Frida Lives! (& sells meat in the Ocotlan Market)

Just got back from (see photos) fabulous Oaxaca, accompanied by fiber artist Carol Shaw-Sutton & mixed-media artist Fran Siegel. It was a tremendous treat to have Carol's take & expertise on all things woven, dyed, embroidered & sewn. Fran's keen sense of spotting the marvelous in the quotidian added greatly to noting the sheer visual

sumptuousness of superabundant color & texture everywhere.

As you can well imagine, flying back after the latest Christmas day fiasco was quite taxing, especially after being subjected to pat downs at all airports. Is it just me, or do the words "Christmas" & "bomber" not seem to quite gel together? Federales were swarming about like busy bees in riot gear throughout the Mexico City terminal. On the plus side, I suppose that the invasive hands-on could count as one of the eight hugs a day we are all supposed to receive to keep our mental health on the straight & narrow.

I managed to get profoundly ill & spent a lot of time...well, ahem, let's just say I was indisposed (thanks to some damn tamales with molé I ate on the zocalo). It dampened my time there considerably - defeated by the body I hurl about once again! Had to miss going to Monte Alban to see the ancient Zapotec sites, which made me very sad indeedy, but at least I made it to the geometric wonder of Mitla. Oaxaca was interesting - the children are all beautiful & trusting, as they've not yet been indoctrinated to be afraid of strangers, the people are in large part friendly, open & warm. Objects that break are lovingly repaired instead of being thrown away & replaced with new (& often inferior) items.

"Saint Migraine" is in reality St. Peter of Verona (for obvious reasons aka St. Peter Martyr) a Dominican ("dog of god") who was expedited to the next world via an axe to the cabeza. Well, I can't say that he didn't entirely deserve it - apparently he was a bit overly zealous when it came to all things Inquisition. He resides in the beautiful blue & white Dominican church in Ocotlan, built in 1572, & restored with major funding from artist Rodolfo Morales in 1999. He seemed a fitting image to follow up New Year's Eve revels, although I doubt an Alka-Selzer could even remotely touch his hang-over.

(Photos courtesy Carol Shaw-Sutton)

Printmaking Related Exhibitions for the New Year

These 2 exhibitions are are the Craft & Folk Arts Museum in Los Angeles. While "The Fool's Journey" doesn't open until 1/24, the exhibition on "Graphics & the California Dream" is open now & closes on the 10th of this month.

5814 Wilshire Boulevard (at Curson) Los Angeles, CA 90036 323.937.4230 www.cafam.org
Hours: Monday: Closed Tuesday through Friday: 11 am - 5 pm Saturday & Sunday: 12 pm - 6 pm Admission: Members: FREE General: $5 Students and Seniors: $3 Children under 12: FREE First Wednesday of every month FREE

The Fool's Journey: The History and Symbolism of the Tarot Opening January 24, 2010 Curated by Robert M. Place

Curator's Lecture for The Fool's Journey: The History and Symbolism of the Tarot Sunday | January 24 3 pm FREE with the cost of museum admission Learn more about the fascinating history of the Tarot and its roots in the Italian Renaissance with curator and scholar Robert M. Place. Please RSVP to 323.937.4230 x50

Printmaking Exhibition in Richmond, Virginia

Call for Entries DEADLINE: artspace National Juried Printmaking and Photography Exhibition 2010

Deadline: Friday, Jan 29 (2010)

at Artspace, Richmond, VA

Price: $25/3 Entries $30/4 Entries; $35/5 Entries

Age Suitability: 18 and up

Tags: photography, printmaking, visual arts, call for entries

artspace announces an open call to printmakers, photographers, and artists working with any photographic process to submit entries for the artspace National Juried Printmaking and Photography Exhibition 2010. The exhibition juror, Richard Waller, Executive Director, University of Richmond Museums, will award up to $1000 and a solo exhibition in artspace's Helena Davis Gallery.

