the kindle version of the popular children's story scanned from a Kindle. <a href="http://billevertson.blogspot.com/2013/03/altered-book.html" target="_blank"><span style="color: red;">A previous blog post</span></a><span style="color: orange;"> </span>contains information concerning the various copyright issues at work in this piece.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp5qiP3gVEMZyEy2A5J806xkWdKt4MLWwwfAk3y7exrM7SFv7Agz1ZY2cbJCh0VCTpKL5aQRy2WcmkgicmF9XJhTl5_dQFeP4pjzeKjr-PnXS1zGD4aZDj3dK879r3HEWH_YzSX8CMDYRZ/s1600/11_Kalicorp+Art+Mysteries_William+Evertson_Susan+Shulman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp5qiP3gVEMZyEy2A5J806xkWdKt4MLWwwfAk3y7exrM7SFv7Agz1ZY2cbJCh0VCTpKL5aQRy2WcmkgicmF9XJhTl5_dQFeP4pjzeKjr-PnXS1zGD4aZDj3dK879r3HEWH_YzSX8CMDYRZ/s1600/11_Kalicorp+Art+Mysteries_William+Evertson_Susan+Shulman.jpg" height="480" width="640" /></a></div>
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<span style="font-size: x-small;"><b><i>Kalicorp Art Mysteries, Issues #1-8</i></b>, Collaboration - William Evertson, Susan Shulman (and Ria Vanden Eynde on issues #1-5) Ongoing comic book series</span></div>
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Finally, the collaborative series of comics lately produced by Susan Shulman of Montreal and myself is on display. The comic, which was funded by a successful Kickstarter, is a satirical look at the process of making art. The comic is set in the fictional ArtWorld, which closely resembles todays art market. It often features cameo appearances by artist friends and the endless series of controversies surrounding market conditions form the backstory of each issue. <a href="http://www.seekingkali.com/art-mysteries-blog.html" target="_blank"><span style="color: #cc0000;">Art Mysteries Blog link.</span></a></div>
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Link for <a href="http://www.mnbookarts.org/index.html" style="color: red;" target="_blank"><b>Fluxjob</b> at the Minnesota Center for Book Arts - now through July 6th.</a></div>
William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-17112287175438042022014-01-26T19:23:00.000-05:002014-01-26T19:23:39.642-05:00Art Spiegelman’s Co-Mix<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxWFqlIh3k0R1x1eVH7vUmhf64vfEQ0OKnlMHC4RUN8d2xlYVlj55HqvlIESHjFmov9l5sTWMVz_LCf2KeAWRh2HhU-MXQ78VuGqFBaY3dC2_uFVFM9Nq_f7y63vFhNzdi4wcdTe8bPcfB/s1600/1546360_10100115374036509_424718612_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxWFqlIh3k0R1x1eVH7vUmhf64vfEQ0OKnlMHC4RUN8d2xlYVlj55HqvlIESHjFmov9l5sTWMVz_LCf2KeAWRh2HhU-MXQ78VuGqFBaY3dC2_uFVFM9Nq_f7y63vFhNzdi4wcdTe8bPcfB/s1600/1546360_10100115374036509_424718612_n.jpg" height="400" width="297" /></a></div>
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<span style="font-size: x-small;"><i>Art Spiegelman</i></span></div>
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True confession; if not for comics I probably wouldn't be an artist. As a kid from a small town with blue collar parents, museums and cultural opportunities might as well have been on the moon. Culture was spending an hour at Signor's Cigar Store looking through the comic rack until getting getting the word to buy something or get booted out.<br />
It wasn't until college that I got to see the great underground of the comic world and Art Spiegelman.<br />
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The Jewish Museum's Spiegelman retrospective is a chance to see a cohesive body of work that features both his Pulitzer winning <span style="background-color: white;"><i>Maus and</i> a substantial body of early work. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaS_0qKAM0id4eqzGzwuxgMhbw_RbhNZLMyTX8foPTXX1zJgQdjFdOMTmcwGQh4xkusOwcdGS3YxaTFNez9oqPKZt1oF7p6VRIANYGwSDwUYkfbjV9wIpTJTovOD9_fOvLTQVyJBM8uXCN/s1600/1609617_10100115374006569_2122081306_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaS_0qKAM0id4eqzGzwuxgMhbw_RbhNZLMyTX8foPTXX1zJgQdjFdOMTmcwGQh4xkusOwcdGS3YxaTFNez9oqPKZt1oF7p6VRIANYGwSDwUYkfbjV9wIpTJTovOD9_fOvLTQVyJBM8uXCN/s1600/1609617_10100115374006569_2122081306_n.jpg" height="297" width="400" /></a></div>
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<i><span style="font-size: x-small;">Art Spiegelman</span></i></div>
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The exhibition includes some great early works like Ace Hole, Midget Detective and The Viper Vicar of Vice, Villainy and Vickedness as well as his Garbage Pail Kids and Wacky Packages. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiwG_vHhhR8pg9wVXHiUmVRehEOJqEOophXClbXg9ChdhK0JKJmFrkZa4A_l1dVgA3ye1qRKKZxlA8-Rs41TiAe5AYdLlkpS-_HI_eTXokjfN64hMBak0ISoaocthtthAoeqSTaZOv4w87/s1600/529226_10100115373961659_1895699629_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiwG_vHhhR8pg9wVXHiUmVRehEOJqEOophXClbXg9ChdhK0JKJmFrkZa4A_l1dVgA3ye1qRKKZxlA8-Rs41TiAe5AYdLlkpS-_HI_eTXokjfN64hMBak0ISoaocthtthAoeqSTaZOv4w87/s1600/529226_10100115373961659_1895699629_n.jpg" height="400" width="297" /></a></div>
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<span style="font-size: x-small;"><i>Art Spiegelman 'Garbage Pail Kids'</i></span></div>
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I was struck by the thought while looking over the material how different it looks on the wall as opposed to the book format I'm used to. Comics and graphic novels have an ability to retain an air of transgressive nature by their format in book form that eludes most 'high' art or 'fine' art. These are works that by their nature are resistant to <span style="background-color: white;">becoming a commodity in the current high stakes art world poker game. While there is a collectible market for early comics, for the most part Spiegelman's work remains available for view or for purchase insuring that its importance lies in the art not in scarcity. </span></div>
