She was apparently looking to replace a bag that had died after several years of use, and kept getting an “out of stock” response. Looking at it from our end suggests they don’t make that kind of bag anymore, and perhaps haven’t for quite some time. Sighz.

To be honest, we mostly set that shop up so we could buy stuff for ourselves, and we don’t pay a ton of attention to it. We occasionally get a couple of bucks because some random stranger buys one of our bits and bobs, but I’m not sure we’ve ever made enough to take the three of us out to a cheap meal. This is partly because we don’t really do anything to promote our wares, but the lack of movement also doesn’t particular encourage us to put in a lot of effort watching the store.

Hence the rather nasty drift in the product line. It turns out that CafePress has added a bunch of items since I’d last paid any attention, as well as discontinuing a few. I updated things some, removing obviously discontinued items, and adding our lovely, hand-calligraphed “Make Tea Not War” slogan to a bunch of new bags, ranging from fancy messenger bags to nice looking little lunch bags.

And hey, you know that tea goes way better with lunch than war does. Way better.

L to R (starting at the little wall):

• Two "old" pieces, our bios, & price list. The top piece ("Beyond the rim") is a sculpture of Sue’s made from wood and human hair. The bottom piece is a photo of mine from the train tracks here in Morris.
• "Askance" – a large profile of Sue.
• "Thought full" – a very large shot of the back of Sue’s bald head leaning slightly forward.
• (Turning the corner) "Emergence" (top) – 2 horizontal shots of *very* short hair growing back in. "Home" (bottom) – Her very freshly shaved head.

L to R:

• A group of 3 all coming from Sue having me use henna to tattoo "No freedom without privacy" onto the back of her freshly shaved head. First is a close up of the dried henna, the strip in the middle shows her hair growing back through the tattoo and the tattoo fading over time, and the third is a B&W shot from when the henna was still wet.
• Lastly, a diptych of two very large "pages" of 420 different photos of Sue taken over a 3 month period as her hair grew back.

The Prairie Renaissance Cultural Alliance (PRCA) asked us about possibly doing a show together this time last year, assuming (I think) that we’d just collect some of her sculptures and some of my photographs, and call it a show.

We both felt, however, that if we were going to do a show together, we wanted to do a show together, so we asked if we could wait a year and assemble some new, joint material in the meantime. The result was this collection of photographs (by me) of her head; in essence she laid the tableau through various treatments of her head as a sculptural object, I shot a metric crapton of photos, and then we sifted through them together and assembled this collection.

While it’s only 8 pieces, it uses over 500 separate photographs out of the nearly 10,000 we shot over the course of 2013 for this project. (We shot over 7,000 images from late February to early May alone!) We also chose to make some very large prints, with the 8 pieces covering nearly 100 square feet of wall. I really love printing large, but rarely can justify it, so it was quite wonderful seeing some of these big prints. :-) The original plan for the big diptych was to have a single piece, 6 feet tall by 8 feet wide, but we couldn’t find anyone that could do art quality photo printing that big, which is why we ended up dividing it into two “pages”.

For folks in the area, the show opens Wednesday, 13 Feb, and there’s a reception Sunday, 16 Feb, from 7-8:30pm.

In a desperate bid to not to be outdone by our amazing progeny, Sue and I will be hanging our first collaborative art show next week at the Prairie Renaissance Cultural Alliance (PRCA) Gallery! The kind folks at the PRCA actually approached us about doing a joint show last year; there really wasn’t time to put it together then, but we agreed to do something this year.

In many ways the “simple” approach would have been a combination of Sue’s recent sculpture and my photography. We really wanted this to be a collaboration, though, and over the course of the year we worked together on a collection of photographs documenting her use of her body (in particular her head) as a canvas. Thousands of photographs were taken (over 7,000 in a single three month period!), forming the source material for the pieces that we’ll be hanging. Sue laid out the tableaus, I shot the hell out of them, and then we worked together to figure out what images to use and how.

