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Michelle Ray and the Sea – Part 2

Michelle Ray Three Ships 4Three Ships
published by Michelle Ray in 2012, in an edition of 35.

With Three Ships, Michelle uses a more sculptural, or display book, format than she has with previous editioned works. This sets it apart from her earlier work, and lays the foundation for her subsequent book God Created the Sea and Painted it Blue so We’d Feel Good On It . . .

The piece is housed in a double tray drop-spine box, but rather than housing a book that can be removed and examined outside of the box, the box itself is the book. The right hand tray has all four walls intact and presents an image of the sea, layered front to back with cut out, printed components. The physical layering assures that the uppermost part of the image, which is, in this case, the horizon line, is physically further away from the viewer than the immediate foreground. The image includes bright yellow silhouette forms of boats on which text appears.

Michelle Ray Three Ships

Michelle Ray Three Ships

The left hand tray, with the spine side one, has a four flap wrapper with a tab and slot closure affixed to the back of the box. Opening the envelope reveals both a 6 panel, map-folded page and a small Errata card. The folded page is printed both sides with imagery and text, and includes the colophon.

Michelle Ray Three Ships

Michelle Ray Three Ships

Three Ships exemplifies once again Michelle’s ability to convey an abundance of thought and relationship with few images and words presented on so few surfaces.

This piece was created in response to a specific text as part of the BookArtObject Edition #4. BookArtObject is an informal group of book artists that uses their blog as vehicle discussion and as an arena to make small editions of handmade artists’ books in response to various texts. The text for Edition Four comes from Sarah Bodman’s book An Exercise for Kurt Johannessen, in which 100 short story titles were provided as starting points for the participating artists.

Three Ships is the title Michelle chose to work with, giving he opportunity to explore an ongoing theme – the sea. In a continuation of her choice to present relationships from a broad range of sources, this work draws from the memory of the three life boats from Ernest Shackleton’s Antarctic expedition: Stancomb Wills, Dudley Docker and James Caird, Shackleton’s stash of rare and old Highland malt whiskey, and the safety and foolishness of that expedition. The book also explores through mnemonic devices this relationship between time, memory and seeing.

My favorite bit is the Errata card:

We suffer terribly from snow blindness. In the end, none of us could remember why we came to this place.

Michelle Ray Three Ships Errata

Michelle Ray and the Sea – Admeasure

Michelle Ray Admeasure

I have never met Michelle Ray but well remember the first work of hers I saw – The Kashash and the Archivist; it is one I wish I owned. Abecedarian Gallery represents Michelle, giving me a chance to get to know her through the works she creates. My respect for her continuing growth and work deepens with each new project.

Michelle Ray describes herself as a left brained maker; a devotee of organizing, list-making and labels. She also clearly loves language, research, storytelling and vast open spaces. Her level of craft is high, her writing skills well-honed and her evolving conceptual development is sophisticated enough to effectively translate multiple elements into objects so that they live in a state of complex harmony. Yet these works are not cumbersome or crowded; rich though they are, with words, imagery, reference and structure, they remain elegant and almost sparse.

This week I’m focusing on three of Ray’s limited edition book works – those that reference the sea:
Admeasure, Three Ships and God Created the Sea and Painted it Blue so We’d Feel Good On It . . .

Admeasure, the earliest of the three, was published in 2011 while Ray was an MFA candidate in the Book Arts Program at the University of Alabama.

Admeasure is structurally simple (an accordion book with pamphlet stitched pages in two sections housed in a paper wrapper) produced by uncomplicated procedures (letterpress, die cut, folding and stitching). Closed it measures 8 x 3 x .25 inches.
Michelle Ray Admeasure
The soft paper cover is printed in gray ink on a sand colored paper with a line drawing of waves that are turbulent and seem to be crashing off a rocky shore. There is no land in sight, only the horizon line of the endless sea.

Charmingly, the tab/slot mechanism that holds the cover closed is printed with the words

“I had a dream that I built a small boat & set out to sea in it.”

Michelle Ray Admeasure

On opening the book, we learn that Admeasure is a nautical term and refers to the act of measuring the dimensions and capacity of a vessel for official registration. Later in the book, the silhouetted forms of a bird and boat alongside upward and downward pointing arrows, illustrate how a vessel’s height and depth impact the spaces of the sky and sea.

