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Art Publishing Now

is a two-day event dedicated to the investigation and showcasing of art publishing practices in the Bay Area. It includes a day of presentations and critical discussions, an after party, an art publishers fair, library and web archive.

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Participate:

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The Library is still seeking submissions! Deadline October 1st.

The Art Publishing Now Library is a physical and online archive of Art Publishers in the Bay Area. APNL is a self-defined collection; it is open to any project that considers itself an art publisher or a contributor to art publishing in the Bay Area. The library will be installed at Southern Exposure from October to December 2010 and will go on to find a new home in the Bay Area.

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Join the Conversation!

THE SUMMIT is on Saturday, October 9, 2010, 11 am – 6 pm FREE & OPEN TO THE PUBLIC Space is limited so be sure to register to attend! The 2010 Art Publishing Now Summit invites you to join leading creators of print, online, and experimental publications to reflect on the most urgent issues and exciting possibilities in art publishing today. With topics ranging from “Publish AND Perish” to “West Coast Critical?”, the event will include a series of presentations, conversations, and panels intended to yield insight and encourage innovation in Bay Area art publishing.

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Learn about local art publishers!

Sunday, October 10, 2010, 11 am – 6 pm FREE & OPEN TO THE PUBLIC The Art Publishing Now Fair showcases the breadth and depth of art publishing projects in the Bay Area. The fair hosts Bay Area independent publishing and related projects presenting a diverse range of the best in contemporary art publications ranging from periodicals, websites, editions and more.

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Party with us!

Saturday, October 9, 2010, 6-10pm FREE & OPEN TO THE PUBLIC Join Art Publishing Now Summit and Fair participants for a get together at Southern Exposure. Purchase food from some of SF’s favorite street food vendors including El Tonayense Taco Truck. Drinks and libations by donation from Trumer Brauerei, BridgePort Brewery, and Spoetzl Brewery.

Yesterday President Obama signed into law HR 5297, the Small Business Jobs Act.  A lot of it has to do with tax cuts for small buisnesses, encouraging investment and entreprenuership, and making it easier and to get small buisness loans: creating new funding for these loans and increasing the maximum loan amount that the SBA doles out.  There are, however, some especially exciting things for small companies, artists, and freelancers in the tax cuts area.  Hello health care deduction and total cell phone deduction.  Bullets taken from the White House Blog: *A New Deduction of Health Insurance Costs for Self-Employed: The bill allows 2 million self-employed to know that on their taxes for this year, they can get a deduction for the cost of health insurance for themselves and their family members in calculating their self-employment taxes. This provision is estimated to provide over $1.9 billion in tax cuts for these entrepreneurs. *Tax Relief and Simplification for Cell Phone Deductions: The bill changes rules so that the use of cell phones can be deducted without burdensome extra documentation – making it easier for virtually every small business in America to receive deductions that they are entitled to, beginning on their taxes for this year. *An Increase in the Deduction for Entrepreneurs’ Start-Up Expenses: The bill temporarily increases the amount of start-up expenditures entrepreneurs can deduct from their taxes for this year from $5,000 to $10,000 (with a phase-out threshold of $60,000 in expenditures), offering an immediate incentive for someone with a new business idea to invest in starting up a new small business today. *A Five-Year Carryback Of General Business Credits: The bill would allow certain small businesses to “carry back” their general business credits to offset five years of taxes – providing them with a break on their taxes for this year – while also allowing these credits to offset the Alternative Minimum Tax, reducing taxes for these small businesses. *Limitations on Penalties for Errors in Tax Reporting That Disproportionately Affect Small Business: The bill would change, beginning this year, the penalty for failing to report certain tax transactions from a fixed dollar amount – which was criticized for imposing a disproportionately large penalty on small businesses in certain circumstances – to a percentage of the tax benefits from the transaction.

“Cheek to Cheek” by Bernie Lubell, 1999  at San Jose Institute of Contemporary Art “OutRun” by Garnet Hertz,  South Hall and beyond FYI this is a video game that you play as you drive around the city.  WHAAAT? “No Matter” by Scott Kildall and Victoria Scott, 2008  at the San Jose Museum of Art They hired Second Life players to create digital representations of 40 legendary objects (Icarus’s wings, Yellow Submarine, Holy Grail, pot of gold) which they then handcrafted in real life. Solar Pump charging station, by Sol Design Lab and Bike Zoo, outside South Hall Why doesn’t this exist everywhere? “Le Monde des Montagnes” (The World of Mountains), by Camille Scherrer, 2008 at San Jose Museum of Art The screen was a live image of the book on the table.  As  you turned the pages, new worlds would apppear from and within the pictures on the pages. from “Mapping Non-Conformity: From the Global Border to the Border Neighborhood” by Teddy Cruz at MACLA (Movimiento de Arte y Cultura Latino Americana)

