As I type this I’m sitting the living room of my Aunt & Uncle’s condo in North Palm Beach. To say it is beautiful would almost be an understatement. The rooms are spacious and carefully decorated, with accents of blues and greens that complement the ocean. The ocean that is literally just outside. They have [...]
I haven’t been updating this recently, but there’s a reason! Or rather, a couple reasons. First, it was the last week of my life in Cape Cod, so I was at least kind-of trying to appreciate it. Second, my parents and Texas grandparents came up to visit, so there was a long weekend span filled with sightseeing and lobster cooking/eating and shopping and seal watching and beach going and just plain socializing! Third, it was my birthday so obvi I was celebrating. Fourth, I had to move! I feel like I have had to move so many times in the last few years, and it’s really never very enjoyable. So I was packing up all my stuff, cleaning out Jessica’s parents’ condo, driving all my stuff back to PA, unpacking it all, shoving it somewhere until the next time I have to move… you get the idea.
OK, this is kind of cheating b/c I’ve written about her before. But whatever, when I re-do Paperpetual.com I’ll probably delete that journal, so here it is again. And besides, she’s great enough to merit more than one entry of regard. You see, Mary Temple is one of those artists of whom I am quite genuinely jealous.
I stumbled upon an Elizabeth Blackadder book in the Glasgow School of Art library when I was studying there for a semester two springs ago. As a printmaker, it’s kind of laughable how few traditional printmaking artists I’m gravitated towards. I’ve tried a large number of traditional printmaking processes, and I’m pretty sure it would be impossible for me to ignore and/or lack respect for the printmaking greats. Also in Glasgow, I was given the opportunity to see some Goya etchings in person; it’s kind of impossible for me to explain how incredible that was. But even still, Rembrandt and Durer don’t make me want to make etchings. But Elizabeth Blackadder does.
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I stumbled upon Chris Gilmour on a recent Paper Forest blog post. His sculptures are amazing, crazy pieces made of cardboard and glue. The suspended piano and the safe are definitely my favorites; the irony makes their materiality completely appropriate.
Milky Way, 1989-90, Oil on Canvas
I saw a Peter Doig show at the Tate while I was in London, and it didn’t take me long to fall in love with his paintings. Milky Way was the first I saw, and I was immediately hooked.
