Meta-Practice, Research, Thought Experiments in Agency

Ways and Means: Points of Reference

A few past notes and new points of reference related to my Ways and Means project, on view through October 15 at Kala Art Institute.

Ways and Means came out of my Inter/dependence ‘zine, a report focusing on self-organizers. I loved the way Adam Gopnik wrote about Jane Jacobs’s interest in self-organizing [emphasis added]:

[In The Death and Life of Great American Cities, Jane Jacobs] told the story of a little girl seemingly being harassed by an older man, and of how all of Hudson Street emerged from stores and stoops to protect her…. She made the still startling point that, on richer blocks, a whole class of eyes had to be hired to play the role that, on Hudson Street, locals played for nothing: “A network of doormen and superintendents, of delivery boys and nursemaids, a form of hired neighborhood, keeps residential Park Avenue supplied with eyes.” A hired neighborhood! It’s obvious once it’s said, but no one before had said it, because no one before had seen it.

The book is really a study in the miracle of self-organization, as with D’Arcy Thompson’s studies of biological growth. Without plans, beautiful shapes and systems emerge from necessity. Where before her people had seen accident or exploitation or ugliness, she saw an ecology of appetites.

Adam Gopnik, “Jane Jacobs’s Street Smarts,” New Yorker, September 26, 2016

This sense of acting out of necessity, or appetite—the agency and empowerment of creating a desired condition to exist within—is a huge inspiration to me.

Most of the activity kits in Ways and Means have two components: printed ephemera, housed in a canvas tool pocket or pouch (which can be attached to an apron, belt, or garment). The pouch is important to me, as I see a strong connection between physical agency, and social or political agency. Freedom is first and foremost about mobility. And feeling free—say, as artists—means that we don’t have to shape our lives around systems whose values we don’t believe in. In many ways, the project is about recognizing the tools, skills, and resources (read: each other) that we already carry, made physical by the tool pouches.

Activities housed in canvas pouches, displayed on a wall. Participants can attach them to garments using the snaps. Supported by a Fellowship from Kala Art Institute and an Artist-in-Residence Workspace Grant from the Center for Book Arts. Photo: Jiajun Wang

Activities housed in canvas pouches, displayed on a wall. Participants can attach them to garments using the snaps. Supported by a Fellowship from Kala Art Institute and an Artist-in-Residence Workspace Grant from the Center for Book Arts. Photo: Jiajun Wang

With that in mind, Chelsea G. Summers’ “The Politics of Pockets” (Racked, 9/19/2016) is an intriguing history of pockets from a feminist perspective. It starts with the fact that in Medieval times, men and women carried pouches attached to their waists. (The following several hundred years of gender-policing-via-pockets seem like an aberration to me.) The essay also touches upon the intersection of pockets and bicycling—again, mobility implying freedom.

One of the responses to Ways and Means has to do with the number of components involved. As there was a lot of letterpress printing, the process was particularly preparation-intensive. Here’s how I kept track of things:

Workflow spreadsheet for managing each activity kits across multiple stages.

Workflow spreadsheet for managing each activity kits across multiple stages.

I am not saying this level of nerdiness is always warranted, and I think many people would chafe at organizing creative production this way. But letterpress printing takes a special kind of detail-oriented person—hence the aphorism, “check your ‘p’s and ‘q’s.” This chart was useful for getting all the pieces—plates, type, paper, board, fabric—in place before I started printing. And getting different activities to converge at similar stages was helpful, e.g., buying paper in one trip, or binding all at once. Seeing that things were in-progress helped me stay focused; there is always something to do. And when you’re working in more than one space—such as a studio and printshop on opposite ends of a complex, or a home studio and a printshop in another borough—it’s nice to remember to pack the right materials for the day’s tasks.

A minor innovation that took a while for me to arrive at is this (it’s also a peek at a forthcoming activity):

A chart of printing passes.

A chart of printing passes.

Some activities entail multiple printing passes using different inks and media, and it could get confusing. I found that charting it this way helps me to visualize the steps, and prepare the plates and type accordingly. I may have even saved myself a fourth pass on this one. Pass 1 is done, 2 and 3 remain. To be continued…

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Techniques, Thought Experiments in Agency

A Simple Bookbinding How-to

[Reposting from Instagram] Here’s a bookbinding how-to I made while binding a collaborative activity with Leah Rosenberg for Ways and Means (on view now through October 15 at Kala). The project was printed at Kala Art Institute in Berkeley, CA, and bound at the Center for Book Arts in NYC.

