tag:blogger.com,1999:blog-75803174519985460042024-03-13T16:47:05.880-07:00VELOPRINT : A Journal of Printmaking and Bicyclingbicycling, printmaking (etching, woodcut, lithography, sceenprinting etc.)Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.comBlogger33125tag:blogger.com,1999:blog-7580317451998546004.post-46114140027980943142023-01-06T13:10:00.013-08:002023-01-06T13:15:35.528-08:00<div class="separator" style="clear: both; text-align: left;">And then there was covid, and then it was 2023. This may be a momentous moment for Veloprint. Sixteen years ago, when I launched Veloprint, I was still an avid Kansas cyclist, but having retired in the Colorado Rockies I've largely replaced cycling with hiking, and, perhaps emblematically, have sold my gravel bike in order to purchase a lovely tabletop etching press from the Conrad Machine Company. It is pictured here with my beloved Salsa "La Raza" road bike (the same bike that posed for the masthead of Veloprint), which I will never part with as it is my talisman of good times and a reminder of many splendid rides. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-C9cdj0LJutaVV8dzU2QVt4E0KCb8bLqFiAuOYABqk-eih6uoqYwrJkRp6w7t1CqrmYI8XdS1u8jOVyK2FmX3GYfRU_cD0vWHj2_wnV_43P-7cc9gC1TTGqPCrvIRvpPP9_6da69WYRiwQS02ovHboxHFpaGwqLfIX26yDus73jbTxFnpz9T--UP3/s4032/IMG_2792.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-C9cdj0LJutaVV8dzU2QVt4E0KCb8bLqFiAuOYABqk-eih6uoqYwrJkRp6w7t1CqrmYI8XdS1u8jOVyK2FmX3GYfRU_cD0vWHj2_wnV_43P-7cc9gC1TTGqPCrvIRvpPP9_6da69WYRiwQS02ovHboxHFpaGwqLfIX26yDus73jbTxFnpz9T--UP3/s320/IMG_2792.JPG" width="320" /></a></div><br /><br />So, after several decades I am experimenting with etching again, but now in the changed environment of "non-toxic" printmaking. I always liked the toxicity of printmaking, but life is good too, so I've opted to try and go solvent free. Here's my first attempt, a scene in the local mountains where someone built a sort of lean-to cum meditation-spot or perhaps an orgone energy gathering platform. I don't really know, but it's a lovely spot.</div><div class="separator" style="clear: both; text-align: left;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitQDtlQud2VWbQcfoQ7FvdsankZDN4-zJaLzZaDPHWg_x3oOmxFLSEoUNXT9kbR-Ou0HQm7X2PdYZYNQc3P8NrnA45YRZI1HDJq3gn-8s8rQPfFvcXJWDfWh_wFUymrl9lGFQ8q8gNTN8iMfkMMX74VHhnq5u6WZ1MX0zemNX2iFd-cx1K-5-R2rm7/s3731/IMG_2793.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2568" data-original-width="3731" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitQDtlQud2VWbQcfoQ7FvdsankZDN4-zJaLzZaDPHWg_x3oOmxFLSEoUNXT9kbR-Ou0HQm7X2PdYZYNQc3P8NrnA45YRZI1HDJq3gn-8s8rQPfFvcXJWDfWh_wFUymrl9lGFQ8q8gNTN8iMfkMMX74VHhnq5u6WZ1MX0zemNX2iFd-cx1K-5-R2rm7/s320/IMG_2793.jpg" width="320" /></a></div></div><p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><br /></div></div>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-70858592287194754252020-01-10T10:26:00.000-08:002020-01-10T13:59:19.163-08:00<br />
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The interest in the connections between
plants and people, referred to in my previous post of seven years ago (!), culminated in an exhibition
in 2018, <a href="https://spencerart.ku.edu/exhibition/big-botany-conversations-plant-world" target="_blank"><i>Big Botany: Conversations with the Plant World</i></a>, that I am very proud
of. Since that post I
have also retired from my wonderful position at the Spencer Museum of Art and now I can talk openly about prints, even the ones
I make myself!</div>
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Over Thirty years ago, I started a woodcut project inspired
by the beautiful fifteenth-century blockbooks known as <a href="https://www.loc.gov/item/49038879/" target="_blank"><i>Biblia Pauperum</i></a> (Bible
of the Poor, a misnomer). These make use of a pictorial scheme that frames narrative images
and text in a meaningful relationship, specifically, they comprise a typology
that aligns New Testament themes with Old Testament prefigurations. I have seen
a number of these rare books in person and their hand-made qualities sing
through the deep embossing of the vigorously carved wooden blocks they were
printed from. The hand-made paper and inks, which range from sepia to dark
brown add to this tactile aesthetic.</div>
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I
have always found the visual strategy of blockbooks (also "block books"), in which image and text
are printed from one block of wood, to be very satisfying, so I had the idea of
making an abcedarium (also "abecedarium," an endangered word, alas) for my daughters in a similar format, but not as a blockbook since each page would utilize multiple blocks. My plan was
to make an ABC book of edible plants and hand tools, which I thought would
provide useful information about important, disappearing knowledge; and this was
before the internet had its way with knowledge! My daughters were three, one,
and minus five years old at the time so I figured I had time to accomplish
this.<br />
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My approach was to use one block for the framing motif, an
architectural format (recalling the ancient <a href="https://en.wikipedia.org/wiki/Art_of_memory#Architectural_mnemonic" target="_blank"><i>Art of Memory</i></a>, which also appeared as a blockbook, <a href="https://www.loc.gov/item/49039040/" target="_blank"><i>Ars Memorandi</i></a>, but that is another story ... ) with windows framing the upper and lower case letters, images of the
appropriate tool and plant, and their names. Each of these was carved on its
own block and inserted into the framing block for printing. So, this amounted to
six blocks carved for each letter of the alphabet, set into a seventh, the framing block. Not too surprisingly, I was later to publish an article on historical aspects of this this printing
strategy, <span style="font-family: "times new roman" , serif;">“Modular Prints – A
Special Case of the Assembled Woodcut in the 15th- and 16th- Centuries,” in <i>Grand Scale:
Monumental Prints in the Age of Dürer and Titian.</i> New Haven: Yale University
Press, in association with the Davis Museum and
Cultural Center, Wellesley College, 2008: 87-98.</span></div>
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A few years after beginning this project I had only gotten up to the
letter “F,” my daughters, now three in number, were growing up, and time for
this project was getting harder and harder to find, so the project lay fallow for thirty years until last
year when grandchildren inspired me to take it up again. </div>
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Somewhere between 1988 and 2019 the main block (a pine
plank) warped and I unthinkingly glued it down onto a piece of plywood to keep
it flat. In so doing I created more problems for myself, but more on that later.
At this writing I am finishing the letter “Q” and I’m sure that the project
will find some kind of conclusion in the course of 2020, though I doubt it will
be as originally conceived.</div>
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</style>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-83368171257478335572013-11-16T20:03:00.001-08:002013-11-16T21:10:22.801-08:00<br />
<span style="font-family: Trebuchet MS, sans-serif;">Last week a group of us from the Spencer Museum of Art were in New York City for Print Week (the photographer, me, is not pictured). </span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">We had our own trajectories, this is part of mine.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">In addition to the <a href="https://www.facebook.com/ifpdaprintfair" rel="nofollow">IFPDA</a> print fair, I spent time in Chelsea, touching base at <a href="http://printedmatter.org/" rel="nofollow">Printed Matter</a>, <a href="http://eyebeam.org/" rel="nofollow">Eyebeam</a>, and several galleries.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">I was happy to see that <a href="http://www.bitforms.com/index.php" rel="nofollow">Bitforms</a> included a bicycle in <a href="http://www.bitforms.com/images/pdf/press/131024_ny_debroin.pdf" rel="nofollow">Michel de Broin's installation</a> - it is a bicycle with an exhaust pipe that burps out smoke and comments on the irony of smoking while bicycling (vintage Tour de France videos come to mind).</span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;">At the Museum of Art and Design I enjoyed </span><i style="font-family: 'Trebuchet MS', sans-serif;"><a href="http://madmuseum.org/exhibition/out-hand" rel="nofollow">Out of Hand - Materializing the Postdigital</a> </i><span style="font-family: 'Trebuchet MS', sans-serif;">with two old friends, one of whom, appropriately it seems, I had not met in person before. A vendor display included a functional 3-D print of Theo Jansen’s </span><a href="http://www.ted.com/talks/theo_jansen_creates_new_creatures.html" rel="nofollow" style="font-family: 'Trebuchet MS', sans-serif;">walking kinetic sculptures</a><span style="font-family: 'Trebuchet MS', sans-serif;">. </span><br />
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<span style="font-family: 'Trebuchet MS', sans-serif;">Two of us had a high altitude meeting with a colleague known for his provocative publications to discuss our </span><a href="http://spencerarc.wordpress.com/" rel="nofollow" style="font-family: 'Trebuchet MS', sans-serif;">Art*Research*Collaboration</a><span style="font-family: 'Trebuchet MS', sans-serif;"> initiative.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2yojdM5cUsY_ATN7VsyyC08HERqGn7B3a4jlyoeQa5sp1bZ1s3hrO9oERHQSQJ-jSjkHni_od2RBZEPASZ5VJhV1N7BXURtZIJ8hAuRhRQN8_UDUzPPdBQ7OKgbZbHH_6k-FSNQrzBWw/s1600/P1130577bsm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2yojdM5cUsY_ATN7VsyyC08HERqGn7B3a4jlyoeQa5sp1bZ1s3hrO9oERHQSQJ-jSjkHni_od2RBZEPASZ5VJhV1N7BXURtZIJ8hAuRhRQN8_UDUzPPdBQ7OKgbZbHH_6k-FSNQrzBWw/s320/P1130577bsm.jpg" width="320" /></span></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;">In addition to visits to the <a href="http://www.newmuseum.org/" rel="nofollow">New Museum</a> and other well-known art venues I noticed several smaller galleries.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">There was time to consider the history of collecting…</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">and I was able to extend my research into the fascinating story of people and and their connections to plants.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">subway, Astor Place</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">bloempjes</span></div>
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Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-49131419632698107682011-08-02T18:37:00.000-07:002013-11-16T21:24:46.891-08:00Looking out the Window at Kansas and Colorado<div class="separator" style="clear: both; text-align: center;">
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This is a cross-posting to a set of images I placed on Flickr today - and linked via Flickr:<br />
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http://www.flickr.com/photos/steve_goddard/sets/72157627340492428/<br />
[clickable version was not working on blogger]<br />
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On July 29, 2011, we drove 626 miles [1005 Kilometers] from our home in Lawrence, Kansas to Estes Park, Colorado. This set is a selection from the 450 photographs I made from the back seat of the car. This started as a test of a new telephoto lens, but very soon it became clear that what I could see from the road was intimately connected to many current concerns and themes, including:<br />
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Agribusiness<br />
Cattle and Meat Industries<br />
The Family Farm<br />
Transportation<br />
Advertising<br />
Car Culture<br />
Oil<br />
Natural Gas<br />
Wind<br />
Water<br />
Irrigation<br />
Fundamentalism<br />
Wastelands<br />
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Thanks to Larry Stark for inspiration: <a href="http://www.larrystark.com/">http://www.larrystark.com/</a><br />
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The photographs have been reduced by about 1/3 of their original size. All were shot through tinted glass at 75 mph so I share them for their content, not their quality.Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-57295884832727246932011-06-26T18:52:00.000-07:002019-08-10T22:00:13.722-07:00Otherworldly<style>
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When asked, “how was the trip?” I have been answering, “great!” but it has been difficult to go beyond that because it was not so much a trip as a re-alignment of assumptions. I realized this on my first morning at CICRA while getting dressed, at the moment of loading up my pockets. Wallet? No need. Keys? Nope. Passport? Won’t need that either. Money? No. Cell phone? Definitely not.</div>
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The movie that came up the most frequently in our conversations was not <i>Fitzcarraldo</i>, but <i>Alien</i>. This was not only because of our close looking at insects, but also because it is an immersive movie that puts you in another world – a planet named Thedus. </div>
