December 31, 2004
3. Untitled (Susan Sontag)
Untitled (Susan Sontag 1933-2004), 2004, HTML, 500 x 460 pixels
December 30, 2004
2. Untitled
Untitled, 2004, HTML, 500 x 460 pixels
Sometimes it just feels good to give in to the designer-ish inner-pattern maker and not think about subject matter.
December 29, 2004
December 27, 2004
December 26, 2004
December 25, 2004
December 24, 2004
December 23, 2004
December 22, 2004
December 21, 2004
December 20, 2004
December 19, 2004
December 18, 2004
The Sleeping Spinner
The Sleeping Spinner, 2004, HTML, 540 x 460 pixels
December 17, 2004
The Sleeping Spinner
The Sleeping Spinner, 2004, HTML 600 x 500 pixels
December 16, 2004
The Sleeping Spinner
The Sleeping Spinner, 2004, HTML, 540 x 460 pixels
December 15, 2004
The Sleeping Spinner
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The Sleeping Spinner, 2004, HTML 549 x 489 pixels
December 14, 2004
The Sleeping Spinner
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The Sleeping Spinner, 2004, HTML, 420 x 460 pixels
December 13, 2004
The Sleeping Spinner
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The Sleeping Spinner, 2004, HTML, 380 x 390 pixels
December 12, 2004
Zen Arcade 1-23
Zen Arcade 1-23, 2004, HTML, dimensions variable I finished a short group of four drawings, each representing one of four sides of the LP of Husker Du's Zen Arcade, on 20041128, and at that time wrote a fair amount about how they were a reaction to a previous series in terms of size and effects. I said that I had thought of, but had decided against, doing twenty three drawings, one for each of the songs on the album. Having written that, however, of course the next day I decided to do the twenty three drawings, at a pace of three drawings a day, rushing through the series in eight days instead of my normal practice of one drawing per day, which would've made this series over three weeks in length. I needed a gimmick for these drawings. I knew that each day I would consider three song titles and try to respond with an HTML drawing, but I felt I needed something else: a system, a conceptual anchoring, a contextualizing visual cue. So here's what I did:
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December 11, 2004
Zen Arcade 4-23
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December 10, 2004
Zen Arcade 7-23
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December 09, 2004
Zen Arcade 10-23
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December 08, 2004
Zen Arcade 13-23
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Zen Arcade 13-23, 2004, HTML, dimensions varied
December 07, 2004
Zen Arcade 16-23
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Zen Arcade 16-23, 2004, HTML, dimensions varied
December 06, 2004
Zen Arcade 19-23
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Zen Arcade 19-23, 2004, HTML, dimensions varied
December 05, 2004
Zen Arcade 22-23
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Zen Arcade 22-23, 2004, HTML, dimensions varied
December 03, 2004
Zen Arcade, Side 4
Zen Arcade, Side 4, 2004, HTML, 500 x 660 pixels
December 02, 2004
Zen Arcade, Side 3
Zen Arcade, Side 3, 2004, HTML, 500 x 580 pixels
December 01, 2004
Zen Arcade, Side 2
Zen Arcade, Side 2, 2004, HTML 555 x 574 pixels
November 30, 2004
Zen Arcade, Side 1
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Zen Arcade, Side 1, 2004, HTML, 594 x 575 pixels
November 28, 2004
Black/Red 31 & 32
Black/Red 31 & 32, 2004, HTML, 240 x 200 pixels each
November 27, 2004
Black/Red 29 & 30
Black/Red 29 & 30, 2004, HTML, 240 x 200 pixels each
November 26, 2004
Black/Red 27 & 28
Black/Red 27 & 28, 2004, HTML, 240 x 200 pixels each
November 25, 2004
Black/Red 25 & 26
Black/Red 25 & 26, 2004, HTML, 240 x 200 pixels each
November 24, 2004
Black/Red 23 & 24
Black/Red 23 & 24, 2004, HTML, 240 x 200 pixels each
November 23, 2004
Black/Red 21 & 22
Black/Red 21 & 22, 2004, HTML, 240 x 200 pixels each
November 22, 2004
Black/Red 19 & 20
Black/Red 19 & 20, 2004, HTML, 240 x 200 pixels each
November 21, 2004
Black/Red 17 & 18
Black/Red 17 & 18, 2004, HTML, 240 x 200 pixels each
November 20, 2004
Black/Red 15 & 16
Black/Red 15 & 16, 2004, HTML, 240 x 200 pixels each
November 19, 2004
Black/Red 13 & 14
Black/Red 13 & 14, 2004, HTML, 240 x 200 pixels each