Bookbinding steps, part 1 of 2, for collaborative activity with @leahmartharosenberg. Make a 10-hole guide. Transfer with a pin tool (to your block squared out and bulldog clipped between boards). Drill holes with a Dremel. Beat down the swell (burnish burrs with a bone folder). Wax 18-30 gauge linen thread. Straight stitch forwards then back. Snug it up. Tie a square knot in the middle of your text block. Beat down again. #waysandmeans Techniques picked up from @centerforbookarts teachers and renters.

Bookbinding steps, part 1 of 2. Make a 10-hole guide. Transfer with a pin tool (to your block squared out and bulldog clipped between boards). Drill holes with a Dremel. Beat down the swell (burnish burrs with a bone folder). Wax 18-30 gauge linen thread. Straight stitch forwards then back. Snug it up. Tie a square knot in the middle of your text block. Beat down again. Techniques picked up from Nancy Loeber and Uriel Cidor at the Center for Book Arts.

 

Bookbinding steps, part 2 of 2, for collaborative activity with @leahmartharosenberg: Glueing the spine wrap. Cut paper and score to depth to cover stiches. Fold up using triangle and bone folder. Mark spine width, score and fold. Dry fit. Brush on PVA from folds outward using a newsprint mask. Place on block and burnish top and spine. Stand up book on spine and repeat on back.

Bookbinding steps, part 2 of 2: Glueing the spine wrap. Cut paper and score to depth to cover stitches. Fold up using triangle and bone folder. Mark spine width, score and fold. Dry fit. Brush on PVA from folds outward using a newsprint mask. Place on block and burnish top and spine. Stand up book on spine and repeat on back.

 

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Art & Development, Thought Experiments in Agency

Kala Fellowship: Residency Notes, Part 2

A few notes on my residency in June and July, with personal reflections. A continuation of “Kala Fellowship: Residency Notes, Part 1.”

Christine Wong Yap, including collaborations with Sarrita Hunn, Leah Rosenberg, and Elizabeth Travelslight, Ways and Means, in Kala's Fellows exhibition, Appro-propagation, on through October 15. Photo: JiaJun Wang. Works developed at Kala Art Institute's Fellowship program, as well as in the Center for Book Arts' Workspace Grant program.

Christine Wong Yap, including collaborations with Sarrita Hunn, Leah Rosenberg, and Elizabeth Travelslight, Ways and Means, in Kala’s Fellows exhibition, Appro-propagation, on through October 15. Photo: JiaJun Wang. Works developed at Kala Art Institute’s Fellowship program, as well as in the Center for Book Arts’ Workspace Grant program.

I returned to Kala from early June to late July for a second residency stint. Over those six weeks, I developed new work—including collaborations with Leah RosenbergElizabeth Travelslight, and Sarrita Hunn (Institute for Autonomous Practices)—and installed it in the Kala Fellows’ exhibition (currently on view through October 15). [Update: I’ve posted photos on my website.]

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Screenprints in the drying rack for a game developed in collaboration with Sarrita Hunn (Institute for Autonomous Practice). The top layers are cards, including some inspired by questions in my recent zine on interdependence. The bottom layers are canvas game “boards.”

 

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Press lock-up on the delightfully light Vandercook SP-15. For Friendship Field Trip, a collaboration with Elizabeth Travelslight. It comes in four pieces, each describing an activity to deepen a friendship. The back of all four assembles into a map/poster.

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Detail of Color | Cootie | Feeling | Catcher, an activity developed in collaboration with Leah Rosenberg. 13-color woodcut and polymer plate letterpress print.

This experience was extraordinarily positive, like my January/February stint. Here are a few updates:

Busier printshop. There were more AIRs and Fellows in town for the summer season. The chill, atelier-like vibe often gave way to a bustling hive of printing. The screen printing equipment was especially popular.

Fellows and staff took a break for lunch.

Fellows and staff took a break for lunch.

 

New Fellows Ronny Quevedo (Bronx, NY) and James Voller (New Zealand/Melbourne), Honorary Fellows Katie Baldwin and Chris Thorson, and AIRs Aaron Hughes and Mikey Kelly arrived or continued their visits, and I enjoyed getting to know them and work alongside them.

Staff changes and special mentions. New Studio Manager, Ben Engle, is upbeat and enthusiastic about printmaking and helping people. Artist Program Manager Carrie Hott is leaving to pursue other things (check out her show at Mills College Art Museum through August 28).