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<span style="background-color: white;">Wall viewing also provides us with an opportunity to see the artist at work. More than a few panels are unpacked with the addition of preliminary sketches that show how the images build up to final compositions.</span></div>
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<span style="background-color: white;"> <i><span style="font-size: x-small;">Art Spiegelman - from In the Shadow of No Towers</span></i></span></div>
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<span style="background-color: white;">In the years since Maus, Spiegelman has referred to the work as the 5000 pound rodent on his back; although from my viewpoint he remains vital, evidenced from the works at the end of the exhibit including his <i>In the Shadow of No Towers</i> and </span>collaboration with Pilobolus on a dance and theatrical work.</div>
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<span style="background-color: white;"><span style="color: red;"><a href="http://www.thejewishmuseum.org/exhibitions/art-spiegelman" target="_blank">Art Spiegelman's Co-Mix is at the Jewish Museum through March 23.</a> </span></span><br />
<span style="background-color: white;">(5th Ave at 92nd. st. NYC)</span><br />
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William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-48632529521315055642014-01-19T21:33:00.000-05:002014-01-19T21:33:53.870-05:00The Tempest <div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;">The Tempest - © William Evertson - Woodcut 20" x 60"</span></div>
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"Full fathom five thy father lies;</div>
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Of his bones are coral made;</div>
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Those are pearls that were his eyes:</div>
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Nothing of him that doth fade</div>
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But doth suffer a sea-change</div>
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Into something rich and strange.</div>
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Sea-nymphs hourly ring his knell."</div>
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<span style="font-size: x-small;">Ariel's song from The Tempest by William Shakespeare</span> </div>
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Two months ago (mid November) I began another large format woodcut based on digital images first presented in Atlanta as part of the Billboard Project. Three trial proofs gave me the correct color combinations and my first AP is pictured above .</div>
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The piece is loosely inspired by a scene from Shakespeare's play of the same name. Ariel, the spirit helper of Prospero summons the tempest. Music, magic and water complete my imagery. </div>
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Six blocks are used to construct this piece. One background block, two for water, two for Ariel and one for the linear sweep of the music.</div>
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<span style="font-size: x-small;">Six panels from The Tempest</span></div>
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Bokashi (gradations) are used extensively on all panels. The background panel alone required 12 inkings to build the sky. These prints are too large for the use of a kento registration system. Instead I trap the upper edge of the paper and flip the paper on and off the blocks as they are inked.</div>
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<span style="font-size: x-small;">Building the background colors.</span></div>
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<br />William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-68660513092621826192013-12-05T08:57:00.000-05:002013-12-05T08:57:12.869-05:00The Clock<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8WFqkDXNyHrVgh3vAL2L00dTs7qJzm4cyBwKIWy7x8IPdOwNs6mq-2HqS_M8mPz37nVeeWfOAAJ32lGilrFYkJPuWLgVji_DOSnr97r0GuVcf0Coc5oTsFO5QQTJCtoqzzZoEcQldZMm1/s1600/william+evertson_woodcuts+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8WFqkDXNyHrVgh3vAL2L00dTs7qJzm4cyBwKIWy7x8IPdOwNs6mq-2HqS_M8mPz37nVeeWfOAAJ32lGilrFYkJPuWLgVji_DOSnr97r0GuVcf0Coc5oTsFO5QQTJCtoqzzZoEcQldZMm1/s400/william+evertson_woodcuts+copy.jpg" width="400" /></a></div>
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Clock...I wrote clock, I meant Block!<br />
Stop...reevaluate...a small typing slip, yet telling in a way I had not intended when beginning this post.<br />
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I have a reoccurring thought each time I begin a block for a woodcut. Perhaps it's more of an unanswered question that resides deep inside the process at the root of all my art making. "Why is this going to be a woodcut?" This particular image.... why is the drawing, pastel or paint not sufficient....why of all things does this have to funnel itself through the long and often convoluted process that carving a woodblock entails.<br />
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I never make many impressions of an image no matter the size, complexity or length of time devoted to the creation of the clocks....blocks. It's not particularly any fascination with affordability or the idea of multiple original.<br />
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Clocks mark time, they are a reminder of passing... each tick a small increment on the way to the future.<br />
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On blocks I make marks and then over the course of time compile cut upon cut until something emerges. Then another block is begun and more marks and cuts are made, someday to be married to the first block. So it goes until enough blocks are made and enough layers exist to interlace.<br />