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The piece of literature that came to my mind the most often was Ray Bradbury’s 1950 short story, <i>The Long Rain</i>, which I read in my teens nearly 45 years ago but which I remember vividly. The story takes place on Venus and it begins:</div>
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"The rain continued. It was a hard rain, a perpetual rain, a sweating and steaming rain; it was mizzle, a downpour, a fountain, a whipping at the eyes, an undertow at the ankles; it was a rain to drown all rains and the memory of rains. It came by the pound and the ton, it hacked at the jungle and cut the trees like scissors and shaved the grass and tunneled the soil and molted the bushes. It shrank men's hands into the hands of wrinkled apes; it rained a solid glassy rain, and it never stopped."</div>
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There is an orchid, a variety of Catesetum, in a small container attached to one of the supports for the entry to the dining hall at CICRA. </div>
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I cultivate three varieties of Catasetum at home. When I explain my enthusiasm for orchids, and this genera in particular, I always say, “I like the ones that look like they come from mars – not the ones you can get in the grocery store.” One of my Catasetums has just bloomed, and while here in Lawrence Kansas it looks like it came from Mars, it is at home in the Neotropics.</div>
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So, when asked about our time in the rainforest, I say it was great, and then I look for language, metaphores and experiences drawn from otherworldly precedents, like <i>Alien</i>, <i>The Long Rain</i>, and plants from mars.</div>
Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-12302179419994685862011-06-19T15:01:00.000-07:002011-06-19T15:12:02.151-07:00Peru Day Twenty - Heading Home [Arriving on Day Twenty-One ??]On our twentieth day, and our third day waiting to get on a plane home in the wake of the electronic snafu that has crippled our airline carrier, I thought it would be a good moment to post some images of our time together in Peru - What a super-popped group of individuals we assembled from across the University of Kansas! Thanks Bethany, Caroline, Dan, Jeff, Joe, Kelsey, Reed, Riley, Thomas, and Tom; and thanks to our Peruvian colleagues who played such a critical role in the success of this unforgettable trip!<br />
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</div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOuFky4rMpGuToN5af2nI5xSmBpFCAsTDV3408fDrzNLIIH3pV-yx8YEi8krk1uCLaHvymdIS9VFC-8wpokdvlzAJxPaScDlBkBKWz3Znow8BRebaBDv72m0_5BdHGPL_ESkT0xYP6CBQ/s1600/abby_road_small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOuFky4rMpGuToN5af2nI5xSmBpFCAsTDV3408fDrzNLIIH3pV-yx8YEi8krk1uCLaHvymdIS9VFC-8wpokdvlzAJxPaScDlBkBKWz3Znow8BRebaBDv72m0_5BdHGPL_ESkT0xYP6CBQ/s320/abby_road_small.jpg" width="320" /></a></div>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com1tag:blogger.com,1999:blog-7580317451998546004.post-65582699005725883472011-06-17T15:59:00.000-07:002011-06-17T16:01:14.831-07:00Peru Day Seventeen - Looking Forward & Looking BackSo far the creative components of our trip have included assigned readings, blogging, and some "looking exercizes" involving drawing (thanks to Bethany for offering some practical pointers), watercolor, relief printing, and "sun printing" (a blueprint or cyanotype process -- for a mid-19th-century example see the cyanotype by Anna Atkins in the Spencer Museum of Art, 1997.0033). <br />
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Our daily fieldwork and ongoing exposure to new aspects of the rainforest has been all-consuming and often exhausting; therefore we agreed that our primary task while in Peru is to absorb all that we can. The bulk of our individual creative work, and our group project involving K.U. museums, will take form during the summer school session, upon our return home, so stay tuned for future posts. Some of the potential individual creative projects that we have discussed include a series of short stories, a sculptural rendering of the base of a Cecropia tree, a group of detailed watercolors, and a children's book that would be an ecology primer for use in Peru and elsewhere. Meanwhile, the process of sifting through our hundreds of photographs, notes, and drawings is already serving as a catalyst for this next stage of creative work.<br />
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On this, our last day in Peru, I will sign off for now, in deep gratitude for being able to participate in this venture, with a photograph of the rainforest taken from the 60 meter observation tower that overlooks the CICRA/Los Amigos field station (you will have to imagine the sounds of the birds and primates who live in and around the forest canopy).<br />
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<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjqNoUl2t5xAs4sX1l1H80eKIolRxkjisDjNICKJpE5NTWjZf46PgeW7TkRvgNZaIDP1L1WFUuqs28wAPo9jTCSjzeqK78lZS8OaLO6Wp1v3RcNlh7zVMDp9UjlGxOA-baAXt7zUL2w5I/s1600/last_towerview_small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjqNoUl2t5xAs4sX1l1H80eKIolRxkjisDjNICKJpE5NTWjZf46PgeW7TkRvgNZaIDP1L1WFUuqs28wAPo9jTCSjzeqK78lZS8OaLO6Wp1v3RcNlh7zVMDp9UjlGxOA-baAXt7zUL2w5I/s320/last_towerview_small.jpg" width="320" /></a></div>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-86184832954643855572011-06-17T14:33:00.000-07:002011-06-17T14:34:34.935-07:00Peru Day Sixteen -- Gold Mining<style>
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<div class="MsoNormal">Looking back over the past two weeks there are several topics that our group has discussed often but that we have not shared in our blog. One of these concerns our awareness of a bristling tension between ecologists, loggers and gold miners -- all of whom have strong opinions about the natural resources of the Madre de Dios region. This became very clear on our trip up the Rio Madre de Dios toward CICRA when a gold miner mooned us. </div><br />
<div class="MsoNormal">We picked up our boat at Laberinto, a gold mining boom-town, and all along the Rio Madre de Dios one can see the blue tarp and bamboo lean-tos where miners have set up temporary camp while they sift the river silt in hope of finding a way out of poverty. </div><div class="MsoNormal"><br />
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<div class="MsoNormal">Since we are guests in Peru we do not presume to enter into the complex political debates that churn around its remarkable rain forests, but it is clear that extensive gold mining is severely polluting the Peru’s rivers with mercury (up to 40,000 tons per year as estimated in 2009, according to the BBC, in turn quoting Peru's environmental ministry). </div><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeuVMG43fFtYAHKp3n9yVceb84RgVG6GNCrRZM_bv-FAFftrj2vlIPvrattvJiO7MnnvKRXElCcLlqxg6jg62qrmmwkRuqyMTtKFdjBaENIady36W2lwQovPWzogI5hYKaKzR5BklRin0/s1600/mining_02_small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeuVMG43fFtYAHKp3n9yVceb84RgVG6GNCrRZM_bv-FAFftrj2vlIPvrattvJiO7MnnvKRXElCcLlqxg6jg62qrmmwkRuqyMTtKFdjBaENIady36W2lwQovPWzogI5hYKaKzR5BklRin0/s320/mining_02_small.jpg" width="320" /></a></div><br />
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</div><div class="MsoNormal">We did not hear chainsaws from our camp or from our extensive hikes but we have it on good authority that loggers are active not far from CICRA. This was driven home when Thomas and I took a longer-than-usual hike one day and stumbled upon a large tree cut 3/4 the way through but left standing.</div><div class="MsoNormal"><br />
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</div>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-87376629366078914872011-06-15T21:44:00.000-07:002011-06-16T05:53:42.494-07:00Peru Day Fifteen -- Catching Insects<style>
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<div class="MsoNormal">Several days ago I came across two primate specialists in the forest. One was wearing a loudspeaker on her head that was emitting monkey calls [calls of the saddle-backed tamarin, I believe]. This got me to thinking about the ways we stretch to get our data, to study animal and plant behavior, to collect specimens, and to document the comings and goings of species. It's hard work that demands a staggering array of equipment from a butterfly net to a portable mass spectrometer. It also requires smart, fit, capable, adaptable people with highly specialized training and lots of imagination. Everyone who contributes to the community at CICRA shares these characteristics -- the permanent staff, the visiting researchers and the students. The sense that just being here is fragile and very special engenders a work ethic in which nothing is wasted; not time, not materials, and not effort. Need ethanol to store you specimens in? It will come over the Andes by truck, then by small boat up the Rio Madre de Dios to be carried by hand up the near vertical ascent from the riverbank to CICRA. </div><div class="MsoNormal">So, back to the loudspeaker-on-the-head thought -- what do the specialists working with our K.U. entomology team use to trap and study insects? I've been keeping track:</div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;">Malaise Trap</b></div><div class="MsoNormal">This is a mesh trap that insects fly into. Once they have hit the mesh they tend to cling onto it and start to climb -- ultimately into a trap. The traps are often jars or pans of water with a little detergent in them to break the surface tension. There are two variations on this theme:<br />
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The Terrestrial Malaise trap sits on the ground.</div><div class="MsoNormal"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdBjN3f5tdNsBSoluiwjPNrNSaj4iJn4R5UX8VOAzxB47RMRRIMr5Bb0UErNvFOAzlH55g63f-oErKsRW8EucT1Mga-w97VdW9oI7ZffSuHKfcxYNyyhrqOw1RCC9IDMIB4Vqx8ntqFmg/s1600/gr_malaise_small.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdBjN3f5tdNsBSoluiwjPNrNSaj4iJn4R5UX8VOAzxB47RMRRIMr5Bb0UErNvFOAzlH55g63f-oErKsRW8EucT1Mga-w97VdW9oI7ZffSuHKfcxYNyyhrqOw1RCC9IDMIB4Vqx8ntqFmg/s320/gr_malaise_small.jpg" width="320" /></a></div><div class="MsoNormal"><br />
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The Canopy Malaise Trap is like a rigid tent that gets raised 20-30 meters up into the forest canopy, it also has a trap to collect insects that that don't grab the mesh but fall after hitting it.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqfkRB5V3YDHo1JnFEOStemoN1c6iMb5_WfClAllMqRus9hCQuaye75o_jzhCFV156odm8Y5rN9hcxWjAry0-o0BX8IZ5zMjOYl-GspNs3eEx_WSYQOGfJCFj8UNlgs2rZ0Tl-S-ShK_w/s1600/can_malaise_small.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqfkRB5V3YDHo1JnFEOStemoN1c6iMb5_WfClAllMqRus9hCQuaye75o_jzhCFV156odm8Y5rN9hcxWjAry0-o0BX8IZ5zMjOYl-GspNs3eEx_WSYQOGfJCFj8UNlgs2rZ0Tl-S-ShK_w/s320/can_malaise_small.jpg" width="195" /></a></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal"><b>Flight intercept trap</b></div><div class="MsoNormal">This is similar to a terrestrial malaise trap but it has only a vertical mesh, stretched taught, with pans underneath it to catch flying insects that crash into the mesh and tumble into the pans.<b> </b></div><div class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbdvdBxDu8Vre0MhQv8Vc0p1TPtX0FrwCqbwOODoSE3bYAF6ZkOabt054LsFXXKMMiKxdoBi6X4OsljWB82OgyHI7srYF7elkiEnAhSxsYwB9ZZyi2Vz39X7pkCoiuLkw0WegSUCsmRYo/s1600/flight_interc_small.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbdvdBxDu8Vre0MhQv8Vc0p1TPtX0FrwCqbwOODoSE3bYAF6ZkOabt054LsFXXKMMiKxdoBi6X4OsljWB82OgyHI7srYF7elkiEnAhSxsYwB9ZZyi2Vz39X7pkCoiuLkw0WegSUCsmRYo/s320/flight_interc_small.jpg" width="320" /></a></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal"><b>Pan Trap</b></div><div class="MsoNormal">Another terrestrial trap is the pan trap -- little dishes of water and detergent that are set on the ground or, in the case of the pitfall trap, set into the ground so the lip is level with the ground. The K.U. team uses yellow and blue plastic ware dishes as some insects prefer these colors. Gardener's will recognize the pitfall trap because it is nearly identical to the standard trap for slugs: a container of beer set into the ground with the lip of the container level with the ground.</div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;">Chemical Lure Trap</b></div><div class="MsoNormal">These are just what they sound like, traps that rely on an insect's interest in certain smells. These need not be fancy pheromones; Reed Niemack of our group has been testing eucalyptus oil, methyl salicylate (wintergreen), vanilla, and Listerine to attract orchid bees. The trap consists of a length of clothesline dipped in one the above solutions and suspended from a branch. The researcher passes by the traps after a set period of time and collects any orchid bees to be had. eucalyptus oil and wintergreen with the big winners.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS3IDw6wk5loU6WSUYb-wXRGLu82fotShNMoGAfXLaAuZZD-FB19b3TWRCFPAGA8aPtfrh0EzsHv69ZtlJtKaJDJdao5jH4GQ3VmwIpum07RL8VyMgI982IBRpj-lkQItYrwOIPRnZhRM/s1600/scent_trap_small.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS3IDw6wk5loU6WSUYb-wXRGLu82fotShNMoGAfXLaAuZZD-FB19b3TWRCFPAGA8aPtfrh0EzsHv69ZtlJtKaJDJdao5jH4GQ3VmwIpum07RL8VyMgI982IBRpj-lkQItYrwOIPRnZhRM/s320/scent_trap_small.jpg" width="320" /></a></div><div class="MsoNormal"><br />
