Some Notes from the Studio of Julia Nelson-Gal

'My Art Collection' program

2011-07-01T08:54:00.000-07:00

I bought 'My Art Collection' a few years ago at the recommendation of the person who manages my website. This month I finally used it for an appraisal of a client's photo collection. It was straight forward to use and when I couldn't figure out something (which seemed to always have more to do with my lack of understanding of my computer than the program) the people at My Art Collection were surprisingly responsive. Now I am putting our art collection on it and then I am finally going to inventory my own artwork using the database.

I have meant to create a real inventory of my own work for years now. There comes a point when you are making work at such a rate that you feel you will never be able to catch up photographing it, putting it on your website and adding it to a database. I still have two bodies of work from 2010 that I want to add to my website! I know this is a common refrain from artists who would far prefer to either make art than manage the business of being an artist. I actually feel motivated to get organized now, and will start by using this filemaker program. I'll blog more as I get moving on it.

My Art Collection - Submit Your Artwork

2011-06-02T18:39:00.000-07:00

My Art Collection - Submit Your Artwork

Big Bambú at the Met Rooftop Garden

2010-06-18T20:12:00.001-07:00

I’m not sure how or why the Starn Twins went from torn and taped photographs to large bamboo structures, but I was intrigued and excited that I would be in Manhattan to see and climb Big Bambú (the name comes from the Cheech and Chong album from the 70s). I visited on the early side of its month-long build, when it was only 25 feet tall--not its final 65 foot height.

The first part of the piece is an elaborate legal "ceremony" involving signing waivers, checking shoes for proper treads, handing out tickets, cross-checking the list, going to a locker area to empty pockets, all while the participants giggled and chatted. I loved the process, all in the name of art.

Unfortunately, and a big unfortunately here for me, this meant no cameras could accompany us on the structure. I understand the Starn Twins wanted to be able to document their creation from the inside as it morphed over the month, and there were worries about cameras or phones being dropped on the heads of the people walking below the structure, but I felt deprived. And honestly if you dropped your camera (which no one ever does) you would just pick it up off the tightly tied bamboo ramp.

There was nothing particularly Starn-like to me about the piece (not that what they have done in the past should have anything to do with what they choose to do in the future...I'm just saying). I loved the idea that this structure--built similarly to the functional scaffolding used in Asian countries -- was made solely for its physical and visual delight. The structure was intentionally convoluted with lots of lines coming together in a large cresting wave at the top. The strapping, put in place by a bevy of rock climbers, was decorative, colorful and intricately tied. You couldn't help but find the piece beautiful.

..and all of it delicately balanced on the ends of the bamboo poles.

Marina Abramovic at MOMA

2010-05-27T12:32:00.000-07:00

Marina in white dress staring at a participant in "The Artist is Present"

Over Memorial Day weekend, I went to NYC for a print show opening (that included a piece of mine) and to climb Big Bambú at the Met, but I left with Marina Abramovic in my head.

This is work I could not easily walk away from, and when I did, it was hard to see the world as anything but one big art performance. When I exited I saw a man holding a bouquet of yellow flowers standing under the mural-sized portrait of Marina surrounded by flowers. I stopped to look at this piece, as did others, until the man, now made uneasy by our stares, hustled away. I was amused by my misperception at the time. Now I’m not wholly certain it wasn’t another performance.

Read link about another man who brought flowers.

Uncomfortable, exhilarated and emotional were the operative words for how I felt watching video of Marina repeatedly smashing into walls, sucking the air from her partner’s mouth until she –or he-- passed out, or watching the visitor/participants pass through the narrow space between a naked man and a naked women. I was left disturbed and fascinated. Observing the visitors squeezing between the naked couple was hilarious. During the time I watched, the women all held their purses in front of themselves, turned sideways facing the man and tried to pass through as uneventfully as possible, brushing breasts and balls along the way. Their expressions were always apologetic, uncomfortable, almost horrified. The men, always faced the naked woman, and being too big to fit through the space, knocked the naked man out of his stance, slamming him against the wall. It seemed violent, even if partially exaggerated by the naked man. Each time without noticeable emotional reaction, he would steady himself and return expressionless to staring into the eyes of the naked woman. To me it was an incredible piece about human interaction and emotion and I thoroughly loved observing it (even if the original piece took place in 1970s communist Yugoslavia and had additional political intentions).

