Dream Freely

 

 

This is a picture of the moon.

Please humor me for ten seconds, and be silent. Look at the moon and think about the art that we will make in the future. Ten seconds.

(one thousand)

(two thousand)

(three thousand)

(four thousand)

(five thousand)

(six thousand)

(seven thousand)

(eight thousand)

(nine thousand)

(ten thousand)

Ten.

Fifty.

This year is the fiftieth anniversary of the free speech movement. That’s both a historical event that has special significance for Berkeley, Palo Alto, San Francisco, and the wider Bay Area. And it’s something that set up a chain of events that gave citizens of the US special privileges with respect to media and rights in the public sphere.

Related to the free speech movement is free software. This is the idea that every human being should be able to interact with computers without any shackles of commercial control. Free software can be thought of as a social movement that started when one guy wanted to print, and couldn’t use the printer software. Part of my art practice is being a free software diplomat.

Related to free software is free culture. Culture is what we make as artists. Freedom of expression is important, and a vital tool in making art.

This fall, in honor of the free speech movement, I’m dedicating myself to free culture. As part of this I’m looking for allies, artists, and accomplices. My first project is to turn any unused computers in the Graduate Computer lab into a free-software based rendering grid during the weekend midnight hours. I’ll keep this to un-used workstations on the weekends, between the hours of midnight to 7am, and choose to think of it as these machines dreaming freely.

Notes on the software/hardware configuration.

Asama OG Combinatorics

Production and process notes for the creation of the compositions and plates for Asama OG can be found via Asama OG x Nezu Museum x Birgit Skiold. Some of the finished pieces are detailed in Asama Stone Ensos.

Other pieces are contemplated, and not-yet-actualized. Further explorations, new and different compositions, and the theory of generating and combining these different plates into works on paper is detailed below.

A quick setting of the scene: during the first half of 2013, four compositions designed for direct gravure were developed for rendering to copper plate and paper during two weeks of photogravure workshops at Crown Point Press. In addition, during the evening hours of the workshop, three experimental deboss plates (copper plates with machine-directed incisions) were produced at TechShop. A final layer was composed during the first week of workshop from a reclaimed copper plate, with various neo-drypoint and aquatint flourishes. This reclaimed plate was intended to be inked with one of three colors, all also mixed with silver metallic: orange, pink, light blue.

asama-og-plates-1.2

The 8 Asama OG Plates

So, to recap the math: 4 direct gravure images x 3 deboss images x 3 colors. Doing some simple calculations gives a first-guess edition size of:

4 x 3 x 3 = 36 combinations of (enso x color x deboss) plates

Thirty six combinations of direct gravure, color, and debossing.

During the workshop, all the plates were produced by Ianne Kjorli, and a partial edition was proofed. It was quite hectic, and the development of the ink colors, deboss plate creation, and direct gravure plate-making were all disjoint processes. There were a lot of moving parts and it was unclear to all how the parts would eventually fit together. Most of the time what made it to paper was the combination of the just-finished gravure plate plus the just-finished or clean deboss plate plus the color du jour. Looking at these prints after the fact makes me think: Ianne Kjorli is made of magic, or magic cross unicorn.

The proofs, any works that were outright mistakes or pure experiments, and all plates sat around on drying racks off Harrison street in downtown San Francisco, oil slowly drying. Weeks pass. Fleeting images of these prints, caught in a snapshot as if archived on tumblr, preoccupy my early waking dreams. At least one month. Eventually everything is claimed, and brought back to Devastation Pacific.

Surrounded by the green walls of Devastation Pacific, the prints are carefully unwrapped. The prints are everything hoped for and more. I go through the prints, trying to assess the output but thinking to myself: this cannot be all of them. Sadly…. it is.

It really is.

It is the end of them. I realize that I don’t have all four direct gravure plates in combination with the three possible colors in the reclaimed plate. Ie, of the basic set of 12 (4 x 3), I have maybe six. Eight?

