MINIMAX at Bullet Space

Andi, Sam and I went up to NY two years back (October 2015 I think) to see some old friends.  While there we dropped by Bullet Space; our friend Amanda knew somebody in the show. I started to write a draft post about it here and then...um, got distracted.  I suck at blogging.

I made a 2017 New Year's commitment to blog regularly here, so this morning started going through unfinished posts.  There's one about Citywide Philly that is worth finishing, so I'll come back to that sometime this spring.  Others I just dumped.  But I really liked this MiniMax show and felt it would be a shame to just delete it altogether.

So here's the draft from 2015.  It was a great show.  I literally (and unfortunately) have no words

If you were in this show let me know and I'll caption the images!

Studio Resources - Reading Material: Rich on Paper, Poor on Life, by Philip McKernan

I'm doing a new thing here (for me) - I'm going to start posting blog entries about the studio research and resources I've been digging into over the past few years - things that have helped frame the problem of balancing an artistic practice and and all the other things that we have in our lives.   

In that spirit, I'll point out that about a year or two back I read Rich on Paper, Poor on Life, by Philip McKernan, right at the beginning of my rethinking how that balance should be, and found it really helpful.  In the book he talks about fear, authenticity, wearing masks, and how choices we make are what we become.

McKernan is an Irish consultant and public speaker who works with clients to help lead more authentic lives - lives more closely aligned with their passions.

You can hear him talk on various podcasts and he's definitely worth a listen - here's one I'm listening to now:

https://unmistakablecreative.com/podcast/the-pillars-of-a-meaningful-life-with-phillip-mckernan

Studio Resources: Don't Keep Your Day Job Podcast by Cathy Heller

I'm always looking for art and business inspiration through books and podcasts - ways to focus in on my art practice - and thought I'd share one I came across this past week:

Don't Keep Your Day Job by Cathy Heller

Cathy is a musician who's carved out a lucrative career writing music for TV shows.  The first episode is more or less an annotated tour through her own personal history as a creative, learning how to build a career around her own passions.  It's worth listening to as much for Cathy's contagious enthusiasm for the topic as for the practical advice she offers.  I highly recommend.

Pulse Miami recap

Andi, Sam and I made it down to Miami art fairs for the first time.  We dropped by the Robert Henry Contemporary booth at Pulse, where my work was hanging with Mike Childs and Derek Lerner.

Robert, Henry, Sam and Andi in the RHC booth

Robert, Henry, Sam and Andi in the RHC booth

Andi, myself and Robert.

Andi, myself and Robert.

My favorite piece at Pulse was by Wilson Scott Stevenson in the Jayne Baum gallery booth:

Wilson Scott Stevenson in the Jayne Baum gallery booth

Wilson Scott Stevenson in the Jayne Baum gallery booth

But I also liked this Tim Hawkinson piece (can't remember what booth):

At Satellite there was this lovely installation by (I think) Laurencia Strauss:

IMG_5157.JPG

Cruise ships as islands.

PULSE Miami Beach Dec 1-4 2016

Well, the work is shipped off and framed for this one!  One 38" x 50" plus 4 30" x 44" drawings, in good company with Derek Lerner and Mike Childs.

Pulse Miami Beach

December 1-4, 2016

robert henry contemporary

Booth N-205

derek-lerner-mike-childs-colin-keefe.jpg

Pulse Miami Beach

Indian Beach Park
4601 Collins Avenue (at 46th Street)
Miami Beach, FL 33140

Purchase tickets>>>

More information and directions>>>

Hours:

Thursday, December 1
VIP Preview Brunch 10am-1pm
Public Hours  1pm-7pm
Young Collectors Cocktails  5pm-7pm

Friday, December 210am–7pm

Saturday, December 310am–7pm
Miami Morning  10am-12pm

Sunday, December 410am–5pm
Miami Morning  10am-12pm


robert henry contemporary
56 Bogart St
Brooklyn, NY 11206

For more information, please contact us:

(718) 473-0819 or visit our web site

Installation shots of Schema, and first friday in Lincoln NE

The reception for Schema at Elder Gallery in Lincoln NE was Friday.  Here are some installation shots.

I also got to spend the day doing one-on-one critiques with about a dozen Nebraska Wesleyan students.

After the reception my hosts took me around to Lincoln art spaces, including Workspace and Tugboat Gallery.  Below are photos from Eliot Dudik's show at Workspace - "dead" Civil War re-enactors.  Workspace is run by an artist couple, Larry Gawel and Dana Fritz, and they've been in operation for 9 years.  Great show!

Schema: Works on Paper

I'll be heading out to Lincoln, Nebraska this week to meet with Nebraska Wesleyan University students and attend the reception for Schema: Works on Paper, an exhibition I organized with David Gracie, the director of Elder Gallery.

It looks to be a great show!  I'll post photos when I take them.

Artists:

Colin Keefe
Robert Lansden
Samantha Mitchell
Bri Murphy
Amy Ruffo
Matthew Sontheimer

Work in progress, and studio visits for MAC

I had a slow February in the studio, which I think was partly a wind down from getting the show at Robert Henry Contemporary together.

I'm working on this piece again after noodling on some smaller stuff - I changed to a horizontal format and I think it's really close.  Maybe another week.