The accordion pages are printed front and back, in the lower third, with more images of the roiling sea; a two sail boat rocked but upright appears on the fourth (of ten) panels. This panel also serves as the first page of a pamphlet, stitched through the accordion fold. A second pamphlet is stitched into the final fold of the accordion and goes through the book cover’s spine. This allows the book to be fixed in place in the cover, but also fully extended for a different viewing experience.
Michelle Ray Admeasure

The accordion panels are printed front and back with black line work and gray blocks of color; the text varying shades of gray. The two pamphlet sections introduce various shades of orange. While startling on first encounter, the bright, warm color gives a whimsical break from the prevailing muted tones, particularly as one of the images printed in orange is that of an albatross.

Michelle Ray Admeasure

The book utilizes quotes from Bas Jan Ader, a traditional pilot’s verse and draw’s from a variety of archetypal journey (including Ray’s own time spent in small boats).

It also gives clear directives: alongside the aforementioned orange albatross the words

“Now. Hold a live Albatross in your hands. Feel how hot it is. Smell its smell (dusty).

Under a cut-out of a woman’s silhouetted profile

“Go into a darkened room. Shine a flashlight through this cutout to project a silhouette on the wall.”

Michelle Ray Admeasure

Admonishments:

“Do not begin reading this book on a Friday, for it will bring you bad luck.”

Michelle Ray Admeasure

And a gentle suggestion:

“You are now being directed to create marginalia related to your journey at sea. Feel free to use all of the empty space on this page.”

Admeasure presents elements later projects have clarified about Ray’s engagement in the world. An interest in presence vs. absence, a love of the vast landscapes of sea and sky, an appreciation for the quirky and whimsical and her work as a book artist to draw connections between traditional lore and our continuing present.

Photo Book Works at Abecedarian

Louise Levergneux 1a

Photo Book Works is an international exhibition of artists’ books incorporating photographic imagery and/or processes as a primary element.

This is the third Photo Book Works exhibition Abecedarian has hosted and, although the exhibition’s parameters remain the same, the works in this show are more varied in approach and content than in exhibitions past.

Click here to view the online catalog of the exhibition.

The works in this exhibition do much to support the viewpoint that the physical, printed book is most emphatically not on its way out, as some loudly proclaim, but rather that the book as physical object remains and will remain a constant.
Frans Baake Aits and Ayots 1a

The exhibition is juried by Rupert Jenkins, a former letterpress compositor who is director of the Colorado Photographic Arts Center, and also combines works from the collection of Abecedarian gallery director Alicia Bailey with selections from the holdings of private collector Carol Keller. Photo Book Works represents artists from the United States, Great Britain, The Netherlands, Spain, Canada, Argentina and Australia.

Juror Rupert Jenkins remarks:

“It doesn’t need to be said that books – in this case books sourced in photography – now come in varieties and forms hitherto unimagined. They always have, of course – hand painted and inked by monks, mass produced by German inventors, scrunched into pockets for reading underground, hand made, machine made, made in the cloud and delivered to your door in three days. Like all the most vividly creative collections, these particular works interpret our countless ways of seeing and experiencing the world, and they make us better for recognizing how varied and creative those individual worlds – our universe, so to speak – is seen to be.”

Charlene Asato Uluhe Tangle 1a

As Jenkins notes, the books in this show have one commonality – their innovative use of images in book form. Most noticeable to the gallery visitor are the varying strategies employed by the artists, who weave visual stories not just through their imagery, but through the diverse materials and structures they have chosen.
Amanda Watson-Will Like Weather1a

Some of these structures are comfortably familiar to the lay-person more used to a traditionally bound, linear approach to photography books. Others incorporate pop-ups, woven imagery, concertina folds, metallic surfaces, or loose objects to fully exploit the potential of marrying single images with the book form.
Francesca Phillips White Monks 1