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[photo shows a bumble bee attracted to wintergreen]</div><div class="MsoNormal"><b>Light Traps</b> </div><br />
<div class="MsoNormal">Two varieties of light trap have been used by the K.U. team on this research trip – all depend on the “moths around a flame” principle:<br />
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Ultraviolet Light Trap - this is sheet draped over a rope with an ultraviolet light shining on it. This attracts all kinds of insects, including (one night) a large rhinoceros beetle.</div><div class="MsoNormal"><b></b></div><div class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTKKb41SvoofQDWq8ssVt6U7dTg-BWWLX3Y9t7uhqg9StrkVmZMIKjGK57xXBckS3ts5TlEQ5A4KIBUo1vXGuuKc7cxMaSgEkExI05xDU7h42f0z-ilD7gOz0uRx_Zm23ajTmV81rPqos/s1600/light_trap_small.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTKKb41SvoofQDWq8ssVt6U7dTg-BWWLX3Y9t7uhqg9StrkVmZMIKjGK57xXBckS3ts5TlEQ5A4KIBUo1vXGuuKc7cxMaSgEkExI05xDU7h42f0z-ilD7gOz0uRx_Zm23ajTmV81rPqos/s320/light_trap_small.jpg" width="320" /></a></div><div class="MsoNormal" style="margin-left: .5in;"><br />
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CDC light trap - These light traps use a narrow UV spectrum and are designed especially for for mosquitoes </div><div class="MsoNormal"><br />
<b>Multilure traps</b></div><div class="MsoNormal">These generally use some combination of scent, bait and light to capture insects, especially flies.</div><div class="MsoNormal"> <b style="mso-bidi-font-weight: normal;">Mouth Aspirator, aka "pooter"</b> </div><br />
<div class="MsoNormal">This device is essentially a collecting jar with a long rubber tube and a short metal tube coming out of it. One suck on the rubber tube while aiming the metal tube at a small insect to vacuum it into the bottle. This device was used by Tom Radocy of our group in order to sample the mosquito populations at CICRA (happy birthday, Tom!)</div><br />
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[photo courtesy of Jeff Miller] </div><div class="MsoNormal"><b>Hand Methods</b></div><div class="MsoNormal">I suppose there is no end of what these might include. On this trip I have seen our team wield the butterfly net, the sweep net, use their cupped hands, and tap insects into small bottles, baggies etc.</div><div class="MsoNormal">I wonder what techniques are used to trap the mass-marketed insect displays from Amazonia that are available in the shops in Lima; and I wonder if the distinction between specimen and trophy has been lost?</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ9-S_TRVIF318a2Cp102miRZ7KFCh9zbpIu_QPZN4kTp79YDs2ipwzk-PbwnV485E8U1i4VR6zCPduLigpdyOIAEvNBkeG1U4t5ZZ-8s-sAafQdLw1SVGljvgH8vism12oqT3YdEGBM0/s1600/insect_stall_small.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ9-S_TRVIF318a2Cp102miRZ7KFCh9zbpIu_QPZN4kTp79YDs2ipwzk-PbwnV485E8U1i4VR6zCPduLigpdyOIAEvNBkeG1U4t5ZZ-8s-sAafQdLw1SVGljvgH8vism12oqT3YdEGBM0/s320/insect_stall_small.jpg" width="320" /></a></div><div class="MsoNormal"><br />
</div>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-84935711657711109932011-06-05T22:29:00.000-07:002011-06-06T05:34:49.460-07:00Peru Day Five -- Lima: Layers of Time and Culture<style>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;">En route to our first stop (Museo de Sito Huallamarca) we passed several chifa, Chinese-Peruvian restaurants, reminders of the large wave of Chinese emigrants who came to Peru in the nineteenth-century to work in sugar plantations and guano mines. I asked our guide, Luis Villacorta (Universidad Católica Sedes Sapientiae), about the etymology of chifa and he suggested that it is a conflation of “rice” and “to eat.”</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br />
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<span style="font-size: 12pt;">The scene below, taken from the top of the Huallamarca site, offered a brief moment to reflect on more extended periods of time. In chronological order it shows:</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br />
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;">--> Two trees from the genus Araucaria, a “living fossil” that dates back to the early Mesozaic Age (a few hundred million years ago). Most of the surviving species of Araucaria are found in New Guinea, New Caledonia, Australia, Chile and Brazil – all once part of the Gondwana supercontinent.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br />
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;">--> Huallamarca Temple (Hualla Culture, approximately 2000 years ago)</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br />
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: 12pt;">--> Contemporary Lima and some K.U. visitors with Mr. Villacorta</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br />
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<span style="font-size: 12pt;">The Museo Arqueológico Rafael Larco Herrera, a marvelous building surrounded by orchids, houses a staggering collection of Peruvian archeological works. A few (including a more recent ornamental carving) that particularly caught my eye:</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br />
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<span style="font-size: 12pt;">Large stone carving of the head of a moon animal. </span><span style="font-size: 12pt;">Height of Recuay culture (</span><span style="font-size: 12pt;">1 - 800 CE)</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: 12pt;"> </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLdvvZ_7F4oKSiMUfKjt6hiuCjefH7PMm52cFxCav108xgqqxv2es6HI60jmVDosUGI2F_72wAJYveC0XgioMCkEr_i780WhRUHbk0e8I3_NeF8spwi-XuQXJNEnmnsHkJNaKLRCpmoIM/s1600/bperu_day_05_1343.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLdvvZ_7F4oKSiMUfKjt6hiuCjefH7PMm52cFxCav108xgqqxv2es6HI60jmVDosUGI2F_72wAJYveC0XgioMCkEr_i780WhRUHbk0e8I3_NeF8spwi-XuQXJNEnmnsHkJNaKLRCpmoIM/s320/bperu_day_05_1343.jpg" width="320" /></a><span style="font-size: 12pt;"></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><br />
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<span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">A wood carving with an angelic youth ensconced in a burst of Rococo ornament.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1e8r2EP6XjfAy0e7v_zbOMiblh0klL1mHgr_xOHCsi0KnsVY0byRJlnqxdE_xK0ALVcSlzKgLOCXwZ8vomzPTLVHjMYtGJqcDYG-pr2SK1ktt2ks8s_BuoQfzV7Z-KTceVTtYAaba0Yo/s1600/bperu_day_05_1342.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1e8r2EP6XjfAy0e7v_zbOMiblh0klL1mHgr_xOHCsi0KnsVY0byRJlnqxdE_xK0ALVcSlzKgLOCXwZ8vomzPTLVHjMYtGJqcDYG-pr2SK1ktt2ks8s_BuoQfzV7Z-KTceVTtYAaba0Yo/s320/bperu_day_05_1342.jpg" width="320" /></a><span style="font-size: 12pt;"></span></div>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-7836259974989026762011-06-03T09:43:00.000-07:002011-06-05T22:21:18.865-07:00Peru Day Three ~ Preparation day # 3<style>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt;"> </span></b></div><span style="font-family: Calibri; font-size: 12pt; line-height: 115%;">On this, our final day of preparation, we enjoyed an informative presentation by Dr. Bartholomew Dean (K.U. Anthropology) with discussion about indigenous peoples, current political realities, and practical suggestions for getting around in Peru.</span>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-51441228796199236482011-06-03T07:08:00.000-07:002011-06-06T00:05:52.810-07:00Peru Day Two ~ Preparation day # 2<style>
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<div class="MsoNormal" style="color: #ff9900; line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: 130%;"><span style="font-size: 13pt;"> </span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: 12pt;">Today</span><span style="font-size: 12pt;"> we suited up in our field cloths and </span><span style="font-size: 12pt;">meet </span><span style="font-size: 12pt;">with Dr.<b style="mso-bidi-font-weight: normal;"> </b>Dean Kettle at the K.U. biol</span><span style="font-size: 12pt;">ogical field station for an introduction to field</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">methods. Cicadas had j</span><span style="font-size: 12pt;">ust emerged </span><span style="font-size: 12pt;">from their pupae and were seen everywhere drying their wings.</span><span style="font-size: 12pt;"> We found a giant earthworm, a spider with a cap</span><span style="font-size: 12pt;">tive moth, and a recent</span><span style="font-size: 12pt;">ly</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">hatched</span><span style="font-size: 12pt;"> snake (probably a black snake). </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br />
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<span style="font-size: 12pt;">In the lu</span><span style="font-size: 12pt;">n</span><span style="font-size: 12pt;">ch room we learned about entomologists' humor and Super Weevil’s “fight for justice</span><span style="font-size: 12pt;"> for those with a snout.”</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: 12pt;"><br />
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<span style="font-size: 12pt;">In the af</span><span style="font-size: 12pt;">ternoon we enjoyed a tour of the K.U. entomology collections led by Dr. Zack Falin, and witnessed several</span><span style="font-size: 12pt;"> methods of storing collections of insects.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: 12pt;"><br />
</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIMN2Zj0aTI_7miiwXS5_Z98nMPH8li3c2C59gL6ddm53icsXyhmUAoULQJCAWghwT836AqnVgIopMpJQ4KFNO9YzUNXkYVjNgfq28PLoI7AJvWbf7cyDgbEHVzdeky_AGkIcgwj32hPE/s1600/bperu_day_02_1239.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5613996395395523650" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIMN2Zj0aTI_7miiwXS5_Z98nMPH8li3c2C59gL6ddm53icsXyhmUAoULQJCAWghwT836AqnVgIopMpJQ4KFNO9YzUNXkYVjNgfq28PLoI7AJvWbf7cyDgbEHVzdeky_AGkIcgwj32hPE/s320/bperu_day_02_1239.jpg" style="cursor: hand; cursor: pointer; float: left; height: 162px; margin: 0 10px 10px 0; width: 320px;" /></a></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZpWDg6scju__2MUA5wVaCeBRcg4jABzmxPvqpWQAOFLnF-jJUTa3uuWBGGn1IJtjv1opKeewUgKsFPO153EidAqbA6RMnWOf8eSGUwTy3-6RSkFmfq3e2mTD0anEmWoVooH-yK9o9eL4/s1600/bperu_day_02_1240.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5613996401082512546" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZpWDg6scju__2MUA5wVaCeBRcg4jABzmxPvqpWQAOFLnF-jJUTa3uuWBGGn1IJtjv1opKeewUgKsFPO153EidAqbA6RMnWOf8eSGUwTy3-6RSkFmfq3e2mTD0anEmWoVooH-yK9o9eL4/s320/bperu_day_02_1240.jpg" style="cursor: hand; cursor: pointer; float: left; height: 214px; margin: 0 10px 10px 0; width: 320px;" /></a></div>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-65945744232536802432011-06-02T22:25:00.000-07:002011-06-06T05:37:47.007-07:00Peru Day One -- Preparation Day #1<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: 130%;"><span style="font-weight: bold;">Introduction</span></span><span style="font-size: 12pt;"><br />