Portraiture is one of the oldest of artistic disciplines, often providing an “objective” (or at least objectifying) view of the individual. These images examine an artist, Susan Gilbert, at work, capturing her use of her own head as canvas. Some of the photographs are disconcerting both in their underlying subject, and in their focus and presentation. Some are overtly political in their content, while all comment on how we see those around us and respond to change. No single image is the “true portrait” of the artist; they are all fragments of a whole, distorted by the cultural lens through which they are viewed.

The show includes the biggest photographic prints we’ve ever made (the largest is 60″x40″) and it’s quite something to see the work (and Sue’s head) that huge! We also have a diptych of collages that are 6 feet tall and together over 8 feet wide, so we definitely decided to “Go big or go home!”.

We’ll hang the show next Saturday (8 Feb) and the show will open on the 12th. There will be a reception at the gallery on Sunday, 16 Feb, from 7-8:30pm, where you’ll be able to publicly question our sanity while eating nummy snacks!

…a commodity has value and a gift does not. A gift has worth. – Lewis Hyde

Tomorrow (24 June) marks the 24th anniversary of our marriage!

There are so many things I’m grateful for, and no way to enumerate them or document them here, so I’ll settle for an example.

Among her many “strangely inventive” artistic talents, Sue makes books. Wonderful, handmade books, where she cuts and folds all the paper, sews together the signatures, builds the cover, and glues it all together. Some of these are displayed in galleries, while others (such as the one pictured here) are notebooks or journals filled with blank pages inviting us to share our thoughts in word or sketch.

For the past several years, Sue has made such journals as high school graduation gifts for our and, more substantially, Tom’s friends in that year’s graduating class. As he moves on to college, the numbers are beginning to contract, but over the years she’s made many dozens of these books, often for people we didn’t actually know terribly well. That’s a lot of work, constructing by hand an object whose future is far from certain. She is, after all, making blank books, in an age where the future of books is at best unclear, an age where most are far more likely to send a text message or post on a blog [I’M LOOKING AT ME!] than to write a letter or keep a journal on paper.

Thus these are, in the true sense that Hyde means in the opening quote, gifts. As handcrafted pieces of art, they have clear worth, but their value (and how they are valued by the recipients) is quite uncertain.

Yet she keeps making them. In a flurry of activity every May between the end of the University school year and the high school graduation she cuts and folds and glues and frets. She picks out different papers to use as covers, and has Tom give her feedback on which covers would make the most sense for which graduate. She increases the worth of the world (if not its value) through these gifts, each of which is in fact a multiple gift. It is obviously a gift to the graduate, but this effort is also a gift to our son, and a thank-you to the families of these students who have been important to him.

And, to the point of all this, these are also a gift to me. For while each of these books is made by her and is officially a gift from Thomas, her work enriches us all and the glow it casts as it goes out into the world reflects back on our whole family even if it was her hands that did all the sewing.

So I say “Thank You”, for this and the untold gifts large and small that she has shared with me. It has been a truly splendid 24 years together, and I look forward to many more decades to come!

With all my love,

     – Nic

It might also be useful to read the lyrics since Aesop Rock’s verses (which are crucial to our exchange) are tricky to follow and understand. (I totally missed the “Vin Van” reference to Vincent Van Gogh until I read these, for example.)

Now to the exchange:

Tom: Thank you for paying for that [something minor]… For paying for college and so many other things… I feel like I owe you guys more than I could ever pay back…

Nic: DON’T SEND ME AN EAR!

Tom: That was the single best response you could’ve sent :-)

A nice example of why art and music matter. They give us a short-hand language for describing important and difficult concepts. Tom and I had discussed the lyrics to this song at some length when the video came out a few weeks ago, and Tom’s initial text really resembles some of the ideas Aesop is presenting in the song. Because of that conversation, I could respond with could appear as a bit of a non sequitur that would instead carry with it tons of information, and manage to raise a smile at the same time.

I’ll wrap by definitely recommending The Uncluded album. I think “Delicate Cycle” (video above) is a really wonderful song; I listened to it about a zillion times when the video came out. While some of the songs seem to have Kimya and Aesop’s parts kind of pasted together, Perhaps the two most “unified” sounding songs in my opinion are “TV at 10” and “Organs”, both of which are just killer. Tom really likes “Bats” as well. So check it out, and share your thoughts.

