Monday, February 25, 2013

love of art luncheon

"Any time away from the kids is what my wife and I consider "date time." The lunch while it lasted became a date lunch. A favorite part was hearing each gallery owner or representative talk with passion about the artists they exhibited. When the group cast their ballots, the print we voted on was not chosen. But that was not a big deal, since we got to learn from each presentation. The event seemed to fly by."        
Eric Lehnert

Members study nine candidate impressions after lunch. Then ballots were cast and counted.

The Eagle and Snake by Luiz Jimendez had the most ballots.

Border tensions between Mexico and the US were explored in the "Eagel And Snake" image by Luiz Jimendez. Mike Sims introduced his collaboration with Jimendez during luncheon of the Kansas City Print Society, at the Nelson Atkins gallery. That key stone had been intended to end up a muli-colored multi-plate print, but the artist died before that was realized. The artist was known for his use of coyotes, ravens, and snakes to make political statements. Sims is the director of The Lawrence Lithography Workshop. Video is five minutes. More presentations can be seen online at, like Jack Olson of American Legacy Gallery on wood engraver Paul Gentry @!/photo.php?v=482477835144777
                         New members gather and chat and share their excitement.
"The after gathering of new members led by Robin Gross was very inviting. We listened as each new member introduced themselves and discussed why we joined the print society. CAN'T WAIT to attend future events & outings to dive into the world of ink on paper. For me, the fun part will to be getting our hands dirty, trying print making for my first time @ Lawrence Lithography."

 "Most of my time with Sosaku Hanga Japanese prints comes from researching artists, but now I will finally get to talk shop with my print maker wife, Saskia, and other print enthusiasts. A big thank you to Marilyn Carbonell for inviting us to join. Kudos to a great blog you have created to document past events."   Eric Lehnert
Gallery director Sherry Leedy introduced brazilian environmental impression by Josephine Bishop entitled Sonatina. Close up detail BELOW.


At the Love of Art luncheon, Sherry Leedy’s description of Jacqueline Bishop’s “Sonatina” revealed the artist’s dedication to Mother Earth.  Bishop’s feelings about nature, no matter how small, and her worries about the “role of humankind for better or worse” match my own. 
From Bishop’s many visits to the Amazon rainforest, she has brought the flora, fauna, birds, orchids, deforestation, and eco-political injustices into her work.  Through mixed media she shares the beauty and mystery of nature and layers it with impending doom.
In her artist’s statement she writes: “Through my own work I explore the psychological connectedness between humans and nonhumans to create dialogue about a disappearing organic world.” Leedy quoted Bishop: “The landscape is walking away from us.”  These words echo another sentiment in my own heart: “Who’s to say rocks don’t weep.”
As Leedy described how Bishop had created “Sonatina” my mind began to flutter with creative imaginings.  I too am planning to go on an extensive trip to India in 2014.  India, so full of color, diverse in flora and fauna, and people, would be a great place to start such an endeavor.  Bishop collected vintage ephemera, newspapers, and trinkets to begin her work. I usually collect a plethora of items while traveling and thought to myself “YES, I can do this too.”  I will be taking my watercolors and sketch pad, Scotch tape, scissors, and glue stick.  I plan to press leaves from fascinating plants (certainly from the various tea bushes in Assam and Darjeeling). 
I believe creativity is really about being open to what flows through, from wherever those vibes come.  As one Buddhist monk said:  “First thought best thought.”  I am eager, willing, and almost ready. 

The Creative Spirit In Me by Paula Winchester

Links courtesy of Lawrence Lithography Workshop,, Kansas City Print Society on Facebook,, Jack Olson presentation,!/photo.php?v=482477835144777,
Viewing Japanese Prints,, Saskia Lehnert,, Pinterest,, accessed Feb 28, 2013.

Wednesday, February 13, 2013

print crawl - kc

"Attending the Print Crawl is like.....hunting for Easter eggs filled with candy."     paula winchester
 "We were given the itinerary and list and descriptions of the prints that had been selected by the curator for us to look at, as well as a checklist to aid in our decision making."    susan lawrence 
IN ALL thirty-three 33 ink impressions were studied. We viewed works by Luis Jimenez-- Roberto Juarez -- Joseph Raffael -- Hugh Merrill-- David Root -- Norman Akers -- Jacqueline Bishop -- Karsten Creightney -- Emmi Whitehorse -- Robert Sudlow -- John Newman -- Laura Berman -- Michael Krueger -- Andrzej Zielinski -- Paul Gentry --Larry Welo

"The print crawl is like a marathon tour....we had to rush through to get everything in."   susan lawrence
 "This year the print crawl covered SIX galleries instead of FOUR."  paul sokoloff