Kala is a special place, run by extraordinarily dedicated people. For example, I needed to borrow a table from Southern Exposure (thanks SoEx and Val!), and Art Sales Manager Andrea Voinot picked it up on her day off. I feel indebted to Kala and the people whose labor, energy and generosity make it work.

Deadlines. My prior stint involved experimenting to learn techniques. But for this visit, I had to focus on finishing work for the show. The numerous steps involved in my project—preparing the art, printing, binding, sewing, installation—quickly became an unyielding reality I had to cope with.

I think I could have scheduled my production a bit more strategically, especially when it came to collaborations. I felt like I was running out of time. As an art handler, I felt that my work should have been done ahead of the installation period. But as an artist, I realized that this is all new work—quite a bit of it, with an involved installation, and it’s not the same thing as installing existing works.

Thankfully, I received assistance with perforation, lighting, and photography from interns Katrina and Sean, and sewing assistance from my mom, Sophia Wong.

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Mom proudly sports the apron she just finished sewing in the artist’s project space at Kala.

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Detail of a lab coat sewn by Mom.

 

Work/life balance. As with other residencies, I got really invested in productivity. I was often at the printshop by 7am—partly to beat the bridge traffic, and partly to get things done (aided by starting out on East Coast time). I made the most of my time at Kala, but I can’t say the same about the Bay Area…

Early mornings in the printshop.

Early mornings in the printshop.

I could have been more present for family and friends, been a more patient and kind collaborator, seen more art (especially the new SFMOMA, Ed Ruscha show at the DeYoung, Torreya Cummings’ installation at the Oakland Museum, Postscripts to Revolution at Southern Exposure, and Bizarre Bazaar at Root Division) and spared myself some of the 12-(up to 15.5-)hour days. It’s paradoxical to sacrifice relationships to make art about interdependence. But I’m not sure what I could have changed, if I had the chance to do it again. There’s only so many hours in the day, and it was already a privilege (as well as financial and marital stretches) to be away so long.

Interdependent, communal spaces. At Kala, I thought about Elizabeth Travelslight‘s description of being a co-op member in CO-LABORATION:

It becomes quite habitual—you get in the habit of seeing people fully and being seen fully.

That was how I felt at Kala. The collective ethos there can be enlivened with little effort, mainly greeting people, communicating openly, and generally having faith in others. I had to adopt these attitudes and behaviors (it felt almost Midwestern…). I felt welcomed and very much like a thread in the social fabric. Colleagues were encouraging, helpful, and friendly. Even with my middling technique, I was accepted… It was validating.

[Addendum/Tangent:

With the help of LR, I realized that these are the same feelings I felt at gyms Pacific Ring Sports and Fight and Fitness this summer, and are the same motivations for training amongst others. I hadn’t realized the connection until LR visited PRS and pointed out how members can similarly cultivate a spirit of mutual respect and encouragement. That validation grew my sense of value within these communities, which can become like chosen families. To be encouraged to keep training, and to come back anytime by people who’d easily submitted me, or who I’d accidentally headbutted, melts my heart. It’s about sportsmanship, but moreover, shared experiences of hard work and growth. These gyms and Kala provided opportunities to be humbled, to develop new skills and new friends, to be accepted, and to be grateful. I felt my sense of value and integrity being grounded by being seen and seeing others, and gained lived experiences of ordering aspects of life interdependently.]

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The head coaches at Pacific Ring and Fight and Fitness were all from Fairtex, whose SF gym has since dissolved. I started out there too, about 15 years ago. After a hiatus following my move to NYC, I’m revitalizing my appreciation for the development and relationships gained through this type of training. The Bay Area has an embarrassment of riches when it comes to quality muay thai and BJJ training; I recommend residents avail themselves to it.

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Community, News

7/14: Opening @ Kala Art Institute, Berkeley

After five weeks of intensive printmaking and sewing, I’m happily exhausted and happy to share Ways and Means, a new body of letterpress-printed activity kits, collaborative games, and custom garments exploring interdependence and resourcefulness. The project includes collaborations with Leah RosenbergElizabeth Travelslight, and Sarrita Hunn (Institute for Autonomous Practices). Ways and Means is participatory—come, interact, bring a buddy, and make new buddies.

