Elizabeth M. Claffey recipient of Emerging Artist Exhibition Grant

Claffey_Petri_0003.jpg

Abecedarian Gallery is pleased to announce the result of the 2010 Emerging/Student Artist exhibition grant.

 

Elizabeth M. Claffey is the artist selected from the applicants  by gallery director Alicia Bailey. Her work considers physical deterioration and the relationship between medical science and life experience. Elizabeth is a photographer and book artist pursing an MFA at Texas Woman’s University.

 

She states:

 

I have great faith in photography and human nature.  I believe that a photograph can tap into the most protected part of a person, where the vulnerability lies and the barriers break down to give way to understanding.  I try to focus my camera on the moments “in between,” those everyday situations that, separate from life’s climactic events, make up the moments that we often overlook even while pushing through them.  These are the moments that can reveal the truths of our nature, nurture, and circumstance, that allow subject, viewer, and photographer to relate.

 

This work is inspired by the content of a found object, as well as by my folkloric inheritance, which often describes the physical experiences of family members and ancestors. Through personal narrative, this series comments on broader issues of physical intimacy, trends in medical science that can have permanent effects, and the meaning of the body in a familial context.

 

Merck’s Manual 2

 

Her work has been recognized by PDN Magazine, Project Basho Gallery and various other galleries and publications including The Chronicle of Higher Education, USA Today, The Dallas Morning News, and The Kinsey Institute.

 

On display are 4 of the 5 books in the Medical History series (the 5th is part of the traveling Photo Book Works exhibition which will be on view in 23 Sandy Gallery, Portland, Oregon through February). A catalog of the exhibit is available here. The series utilizes medical texts and reference books to explore family history and folklore through the juxtaposition of words, photographs, and pre-existing text.

Woman’s Surgeon 1

 

Also included are 8 images and a 28 image artists book from the series Remember Me.

 

e-claffey-s-wall-detail

Remember Me is a project that explores the deterioration of physical existence and the changing lines, shapes, and textures of the human body. The images are made clinically, creating a physical closeness that is not sexual or familial, but rather scientific, suggesting a detached intimacy most often known by doctors. Despite the clinical approach to the image making, the subject inspires thoughts and memories that survive and even transcend physical being.

 

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Selections from a larger series Medical Record are installed in the center of the Reading Room These works are human scale images printed on hospital gowns. Claffey’s choice to present these images in this way makes avoidance of the reality of the aging body impossible for any who wander into the Reading Room during her exhibition.

My personal favorite of the works are the series of 4 Petri Portraits, each a a photographic image with an additional splash of color presented in a Petri dish. The dishes rest on elegant white columns, lit from within letting these works glow with a diffuse but steady illumination.

Abecedarian Gallery will continue offering this grant to eligible student/emerging artists on an annual basis. To help support this project, the gallery is offering a wide range of hand-pulled artist prints created by artists throughout the United States for $15 each during the month of January. Those unable to visit the gallery are invited to peruse some of the online offerings available for purchase here.

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Photo Book Works

in the Reading Room October 1 – 30, 2010

Merck’s Manual 2


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

Included in Mia’s statement are the following remarks:

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

Oneiro 2


Photo Book Works includes work by the following artists:

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

39+ What Comes Around Goes Around

October 1 – 30, 2010

Days into years, Day 39



an exhibition by Mia Semingson
39+ presents 366 images from a year-long photographic project.

“I turned thirty-nine on May 7, 2009 and I documented my 40th year of life by photographing every day. I used a “point-and-shoot” style digital camera to collect a series of snapshots to visually document and communicate the progression of this year of my life. As part of my project each day’s image references the previous day, either visually or conceptually. The project ended on my 40th birthday, May 7, 2010. The entire project can be viewed here.

Prior to my 39th birthday I had confronted myself many times with the concept of living in the present moment instead of looking to the past or the future as the present moment ticked by. I have since decided to change my thought process, to slow time down with the aid of a digital camera, and become sensitive to the present moment by literally seeing and photographing what is in front of me.

