Searching for the Authentic, part 1
© Damien Hirst/ Science Ltd, 2012. Photography Prudence Cuming Associates.
Forgery, fraud, and theft have always been major themes in buying, selling, and attributing pieces of art–both contemporary and historical. Recently, news broke that some unbelievably boring “spot painting” prints that were attributed to Damien Hirst were, in fact, forgeries. (It is completely beyond me why anyone would want prints of paintings so dull that the exhibitor had to sweeten the deal by offering free prints to people with enough time and money to see all eleven exhibitions of the monotonous work. Art viewing as “The Amazing Race”.) This caused a stir in the news, but the reality of it is that authenticity is always in question, and forgeries are always being discovered. Less often, a forgery is found to be authentic, or a work attributed to “school of” becomes attributed to a master. In the art world, there is this never ending quest for authenticity. With authenticity comes higher prices and more desirability from collectors.
Portrait of Damien Hirst by Cartrain
Authenticity is not as easy to define as it might seem upon first blush. Damien Hirst, for example, doesn’t make anything (well, he did paint five of the 300 spot paintings); he hires people to do the work for him (the makers), and he then claims authorship by approving the works (the creator). To some, that sounds absolutely scandalous (including, I admit, me). That relationship between maker and creator isn’t that much different from the relationship between a master printer and an artist she’s printing for. The master printer does, however, get credit through chop marks on the prints, a mention in a colophon, or reputation in the field. Hirst is also known for liberally “appropriating” ideas and forms from his fellow artists, which wouldn’t seem so criminal if Hirst didn’t also relentlessly seek to crush/sue/profit from anyone who he believes appropriates from him. (The most embarrassing example is probably the seizure of work by Cartrain, then a teenage street artist, for using images of Hirst’s diamond-studded skull in some collages. If you’re up for your own Damien Hirst appropriation, I suggest the iHirst DIY kit–hilarious and a comparative bargain at £49.99.)
Giving credit to your assistants is not a path to defining authenticity, however. For most of art history in Western civilization, there was no precedent for giving credit. The apprentice system, in fact, guaranteed that the people who did most of the work would not get credit–though they would get to say they studied under a particular master when they became journeymen. It was rare that a master artist, once achieving that status, would have the time to spend creating his own work from scratch. More often than not, apprentices would do the heavy lifting, under the direction of the master, who then might do some touch ups and sign the thing. There is absolutely no way at all to prove which work was made directly from the hand of a master, and what work was made with assistance from apprentices.
Read more…
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Some Thoughts on Paper
Paper is a seductive support for printmakers. We, in the process of making our editions, become intimate with its qualities: its smell, texture, relative softness or firmness when torn and pressed, how it takes water and ink, how much it stretches and sighs when put between metal rollers at high pressure or pressed into the craggy textures of a wood block. Paper is part of the personality of a print; its tone and texture support the image (or should, in a well-made print). There are hundreds of fine papers to choose from, each with a unique tone, feel, and function. I love paper. I love handling it and love seeing the edge of my plate through it after running a copper plate through a press, before I lift it up and turn it over to see the image impressed on its face. Read more…
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A Guest Appearance
Printmaker and book artist Sarah Horowitz was in the PNCA print lab yesterday morning as a guest artist, showing two classes of students some of her lovely books, including a sneak-peek of as-yet unfinished book, Effigies, where all of the images are hand-drawn (not printed!) for every page of the entire edition. Just thinking about it makes my hand cramp.
She recently was featured on Oregon Art Beat and currently has a show up at Froelick Gallery. Her work is beautiful, and I highly recommend checking it out. You can find more work on her website, wiesedruck.com.