WIP 30" x 44" 

WIP 30" x 44" 

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Meanwhile Andi and I have been doing studio visits for the next show at MAC, which will be Anne Canfield and Gary Petersen.  Great painters both.   I also got in a studio visit with Jennifer Williams who will be showing with us in June.  I'm into these shots of artists in their studios and am going to start doing them pretty consistently.

 

Anne Canfield in her studio. 

Anne Canfield in her studio. 

Gary Petersen in his studio. 

Gary Petersen in his studio. 

Jennifer Williams in her studio. 

Jennifer Williams in her studio. 

3D Printed Edition complete

I've gotten back my prints from shapeways.com, and the quality's pretty good.  Can't speak to archival quality of the plastic, but at a $100 price tag I think this is something we'll just have to put out there as part of the price point.  I could print them in steel/bronze but they'd obviously be more expensive.

These will be sold through Robert Henry Contemporary as part of their Artifacts program.  It's an edition of 30 with 3 artist's proofs.

STILL NEED A TITLE.

They're not signed yet but the signature and edition sequence will go on the underside, in the thickest part of the model where the ink won't show through.

They're not signed yet but the signature and edition sequence will go on the underside, in the thickest part of the model where the ink won't show through.


Colin Keefe: Methods for Breeding Urban Systems

January 8 through February 21, 2016

Robert Henry Contemporary

56 Bogart St. Brooklyn, NY 11206 (718) 473-0819 | Gallery Hours: Thu - Sun 1-6pm

Opening reception: January 8, 2016, 6-9pm

 

Colin Keefe
Strata, 2014
Ink on Paper
30" x 44" (76.2cm x 1.1m)
Detail
©2015 Colin Keefe/Robert Henry Contemporary

In Methods for Breeding Urban Systems, his second exhibition with the gallery, Colin Keefe draws, in ink on paper, meticulously crafted plan and perspectival views of fictitious built environments constructed with design principles gathered from diverse sources such as the reproductive processes found in microbiology and astronomy, urban planning and architectural theory.


Although sometimes he begins each drawing with a set of parameters that detail a process of development, his obsessive depictions of layered metaphorical urban growths usually begin at random. Keefe says, “I may have something in mind for a particular drawing, a set of challenges or obstacles that I plan to introduce into the drawing that I then have to respond to, but in general the way the drawing progresses is incremental and organic…one mark acts as a biological progenitor for the next.” Each "seed", a city block, begins to interact with its environment and as the drawing "grows", clusters of city blocks build larger neighborhoods randomly, oozing here or spurting there.

In the same way that a gathering of ants acting autonomously create a colony, each line in the drawing creates shapes and patterns that in turn act visually on its neighbors and collectively constitutes the visual experience of the drawing. This bottom-up aggregation and interaction of parts is a metaphor for the self-organizing principles found in nature and provide Keefe a method to create the drawing.

Using a biological interpretation of a city's evolution as metaphor, each drawing resembles a microscope slide teaming with life. A natural selection for architecture reminiscent of biogenesis, the ancient Greek idea that living things could spontaneously come into being from nonliving matter, Keefe's complex adaptive drawings display emergent behaviors and are a visual exploration of theories of self-organization, emergence and complexity.

The Beginning of Everything

This drawing took about 80 hours of concerted effort.  It's 42" x 90".  It'll be shown at Robert Henry Contemporary January 8, along with a half-dozen smaller (30" x 44") works and the Artifact multiples I've been posting about.

I'm pretty excited about this show; it's been four years since I last showed in NYC and I think in the interim I've gone further down the rabbit hole of what this work is about really - a conflation of urban planning, microbiology and cosmology that I could talk about for hours...but when I'm drawing, it just kind of happens.


Manny stole my Sol LeWitt

Someone emailed me the other night, doing research on all of Sol LeWitt's Wall Drawings. Apparently LeWitt kept track of all of the "first drafters" of each of his pieces, and I did an install of one of his shows at Ace Gallery in 1997.

Anyway, brought back memories of schlepping down to Washington Street (I think?) on spring mornings, crappy coffee in a Celadon blue Greek printed paper cup, to work on a drawing that now I only vaguely remember as being "wavy and long".  I think it's this one (below). I had a crush on one of the gallerists too, which I think was pretty standard fare for single 20-somethings.

Sol used to give out prints of his work to the artists who worked on his drawings. His studio mailed mine to 57 Hope Street in Williamsburg where I lived, but I never received it. I always assumed Manny, the gun-toting, porn-wallpapered-basement-office superintendent of the building who used to scream at the Chinese factory workers across the street, and who we paid to get our mail, and who we had to bribe to run the elevator, threw it in the trash.

Oh well.

Final 3D model sent off to printer

I took a few day's break from the studio after getting the big drawing done, but finishing the Artifact for the show at Robert Henry Contemporary was still a worry.

So I sat down yesterday and worked out all of the technical problems I was having.  I also figured out a way to mask a drawing into a hex before converting to SVG, so when I got the SVG file into Blender I didn't have to learn some stupidly obscure way to do it.

This was a product of a lot of dumb hacking and old school drawing.  I've ordered 10 from Shapeways.com in polished plastic, and I'll see what the physical product is like shortly before Christmas.  They'll be part of a limited edition of 30, priced at $100.

More 3D Model Progress

So I worked up another prototype and sent this off to the printer, specifying a few different materials (frosted acrylic, stainless steel), and should get test product back in a week or so.

Top two images are in Blender, last image is from order screen in shapeways.com.  The test object will be about 1 3/4" across.