Experiencing visitors stare at Marina in the piece “The Artist is Present” on the second floor was equally powerful in its stillness. One friend in our group was unimpressed by the seeming ridiculousness of people sitting for a half hour or more, to stare into the eyes of Marina (who sat in that chair for over 700 hours during this exhibit). But my friend Debra and I were mesmerized and moved by the powerfulness of the quiet communication. It is only after returning home that I have now read about all the people who participated and were interviewed by the photographer after their experience. So many of them, interestingly more men, broke down crying.

Link to the MOMA mystery man.

Marina said, “I looked into something like 1,564 pairs of eyes! It's amazing the memory of these people; they are still stuck in my head, especially anyone who sat longer than 20 minutes. So I created some kind of family with these people. People came back and back, there was a man who came 31 times a woman who came 30 times.” She feels that by staring in her eyes, the viewer eventually is looking in the mirror and experiencing all the emotions of things left unaddressed. (http://www.huffingtonpost.com/patricia-zohn/culture-zohn-off-the-chuf_b_599641.html )

I so wished I could have participated more directly (as scary as it would have been) but the lines were too long and even with the ½ hour restriction created for the participants on the last weekend of the retrospective, I wouldn’t have made it through. I still feel changed for having witnessed the work.

Some Summer Shows

2010-04-04T10:59:00.001-07:00

I'm working on some assemblages right now for possible inclusion in the show I'm in on Martha's Vineyard this summer. The show will be at Michael Hunter's Gallery behind his shop PikNik, on Dukes Country Road in Oak Bluffs. The work will be in the gallery during July, with an opening on July 10th, and then available in his front shop for the rest of the summer.

He will be taking a variety of work, including my Heirloom series (made from book covers), which have just returned from a show in Denver, my newest prints and a selection of sculptural pieces. I have loved his shop and gallery for years so I am excited to see how he incorporates the pieces into his medley of art and things.

This little shoe piece, which is still in process, was inspired by a picture a friend sent me from the Shoe Museum in Montreal. It's only about 6 inches long. The piece below is called Postcards to Emma and is made of a collection of postcards, sent to Emma Sargent (unknown) in the early 1900s, sewn together and hanging on an old spool.

This summer I will also be showing on the Stanford Campus from June through September. The work will be up in a gallery at the Pediatric Nursing School and will include a few early pieces (2003) as well as my most recent prints.

My 78x78-inch piece, Mandala, and another piece from the series Just Passing Through, will be shown at Sonoma State University from April through July in an exhibition called, "Past, Present, Future: Artists Reflect on Sustainability." This will be the third time Mandala has been shown in the Bay Area, which is great because it is one of my favorite pieces but too cumbersome to ship.

A print of mine will be in the Adobe Art Center show of work by members of the California Society of Printmakers.

The Whiz, Monotype, 2009

Cubberley artists are showing now, during the month of April, at Palo Alto City Hall in the exhibition, "A Space of One's Own," which I curated with fellow-artist Colleen Sullivan. It includes 21 pieces and is a homage to the influences and collaborations that take place in a group studio environment. Here are some snapshots taken as we were installing the show

I will be posting some more images of work and shows as they happen over the next few months.

New Studio

2010-04-02T20:16:00.000-07:00

I have a handful of shows coming up this summer that I am getting ready for--sorting through prints, making new work, etc. But the first step involved was cleaning and celebrating my new studio.

Here it is in its clean phase awaiting a party to celebrate the arrival of the press. The main room has the press to the right and the Joseph Cornell curtain hanging. In addition to this long, light-filled room with the press at one end and my work table at the other, there is a small entry which is great for hanging work, as well as two small rooms -- one has a sink, work-table and storage and the other serves as a darkroom for my UV exposure unit and an office.

