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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Uncategorized

See: Bay Area Now 7, opens Friday

Very excited for dear friends presenting new works.

July 18–October 5, 2014
Bay Area Now 7
ybca, San Francisco

There’s a lot of reasons to be excited for BAN7, but I’d like to personally cheer these folks:

Susan O’Malley and Leah Rosenberg (by invitation of Montalvo Arts Center). Find your center and then get a little de-centered at their event-specific cocktails on July 24, from 6-8pm.

Susan O'Malley and Leah Rosenberg, Find Your Center, Montalvo Arts Center at ybca.

Susan O’Malley and Leah Rosenberg, installation of Find Your Center, Montalvo Arts Center at ybca. Source: Susan and Leah.

This, unbelievably, is happening at ybca:

Bay Area Art Workers’ Alliance

Bay Area Art Workers Alliance presents an exhibition of works by preparators addressing the invisible labor, aesthetic vocabulary, and materials that art workers use when they install and care for the precious objects that give value to institutions like YBCA. …

Each of these 50 new art works are constructed using on-the-job materials informed by vantages of the preparator — behind the painting, during the paperwork, inside the crate, from truck to office to gallery — that happen between, in proximity to, and in spite of the finished exhibition.

In the collaborative spirit of the profession, BAAWA will present works generated by preparators with a strategic focus on the collective work of a community rather than one single author.

BAAWA’s site: http://www.bayareaartworkersalliance.org

I really wished that I could have attended the Tate Modern’s No Soul For Sale fair of alternative and artist-run spaces, so when I heard that BAN7’s distributed curatorial model was inspired by NSFS, I was intrigued. The featured organizations cut a broad cross-section of the Bay Area art scene. In fact, I’m not familiar with some of them—either they’d begun around or after I left SF for NYC, or they were in entirely different networks. For a scene as small and tightly-knit as the Bay Area, this chance for BAN to present new spaces, artists and ideas is really exciting. It’s easy to knock bi- and triennials, but when the curatorial authorship reflects smaller art organizations, I hope audiences attend with a more open mindset.

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News

The Pictures Full of Happiness

A recent billboard exhibition on happiness in Poland.

The Pictures Full of Happiness mobile billboards with art by (left to right): Christine Wong Yap, Galeria Rusz, and Susan O'Malley. Photo courtesy of Galeria Rusz.

The Pictures Full of Happiness mobile billboards with art by (left to right): Christine Wong Yap, Galeria Rusz, and Susan O’Malley. Photo courtesy of Galeria Rusz.

Students hold posters by  (left to right):  Susan O'Malley, Galeria Rusz, and Christine Wong Yap. Photo courtesy of Galeria Rusz.

Students hold posters by (left to right): Leah Rosenberg, Susan O’Malley, and Christine Wong Yap, in front of an interactive billboard by Galeria Rusz. Photo courtesy of Galeria Rusz.

From June 2–8, Galeria Rusz’s travelling exhibition, The Pictures Full of Happiness, traveled across Poland’s Kujawsko-Pomorskie region asking the Polish public to reflect on an emotion. In  small villages and cities, artworks by Galeria Rusz, Susan O’Malley, Leah Rosenberg, and myself, appeared as mobile billboards and posters. Organized student activities solicited responses via interactive billboards and artworks.

Big thanks to Galeria Rusz’ Joanna, Rafał, and Agnieszka for sharing my artwork with the public!

 

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Art & Development

2013 Year-end Roundup

 

phtos from residency at the Tides Institute and Museum of Art, Montalvo Art Center, Happiness Is... Chinese Arts Centre, more

2013 year-in-review. Highlights include the residency at the Tides Institute and Museum of Art in Eastport, Maine; Happiness Is…, at Montalvo Arts Center in Saratoga, California; Irrational Exuberance Flags at Southern Exposure; Irrational Exuberance (Asst. Colors) at Centre for Chinese Contemporary Art in Manchester, UK; Obsolete Californias in San Francisco; Jenkins Johnson Gallery in NYC; publications such as Temporary Art Review and The Dark Would.

Looking back at 2013, I’m grateful for the generosity and passion of many people…

• the dedicated staff at arts organizations providing residencies and exhibition opportunities to artists like myself…

• whipsmart collaborators Leah Rosenberg and Susan O’Malley… and

• inspiring, fearless women artists like Torreya Cummings, Sarrita Hunn and Lauren Adams who shape the art worlds they would like to participate in.

In 2014, I’m looking forward to…

Bronx AIM informal studio visits. Visiting photographer Martyna Szczesna's studio.