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;">Imagine a university course conducted in</span><span style="font-size: 12pt;"> a Peruvian rainforest<i style="mso-bidi-font-style: normal;">.</i> What if you could participate in such an expedition as an undergraduate student? How migh</span><span style="font-size: 12pt;">t this affect your worldview and subsequent trajectory? </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;"> </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;">Such a course exists at the Universit</span><span style="font-size: 12pt;">y of Kansas -- <i style="mso-bidi-font-style: normal;">BIOLOGY 418/701 Topics in Field Biology in Amazonian Peru</i>. Thanks to the support of two far-seeing supporte</span><span style="font-size: 12pt;">rs working with the Biodiversity Institute and Spencer Museum of Art at K.U., special provision has been made for <i style="mso-bidi-font-style: normal;">BIOLOGY 418/701 </i>to serve a</span><span style="font-size: 12pt;">s a pilot for an exciting new interdisciplinary program, <i>The Rudkin U</i></span><span style="font-size: 12pt;"><i>ndergraduate Scholarships For International Interdisciplinary Research Experienc</i></span><span style="font-size: 12pt;"><i style="mso-bidi-font-style: normal;">es.</i> The charge of this program has been stated in these ter</span><span style="font-size: 12pt;">ms:</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;"> </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;"><span style="font-size: 12pt;">One of the major challenges and opportunities facing the University of Kansas</span><span style="font-family: "Cambria Math"; font-size: 12pt;">⎯</span><span style="font-size: 12pt;">indeed, all univer</span><span style="font-size: 12pt;">sities</span><span style="font-family: "Cambria Math"; font-size: 12pt;">⎯</span><span style="font-size: 12pt;">is providing its undergraduates with a meaningful international and interdisciplinary educational and rese</span><span style="font-size: 12pt;">arch experience., i.e., one that integrates disciplines and synthesizes knowled</span><span style="font-size: 12pt;">ge across the sciences, arts and humanities in a global setting.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;"> </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;">The progra</span><span style="font-size: 12pt;">m aspires to, “send teams of three to four undergraduate students from the arts, scienc</span><span style="font-size: 12pt;">es and other disciplines with the Biodiversity Institute and the Spencer Museum of Art inter</span><span style="font-size: 12pt;">national research expeditions to collaborate, participate in, capture and ‘publish on’ the expedition, </span><span style="font-size: 12pt;">integrating and informing their individual perspectives and chosen media.” The outcomes are described more fully:</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;"> </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt;">Publishing</span></b><span style="font-size: 12pt;">: During the expedition, the undergraduates will be provided with the means to “publish” in print, digi</span><span style="font-size: 12pt;">tal and/or other media, e.g., pod casts, weblog journals, reports; photographs; live feed video; newspaper features.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;"> </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-size: 12pt;">Exhibition</span></b><span style="font-size: 12pt;">: After the expedition, a joint Natural History Museum / Spencer Museum of Art exhibition drawn fro</span><span style="font-size: 12pt;">m these “publications” and other material would be mounted if deemed feasible and appropriate.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;"> </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 12pt;">BIOLOGY </span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 12pt;">418/701 Topics in Field Biology in Amazonian Peru</span></i><span style="font-size: 12pt;"> is conducted by Dr. Caroline Chaboo, </span><span style="font-size: 12pt;">curator and professor in ecology & evolutionary biology (specialist in entomology); and an b</span><span style="font-size: 12pt;">y artistic advisor, myself, curator of prints and drawings and professor of art history. For the next few weeks this blog</span><span style="font-size: 12pt;"> will follow the activities of the students in <i style="mso-bidi-font-style: normal;">BIOLOGY </i>and will further track the group’s </span><span style="font-size: 12pt;">progress toward an exhibition/installation that is expected</span><span style="font-size: 12pt;"> to open at the Spencer Museum of art in December 2011.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="color: #ff9900; line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: 130%;">Peru Day One ~ Preparation day # 1</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHwIDGIcSV2lUEWVQxAFZL0hE2ly2eMfkLGz5bDZMGaKE_kRJCk6grCTp_DBnAhkx7HFP71d96LOKwuo4r7BC42LKVo6OCl-ZWIsFf-mnZsm6kP2Lzp8cjmZt4dEKReq3uGHfrl1xAhzo/s1600/bperu_day_01_1149.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5613994494782068514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHwIDGIcSV2lUEWVQxAFZL0hE2ly2eMfkLGz5bDZMGaKE_kRJCk6grCTp_DBnAhkx7HFP71d96LOKwuo4r7BC42LKVo6OCl-ZWIsFf-mnZsm6kP2Lzp8cjmZt4dEKReq3uGHfrl1xAhzo/s320/bperu_day_01_1149.jpg" style="cursor: hand; cursor: pointer; float: left; height: 190px; margin: 0 10px 10px 0; width: 320px;" /></a></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><br />
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;">We begin our three days of preparation at the University of Kansas. Today Dr. Chaboo spoke to our group of ten (eight students, two professors) about Insects and insect diversity; about field work and ethical issues surrounding the collection of specimens. We then visited the Spencer Museum of Art where I gave a short tour and shared some works in the print study room, among them: </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;"> </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;"><span style="font-family: Wingdings; font-size: 12pt;">--></span><span style="font-size: 12pt;"> Sebastião Salgado’s – untitled photograph of the Serra Pelada Mine, 1986</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;"><span style="font-family: Wingdings; font-size: 12pt;">--></span><span style="font-size: 12pt;"> William Sharp’s 1854 suite of chromolithoraphs with accompanying text, <i style="mso-bidi-font-style: normal;">Victoria Regia or the Great Water Lily of America</i></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;"><span style="font-family: Wingdings; font-size: 12pt;">--></span><span style="font-size: 12pt;"> Rodlophe Bresdin’s 1861 biophiliac lithograph <i style="mso-bidi-font-style: normal;">Le bon Samaritain</i> (<i style="mso-bidi-font-style: normal;">The good Samaratan</i>)</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;"><span style="font-family: Wingdings; font-size: 12pt;">--></span><span style="font-size: 12pt;">H.C. Westermann’s - <i style="mso-bidi-font-style: normal;">The Green Hell</i> from <i style="mso-bidi-font-style: normal;">The Connecticut Ballroom Suite</i> (1975-76)</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;"><span style="font-family: Wingdings; font-size: 12pt;">--></span><span style="font-size: 12pt;"> A drawing by Sophia Gakii from Xu Bing’s <i style="mso-bidi-font-style: normal;">Forest Project</i> </span><a href="http://www.forestproject.net/"><span style="font-size: 12pt;">www.forestproject.net</span></a><span style="font-size: 12pt;"></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;"><span style="font-family: Wingdings; font-size: 12pt;">--></span><span style="font-size: 12pt;"> Karl Kröner’s wonderful Waldflechte, an elaboration in gouache of the design forms implicit in a sample of lichen</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;"><span style="font-family: Wingdings; font-size: 12pt;">--></span><span style="font-size: 12pt;"> A few buggy sheets from Jacob Hoefnagel’s late sixteenth century <i style="mso-bidi-font-style: normal;">Arcetypa studiaque patris Georgii Hoefnagelli</i> </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;"><span style="font-family: Wingdings; font-size: 12pt;">--></span><span style="font-size: 12pt;"> Tony Fitzpatrick’s the ten lovely etchings, <i style="mso-bidi-font-style: normal;">Bug Circus</i>, of 2001 ((Jewell Bug, Dancing Bug, Lopea, Green Bug, Caterpillar, Grasshopper, Harlequin, Wonder Bug, Ladybug, and Cicada)</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;"> </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;">* reminder: you can see most of these on the Spencer Museum’s website, use the search field at the upper right of the home page: </span><a href="http://www.spencerart.ku.edu/"><span style="font-size: 12pt;">http://www.spencerart.ku.edu/</span></a><span style="font-size: 12pt;"></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;"> </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12pt;">We concluded our first day with a tour of the Natural History Museum and a public display, <i style="mso-bidi-font-style: normal;">Bug World</i>.</span></div><br />
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</span></div>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-30793566619906752772008-06-17T21:02:00.000-07:002008-06-17T22:51:49.733-07:00Ramifications and Insects<span style="font-family:trebuchet ms;"><span style="font-size:130%;">T</span>oday was glorious. I spent some time in our research library looking at the first and second editions of Darwin’s <span style="font-style: italic;">On the Origin of Species by Natural Selection</span> to look at the one illustration in the volume, his famous “Tree of Life” diagram showing the natural variation among offspring of a given species, emphasizing those variations that are preserved by natural selection and that lead, after many (thousands) of generations to new genera. </span><span><span style="font-family:trebuchet ms;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgiuQgIR1ZS5GlZqnYwiRJ7gyf1cM_Jx-3wiLHyur9IQTWlX1xXm44ci5FeUo63ryM_L9QnGAPFtdBloDMc7_CwLVzV-KaFvEfM9seX1IFv-XeetPvqhYRjy6TJZEuAQCVu3gTc2ZJxVw/s1600-h/Darwins_tree_of_life_1859.gif"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 275px; height: 161px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgiuQgIR1ZS5GlZqnYwiRJ7gyf1cM_Jx-3wiLHyur9IQTWlX1xXm44ci5FeUo63ryM_L9QnGAPFtdBloDMc7_CwLVzV-KaFvEfM9seX1IFv-XeetPvqhYRjy6TJZEuAQCVu3gTc2ZJxVw/s320/Darwins_tree_of_life_1859.gif" alt="" id="BLOGGER_PHOTO_ID_5213068951120826690" border="0" /></a></span></span><span style="font-family:trebuchet ms;">This appears in the chapter “Character of Natural Selection” in the section on “Divergence of Character.” Here is some of Darwin’s language on the topic, which I found especially heartening since I am working on a project about trees-as-trees and trees-as-metaphors and I have struggled with the wonderful words “ramify” and “ramification.”<br /></span> <span style="font-family:trebuchet ms;"><blockquote><span style="font-size:130%;">T</span>he affinities of all the beings of the same class have sometimes been represented by a great tree. I believe this simile largely speaks the truth. […] As buds give rise by growth to fresh buds, and these, if vigorous, branch out and overtop on all sides many a feebler branch, so by generation I believe it has been with the great Tree of Life, which fills with its dead and broken branches the crust of the earth, and covers the surface with its <span style="color: rgb(0, 153, 0);">ever branching and beautiful ramifications</span>.</blockquote></span><span style="font-family:trebuchet ms;"><span style="font-size:130%;">I</span> also took several hours to look closely at a sumptuously illustrated book by Marie Sibylle de Merian (1647-1717), <span style="font-style: italic;">Histoire générale des insectes de Surinam et de toute l’Europe </span>…. Merian, of the great Frankfurt family of printmakers, begins her text with the disarming admission, </span>"Des ma jeunesse je me suis appliquée à l’examen des Insectes."<span><span style="font-family:trebuchet ms;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVrmYsL1of7OnAXeR9QRrYm1yNSfhFsMLqLPHrCLpJ6Fql0kltvHRHOjnpkA_dmfiyT0mdTLegwgXmIDWrgWgjF0jMoxeDALtUOy0gLhg8OfAPUiLGw6ghudRYR0CFH9Un5_msHTxu2g4/s1600-h/Merian_Maria_Sibylla_1647-1717.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 220px; height: 284px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVrmYsL1of7OnAXeR9QRrYm1yNSfhFsMLqLPHrCLpJ6Fql0kltvHRHOjnpkA_dmfiyT0mdTLegwgXmIDWrgWgjF0jMoxeDALtUOy0gLhg8OfAPUiLGw6ghudRYR0CFH9Un5_msHTxu2g4/s320/Merian_Maria_Sibylla_1647-1717.jpg" alt="" id="BLOGGER_PHOTO_ID_5213074138370834642" border="0" /></a></span></span><span style="font-family:trebuchet ms;"></span><span style="font-family:trebuchet ms;"><blockquote></blockquote></span><span style="font-family:trebuchet ms;"><blockquote></blockquote></span><span style="font-family:trebuchet ms;"><span style="font-size:130%;">W</span>ell, a toast to Marie Sibylle for sustaining her childhood love of the study of insects. This book is a beautiful achievement that considers insects in their complex relationships with plants and people. Note the current exhibition at the Getty Museum: <a href="http://www.getty.edu/art/exhibitions/merian/"><span style="font-style: italic;">Maria Sibylla Merian & Daughters: Women of Art and Science</span></a>.<br /><br />[Images courtesy of Wikipedia Commons]<br /></span>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-63198949034780248862008-05-11T15:01:00.000-07:002008-06-17T21:45:20.433-07:00Litany of Locations of Printy Particulars, Spring 2008<span style="font-family:trebuchet ms;"><span style="font-size:130%;">I</span>t has been a mad spring, punctuated by an impressive lineup of print-related travels to:</span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;">E</span>vanston, Northwestern University, Block Gallery, to attend the symposium, “Patterns, Pixels and Process,” held in conjunction with the exhibition Painted by Numbers.</span> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbu8BZOgv3cA8AoGO9DWWTUA_xcxou3FO2lb1kOfQDTSQze9BXIwwqMwIQVsF1Q1UYo4kiWabWsPIc8H2yzb0Z4yUA_RdUWgTKToZKNvIA7YOV3PP8E8dOn3usTFH5M2GOw9oWYjNHxRc/s1600-h/spring08286.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 250px; height: 178px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbu8BZOgv3cA8AoGO9DWWTUA_xcxou3FO2lb1kOfQDTSQze9BXIwwqMwIQVsF1Q1UYo4kiWabWsPIc8H2yzb0Z4yUA_RdUWgTKToZKNvIA7YOV3PP8E8dOn3usTFH5M2GOw9oWYjNHxRc/s320/spring08286.jpg" alt="" id="BLOGGER_PHOTO_ID_5199245102792834754" border="0" /></a><br /><span style="font-family:trebuchet ms;">§ →Frieder Nake spoke eloquently, commenting that even forty years ago when you (a computer artist) had only 4K, your mind didn't care, it said, "let's try it, come with me."