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Each block insufficient to create the whole; each an abstraction and incomplete. Yet each block is a complete present moment of its own; some having much detail, some only left with a small island awaiting a stray but necessary color.<br />
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Perhaps certain work organizes itself so there is a record of its creation. a scrapbook of its birth and a possibility that a time may be relived.William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-4749241104593469512013-12-01T07:12:00.000-05:002013-12-03T07:31:59.302-05:00Refusal of Time<div class="separator" style="clear: both; text-align: center;">
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I heard William Kentridge's <i>Refusal of Time</i> long before I found Gallery 919 at the Metropolitan Museum. The soundscape created by collaborator Philip Miller with some tuba heavy base lines was accompanying the procession portion of the finale to the 30 minute 5 channel video piece. Those who are familiar with Kentridge's work will find many familiar elements such as his shadow procession with all the ponderous hauling, carrying and trudging still at work in <i>Refusal</i>.<br />
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As the piece comes to an end and the crowd shifts I sit in one of the chaotically placed (and bolted to the floor to protect against any OCD attempt to align them) chairs. I find that I'm not alone in taking to a chair and attempting to adjust the angle a bit in a futile attempt to take in everything that is projected onto the walls. This is the artist's first reminder to us that time depends on our point of view.<br />
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In dealing with Time, Kentridge revels in the understanding of its inherently chaotic nature. That chaos is the elephant in the room and indeed the artist has placed an elephant in the gallery. At least a kinetic "machine" by additional collaborators Jonas Lundquist and Sabine Theunissen is referred to as the "elephant". Comprised of various pulleys, struts, open bellows it "breaths" with a regularity and mechanical certainty that provides a semblance of order to the otherwise disjointed nature of the projections.<br />
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Conversations with Peter Galison, Harvard science historian and author of "Einstein's Clocks, Poincaré's Maps: Empires of Time" form the background from which Kentridge explores philosophies of standardization, physics and power structures.<br />
The work is dense with the artist's overlapping themes and imagery; much of which recalls and expands his rich tradition of stop motion, reversed motion and self reflection on dual natures. At times it recalls early cinema and vaudeville and contained in that whimsy is a entirely fallible human nature at odds with the hubris of the synchronization of time.<br />
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<span style="color: #050809; font-family: Trebuchet MS, Trebuchet, Arial, sans-serif; font-size: x-small;"><span style="line-height: 21px;"><i>William Kentridge: The Refusal of Time: Five-channel projected video installation with sound and kinetic sculpture. Through May 11. Metropolitan Museum of Art</i></span></span><br />
<span style="color: magenta; font-family: Trebuchet MS, Trebuchet, Arial, sans-serif; font-size: x-small;"><span style="line-height: 21px;"><i><a href="http://www.metmuseum.org/exhibitions/listings/2013/william-kentridge" target="_blank">Met link for exhibition</a></i></span></span>William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-67604873194846838242013-11-09T08:30:00.001-05:002013-12-05T08:57:40.797-05:00Annie Bissett's Welcome to Nonotuck <div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;"><i>They Looked Behind</i> - ©Annie Bissett</span></div>
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Artist and printmaker Annie Bissett's exhibit at the Historic Northhampton Museum presents an intimate look into the distant past of New England. Drawn from her <i><a href="http://anniebissett.com/section/188239_WE_ARE_PILGRIMS.html" target="_blank"><b>We Are Pilgrims</b></a></i> series of woodblock prints Annie looks back through the eyes of her Mayflower ancestors to revisit the lives of early immigrants.<br />
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The stage begins to be set by the museum's displays of artifacts from the indigenous peoples and early settlers in the central Massachusetts region. We are welcomed into the exhibit by a hand painted map of depicting the early colonial settlement.<br />
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<span style="font-size: x-small;"><i>Welcome to Nonotuck</i> -Hand painted map on canvas - © Annie Bissett</span></div>
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That we are in Nonotuck and not Northhampton, MA serves as the artist's reminder to us that the earliest settlers arrived as immigrants to an already populated area. Elsewhere in the exhibit Annie reinforces the linguistic reminder that many place names are still in use after 300 years.<br />
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<span style="font-size: x-small;"><i>Vast Unpeopled Lands</i> - ©Annie Bissett</span></div>
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Annie's work is both elegant and thought provoking. <i>Vast Unpeopled Lands</i> with its patterned landscape and unique constellations is a wry reminder of occupation and land usage long before "discovery" and settlement by Europeans.</div>
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Although a modest number of prints are used to tell the complex story of two disparate cultures the artist is equally able to recognize the struggles of each.<br />
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The print <i>Dorothy Bradford Comes to America </i>depicts the drowning of a young woman, the first wife of Plymouth Colony leader William Bradford. <br />