4 x 3 = 12 basic combinations of (enso x color) plates

And, for fun:

12 > (6 || 8)

So ….. six or eight are less then twelve. Why even bother counting? Pause. Look out window. Breathe. Given that, now what. Given what I’ve got, how is this to be hung?

I start sliding these prints around on the magnets, and combine up to four on a horizontal line. Some of the test prints turn out to have real value. In particular, the test prints of the reclaimed plate with the colors blue, pink, or orange are all winners. In numbers:

3 = 3 combinations of (color) plates

Similarly, the test prints of the deboss plates are charmingly sculptural. So:

3 = 3 combinations of (deboss) plates

I recall Ianne Kjorli strongly championing the combination of black direct gravure and debossing, without the background color. Although only a few were prototyped, these prints are studio visitor favorites. Doing a complete set seems like a no-brainer.

4 x 3 = 12 combinations of (enso x debossing) plates

A week later, two tops, everything gets packed up and bundled up for a trip across the bay to meet a photographer.

More time elapses.

I start sliding photographs of the prints around on my computer screen. Weeks pass. A month. Two. During this time, there is more sliding around, and talking, and trying to figure out these combinations. I come up with three, one composed of two plates. One with three, in a triangle shape. And one with four, in a square shape. I realize that the color plates can be printed in two orientations, which causes a combinatoric explosion and will thus be ignored with the utmost precision.

Some time later, I cut down the prints, and double-hang the studio walls. Re-hang, according to my pre-visualizations on the computer. Very satisfactory.

To recap: six months after the production, I am just figuring out what to make of all this. There is an inventory of pattern building blocks, there is this idea of a transformable matrix, re-configurable and active prints. It is only at this point of careful study do I realize that the full set of prints needed is vast.

Vast. A best guess at the full set of required prints:

3 x 3 = 9, 3 sets of all (color) plates
+
2 x 3 = 6, 2 sets of all (deboss) plates
+
4 x 3 = 12 combinations of (enso x debossing) plates 
+
4 x 3 x 3 = 36 combinations of (enso x color x deboss) plates

How vast?

63 prints in one full edition

For reference, a complete edition is depicted in the following graphic.

asama-og-component-edition-1.2
The 63 Individual Prints in Asama OG Combinatorics 1.2

Some good news: it is possible to create finished compositions lazily, from a partial edition. New compositions like:

nezu-via-pritzker-shoebox.1920z

Asama Enso Shoebox for Nezu (blue, orange v, mushroom, cornerstone), 2014

Four intaglio prints. Three with debossing, one orange, one blue. Each print is 510 x 660mm (20 x 26in), so composition is 1020 x 1320mm (40 x 52in) as pictured.

Can be created from the following partial edition:
asama-og-component-edition-1-used

Used Prints in Asama Enso Shoebox for Nezu

kochi-triangle-1.1920z

Asama Kochi Ensos 1, 2014

One intaglio print. One blue, one black with debossing. The print is 33 x 26 inches, ie two plates with 3.5″ margins, as pictured. Paper is KH-17 Tosa Hanga Natural printed chine colle on Somerset backing.

Can be created from the following partial edition:

asama-og-component-edition-1.2-used-2-kochi-1

Used Prints in Asama Kochi Ensos 1

Asama Bilbao Orange Enso, 2014

Asama Bilbao Pink Enso, 2014

Diptych of two stone ensos. Size of each is 100cm x 133cm KH-17 Tosa Hanga Natural printed chine colle on Somerset backing.

Thinking about:

Andy Warhol, Shadows, Menil and MOCA

周年のプロジェクト

2013 + 10 = 2023

2013 + 50 = 2063

2013 + 100 = 2113

記載

二枚の添付垂直象徴がある水平作。和紙の大判スクリーン印刷。

それぞれの作は少なくとも一つの独特の記念印があります。この記念印は一周年、二周年、十周年、50周年、百周年のが選ばれます。あるのは多い印があって、例えば50周年の印と百周年の。10、50、100の交われた周年。十周年等の入道雲。二周年印の壊れた格子。