</span><br /><span style="font-family:trebuchet ms;">§ →Image: © Colette and Jeff Bangert, Large Landscape: Ochre</span><span style="font-family:trebuchet ms;"> and Black, 1970, ink on paper,</span><span style="font-family:trebuchet ms;"> computer-plotter</span><span style="font-family:trebuchet ms;"> (detail)</span><br /><br /><span style="font-family:trebuchet ms;"><span style="font-size:130%;">W</span>ellesley, Davis Museum and Cultural Center, to attend the symposium and opening for Grand Scale: Monumental P</span><span style="font-family:trebuchet ms;">rints in the Age of Dürer and Titian.</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv9dVDMjKVui5r1R8jyaZm-4ksgWlZG09HuUKlczr_ZRRQL_Vnva8iGs2VtJMpuh-DX-cAou5S7qHuoa3sXZZDfthFsSqnJshhfp77WvLuURxrWzj0lTX0fEfdjue6YKmEqxImxc9rdmw/s1600-h/spring08287.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 250px; height: 187px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv9dVDMjKVui5r1R8jyaZm-4ksgWlZG09HuUKlczr_ZRRQL_Vnva8iGs2VtJMpuh-DX-cAou5S7qHuoa3sXZZDfthFsSqnJshhfp77WvLuURxrWzj0lTX0fEfdjue6YKmEqxImxc9rdmw/s320/spring08287.jpg" alt="" id="BLOGGER_PHOTO_ID_5199245107087802066" border="0" /></a><br /><span style="font-family:trebuchet ms;">§ → image: Dürer’s Triumphal Arch of Maximilian was</span><span style="font-family:trebuchet ms;"> brilliantly installed, allowing it to shine</span><span style="font-family:trebuchet ms;"> with </span><span style="font-family:trebuchet ms;"> more than imperial</span><span style="font-family:trebuchet ms;"> splendor.</span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /><br />B</span>oston, Museum of Fine Art, to see the exhibition Rhythms of Modern Life: British Prints 1914-1939.</span> <span style="font-family:trebuchet ms;"><br />§ → In which the keen edges of British linocuts are seen to churn forth from the froth of WWI (apologies to Edward Wadsworth).</span><span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /><br />N</span>ew York, to discuss an idea with a foundation and to visit a collector of prints who is, of course, also a</span><span style="font-family:trebuchet ms;"> bicycle fanatic.</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM9459Fb5X9U1d8mhQQMC7z052DhSloNOKscxTvpf247hci_N_Gdc0yMeUC1_60gHwbUm4t1O69D7S6_InQyVzHHxxp3XBhGb1zRKVLZDnhY1oz087Zz7RsAv5FI4qEcs2Q-nUT6J1N4A/s1600-h/spring08288.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 252px; height: 153px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM9459Fb5X9U1d8mhQQMC7z052DhSloNOKscxTvpf247hci_N_Gdc0yMeUC1_60gHwbUm4t1O69D7S6_InQyVzHHxxp3XBhGb1zRKVLZDnhY1oz087Zz7RsAv5FI4qEcs2Q-nUT6J1N4A/s320/spring08288.jpg" alt="" id="BLOGGER_PHOTO_ID_5199245107087802082" border="0" /></a><br /><span style="font-family:trebuchet ms;">§ → In which I learn of the <a href="http://www.ghostbikes.org/">Ghost Bikes</a>.</span><br /><span style="font-family:trebuchet ms;">§ → image: view from a modest hotel room.</span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /></span></span><br /><span style="font-family:trebuchet ms;"><span style="font-size:130%;">N</span>ew York, MoMA and Parsons/New</span><span style="font-family:trebuchet ms;"> School, to attend the Mind08 symposium, held in conjunction with the MoMA exhibition, Design and the Elastic Mind (also visiting paper-pilgrim sites such as Printed Matter and the new Kinokuniya</span><span style="font-family:trebuchet ms;"> bookstore on the Avenue of the Americas).</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNqy4F5gYCEABuTxDvJgQM-1wcpXNzEJxH4O0zK4jMjtbsANO68QpaEH0D3mCqiZdQGUYyCD9uVA94EaKXiGyajEIp1gcoC65vsCTLQLKeTQQBOdgj7CuEKas0TjmzsseMis7eXHROB4I/s1600-h/spring08289.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 250px; height: 224px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNqy4F5gYCEABuTxDvJgQM-1wcpXNzEJxH4O0zK4jMjtbsANO68QpaEH0D3mCqiZdQGUYyCD9uVA94EaKXiGyajEIp1gcoC65vsCTLQLKeTQQBOdgj7CuEKas0TjmzsseMis7eXHROB4I/s320/spring08289.jpg" alt="" id="BLOGGER_PHOTO_ID_5199247675478245170" border="0" /></a><br /><span style="font-family:trebuchet ms;">§ → In which I take thirty pages of notes, many in darkness save blinding</span><span style="font-family:trebuchet ms;"> flashes from the Blackberry of an idiot sitting next to me.</span> <span style="font-family:trebuchet ms;"><br />§ → In which we learn from Peter</span><span style="font-family:trebuchet ms;"> Galison of a study by John Nettis and his concern for symmetry in snowflakes (1755),</span><span style="font-family:trebuchet ms;"> and especially of snowflake No. 84.</span><br /><span style="font-family:trebuchet ms;">§ → image: message received.</span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /><br />C</span>hicago, to assist in sorting out the estate of two dear friends. By luck I was also able to attend the opening night of Artopolis.</span> <span style="font-family:trebuchet ms;"><br />§ → I am captivated by the series, “The Structure of Thought” by Doug and Mike Starn, reminded of the work of Martin Ramirez, and heartened by the presence of artists’ books and printed tee shirts.</span> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcRDM7em1vJlamabH_ZrKBGH5WKAOvb6NC5D2uYaK4STlYzoAp3y3UqhbWh4rDARCkMbRSrADaSobEusuB-8frfS2qNLap4fvjnC9eNVOoCWiszhrK8vGIejZ7C7HjyCHcZM7k71sVZZw/s1600-h/spring08290.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 247px; height: 89px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcRDM7em1vJlamabH_ZrKBGH5WKAOvb6NC5D2uYaK4STlYzoAp3y3UqhbWh4rDARCkMbRSrADaSobEusuB-8frfS2qNLap4fvjnC9eNVOoCWiszhrK8vGIejZ7C7HjyCHcZM7k71sVZZw/s320/spring08290.jpg" alt="" id="BLOGGER_PHOTO_ID_5199245107087802098" border="0" /></a><br /><span style="font-family:trebuchet ms;">§ → image: label copy</span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /><br />M</span>inneapolis, University of Minnesota, Department of Art, to judge an invitational print exhibition. I Also visit with surprising range of old friends: one from college</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-Zr7WjPv8t1gqdAMVjOZ93BTaSPe1bbDX-zZYYZSxSserzN77N2qICs8p-CeXQkpGtQQDKQhcT2dEyiWBk8vlm7pq8cRP68vJhH4RLXlI1NzZuo_83WnNVLzIhQOdzA1cYk3JEhPed2A/s1600-h/spring08292.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 250px; height: 165px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-Zr7WjPv8t1gqdAMVjOZ93BTaSPe1bbDX-zZYYZSxSserzN77N2qICs8p-CeXQkpGtQQDKQhcT2dEyiWBk8vlm7pq8cRP68vJhH4RLXlI1NzZuo_83WnNVLzIhQOdzA1cYk3JEhPed2A/s320/spring08292.jpg" alt="" id="BLOGGER_PHOTO_ID_5199245734153027362" border="0" /></a><span style="font-family:trebuchet ms;"> days (ca. 1970), one from my years in Belgium (ca. 1980), a previous student (ca. 1990) who is now tenured at “UMN,” and an artist friend who I first met ca. 2000. Happily, I also made at least two new friends and visited Highland press.</span> <span style="font-family:trebuchet ms;"><br />§ → image: two UMN studios.</span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /><br />A</span>s I put pixel to screen I am in South Pasedena, near my home town of Altadena. I am commuting to L.A. to do some research at the Robert Gore Rifkind Center for German Expressionist Studies (LACMA) and to participate in the 7th annual meeting of the Association of Art Museum Curators. I also hope to see two exhibitions: a) concerning Doctrinal Nourishment by my old love, James Ensor, and b) concerning the prints of Ludwig Kirchner.</span>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com1tag:blogger.com,1999:blog-7580317451998546004.post-18170167169731153072008-01-02T22:42:00.000-08:002008-01-03T14:25:39.871-08:00Making Prints in 2008<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHKpIll7bskSK-s2HuDAf-rbQHbAS9WK9szfzLPQDnvxPPVrsl3_hKi3yLs9vcTcdYBW2nlV9lqDg3ERSO-dz1kcFFKGGXEib6xXFphMSdtlZ8YGc67muqPxg1wmBlOQsmlZk4BSG-Log/s1600-h/printing07b.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 303px; height: 218px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHKpIll7bskSK-s2HuDAf-rbQHbAS9WK9szfzLPQDnvxPPVrsl3_hKi3yLs9vcTcdYBW2nlV9lqDg3ERSO-dz1kcFFKGGXEib6xXFphMSdtlZ8YGc67muqPxg1wmBlOQsmlZk4BSG-Log/s320/printing07b.jpg" alt="" id="BLOGGER_PHOTO_ID_5151140371799043954" border="0" /></a><br /><span style="font-size:130%;">W</span>ell, this will be a short post to encourage all you printmakers out there to make some important work in 2008. I'm still at work on a thank-you print for friends who helped with my travels last fall. I'm just inking up an old test block I made awhile ago to try out various carving tools and, of course, it turned out better than a well-planned image. Best to you all for 2008!Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com1tag:blogger.com,1999:blog-7580317451998546004.post-59748159549009177652007-11-13T19:31:00.000-08:002007-11-13T19:51:41.952-08:00New: York & Haven<span style="font-family:trebuchet ms;"><span style="font-size:130%;">I</span>t was another print-packed week, beginning in New York at the IFPDA print fair and the Editions and Artist’s Book Fair -- followed by several days in New Haven working at the newly renovated study room at the Yale University Art Gallery and at the Yale Center for British <span style="font-size:100%;">A</span>rt. </span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /><br />A</span>t the Yale University Art Gallery I saw, for the first time, the vitriolic First World War images of George Bellows, which are hard to purge from ones mind, having seen them, yet they feel wildly exaggerated and in need of purging. It was a different kind of eye-opener to see the believable nightmare that haunted the usually lyrical Kerr Eby: a shed of cadavers around the table at which their living incarnations had been surprised and massacred.</span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /><br />A</span>cross the street, in England, I was moved by a great swath of seemingly benign mother and child imeas etched by William Lee Hankey around 1919; presumably the women were all war widows. I don’t think I can so easily summarize Paul Nash and C.R.W. Nevinson, whose work creeps in and stays for awhile.</span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /><br />R</span>eturning to New York, it was heartening to visit the opening of the <span style="font-style: italic;">Prints Gone Wild</span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDQeg13KiZg7RyHKlDAUhBWpMyDuXE_fqaZkKM8jQ6jQdXiUq3WYdNv_H_YVcbWHgDuMcKARbItQdYupkxgRaIe0bEfAeTQSRB9g3NSdzLW7TziNt1hR8rL346l4af1XU3u1zD5yMI2cc/s1600-h/printsgonewild29s.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDQeg13KiZg7RyHKlDAUhBWpMyDuXE_fqaZkKM8jQ6jQdXiUq3WYdNv_H_YVcbWHgDuMcKARbItQdYupkxgRaIe0bEfAeTQSRB9g3NSdzLW7TziNt1hR8rL346l4af1XU3u1zD5yMI2cc/s320/printsgonewild29s.jpg" alt="" id="BLOGGER_PHOTO_ID_5132534421429825410" border="0" /></a><span style="font-family:trebuchet ms;"> exhibition in Brooklyn, with all its sure signs of life. Here is Joseph Velasquez of Drive By Press carving a Mellanesque self-portrait on a van-mounted press bed.</span>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-39963262951618386732007-11-11T08:34:00.000-08:002007-11-13T19:54:02.651-08:00Stuttgart and Home<span style=";font-family:trebuchet ms;font-size:100%;" ><span style="font-size:130%;">I</span> recently returned from my travels. It is great to be back with family, but I am still in denial about being back in the USA. I suspect that I saw about 30,000 prints in all, many done between 1914-1918, but I took time in some collections to look extensively at early ornament prints and to look at landscape images from the “age of Goethe,” namely the eighteenth and early nineteenth-centuries. Some of the more striking works I have seen include a literal rendering of a bombed factory with all of its huge iron gears exposed looking, for all the world, like an abstraction by Robert Michel (the WW I pilot who crashed his plane and then recovered in Weimar where he became an early member of the Bauhaus); a portfolio about the suffering of horses in the war; a 1918 portfolio of woodcuts and linoleum cuts made by a German artist in a U.S. prisoner of war camp in Georgia; elaborate, sixteenth-century geometrical fantasies in woodcut; and some of the more sublime images of great oaks, living and dead, ever conceived. </span><span style="font-size:100%;"><br /></span><br /><span style="font-size:100%;"><a style="font-family: trebuchet ms;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvZGKIZ-KA6INdJ8wTsFnOlWVMLG8cO4f-gtLdC9bR5B0UlrrPxaNt_iAfB_cHTXZol2QyG9ooToG3Td4aKzcUAdua3_R63MR45QEAYBcsJ_1o4xHfhygd42WoYWXuPWe7X8T_z1z-ct8/s1600-h/stencilswolfegg2.