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Technically, Annie Bissett's use of japanese mokuhanga printmaking methods seem well suited to this tightly focused exhibition. The use of lettering carved in the blocks adds a slightly anachronistic touch that brings the viewer back to a time when woodcuts were used to disseminate information and document events.<br />
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Her mastery of color gradation or bokashi combined with flattened areas of color and pattern give the print surfaces a unique and lyrical feel.<br />
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The artist digs deep into correspondence, diaries and histories of the era to unearth ties to the complexities of the quest for religious freedoms, definitions of morality and the yearning for individual freedoms.<br />
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In the piece <i>God Bless John Alexander and Thomas Roberts, 1637 </i>Annie examines the punishment of two men convicted of "performing ongoing homosexual acts with each other". Their punishments included whipping, branding and banishment.<br />
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Annie Bissett's work will be at the <b><a href="http://www.historic-northampton.org/events/anniebissett.html" target="_blank">Historic Northhampton Museum - November 8 - December 6</a>.</b><br />
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<b><a href="http://anniebissett.com/home.html" target="_blank">Link to Annie Bissett website</a></b><br />
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<b><a href="http://woodblockdreams.blogspot.com/" target="_blank">Link to Annie Bissett's blog Woodblock Dreams</a></b>William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-71310158552897207842013-10-29T09:47:00.000-04:002013-10-29T09:47:31.634-04:002013 North American Print Biennial<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;">The 2013 North American Print Biennial runs through Dec. 20th.</span></div>
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<span style="font-size: x-small;">808 Gallery, 808 Commonwealth Ave, Boston</span></div>
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Juror Denis Michael Jon, Associate Curator of the Minneapolis Institute of Arts selected prints from a rather large pool of 900 contemporary artists and considered over 2400 works for inclusion into this edition of the Biennial. As an artist under consideration when we are not included we tend to shrug off rejection and move on with our work but when our work is selected we tend to think of the curator as possessing a keen eye indeed to recognize our genius.<br />
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Since a good deal of my time is spent on proposals, residency applications and grants I receive rejection emails often enough that I almost overlooked the one notifying me of <b>inclusion</b> in this years Biennial. I think it was only after hearing Jon's lecture prior to the opening of the Biennial that I realized the daunting task of coming up with 135 works representative of contemporary printmaking.<br />
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Additionally, Jon's lecture helped solidify some of the problems I have with identifying with the description "Printmaker". I've always thought of myself of artist first and at any one time may have works in progress that span a variety of media. Interestingly enough Jons' spoke of selecting works that not only were representative of the various techniques of printmaking but also looked for pieces that help expand the definitions. If I'm gleaning his context, it is one of recognizing some push back of artists against print based works being considered a secondary or lesser discipline due to their nature as multiple originals, smaller and generally grounded on paper.<br />
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The same qualities that may make a work appeal to young collectors or a wider audience acts as a double edge sword as a marginalizing factor in an art market driven by the unique, very large and very expensive. Boston Universities 808 Gallery was a large venue that provided space for artists who were pushing scale and working with more sculptural forms.<br />
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<span style="font-size: x-small;">First view of the Biennial</span></div>
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Jon's selections for the 2013 Biennial included both examples of technical mastery and experimental.<br />
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<span style="font-size: x-small;">Stephen McMillan - Misty Morning - aquatint</span></div>
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<span style="font-size: x-small;">Philip Laber - House of Cards - intaglio and inkjet</span></div>
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If the crowds at the opening were any indication, works on paper and the continuing evolution of printmaking is still prized. As pointed out by Jons' in his opening remarks; innovation, risk taking and the ability of non specialized artists making use of new technologies to make surprising strides in re-defining the print is evident in this years Biennial. </div>
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Denis Michael Jon - <a href="http://www.artsmia.org/index.php?section_id=418" target="_blank">Curator Profile link</a></div>
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<a href="http://bostonprintmakers.org/2013_Biennial/slide-show-2013/slide-show-2013-biennial.html" target="_blank">Slideshow link of 2013 North American Print Biennia</a>l</div>
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<a href="http://www.bostonprintmakers.org/biennial.html" target="_blank">Biennial Link</a> - gallery directions, hours </div>
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<span style="font-size: x-small;">Photobooth Kabuki at the 2013 North American Print Biennial</span></div>