Here are a few pictures from the celebration.

Cristina Velazquez and Nora Raggio, both Cubberley artists.
Photo: Peter Foley

Me talking to Terril Neely (R) who gave me the Cornell Banner.

Photo: Peter Foley

Peter and Marilyn Foley

Linda Gass (Cubberley) and Cherise Thompson

Karen, Robin and Meri, friends from my Monday coffee group.

The studio is now back to a healthy, messy, workable state. I have never felt so productive in a space before!

Etching press arrives at my new studio

2010-02-15T12:44:00.000-08:00

New Conrad etching press under the protection of Joseph Cornell
(fabric banner was a gift from friend Terril Neely)

My spankin' new press is "laying in state" under the guard of Joseph Cornell--this is how it looks from up on a ladder in my studio--until I have the time to do a test run.

I have been busy moving into a new, larger studio at Cubberley Center, making alterations to the studio and adding the press all at the same time. I am still getting settled, painting, putting things away, and soon testing the new press so I can teach my first class in the studio next Saturday, February 20th...how did it get to be February 20th, 2010!

I moved into Studio U2 (should I name the press ''U2 Press" ?-- nice homonym -- YouToo can print on this press??) at Cubberley Center in early December. I went from 470sf of broken up space (closets, separate rooms) to a sun filled 600sf studio with very high ceilings. It makes all the difference. I hired my friend Manuel to add a larger sink, build a table and a mezzaine storage area and rip out a wall to connect my two separate spaces. It looks amazing and there is now ample room for the press and for people to work.

I was nervous about the arrival of the 600lb press. Thanks to artist-friend, and fellow Conrad owner, Laura McHugh, pictures and suggestions were sent to guide me through. However, Fed-X Freight missed their promised delivery on Friday when I had a gaggle of friends and workers ready to help. But when it did arrive on Monday, Manuel managed to find a couple of helpers who were able to lift the press, sans the 275lb steel bed, onto the base. Luckily I ordered the pricey, but well worth it, casters that easily move the press around on its base.

Here are a few pictures of the arrival/installation process. Soon I'll be posting some pictures of prints made on the press.

SFCB ROADWORKS '09

2009-09-20T21:33:00.000-07:00

One of the most fun activities in San Francisco every September is volunteering at the San Francisco Center for the Book's Roadworks event. Whether you are working "inky hands," helping in the children's area, lifting the 3x3-foot prints off the ground after they are printed, driving the Steamroller or just participating in this free event, you feel part of something pretty unique.

A detail of Rik Olson's large linoleum plate before printing.

This year I photographed the event. One can't help but be fascinated as the steamroller slowly rolls over the plate which is sandwiched between some board and blankets. The layers help the paper to squeeze into all the linoleum cuts to pick up the ink. Several volunteers and staff members have the pleasure of driving the Steamroller as the crowd around them expands throughout the day.

A volunteer driving toward the plate after the the mid-day crowd has gotten quite large.

But the most fun part of the day is when each large print is pulled off the plate. After the artist's inspection, the print is held up for the crowd which breaks into applause while the camera's flash.

Megan Adie's print is lifted for her inspection.

The artists continue to print their large plates until they get a perfectly inked image. These images are then sold at the SFCB Auction event which will be held this year on October 3, 2009. This year, rather than an expensive extravaganza, the Center for the Book Auction will be open to everyone for $20. So even if you don't get to bid on a large print you can go eat and dance with a fun group of book artists and printmakers.

Rik Olson's plate is lifted.

Olson, who makes the most detailed, large plates every year, is pleased with his perfectly printed image. He changed the direction the Steamroller approached the plate so that it rolled over with the curvature of the street rather than down the middle, allowing more even pressure across the plate. It glows in the afternoon sun.

Michael Wertz's bold print drew loud applause.