Please use the comments to discuss your thoughts on the work, the artist, or what the work makes you think about.  Below is a bit of what we’ve thought about while working on this piece. For the third year in a row, the subscribers choice edition was a textile. Like Maggie Leininger’s “Text/ile” (TPG7), it was an experiment in factory production for an artist used to working with her hands. While this shift from labor intensive singular pieces to a more mechanical approach could be viewed as a loss of the artist’s hand, this season’s critic Jennifer McCabe, Director of the Museum of Craft and Folk Art in San Francisco, points out “the loss of the original does not signify a bad thing, it opens up progressive possibilities of both process and accessibility.” We couldn’t agree more. The artist multiple is an exercise in exactly that. And after all, that’s what TPG is all about. We viewed Nava’s urge to mend holes in her canvases, to embroider and make stains beautiful, and to incorporate her old taxes and rejection letters into her work as a way to reclaim control over the ugly parts of life. In the interview she mentioned that she viewed this practice more as a way of “digging out of a hole”, just getting back to normal. But these pieces are much more than they were before their destruction. What was once an everyday tablecloth now shows in a museum. A roll of stained fabric now sells for thousands. It reminds us that what may seem like a struggle just to keep up or to stay afloat can itself be a step forward; the new normal turns out to be much further ahead than we’d ever have thought. To the new normal, Oliver and Eleanor

Nava’s Links:

Nava’s successful proposal for the TPG15 subscriber’s choice edition. Art Seen Asheville – Nava Lubelski – a video interview with Nava from 2008 Nava’s Book – The Starving Artist’s Way “Make it yourself. Make it cool. Make it cheap.”

Aleatoric Art:

Aleatoricism/ Aleatoric Art – Composition depending upon chance, random accident

“I don’t use the accident. I deny the accident.”- Pollack “the prototypically “male” arts of paint-splashing and canvas-pierced fused to “female” fabric-staining and needlework.” – Karen Rosenberg

Untitled (Collage with Squares Arranged according to the Laws of Chance) Jean (Hans) Arp (French, born Germany (Alsace). 1886-1966)

Arp challenged existing notions of art and experimented with spontaneous and seemingly irrational methods of artistic creation. This work is one of several collages he made by scattering torn rectangular pieces of paper onto a paper support. He and other Dada artists embraced the notion of chance as a way of relinquishing control—a kind of depersonalization of the creative process that would influence many subsequent generations of artists.

Artists “Painting with thread”

Cayce Zavaglia: realistic, densely embroidered portraits Ghada Amer: sexual female line portraits, patterns and repeats Michael Raedecker: dream-ish still lifes and landscapes, acrylic and thread Tucker Schwarz: landscapes of buildings and power lines, threads revealed Steven MacDonald: “A variety of imagery act out fantastical narratives, where tigers, rainbows, cityscapes, skulls and shipping containers are juxtaposed against the backdrop of a traditional Japanese print form.”

Artists playing with chaos and control

Heidi Trepanier:  a drip painter similar to Nava, in the way that she outlines her drips and controls them so that they look almost cartoon-y.  A subscriber sent us this link, calling her work “Dr. Seuss meets Jackson Pollock”

Right and wrong, good and evil—maybe I have always been one drawn to the gray area of life. Likely that is at the heart of what draws me to the art world. I am attracted to contradictions and aspects of life that are complicated—not simplified into categories of black and white. The work of Nava Lubelski is rich in contradictions—just the kind that make it a very compelling artwork. Old Tricks for New Monkeys is a vibrant canvas with colors seemingly caught in motion. Beautifully detailed threads create a palette that pulls the viewer in and keeps the eye engaged. Yet even the title of the piece is a juxtaposition of opposites; and this gives a sense of the multiple contradictions that build layers of content beyond the visual itself. Monkey See and Do, 12″ x 12″, thread on canvas, 2006.  Image courtesy of the artist. This work began as organic stains on fabric that were then hand embroidered by the artist. The process of embroidery is a laborious one, at once meticulous and fine. So from first glance one sense’s the accidental nature of a stain, and begins appreciating the shape and color, only to find that there is a complicated handiwork involved, one with very intentional impulses. The artist has said about her own work in general,

I love art that encourages a perceptual shift in the viewer, particularly a humorous one. My work in a certain sense is a one-line joke about the rewards of “looking closer,” although obviously it’s really labor intensive and complicated as well. I began this technique as an outgrowth of painting and then collaging with fabric, but I got interested in thread and the tiny, rigid structures of the stitches. I became curious about why stitching was always stigmatized as decorative and crafty – I went about finding the least practical, least structured, least controlled graphic imagery that I could embroider and happened upon the “drip.” I liked the idea that from a distance the pieces would look so fluid and painterly, but contain this surprise of shockingly time-consuming deliberation.