This old house, Day 145

The idea of the snapshot aesthetic is often considered to be amateurish or imperfect since snapshots tend to be shot quickly or spontaneously, formally lacking artistic or journalistic intent. Eastman Kodak first introduced the concept of the snapshot in the 1900’s by putting the Brownie Box Camera into the hands of common people. Kodak marketed the camera by encouraging users to capture moments in time without being overly concerned with producing perfect imagery. “You press the button and we do the rest” is their familiar slogan.

The new digital snapshot camera continues this democratic idea of easy photography for the average consumer. According to a recent study from the Consumer Electronics Association (CEA), 77% of American households now own at least one digital camera.

Losing, Day 36

The other aspect of this project that I am exploring is the idea of the “third effect.” A visual dialog occurs when one photograph is visually paired with another. Although the meanings of the individual images are preserved, a third meaning that is highly subjective shifting and enigmatic is produced. It can be compared to the relationship between mise-en-scene and montage in film. Gestalt psychologists have labeled this cognitive experience to seeing isolated parts connected to a larger whole as “closure.” I am pushing this idea by exploring what happens when the viewer is confronted with 366 “paired” images. I see this visual connection as a metaphor for life itself- a build-up of experiences over the course of a year represented by the relationship of the images I have chosen each day”.


Not a girl, Day 21common object, common site, Day 6

The resulting series of images, particularly when presented in book form as they are in this installation, successfully walk the line between presenting Semingson’s personal vision and images that have universal appeal with their evocation of sensations both comfortable and familiar. Also on display is a selection of framed digital inkjet prints.

Mia Semingson works in a variety of media including photography, video, performance, sculpture, and artists’ books. She received her MFA in photography and electronic media from the University of Colorado at Boulder. She was an instructor in the department for 11 years. Currently she is the new owner of Two Hands Paperie in Boulder, Colorado. Her work has been exhibited throughout the US and in Colombia, Mexico, Guatemala, and France.

Interior Markings

Ivory Lithics; detail 1

Interior Markings, a Reading Room Exhibition, is an invitational exhibition featuring artists’ books that have hand-drawn content as a primarily element in their production.

Field Studies: Arnica gracilis  (We Know Why); detail

On view July 1 – August 7, 2010
How to Distinguish Scents; pagesRepresented are artists from the United States and Italy. The exhibition includes both limited edition works alongside limited edition works.

Burning Me Open; pages


Clicking on above images will take you to a flickr page with full information about the artwork pictured, as well as other works by the same artist.

Clicking on the name from the artists’ list below will take you to their website.
Alicia Bailey, Aurora, Colorado
Alicia Griswold, Atlanta, Georgia
Andie Thrams, Coloma, California
Annie Cicale, Fairview, North Carolina
Carolyn Sheehan, New York, New York
Clarissa Jakobsons, Aurora, Ohio
Ellen Wiener, Southold, New York
Jamie Runnells, Starkville, Mississippi
Jan Owen, Belfast, Maine
Lisa McGarry, Florence, Italy
Melissa Jay Craig, Chicago, Illinois
Merike van Zanten, Acton, Maine
Moe Snyder, Portland, Oregon
Patricia Sahertian/Mary C. Leto, Pheonix, Arizona
Suzanne Vilmain, Santa Fe, New Mexico
Velma Bolyard, Canton, New York

Abecedarian Gallery is open Thursday, Friday and Saturday 1-5pm. Please inquire if you wish to view the exhibit outside regular gallery hours.

Works from Wood

merrill Shatzman Calligraffiti #4Works from Wood, featuring prints and artists’ books that include woodcuts, woodblock prints or woodengraving as a primary element is on display at Abecedarian Gallery July 1 – August 7, 2010.

Neruda Questions L; open book with box

The exhibition, curated by gallery director Alicia Bailey, includes artists from throughout the United States, England, Italy and Australia.