Bronx AIM informal studio visits. Visiting photographer Martyna Szczesna‘s studio.

• participating in the Bronx Museum of Art’s AIM program, and helping to organize mutual studio visits in the interim…

• contributing to artist’s publications: the next Ortega y Gasset Gazette, and Land and Sea, slated to debut at the LA Book Fair…

• launching a new version of my website…

• continuing to read and participate in book clubs about class, community, and engagement.

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Community

Happiness Is… an inquisitive conversation with The Aphorists

My fellow Happiness Is… artists and I were guests on The Aphorists, a conversational podcast hosted by artists Jesse Houlding and Anthony Daniel Ryan. Have a listen to us talking

about Positive Psychology, skepticism, cake eating and making work that makes a difference.

Check out Episode #7 and The Aphorists’ past episodes on a variety of political and cultural topics.

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Research

happiness is… research note #13

Two more thoughts about working with materials:

Sometimes they are dazzling and fun to look at, even in the early stages of production.

Parts of a flag-to-be; cut.

Parts of a flag-to-be; cut.

Parts of a flag-to-be; wrapped seams readied for pressing.

Parts of a flag-to-be; wrapped seams readied for pressing.

It gets better.

Sometimes the patterns remind you of artworks by friends, what begins as a material revelation becomes an opportunity for relatedness—connecting or re-connecting with like-minded others.

Detail, painting by Chris Duncan. Photo: Klea McKenna. // Source: InTheMake.com

Detail, painting by Chris Duncan // Source: InTheMake.com

Detail, paint stack by Leah Rosenberg. Photo: Klea McKenna. // Source: InTheMake.com.

Detail, paint stack by Leah Rosenberg. Photo: Klea McKenna. // Source: InTheMake.com.

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Community, Travelogue

Travelogue: Portland, OR and San Francisco Bay Area, CA

Just came back from a trip to the West Coast to see family, friends, and art. Here are my cultural highlights…

Portland, OR

My old college buddy Victor Maldonado, who’s now a professor at the Pacific Northwest College of Art and seems to know everybody in the PDX art scene, was kind enough to take me around to galleries in the Pearl District. The scene is small but some spaces, like Elizabeth Leach Gallery, are clearly top-notch. The gallery owners were friendly and their storefront spaces seemed welcoming. Good times.

Jenny Holzer's tough-talking texts at the Printed Matter show at the Pacific Northwest College of Art's Feldman Gallery.

Jenny Holzer's tough-talking texts at the Printed Matter show at the Pacific Northwest College of Art's Feldman Gallery.

Gorgeous exhibition space in Weiden+Kennedy's foyer.

Gorgeous exhibition space in Weiden+Kennedy's foyer. Neat show examining work, including a publication with a prose poem by Victor Maldonado, an old college buddy.

I liked these photo-based color abstractions by Thomas Campbell in the Pearl Room at Powell's Books.

I liked these photo-based color abstractions by Thomas Campbell in the Pearl Room at Powell's Books.

Nice painted-out photos by John Beech at Elizabeth Leach Gallery. A beautiful space to boot; so happy for Ryan Pierce, who's represented by them.

Nice painted-out photos by John Beech at Elizabeth Leach Gallery. A beautiful space to boot; so happy for Ryan Pierce, who's represented by them.

James Minden's etched/scribed black plexiglas works; three perspectives on the same work.

James Minden's etched/scribed black plexiglas works; three perspectives on the same work. At Augen Gallery.

Hall of video portraits. Susie Lee. Portland Art Museum.

Hall of video portraits. Susie Lee. Portland Art Museum.

Video portrait by Susie Lee.

Video portrait by Susie Lee.

Erotic Victorian figurines by Chris Anteman, also in the Contemporary Northwest Art Awards show.

Erotic Victorian figurines by Chris Anteman, also in the Contemporary Northwest Art Awards show.

This work reminded me very much of the work of Bay Area ceramicist Erik Scollon.

This work reminded me very much of the work of Bay Area ceramicist Erik Scollon.

No photos but worth mentioning… The Museum of Contemporary Craft has at least two CCA connections, currently exhibiting an audio-weaving project by alumna Christy Matson and hosting a talk by faculty Deborah Valoma on July 9. Nice exhibition signage and web design to boot…. I also enjoyed my visit to Blue Sky Gallery, the home for the Oregon Center for Photographic Arts, and would encourage my photography friends to look them up.

I would have liked to check out some of the artist-run spaces in Central Eastside and the galleries at the surrounding colleges, but those will have to wait until a future visit.