Details from Ways and Means: letterpress printed cut-and-assemble activity on interdependence (two-color linoleum and polymer printed and bound at the Center for Book Arts) and apron (two-color screenprint on canvas, sewn with Sophia Wong).

Details from Ways and Means: letterpress printed cut-and-assemble activity on interdependence (two-color linoleum and polymer printed and bound at the Center for Book Arts, NYC) and apron (two-color screenprint on canvas, sewn with Sophia Wong).

July 14 – October 15, 2016
Appro-propagation
Residency Projects: New Work by 2015-2016 Kala Fellows

Opening Reception: Thursday, July 14, 6-8pm

Kala Art Institute
Gallery: 2990 San Pablo Avenue, Berkeley, CA 94702
Gallery Hours: Tue-Fri, 12-5:00pm; Sat, 12-4:30pm

Takuji Hamanaka
Jamil Hellu
Lucy Puls
Ronny Quevedo
Neil Rivas
Leah Rosenberg
James Voller
Christine Wong Yap


This experience has been so positive in bountiful ways. I’ll elaborate more later, but at this moment I am moved to share my gratitude for the organizations and so many individuals who have made this possible: Kala Art Institute; the Kala Fellows Program; Kala staff (particularly Carrie Hott, Paper Buck, Ben EngleAndrea Voinot, and Mayumi Hamanaka for their help and trust, and Archana Horsting and Yuzo Nakano for having the vision to create and maintain such a special place); Kala fellow Fellows, Honorary Fellows, AIRs, and interns for contributing to the spirit of welcoming community and knowledge-and-resource-sharing; the Center for Book Arts’ AIR Workspace Grant program; Val Imus and Southern Exposure for non-profits’ mutual aid; Kevin B. Chen and Genevieve Quick for believing in me; collaborators Sarrita Hunn, Leah Rosenberg, Elizabeth Travelslight; installer Gary and interns Katrina and Sean; Sophia Wong for sewing assistance; and Michael Yap for unending support. I am also grateful for Susan O’Malley, to have shared in her life, work, and wisdom, and—I believe—a feeling that interdependent entanglements such as these swell our hearts and lives… Thank you.

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Meta-Practice, Thought Experiments in Agency, Travelogue

Kala Fellowship: Residency Notes, Part 1

Notes from the first half of a printmaking residency in Berkeley, CA.

printshop

A view of Kala’s printshop.

[Note: Kala is redesigning their website—sorry for links that may soon break.]

What

I just wrapped up my first of two stints as a 2015-2016 Fellow at Kala Art Institute in Berkeley, CA. Kala is a 40-year-old non-profit arts organization, at the heart of which is a massive print shop in the top floor of a former Heinz ketchup factory. Their printmaking facilities span etching, stone lithography, relief, letterpress, and screen print. They also have an electronic media center with a 44” printer, a darkroom, and a shooting room. Around the corner, they have another space, which includes a gallery, collections, a classroom, and three project space/studios.

It’s like an Artist’s Playland.

As a fellow, I receive access to the printmaking studio, free tutorials, a free class, the use of a 100-square-foot private studio, a discount on classes and purchases, and a stipend.

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Demo from the Repeat Pattern Screen Printing class with Emily Gui.

studio

Studio 270º.

When

The fellowship lasts up to six months. I’d heard that a few past Fellows were able to be active all six months, but many were not, likely due to finances or jobs. The Bay Area’s high cost of living is another limiting factor, for international artists and at least one other NYC artist I’ve corresponded with. I have also been told that many Fellows schedule their stints towards the end of the Fellowship period.

I committed to 2.5 concentrated months due to finances and logistics. I just wrapped up a 4.5-week stay from early January through early February. I will be back for a second stint in June and July to make more work and to install my work in the Fellows’ show and attend the opening. The exhibition is scheduled to open in mid-July.

I was mostly focused on studio work, but I was able to visit the re-openings at Berkeley Art Museum and the San Francisco Arts Commission Gallery, and Related Tactics: Declarations for the New Year at Southern Exposure. I also enjoyed the Kala Artists’ Annual in the Kala Gallery (on view through March 26)—it’s a great way to be introduced to the work of the AIRs that I was working alongside, and be inspired by the range of work and media.

Actually, I’d been in a Kala Artists’ Annual many years prior. I interned there after undergrad, and used the presses for my reduction woodcut prints. In the intervening years, I visited the gallery, wrote about an exhibition, and submitted applications to the Fellowship program. I think my familiarity with Kala, printmaking, and the region were very helpful in my planning and expectations.