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 311px; height: 62px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvZGKIZ-KA6INdJ8wTsFnOlWVMLG8cO4f-gtLdC9bR5B0UlrrPxaNt_iAfB_cHTXZol2QyG9ooToG3Td4aKzcUAdua3_R63MR45QEAYBcsJ_1o4xHfhygd42WoYWXuPWe7X8T_z1z-ct8/s400/stencilswolfegg2.jpg" alt="" id="BLOGGER_PHOTO_ID_5131630347993886562" border="0" /></a></span><span style=";font-family:trebuchet ms;font-size:100%;" ><span style="font-size:130%;">U</span>ntil the outmoded concept of image copyright sorts itself out or is altogether abandoned I will</span><span style=";font-family:trebuchet ms;font-size:100%;" > share, instead of the works described above, these four stencil prints</span><span style=";font-family:trebuchet ms;font-size:100%;" > that are unquestionably in the public domain -- I saw them on the walls of the train station in Wolfegg. They tell a complex story.</span><span style="font-size:100%;"><br /></span><span style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQW9Gwl-zaqmWV0RihT0Uk-vM6RIdCaqTQf7mqBs71WhN86TmSF3UydsA3b0al09gRu5nHVT-moq8eEdvPcNlO3vc2_KVpBQyBWDnKEmDuVq4rWV3gSeljFgl3tFJsm7-AAgKCyRQflig/s1600-h/stuttgartgrsm.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 307px; height: 156px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQW9Gwl-zaqmWV0RihT0Uk-vM6RIdCaqTQf7mqBs71WhN86TmSF3UydsA3b0al09gRu5nHVT-moq8eEdvPcNlO3vc2_KVpBQyBWDnKEmDuVq4rWV3gSeljFgl3tFJsm7-AAgKCyRQflig/s400/stuttgartgrsm.jpg" alt="" id="BLOGGER_PHOTO_ID_5131642416851988338" border="0" /></a></span><br /><span style=";font-family:trebuchet ms;font-size:100%;" ><span style="font-size:130%;">M</span>y last stop was Stuttgart, whose Staatsgalerie has a remarkable collection of graphic arts (the top two floors are visible in this photograph). In addition to working with their deep collection I made weekend trips with a friend and excellent guide to the Schmuckmuseum in Pforzheim and to Ludwigsburg Palace, residence of the dukes of Württemberg. At the latter, which houses many collections, I noticed an eighteenth-century fan that had been decorated with prints.<br /></span><br /><span style=";font-family:trebuchet ms;font-size:100%;" ><span style="font-size:130%;">I</span> want to thank the many colleagues and other friends who helped me over the past two</span> <span style=";font-family:trebuchet ms;font-size:100%;" > months. I’ve learned a lot from you all: that 500-year-old prints can be found stuck in the</span> <span style=";font-family:trebuchet ms;font-size:100%;" > masonry of old buildings, that one can find art while looking for turtles (or prints, while</span> <span style=";font-family:trebuchet ms;font-size:100%;" > taking piano lessons), that grapefruit can be eaten with curries and ground chili peppers, that printing with gun powder is as dangerous as it sounds, that printroom staff can and</span><span style=";font-family:trebuchet ms;font-size:100%;" > probably should include a dog, and that you have not given up on us</span><span style=";font-family:trebuchet ms;font-size:100%;" > perhaps because you remember that when you were very very young an American soldier standing across the street in your bombed city smiled and offered you a stick of gum.</span><span style="font-size:100%;"><br /></span><div style="text-align: left;font-family:trebuchet ms;"><div style="text-align: left;"><span style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH9fOmiFbf0J9ZRqazwwSUmZFVsfINs_UYX2fQ3W9Eji2bgjo1yorR9zaT3NGJiFBZTf9jGXJV1nTflESV2fG6nnaGmbwTOTuRR1LcPRifXdS1dB1eR7zhFUyLXFAaGhj0V6-rKDAxDCE/s1600-h/nurnbergbellsm.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH9fOmiFbf0J9ZRqazwwSUmZFVsfINs_UYX2fQ3W9Eji2bgjo1yorR9zaT3NGJiFBZTf9jGXJV1nTflESV2fG6nnaGmbwTOTuRR1LcPRifXdS1dB1eR7zhFUyLXFAaGhj0V6-rKDAxDCE/s320/nurnbergbellsm.jpg" alt="" id="BLOGGER_PHOTO_ID_5131625142493523778" border="0" /></a></span></div></div>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com1tag:blogger.com,1999:blog-7580317451998546004.post-49246000804404125272007-10-18T09:03:00.000-07:002007-10-19T11:14:12.294-07:00Two Weeks in Brief<span style="font-family:trebuchet ms;"><span style="font-size:130%;">S</span>ince last writing I learned (in Freiburg) that Otto Dix must have looked hard at the work of his</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHQWV-CckFXYUpr17kO-TNtD8VBlgMfw4_rSuiC8Q7Xt65WbLaueTkh4ls19-_wPFMUTMdz1EOXF7VLIZx5FU7OmO4sPZ4UVlZa1kkWnhGPVrQJ86mF5RR83_lw1_jII-yYqiQDPWgeUs/s1600-h/ornamentsm.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 275px; height: 306px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHQWV-CckFXYUpr17kO-TNtD8VBlgMfw4_rSuiC8Q7Xt65WbLaueTkh4ls19-_wPFMUTMdz1EOXF7VLIZx5FU7OmO4sPZ4UVlZa1kkWnhGPVrQJ86mF5RR83_lw1_jII-yYqiQDPWgeUs/s320/ornamentsm.jpg" alt="" id="BLOGGER_PHOTO_ID_5123110807516422450" border="0" /></a><span style="font-family:trebuchet ms;"> sixteenth-century forbears such as Lucas Cranach</span><span style="font-family:trebuchet ms;"> and Hans Burgkmair; (in Wolfegg) that a collection of prints of flowers bound up in a volume several centuries ago is the best</span><span style="font-family:trebuchet ms;"> bouquet imaginable; (in Nürnberg) that sometimes ornament prints escape from the pages of applied decoration to float freely in the atmosphere like some outrageous but rigorously symmetrical begonia that has uprooted itself to masquerade as a hallucination (a not so symmetrical but related example shown here); and (in Coburg</span><span style="font-family:trebuchet ms;"> and in Nürnberg) that in eighteenth and early nineteenth-century Germany landscape prints and drawings have the ability to transport you, though I think you are not transported to a time or a place but to one of those memories we have all had, a memory of a day in nature that seemed perfect.</span><span style="font-family:trebuchet ms;"><br /><br /></span><span style="font-size:100%;"><span style="font-family:trebuchet ms;"><span style="font-size:130%;">W</span>hile at the Veste Coburg I managed to catch the last few days of a very fine exhibition about aquatint up to and including Goya. The exhibition and its catalogue were a wonderful collaboration between a print curator and a paper conservator who did not balk at attempts to recreate the processes of Sanby, Le Prince and Ploos van Amstel. Here are the details: <br /><br />C<span style="font-size:85%;">hristiane Wiebel (with contributions by Wolfgang Schwahn). <span style="font-style: italic;">Aquatinta oder "Die Kunst mit dem Pinsel in Kupfer zu stechen" Das druckgraphische Verfahren von seinen Anfängen bis Goya</span>. ISBN: 978-3-422-06693-9</span></span></span><br /><span style="font-family: trebuchet ms;"></span><span style="font-family:trebuchet ms;"></span> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7arGlr-DNgCnUIo77VRdzmwtiMF1vAfAt70-1sMXDUkB5Qy8oSGjkVmLw3sSX2Vxau2IKBEjZg6oNw3vnBTS8_QmJBj1NcqohiCX6N_Tddhx6H6b10mqsD_yc6rhn8mHjfLRhZ9Ex6W8/s1600-h/pgsm.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 275px; height: 186px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7arGlr-DNgCnUIo77VRdzmwtiMF1vAfAt70-1sMXDUkB5Qy8oSGjkVmLw3sSX2Vxau2IKBEjZg6oNw3vnBTS8_QmJBj1NcqohiCX6N_Tddhx6H6b10mqsD_yc6rhn8mHjfLRhZ9Ex6W8/s320/pgsm.jpg" alt="" id="BLOGGER_PHOTO_ID_5122710323290906914" border="0" /></a><br /><span style="font-family:trebuchet ms;"><span style="font-size:130%;">I</span>’m also attaching a</span><span style="font-family:trebuchet ms;"> photograph of two chopped bicycles boasting </span><span style="font-family:trebuchet ms;">“PimpGarage™” labels that can be seen parked on the streets in Nürnberg. </span>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-7782505446261313642007-10-03T13:11:00.000-07:002007-10-18T09:29:56.935-07:00Karlsruhe<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCUxS0NScfojBXPGAFCp99H_yKaF2KAq42iSeQy6s3Tm5vRJa_k_XgoEKHK-dRZ6xCd6N5oPEgMWbAimMdqdU7jIoCdXGUjp6gaK4lBrx6EjxbzEHI4FYCYxLxcZtbgG3KVjssDVU_3P4/s1600-h/heckeldet.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 274px; height: 306px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCUxS0NScfojBXPGAFCp99H_yKaF2KAq42iSeQy6s3Tm5vRJa_k_XgoEKHK-dRZ6xCd6N5oPEgMWbAimMdqdU7jIoCdXGUjp6gaK4lBrx6EjxbzEHI4FYCYxLxcZtbgG3KVjssDVU_3P4/s320/heckeldet.jpg" alt="" id="BLOGGER_PHOTO_ID_5117209019940544738" border="0" /></a><span style="font-family:trebuchet ms;"><span style="font-size:130%;">I</span> spent all of yesterday looking at an assortment of prints by Erich Heckel made between 1907 and 1965. I’m not ready to try to put any related ideas into language yet -- thoughts about the intricacies of carving faces and landscapes are still churning (the detail shown was not photographed on this trip). I also had a chance to look at a stunning little drypoint done by Ludwig Meidner in 1913. The effect was a bit like looking into a small glass orb to see a city coming apart as if under some extreme gravitational influence; or maybe it is better described as a city that is shaking apart because the routine laws of perspective have failed; or perhaps it is a city in which matter is strung out like laundry on lines that have snapped and so they no longer converge. I’m going to extreme lengths not to use the one word that is always used to describe Meidner.<br /><br /></span><span style="font-family:trebuchet ms;"><span style="font-size:130%;">T</span>oday, October 3, is an anniversary of German reunification. For the past few days the German television networks have been working up to this national holiday with a movie, with interviews and with other specials focusing on the difficulties of divided Germany prior to October 3, 1990. These programs have been discussed as an attempt to remind that part of the population that suffers from “Ostalgie” -- the nostalgia for life as it was in the East (Ost) -- just how grim existence was under the control of the East German secret police. </span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /><br />T</span>he most prominent of these televised features was a film (<span style="font-style: italic;">Die Frau vom Checkpoint Charlie</span>) about Jutta Gallus (now Gallus-Fleck) and her daughters. Gallus is the brave woman who had been a political prisoner in East Berlin but was eventually “traded” to the West in exchange for a large payoff. The cruel twist is that Gallus’ release meant that she was forcefully separated from her young daughters who had to remain in East Berlin. Some of you probably remember photographs of Gallus </span><span style="font-family:trebuchet ms;">near Checkpoint Charlie where she </span><span style="font-family:trebuchet ms;">demonstrated daily beginning in 1984, wearing signboards about her daughters and her divided family. After the movie was screened the real, and articulate Jutta Gallus and her grown daughters appeared for a round-table discussion that would seem to put to rest any lingering glorification of a police state, but no doubt the situation is more insidious than that. </span>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-78222445150909917242007-10-02T12:31:00.000-07:002007-10-02T12:50:38.306-07:00Dresden<span style="font-family:trebuchet ms;"><span style="font-size:130%;">I</span>magine that you are a museum worker in Belgium in 2007 and one day you stumble upon some old photographs of your museum taken during the occupation of the early 1940s. While the facility and all of its spaces look</span><span style="font-family:trebuchet ms;"> familiar, you are disoriented by this photographic image because there are solders wearing armbands and carrying rifles in the</span><span style="font-family:trebuchet ms;"> galleries. A colleague recently shared just such an experience with me. Imagine also that you are doing research in German museums and libraries and sifting through the holdings of used bookstores. It dawns on you that what you are seeing, and more importantly what you are not seeing, has a lot to do with political situations that started to unfold about a century ago. What was created under duress, what was banned, what burned during an aerial attack, what is missing because it was sold to far-away collections? There are reminders at every step, and they are living</span><span style="font-family:trebuchet ms;"> reminders: colleagues with personal histories; buildings that, for whatever reasons, have or have not been restored; books and prints only recently catalogued and indexed. While</span><span style="font-family:trebuchet ms;"> visiting a rural landscape recently I made a comment about a quaint duck pond and was reminded that there was a good chance that it was an old bomb crater. In another idyllic, rural landscape in another country another colleague pointed to the Black Forest “there” and the famous</span><span style="font-family:trebuchet ms;"> vineyards of Alsace “there” and the site of furious bloodletting toward the end of the First World War “there.” </span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGUpddkSYzz3rvtnTYaJjgRwYHRVsa_aA1-YAix5LtAYQtuDZw7pNvKnZohN8-lMqHLKoewGziQ8nyhaq83xlnZKtYVEyhUBnMt6pjryxiAZKAXV3Yzj5roA_DesY62sDsJmoRmAp72-4/s1600-h/dresdenschloss.