November 18, 2004
Black/Red 11 & 12
Black/Red 11 & 12, 2004, HTML, 240 x 200 pixels each
November 17, 2004
Black/Red 9 & 10
Red/Black 9 & 10, 2004, HTML, 240 x 200 pixels each
November 16, 2004
Black/Red 7 & 8
Red/Black 7 & 8, 2004, HTML, 240 x 200 pixels each
November 15, 2004
November 14, 2004
November 13, 2004
November 11, 2004
Untitled (Deep in the Mountain Wilderness)
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Untitled (Deep in the Mountain Wilderness), 2004, HTML, 345 x 605 pixels
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DEEP IN THE MOUNTAIN WILDERNESS Deep in the mountain wilderness TU FU
From One Hundred Poems From The Chinese by Kenneth Rexroth |
November 10, 2004
Untitled (Moon Festival)
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Untitled (Moon Festival), 2004, HTML, 345 x 605 pixels
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MOON FESTIVAL The Autumn constellations TU FU
From One Hundred Poems From The Chinese by Kenneth Rexroth |
November 08, 2004
Untitled (Clear Evening After Rain)
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Untitled (Clear Evening After Rain), 2004, HTML, 365 x 550 pixels
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CLEAR EVENING AFTER RAIN The sun sinks towards the horizon. TU FU
From One Hundred Poems From The Chinese by Kenneth Rexroth |
Untitled (Jade Flower Palace)
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Untitled (Jade Flower Palace), 2004, HTML, 358 x 528 pixels
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JADE FLOWER PALACE The stream swirls. The wind moans in TU FU
From One Hundred Poems From The Chinese by Kenneth Rexroth |
November 07, 2004
Untitled (Clear After Rain)
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Untitled (Clear After Rain), HTML, 330 x 490 pixels
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CLEAR AFTER RAIN Autumn, cloud blades on the horizon. TU FU
From One Hundred Poems From The Chinese by Kenneth Rexroth |
November 06, 2004
Untitled (A Restless Night in Camp)
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Untitled (A Restless Night in Camp), 2004, HTML, 355 x 500 pixels
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A RESTLESS NIGHT IN CAMP In the penetrating damp TU FU
From One Hundred Poems From The Chinese by Kenneth Rexroth |
November 05, 2004
Untitled (Banquet at the Tso Family Manor)
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Untitled (Banquet at the Tso Family Manor), 2004, HTML, 355 x 495 pixels
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BANQUET AT THE TSO FAMILY MANOR The windy forest is checkered TU FU
From One Hundred Poems From The Chinese by Kenneth Rexroth |
November 04, 2004
Untitled (Night Thoughts While Traveling)
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Untitled (Night Thoughts While Traveling), 2004, HTML, 346 x 491 pixels
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NIGHT THOUGHTS WHILE TRAVELING A light breeze rustles the reeds TU FU
From One Hundred Poems From The Chinese by Kenneth Rexroth |
November 03, 2004
Untitled (Stars and Moon on the River)
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Untitled (Stars and Moon on the River), 2004, HTML, 335 x 447 pixels
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STARS AND MOON ON THE RIVER The Autumn might is clear TU FU
From One Hundred Poems From The Chinese by Kenneth Rexroth |
November 02, 2004
Untitled (Full Moon)
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Untitled (Full Moon), 2004, HTML, 313 x 382 pixels
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FULL MOON Isolate and full, the moon TU FU
From One Hundred Poems From The Chinese by Kenneth Rexroth |
November 01, 2004
Untitled (Traveling Northward)
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Untitled (Traveling Northward), 2004, HTML, 313 x 382 pixels
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TRAVELING NORTHWARD Screech owls moan in the yellowing TU FU
From One Hundred Poems From The Chinese by Kenneth Rexroth |
October 30, 2004
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October 10, 2004
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October 08, 2004
Er Verschwand
Er Verschwand (für mein Vater auf seinem Geburtstag), 2004, HTML, 198 x 162 pixels
