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Posted by amze on March 14th, 2010 | 
We were just sent these great installation photographs of Eva Wylie installing her work at Gallery Joe in Philadephia. The exhibition, titled appropriate manipulate duplicate is a group show of print/digital-related work. With the recent posting about Eva’s work here, I thought it would be fulfilling to see these in progress shots of her site specific screen print work.
The exhibit features the work of William Betts, Gil Kerlin, Ati Maier, Andrew Millner as well as Eva Wiley, and I should have a post covering all the work in the show in the coming weeks. This exhibit will be up until April 25th, so if you are in town for Southern Graphics try to catch this one.
Thanks to Holly Holly Hobby Hobby’s Anni Altshuler for this scoop.
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Posted by amze on March 14th, 2010 |
The Medium Resistance exhibition, probably one of the largest Indepent projects associated with Philagrafika, just opened in the Ice Box space of the Crane Arts building. Co-Curated by Richard Hricko, Philip Glahn and Nick Kripal. The three Tyler faculty have each drawn from their own expertise and interests to put together a show that draws from a gamut of talent, ranging from art start to local favorite. The curators describe the show as:
Medium Resistance examines contemporary works of craft and print that resist old-fashioned divisions of high art and artisanship, reassessing the mediums’ expressive, communicative, and material possibilities. Ceramic multiples and posters, digital images and books, to name just a few examples, straddle the lines between art, craft, and mass production, exploring each format’s potential for participation and dissemination, aesthetic, social, and technical labor.
This is very compelling show; in truth I’ve gone to see it three times and there is enough thought provoking work in the show to keep even my addled attention span engaged. Some of the work fits awkwardly into the cavernous Icebox space but for the most part the bulk of the show occupies the space better than anything in recent memory.
To see artist by artist shots follow the jump.
Continue reading Philagrafika 2010: Medium Resistance
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Posted by Jason Urban on March 12th, 2010 |  Sean Simmons
It’s March in Austin and SXSW excitement is palpable. Some people come for the music, some for the films, some for the interactive media but what I’m most excited about (print nerd that I am) is Flatstock 24. Started by the American Poster Institute, Flatstock is traveling poster show that hits Austin every year for SXSW. It’s a huge exhibition where everything is for sale. With an average price of $20 for a hand-printed poster, almost everyone leaves with something. Established poster veterans and young upstarts are on the scene showing work and mixing it up with each other and fans alike. All and all a great sense of community permeates the giant, table-filled hall. Here’s a full list of the more than 100 exhibiting artists who’ll be in Austin Thursday through Saturday of next week(3/19-3/20).
The big event at this year’s Flatstock 24 will be the a Smokey Robinson/Shepard Fairey poster signing in conjunction with the release of Fairey’s new Robinson poster.
Also, Serie Project, Inc is teaming up with Andy MacDougall of Squeegeeville to do live screenprinting demos for the public. As I understand it, one of the posters they’ll be printing is Sean Simmons’ winning design from The Great Texas Rock Poster Contest (see the picture above). Sean is a student at the Art Institute of Austin. Nice work, Sean!
A great Flatstock tradition is that many of the artists who show their work make posters to commemorate Flatstock itself. Here are pics pulled straight from the gigposters.com Flatstock 24 forum.
 The venerable Jay Ryan’s Flatstock 24 poster.
Continue reading I Can’t Wait for Flatstock 24
Posted by RL Tillman on March 9th, 2010 | 
From Creative Review, Ryan McGinness has created a tongue-in-cheek artist’s book entitled Studio Manual to accompany his new exhibit Studio Franchise in Madrid. The book details facets of his art production process, including “everything from a brand study and visual identity to corporate policies and detailed instructions on how to make Ryan McGinness art.”
 The exhibit is a recreation of McGinness’ studio environment executed according to a set of “franchise” guidelines.
As the primary drive of Ryan’s art practice concerns itself with the creation of and (re)production of original symbols, this new Madrid studio and the assistants will serve as symbols of the artist’s New York studio and as symbols of the artist himself. Furthermore, the studio and the assistants are not reproductions of the original, rather, they are productions based on the original. This is the essence of the franchise concept—not the deployment of reproductions or duplicates, but the production of originals created within a set of acceptable pre-determined guidelines—symbols with no referent, but that exist in their own right.
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Posted by amze on March 8th, 2010 | 
Katie Baldwin’s recent exhibition in the Print Center is a mighty fine example of contemporary moku hanga wood block printing. The show covers three bodies of work, Throwing our Things in the River, Things left behind, and another selection of prints of images of box designs that seem contain oblique narratives. Each collection are moku hanga wood block prints (multi-block & hand-printed) often with letter press text overprinted. The prints intimate in size and are printed in small editions. The text below in an excerpt from the artist’s statement, and it enumerates the magical thinking that provides an interior structure of these strange and magical images.