Artists: Alex Appella, San Antonio de Arredondo, Cardoba, Argentina;
Amanda Watson-Will, Brisbane, Queensland, Australia;
Amandine Nabarra-Piomelli, Irvine, California;
Anne Lovett, New Paltz, New York;
Beth Uzwiak, Philadelphia, Pennsylvania;
Bill Westheimer, West Orange New Jersey;
Charlene Asato, Mountain View, Hawaii
Elsi Vassdal Ellis, Bellingham, Washington;
Emily Artinien, Chicago, Illinois;
Ewa Monika, Montreal, Quebec, Canada;
Francesca Phillips, Las Palmas de Gran Canaria, Spain;
Frans Baake, Enschede, The Netherlands;
Geirmundur Klein, Rotterdam, the Netherlands;
Hanne Niederhausen, Boca Raton, Florida;
Jane Simon, Sydney, New South Wales, Australia;
Joan MacDonald, Pine, Colorado;
Kevin Laubacher, Portland, Oregon,
Kristin Flanagan, Houston, Texas;
Laura Russell, Portland, Oregon;
Leah Oates, Brooklyn, New York;
Lila Pickus, Colorado Springs, CO;
Linda Morrow, Long Beach, California;
Lise Melhorn-Boe, Kingston, Ontario, Canada;
Louise Levergneux, South Jordan, Utah;
Michael Clements, Herefordshire, England, UK;
Michael Peven, Fayatteville, Arkansas;
Mirabelle Jones, San Francisco, California;
Paula Gillen, Boulder, Colorado;
Philip Zimmermann, Tucson, Arizona;
Shu-Ju Wang, Portland, Oregon;
Susan Brown, Anacortes, Washington;
Tara O’Brien, Philadelphia, Pennsylvania;
Thomas Finke & Jean Buescher Bartlett, Denver, Colorado & Ann Arbor, Michigan

Mamiko Ikeda in Hand Lettered

IMG 1236

Fans of Denver artists’ Mamiko and Homare Ikeda will likely be delighted at Mamiko’s Couple in a Box series. The small boxes (measuring 8 x 3 x 3/4) contain two hand-drawn scrolls with story panels depicting various aspects of Mamiko and Homare’s daily routine. The short narratives are delightful and universally appealing. Crafted from paper, each hand painted with watercolor, the laminated boxes open matchbox style. Two scrolls of paper, sumi ink, bamboo picks and string are nestled inside. Each scroll and set is unique and sells for $50.

Mamiko Ikeda Hakoiri F fmt

Mamiko Ikeda Hakoiri  fmt1

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Also on display are monoprints by Mamiko that effectively combine monotype printing with brush calligraphy. Each of these works convey the meditative aspect Mamiko approaches all creative endeavor with.

Mamiko Ikeda Niwa garde fmt

Born in Tokyo, Mamiko learned Japanese style calligraphy from her mother, Shotei Miur, a master calligrapher. Mamiko moved to Colorado in 1995 to study Native American culture, in particular their storytelling. Her interest in storytelling and manga animation are evident in the Couple in a Box series.

 

Online catalog here

Regula Russelle winner of the 2011 Minnesota Book Artist Award

Book o Hours painted 1.jpg

Abecedarian Gallery is thrilled to note that one of our favorite book artists, Regula Russelle of Cedar Fence Press is the winner of the 2011 Minnesota Book Artist Award.

 

Regula’s work has been featured in exhibitions at Abecedarian, most notably The Beautiful Book exhibit in 2009, and her work is held in gallery inventory (available for purchase here).

 

The annual award, presented by MCBA and the Minnesota Book Awards, and sponsored by the Lerner Publishing Group, recognizes excellence throughout an artist’s body of work, as well as their significant contributions to Minnesota’s book arts community.

The following is from the MCBA press release:

“Art-making is cultural work,” says Russelle. “It has political and spiritual dimensions. The central themes in my books and prints are the deep questions in my life. Mostly, I am haunted by the great American question, ‘What might we become?’ How do we shape a day, a week, a communal life, the way of the city, and the larger world beyond? Who is my neighbor, my kin?”

Russelle began making one-of-a-kind books during graduate work at Hamline University in the mid-1990s and has been making books on her own and with others ever since. In 1999, she established Cedar Fence Press, a small independent press that publishes limited edition books and prints. She teaches book arts and papermaking for undergraduate and graduate students at Augsburg College and beginning through advanced letterpress printing at MCBA.