理論的には、これは七五三の根柢にある数霊術と似合っていますが、大人とより広い複数年や世代の為です。ですので、あるバージョンは100−10−2で、もう一つのは100−50−10です。

ジョン・ケージの誕生百周年記念。好み道場の創立50周年記念。結婚十年記念。東日本大震災と津波の二周年。シリア騒乱の二周年。子供の一歳の誕生日。

2_cali_contrails_installed

カリフォルニアの青い地平線印刷、2013年

二 枚の側面にある狭い二部作。二枚の短冊が中心で交われて一枚の狭い垂直ひもになって、二面の壁があう所に掛かっています。お好みならば、両方の隅で合う平 面が合流点で少し異なる印がありえます。一枚の短冊の広さは90ミリ、 長さは965.2ミリですので、全表面積は90ミリx1930.4ミリです。リサイズした表面のがんぴで手動供給型のインクジェットです。

含めたコンポジションの要素:

  • 10、50、100周年の印
  • 月の絵
  • 夕焼けのかけら
  • フェード

カリフォルニアの飛行機雲、2013年

広 い二部作。四枚の不規則な大きさの短冊が中心で交われて一つの広い水平面の切り取りが見えるひもになります。一枚の短冊の広さは431.8ミリ、長さは 965.2ミリですので、全表面積は863.6ミリx970ミリです。リサイズした表面のがんぴで手動供給型のインクジェットです。

含めたコンポジションの要素:

  • 10周年の印、雲クラスター
  • 2周年の印、明るい格子
  • サンフランシスコからロスまでの飛行機雲
  • サメのひれの帆
  • フェード
  • 結び目の飛行機雲
  • 回帰シミュレーション等

1_a_future_technique_installed

カリフォルニアの青い月の印、2013年

狭 い二部作。二枚の短冊が中心で交われて一枚の狭い垂直ひもになって、二面の壁があう所に掛かっています。お好みならば、両方の隅で合う平面が合流点で少し 異なる印がありえます。一枚の短冊の広さは90ミリ、 長さは965.2ミリですので、全表面積は90ミリx1930.4ミリです。リサイズした表面のがんぴで手動供給型のインクジェットです。

含めたコンポジションの要素:

  • 100周年の印
  • 月の絵
  • 100対1のフクロウ
  • フェード

未来の技術、2013年

広 い三部作。三枚の長い短冊がへりで交われて、一枚の水平面のひもになります。その三枚の中に一枚は部分が切り取られました。一枚の短冊の広さは431.8 ミリ、長さは965.2ミリですので、全表面積は1295.4ミリx970ミリです。リサイズした表面のがんぴで手動供給型のインクジェットです。

含めたコンポジションの要素:

  • 1、2、10、50、100周年の印
  • 100対1の要素
  • 100対1のフクロウ
  • 月の絵
  • カリフォルニアの夕焼けのかけら
  • フェード
  • 太陽の閃光

上に示すように

第3回NBCメッシュテックシルクスクリーン国際版画ビエンナーレ展

受賞者展

宮寺雷太、曽我彩華、わべ まい, ベンジャミン ・デ・ コズニク

Galleryうぇすと

東京都中央区銀座1丁目3番地3号 銀座西ビルヂング

開催資料

会期:4月22日(月)~27日(土)

製造ノート

紙は高知の和紙です。KM-04 Surface Gampi Naturalはカリフォルニア州サンタモニカ市のHiromi Paper International会社から調達しました。

カリフォルニア州サンフランシスコ市Capp通りのDevastation Pacificビルで印刷されました。

English language version of this page: The Anniversary Project.

Notes on The Anniversary Project

2013 + 10 = 2023

2013 + 50 = 2063

2013 + 100 = 2113

Description:

Two horizontal pieces, each with accompanying vertical ensigns. Large format screenprints on Japanese paper.

Each piece contains at least one unique mark indicating an anniversary year. There are one, two, ten, fifty, or hundred year anniversary year marks to choose from. Some of the pieces contain multiple marks: a joint hundred-and-fifty year anniversary. A combined ten-, fifty-, and hundred-year anniversary. A massed cloud of ten-year anniversaries. A broken grid of two year marks.

