Sunday, October 5, 2014

Member News-Christina Altfeld

Christina Altfeld has been selected for inclusion in the 2014 Pacific States Biennial National printmaking exhibition. Out of 484 submitted entries, 50 works were chosen for the PSBN exhibition at the University of Hawaii at Hilo Campus Center Gallery. The gallery is  located at 200 West Kawili Street, Hilo HIThe exhibition opens on October 15, 2014 and closes on December 1, 2014.

Friday, October 3, 2014

Member News- Monica Wiesblott

Inkspot Member- Monica Wiesblott is exhibiting in San Luis Obispo at the Johnson Gallery
All About Eve is a three woman exhibition

Friday, August 15, 2014

Auction Event at Westmont Ridley-Tree Museum of Art

A large portion of the Inkspots were invited to participate in this years
 5x5 Celebration Auction 
at Westmont Ridley-Tree Museum of Art.
This is an auction that benefits the Museum and it's programs.

5x5: Celebrating Five Years

August 28, 2014 – September 11, 2014
5th Anniversary Party & 5x5 Reception – September 2, 2014 | 4-6PM
Online auction opens on August 28, 2014 and closes at 5:00PM sharp on September 11, 2014 (Pacific Standard Time)
To see all the work, and place bids once the exhibition opens CLICK HERE

Inkspot artists participating:
Asandra Lamb
Karen L Brown
Beverly Decker
Virginia Furmanski
Rosemarie Gebhart
Judy Gibbs
Bay Hallowell
Karen Schroeder
Monica Wiesblott

Sunday, August 3, 2014

Art Review "Marginalia" Bay Hallowell


By Josef Woodard
News-Press Correspondent

Photos by Wayne McCall

Printmaker Bay Hallowell often seems to surf around available and accidental influences and idea-triggers, which may give rise to a new series of expressions.  Such is the case in her deceptively simple and enigmatic exhibition called “Marginalia,” now aptly nestled in the cozy nook of the Faulkner West Gallery at the downtown public library.

In that small, long room, the artist can be found experimenting and improvising, visually mumbling and snooping in the margins of a good idea, shuffling letters and linguistic meanings, and generally ferreting out the theme of the very word of the show’s title.  Using monoprints and stencils, collographs and other media, she stacks the letters and reorders them, scruffs them up, leaves them polished or affects them with sundry printmaking techniques.  But whatever the variation or accentuation of each piece, “Marginalia” is the word in the epicenter of this artist’s playful arena.

Artists have long been fascinated by the power of select words and phrases, fodder for treatments and distortions in a more visual than language-related way.  Ed Ruscha has made a career out of painted, loaded words on canvas, and Jim Dine has found himself in love (ironically and otherwise) with the word—and heart-shaped symbol for—“love.”  Deeper in art history, Bauhaus design notions explored the expressive potential of letters and Kurt Schwitters and other Dadaists and deconstructionist types have latched onto language for reuse and recycling in their artistic language. 

In this case, Ms. Hallowell has a ripe word to mess around with, as visual putty, having to do with the digressionistic scribblings in the margins of a text, or the quality of that which is presumably “marginal,” but possibly a case of profundity in the periphery.

By virtue of the artist honing in on a very specific thematic target for her “variations on a theme” series, the word itself becomes a hypnotic blur.  Following the progression and sequence of pieces, especially in those numbered 1 to 16, we intuitively sense a kind of quasi-narrative flow, through the investigations and reinventions.  No. 10 has a dreamy, liquid-y overlay, while 12 finds the letters subjected to a mad scramble and fragmentation effect, rendered nearly illegible except as pure design, and 16 pits the word—in an early 20th century, Art Deco font—sandwiched between a warm yellow-orange-green foundation and the random ratatat of black dot-splatters on the surface.