Russelle was awarded the 2007 Minnesota Book Award for Fine Press, and had been named a finalist for the same award three times previously (in 2000, 2001 and 2006). In collaboration as Accordion Press, Russelle and fellow artist CB Sherlock were awarded a 2007-08 MCBA/Jerome Foundation Book Arts Fellowship. Other honors include an Artist Initiative grant from the Minnesota State Arts Board Grant and recognition from the International Society of Bookbinders. Her work is shown and collected internationally.

Photo Book Works

in the Reading Room October 1 – 30, 2010

Merck’s Manual 2


Photo Book Works is an international exhibition of artists’ books incorporating photography as a primary element. Photo Book Works was juried by Mia Semingson whose exhibition 39+ is on view in the main gallery. For this exhibition, Semingson selected the work of 31 artists from the United States, Great Britian, Switzerland and Australia.
Images of the works in the exhibit can be viewed here

Included in Mia’s statement are the following remarks:

“The artists included in this exhibition bring their images back to the tangible realm and weave visual stories not just with images, but with the materials they have chosen and the structure that houses their work. All of these ingredients deliver the artist’s concept to the viewer.
As technology changes and upgrades, as we reach deep into our pockets to purchase the next version of Photoshop, one thing remains and will remain a constant – the book. And I will defend books to my death – they are a technology that is here to stay, a wonderful constant presence in a rapidly changing world.”

Oneiro 2


Photo Book Works includes work by the following artists:

Adam Milner, Boulder, Colorado;
Aileen Bassis, Jersey City, New Jersey;
Al Rodríguez, San Diego, California;
Anna Mavromatis, Houston, Texas;
Bessie Smith Moulton, Falmouth, Maine;
Charles Hobson, San Francisco, California;
Cristina de Almeida, Bellingham, Washington;
Elizabeth M. Claffey, Denton, Texas;
Elsi Vassdal Ellis, Bellingham, Washington;
Ginger Burrell, San Jose, California;
Jill Timm, Wenatchee, Washington;
John Watson, Springfield. Oregon;
Judith Hoffman, San Mateo, California;
Kelly O’Brien, Alexandria, Virginia;
Laura Russell, Portland, Oregon;
Lauren Henkin, Portland, Oregon;
Lee Steiner, Pearland, Texas;
Louise Levergneux, Salt Lake City, Utah;
Mary Jane Henley, Tucson, Arizona;
Mary L. Taylor, Marshfield, Massachusetts;
Megan Adie, Basel, Switzerland;
Monica Oppen, Sydney, Australia;
Paula Jull, Pocatello, Idaho;
Philip Zimmermann, Tucson, Arizona;
Sabina U. Nies, Ashland, Oregon;
Sally Waterman, London, United Kingdom;
Scott K. Murphy, St. Joseph, Minnesota;
Steve Kostell, Chapaign, Illinois;
Thomas Finke & Jean Buescher Bartlett, Denver, Colorado & Ann Arbor, Michigan;
Victoria Bjorklund, Tacoma, Washington

Abecedaries in the Reading Room

Exhibition open May 20 with an opening reception May 21 from (5-8pm) during the 3rd Friday Artwalk and remains on display through June 19.

In the Reading Room is an exhibition of Abecedaries (an abecedary is a book arranged in alphabetical order) by artists from throughout the US, UK, South Korea, Puerto Rico and Italy.

Artists included in this exhibition are:

Cari Ferraro (San Jose, California)

Falconer-1-ABC cropped Curt Lund (Minneapolis, Minnesota)

Dan Smith (Brooklyn, New York)

Dave Buchen (San Juan, Puerto Rico)

Emily Marks (Sonoma, California)

Heidi Zednik (Ashville, North Carolina)

Hong In Young (An-yang-city, Kyoung-ki-do, South Korea)

Joshua Falconer (Ventura, California)

Karen Hanmer (Glenview, Illinois)

Laura Davidson (Boston, Massachusetts)

Lisa McGarry (Florence, Italy)

Marian Crane (Phoenix, Arizona)

Marie Philomena Noorani (Richland, Washington)

Megan Chandler (Normal, Illinois)

Otis Lab Press (Los Angeles, California)

PBI ABCers (Northport, Alabama)

Philippa Wood and Tamar MacLellan (Lincoln, United Kingdom)

Rebecca Chamlee (Simi Valley, California)

Roberta Lavadour (Pendleton, Oregon)

Shawn Kathleen Simmons (Silver Lake, Ohio)

Shu-Ju Wang (Portland, Oregon)

Sushmita Mazumdar (Arlington, Virginia)

Suzanne Vilmain (Santa Fe, New Mexico)

Wendy Partridge (Cincinnati, Ohio).