William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-11292423979323699842013-10-24T08:39:00.001-04:002013-10-24T08:39:29.298-04:00Fantastic Garden<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;"><i><b>Fantastic Garden</b></i> - Project Director and Master Printer Maria Arango Diener</span></div>
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One of the nicest Kickstarter rewards I ever received arrived yesterday from printmaker Maria Arango Diener. Back in August my blog post <a href="http://billevertson.blogspot.com/2013/08/carving-little-things.html" target="_blank">"Carving Little Things"</a> mentioned her <b>Fantastic Garden</b> project and the small woodblock I contributed. My reward for carving the small block plus a small Kickstarter contribution are four exquisitely printed panels that make up this monumental collaborative puzzle print.<br />
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Maria has co-ordinated 92 artists (no small feat) in the creation of these four panels, each 22" x 30' that make up the garden.<br />
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From Maria's project description:<br />
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"Briefly, a Monumental Puzzle Print is a large design composed of 'puzzle pieces", each of which is designed and carved by a unique artist under a common theme. The project director designs, cuts the wood into puzzle-like pieces, then sends the pieces to participant artists; they carve their own little design and send the tiny piece back. Then the director assembles the carved pieces. The entire design, is printed as a woodcut print after the puzzle is reassembled and finally each participant receives a huge print encompassing the entire design."</blockquote>
Overall the resulting print looks meticulously planned in every detail belying the fact that none of the artists knew where in the overall design their piece would rest nor what their neighbors would create. Maria's work on the background and areas surrounding each piece boldly unites the garden theme carved by the individual artists.<br />
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My <b><i>Carp</i></b> block is the top right piece.</div>
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Maria has also provided delightful supporting material with the print complete with edition information for collectors and maps for locating the various artists. A project catalogue with the print and additional artist information is due shortly.</div>
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For more on the Fantastic Garden Monumental Puzzle Print and printmaker Maria Arango Diener please visit her (fantastic) website - <a href="http://1000woodcuts.com/" target="_blank"><span style="color: red;">1000 Woodcuts</span></a></div>
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<br />William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-51770572291301096652013-10-22T08:21:00.000-04:002013-10-22T08:21:56.981-04:00Chelsea Wrap Up<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;">Photo of <b><i>Tipping Point</i></b> in Chelsea, NYC during the High Line Open Studios</span><br />
<span style="font-size: x-small;">Woodblock print- 24" x 80"</span></div>
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It's bigger, it's looser, it got a great reception during the High Line Open Studios Chelsea. It was great to see <b><i>Tipping Point</i> </b>framed and on a wall with some breathing space.<br />
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High Line Open Studios ran last weekend Oct. 18th, 19th and 20th in the Chelsea gallery district of NYC with 50 plus artists opening their studios and project spaces to the public.<br />
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My project space is a small subdivision of Ayn Choi's Gallery 304/ASC Projects in the Chelsea Arts Building at 526 W. 26th St. in NYC. In the picture above I've got both sides of that partition wall plus the rest of the alcove I'm standing in to the left.</div>
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Directly behind me is an older (c 2004) digital collage <i><b>Stamp Collector</b></i>. The space is large enough that I was able to exhibit many of my latest works plus several older pieces that show the transition of my interest in transparency, imagery overlap and layering from digital pigment prints to a more physically robust woodblock technique. </div>
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Turn out was fantastic with several hundred visitors each day. Most I was able to introduce to my art for the first time and some contacts via social media I was able to meet in real life for the first time. </div>
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Artist George Rodart looking at <i style="font-weight: bold;">Moses</i>; another of my earlier digital collages on view. Most of my digital collage pieces were created ten years earlier when Photoshop was a much newer tool for artists. Although I began the process of learning woodblock techniques around the same time, it's only been in the last couple of years that it's become a focal point of my art. Although my concerns with layering of imagery remains the same in woodblock, I have an increased interest with the physicality of the surface of the paper. </div>
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The Photobooth Kabuki series received a lot of positive attention; including this one I'm posing with that is included in the <a href="http://www.bostonprintmakers.org/biennial.html" target="_blank"><span style="color: red;">North American Print Biennial</span></a>.William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-51249663558227010592013-10-16T11:46:00.000-04:002013-10-16T11:46:34.709-04:00Tipping Point<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;"><i><b>Tipping Point</b></i> - woodblock print - 22" x 80" - © William Evertson 2013</span></div>
