STELLAR Small Prints 2 – Invitational Exhibition

December 1, 2018 – January 26, 2019

First Friday December 7, 6-8pm

• John Amoss

• Susan Belau
• Marnix Everaert

• Andrew Kozlowski

• Jillian Sokso

• Art Werger

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This exhibition presents the work of outstanding printmakers that use small printed forms for intimate visual engagement and graphic invention. The quality of their vision is expressed through an attentive nature and handwork. Additional small prints from the Constellation Studios collection will be on view.


Artists in Residence Kazuko and Kaoru

Two artists from Tokyo Japan have been in residence here during November.   Kazuko Araki and Kaoru Morita are sharing a great experience for concentration on their printmaking and enjoying cultural exchange.   This is their first visit to the USA, and they are seeing Nebraska go through  all the drama of fall to winter changes, while enjoying the open prairie landscape, football crowds, and studio activities of exhibitions and workshops.   We are enjoying our language efforts and translations about life and printmaking!   Special thanks to the Center for the Science of Human Endeavor in Tokyo for continuing to facilitating this exchange opportunity for Japanese artists!

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Kaoru is working in Mokuhanga (Japanese watercolor woodblock) with soft colors printed by hand, one each day for a color record of atmosphere and influences.  She specializes in shallow carving into the woodblock, so that beautiful nuances of tone are printed.   Her drawing is here of a still life from some of the handblown glass pieces of Kenny Walton, and her woodblock print from this image is just getting underway.

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Kazuko has created two editions of collagraph prints, from multiple cardboard plates, that have textures and drypoint scratches that hold the ink, printed in registration for a constructivist landscape for mountain goats.   She is inventive with her platemaking and the beautiful printed layers.   These two artist friends have studied printmaking together at the Musashino Art School in Tokyo.

 

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The Print: Tried & True, Techno & New

September 29 – November 21, 2018

First Friday Opening Reception:   October 5, 6-8pm

Rough Cut

Barbara Robertson (above)

Featuring:

Stacy Asher, Lincoln, NE

Randy Garber, Boston, MA

Shelley Gipson, Jonesboro, AK

Nicole Pietrantoni, Walla Walla, WA

Miguel Riviera, Kansas City, MO

Barbara Robertson, Seattle, WA

Erik Waterkotte, Charlotte, NC

Seven contemporary artists present works in print media and new technological approaches that examine the continuing necessity for the print in contemporary culture, with an aesthetic need for the printed mark with intent, and how impact is made.   Printmakers have continuously been the adapters of new technologies since the 15th Century, and are at the forefront of “inter-print” adaptations today, with the use of digital technologies for printing, for carving and platemaking, for photo-mechanical integrations, as well as photo imagery inclusions.   Significantly, prints today respond to the look of our technological age, that grants aesthetic weight to data gathering, chart and graph lines, the visual overload and dynamism of designed ad/image production, glowing screen colors and light as the impression. These artists question how to see and examine the world around us, through visual cues and memory.

Asher places graphic charged words to provoke our reading eye and mindfulness as a means to shape culture. Garber seeks to express the confusion and clarity of information, with structures that suggest the cochlea, the eardrum, and instruments of sound.   Pietrantoni combines laser burning and corrosion onto paper to speak of nature’s cycles of decay, destruction and loss. Gipson creates sensual surfaces across digital prints as bodies fall or leap, with despair and hope giving us anxious encounters with human nature.   Riviera references the sense of truth and respect in map imagery, as digital deletion with laser engraving enacts the exchange of viruses and natural resources that are relevant to the history of colonization. Robertson questions how imagination, geometry and structure relate to our physical and cultural environment, as rapid changes create loss of landmarks as touchstones for our history and continuity, while technology is a promise for a better world.   Waterkotte uses print and graphic production to intersect the archetypal using backlighting to double the layering, seeking to detect messages or visions that come from mysticism, beliefs and familiar but individual occult.

Curated by Karen Kunc, Cather Professor of Art, UNL.

This exhibition coincides with the Mid America College Art Association Conference hosted by the UNL School of Art, Art History & Design, October 4-6, 2018.     The conference theme is “Techne Expanding: New Tensions, Tools, Terrain”.

Listening,Receive 1KuncCaritas

Randy Garber (left)  Shelley Gipson (right)

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Erik Waterkotte (left)     Stacy Asher (right)

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Nicole Pietrontoni (left)   Miguel Rivera (right)


The Slow Read

Ready, Get Set…Slow Read

Q: What is the opposite of a book club on steroids?