My images create a visual narrative, bearing witness to both the ordinary and extraordinary events of human life. I work in series; my prints complete each other as a non-linear account that attests to the complexity of the human condition. In this work, I am utilizing a perspective based on multiple points of view. I am interested in challenging the unity of time by the defiance of scale and by showing several moments at once. Daily life intersects with themes of work, relationships, culture, natural disasters and dumb luck.
Continue reading Katie Baldwin
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Posted by RL Tillman on March 3rd, 2010 | In an impressive feat of upcycling, printed detritus is stacked, glued, and shaped into log-like forms by Andrew Sutherland:
These photos are from the artist’s own inscrutable website, and this blog entry from HUH.MAGAZINE.
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Posted by amze on March 1st, 2010 | 
The Philagrafika 2010: Graphic Unconscious exhibit at the Pennsylvania Academy for the Fine Arts (PAFA) is amazing. Curator, Julien Robson makes excellent use of large, well lit new gallery. The Philagrafika site describes the curatorial project below:
..[At] PAFA The Graphic Unconscious presents the work of seven international artists who take conventionally recognized mediums and treat them in new and imaginative ways. Working with woodcuts, Christiane Baumgartner and Orit Hofshi realize the woodcut’s potential on an immense scale, while the Indonesian artist group Tromarama turns each cut of the wooden panel into the frame of a stop-motion animation. Mark Bradford collages together found posters and then sands this surface to excavate other forms of information hidden underneath, while Pepón Osorio prints on confetti in a work that turns two-dimensional print into three-dimensional sculpture. Kiki Smith collages lithographs on handmade paper into large-scale poetic works, while Qui Zhijie carves traditional Chinese calligraphy from concrete blocks that, after being printed, stand as sculptures in their own right alongside the wall-hung images.
(Post is now updated with some new images.)
Continue reading Philagrafika 2010: PAFA
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Posted by amze on March 1st, 2010 | 
The Philadelphia Museum of Art is one of the Graphic Unconscious sites for Philagrafika 2010. The exhibition there, while modest in it’s square footage, comprises some of the most interesting conceptual work in the related exhibitions. The curatorial statement on the Philagrafika site describes the show, expertly curated by Shelley Langdale, below:
Concepts of imprinting, multiplicity, reproduction, and seriality, as well as printed images and print techniques are frequently used by artists who do not think of themselves as printmakers. As artistic vocabularies have expanded and mixing media has become commonplace, artists have increasingly drawn from inherent characteristics of the print to achieve specific aesthetic and expressive goals.
In keeping with its role as a major repository of the work of Marcel Duchamp, the “father” of Conceptual Art, the museum will feature exhibitions by two artists who translate aspects of printmaking into other mediums, pushing the conceptual boundaries typically associated with the print. Óscar Muñoz explores the ephemeral implications of the imprint with two projects: a new installation of portraits printed in pigment floating on water (shown in-process) and a suite of video portraits that involve a variation of this innovative printing technique. Using imagery inspired by Japanese cultural sources that range from traditional woodcuts to contemporary comics and animations, Tabaimo continues her examination of the complexities of everyday life with the U.S. debut of a 2007 video installation.
Continue reading Philagrafika 2010: Philadelphia Museum of Art
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Posted by RL Tillman on March 1st, 2010 |  Kori Newkirk billboard on Wilshire Blvd in L.A.
How Many Billboards: Art in Stead is a billboard art show organized by The MAK Center for Art and Architecture in Los Angeles. Twenty-one billboards will be on public view through March. From the Director’s Statement by Kimberli Meyer:
The philosophical proposition of the exhibition is simple: art should occupy a visible position in the cacophony of mediated images in the city, and it should do so without merely adding to the visual noise. How Many Billboards? Art In Stead proposes that art periodically displace advertisement in the urban environment.
Read more about the project in the Los Angeles Times.
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Posted by RL Tillman on March 1st, 2010 | 
Felix Gonzales-Torres billboards in Dallas and San Antonio
To mark its 15th anniversary, Artpace has mounted a complete survey of billboard works by Felix Gonzales-Torres throughout Texas:
Artpace has sited billboards in Dallas, El Paso, Houston, and San Antonio for the first-ever comprehensive survey of Gonzalez-Torres’s Billboard works in the United States, organized by Artpace Executive Director Matthew Drutt. Thirteen images created by Gonzalez-Torres between 1989 and 1995 are drawn from poetic moments in the artist’s life, and will rotate throughout the year on six billboards in each city.
The exhibit continues throughout the year, and there’s a bus tour in San Antonio coming up on March 13.
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