And thirdly, also in the Reading Room – The Black Book Project. This is a multi-medium collaboration between 44 Colorado artists working on 14 teams.  Each team is comprised of 3 to 4 artists who, at the time of the project’s inception, had never met. The first week of March, 2010, each team was given one standard black spiral sketchbook, and participants were asked to cycle the book among their teammates as many times as possible over a 10-week period. There were no rules about how the artists could use the books or what content they could contribute.

One Unit Per Increment

May 20 – June 19, 2010

This exhibition features works created by artists in a regular unit (hourly/weekly/monthly) as part of an ongoing practice – once a day or once a week or once a minute for a chunk of time or continuing chunks of time.

Recording our thoughts and observations is an ongoing human activity. For visual artists, the impulse to create a tangible result of these observations is a widespread practice. The results of several such projects make for a lively and engaging display at Abecedarian Gallery.

Many of the projects in this exhibition honor and celebrate ritual and process within various set parameters.

Some, such as Denver’s Homare Ikeda

Untitled have committed to an ongoing studio practice that spans many years. Ikeda begins each day in the early morning with less than 30 minutes spent in creating 7, 9 or 11 gestural sumi ink drawings. For Ikeda the exercise gives him a chance to begin hiw work without critical thought, to simply pick up the tools, to start making marks.

parallel tea texts: january
Heidi Zednik, of Asheville, North Carolina, speaks of a continuing commitment

to simply have some sort of record of the days, however small the observation’

. On exhibit are selections from two of her 2010 projects. Walnut ink drawings on found paper, starting with a stack of vintage computer-punch-cards and a second project, typed text on stained tea bags. The text reflects some thought(s) of the day. Each months’ teabags are tied with string, becoming a single “standing month” or object.

January Untitled 3Another Asheville artist, Tony Bradley, has dedicated years to the practice of daily drawings and virtually all his two-dimensional work is an outgrowth of this practice. He has created portfolios of his mixed media on paper works into a series of Monthly Reports.

Another ongoing project is that of Genie Shenk, a California artist, who has been creating visual documents of her dreams since 1982, preserved and presented in a book for each year. Two of her dream books are included in this exhibit.

Dreams 2007

Also honoring specific experiences are the daily drawings of Elizabeth (Tilly) Strauss whose drawings, spanning over 100 days, document the relationship between the artist and a dying friend.Curtains for Jen

Other of the projects were designed with very specific intent – New South Wales artist Sara Bowen states she started The Daily Drawing project

‘to try and recapture my enthusiasm for drawing. As a child I always carried pencil and paper and didn’t care what I drew; I drew anything, anywhere. It dawned upon me that I could start again . . . I thoroughly enjoyed the experience’

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Daily Drawing B

Book artist Alicia Bailey wished to quickly process the early phases of a series of ideas. Her Book a Week series forced her to create books quickly and get ideas either out of her system or recognize their worth as more fully developed projects.

Alicia Bailey - Book a Week project

100 Days - Installation ViewTatiana Ginsberg (Santa Barbara, California) made a cup out of handmade paper every day for 100 days, drinking her daily tea from it, letting the tea soak and stain the paper bowl. Ginsberg has studied in Japan and is familiar with the way Japanese tea ceremony ritualizes an aspect of everyday life. Thinking about the pauses in the day provided by cups of tea or coffee, she made cups that reacted to and recorded the specific act of drinking. Ginsberg is also exhibiting Shadow Drawings, daily works drawn from the shadows cast by insect ravaged leaves.

Photography has been a mainstay in the realm of personal recording/documentation. The photographers included in the exhibit have each approached the notion of connecting with the personal or physical landscape.

