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Facebook for Artists: Community and Currency

February 1, 2015 by Iskra 1 Comment

Devotional_Archival_Pigment_Print
“Devotional,” archival pigment print, 1/3, © Iskra Johnson

This week I have been participating in the “art challenge” thrown down on Facebook. I don’t know where these things come from, (likewise memes, where are they born? who runs the meme factory?) but this one seems to have started in the illustrator community and crossed over into the artist world that is my social media life. Unlike the chain letter of old in which a tattered mimeograph threatened karmic harm and financial ruin if you didn’t pass it along with five dollars to the next person, this benign version simply asks that you post three images for five days in a row, each time tagging a new artist. In the currency of the chain letter, five dollars is worth approximately one ‘like’, as one ‘like’ can, if you are fortunate  accrue interest and become forty, and perhaps even lead to a comment. Which of course will not buy you a cup of coffee. [Read more…]

Filed Under: Collage, Digital Collage, Prints, Uncategorized

Two New Haiku Without Words

January 14, 2015 by Iskra Leave a Comment

I’m working on a new series of collages about industrial waterways. The muse is the Duwamish, but the real subject is perhaps the print itself, the paper-space of real and unreal. I’ve been immersing myself in study of the masters. from Nick Bantock and Man Ray, to Yoshitoshi and Max Ernst. Is there anything so divine as rising at five in the dark and drinking tea surrounded by books, then watching the sun rise? Happiness reigns in this little corner of universe.

 

Postcard_From_The_Straits_Digital_Etching

 

Duwamish Water Tower Digital Etching

 

(1) “Postcard from The Straights” (2) “Duwamish Water Tower 2: From the Municipal Manual for Water Management”

Limited edition archival pigment prints, size variable  © Iskra Johnson

Filed Under: Collage, Digital Collage, Photocollage Tagged With: art about industry, collage art, digital etching, languages of collage, maps in art, pigment prints, the duwamish, the Straights, water tower art, waterways

The Painting in the Attic: A Mid Century Mystery

December 14, 2014 by Iskra 1 Comment

For as long as I can remember my father had a painting of a man hanging in his study. As a child it seemed huge to me, larger than life: a wall-sized man. Surrounded by books on every side the man was, appropriately enough, reading a book. As I grew older I got tall enough to reach eye-level with him, and my appreciation for the painting grew. His profile was a jumble of brushstrokes that distilled only at a distance into a face. Such gravity and focus, the page held down with his burnt orange thumb, the air vibrating with color and stillness: the man was thinking. [Read more…]

Filed Under: Living With Art, Object Lessons: Essays and images inspired by "A History of the World in 100 Objects.", Painting Tagged With: Al Friedman painter, Kenneth Callahan, living with art, man thinking, mid-century painting, mid-century painting in interiors, northwest painting, Painting of a Man Reading, remembering the '50's

“Making and Breaking” at Linda Hodges

November 29, 2014 by Iskra Leave a Comment

I am excited to be part of the December show at Linda Hodges Gallery, curated by Dale Cotton. The artists gathered for this exhibition share my fascination with the aesthetics of the urban industrial landscape and its emotional undertow, the demolition of place and sense of home.

“Making and Breaking”

Dec 4, 2014 – Jan 3, 2015
1st Thursday Artist Reception, Dec 4, 6-8 pm

316 First Ave. S. Seattle, WA 98104
Gallery Hours: Tues. – Sat. 10:30-5:00
Tel: 206-624-3034
www.lindahodgesgallery.com

“Making and Breaking” is a group exhibition of paintings, sculpture, and photography devoted to things that are built and then erode, are altered, or destroyed over time. We are very much aware of this in the rapidly growing city of Seattle. Change is the operative factor, and technology, economic decision-making, and time are the implements that guide it. From Kevin Wilson’s steam shovels and Dan Webb’s wooden tools, to the weathered and abandoned barns of Daphne Minkoff and the proliferating housing developments depicted by Ryan Molenkamp, to Dara Solliday’s Regrade images, each artwork tells a story of growth, destruction, and change.”

Other artists in the show include: Patti Bowman, Laura Hamje, Daniel Hawkins, Jeff Mihalyo, Michael Paul Miller, Daphne Minkoff, Ryan Molenkamp, Jeff Scott, Dara Solliday, Timea Tihanyi, Sylwia Tur, Thuy-van vu, Dan Webb, Kevin Wilson, Dane Youngren

Below, one of the prints I will be showing. This piece is part of a series looking at the construction projects at the University of Washington. I stood for many hours on the University Bridge studying this dormitory as it went up. The complex is now finished, but I dearly loved the tarps and scaffolds: the “making” phase revealed, and here frozen in time.

Invisible Children, Archival Pigment Print
Invisible Children, Archival Pigment Print, © Iskra Johnson

Filed Under: Architecture & Sense of Place, Iskra Shows, Upcoming and Past Tagged With: art about change, art about place, art about urban renewal, December shows Seattle, Iskra shows, Linda Hodges, Making and Breaking

A Change of Season

October 14, 2014 by Iskra Leave a Comment

I’ve been settling into my new studio. Wordless for now…..

Clown and Saint [Read more…]

Filed Under: Photography Tagged With: artist environment, Autumn meditations, coming to my senses, devotional art, Iskra photography, pinecone, still life at the table

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Subtractive painting study and ground experiment: Subtractive painting study and ground experiment: I added baking soda to my gesso. Pretty wild texture here, not sure yet how stable it is. You can see the test of the edges in the second piece— the rugged edge only works if I get a pristine background and unfortunately the tape I used to mask it did not work consistently. Hello tape, my old friend and nemesis. You work differently on every surface. These little barn structures give me great comfort as the bigger structures of our government and nation seem to be crumbling.
Today’s landscape to quiet the mind. Out in the Today’s landscape to quiet the mind. Out in the fields somewhere, on the road to Edison. Acrylic on prepared ground, sketchbook.
MUST SEE! Ai, Rebel: The Art and Activism of Ai We MUST SEE! Ai, Rebel: The Art and Activism of Ai Weiwei at Seattle Art Museum.
I am thinking this morning about the phrase Americ I am thinking this morning about the phrase American Heartland. Learning to paint a barn means studying the neutrals. Our political discourse has pitted the barn people against the city people and there are no neutrals, just shouting. But if you walk out into the horizon lands, all you hear is the wind and a kestrel. Walk in boots, hard-pressed against your toes, walk on stubble barefoot and get acupuncture for a lifetime. Study the intervals: how the clouds can be in the upper one third neatly or one sixth, precarious, the future disappearing with the sun as it falls making the barn your whole world if you’re three years old and looking up; one big triangle with a square in the center, and so many mysteries inside the square. 

There is also the question of what kind of light seeps between the verticals and is the light coming in the evening or at midday when you can finally begin to make out all the other tiny squares within the big square, which would be called hay. Reach for the rope and swing out over the canyon, that great big canyon from bale to bale.

Collage studies: painting neutrals
A hybrid study, mixed process. Reading the New Yor A hybrid study, mixed process. Reading the New Yorker this morning, about the global population crash. This will upend urbanism, for sure, though it will very good for veterinarians and dog groomers:
“Only two communities appear to be maintaining very high fertility: ultra-Orthodox Jews and some Anabaptist sects. The economist Robin Hanson’s back-of-the-envelope calculations suggest that twenty-third-century America will be dominated by three hundred million Amish people. The likeliest version of the Great Replacement will see a countryside dotted everywhere with handsome barns.”
First Thursday. Such a beautiful night. First Thursday. Such a beautiful night.

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