A: Reading Willa Cather’s novel ‘My Ántonia’ at the slow pace of six pages per day.

SlowReadWhat is the Slow Read?

The Slow Read is a public literary / art project conceived of and produced by Portland-based artist Barbara Tetenbaum. “After taking a workshop on video mapping, I had this vision of projecting the pages of a novel onto the wall of a building, so people would read together in public. The project has now grow to nearly a dozen public sites and can be accessed by anyone on their personal computers. This means that everyone in America and beyond can essentially read as a community,” says Tetenbaum. “This year is the centenary of a book I’ve been working with for some time, ‘My Ántonia’ by Willa Cather. It made perfect sense to use this particular novel for the Slow Read and a chance to find a deeper connection to her words and the issues Cather was illuminating which are still relevant today. Some readers will stumble upon this novel for the first time, others will be rereading it again, discovering something new in her story. I want to offer a piece of culture in the form of shared daily ritual, to be experienced slowly over time, providing a counterweight to the spectacle-based world we live in.”

During this centenary year of My Ántonia’s publication, readers around the country and the globe can follow along on their cell phones, laptops — or at a public site location – and read closer and deeper than before. From May 30 through August 11th, images of the first edition page spreads will be looped on a dedicated website (www.slowread.org) and offer the first-time reader, or long-time fan, this unusual, slow unfolding of the novel.

Why?

“Cather shows us what it was like to live on the 1890’s Nebraska prairie, a life that was tough and beautiful at the same time.” says Tetenbaum, “Cather herself grew up in Red Cloud around immigrants from Central Europe and Russia. ‘My Ántonia’ reads as a chronicle to their humanity and struggles during the formative years of the American Plains. The immigrant experience is particularly relevant in our current political climate, and perhaps there is a way to find a meaningful dialog through Cather’s story.”

Where?

Public venues such as libraries and museums are hosting the Slow Read, usually through a publicly-accessible video monitor. {At Constellation Studios, 2055 ‘O’ Street, the monitor faces the street and is best viewed in the evening, and runs 24 hours with new page selection added each morning} Individuals who don’t have access to these sites can read along on their own internet-connected devices by going to www.slowread.org and clicking the “Today’s Reading” button.

Barb Tetenbaum will be taking the project on the road in early June to show at outdoor sites. Go to the website blog to find the next screening: https://theslowread.squarespace.com/news/

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When?

The broadcast begins on May 30th and ends on August 11, 2018. If you miss a day, the website has an archive of previously shown pages.

Want to participate?

The Slow Read web-stream is free and available at www.theslowread.org

What else is there?

The Slow Read website links to activities, discussions, exhibitions and lectures organized by Cather institutions and scholars. It also contains a visual concordance of images from eight years of personal artist projects connected to this novel. Explore the website for all this.

Where can I find the public Slow Read venues?

Currently, these sites are hosting the Slow Read:

Willa Cather Foundation in Red Cloud, NE     willacather.org

Love Library at Univ. of NE-Lincoln   https://libraries.unl.edu

Constellation Studios, Lincoln, NE   https://constellation-studios.net

Jaffrey Public Library, Jaffrey, NH   www.jaffreypubliclibrary.org

Oregon College of Art and Craft, Portland, OR   ocac.edu

Portland Institute for Contemporary Art, Portland, OR   pica.org

Pacific Northwest College of Art Library, Portland, OR pnca.edu

Working Library, Portland, OR c3initiative.org/working-library.htm

Union College in Lincoln, NE

Check www.slowread.org/abouttheproject to explore additional locations as they are added and to track The Slow Read mobile pop-up on the road.

About the artist/director of The Slow Read:

Barbara Tetenbaum is a visual artist interested in the act of reading. She uses the mediums of books, prints, installation, and animation to explore this subject matter. She founded her artist book imprint, Triangular Press, in 1979. Barb is the recipient of two Fulbright Fellowships, career and project awards from the Oregon Arts Commission, Ford Family Foundation, Oregon Community Foundation and the Regional Arts and Culture Council. She is currently Professor and Head of the Book + Print at the Oregon College of Art and Craft. She holds a B.S. (Fine Art) from the University of Wisconsin-Madison and an MFA from the School of the Art Institute of Chicago.