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 276px; height: 207px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGUpddkSYzz3rvtnTYaJjgRwYHRVsa_aA1-YAix5LtAYQtuDZw7pNvKnZohN8-lMqHLKoewGziQ8nyhaq83xlnZKtYVEyhUBnMt6pjryxiAZKAXV3Yzj5roA_DesY62sDsJmoRmAp72-4/s320/dresdenschloss.jpg" alt="" id="BLOGGER_PHOTO_ID_5116826974009630882" border="0" /></a><br /><span style="font-family:trebuchet ms;"><span style="font-size:130%;">A</span>gainst many odds, the resources in European print collections are</span><span style="font-family:trebuchet ms;"> staggering, consider the sign outside of the Dresden study room for graphic art (housed in the castle or Residenzschloß that is pictured here):</span> <br /><br /><span style="font-size:85%;"><span style="font-family:trebuchet ms;">The Kupferstich-Kabinett holds some 500,000 drawings, prints and photographs dating from the late 14th century to the present. Due their sensitivity t light, these works of art cannot be on permanent display.</span> <span style="font-family:trebuchet ms;"><br /><br />The Study Room provides all visitors – scholars and laypersons alike – with the opportunity to examine the holdings of the Kupferstich-kabinett even when not on display in special exhibitions (...)</span></span> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCb82C2w3PN74qjZ2f44qWFM-9LDBlurKlDyEHO3OeA35iwxvQKRwZhCl6FXtKb5NHuplArp4dCzYRUR6PfydvNhFtnd5eKRiRftIW5MHKHFF2gYRDfmiGFx1FsuhYHgKWDwnsMTPRr5U/s1600-h/gillraygout.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 275px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCb82C2w3PN74qjZ2f44qWFM-9LDBlurKlDyEHO3OeA35iwxvQKRwZhCl6FXtKb5NHuplArp4dCzYRUR6PfydvNhFtnd5eKRiRftIW5MHKHFF2gYRDfmiGFx1FsuhYHgKWDwnsMTPRr5U/s320/gillraygout.jpg" alt="" id="BLOGGER_PHOTO_ID_5116826974009630898" border="0" /></a><span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /><br />R</span>ight on! </span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /><br />S</span>ince I can’t post images of prints from my recent study visits I will post a British Satirical print by James Gillray (courtesy of</span><span style="font-family:trebuchet ms;"> Wikipedia) that illustrates, however painfully, the realities faced by at least one </span><span style="font-family:trebuchet ms;">quasi-vegetarian who dabbled with options in the land of bratwurst.<br /><br /><span style="font-size:130%;">I</span>’ll also share two</span><span style="font-family:trebuchet ms;"> photos of bicycles that I took just</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYR_fzxyjrECtiTCWSj9yQognAMcHbUbZtRV3GIAH9-XMw8jCOvKoada_d37tPiCvjzWLIqn9S8Lo9APcizUFtW_09wcCq1yFKiKmBIcYskIVIQ04Sh7W7Uj7JEnZW2cTJX4FVfXjyKx4/s1600-h/rentalbikeberlin.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 275px; height: 203px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYR_fzxyjrECtiTCWSj9yQognAMcHbUbZtRV3GIAH9-XMw8jCOvKoada_d37tPiCvjzWLIqn9S8Lo9APcizUFtW_09wcCq1yFKiKmBIcYskIVIQ04Sh7W7Uj7JEnZW2cTJX4FVfXjyKx4/s320/rentalbikeberlin.jpg" alt="" id="BLOGGER_PHOTO_ID_5116827201642897602" border="0" /></a><span style="font-family:trebuchet ms;"> before leaving Berlin. One is a rental bike of a variety</span><span style="font-family:trebuchet ms;"> seen parked randomly around the city. If you need a bike you call the number posted on the vehicle, give a credit card number, and the device is unlocked via a radio</span><span style="font-family:trebuchet ms;"> transmission (or that is my hypothesis) – to learn more see <a href="http://www.callabike.de/">www.callabike.de</a>. The only thing better would be the honor system (which is used on the grounds of the </span>Kröller-Müller Museum <span style="font-family:trebuchet ms;">). The final photo is just a reminder that the honor system doesn’t always work when humans are involved.<br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBgkwntikkFiGMUC0MU71cfEES3qOiFK5TGaO6NAv1j19rw2ZWjnlzek0kUVIIgMY5GxoZ5ltrr2DKHwL5K72Sd98KJSKwqn76doMzjVJBBUplwyb_3jil2yKOGzHWd_WLcI2dWFP8k8k/s1600-h/latebikeberlin.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 275px; height: 208px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBgkwntikkFiGMUC0MU71cfEES3qOiFK5TGaO6NAv1j19rw2ZWjnlzek0kUVIIgMY5GxoZ5ltrr2DKHwL5K72Sd98KJSKwqn76doMzjVJBBUplwyb_3jil2yKOGzHWd_WLcI2dWFP8k8k/s320/latebikeberlin.jpg" alt="" id="BLOGGER_PHOTO_ID_5116827205937864914" border="0" /></a>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com1tag:blogger.com,1999:blog-7580317451998546004.post-32169474538826750902007-09-19T14:25:00.000-07:002007-09-19T15:16:55.465-07:00Berlin<span style="font-family:trebuchet ms;"><span style="font-size:130%;">F</span>rom Münster I took the train to Kassel where I had a few days</span><span style="font-family:trebuchet ms;"> to take in Documenta 12, which was a good deal better than the reviews would have you believe. Rather than share my favorites, which tended to be the more political works, I would like to catch up to where I am now: Berlin.</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQwctt0gmUHT4vV-vE-d3qkZQomsRSJDQjEdFydLJphQXTJTzQ9ppSdQCcAKHfGNmNZC3uB3lUFUBpPQO6eWk6Y3RpK4Ykc4wGYclNID6m1PywpI6tYamWxIeEu672FOIx6sPAVgM3VzE/s1600-h/germanfarms.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 272px; height: 51px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQwctt0gmUHT4vV-vE-d3qkZQomsRSJDQjEdFydLJphQXTJTzQ9ppSdQCcAKHfGNmNZC3uB3lUFUBpPQO6eWk6Y3RpK4Ykc4wGYclNID6m1PywpI6tYamWxIeEu672FOIx6sPAVgM3VzE/s320/germanfarms.jpg" alt="" id="BLOGGER_PHOTO_ID_5112039438712950402" border="0" /></a> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /></span></span><br /><span style="font-family:trebuchet ms;"><span style="font-size:130%;">O</span>ne of the most impressive aspects of traveling by train through Germany is the visible proof of this country’s dedication to green solutions to our global environmental crisis. The rural landscape absolutely bristles with windmills. The picture I show here is hardly exceptional, it one of several dozen photographs I took of windmill-laden landscapes en-route to Berlin. I’ve also included a nice image of how mail and newspapers are delivered in this big city.<br /></span><br /><span style="font-family:trebuchet ms;"><span style="font-size:130%;">I </span>have been steeped in the study of prints made during the “Great War” – what a misnomer if ever there was one. So far I’ve looked at portfolios by George Grosz, Max Beckmann, Ludwig Meidner, Willy Jäckel and Natalia Goncharova. I’m not in a position to post any images of these works, but I am</span><span style="font-family:trebuchet ms;"> overwhelmed and not sure how to share it. Goncharova managed a brilliant confluence of Russian Orthodox imagery and images of the new machines of war; the word "apocalyptic" is usually applied to Meidner, but he was telling it, vividly, like it was; Grosz was very cunning with his multilingual titles (which do not amount to translations or transliterations in most cases) for his <span style="font-style: italic;">Gott Mit Uns</span> portfolio (an idea that could find apt application today); and Willy Jäckel, a superb draftsman with training similar to that of Lovis Corinth, as I understand it, put forth a damning series about the war that was quickly suppressed by the officials (he ended up 40 kilometers from the front making trench maps).</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDttYEORnUGa9rbR8bvxB0ji3NFvWgQ7OBgE8NmCgxpwPoozKmiurPH7QqEeCdEWM9iNtk13kxPqubtsFFwm4wid3UWP3yQ5SKmbGC_91FP0SEAq2ery1QrmYPgq0M86-yK02MPXlUf2U/s1600-h/berlinpost2.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 274px; height: 177px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDttYEORnUGa9rbR8bvxB0ji3NFvWgQ7OBgE8NmCgxpwPoozKmiurPH7QqEeCdEWM9iNtk13kxPqubtsFFwm4wid3UWP3yQ5SKmbGC_91FP0SEAq2ery1QrmYPgq0M86-yK02MPXlUf2U/s320/berlinpost2.jpg" alt="" id="BLOGGER_PHOTO_ID_5112042539679338162" border="0" /></a><br /><span style="font-family:trebuchet ms;"><span style="font-size:130%;">W</span>e may not learn from history, but when we look at it really carefully it turns out we were equally frustrated by this fact in the past. </span>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-48972230292646267712007-09-16T13:25:00.000-07:002007-09-16T13:53:56.150-07:00Münster<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0vBU-4pucGJP6YZNOw9KRHHH5KM-tHUC1DMK5nw3V4-h3UzCWPKJeRuMME1F7Ngw6ZOoIzO5_e45OeVVK_7XAYU11y7zz27Ai3T-o1jDldDdLBph_i7b7Cd8RUsCDBUkGovFYsWQWbdw/s1600-h/skulptour.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 274px; height: 323px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0vBU-4pucGJP6YZNOw9KRHHH5KM-tHUC1DMK5nw3V4-h3UzCWPKJeRuMME1F7Ngw6ZOoIzO5_e45OeVVK_7XAYU11y7zz27Ai3T-o1jDldDdLBph_i7b7Cd8RUsCDBUkGovFYsWQWbdw/s320/skulptour.jpg" alt="" id="BLOGGER_PHOTO_ID_5110904873610025778" border="0" /></a><span style="font-family:trebuchet ms;"><span style="font-size:130%;">O</span>nce each decade since 1977 the city of Münster has hosted a city-wide sculpture exhibition. I was able to spend nearly two days at <span style="font-style: italic;">Skulptur Projekte Münster 07</span>.</span><span style="font-family:trebuchet ms;"> One of the wonderful features of this project is that the thirty-three works created for 2007 can be visited along with thirty-seven</span><span style="font-family:trebuchet ms;"> works from previous years that are still in place around the city. Happily, it is necessary to rent a bicycle to see many of the outlying sculptural installations (a rented bicycle is shown here in front of Ilya Kabakov’s lyrical antenna of poetry <span style="font-style: italic;">“Blikst Du hinauf und liest die </span></span><span style="font-family:trebuchet ms;"><span style="font-style: italic;">Worte…”</span> [<span style="font-style: italic;">“Looking up. Reading the Words…”</span>].</span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /></span></span><br /><span style="font-family:trebuchet ms;"><span style="font-size:130%;">S</span>ome of the most successful works are those that have a meaningful association</span><span style="font-family:trebuchet ms;"> with historical sites or events specific to Münster, such as Martha Rosler’s <span style="font-style: italic;">Unsettling the Fragments</span> [<span style="font-style: italic;">Erschütterung der Fragmente</span>] which focuses attention on a number of aspects of the city’s history such as the cages on the tower of Church of Saint Lambert that were used to display the executed bodies of Anabaptists, such as Jan van Leyden (who can be seen in a brilliant engraving by Albrecht Aldegrever). I also enjoyed Andeas Siekmann’s <span style="font-style: italic;">Trickle down. Der öffentliche Raum im Zeitalter seiner Privatisierung</span> [<span style="font-style: italic;">Trickle down. Public Space in the Era of its Privatization</span>], and Bruce Nauman’s <span style="font-style: italic;">Square Depression</span> [<span style="font-style: italic;">Quadratische Senkung</span>].</span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHS0g9Gi-rorvbg5h7Loecxa3goSo1sS4TxHtqtsE-lYgaskT6RcwmVD2RrbAxM656oPC17eKswXIPlgrEnvJe8eVMJneTrmxmFKC9tejZgs26GmKInRYD-vt3iaXVA2L3Ir1onMn9WMs/s1600-h/muensterhorn.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 280px; height: 216px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHS0g9Gi-rorvbg5h7Loecxa3goSo1sS4TxHtqtsE-lYgaskT6RcwmVD2RrbAxM656oPC17eKswXIPlgrEnvJe8eVMJneTrmxmFKC9tejZgs26GmKInRYD-vt3iaXVA2L3Ir1onMn9WMs/s320/muensterhorn.jpg" alt="" id="BLOGGER_PHOTO_ID_5110904873610025794" border="0" /></a><br /><span style="font-family:trebuchet ms;"><span style="font-size:130%;">E</span>veryone I spoke to in the community l</span><span style="font-family:trebuchet ms;">oved Rebecca Horn’s, <span style="font-style: italic;">Das gegenläufige Konzeert</span> (<span style="font-style: italic;">The Contrary Concert</span>) – an installation work in one the cities old fortifications that was used in the Second World War to interrogate, torture and kill prisoners. Horn’s installation is largely auditory. The dimly lit corridors and rooms of this masonry maze have many mechanized hammers that slowly tap at the structure. Other sounds come from an electrical arc and a device that lets drops of water fall from the center of the fortification to a pool below. These subtle sounds provide all that the visitor needs to forge fuller associations internally.</span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgWF8GbTKcLVhHFwmDbwZTQZWaclkz2DwySn_upeVxjkkJSWsaAG0vPSUaU9h3uoAd0P9PaLV7WMGOR5Sy5NBZv_HbDCSQioN8NstCNgpyettoPNiV3l3N1GWXFzDaLYVbNzHekU8LMOc/s1600-h/ben_nerbike2.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 275px; height: 234px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgWF8GbTKcLVhHFwmDbwZTQZWaclkz2DwySn_upeVxjkkJSWsaAG0vPSUaU9h3uoAd0P9PaLV7WMGOR5Sy5NBZv_HbDCSQioN8NstCNgpyettoPNiV3l3N1GWXFzDaLYVbNzHekU8LMOc/s320/ben_nerbike2.jpg" alt="" id="BLOGGER_PHOTO_ID_5110906587301976914" border="0" /></a><br /><span style="font-family:trebuchet ms;"><span style="font-size:130%;">B</span>icycles rounded out this visit, through the delightful work of Guy Ben-Ner, <span style="font-style: italic;">I’d give it to you if I could, but I borrowed it</span> [<span style="font-style: italic;">Ich gäbe es dir, wenn ich könnte, aber es ist nur geliehen</span>]. To view this piece the viewer pedals something like an exercise bicycle that powers a video display (the faster you pedal, the faster the video runs; pedal backward and the video runs backwards as well). Spoiler alert → the video concerns bicycle parts, specifically those found in a museum: sculptural works by Jean Tinguely, Pablo Picasso, and Marcel Duchamp. In the video, Ben-Ner, his son and his daughter proceed to whisk the works, past a dozing guard and out of the museum where the clever family recombines the parts to form a working bicycle. Lovely!