Karen Rosenberg’s 2009 NY Times review places Lubelski’s work in the art historical category of artists who ‘paint’ with thread, such as Ghada Amer and Michael Raedecker. The review also illustrates the relation of masculine and feminine elements inherent in her work, as in the ‘male arts of paint-splashing’ and the ‘female fabric-staining and needlework’. There is a tension between the feminine and masculine aspects of the work that grows stronger with the introduction of the digital medium. Monkey See and Do, digital tracing, 2010.  Image courtesy of the artist. In order to produce this work for The Present Group, Lubelski chose to work with a machine to embroider her original design. She began by doing a computer drawing that was a tracing of an earlier piece that she had stitched by hand in response to an organic stain, wanting to see what would happen if she fed that drawing into a computer stitching program without any changes or explanations. In the context of her process, she was letting go of control and trusting the machine to reproduce an image in its own way. Lubelski described this change in process as simultaneously embracing chaos and control. Is something lost in the translation of the machines paths, something that existed in the hand-embroidered stitches? Or is the translation actually more direct due to the nature of the process? Does the machine embroidery change the value of the piece? Much has been written in postmodern theory about the loss of the original in nearly every medium from film to painting. As Baudrillard referenced,

“The simulacrum is never that which conceals the truth–it is the truth which conceals that there is none. The simulacrum is true—Ecclesiastes.”

Postmodern theorists often looked to production and reproduction and the inevitable commercialization of art. But the conclusion was that the loss of the original does not signify a bad thing, it opens up progressive possibilities of both process and accessibility. In Old Tricks for New Monkeys, the beauty and wonder of the handmade is still inherent. In fact, digital media here combines the skills of the artist and the machine and expands the artistic practice. Lubelski successfully integrates the feminine and the masculine, the analog and the digital, the original and the reproduction, not favoring one over the other, but developing an artwork full of seemingly opposite threads that provide room for visual and conceptual dialog. . . Jennifer McCabe is currently Executive Director and Chief Curator of the Museum of Craft and Folk Art in San Francisco, where she has been working for three years to develop new programs and expand the image of the 26-year old institution. She is also an adjunct professor in contemporary art, most recently at Mills College. www.mocfa.org

Nava Lubelski in her studio.  Photo courtesy of the artist. [display_podcast] Lubleski’s Studio, 2010  Photo courtesy of the artist.

Old Tricks for New Monkeys is an edition of 70 machine embroidered canvases.  The work contrasts the accidental with the meticulous, depicting the chaos of a spill, delicately recreated with thread. Nava Lubelski was born and raised in New York City and is living currently in Asheville, NC. Lubelski’s work has been included in two exhibitions at the Museum of Arts & Design in Manhattan, and has also been seen recently at the Weatherspoon Art Museum in Greensboro, NC and the Queens Museum of Art in Queens, NY, where her work is part of the permanent collection. Lubelski’s 2009 solo show at LMAKprojects in New York City was reviewed in the New York Times, which referred to Lubelski as being “in the category of artists who ‘paint’ with thread.”  She has had two solo shows with OH&T Gallery in Boston and additional recent exhibitions include group shows in L.A., Stockholm and Berlin.  Lubelski was a featured artist in the book Contemporary Textiles: The Fabric of Fine Art, published in 2008 by Black Dog Publishing in London. She has received grants from The Pollock-Krasner Foundation and the New York Foundation for the Arts.  Lubelski received a degree in Russian Literature & History from Wesleyan University in 1990 and spent a year as a student in Moscow, Russia.

found via Joseph del Pesco

The Present Group will be taking part in East Carolina’s Print Summit 2010: a three day symposium consisting of exhibitions, lectures, demonstrations celebrating the diversity of contemporary printmaking media.  We’ll be showing Whitney Lynn‘s DIY Survival Kit as part of  “A Survey of Contemporary Printmaking,” an exhibition that includes the work of some of the most influential and important printmakers working in the US today. Matt Egan and Michael Ehlbeck, professors of printmaking at East Carolina University, brought together five individuals to co-curate an exhibition that would offer a comprehensive look at the innovations and excellence that are shaping the course printmaking today.  Along with many other lectures through the weekend (um, Karen Kunc!), these curators will discuss the collection they brought together and take a look at the current state of printmaking. The Curators: Bill Fick, of Cockeyed Press and co-author of “Printmaking: A Complete Guide to Materials and Process.” Beth Grabowski, Professor of Art at UNC Chapel Hill and co-author of “Printmaking: A Complete Guide to Materials and Process.” Rockie Toner, former Dean of the Tyler School of Art. R.L. Tillman, artist, educator and co-founder of “Printeresting.” Matt Rebholz, Assistant Professor, Southwestern University, Georgetown, TX. The Details: The Summit is hosted by the Printmaking Department of East Carolina University in Greenville, North Carolina, September 9 -11, 2010. “A Survey of Contemporary Printmaking” will be on view at: Gray Gallery, School of Art and Design, East Carolina University. September 7th through October 2nd, 2010, Opening Reception 7:00 Friday, September 10th Panel Discussion for “A Survey of Contemporary Printmaking” 5:30 – 7:00 pm  Speight Auditorium , Room 1220- School of Art and Design

Because, well, it’s sortof awesome.

The pros and cons about that nemesis for most artists.

sorry for the lack of posts lately: putting out the piece and applying for stuff.  Happy Labor Day Weekend!