Well, we've arrived at the last week of the Blogger Show. If you haven't been over to the Digging Pitt Gallery, this is your last chance! They'll be open Thursday, Friday, and Saturday, and after that you're out of luck. So here we go with the last three auctions of the Zero Sum Art Project - Blogger Show edition.
And finally, Zero Sum #24, the piece that was shown both in the New York segment of the Blogger Show at the Agni Gallery, and here in Pittsburgh, the grand finale, with its auction ending Saturday night.
The Zero Sum Art Project will return to its much more relaxed pace post-Blogger show. . .
Saturday's opening reception for The Blogger Show at the Digging Pitt Gallery here in Pittsburgh was a lot of fun. It was great meeting a few of you there!
The four Zero Sum auctions that are currently up and running are Zero Sum #15, ending on Thanksgiving (bad planning on my part there), Zero Sum #17, ending Friday, 11/23, Zero Sum #20, the etching you see here, finishing Saturday, 11/24, and Zero Sum #21, another etching, ending Sunday, 11/25.
Look for an auction ending every Thursday, Friday, Saturday, and Sunday night at 10 p.m. from now until mid-January, with the exception of a week off for Christmas, as part of The Blogger Show at Digging Pitt Gallery, here in Pittsburgh PA.
Today is the one year anniversary of the Zero Sum Art Project. On November 19 of last year, the first Zero Sum Art auction started with this piece:
Zero Sum #1
The project started with whatever free materials I could find to make and package the first piece. This little drawing was made on Anti-Defamation League notepad paper with a Heart of Georgia Technical Institute pencil and a Radisson Hotel pen. The opening bid was $1.77, which was the initial amount that the project went in the hole for the eBay fees and postage. It ended at $22.72, which gave me my first opportunity to spend the profits and add to the studio. (Read more at the Zero Sum Art Project blog.)
For the duration of The Blogger Show, from now until mid-January, a new Zero Sum auction will start and end every day that the Digging Pitt Gallery is open. If it's a Thursday, Friday, Saturday or Sunday night, at 10 pm Eastern time, and you're near your computer, tune in and see how it's going. Here are the first three:
A couple of hours ago the doors opened for The Blogger Show's Pittsburgh venues, at Digging Pitt gallery, Digging Pitt Too, and the Panza Gallery. These three shows will be up until January 12. The opening receptions for the Digging Pitt and Digging Pitt Too shows will be on Saturday, December 8, from 6-9 pm, and the opening reception for the Panza Gallery will be on Saturday, December 15, from 6-9 pm.
And, I just gotta say that all of the Blogger Show artists owe a huge Thank You to Susan Constanse, who has done the lion's share of work installing the Pittsburgh shows, and has done a fantastic job. Thank You, Susan!
My contribution to the show will be a frenzied rotation of works from the Zero Sum Art Project. The first six pieces are up on the walls now. Each day that the gallery is open during the exhibition, a new auction will begin from the Zero Sum Art Project. These auctions will run for a week. So, every Thursday, Friday, Saturday, and Sunday night from here until January 12, you will find a new piece from the Zero Sum Art Project being auctioned off on eBay. Every week I will take out the sold pieces from the exhibition, and replace them with the next artworks on the auction block. It will be a different show every week. Visitors to the gallery will see a small slice of the project, but they will see it in "the flesh". Online viewers will see the work through the pixellated haze of the computer monitor, but they will be able to see all of the work in the project in one place. So it's an odd blend of "virtual" and "real" worlds.
The first piece, that will start its auction at 10 pm tonight, will be Zero Sum #9. You can find the Zero Sum auctions, once they start tonight, here.
James Kalm provides the first glimpse of the Blogger Show in its Agni Gallery incarnation, for those of us who weren't able to get to New York last night. . .
You gotta love John Morris' over-the-top puffery in describing the show. Honestly, I think the show is at least three-quarters assed already, and by the time the Pittsburgh components open next week, we'll be up to one-and-a-half asses, minimum.
Susan Constanse has posted some pictures from the opening reception and described the event, and she'll have some installation photos coming soon as well.
Zero Sum #25, taking advantage of that new moon etching of mine. It goes up for auction later tonight. Visit the Zero Sum Art Project blog for all of the details.
If you were to dig around in my studio, shoving aside the empty Coke cans, here's a few bits and pieces that might catch your eye:
This is a detail from a linocut I just printed. The linocut includes four rats, four roaches, and seven flies, along with some other non-vermin imagery. It's part of a broadside I just finished, working with a poem by Ron Offen, to be published later this year by Pygmy Forest Press. When the broadside comes out, I'll let you see the entire print.