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TONIGHT: A Workshop on Approaching Galleries
This evening at 7pm (oh my goodness, so soon!) at Hobo’s, I Heart Art PDX is hosting an orientation workshop all about approaching galleries: how it’s done, what not to do, and what to expect–both at next week’s dizzying Mixer Match event and out in the real world. If you’re attending the Mixer Match, this will go a long way to preparing you. If you’re not attending the Mixer Match but could use some advice to alleviate your anxiety about approaching galleries with your art, there will be plenty of good information for you too.
How do I know this? Why, because I’m helping lead the workshop, as a representative of a local gallery! Other professionals in the field will be joining me, including Deenie Wallace, a local painter and proprietor of Jubilant Glass & Art.
This event is free to attend, and it’s a great introduction for artists just starting out or those who need a little help with how they submit their work to galleries. Hobo’s is a great venue in Old Town, on NW 3rd. In addition to live piano music, it’s also the starting point for the Shanghai Tunnel tours. (Someday I’ll play tourist and do it.)
I’ll see you there!
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Absit Omen
This is what I’ve been up to! It’s the first time in a few years that I’ve used two plates to make one print, but the process was easier than I remember. Of course, I didn’t branch out much with the colors, so any accidents are less visible than if I had chosen very different colors–and I had Daniel to assist in the role of “clean hands”.
The central image is printed in a warm black (Daniel Smith vine black), and the crow border is printed in a cool black (Gamblin Portland Cool Black). The effect is subtle, but I like it. I tried it the other way around the first time, and it just didn’t look right.
I love this print, but there is a little more that I think I will do to the second plate (the central image). I should have that done by the end of the week, if my paper supply holds out.
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Wallet Grammar Cards by SmidgeonPress on Etsy
As promised, the listings for the first couple of Grammar Cards are up on the Smidgeon Press Etsy site. I have them available as singles or as sets of 5, currently. Check it out: Wallet Grammar Card “Its”, and Wallet Grammar Card “There” by Smidgeon Press on Etsy.
This week, I’m planning to set type to cover TWO, TO, and TOO, a group of homonyms that people often confuse in written communication. While I do have a whole list of cards I plan to make, I’m also open to suggestions and requests at this point, so feel free to let me know if there is a particular grouping of English words you often struggle with. I can’t promise I will be able to make a Grammar Card to accommodate you, but I can promise that I will take all suggestions into serious consideration.
Stay tuned!
Arriving Soon at Smidgeon Press on Etsy: Grammar Cards!
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Oh yes, they’re almost here: I have been pulling prints that will, once cut and folded and slipped into color-matched envelopes, become Smidgeon Press Grammar Cards.
If you’ve known me for a while, you are already familiar with the first iteration of Grammar Cards from 2009, and might even have one from that first run. Originally created as an assignment for my letterpress class, I loved them and always intended to carry the project further. I finally have the happy convergence of time, means, and initiative to make that happen. My materials are better, the border is more thoughtfully considered, and I have an Etsy shop where I can make these helpful little cards available to the public.
Basically, Smidgeon Press Grammar Cards are business card-sized “help” guides for some common errors in English usage, like the commonly confused “there”, “their”, and “they’re”. These cards are not intended for children (an occasional swear word pops up in the text, but nothing barred from network television); rather, they are intended for adults who occasionally need a quick reminder of proper usage. As our communication becomes increasingly text-based through text messages and social media platforms, it is increasingly important to be able to communicate effectively with simple language.
Most adults, no longer subject to regular reminders from English teachers, tend to misuse certain sets of words, particularly where the usage is irregular (e.g., “it’s” is a contraction while “its” is possessive). That’s where Smidgeon Press Grammar Cards come in: you can choose a card that covers your particular area of forgetfulness, so you can correctly use English grammar with the help of a charming little card that was printed from old lead type.
The cards also make excellent gifts, and are probably the nicest way you could try to correct a friend’s grammar (I’ve tried a few different methods), or simply celebrate someone’s dedication to and love of proper grammar. I mean, they’re just so darn nice looking!
The first of the Grammar Cards will appear in my Etsy shop this weekend. Stay tuned.