</span>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-85544154826259314672007-09-15T14:08:00.000-07:002007-09-15T14:33:44.793-07:00News from Belgium<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigOlSo2zL42A25a11G-vcS5dhNydfMLR9CmU_P5eHfUFAsixbIwo-_S8xToJf6w4CVU2q2UxS8yBSEZrsSQ9o2PAeh5gZ_lR5wXRrm0zlh5xb8r0vE0QNleuhisCmBEALAeCUl45rZOfY/s1600-h/parking.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 274px; height: 205px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigOlSo2zL42A25a11G-vcS5dhNydfMLR9CmU_P5eHfUFAsixbIwo-_S8xToJf6w4CVU2q2UxS8yBSEZrsSQ9o2PAeh5gZ_lR5wXRrm0zlh5xb8r0vE0QNleuhisCmBEALAeCUl45rZOfY/s320/parking.jpg" alt="" id="BLOGGER_PHOTO_ID_5110545556646042354" border="0" /></a><span style="font-family:trebuchet ms;"><span style="font-size:130%;">L</span>ooking back to my arrival in Belgium a few weeks ago I am happy to report that bicycling and stencil-printing are alive and well. I am on a study tour to see prints in coming weeks, especially those made during the First World War. </span><br /><br /><span style="font-family:trebuchet ms;"><span style="font-size:130%;">M</span>y first few days in Antwerp I looked at many etchings by the Belgian printmaker Walter Vaes, whose career might have been a tedious recital of well-established and somewhat derivative subjects were it not for a series of hallucinatory subjects that crept onto his small etching plates during his years as an expatriate in Holland during the First World War. </span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCw1-37OGgb9_NRlRbMOZaV5XunfSc79OA6JADe9VgKZVLttBnGX_30SXFQIBftIbI4tCJ6lL_EBQSFmL3veXKv24rOEIpY_uq8oF_C7p0i7dRIQ5NrNKBsOkBTjEJf1iM6C3bVuwQ6DU/s1600-h/antwerpbugs.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 275px; height: 206px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCw1-37OGgb9_NRlRbMOZaV5XunfSc79OA6JADe9VgKZVLttBnGX_30SXFQIBftIbI4tCJ6lL_EBQSFmL3veXKv24rOEIpY_uq8oF_C7p0i7dRIQ5NrNKBsOkBTjEJf1iM6C3bVuwQ6DU/s320/antwerpbugs.jpg" alt="" id="BLOGGER_PHOTO_ID_5110545552351075042" border="0" /></a><br /><br /><span style="font-family:trebuchet ms;"><span style="font-size:130%;">A</span> trip to Ieper led to a nice encounter with colleagues at the Flanders Field Museum. I had gone to ask if they had any information about Henry de Groux’s unusual series of etchings, <span style="font-style: italic;">Les Visages de la Victoire</span>, only to learn that they are about to exhibit their versions of this series as well as publish a catalogue. I will show a detail of one of his prints here: a group of soldiers in gas masks. De Groux spent the war years in Paris and witnessed the events along the front. He had been fond of Beethoven, Goethe and Wagner, and one can imagine that he was deeply troubled by a war that would have him looking over the trenches toward those who had inspired him.</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghhS_ws2yAwwficB4VEPvhDQoOzHVs35AzIJ6BcIUIw5fEVSooEOENepHrLhqKVNZnHYGIr-4v5He-Hzntcl-s4JSqdzytdw7b5noKWUsx-1TYXXU9yd4ZXqSIAw1H0aJL0axnX9fHpTs/s1600-h/degroux.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 273px; height: 220px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghhS_ws2yAwwficB4VEPvhDQoOzHVs35AzIJ6BcIUIw5fEVSooEOENepHrLhqKVNZnHYGIr-4v5He-Hzntcl-s4JSqdzytdw7b5noKWUsx-1TYXXU9yd4ZXqSIAw1H0aJL0axnX9fHpTs/s320/degroux.jpg" alt="" id="BLOGGER_PHOTO_ID_5110544079177292466" border="0" /></a><br /><br /><span style="font-family:trebuchet ms;"><span style="font-size:130%;">F</span>riends in Ghent were nice enough to take me on a day’s outing to the very southwest corner of Belgium, to visit the cemetery at Vladslo where the remains of 25,000 German soldiers</span><span style="font-family:trebuchet ms;"> who fought during the First World War are buried. The cemetery includes a moving sculptural group by Käthe Kollwitz, whose son had fought and died in the war and is buried a few feet in front of his mother's monument.</span><br /><br /><span style="font-family:trebuchet ms;"><span style="font-size:130%;">W</span>e then visited the community of Watou, which hosts a wonderful series of summer</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRs-Xunj0O2mm53U_8kN0Z_KP9EyJZBZAsgdwCR9xI4oUCjPU1UoMO8V9Irfk0hIwIPH-On7Hcl7m-XFStW6GnvdAvCgubrr26f4fINmWCfVgXWL2mxf7h8-XoPJOuYfUtR1q_ohbrMw8/s1600-h/vladslo.01jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 272px; height: 204px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRs-Xunj0O2mm53U_8kN0Z_KP9EyJZBZAsgdwCR9xI4oUCjPU1UoMO8V9Irfk0hIwIPH-On7Hcl7m-XFStW6GnvdAvCgubrr26f4fINmWCfVgXWL2mxf7h8-XoPJOuYfUtR1q_ohbrMw8/s320/vladslo.01jpg" alt="" id="BLOGGER_PHOTO_ID_5110544083472259778" border="0" /></a><span style="font-family:trebuchet ms;"> exhibitions and poetry readings each summer, this was Watou Poëziezomer 2007. Poetry was everywhere to be read or heard, and a remarkable line-up of artists had their work displayed in the old barns around town. Among the 27 older and contemporary artists were John Cage, Filippo Tommaso Marinetti, John Armleder, Josef Beuys, William Kentridege and Yoko Ono.</span><br /><br /><span style="font-family:trebuchet ms;"><br /><br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ-vkOAYwobXxl6pny7sdmSM2VScFWprJlusZkJRhJKBv40ElegcJ0Xkp36RnI4zf_UUzJ-SBWroFTPwfIL0_KNrMiHFNNyvRpTFKmbX5ObE3Jdh9YvJ_HNNP2ZHa-picA7-37-Rr7i8Q/s1600-h/watou02.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 271px; height: 203px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ-vkOAYwobXxl6pny7sdmSM2VScFWprJlusZkJRhJKBv40ElegcJ0Xkp36RnI4zf_UUzJ-SBWroFTPwfIL0_KNrMiHFNNyvRpTFKmbX5ObE3Jdh9YvJ_HNNP2ZHa-picA7-37-Rr7i8Q/s320/watou02.jpg" alt="" id="BLOGGER_PHOTO_ID_5110544087767227090" border="0" /></a>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0tag:blogger.com,1999:blog-7580317451998546004.post-3156663097426267622007-08-18T09:22:00.000-07:002007-08-18T10:31:14.470-07:00Road Trip<span style="font-family:trebuchet ms;"><span style="font-size:130%;">A </span>recent trip (by car, admittedly) took me to a colleague's home</span><span style="font-family:trebuchet ms;"> where a lovely lithograph by Georges de Feure was displayed on an easel in the study in</span><span style="font-family:trebuchet ms;"> memory of a mutual friend. This mutual friend, a print enthusiast</span><span style="font-family:trebuchet ms;"> and collector of great passion and insight, would have been delighted by</span><span style="font-family:trebuchet ms;"> this gesture. It reminded me of the long history of</span><span style="font-family:trebuchet ms;"> printmaking as a </span><span style="font-family:trebuchet ms;">vehicle to express friendship, a topic worthy of exploration.</span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB89dmTwvCJLKQ541sZ8WfDphKxOYvVOykY_ql_1Zslqk9R9W-zQE7q2vNuS6J-VgOxcTbFTcItYBo4SWI0Gtawt1Fa20OWk6VoGnDUAIkI89uAB9aermjscsUzdoElWaJr5JhJ7W2lLY/s1600-h/storm072907bsm.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 276px; height: 118px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB89dmTwvCJLKQ541sZ8WfDphKxOYvVOykY_ql_1Zslqk9R9W-zQE7q2vNuS6J-VgOxcTbFTcItYBo4SWI0Gtawt1Fa20OWk6VoGnDUAIkI89uAB9aermjscsUzdoElWaJr5JhJ7W2lLY/s320/storm072907bsm.jpg" alt="" id="BLOGGER_PHOTO_ID_5100081462008943506" border="0" /></a><br /><span style="font-family:trebuchet ms;"><span style="font-size:130%;">T</span>his road trip, which had begun with a powerful Kansas storm that could have come right out of a John Stuart Curry lithograph, took me through Greensburg, the small Kansas town that had been all but expunged from the face of the earth by a devastating tornado on May 4 of this year. The volunteer station was still active and a truck with a </span><span style="font-family:trebuchet ms;">signboard solicited aid. No construction had yet begun, but the trees, at least those that still had their roots in the ground, were pushing forth new foliage from their blasted limbs, making a remarkable image of the persistence of life. </span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAAOAupk4mdTQ9BGXgIRrYYj3mF-zGY2ds2y9lXBxzGZf1yLvIO8AlBTK3URAAAed_kzgxZa6J2npqodC3Oa-Uu6wEHFfN3wtrz5_0xZ-IDD0wiGjh8CZuFylnj0Ej0L_WG_UZsr2zrIo/s1600-h/IMG_6560bsm.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 275px; height: 72px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAAOAupk4mdTQ9BGXgIRrYYj3mF-zGY2ds2y9lXBxzGZf1yLvIO8AlBTK3URAAAed_kzgxZa6J2npqodC3Oa-Uu6wEHFfN3wtrz5_0xZ-IDD0wiGjh8CZuFylnj0Ej0L_WG_UZsr2zrIo/s320/IMG_6560bsm.jpg" alt="" id="BLOGGER_PHOTO_ID_5100081466303910818" border="0" /></a> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /><br />T</span>his scene called to mind a passage in Arundhati Roy’s essay, “Peace is War,” in <span style="font-style: italic;">An Ordinary Person’s Guide to Empire</span> <span style="font-size:85%;">(</span></span><span style="font-size:85%;">South End Press, 2004</span><span style="font-family:trebuchet ms;"><span style="font-size:85%;">)</span>, in which Roy develops a brilliant metaphor of bees descending upon an old Buffalo; a metaphor she uses to analyze the interplay of new, corporate televised and electronic news media with older, more traditional (printed?) reporting. The “crisis reportage” that covered the Greensburg catastrophe is limited to the brief period of the media's feeding frenzy, after which Roy’s bees moved on to the next crisis, leaving untold the ongoing story of Greensburg -- which I do not pretend to know -- but those greening, shattered trees are emblematic of the under-reported, post-crisis story.</span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFFUShorOQE-dRd-U-7rvty4Yfa9E4BkAT1-rMNfJCPpKjk4SSe-R3V3AFFBPoGeof9IjnB0bYiePmQCWG6AG9PocHGOBPlyOnCxWZbiHQP53mcfnsv1Zzs01xk0-rteGKsv2TtYhVNgg/s1600-h/albuquerque045sm.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 275px; height: 211px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFFUShorOQE-dRd-U-7rvty4Yfa9E4BkAT1-rMNfJCPpKjk4SSe-R3V3AFFBPoGeof9IjnB0bYiePmQCWG6AG9PocHGOBPlyOnCxWZbiHQP53mcfnsv1Zzs01xk0-rteGKsv2TtYhVNgg/s320/albuquerque045sm.jpg" alt="" id="BLOGGER_PHOTO_ID_5100081466303910834" border="0" /></a><br /><span style="font-family:trebuchet ms;"><span style="font-size:130%;">I </span>made it to Albuquerque late the same day. Other obligations kept me from visiting the Tamarind Institute of Lithography, but I did get to sample riding in this bicycle-friendly community. A bike map of Albuquerque includes an impressive network of four tiers of roadways that you might safely and legally ride you bike upon: multi-use trails, bicycle lanes, bicycle routes, and roads with wide shoulders -- something for all communities to strive toward.</span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /><br />I</span> can only report two print experiences from ten days with friends and family spent hiking in the Rocky Mountains. One was perusing a stack of handsome woodcuts of Hindu images printed on Lokta paper. We found these in a Nepalese import store in Estes Park, a store that had previously offered some vivid chromolithographs of similar subjects. The other was trying to make sense of a large, halftone, offset lithograph in a shattered frame that graced one of the walls of the cabin we rented. This reproduction of a painting of a bighorn sheep in two colors bore the printed signature of Ray Harm, who, no surprise, turns out to be a wildlife artist. Harm’s website includes a quote from an article in <span style="font-style: italic;">The Filson Historical Quarterly </span><span style="font-size:85%;">(April 1998 Vol. 72, No.2)</span>, “Ray began releasing Limited Edition Prints in 1963 and in doing so became the founding artist of the Limited Edition Print industry as it is known today.” Limited edition etchings, woodcuts and lithographs (a.k.a "prints") came about in the nineteenth century to create a sense of rarity. More recently the term “print” has often been used in a similar way, lending the mantle of art where the word “reproduction” or "poster" might not suffice. The complete blending of these terms and the collapse of any distinction between them is borne out by the third of four definitions for the noun “print” that appears in the <span style="font-style: italic;">Oxford American Dictionary</span> (an electronic edition that came bundled with my computer) -- the only definition that might describe etchings, woodcuts or lithographs:</span> <span style="font-family:trebuchet ms;"><span style="font-size:130%;"><br /><br /></span><blockquote><span style="font-size:130%;">3</span> a picture or design printed from a block or plate or copied from a painting by photography : <span style="font-style: italic;">the walls were hung with wildlife prints.</span></blockquote> </span>Stevehttp://www.blogger.com/profile/08422969663713826426noreply@blogger.com0