I've got a few etchings of the moon scattered about. These are going to be used as collage material, along with the stack of
cyanotypes that I just received in the mail. These were made from transparencies of photographs I made from my Box. All of the collage material will end up in pieces for the Zero Sum Art Project.
Speaking of the Zero Sum Art Project, the animation above is a record of the making of Zero Sum #24, which will be on display at the Agni Gallery in New York City during the month of November, as part of The Blogger Show. After it's stay in NYC, it will be auctioned off on eBay, consistent with the ZSAP rules.
I'm telling you, I'm up to my elbows in here. Lots of stuff kicking around. . .
One of the many nice things about making an etching is that you are left with a trail of proofs, that document what you were thinking and the decisions you made along the way. I'm a firm believer in the thinking-while-making school of art - I do my best thinking when I'm pushing the materials around. So I like to jump into a plate, get something on it, scrape it off, put something else on, until things start to come together. And this animation gives a little sense of how that process looks.
After I finished that Zero Sum #23, I went back to work on the etching plate. I decided I liked the vulture a lot, so I scraped out one of the bird heads and socked in a nice black aquatint, from which I will carve a vulture. We'll see what happens. . . if nothing else, a lot more proofs, no doubt.
This is the second etching I've made using solarplate, and I'm really enjoying the process. The major drawback is that the plates can't be reworked like a traditional etching plate, which limits the amount of plate history in the image, which is one of the major attractions of etching for me. So I imagine that I will use this technique primarily to add photographic material to more complex collage/multiple printing element images in the future. But I am really happy with my first couple of plates as stand-alone pieces!
So, do you ever have one of those moments in the studio where you say "gee, so that's what I've been thinking about"? They're nice, aren't they. I just had one, courtesy of Judith Hoffman, an artist who does fantastic things with metal and artist's books, by way of a comment she left concerning Zero Sum #21. I had mentioned that I was enjoying working with my new box, as it reminded me of theaters, and puppets, and cameras, and she pointed me towards ShadowLight Productions, a shadow puppet theater company founded by Larry Reed. So I wandered over to YouTube. . .
and was blown away. Isn't that great stuff?! One of my favorite things about that is the flames used as the light source for the shadow puppets in the traditional production. So, after my video-watching-adrenaline rush subsided, I thought about some drawings I had made in the past.
That drawing was one of a bunch of pieces I made for a show I called the Existential Theater. I made those drawings back in 1996. At the time I was really interested in making images that had a mix of drawing from the model and drawing from casts, and I enjoyed how the viewer would bring figures to life even if they were made from disjointed parts. What I wasn't really thinking about at the time, but which I'm finding more and more intriguing these days, was the way these drawings were really a species of still-life, but a form of still-life that looked to the stage for inspiration, in the contained spaces and dramatic lighting and deployment of figures in the images. The theatrical aspect was obvious, but I wasn't as focused on the "still-life".
So in 2004, I go to this puppet show at Bard College,
a performance of "Nevsky Prospekt", by the Russian puppet theater company "Theatre Potudan". It blows me away. Just incredible. It was a miniature stage, with wonderfully beautiful and strange and delicate puppets. The imagery was frequently very surreal. And yet, as an audience member, you were fully involved with these puppets as living beings. One of the wonders was that, with such a tiny stage, the viewer was seated just a few feet from the performers, and the fact that these performers were made of paper and sticks and strings was celebrated, not hidden. Though you understood them to be puppets, the suspension of belief, the empathy you had for these objects, was just breathtaking.
The climactic moment of the production involves the suicide of the main character. This is shown by way of the puppeteer's hands entering the stage, gathering the puppet's strings, and cutting them. That cliched metaphor of the puppet's strings, so often used to symbolize being in someone else's control, here was turned around to show us the strings as the very life-force of the puppet. Which, of course, they are. After the puppet falls limp to the stage, the hands reach down and cradle the lifeless form. Gosh, it was beautiful.
I left that production just astonished. That was some seriously powerful stuff. I didn't have a place for it in my own studio practice at the time, but boy, I wished I did.
I recently became aware of a project that William Kentridge did in 2005, the "Black Box"
or "Chambre Noire". Kentridge's work has me all fired up as well, with his combination of drawing, animation, and puppetry. And in this particular project, his building of a mechanical miniature stage in which the lighting of scraps of drawings and wire, their movement through the space and the shadows they cast, the use of some images as "characters" and some as "setting", all resonates with me.