Woodblock printing is one of the oldest forms of printmaking, believed to have originated in China in the 8th Century and spreading quickly throughout Asia and Europe. A relief technique, areas of the wood are removed with a variety of tools, the remaining surface area inked, and the inked surface transferred to paper or fabric. Throughout history the technique has been used to produce prints, books, textiles and wallpaper.

This exhibition includes a wide range of contemporary approaches to both print and book production. Included are the brightly colored, narrative multi-block prints by Anthony Lazorko and by Theresa Haberkorn, stylized one color prints by Merril Schatzman,

Crimes Against Neighbors, Filling Empty Eyes

the exquisitely detailed wood engravings of Johanna Mueller and shrine like boxes covered with reduction wood prints by Carolyn Sheehan.

Woodcut Box 2, interior

Artists’ books on display include a selection of books printed entirely with woodcut by Andrea Krupp, Earle D Swope, Joseph J Field and Lorelie Clark.

Arbitrary Units of Measurement

Most of the books on display combine woodcut printing with other techniques such as letterpress in the works of David Mittelman, Leon Loughridge, Lynn Sures, Robert Walk, Rupert Deese and Tom Virgin.

Variations on the  Dialectic between  Mingus and  Pithecanthropus erectus #1

Alicia Bailey and Frans Baake present books printed utilizing other print processes such as intaglio, offset and photography.

Clicking on above images will take you to a flickr page with full information about the artwork pictured, as well as other works by the same artist.

Clicking on the name from the artists’ list below will take you to their website.
Alicia Bailey, Aurora, Colorado;
Andrea Krupp, Philadelphia, Pennsylvania;
Anthony Lazorko, Mesilla, New Mexico;
Carolyn Sheehan, New York, New York;
David Mittelman, Denver, Colorado;
Earle D. Swope, Boise, Idaho
Franz Baake, The Netherlands;;
Joseph J Field, Newcastle, UK
Johanna Mueller, Denver, Colorado;
Leon Loughridge, Denver, Colorado;
Lorelei Clark, Ashgrove, Queensland, Australia;
Lynn Sures, Silver Springs, Maryland;
Merrill Shatzman, Durham, North Carolina;
Robert Walp, Chestertown, New York;
Rupert Deese, New York, New York;
Theresa Haberkorn, Boulder, Colorado;
Tom Virgin, Coconut Grove, Florida

Abecedaries in the Reading Room

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

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

Artists included in this exhibition are:

Cari Ferraro (San Jose, California)

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

Dan Smith (Brooklyn, New York)

Dave Buchen (San Juan, Puerto Rico)

Emily Marks (Sonoma, California)

Heidi Zednik (Ashville, North Carolina)

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

Joshua Falconer (Ventura, California)

Karen Hanmer (Glenview, Illinois)

Laura Davidson (Boston, Massachusetts)

Lisa McGarry (Florence, Italy)

Marian Crane (Phoenix, Arizona)

Marie Philomena Noorani (Richland, Washington)

Megan Chandler (Normal, Illinois)

Otis Lab Press (Los Angeles, California)

PBI ABCers (Northport, Alabama)

Philippa Wood and Tamar MacLellan (Lincoln, United Kingdom)

Rebecca Chamlee (Simi Valley, California)

Roberta Lavadour (Pendleton, Oregon)

Shawn Kathleen Simmons (Silver Lake, Ohio)

Shu-Ju Wang (Portland, Oregon)

Sushmita Mazumdar (Arlington, Virginia)

Suzanne Vilmain (Santa Fe, New Mexico)

Wendy Partridge (Cincinnati, Ohio).

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

One Unit Per Increment

May 20 – June 19, 2010

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

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

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

Some, such as Denver’s Homare Ikeda

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

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

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

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

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

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

Dreams 2007

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

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

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

.

Daily Drawing B

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

Alicia Bailey - Book a Week project

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

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

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

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

Views from the Interior: the First Seven-Year Cycle

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

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

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

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