Little Linos are 12x12-inch plates that are cut by any artist in the community that chooses to participate. You pick up your plates at SFCB weeks in advance, plan your image, cut your plate and deliver it for printing. During the event one print is made for the artist and one (or more) are made to be sold to the public. For only $40 you can own a piece of a well-known artist's work.

Volunteers that sign up to be "inky hands" people, roll out the black ink and roll it onto all the small 12x12-inch plates that individual artists have made. You either love this job or you choose not to do it--Lisa here obviously loves it.

The Little Linos are placed on the board nine at a time, ink side up, paper on top, then a blanket and then the steamroller.

Brad and other volunteers make sure all the plates are square so they print centered on the paper.

Maggie spends the day hanging up all the Little Linos so visitors can see all the work produced.

Terril Neely checking out the Little Linos.

Rik Olson's Little Lino is in the front row on the left.

This year I bought a small Rik Olson "Duck driving the Steamroller," and Maggie Engebrandt's rabbits in ice cream cones. Last year a bought a great Gary Comoglio print which was immediately usurped by my 15-year old, Tobey, and hung in his room.

Kids print scratch styrofoam in rainbow rolls.

This year more organizations, individual artists and businesses participated by setting up booths. My volunteer job was to photograph the event and document every booth for the record. I'll post just a few, but the range was great.

Artist and Exhibition Coordinator for the California Society of Printmakers, Gary Comoglio.

Gary spent the day talking with visitors. He began the day with a few bins of prints to share by members, and by mid-day he was mobbed with both prints and visitors.

The Graphic Arts Workshop had prints to view.

Kim Vanderheiden's booth included her two cute kids.

M&H Type casts lead type. How many people in the world do you think are doing this? You can find almost everything in SF! M&H is the oldest and largest letterpress type foundry in the U.S. And they give tours. Check out the link.

There were classes going on inside the SFCB as well, "speed" classes on letterpress. Previous Roadworks prints were exhibited in the Gallery to give people a little history of the event.

The event was enjoyed by all, human and canine alike.

By the end of the day, most everyone was exhausted with some people plum tuckered out.

Except Colleen from SFCB kept rolling on.....

CabrilloArts Summer Workshops: An Intense Success

2009-07-29T21:53:00.000-07:00

The two-week intensive class at the CabrilloArts Summer Workshops Program ended last Friday and I was exhausted. So much so, that I skipped the last day, missing the exhibition and the opportunity to see the work created by all the other classes that went on simultaneously. But, I was tuckered out and life conspired. I had too many things to attend to (and the chance to watch Venus Williams and Maria Sharapova play live at Stanford). So for me the two-week escape ended early and abruptly. But that is not to say it wasn't trans-formative.

What an impressive program they have created at Cabrillo. I’ve wondered about it for years. With interesting artists teaching each summer, like Victoria May and Stephanie Metz, a schedule of two solid weeks of art making, and really low tuition, what could be better? Well, in fact, this year it was their new facility, that's what. They opened a huge, beautiful, new Art and Music campus where they held the summer program. It's impressive, though still half empty. For students the dream of a large screen Mac and an Epson printer in every classroom, old-fashioned darkrooms to die for, presses, photocopiers and every other piece of equipment you could want, is there for your use.

Of course this was the year of financial woes and California's crazy budget problems, so the program was canceled. But it was cobbled back together by the dedicated staff at Cabrillo. So although the costs were up and the hours of instruction were down, the program was very much still happening. In addition to working for two weeks in these great facilities, we toured each others' classrooms during the day, socialized over BBQ lunches served on the lawn by the staff, attended lectures at night (and for the faculty, staff and cognoscenti nightly parties were arranged), and on the last day, created an exhibition of student work in the beautiful Cabrillo Gallery.

This year was photo-heavy, much to my delight and consternation. How to chose a class? Brian Taylor taught alternative photographic processes, Robin McCloskey taught Solar plate etching with digital chine collé and Ted Orland worked with Holgas. And that is just the photographic group. There was jewelry being etched and structures being built. A veritable candy shop.