And, thinking about all of that, makes me realize how I'm digesting those influences in my own work. When I started the Zero Sum Art Project I didn't realize that I would start accumulating these strange objects in my studio, and I certainly hadn't planned on building a stage to place them in. I hadn't planned on incorporating photography, and I didn't realize that collage would play such a large role in the artwork. It's kind of delightful that these things have happened, but it's only now that I'm really seeing the relationship of those choices to a lot of things I've worked on and looked at and thought about in the past.
Zero Sum work in progress
So thanks for the heads-up, Judith, I really appreciate it!
That little linocut is one piece of a jigsaw puzzle I'm putting together that will ultimately be a broadside featuring a poem by Ron Offen, to be published by Pygmy Forest Press. Stay tuned for more details as they happen. . .
And if you haven't been over to the Zero Sum Art Project blog lately, you might have missed Zero Sum #20 - which, by the way, you could purchase if you visit this auction before Sunday night.
Here's "Verse 2" for your viewing pleasure, continuing the little series of spin-off works from the Zero Sum Art Project. For some cheap summer thrills, I'm selling these on eBay with the auction starting at a penny - you can visit the auction to see a few details of the paint and collage elements.
The small crowd at the bottom is made up of bits and pieces from 24 Poets and 1 Astronaut, one of my linocuts from 2002. Never throw anything away - if you saw my studio you'd know I live by those words. Prints that don't make the final cut for an edition are always good as collage material. The palette for the little cityscape is based on an old postcard - that's an idea I first started playing with in Zero Sum #16. Ideas are something you can always return to, just like bits of old prints. . .
Why $13.32, you might ask? If you're unfamiliar with the Zero Sum Art Project, you can find an overview of the operation on the Digging Pitt blog. ZSAP will be on display there in November - it'll be a nice complicated puzzle to solve, putting the exhibition together within the rules of the project.
Subscriber's to the Fiji Island Mermaid Press Book of the Month Club should already have "50 Places I've Already Seen". It's an autobiography of sorts, playing off of the popular "1000 Places You Should See Before You Die". Part of FIMP's way of seeing things is to try and love the place you're at - that's something I learned from dogs and babies. So this book celebrates those places that you probably didn't plan your trip around, but are awfully darn wonderful anyway. Everyone's list would be different - a self-portrait.
The artist as a young man, searching for the fountain of youth at the Ripley's Believe It or Not Museum
The image above didn't make it into the book, but is undoubtedly a formative one. I think that's the first place I encountered the Fiji Island Mermaid. It's amazing that I can type this blog entry, considering what those crocodiles were doing to my hands.
In other news, the Zero Sum Art Project continues on its merry way, with Zero Sum #16 currently up for sale. Visit the auction on eBay to see the entire painting/collage.
If you're in Pittsburgh, you should put a visit to Digging Pitt Gallery on your list of things to do. Not only are the exhibitions consistently interesting, but the director John Morris maintains an extensive set of flat files, making the artwork of over 140 local, national, and international artists available to anyone who comes in the gallery. And as of recently, I'm one of those artists, so there you go.
If you want to see what's looming in the sky above this happy postal worker, you should visit the auction for Zero Sum #10 on eBay. It's a nice chunky collage of a painting.
One of the curious and amusing features about this blog for me is that the counter at the bottom allows you to see what brought people to the site - how they were referred. Ideally they would arrive here having done a search on google for, say, "nice chunky collage of a painting", and be happy to have found something related to their online quest. Sadly, it seems that for some reason a large proportion of FIMP's visitors arrive here looking for information on one of two topics - the Fiji Islands, or Mermaids. Quite a few are looking for instruction on how to draw mermaids. And despite the fact that this is the Fiji Island Mermaid Press, they find no relevant information whatsoever on their topics of interest.
Barnum's mermaid, as depicted in the New York Herald in 1842
One of these days, I need to discuss the origin of this grossly misleading title. For now, I'll just tell you that the Fiji Island Mermaid was one of P.T. Barnum's exhibits, a gaffe made up of the top half of a monkey sewn to the bottom half of a fish. I'm a big fan of Mr. Barnum, his display of this object, and his encouragement of the public to debate its "reality". It reminds me of a lot of things I find interesting about art.
So, my apologies to those web-surfers who have washed ashore on FIMP and been grossly disappointed. I'll have to work up a "how to draw a Fiji Island Mermaid" one of these days. . .
If you've been thinking "Gee, it's been a long time since I've seen a mixed-media painting that included a quail, four postage stamps, and a zeppelin hangar", than you should go check out Zero Sum #8! Get all the vital stats, and even consider buying the thing, by visiting the Zero Sum auction on eBay!