For more details, visit www.artspacegallery.org/anjppe or e-mail anjppe@gmail.com

The besht has surely arrived! Michael Cohen’s prints showing at the Alpert’s Jewish Community Center was crazy! His talent and love for his Jewish community is present in every print he maid. Etching, lithography, wood cuts and silk screen are all of the areas where he succeeds. As his prints hanged in the hall, kids were walking by looking at them not knowing the process it took to make the prints but saying “that’s cool!” and that’s when you know you’ve succeeded, when it’s appealing enough for even those who know nothing about the process. Other artists get so caught up with the process but having such an unsuccessful result. I am proud to be working on my prints in the same place he did, using the same presses he did because it just makes me think of all the possibilities and great prints I can also produce. I especially liked the “Untitled Black” woodcut because it was so simply made yet such a powerful black and white print. His prints definitely tie in as being his art work they all have the same theme and style which can get boring after a while but in this case he manages to make each one a bit more different and a bit better than the other. His only sculpture piece was very interesting having glued pieces of Jewish men prints riding little bicycles on an actual bike wheel with a sign saying “please spin” which I obviously did. I would definitely recommend others to see his work!

-Adriana Gonzalez

The Besht Has Yet To Come (& won't that be fine?)

What better place to celebrate the 3rd night of Hanukkah than at the Alpert Jewish Community Center for Michael (CSULB Printmaking BFA Alumni) Cohen's opening? I'll venture that the exhibition is largely printmaking & I have word that the newest Cohen will also be in attendance, snug in Mom's embrace.

Roxanne's Card

Thanks to everyone who signed Roxanne's card! She loved it!

-Morgan

Example of an AH 365 Paper

The Strength of the Message

As I circled around the Posters, Prints, and Propaganda exhibit at the Riverside Art Museum for the third time, I began to realize why some prints affected me more than others. It was due to the strength of their message. If an artist seeks to communicate their message effectively, they must first, choose an image and composition that will capture their audience’s attention, and secondly, they must convey their idea clearly enough to cause the emotional impact they intend. In other words, a successful image is one that does not go "in one eye and out the other," but rather, one that invites the viewer to understand and participate in its essence.

The collection of seventy prints at this exhibit, which displayed a wide range of subject matter and printmaking techniques, were well-organized into six different sections. The first section consisted of woodcut and linoleum relief prints, the second, consisted of etchings and engravings, and the third, illustrative lithography. The fourth section, which I found most interesting, consisted of various types of prints and posters used for advertising and propaganda. The fifth section displayed a few ‘community and education’ prints, and the sixth section consisted of personal prints, titled "Art for Art’s Sake." These prints were made by a diverse community of artists such as Leonard Baskin, William Bradley, Joseph Mugnaini, Hiroshige, and Salvador Dali. But the artist whose message spoke most strongly to me was the German Expressionist, Kathe Kollwitz.

Kathe Kollwitz’s reductive woodcut titled The Widow may have seemed to be one of the most humble prints in the exhibit due to its poor frame, relatively small size, solitary use of black ink, and economically simplified figure, but it was, in fact, one of the most powerful. It is through Kollwitz’s abandonment of naturalism, through her process of stripping her subjects down to raw emotion, that enables her to effectively communicate her message to her audience. And it is by her raw, expressionist style that her intended emotional impact is amplified.

In this print, ‘the widow’ stands alone; a monolithic figure engulfing the entire space. The sparse background behind her is left white, with minimal chatter from the woodblock. Her entire body, apart from her hands and face, is clothed in a flat, black dress, defined only by its simple contour edge. Thus, her hands and face are the sole vehicles through which Kollwitz expresses her grief and loss. The widow’s unkept hair adds to the expression of her despair, as a stray strand mimicks a black tear flowing down her cheek. Her large, rough, working hands appear to be embracing something very precious, as her downcast, mournful face gently caresses it. However, the object of her embrace is left undefined, enveloped in the black shadows of her dress. Perhaps she is taking comfort from the coat of her dead husband, or perhaps she is embracing her new-born child whose father has been taken by the war. Or maybe she is grasping onto the limp form of her beloved, who has slipped away from her forever. Or maybe her embrace is empty, and she is clinging to the memories of a life when all these things were hers. It seems it was Kollwitz’s intent to leave the object of the widow’s embrace "unseen," in order to make the woman’s loss universal. By doing so, her message speaks to a wide audience, to anyone who has ever lost something dear to them. All they need do is "fill in the blank," and then they too become The Widow.

The reason I connected most with Kathe Kollwitz’s work in the Posters, Prints and Propaganda exhibit was because she did not make her prints for "the sake of art," she made them for "the sake of the people." Her message was stronger than that of a pretty landscape, or an abstract riddle to interpret. She used her artwork to speak for the impoverished, working-class people of her time - to give them a voice in a socially unjust world. And this is what I too, hope to do, someday.