"About 25 members of the Print Society met Saturday morning. Our first stop was Kathy Ashenbrenner's house to view selections from Gallery Karl Oskar. We were greeted by lively dogs and a lovely spread of cakes and beverages. We then all piled into cars, some people carpooling for convenience, and drove to Todd Weiner Gallery in the Crossroads district, where we were treated to a lively exhibition and discussion by the gallery owner. Some other people joined the tour at this point. The third gallery was Sherry Leedy Gallery, and the fourth gallery was Lawrence Lithography Workshop. After that we went to Dolphin Gallery in the West Bottoms, and ended the tour at American Legacy Gallery."     susan lawrence

"This is my 3rd one as a very new member of the Print Society.          I love these. First of all I am in a relatively small group of passionate persons – some collectors, some artists, some print makers, wow!     I get to go to places I normally probably wouldn’t go to, and then a selection has been made for us to ponder."   paula winchester
the business of picking

"Looking at prints on the Print Crawl is like... getting to be a judge at the "Miss America" contest. It's all delicious and wonderful." r hudson
"We generally know if the Nelson (gallery) has one by this artist or does not. I think about a lot of things when looking. First my reaction do I like it for whatever that all encompasses, but then I also think that art should tell future viewers of what is happening during our times like the Luis Jimenez Snake and Hawk #2."    paula winchester
What condition is it in?  Will it need repair or conservation prior to being exhibited?  Is it artistically relevant, meaningful or important? Is it an exceptional use of the medium?  Is there technical quality? Is it pleasing to the eye?  Is it a keeper?  How significant is the artist, which created the piece?  Does it complement or support other ink impressions in the Nelson Atkins Museum of Fine Art collection, be it contemporary, Asian, Native American, European, and other?  What makes this a "museum quality" work?  Does it warrant genuine consideration?  Does it help us further our Mission? Does it support local artists and the Kansas City art community?    Do I like it of not? Hmmm...
"I learned by listening to everyone." paula winchester

Melissa Rountree (center at Gallery Karl Oskar)
"While at the Sherry Leedy, Joe Zanatta, of Zanatta Editions (above) was present to discuss a number of prints published by his company. We looked at prints by Karsten Creightney, Emmi Whitehorse, and New Orleans artist Jacqueline Bishop."        paul sokoloff
"Todd Weiner (above) pointed out the new body of work by Hugh Merrill was inspired by a recent 6 week residency program in China. These were complex prints incorporating a variety asian motifs."      paul sokoloff
 "It is always a pleasure to visit Mike Sim's workshop and gallery. There are few places where one can see so many prints as well as talk with the master printer who has worked with the artist to produce them."    paul sokoloff
 "I have signed up for Mike’s print making class mid-March to help me better understand the process. I am really beginning to love these things. I even took Picasso and More class at the Nelson where I got to make a monotype print and an intaglio print. By my doing it even makes me appreciate more that which I see."   paula winchester
"A drive down to the West Bottoms brought us to the Dolphin Gallery, where prints by Laura Berman, Andzej Zielinski and Michael Krueger would be considered."     paul sokoloff
Jack Olson of the American Legacy (below) spoke on wood engravings by Paul Gentry. 
"Inspite of the rushing, still there was time for some people to buy some prints at several of the galleries."   susan lawrence

"Everyone enjoyed the opportunity to socialize with members and to visit so many galleries at one time." susan lawrence
"By 2:30 in the afternoon it was time for lunch and discussion. Our lunch was at Bella Napoli restaurant at 63rdand Brookside, where we enjoyed Italian food, good conversation, and cast our votes."      susan lawrence                            "Our group selected 8 ink impressions for the luncheon in February.
Double click on images to enlarge.

"Mountain Spirits/ Nuclear Rods" by Luis Jimenez, lithograph, 1994, 47-5/8 X 33-1/2” from Gallery Carl Oscar -- Kathryn Ashenbrenner --  (  More on Jimenez (courtesy of Mati.Eas Asu Edu,, accessed Feb 3, 2013)

 "Made In China" by Hugh Merrill  from The Todd Weiner Gallery, 115 W. 18th St., Kansas City, MO 64108 (816-984-8538)

Sonatina by Jacqueline Bishop, 2010, lithograph in black over color archival pigment print, edition 22, image 18 ¼ x 60” on 22 x 64” sheet Sherry-Leedy Gallery, 2004 Baltimore, Kansas City, MO 64108 (816-221-2626)
"Eagle and Snake by Luis Jimenez,  ’08, litho, 33-3/4”X 43”, Ed. 40 YES from Lawrence Lithography, 2011 Tracy, Kansas City, MO 64108, (816-471-4848) (image courtesy of Lawrence Litho, accessed Feb 2, 2013)
Michael Krueger. Changing of the Guards, 2012. Lithograph, Ed. 40. 36 x 46 inches. $1200
"Changing Of The Guards" by Michael Krueger, lithograph, 2012, ed. of 45, litho, 46” X 36”  from the Dolphin Gallery, 1600 Liberty, Kansas City, MO 64102 (816-842-5877)(image courtesy of Davidson Galleries, accessed Feb 2, 2013)
"We will have a really good selection to see at our luncheon in February. Thanks to Beth Lurey for making her initial selections and to all the galleries that participated. It was a really fun and educational day. And I would say that a good time was had by all."                       susan lawrence
Contributors Susan Lawrence, Paula Winchester, Paul Sokoloff
Photos by Robin Gross and John Mallery
Layout and editting by Karl Marxhausen