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A confusion of watery abstractions, gyotaku style fish, melting globes, music from sea shanties, a reference to an incised bone from Tikal and a character from my shadow theater combined to form my latest woodblock print.</div>
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As I shared the progress of the piece with other artists several mentioned that it seemed to be a breakout work. Often we don't realize in mid work what is progress and what is place-holder. In this work I was busy exploring the details of layering that I found compelling when Photoshop was in its infancy. </div>
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Bringing that kind of digital play, where overlaps produce interesting chance encounters of color or shape into my woodcut work required a certain amount of unlearning. Too often registration issues when working large on multiple blocks and the need for clearly blocked color areas kept me from trying for a "looser hand". </div>
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<span style="font-size: x-small;">Detail of <i><b>Tipping Point</b></i> - lower left</span></div>
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This piece along with other recent woodcuts, an artist book and several of my earlier digital pieces are on view this weekend during the <a href="http://www.highlineopenstudios.org/" target="_blank"><span style="color: red;">Hi Line Open Studios Chelsea</span></a> in NYC. </div>
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I'll be in my project space at 526 W. 26th St. Room 304, NYC on Fri. Oct. 18 from 6-8pm and again on Sat. the 19th and Sun. the 20th from 12 - 6pm. A downloadable map of the artists participating in open studios is up on the Hi Line link above. Please stop by if you're in NYC.</div>
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William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-68798108060107273022013-10-05T08:29:00.004-04:002013-10-05T08:29:55.062-04:00October is Exhibition Month<div class="separator" style="clear: both; text-align: center;">
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<i><b>Tipping Point</b></i>, my latest woodblock print is shown here in the trial proofing stage; right edge folded and clamped in place to aid with registration. This large format print (24" x 80") should be ready to exhibit during the open studio weekend in Chelsea. I'll be at my NYC project space with this and other prints October 18, 19 and 20.<br />
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<a href="http://www.highlineopenstudios.org/" target="_blank">High Line Open Studios Chelsea</a> - Gallery 304, 526 W 26th St. NYC - Oct. 18, 6:00-8:00pm, Oct. 19-20, 12:00-6:00pm New Works/Works in Progress.<br />
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One of my <b><i>Photobooth Kabuki </i></b>pieces has been selected for inclusion in the <a href="http://www.bostonprintmakers.org/biennial.html" target="_blank">North American Print Biennial</a>.<br />
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Boston University - 808 Gallery, 808 Commonwealth Avenue, Boston, MA. October 27th - Dec. 20th. The opening is Oct. 27 3:00 - 5:00pm (I'll be in Boston for the reception)<br />
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Meanwhile in Japan this <i><b>Photobooth Kabuki</b></i> (in addition to the one above is on exhibit for the <a href="http://miniprint.awagami.jp/index.html" target="_blank">Awagami International Miniature Print Exhibition ('A.I.M.P.E') 2013</a>, October 12 - Nov. 10th. Venue: Inbe Art Space
(Tateishi 116, Yamakawa-cho,Yoshinogawa City, Tokushima)<br />
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<b style="font-style: italic;">Fog of War </b>is among the pieces included in <a href="http://abadaustralia.blogspot.com.au/" target="_blank">Book About Death Australia</a> - Tweed River Art Gallery, NSW, Australia, Oct. 18 - Nov. 24<br />
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<i><b>Rusi and the Axman</b></i> is included in <i>A Book About Death</i> bound and submitted by curator/ artist LuAnn Palazzo for the <a href="http://islipartmuseum.org/index.html" target="_blank">Islip Art Museum: <i>New York Bound</i></a> - Sept.22 - Dec. 29<br />
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Page on left showing my signature glyphs from the back of <i>Rusi and the Axman</i>.<br />
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From NYC to Long Island to Boston to Japan to Australia; covering the globe one print at a time!<br />
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<br />William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-23367032817101237792013-09-28T11:05:00.001-04:002013-09-28T11:05:38.926-04:00Perfections and Imperfections <div class="separator" style="clear: both; text-align: center;">
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As work on my large print continues I begin to reflect on art making and techniques. The work on the tentatively titled <i>Tipping Point </i>began in ernest in August. Its size, 24" x 80" and the twelve carved panels required combine to make this my most ambitious woodcut to date.<br />
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<span style="font-size: x-small;">Trial proofing</span></div>
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Each day in the studio I fight the same reoccurring themes. First is the idea of scale. Prints aren't meant to be this large, although some printmakers work at this scale or larger. I'm attracted to printmaking partly by the process but also by the notion that they are human scale; they can be picked up and held in your hands. Paintings are large, sculptures are large; prints need to be scaled so they can fit onto a press, or fit onto drying racks and into flat files. Besides, there are so many variables that keeping something this size in registration is next to impossible.<br />