San Francisco Bay Area, CA

I got to see lots of art, friends, and art by friends in San Francisco. Staying in the West Bay, I wasn’t able to make it to the East Bay enough. But I got to see ambitious projects by friends at familiar spaces (Stephanie Syjuco at Catherine Clark Gallery), new spaces for familiar galleries (such as Frey Norris Modern and Contemporary in the SOMA or Steven Wolf Fine Arts in the exciting destination arts district emerging around Southern Exposure), edgier galleries that may not be around forever, and spaces I just never made it to before (Di Rosa Preserve in Napa, CA, and SFMOMA’s top floor).

Casteneda/Reiman's landscape illusions and installations at Baer/Ridgeway, San Francisco.

Casteneda/Reiman's landscape illusions and installations at Baer/Ridgeway, San Francisco.

Steven Barich's meticulous graphite and charcoal works at Branch Gallery, Oakland.

Steven Barich's meticulous graphite and charcoal works at Branch Gallery, Oakland. Branch is a cool little space in that part of downtown that seems cooler than ever.

An aquatint with hand painting by Barich. Priced very affordably, as are all the works in the show. In my correspondence with the artist, I considered doing another information graphic comparing Bay Area art prices to those of other cities (haven't got the time or resources at the moment to take this on, sorry!)..

An aquatint with hand painting by Barich. Priced very affordably, as are all the works in the show. In my correspondence with the artist, I considered doing another information graphic comparing Bay Area art prices to those of other cities (haven't got the time or resources at the moment to take this on, sorry!).

Stephanie is super meticulous about the presentation of her work. I love the open backs of these crates and the industrial feel of the lasercut stands. The blurred out postcards are especially wily.

Stephanie is super meticulous about the presentation of her work. I love the open backs of these crates and the industrial feel of the lasercut stands. The blurred out postcards are especially wily. Knowing that the artist once worked at the Asian Art Museum, not far from Catherine Clark Gallery, makes the show quite cheeky.

Stephanie Syjuco's very finely tuned solo exhibition at Catherine Clark Gallery stages downloaded books and houseplants (!) in the back room.

Stephanie Syjuco's very finely tuned solo exhibition at Catherine Clark Gallery stages downloaded books and houseplants (!) in the back room.

Di Rosa Preserve, Napa, CA.

Di Rosa Preserve, Napa, CA.

Usually you can find an art opening when hipsters are lounging out front. Here, they're accompanied by Discenza's sign.

Usually you can find an art opening when hipsters are lounging out front. Here, they're accompanied by Discenza's sign.

Front of Inka Hoots' plane/shanty. Funny after building a shanty for Art in General just a week an a half ago.

Front of Inka Hoots' plane/shanty. Funny after building a shanty for Art in General just a week an a half ago.

Wall vinyl by Anthony Discenza. I like this writing-based practice; there's something distant and cynical while also engaged and a somewhat enraged.

Wall vinyl by Anthony Discenza. I like this writing-based practice; there's something distant and cynical while also engaged and a somewhat enraged.

Video installation by HalfLifers (Torsten Z. Burns and Anthony Discenza) at Zombie-Proof House at di Rosa Preserve. Short scenes where the artists portray zombies engaged in mundane tasks are interspersed with behind-the-scenes-like shots. Very appealing.

Video installation by HalfLifers (Torsten Z. Burns and Anthony Discenza) at Zombie-Proof House at di Rosa Preserve. Short scenes where the artists portray zombies engaged in mundane tasks are interspersed with behind-the-scenes-like shots. Very appealing.

Masterful photos, beautiful prints, nicely installed, very sad show. If the models' eyes are shown, they are downcast; expressions are grim; all but one are women, often nude, all very pale and probably underweight. This is going to seem like a very facile critique, but why do men still make work photographing nude, disempowered women? Is it because photography's connection to advertising allows for greater moral latitude or complicity with exploitative images?

Masterful photos, beautiful prints, nicely installed, very sad show. If the models' eyes are shown, they are downcast; expressions are grim; all but one are women, often nude, all very pale and probably underweight. This is going to seem like a very facile critique, but why do men still make work photographing nude, disempowered women? Is it because photography's inherent connection to advertising allows for greater moral latitude or complicity with exploitative images? Fraenkel, by the way, usually has great shows, and this fall's line-up is really exciting.

At Stephen Wirtz Gallery, Doug Rickard's photos pulled from Google Street View, primarily featuring dark-skinned people in dilapidated environs, made me a little sick too. I am all for art projects that appropriate Google Street View, but something about the selection of these images, and their presentation as nice, re-photographed photos, seems exploitative. I saw the Google van when it came down my street. I felt curious and powerless to escape its cameras. In these moments, the subjects are no more or less powerless in their relationship to the Google camera, but putting a magnifying glass to them for further inspection, and grouping them among other scenes of impoverishment, seems further, and unnecessarily, disempowering.