Other later variations continue the process of plumbing expressive possibilities within the artist’s self-limited source.  In a few pieces, commercial letters are placed in a hip pattern with a shambling, tumbling charm a la Mr. Schwitters’ “Merz” aesthetic.  As if capping off the series with a ghostly echo of a finale, “Marginalia Trace 1, 2, 3” consists of the hand-scrawled word in positive and negative forms, suggesting a palimpsest-like hint of archeological enigma.  Marginalia rarely seemed so centered, and curiosity inflaming

July 11 – July 17, 2014
Santa Barbara News-Press, Scene Magazine (p. 51)

Thursday, July 24, 2014

Member News-Monica Wiesblott

Inkspot member Monica Wiesblott has two exhibitions currently on view in Santa Barbara,
if you have a chance visit they are worth the effort.

Wednesday, July 16, 2014

Member News-Asandra

Great write up about Asandra's Gallery 525 Exhibition
Exhibition open until the end of August
make sure you sign their guest list for future exhibition opportunities

Saturday, June 21, 2014

Member News- Bay Hallowell Exhibiting in Santa Barbara

Bay Hallowell is pleased to announce an exhibition of her work, 
titled MARGINALIA: Recent Prints, 
in the West Gallery of the Santa Barbara Public Library during the month of July.  
You are invited to attend a 1st Thursday reception on July 3, from 5 to 8:00 PM.

This series of unique monoprints was inspired by her unexpected encounter with the word “marginalia,” the title of an essay by Glenn Adamson in The Female Gaze: Women Artists Making Their World, an exhibition catalog published by the Pennsylvania Academy of Art in Philadelphia.  Throughout a year of printmaking, Hallowell created more than twenty dynamic, multi-layered abstractions of this word using stencil, collograph, and trace drawing techniques.  
She attributes her on-going fascination with words to the sense of pure joy she experienced when she first learned to read.  For her, marginalia evolved from its dictionary definition[1] and from Adamson’s metaphorical focus on women artists, to include a wide range of people, places, art objects and values located in the margins--on the edges--of whatever the main “text” was or is[2] 
This new series continues her use of words and letters as a point of departure in making monoprints.  In earlier work, she focused on the word “redact” by forming the word itself with pieces of torn masking tape on a plate, then inking the plate in various ways and running it through a press with paper.  In 2013, when the Redact prints were exhibited at the Leslie Sacks Gallery in Los Angeles, the gallery’s director, Lee Spiro, commented, “(Hallowell’s) work is a perfect balance of aesthetic and conceptual concerns, not unlike the work of Jasper Johns and Ed Ruscha.”
Her 2011 exhibition at the Santa Barbara Public Library, “Tick Tock (R)Evolutions” consisted of a series of prints based on the phrase, “tick tock.”  Critic Josef Woodard observed: “This integrated and evolving series of monoprints brings together fragments of language and semi-abstract imagery, which play off of general ideas of time, clockworks and the cosmos, with nods to proto-Modernist styles such as Orphism and Constructivism.  That’s not to say, however, that Hallowell leans excessively on the cerebral or conceptual: it’s all in good, brain-puzzling fun.”
Hallowell exhibits her prints with the Los Angeles Printmaking Society, Santa Barbara Printmakers, Central Coast Printmakers, Inkspots of Ventura, Santa Barbara Art Association, and Goleta Valley Art Association.  Her prints are collected on both east and west coasts and were recently featured in the Flat File Project at Jane Deering Gallery.
Formerly a museum educator at the Philadelphia Museum of Art and the Carnegie Museum of Art in Pittsburgh, PA, Hallowell has taught and written extensively about art from many periods and places for diverse audiences. She studied painting, drawing, and art criticism at Bennington College in Vermont and completed her M.A. in education at the University of Pittsburgh.  Shortly after moving to Santa Barbara in 2008, she began learning monoprint techniques from Siu and Don Zimmerman in Santa Barbara City College’s Adult Education classes.
[1] Marginalia are scribbles, comments and illuminations in the margins of a book (Wikipedia, 4/28/2014).
[2] I always feel that the margins tell you more than the center of the page ever could.” Marcia Tucker (A Short Life of Trouble: Forty Years in the New York Art World, University of California Press, 2008, page 1.)