Iskra Fine Art

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Capitol Hill 60 Minute Photo Closes

January 30, 2013 by Iskra Leave a Comment

I read this beautiful if sad elegy to one of Seattle’s last film photo labs at PetaPixel today. I went to Capitol Hill 60 Minute Photo for the first twenty years of my photo-life. They were four blocks from my apartment, and developed every picture I took. Some of my most recent photocollages are made from scanning and enlarging their 4×6 prints from my archives, and the grain and “authentic analog noise” of the actual print beats anything I can do purely digitally. Photographer Andrew Waits has done a wonderful homage to this institution and the forces of change that have led to its closing. The comments are worth reading also, as a capsule portrait of social attitudes towards technology and change. I thought this one was particularly well put:

“When my local one hour lab closed a few years ago, I lost an advisor, a mentor a collaborator and friends. The lab staff was involved in every project that I was and took a real and heartfelt interest in what I was doing. They were partners. I really looked forward to seeing them on a Monday morning. The jingle of the door bell, the strange aroma mix of coffee and stop bath, the rhythmic hum and whir of the machines and a hearty “good morning, what have you got for us today?” can’t be replicated. Here I sit, in front of my computer screen, excited about what has been downloaded from my SD cards, beautiful Nikon DSLR on the counter, printer all inked up and ready, alone.”

Whew. So true. We can all be masters of our digital universe now, if we have the money and the equipment, and it can be real quiet.

AndrewWaitsPhotoOFilm
This photo of a film strip by Andrew Waits says it all.

Filed Under: Photography Tagged With: Andrew Waits, Capitol Hill 60 Minute Photo, Petapixel, the film to digital conversion

Iskra Fine Art Upcoming Shows and Publications

January 6, 2013 by Iskra 1 Comment

I am starting the year with numerous shows all within the next three months. I will post reminders of openings here as they come up, but for those who want advance notice, here is the list of what’s up between now and April. I hope you will be able to stop by and see the work in person!

Prographica Fine Works on Paper: “The Bleak View”: I will have five prints and a drawing in this show. A perfect theme for this time of year in the Northwest, when you either find the loveliness in 100 shades of gray or die trying. The show runs from February 2-March 9, opening TBA.

The Elegant Scaffold Construction Site Photograph
“The Elegant Scaffold,” Photograph, 16″ x 16″, © Iskra Johnson

Bainbridge Arts & Crafts, on Bainbridge Island: “New Media: Digital Art”: I will have four pieces covering a range of botanical and industrial themed-work in this invitational exhibit. The show runs from March 20- April 22, opening reception April 5.

The Reeds Transfer Print
“The Reeds,” 1/2 ev, 22″ x 30″ paper size, 16″ x 21″ image size

Painters Under Pressure at Phinney Gallery: A group show with my print salon.  The show runs from April 3-May 1, opening reception April 12 from 7-9 PM. I expect to have a variety of sizes and themes for this exhibit, possibly including new experimental typographic prints from The Wailing Wall. This will be our first group show in many years, and I am very excited about it. If you would like to keep up with PUPs do check out our Facebook page.

EXIT/NoExit, experimental typography
“EXIT/No Exit,” experimental typography, © Iskra Johnson

Additionally,  SAM Gallery will have four of my new large prints from Construction/Reconstruction on display in February as part of the rotating collection. It has been exhilarating to see how scale changes the work, particularly when the themes are architecture and space.

In the world of publications, I am very excited to be in two books this year. Tom Hoffmann’s Watercolor Painting will have its official launch party at Gage Academy Friday January 18, 6-8 PM. In conjunction with the book signing the Steele Gallery at Gage will be exhibiting Tom Hoffmann’s work along with that of contributors to the book in “Watercolor: Thoughtfulness to Spontaneity.” I will have a piece on display from my series of expressive botanical paintings.

This past summer I explored the wildly inprovisational world of cyanotype, and an image from that series will be published in Jill Enfield’s upcoming “Jill Enfield’s Guide to Photographic Alternative Processes: Popular Historical and Contemporary Techniques” from Focal Press. I will post a link to the book when it is published, in June. You can read about my experience with cyanotype here, in the post “Three Days in the Sun….”