Where

Artists couldn’t ask for a better location. Just across the parking lot from Kala are a large hardware store and Looking Glass Photo & Camera, probably the best photo store in the East Bay. Across San Pablo are independent businesses Discount Fabrics, MacBeath Hardwood, Ashby Lumber, and Urban Ore (building materials salvage). An art supply store with a decent selection of printmaking supplies and paper is located 1.5 miles away.

You can also find Kelly Paper in Oakland and TAP Plastics in El Cerrito. (I don’t usually promote chain stores, but I missed these two after I moved to NYC, which lacks adequate counterparts.)

Just across the street is Berkeley Bowl West, a fantastic grocery store with prepared food. Its produce section is probably bigger and fresher than anywhere I’ve been. You get healthy grab-and-go food or stock up on groceries in the Kala kitchen. It’s a major perk of the location.

Kala’s split spaces—print shop and gallery—are located on different sides of the same block. To access one from the other, you can walk through loading docks and a parking lot, a sidewalk that fancifully circumnavigates trees along car-heavy San Pablo, or through neighboring JFK University and more loading docks. It’s not far, but it feels like it is.

This part of West Berkeley was industrial, and the building has its own monolithic architectural beauty. However, artists should note that access is easiest for those who can readily climb a short ladder, walk steep ramps, and climb stairs.

I borrowed a car, which made a world of difference for my commute from the peninsula (south of San Francisco), and getting supplies. West Berkeley is not very close to BART (the subway/commuter rail system). For artists coming from out of town, I recommend staying as close to Kala as possible. If not, having a car—and a high tolerance for traffic or the willingness to commute during off hours—will be useful. At the very least, I think you’d want a bike and a bike map.

Who

This year there are eight Fellows. Kala also has about 50-70 artists-in-residence (AIRs). The AIR program is similar to a membership, allowing access to the print shop and media center. For local artists working in print and digital media, the AIR program’s tiered rates can help make it a great alternative to a private studio.

I really looked forward to becoming part of this Kala community. When I interviewed Kevin B. Chen for my ‘zine, CO-LABORATION, he said:

As a young person, Kala Art Institute was an amazing place to be—a shared facility for printmaking with an ethos of collectivity and collaboration. This was seminal in my thinking about artistic practice as part of a larger dialogue, a community. It was (and is) a real community of artists whose ideas and work didn’t exist in the vacuum of a solitary studio, but rather was in the open and collectively shared. The notion of gestalt—the whole is more than the sum of its individual parts—took root for me then.

At Kala, I encountered these moments of serendipity. It’s a communal space, so I admired Emmanuel Montoya’s oversized woodcut prints, and the nearly silent way he and his assistant worked together. Having only ever seen monoprinting with oils, I was impressed by how an artist used watercolors on her acrylic plate, and she kindly explained the process. Often the print shop felt like an atelier—artists were quietly engaging their solitary studio practices, respectfully allowing others to do the same. Then, someone might put on the water kettle, and gradually artists gathered for lunch, and there’d be a friendly, energetic dialogue.

My most meaningful instance of serendipity is being a concurrent Fellow with San Francisco-based Leah Rosenberg. She began her stint in January, too, following her residency in Omaha and project in Hamburg. In the past, she and I collaborated with the late, painfully missed Susan O’Malley. Re-connecting with Leah, at Kala (where Susan’s “Be You” mural for Print Public is just across San Pablo) was some sort of cosmic gift, a confluence of Kala’s mysterious ability to survive an economic environment hostile to arts organizations, the jurors’ visions, and our own good luck. We are collaborating on a participatory project for the exhibition in July. It was also so nice to have a buddy. Doing a residency can be isolating—you’re away from your home and partner, and somewhat at the mercy of an institution yet on a self-directed journey, so having someone to share the experience and mutual support is strengthening.

How

Fellowships are awarded via an annual open call juried by outside curators and artists. I’ve lost track of how many times I’ve applied. I submitted an application last spring, and got an email requesting confirmation of my interest in summer or early fall. I’m finding that artist’s experiences of residencies are highly shaped by the liaison, and Artist Programs Manager Carrie Hott (see her work, which I’ve mentioned here) was professional, responsive, interested, and interesting.