July 25 ,2004Denver artist Anna Newell-Jones spent one year working on Daily: A Self-Portrait a Day For a Year, motivated by what she says was a ‘desperate desire to see who I really am.’ The photos are funny, sad and everything in between, but are always unflinching.

What Comes AroundIn a year long project, beginning on her 39th birthday, Lafayette, Colorado artist Mia Semingson investigates the relationship of one day’s image to the next.

Views from the Interior: the First Seven-Year Cycle

Connecticut artist Janet Pritchard’s Views from the Interior: The First Seven-Year Cycle records her multi-year connection a personal landscape by acting as recording witness to it.

Unfolding Each Day - openAlso documenting experience is Denver artist Sammy Lee, whose work Unfolding Each Day is a photographic journal of the year 2005, handsomely housed in a multi-faceted box that gives evidence of her architectural training.

Another artist using photography as the basis for a daily project, Chicago’s Stacy Sears photographed the sky each day, using the photographs as a starting point for a daily painting practice.One Month

And lastly, Nikki Thompson, Katerine Case and Sara McManus used the format of daily postcard mailing as a tribute to their friendship. They sent each other postcards once a month for a year, then each created an artists’ book from the postcards.OUPI_all3_39post_a

In Retrospect: works on paper and books by Ann Lovett, Maureen Cummins and Nava Atlas

A Reading Room exhibition, In Retrospect opens April 1 and remains on view through May 8, 2010. It is the first venue in a several state tour of this exhibition by three notable contemporary book artists and the only scheduled venue west of the Mississippi.
Ann Lovett

Maureen Cummins

Nava Atlas

In Retrospect presents the work of three artists who explore contemporary culture through the lens of the past. Their shared source of inspiration is the book, a form that, while intimate and familiar, also carries with it the weight of history and the voice of authority.

As such, it provides a reference point from which to challenge personal and cultural constructions of knowledge. All three artists delve into public and private archives to gather images, documents, texts, and ephemera as source material. Rearranging and combining these found elements with new material, they create provocative new works that expose biases and question assumptions about what we know and how we know it.
For the viewer, new meanings and interpretations emerge as official versions of history and reality are subverted.
The found materials in these books are textual as well as visual, both common and rarified; the collections from which they are culled are varied and diverse, from libraries and museums to flea markets and dumpsters.

Maureen CumminsThe work of Maureen Cummins is inspired by old letters, documents, and photographs that she collects and lives with in her studio. She infuses wrenching subjects (including slavery, insanity, and torture) into motifs such as quilts, photo albums and ledgers, subverting the traditional values and gentility usually embodied in these ordinary objects.

Ann LovettAnn Lovett draws source material from historical archives and museum collections, as well as from personal documentation. Her work explores individual and collective memory, the culture of memorials, and institutional control of sites of war, trauma, and loss.

26. Atlas6Nava Atlas draws from personal collections of everyday ephemera, including pinup photos, advice columns, vintage food images, and old comic books. These texts and images, arranged in ironic juxtapositions, question intransigent assumptions about gender.

In the books as well as their related wall installations, intimacy and insight emerge in a variety of ways. By employing beauty and craft—in the form of sensual materials, compelling imagery, and both ancient and modern technologies—these artists draw their audience into difficult subject matter. They seek to navigate the very dualities of life itself: pleasure and pain, appearance and reality, past and present, what is represented and what is experienced.

In voices ranging from contemplative to impassioned, from ironic to vehement, the works in this exhibit generate an experience of wonder and revelation that is both personal and political.

RE: (rebound, recycled, repurposed, reused)

February 12 – March 20, 2010.

Margaret Whiting

This is an exhibition of mixed media artwork created with the intent of changing a book from its original form into a different form, thereby altering its meaning/intent. Some works in the exhibit continue to function as interactive books; other works, both two- and three-dimensional have become passive objects for display.

(Margaret Whiting Cyclopedia of Law and Procedure pictured right.
Sara Furey 2

Altering books is currently one of the most popular creative techniques for self-expression. Beth Cote, one of the authors of Altered Books 101 maintains that ‘you don’t need any artistic ability to make altered books . . . if you’re color blind, memory challenged and can’t draw a darn thing to save your life, you can still be an altered book artist’.