One Book One Nebraska

Nebraska Presence: An Anthology of Poetry

edited by Greg Kosmicki & Mary K. Stillwell

Readings by Invited Poets.

Thursday, June 7th, 5:30 – 7:50

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Pattern Play: Woodcut Print Invitational Exhibition

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Artists play with printmaking solutions that feature graphic patterning, complex play of image making, effects of optical or layered color mixing, all created through carving and printing of woodblocks. There is raw yet elegant mastery in their works and references to nature, science and social commentary.

Inspiring are new prints from Anne Burton (Lincoln), Betsy Best (Seattle) and Jean Gumpper (Colorado Springs), and significant suites of prints from the past by Keiko Hara (Walla Walla) and Brian Curling (Radebeul, Germany), brought to view from the flat files in the Constellation Studios collection.

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Anne Burton “When Ignorance is Master”

 

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Betsy Best “Big Dreams”

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Jean Gumpper “Passages”  (detail)

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Keiko Hara,  print from “Verse from the Sea” suite

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Brian Curling, print from “Homage” suite


details from Unfolding the Map

Here are some nice details from the exhibition Unfolding the Map.   What a beautiful show, and so honored to have these works at the studio!

Behl Dawson

Diana Behl                                                                    Sage Dawson

Doyle Jepson

 

Tallmadge Doyle                                                      Jill Jepson

Maury Nishimura

Nichole Maury                                                        Emma Nishimura

Plank

Carrie Ann Plank


Metropolis & Invisible Cities Exhibition

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Interpretations on Urbanity

October 21 – December 24, 2016

Opening Reception, Friday, October 21, 6-8pm

Metropolis is a handmade book venture in a spectrum of printmaking processes by artists from around the world, including two from Constellation Studios. The theme speaks to the broad contemporary urban experience and extends to the idea of the network of communication possible today.

The idea for this collaboration came from Berlin-based artist Andreas Kramer who prints at Centro Internazionale della Grafica (CIG) in Venice where Metropolis was realized under the guidance of master bookmaking Silvano Gosparini and where the Renaissance legacy of traditional Venetian book publishing continues.

Among the 303 interpretations of this theme, the reader is destined to discover reflections of one’s own meandering thoughts about ‘metropolis’.   The leporello (accordion) construction enhances this stream-of-consciousness effect as it stretches fully to 215 feet.   Ideas circling forwards and backwards through compositional and iconic connections and diversions make an impression underlined by the haptic qualities of the media where ink makes sculptural lines on paper.

What lingers is a metropolis of the mind, a crazy-creative vitality mirroring the variability and vicissitudes of existence, and inspiring a continuing interaction, and a visually challenging mix.

Participants come from: Australia, Japan, Brazil, USA, Italy, Germany, Russia, Poland, Hungary, UK, France, Spain, Tunisia, Canada.   The edition of three has been circulating on exhibition in Italy, Germany, USA and most recently in Sao Paolo, Brazil, and at the Katzen Rotunda Gallery, American University, Washington, DC. This is the premier exhibition in the mid-west.

CONCURRENT is Invisible Cities, an exhibit of artists’ books and folios destined to become a collaborative leporello book that present new interpretations of urbanity. The theme is inspired by the imaginative novel Le citta invisibili by Italian writer Italo Calvino, published in Italy in 1972 in which Marco Polo reports to Emperor Kublia Khan on fantastical, dream-like cities all named after women that he purportedly visited. This book is organized in a mathematical structure. After each eleven descriptions, the two men discuss ideas that evolve from the tales, reflecting on human nature and linguistics.

It remains to be seen what ideas, images and symbology the 150+ US national and international artists will contribute expressing the evolving new experience of real, ideal and virtual contemporaneous and futuristic  city life.


Art at Cedar Point video

Here is the link to a beautiful video of Art at Cedar Point, my summer course taught at UNL Cedar Point Biological Station, near Ogallala, Nebraska.   Created by Kat Shiffler, who has captured the intent of this art and science collaboration.   Watch and enjoy!


Hand Papermaking Workshop Action Shots!

Thanks everyone for a great workshop!   We first made paper from cotton linters and Half-stuff, and t-shirts.   And then we processed kozo fibers, which we cooked, washed and beat by hand and in the beater.    Great experiments and experiences were enjoyed, and good discussions of the process and history.  Here are some action shots!

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Workshop action shots!

Lots of color, great people, good intensity & energy made for a great week together.

Thank you all!

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