IN ALL thirty-three 33 ink impressions were scrutinized. We viewed Luis Jimenez (1940-2006) Heron Skull, lithograph, 12/20, 21” X 21" -- Two Horses Skulls, lithograph, 11/20, 21” X 21” --- Mountain Spirits/Nuclear Rods lithograph, 1994, 47-5/8 X 33-1/2” -- Radioactive Skull, 20/20, lithograph ’1994, 32” X 31-7/8”-- Roberto Juarez (b. 1952, Chicago, IL) Portfolio of Seven Prints, no date, 3/20, 21-1/2” X 15-3/4" -- Joseph Raffael (b. 1933, Brooklyn, NY) Autumn Fish, ’98, 18/40, 31-1/2” X 24-1/4” -- Hugh Merrill, Kabwash, 2012, mixed media on paper, 12” x 16” -- Made In China, 2012, mixed media on paper 12” X 16” --Guanlan Days, mixed media on paper, 40”X 48 ¾” -- David Root, Icarus at Countdown, 2011, woodblock print, 24”X 24” -- The Log Roll, 2011, woodblock print , 21-1/2 X 8-1/2” --Norman Akers (b.1958, Fairfax, OK) The Gathering, 2012, color lithograph, edition 20, image 22 ¼ x 16 ¼” on 29 ½ x 21 ¼” sheet, printed and published by Mitchell Marty Studio (Santa Fe, NM) -- Jacqueline Bishop (b. 1955, Long Beach, CA) Sonatina, 2010, lithograph in black over color archival pigment print, edition 22, image 18 ¼ x 60” on 22 x 64” sheet, printed by Neal Ambrose-Smith and Karsten Creightney at Hand Graphics (Santa Fe, NM), published by Zanatta Editions (Shawnee, KS) -- Karsten Creightney (b. 1976, Albuquerque, NM) Untitled , 2009, suite of nine lithographs in black, edition 13, 10 x 10" each image/sheet, printed at Tamarind Institute (Albuquerque, NM), published by Zanatta Editions -- Emmi Whitehorse (b. 1957, Crownpoint, NM) Pollination, 2011, color monotype with collage elements (rice paper and sheets with monotype) and extensive hand drawn additions (pencil, color pencil, chalk and oil stick), unique from series, image/sheet 29 ¾ x 22 ¼”, printed by Michael Costello at Hand Graphics, Santa Fe, published by Zanatta Editions.Signed on front with artist’s mark in oil crayon; signed and dated on reverse in pencil -- Luis Jimenez, Eagle & Snake, ’08, litho, 32-1/4 X 43-1/4, Ed.44 -- Eagle and Snake II, ’08, litho, 33-3/4”X 43”, Ed. 40 -- War Horse, ’01, litho, 22-1/4” X 42”, Ed. 50 -- Robert Sudlow (1920-2010) From Markleys Hill, 1995, chine colle --
John Newman (b. 1952, in Flushing, NY) Unraveling and an endless Loop -- Three categories: Black, White, & Lying -- Laura Berman, Assistant Professor of Printmaking at the Kansas City Art Institute, Umbra Home, 2012, Suite of three, unique relief prints 20” X 15” -- Michael Krueger (b. 1967, Kenosha, Wisconsin) Changing of the Guards, 2012, ed. of 45, litho, 46” X 36” -- Drifter’s Escape, 2012, ed. of 45 litho, 46” X 36” -- Andrzej Zielinski, (b. 1976, Kansas City, MO) Orange Paper Shredder, 2009, 7/20, 7-color litho, 28-3/4” X 21-3/4”, printed at Lawrence Lithography, Kansas City, MO -- Robert Sudlow, Near Ottowa, lithograph, 27/60, 16” X 22-1/2” -- Winter. Baldwin, lithograph, 7/54, 22-1/2” X 30” -- Maple Hill,’87, lithograph, 20/35 -- Paul Gentry (b. 1954, Independence, OR) Quiet Land, wood engraving, 15/25, 5-3/8 X 7-1/4” -- Big Sky, wood engraving, 7/30, 6-1/4” X 9-3/8” -- Shadows and Steel, wood engraving, 7/35, 9-1/4” X 7” -- Larry Welo, Cotton wood Falls, etching, 20 X 14 -- Duluth, etching, 38/100, 17-3/4” X 12”