Because so many shows are happening in a short period of time I will send this summary out to those who are on my email mailing list as a separate newsletter, but suggest you follow me here at my blog or on the Iskra Fine Art Facebook page for updates and reminders. I will limit the number of individual event invites as I know people are overwhelmed by email these days.

Happy New Year, keep the creativity flowing!

 

Filed Under: Iskra Shows, Upcoming and Past Tagged With: Bainbridge Arts & Crafts, Iskra Fine Art publications, Iskra Fine Art Shows 2013, Iskra Johnson Shows, New Media: Digital Art, Painters Under Pressure, Phinney Gallery, Prographica, The Bleak View

Poem for Waiting (Just Hours Before the Proposed End of the World on 12.21.12.)

December 20, 2012 by Iskra 3 Comments

 

 The History Of Counting Charcoal Drawing

 

Counting Time in Sticks (For My Ancestors)

 

People I never met but who must have known I was coming

have dreaded winter just as I do.

They too would ask release

and count perverse blessings

of lighter days as the air grows colder

the ground harder whiter harder

and fear itself envelopes,

being a real thing.

 

Before I was born they were

counting time in sticks

bundling the seconds

minutes

hours

days

weeks

months

though not knowing these divisions

only knowing without divisions

there are no endings and no beginnings

and sometimes you need both.

 

They had no mittens and no books or catalogs of mittens

and no down throws with lofted ticking

and no monogrammed leashes because the dog himself

had not been invented and the wolves could and gladly would

eat your children (count them).

 

Which great-grandfather lying in the tired dirt of late November

invented the four strokes and then the slash

while looking at his hand

perhaps missing a finger?

 

Did a woman break twigs into equal lengths and line them up equidistant

to measure the days since last she bled?

(Each tilting stick a small death,

a reprieve

a slanting wedge of light above her.)

 

In the Book of Hours

the man

sits at forest’s edge

and dries his boots above the fire.

The ghosted chapters on reverse

whisper August, harvest, maidens surely

and in the margins gold

laid by monks

drunk equally on purpose and absurdity

flickers like summer

in the heatless monastery.

 

How earnestly they lay the leaf and burnish,

my Irish cousins

their breath the perfect warmth

to resurrect

The Word.

Yet in the museum

of the darker pages

in the basement where the docents never go

there you’ll find the wooden plank

where scratched the days

with a gilding knife,

in sets of five chased always by a ragged few,

the prisoners.

___________________________________________________________

Poem and drawing © Iskra Johnson

Above, charcoal and pencil, “The History of Counting”

Filed Under: Drawing Tagged With: apocalypse poetry, before the end of the world, illustration of time, poem about counting, Solstice poem, the history of counting

Conversation With Myself (while I waited for you to make up your mind….)

December 12, 2012 by Iskra Leave a Comment

Conversation With Myself

“Conversation With Myself, While I Waited for You to Make up Your Mind…..” © Iskra Johnson

This is the first in a new series about urban language. Composition assembled from the broken sentences around me: re-purposing. RE-listening, taking back the marks on the random public/private canvas.  Rewinding that David Byrne movie “Stop Making Sense.” I think I’ll call it The Wailing Wall. People just can’t stop talking.

Filed Under: Digital Collage, Prints Tagged With: digital collage, found poetry, street poetry

New Mixed Media Digital Collage: The Big Dig

December 8, 2012 by Iskra Leave a Comment

ViewFromTheWallBigDigBlogView From The Wall (The BigDig), Mixed Media Digital Collage, © Iskra Johnson

 

This piece came from the last glorious day of sun in late October, a long wind-blowing walk along the perimeter of Seattle’s “Big Dig” project. This is the view from the waterfront with one of our stadiums in the background.

See more of these kinds of images in the print gallery Construction Reconstruction.

Filed Under: Construction/Reconstruction

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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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