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But I find myself seduced by both the challenge and my evolving thoughts on process. In the world of mokuhanga printmaking we traditionally begin by making a key block. The key block is most often the black outlines of the image, much like the outlines in a coloring book. Additional blocks containing the colors of the print are carved and printed based on the position of that key block image.<br />
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<span style="font-size: x-small;">Digital version of <i>Tipping Point</i></span></div>
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The image I'm working with has none of the black outlining common to the traditional method as I learned it from my mentor, Keiji Shinohara. After much experimentation, I've settled on a method of carving a color block, proofing that block and pasting it to the next block; in some ways similar yet more challenging than the outline method.<br />
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This is a small section that has been printed lightly with yellow, blue, green and a bit of red. When I'm done brushing in black ink I'll paste this to another panel and begin carving away everything that isn't black. I'll be left with a block that registers with the previous colors without depending on outlines.<br />
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I think a great deal about technique and have struggled to learn best practices. Without regret they seem to be slipping away in this piece. <br />
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The scale, combined with the absence of black outlines to disguise minor registration misalignments seem to free my mind to concentrate on the overlap of shape, color and tool mark.<br />
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I'm finally at the point where either lack of technique or overemphasis on technique are standing in the way of the art.<br />
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William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-44544687942672271652013-09-09T20:56:00.000-04:002013-09-09T20:57:24.967-04:00Tool Marks<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;">Full scale mock up of center section of <i>Tipping Point </i></span></div>
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I'm currently working on a woodblock with many abstract elements. Assuming that the abstract parts would be easier to carve is simply not the case. <br />
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Tentatively titled <i>Tipping Point,</i> the piece is a composition of watery imagery; coral, sponge, musical notation from sea chanties and fish combined with maps of coast lines and a depiction of an incised bone from 8th century Tikal showing a long sinking canoe containing various deities. This is a picture of the night sky and the canoe is the Milky Way, sinking below the horizon as the night progresses.<br />
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In fact this rather large (2' x 7') work in progress is a bit of a bear to carve. My progress in the arcane discipline of woodblock printing has been full of starts, stops and diversions. It's taken the better part of ten years to get to the point where I'm disciplined enough to see the possibilities beyond creating in a keyblock style where I create an outline and fill in the colors.<br />
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Typically in the collages I create the subject of a piece is a combination of drawn, painted and scanned imagery. <br />
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In this small piece the original ink drawing is simply glued to the block and the white (non-image) area is carved away. Larger and more complex pieces like my current work in progress requires more steps but are handled in similar fashion with paper layers pasted to the block and carved.</div>
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Without the keyblock as a guide I started with a block containing several main elements and proceeded to use it in the manner of a key block to determine the position and registration of future overlapping elements.</div>
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This photo corresponds to the black area in the center area of the top photo. Currently I'm working on the yellow area that wraps around this dark detail. The source for this portion of the piece involves map imagery morphing into fish imagery, both positive and negative.<br />
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Compared to more realistic areas (those areas requiring more recognizable or specific imagery) this section allows a certain freedom in making tools marks and their characteristic shapes.<br />
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<span style="font-size: x-small;">Almost complete; with some clean up required and the paper guide still attached.</span></div>
William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-16838023089321454732013-09-05T19:48:00.000-04:002013-09-05T19:48:47.841-04:00Fog of War<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;"><i>Fog of War</i>, woodcut, 4 x 6" ©William Evertson 2013</span></div>
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Keeping with the idea of making small travel pieces this summer, this latest piece, inspired by the horrific gas attacks on civilians in the Syrian Civil War, was completed this past weekend on a trip to Ithaca, NY.</div>
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<span style="font-size: x-small;">Early, day one, progress on <i>Fog of War</i></span></div>