In theory, this is similar to the numerology behind the Japanese festival Shichi-Go-San (7-5-3), but for older people and spanning much wider spans of years, including multiple generations. So, one version is 100-10-2.  Another version is 100-50-10.

The hundred-year anniversary of John Cage’s birth. The fifty-year anniversary of the favorite dojo opening. A ten-year wedding anniversary. Two-year anniversary of Tohoku tsunami, the two-year anniversary of the Syrian uprising. A child’s first birthday.

2_cali_contrails_installed

Cali Blue Horizon Ensigns, 2013

Two narrow diptychs, flanking. Two strips of paper, joined in the middle to form one narrow vertical band and hung where two walls meet. If desired, both planes that meet at the corner can each have a slightly different ensign at the meeting point. Size is 90mm x 965.2mm for each strip, so a total surface area of 90mm x 1930.4mm. Hand-fed inkjet on re-sized surface gampi.

Composition elements include:

  • 010, 050, 100 anniversary elements
  • moon painting
  • sunset fragments
  • fades

Cali Contrails, 2013

Wide diptych. Four irregularly-sized sheets of paper, joined in the middle to form one wide horizontal band with visible cuts. Size is 431.8mm x 965.2mm for each sheet, so a total surface area of 863.6mm x 970mm. Hand-fed inkjet on re-sized surface gampi.

Composition elements include:

  • 010 anniversary element, cloud clusters
  • 002 anniversary element, radiant grid
  • San Francisco to Los Angeles contrails
  • sharkfin sails
  • fades
  • knot line contrails
  • type regression simulations

1_a_future_technique_installed

Cali Blue Moon Ensign, 2013

Narrow diptych. Two strips of paper, joined in the middle to form one narrow vertical band and hung where two walls meet. If desired, both planes that meet at the corner can each have a slightly different ensign at the meeting point. Size is 90mm x 965.2mm for each strip, so a total surface area of 90mm x 1930.4mm. Hand-fed inkjet on re-sized surface gampi.

Composition elements include:

  • 100 anniversary elements
  • moon painting
  • 100-to-1 owls
  • fades

A Future Technique, 2013

Wide triptych. Three long sheets of paper, one with a section cut out, joined at the edges to form one wide horizontal band. Size is 431.8mm x 965.2mm for each sheet, so a total surface area of 1295.4mm x 970mm. Hand-fed inkjet on re-sized surface gampi.

Composition elements include:

  • 001, 002, 010, 050, 100 anniversary elements
  • 100 to 1 element
  • 100 to 1 owls
  • moon painting
  • cali sunset fragments
  • fades
  • sunglint

As shown:

Awards Winners Exhibition
The 3rd NBC MESHTEC TOKYO INTERNATIONAL SCREEN PRINT BIENNIAL
Miyadera Raita, Soga Sayaka, Wabe Mai, Benjamin De Kosnik
April 22-27, 2013
Gallery West, Ginza 1-3-3, Chuo-ku,Tokyo, Japan.

Production Notes:

Paper is from Kochi, Japan. “KM-04 Surface Gampi Natural” sourced via Hiromi Paper International in Santa Monica, CA.

Printed at Devastation Pacific, Capp Street, San Francisco, CA.

Japanese language version of this page: 周年のプロジェクト.

Anti-MFA Art Project

Whereby one lucky individual is allocated the sum total of one year of expenses for a for-profit MFA program. For 2011, the AMAP project is budgeted $38K USD, based on SFAI and an assumed cost of living for San Francisco, CA.

These funds can be used only for art production or acquisition. Keep all receipts, and categorize expenses as per Getty taxonomy.

At the end of the year, total up the amount spent and art processed. Based on these experiences, create installation for display on site of a MFA-granting institution.

Via:

Hennesy Youngman, Art Thoughtz: Grad School

Hennesy Youngman, Art Thoughtz: Performance Art

Creative Capital