I chose Holly Robert's class on painting and photographic collage. When I was at The Friends of Photography twenty years ago we published Holly's first book. I had been so impressed by her combination of photography and her drawing into paint and it seemed an unusual opportunity to study with her (coming from the Southwest). Little did I know she has been teaching in the Santa Cruz area for years and has quite a following. But a thought-provoking choice it was.

Holly encouraged new ways of working, introduced us to new materials (like minwax and joint compound) and focused a lot on process, intent and completion. Her favorite reminder was to tell us to take our brains outside for a smoke so we could get our work done. Turning off my internal critic is beyond difficult, so it helped to have a new mantra. And once I got used to it, I actually like going for a smoke.

Holly’s self-proclaimed moniker of “bossy art-coach” is a perfect fit. She called us on being timid or avoiding working on a piece that was stuck. She prodded and at times scolded us to pipe down and get our work done. She also spent individual time really listening to each artists' worries. She forced me to solve problems on pieces that I would have been happy to throw aside, but I am glad got resolved. She took her job of being the boss seriously and we all benefited.

In addition to her tenacity she is truly funny. She kept mentioning when she should call social services--referencing my slightly twisted new series "Jackson's World." Or asking us at the end of the day to go home and think about our day and ask questions like, "How nice was I to Holly today? Was someone else nicer? What could I do to make Holly happy tomorrow?"

The freedom of the class allowed me to create this new series which I want to keep working on. But I have to say the reception when I got home was less than enthusiastic. Few people say much when they see these primitive little pieces. But I still like them. And, lest you think this series is about a mother being at wits end with the last of her three sons, its not. It's actually about how I imagine the dream world of my very creative, last child to be. He is at that wonderful threshold of almost being a teenager. One minute he is in a childlike dream world with props covering the furniture of the living room, and the next he is staring me down like I have no business even talking to him. I'm not sure, but I think when he gets back from camp and sees these, he will like the superhero status I've given him.

One of the earlier collages I made during the workshop.

At the end of a workshop, after feeling like you overstayed your welcome, there is a great desire to put the experience behind you. It only takes a day or two though, to realize how lucky you were to focus from for five or ten full days in a row on art. You thought you would keep up this new-found focus and production when you got home, but you just can’t. Life seeps in and then takes over, as it probably should. There are notes to prepare for teaching, proposals for classes for 2010, jobs to apply for, work to deliver and budgets to prepare (and I have to confess, 3 days of tennis to watch live at Stanford, and kayaking, and ...)

So although the focus won't be the same, it's back to the studio for a smoke.

50/50 Opening at Sanchez Art Center

2009-07-26T17:37:00.000-07:00

50/50 Opening was packed...

I guess if you have sixty local artists in a show you should expect a big turnout, but this was quite amazing. Cars were parked everywhere and there was a line of cars down Linda Mar Blvd. trying to get in at 7 p.m.

We got there early to see all the pieces in place as rumor had it that as pieces were purchased they would be taken off the wall. Luckily most buyers left pieces in place so visitors could take in the wall installations as a whole that evening.

Artist and 50/50 participant, Peter Foley, made the rounds.

This is he East wing where my work is installed. The news cameras were there interviewing artists (see camera light in above picture).

The work filled two wings and a central gallery. The spots were chosen by lottery--and clearly it was all on the up and up. My old San Francisco Neighbor, Ellen Little, who is in her first exhibition after closing the doors on her design business this year, came on the last day to install and got the #1 position in the West Wing. I was in the back, in the corner, in the dark (remember Geraldine on Flip Wilson). Good news was that people really got around to look at everything.

Two illustrious visitors, David Nelson-Gal and Lisa Tanner.

After seeing everything installed, I have some new favorites. I couldn't get close enough opening night to photograph, so you'll have to wait until I visit the show again. One artist made x-rays of 50 plastic toys, which she printed as a black image on white background. They were quirky, mysterious and mostly recognizable. Another favorite were 50 brightly colored painted chickens by Marsha Heimbecker. these freely painted pieces were titled something like "Free Range Chickens That Look Like People I Know." They were too funny, and beautifully painted.