Detail from Sara Furey’s Bottles to Sea pictured left

Siobhan Martin 2
Due to the widespread popularity of the medium, and the abundance of altered book creations that address self-expression to the exclusion of anything else, gallery director Alicia Bailey stresses the importance of presenting contemporary work that is created with thoughtful regard to concept and execution, that makes a meaningful contribution to both the genre and to an individual artists’ studio focus.

pictured right Everyday Birds by Siobhan Martin

The juried portion of RE: was juried by Barbara Hale (Denver, Colorado) whose workis included in the exhibition. Hale is printmaking instructor at Metropolitan State College of Denver.

Destructive and Useful Insects lo res.jpg

Her selections include work by Adina Weinand/Andrew Vomhof, (Minneapolis, Minnesota), Amanda Nelson, (Cambridge, Massachusetts), Ania Gilmore, (Boston, Massachusetts), Barbara WF Miner, (Bowling Green, Ohio), Cori Buder, (Denver, Colorado), Cynthia Colbertrecipient Topeka County Public Library Purchase Award, (Lexington, South Carolina), Deborah Bryan, recipient Gallery Director award (Johnson City, Tennessee), Haylee Ebersole, (Denver, Colorado), Jana Sim, (Chicago, Illinois), Jean Tock, (Carmel, New York), John Sager, (Austin, Texas), Jonathan Whitfill, (Lubbock, Texas), Jonathon Wiley, (Denver, Colorado), Julia Nelson-Gal, (Palo Alto, California), Katherine Reed, (Denver, CO), Margaret Whiting, (Waterloo, Iowa), Mary Jordan, (Denver, Colorado), Megan Moore, (Chico, California), Peggy Johnston, (Des Moines, Iowa), Sandy Toland, (Aurora, Colorado), Sara Furey, (Breckenridge, Colorado), Siobhan Martin, (Devon, UK), Susan Porteousrecipient gallery director Best of Show award, (Denver, Colorado), Virginia Unseld, (Black Hawk, Colorado) and Will Ashford, (Santa Rosa, California).

The exhibition also features collages created from book parts by Chicago artist Douglas Stapleton and Denver artists Stephen Daniel Karpik and Susan Goldstein.

stimmung lo res.jpg

Douglas Stapleton is a curator and exhibition designer at Illinois State Museum’s downtown Chicago gallery. Stapleton holds an undergraduate degree in Anthropology and MFA in performance and installation from the School of the Art Institute of Chicago. He also works as a dramaturg/artistic for The Seldoms, a Chicago based dance company. It is no surprise that a result of such diverse interests results in a body of work that is visually stimulating and rich with cultural and historical reference. Michael Weinstein, writing for New City Art (Chicago), describes Stapleton’s collages as ‘rife with exuberant cultural play . . . Postmodern globalized melange reaches its limits . . . an unbridled romp through history’.

RE Stepen Karpik Mm.jpg

Stephen Daniel Karpik (SDK) is a self-taught and multidisciplinary contemporary artist currently living in Denver, Colorado. Utilizing encryption, symbols and motifs incorporating the influence of primal aesthetics, urban culture and the collective consciousness, SDK fuses aesthetic energy and colorful composition to create playful mixed media paintings. His contribution to RE: is an unbound abecedary featuring mixed media on library cards. The theme for this series is the abstraction of animals, each confined to its own letter in time and space.

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Susan Goldstein is a Denver resident with a long and well-rounded exhibition history. In addition to annual solo exhibitions at Edge Gallery, the Mizel Center for Art and Culture hosted a sizable retrospective of her work in 2006. Goldstein will be exhibiting pieces from an ongoing series Intersections. Goldstein has great reverence for historic artifacts and documents and so allows herself to use only printed material already damaged or terribly common and not important enough to keep intact. By incorporating this damaged ephemera into her collages, these bits and pieces of the past are given new life and will survive in an altered form.

During the exhibition Abecedarian will be hosting an altered book workshop, taught by Judith Cassell-Mamet. Cassel-Mamet will assist students in turning a discarded book (provided) into a sampler of altered book techniques.