The Fellowship seems set up to support artists and let them get to work. At the Orientation, Studio Manager Paper Buck (see his work) asked us what media we’d like to use, and what tutorials we’d need. On the spot, he incorporated a screen coating and exposing tutorial. Carrie handed out keys to residents and fellows. That was day one. We were free to access the studios 24/7.

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Changing out the tympan in a Vandercook letterpress tutorial with Carissa Potter Carlson.

Kala relies on an honor system, and trusts AIRs and Fellows to work within their experience levels. If you are fluent with a piece of equipment, they might briefly talk it through with you, or they might leave it at that. If needed, you can request a tutorial. Brief tutorials are free and scheduled with individual staff members and teachers. You can also request a longer tutorial—available to AIRs at an hourly rate of $40, which I think is very artist-friendly, and free for Fellows.

Kala also offers a free, completely optional class to Fellows.

It took me about a week or two to get rolling in the print shop. When I was eager to get a screen printing refresher, an AIR was kind enough to walk me through it.

Kala’s requirements of Fellows are minor—donate three works (typically editioned work) to the permanent collection. Include credit lines. Submit good photo documentation. That’s pretty much it.

Why

I had an overwhelmingly positive experience over the past few weeks.

I’ve been exploring artists’ agency and interdependence, and want to make activity kits along these themes. I shipped my sewing machine to Kala, but ended up wanting to use my time at Kala mostly to print; I can always sew back in NYC. I did a lot of screenprinting on fabric, a little bit of letterpress and polymer plate, one woodblock (thanks to encouragement by KBC), a little participatory project, and the collaboration with Leah.

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Big roller, split well, birch plywood woodcut

I had books about artists’ self-organization and alternatives, but put off reading them. Printmaking is preparation-intensive, and I felt like I had plenty to do in the print shop everyday. I’ve been mulling these podcasts and articles.

If there was any stress, it was completely self-inflicted. At residencies, I am quite aware of the many artists who would like the opportunity I have, and I tend to want to earn the right to be there by being very productive. But the creative process isn’t linear. And I dabble around in too many media for processes to go perfectly every time. I usually reach a point where I have too many ideas and not enough time left, so I try to simplify and prioritize. The hardest part is letting go of what I can’t or needn’t do. For example, I re-printed a three-color repeat pattern screen print on 10 feet of fabric. It took me about 1.5-2.5 hours every day for six days. If I were able to let go of the flaws and mistakes of the first print, and adhere to my list of priorities, I would have moved on to other projects. But I was obsessed: I knew I could make it better.

Printmaking can be highly technical. For some, its established markers of craftsmanship can make it intimidating, and mastery expressed in minutia can make it seem arcane. But printmaking can also be looser and inventive. I like how you can also make it up as you go along, like making jigs—improvising and refining combinations of materials, time, pressure, and alignment. A folded playing card is a great tool for picking up prints from the press. A “jigsaw” woodcut of squares and triangles could be done in minutes on a miter saw. A plastic sheet can be a backing for screenprinting a t-shirt, or a tympan for printing a woodblock. Do whatever works.

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I devised a simple pulley system for printing and drying yards of fabric.

 

 


 

Thanks so much to Kala Art Institute, its funders, staff, interns, the jurors, AIRs and fellow Fellows for this tremendous opportunity and amazing experience thus far…

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Art Competition Odds

art competition odds: Kala Art Institute 2015 Fellowship

The Kala Art Institute’s 2015 Fellowship Award received 275 applications for eight Fellowships and four Honorary AIR awards.

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Fellows comprise about 1:34, or 2.9% of applicants.

Fellows and Honorable Mentions comprise about 1:29 or 4.3% of applicants.

See last year’s odds, or all Art Competition Odds.

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​Susan O’Malley, Advice From My 80 Year-Old Self, 2015 // Source: Kala Art Institute.

​Susan O’Malley, Advice From My 80 Year-Old Self, 2015 // Source: Kala Art Institute.

Print Public
May 7 – June 27, 2015

Opening Reception: Thurs, May 7, 6-9pm
Open House: Sat, May 16, 12-5pm
Kala Art Institute, 2990 San Pablo Ave, Berkeley, CA
Plus various events at Kala and the neighborhood

Taro Hattori
Taraneh Hemami
Susan O’Malley
Sue Mark
Swell
Imin Yeh

This is the exhibition and final phase of Print Public, a two-year place-making project along the San Pablo Avenue Corridor in Kala’s West Berkeley neighborhood.

Sights

See: Print Public @ Kala Art Institute, Berkeley, CA

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