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Although the image arose from a current event, the title <i>Fog of War </i>comes from a military phrase that describes the difficulties of decision making in the midst of war. The phrase came into my vocabulary following the 2003 documentary, <i>The Fog of War: Eleven Lessons from the Life of Robert S. McNamara.</i> The film, while not an exercise in rehabilitation or a revisionist version of the role of this Secretary of Defense during Viet Nam, does shed light on governments seeing what they want to believe.</div>
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As I worked on this small piece the debate on the US course of action was reaching fever pitch although the particulars of the attack (at present) are still unknown. Since Viet Nam the approach to selling the American people on a particular war has become a nuanced and accepted ritual little dependent on actual security needs.</div>
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<span style="font-size: x-small;">Clean block ready to print</span></div>
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When I posted the work in progress to Facebook one cryptic comment caught my attention; "<i>how would u have helped the jews, gypsies & gays in WW 2 . . .?" </i>I didn't believe the piece had a particular political stance, although personally I think the idea of our intervention via more violence is ill advised. </div>
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My answer (...and I hate hypotheticals): <i>"Art has very little effect on the great evils that infect the world. Although concerning ww2, the nazi's certainly thought it was valuable to loot and important to suppress." </i></div>
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Art may be political, it may be unsettling and may be a part of conversations concerning political or social justice issues but by itself my feeling is that when we as artists venture into topical concerns it is as witness rather than forcing change.</div>
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<span style="font-size: x-small;"><i>Fog of War</i>, Edition of 75 </span></div>
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The piece has been created for the exhibit, A Book About Death, Australia. The exhibit will open October 18th and run through November 24 at the Tweed River Art Gallery, New South Wales, Australia.</div>
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<span style="color: red; font-size: large;"><a href="http://abadaustralia.blogspot.com/" target="_blank">Exhibition Link - http://abadaustralia.blogspot.com/</a></span></div>
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William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0tag:blogger.com,1999:blog-3340310062269056961.post-76915570626899616922013-08-19T16:08:00.001-04:002013-08-19T16:08:21.396-04:00Carving Little Things<div class="separator" style="clear: both; text-align: center;">
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The title could have been carving little things over a cup of coffee. I've been traveling a lot over the course of the summer; always leaving the carving of woodcuts behind in my studio in favor of a sketch pad. But for the last couple of weekends I decided that a weekend might be just the right amount of time to do some small pieces over morning coffee. <br /><br />
This little piece started as an ink drawing after a portion of Hiroshige's <i>The Mannenbashi Bridge in Fukagawa</i>.<br />
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I pasted the drawing to a small (3" x 4") block, threw a knife and a small U gouge into a travel kit and was ready to carve when there were free moments.<br />
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I made a proof with a scrap of (dry) Kizuki Hanga this morning and was quite pleased. I've always admired how Hiroshige places us in the composition by often incorporating foreground elements. The turtle, a long established symbol of longevity stares longingly at the leaves, river and Mount Fuji. </div>
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According to notes on this image, on the 15th day of the Eighth Month during the observation of Hojoe, birds, fish and turtles are released from captivity during the festival. </div>
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While carving this one I started imagining the turtle on a journey after his captivity as a subject for a future piece. Perhaps this small piece can be part of it as a cartouche. </div>
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The previous week-end I completed a small piece that is to become part of Maria Arango-Diener's Puzzle Print. Eighty-five artists are contributing blocks loosely based on the theme of a "Fantastic Garden" Maria cut the puzzle blanks and mailed them out.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVgcxHPesyZyDGouxW7nkyreG1mTrZFUO2wQBkmX_ekXX4zl8TM1qTn22JZ0EZsiP6dYsKE-6df3XEsYp4k3xHVFwqSzarVmSW544NvSn_Y1yoQ3xV2YQPC6Q1aD7AUzDOIBZb98GyYegq/s1600/William+Evertson+_%25C2%25A92013_puzzle+Print+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVgcxHPesyZyDGouxW7nkyreG1mTrZFUO2wQBkmX_ekXX4zl8TM1qTn22JZ0EZsiP6dYsKE-6df3XEsYp4k3xHVFwqSzarVmSW544NvSn_Y1yoQ3xV2YQPC6Q1aD7AUzDOIBZb98GyYegq/s400/William+Evertson+_%25C2%25A92013_puzzle+Print+2.jpg" width="300" /></a></div>
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None of us know what the neighboring pieces will look like until Maria assembles and prints the piece. <span style="color: blue;"><a href="http://puzzleprints.blogspot.com/" target="_blank">Link to more about the Puzzle Print on Maria's blog.</a></span><br />
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Occasionally I carve even smaller. These are part of my series of hand carved signature seals. I have about 60 of these. I often include one as part of signing a finished piece. Each oval image impression is about an inch and a half. From left to right - Ganesha, Man with Umbrella, Diego, Frieda and the Footprints of the Buddha.William Evertsonhttp://www.blogger.com/profile/16552959930900393198noreply@blogger.com0