I have to admit I am already thinking about ideas for next year. This process has been kind of addictive.

50/50 Installed!

2009-07-17T13:22:00.000-07:00

This weekend sixty plus artists installed fifty works of art each for the 50/50 Exhibition at Sanchez Art Center. It was an impressive thing to see 3300+ works of art go up on the wall. Sanchez Art Center volunteers had grids ready on the walls and people had three afternoons to complete the installation. Below are some links to articles telling you more about the show and a few snapshots of work.

Friday night is the big opening from 6-9 pm and it should be fun. Get there early to see everything installed before people begin buying the works off the wall. Yes, buyers will actually walk away with pieces during the show. Some pieces are selling for as low as $40, and the most expensive are only $200.

I'm going to share a few pictures with you but I'm afraid I don't yet know all the artists. Enjoy.

The image below is a selection from Andrew Leone's body of work, which are actual, inked-up woodcarvings (not the resulting prints). Not only is this a unique approach to the 50/50 challenge, they are beautiful pieces with great craftsmanship. Definitely one of the stars of the show. You can see details of his pieces at his blog...http://aleonestudio.blogspot.com/
.

Next is Leigh Radtke's collages, all of which began with a paper bag. What I love about them is that you have no idea this is her inspiration point until you read her statement. They are fanciful little "drawings" that reference modern culture. They are graphic and imaginative. I would love to see her work go large in scale and show up on outdoor walls or illustrate a children's book.

Peter Foley, a fellow Cubberley artist, created a mixed-media affair, entitled "The World." It is a colorful mix of geographic maps and cultural references. Distressed maps have been layered with drawn images and collaged elements. Each piece is a gem, but it is the whole group, with its pattern of colors, that that tells the story.

Laura Parker's mixed media drawings are funny and must have some interesting story behind them. I think it relates to food, but I'll need to find out more later. Check out her site at: http://web.me.com/lpsea1/50_50_Show/Photos.html

This body of work is made up of three-dimensional plastic detritus. Very quirky and fun.

Fifty etchings, one made each day. Ok, I'm impressed. The prints are on many different papers and cover several topics, beginning with shells.

Jude Pittman's mosaics are each elaborate composites of stones, found objects, cut glass and other things she has left around her studio from her large scale projects. See her blog to hear her thoughts on the process. http://judepittmanstudio.blogspot.com/

Then there are these beautiful little drawings, mostly of hands, that I love. Wish I could draw. Maybe in my next life.

For a list of participating artists, check out the website:
http://www.sanchezartcenter.org/EXHIBITIONS.html

Also, see the following advanced write-ups on the show:

http://www.mercurynews.com/pacifica-entertainment/ci_12603092

http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/07/22/DDO918OF5J.DTL

The 50/50 Exhibition: Recycling Materials and Ideas

2009-06-28T21:19:00.000-07:00

I'm in the process of making 50 pieces, over a 50-day period, for an exhibition about process to be held at the Sanchez Art Center in Pacifica, California this July. Though I started with a clear concept, it quickly devolved into a process of just making what I felt like making from what I had on hand. Partially out of simplicity and partially out of desire, I began to collage and layer the 6x6-inch MDF boards, with anything I had in my studio from previous projects.

I've layered the boards with images, physics formulas, old book pages, rejected etchings and transfers, and old magazine images. Now I am finishing them with a final transparent layer. Some of these transparencies were recycled positives left over from exposing photopolymer plates, others were reddish negatives that were used for making cyanotypes. I have now run out of material in the studio and have begun to print recent images onto digital transparencies to complete the project.

The examples here, in groups of twelve, mostly do not have their final layer attached. These snapshots were taken with my cell phone and document their early stage. I will post better quality images of some individual pieces when they are complete. I hope to also post images from the other eighty participants after the opening on July 24 (6-9 pm).