At Stephen Wirtz Gallery, Doug Rickard's photos pulled from Google Street View, primarily featuring dark-skinned people in dilapidated environs, made me a little sick too. I am all for art projects that appropriate Google Street View, but something about the selection of these images, and their presentation as nice, re-photographed photos, seems exploitative. I saw the Google van when it came down my street. I felt curious and powerless to escape its cameras. In these moments, the subjects are no more or less powerless in their relationship to the Google camera, but putting a magnifying glass to them for further inspection, and grouping them among other scenes of impoverishment, seems further, and unnecessarily, disempowering.

I liked a few different works in the group show at Haines Gallery in San Francisco. I'd loved an image of a camera obscura installation by Abelardo Morell, so it was nice to see this photo, though I'd rather experience the installation still.

I liked a few different works in the group show at Haines Gallery in San Francisco. I'd loved an image of a camera obscura installation by Abelardo Morell, so it was nice to see this photo, though I'd rather experience the installation still.

Small signs of protest against Ai Weiwei's detainment.

Small signs of protest against Ai Weiwei's detainment. Anytime people use Chinese take-out boxes, I cringe a little, but I appreciate the sentiment. This project appeared next to Christian L. Frock's Seed the Embassy materials..

Binh Danh's super cool daguerrotypes were also on view, for you to examine closely, at Haines.

Binh Danh's super cool daguerrotypes were also on view, for you to examine closely, at Haines.

These photograms by Wendy Small are quite nice. I overheard another visitor dismiss them as "decorative." Yes, they'd fit in as a cheeky Victorian element in someone's otherwise modern home, but still, the images are pretty neat.

These photograms by Wendy Small are quite nice. I overheard another visitor dismiss them as "decorative." Yes, they'd fit in as a cheeky Victorian element in someone's otherwise modern home, but still, the images are pretty neat.

Painting by James Chronister in Chromanticism at NOMA Gallery, curated by Liz Wing.

Painting by James Chronister in Chromanticism at NOMA Gallery, curated by Liz Wing.

Chronister detail.

Chronister detail.

These abstract geometric drawings on newsprint by Richard Kent Howie are sort of childish, but it was neat to see work that's ostensibly about color in such a limited palette. Also at NOMA Gallery.

These abstract geometric drawings on newsprint by Richard Kent Howie are sort of childish, but it was neat to see work that's ostensibly about color in such a limited palette. Also at NOMA Gallery.

Richard Kent Howie detail.

Richard Kent Howie detail.

Great video by David Claerbout at SFMOMA. Comprised of multiple shots of the same scene in an Asian high-rise apartment courtyard. The number and fineness of the images transition from believable to surreally plasticine. The video is called, Sections of a Happy Moment.

Great video by David Claerbout at SFMOMA. Comprised of multiple shots of the same scene in an Asian high-rise apartment courtyard. The number and fineness of the images transition from believable to surreally plasticine. The video is called, Sections of a Happy Moment.

Eija Liisa-Ahtila's message to viewers of her video installation at SFMOMA.

Eija Liisa-Ahtila's message to viewers of her video installation at SFMOMA.

2009 mica mural by Rosana Castrillo Diaz. That's a material I should work with.

2009 mica mural by Rosana Castrillo Diaz. That's a material I should work with.

Who can resist a Thiebaud cake? SFMOMA's Blue Bottle Cafe.

Who can resist a Thiebaud cake? SFMOMA's Blue Bottle Cafe. That means it's probably baked by painter/sculptor/cake-maker Leah Rosenberg.

Tobias Wong's mirrored puzzle. SFMOMA.

Tobias Wong's mirrored puzzle. SFMOMA.

A few moments after suppressing a few goodbye tears at SFO, I re-encountered this mosaic tile by Mike Mandell and Larry Sultan. Based on photographs of people awaiting arrivals, the faces are expectant. Reunifications are impending, and there's something very sweet about that joy counterbalancing the sorrow of goodbyes in equal measure at the airport.

A few moments after suppressing a few goodbye tears at SFO, I re-encountered this mosaic tile by Mike Mandell and Larry Sultan. Based on photographs of people awaiting arrivals, the faces are expectant. Reunifications are impending, and there's something very sweet about that joy counterbalancing the sorrow of goodbyes in equal measure at the airport.

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