You try to live your life like you used to, and the “used to” isn’t there.

It’s gone.

Gulp.

This is an incredible five minute piece combining beautiful still photography, video, and audio, that in a few short minutes captures the depth of love and the tragedy of loss in the life of Tom Rose, who is struggling to cope with the loss of his wife of 63 years. It is a form of multi-media poetry, powerfully distilling decades of life and experience into a frame or a sob.

Be warned – it’s not an easy watch. It is, in the end, a scary dark patch in all of our lives, and the lives of those we love and care for; a price we pay for the joy of being together is the pain of being apart.

Big props to Maisie Crow for such a fine piece of work. Every part of it is quite something, and together the pieces pack an enormous emotional wallop. And thanks to FlakPhoto for bringing it to my attention.

My amazing wife and son both continue to produce fine and mighty work, and occasionally the world recognizes it’s splendiferous brilliance :-)

WeatherGrrrl has been heavily submitting her work to shows in the last year or so, and while she’s had good luck at places like WARM, her lot (like that of most artists) has been that of the rejection letter.

One happy bit of news this week, though, was the use of four of her pieces in the catalog for the Colorado Mesa University 4×6/6×4 Poscard Exhibit. It’s not a juried show (we think they accepted everything they were sent), but in the nice catalog book (available on Blurb) they featured the piece above in one of the “larger” images, which was a nice treat. (Her pieces are on pages 15 and 17 of the book in preview mode.)

You might also check out WeatherGrrrl’s post on this for more info.

As mentioned earlier, I submitted three pieces to this year’s Horzontal Grandeur show hosted by the Stevens County History Museum. I’m happy to say that two of the three were accepted (above and below).

There will be an opening reception on Friday, 8 July 2011, from 6:30pm to 8:30pm, and it would be super cool to see a lot of people there! Sadly, I won’t actually be one of those people, as Tom and I will be leaving day after tomorrow for a month-long road trip through New England, visiting 10 colleges in 30 days. The ever fabulous Weather Grrrl should be able to attend, however, so you can visit with her and talk about art. :-)

Jamie Beck and Kevin Burg have made some very cool and wonderfully subtle animated GIFs that may possibly be the most interesting use of that technology that I’ve ever run across. Sadly, a lot of what they’ve done with it isn’t that exciting (lots of clothes and hair moving gently in a breeze), but there are a few examples (such as the one above) that are real gems. If you’re interested you might check out “Far Better Than 3-D: Animated GIFs That Savor A Passing Moment”, a nice article on their work (which is I where I learned about it). You can also see more of their animations here and there.

Actually, I helped a piece of Jess Larson’s wonderful art become the central component of a book cover, but let us not quibble.

As patient, long-time readers might know/remember, Jess Larson makes very cool art, including a fantastic series of girdles from several years back. There was a showing of her girdles at the PRCA back in 2006, and I had the chance to carefully photograph the show, posting many of the results on Flickr.

Zip ahead several years, and one of these photos caught the eye of the folks at Caketrain as they were looking for ideas for the cover of a new book they were publishing: Tongue party by Sarah Rose Etter. Some e-mails were traded, etc., etc., and Jess and I both happily agreed to have our work (her girdle, my photo of it) used for their cover.

One of the unexpected little treasures that was waiting for us when we got home from Arkansas this week was my copy of the book, and the cover (pictured above) is really wonderful. I love the texture they added as the background and the way they’ve incorporated the text. I haven’t actually read the thing yet, but the pre-press blurbs certainly sound wonderful and I look forward to adding it to my summer reading list!

Thanks to Jess for making such cool art, giving me such nifty things to take pictures of, and being generous about the use of her art in this new context. Thanks also to the kind folks at Caketrain for seeing the work and getting in touch, and for making such a cool cover out of it all. This is another neat example of the value of sharing work on-line with tools such as Flickr; without that none of this would have been possible. I’m not getting paid anything beyond my free copy of the book, but now a whole new set of people will see Jess’s art and my photography, and that’s quite fine in my humble opinion.