Wednesday, June 26, 2019

Exhibition

A few weeks ago, answering a call for entries from the American Print Scholars, I submitted a few pieces for consideration. Some are finished, while a few were in prototype.

I was accepted! I had missed their congratulatory email because it went to spam; however, their persistence (kindly calling me) got three works in the Rockaway Artist Alliance annual print show, Stories in Print.

The large gallery is housed in an army barracks in the Fort Tilden complex in Fort Tilden, New York, nestled in between the upscale, shore-front neighborhood Neponsit and the "Irish Riviera", Breezy Point. Hurricane Sandy took a huge toll on the area; in parts it's still recovering. However, Fort Tilden is a wide open space, with playing fields, wild vegetation and other attractions I have yet to explore.

The building, Studio 7, houses a full etching studio, a yard for contemplation, an enormous gallery, and a few rooms complete with parlors and kitchen. An adjacent building has an additional artist's studio, where I saw a painter's work.

The RAA accepted three pieces: the lenticular, Fire! Fire! and another I'd completed shortly before, called BLDM. Fire! Fire! will always remain a digital print, however BLDM, now a digitally printed diptych is slated to be a silk screen in the future.

BLDM, two-part print, digital prototype, 22 x 60 in. (56 x 153 cm).

That very week, during the fourth day of testimony in a disciplinary action against a police officer who held a Staten Island man, in a choke hold, leading to his death, it was revealed that a commander responded "Not a big deal" when a police officer on the scene informed him that the man, Eric Garner, wasn't breathing and was DOA.

During the incident, seven police officers were trying to arrest Mr. Garner for--ready?--selling loose cigarettes. One wrestled Mr. Garner to the ground and held him in a chokehold, during which he pleaded with officers 11 times with the phrase "I can't breathe".

The method is prohibited by the NYPD and the officer was never indicted by a Staten Island grand jury. A federal inquiry went nowhere and until the Civil Complaint Review Board brought charges against the officer, and the case was at risk of expiring the 5-year statute of limitations on July 17, the five-year anniversary of Mr. Garner's death. The result was the hearing, and Mr. Garner's final words have become a potent slogan of the Black Lives Matter movement.

The response by the lieutenant--is proof positive that Black lives don't matter; not to the cops, anyway. It's not a big deal.

More on the show in the next post. 

Tuesday, June 18, 2019

By any means necessary

Printing By Any Means was not an easy task. The prototypes were a digital breeze. Tried them on coated digital paper and Arches 88. The coverage was nice. Getting it to screen porperly was another story.

I was a silk screening lunatic once, going as far as pulling prints with a cigarette hanging out of my mouth (geez!). Decidedly reformed, the methods have transformed--some shops are water-based, others still print with oil-based inks but cure the prints in a 700-degree (371 C) conveyer kiln. Cleaning screens is no longer with liquid solvents, rather with solvent from an aerosol. Much better.
The blend just was't
working.

There are a number of screen printers scattered throughout Brooklyn and Queens, some in the Bronx. T-shirts are the favorite mode of expression, but the raw edge and large-size capacity make it great for all kinds of communication. The inks lend themselves to various opacities and while some don't like the thickness of the inks layered one on top of the other, that's one of the qualities I like about silkscreen. I never cared for a large edition of prints. I needed many proofs because I pushed the registration with fine lines. I'd only get 10-12 good ones and that's fine by me.

Which is why By Any Means needed to go through a number of file alterations before going to press. The first press requested AI files. I sent those, with PDFs of the two layers of text. I had advised that the X print as a blend, but the shop felt that it wouldn't work over such a large area (the X blends over a 20-inch (51 cm) span.

Yet another shop felt that screening the blend would work, but the dot screen ended up as a moiré and didn't work out.

However, digging a little deeper got me Kayrock Screenprinting's address. At the edge of where Newtown creek pierces Queens and Brooklyn, a huge brick building houses a number of industries, some relating to art making.

Kayrock is decidedly lefty; unafraid to say so on various printed material in the shop. They have handsome work they've printed from other clients; I am amazed at how different artists use the medium. I'll be posting some soon.

Just got this from the master printer at Kayrock Screenprinting in Greenpoint, Brooklyn, life is good.






Tuesday, June 11, 2019

Press Notes--"She has neither"

I've been thinking on why my entries to this blog are so spotty. Of course, media trends make blogging almost obsolete; records of one's progress are held on IG, as a running to-the-minute image diary, recorded by phone with a caption.

Going forward, I probably will abandon blogging, since my viewers just don't have the time or interest to read the tech notes and progress of this project. They'd prefer to see images and videos. A picture is worth 1,000 words.

However, there have been some twists in the printing. The image in the previous post, She has neither, is set for 3-D polymer plates and printed in Syracuse, NY by Boxcar Press. 

Totally patient individuals, my CSR informed me there were issues on several fronts. I'll post these separately. In one hit, I can picture people's eyes glazing over.

Press size. The press size, obviously, determines the paper, hence the size of the piece. Since I've been prototyping on a digital inkjet printer, the roll widths are 24" (61 cm). I've been putting Arches 88 through the machine, which has a width of 22" (56 cm). We'll talk about Arches later.

Offset sheets are larger, but can only take certain types of paper and have huge make-ready needs. DSH is a boutique piece, and, although funded, a consideration is what to do with all the material that is eventually printed. Another discussion.

Boxcar has an affectionate relationship with their equipment, lovingly displayed on their equipment page:


From the company's website. On its side it says "ZWEI
FARBEN", meaning two colors in German. I've always
worked in Heidelberg shops. They're great machines. 
Here's the info on the press that most likely will be printing my work:
press name: Heidelberg KSBAZ
press nickname: 2C-K
year built: 1973
serial number: KSBAZ345369
largest printable area: 16.5 x 21.375 inches
weight: 7,250 lbs.
why we (Boxcar) love this particular press: Dave C. (the pressman): It treats me right and keeps me out of trouble! We could all use a press like that. It prints like a Cadillac. No problems at all.