October 07, 2004
October 06, 2004
October 05, 2004
October 04, 2004
October 03, 2004
October 02, 2004
October 01, 2004
September 30, 2004
September 28, 2004
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September 25, 2004
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September 22, 2004
5. First Rehearsal: Johnny, Joey, DeeDee, & (newest drummer) Angel
5. First Rehearsal: Johnny, Joey, DeeDee, & (newest drummer) Angel (Ahn' hell)
September 21, 2004
4. Where's Tommy? Drummer Auditions!
4. Where's Tommy? Drummer Auditions!
September 20, 2004
3. Joey and Johnny Reconcile
3. Joey and Johnny Reconcile, 2004, HTML, 320 x 320 pixels
September 19, 2004
2. DeeDee Greets Johnny
2. DeeDee Greets Johnny, 2004, HTML, 320 x 320 pixels
September 18, 2004
1. Johnny Arrives in Heaven
1. Johnny Arrives in Heaven, 2004, HTML, 320 x 320 pixels
September 16, 2004
September 15, 2004
September 14, 2004
September 13, 2004
September 12, 2004
September 11, 2004
September 10, 2004
September 09, 2004
September 08, 2004
September 07, 2004
September 06, 2004
September 05, 2004
September 04, 2004
September 03, 2004
September 02, 2004
September 01, 2004
August 31, 2004
August 30, 2004
August 28, 2004
Untitled 8 (Occidental, Sonoma, California)
HTML, 220 x 720 pixels
August 27, 2004
Untitled 7 (Occidental, Sonoma, California)
HTML, 220 x 720 pixels
August 26, 2004
Untitled 6 (Occidental, Sonoma, California)
HTML, 220 x 720 pixels
August 25, 2004
Untitled 5 (Occidental, Sonoma, California)
HTML, 220 x 720 pixels
August 24, 2004
Untitled 4 (Occidental, Sonoma, California)
HTML, 220 x 720 pixels
August 23, 2004
Untitled 3 (Occidental, Sonoma, California)
HTML, 220 x 720 pixels
August 22, 2004
Untitled 2 (Occidental, Sonoma, California)
HTML, 220 x 720 pixels
August 21, 2004
Untitled 1 (Occidental, Sonoma, California)
HTML, 220 x 720 pixels
August 19, 2004
August 18, 2004
August 17, 2004
August 16, 2004
August 15, 2004
August 14, 2004
August 13, 2004
August 12, 2004
August 11, 2004
August 10, 2004
August 09, 2004
August 08, 2004
August 07, 2004
August 06, 2004
August 05, 2004
August 04, 2004
August 03, 2004
August 02, 2004
August 01, 2004
July 31, 2004
July 30, 2004
July 29, 2004
July 28, 2004
July 27, 2004
July 26, 2004
July 25, 2004
July 24, 2004
July 17, 2004
July 16, 2004
11. Under the Red Sky, 1990; 12. Good as I Been to You, 1992
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July 15, 2004
9. Down in the Groove, 1988; 10. Oh Mercy, 1989
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July 14, 2004
7. Empire Burlesque, 1985; 8. Knocked Out Loaded, 1986
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July 13, 2004
5. Shot of Love, 1981; 6. Infidels, 1983
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July 12, 2004
3. Slow Train Coming, 1979; 4. Saved, 1980
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July 11, 2004
1. Desire, 1976; 2. Street Legal, 1978
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July 10, 2004
July 09, 2004
July 08, 2004
July 07, 2004
July 06, 2004
July 05, 2004
July 04, 2004
July 03, 2004
July 02, 2004
July 01, 2004
June 30, 2004
June 29, 2004
June 28, 2004
June 27, 2004
June 26, 2004
June 24, 2004
June 23, 2004
June 22, 2004
June 21, 2004
June 20, 2004
June 19, 2004
June 18, 2004
June 17, 2004
June 16, 2004
June 15, 2004
June 14, 2004
June 13, 2004
June 12, 2004
June 11, 2004
June 10, 2004
I was born June 10, 1957 at 3:12 p.m.
Forty-seven Birthday Drawings (and one to grow on)
June 09, 2004
June 08, 2004
June 07, 2004
June 06, 2004
June 05, 2004
June 04, 2004
June 03, 2004
June 02, 2004
June 01, 2004
Visual Problems & Solutions (Rudolf's Diner, June 2004)
Visual Problems & Solutions (for Rudolf's Diner, June 2004)
The making of any visual arts, or any art for that matter, is always about solving problems. Whether it's how to depict an object, how to use color, how to convey meaning through an image, or even what to make art about, an artist is is alway confronting problems, asking questions about what to do, and posing possible solutions, which leads to more questions and, hopefully, more solutions.
Nearly four years ago I began writing in a weblog almost everyday. My original weblog, which is now not on the web, began as a nine month experiment in educational technology as part of my work with the UC Berkeley Interactive University Project, an initiative to make university resources accessible and useful to the K-12 world using Internet technology. It wasn't long, though, before my writing turned to more personal content. And then it wasn't much later that, being an artist, I wanted my weblog be a place to post images.
I knew that I wanted the images to be lightweight, meaning not ony that they downloaded quickly, but that somehow I didn't want to be a maker of digital images. I didn't want to get involved in using graphic software, as I'm no great fan of digital imagery; there is something inherently untrue about digital images that simply does not appeal to me. In addition, I didn't want to create additional graphic files in addition to the web page beause of the need to upload and host the images separately. I didn't want to make photographs; I'm not a photographer, and I'm not able to frame things well through a camera anyway. However, knowing HTML fairly well it occurred to me that by using this simple code I could make tables that are rows and columns of colored cells, and that I could work in the language of somewhat minimal, non-representational imagery, a form with which I already had lots of experience and for which I have a great interest and affinity. The beauty of this was that the image itself only existed as code, and was embedded in the webpage so that no additional files needed to be created or loaded.
I already knew how to make hand-coded HTML tables, but given the potential complexity of code required to make an image I knew that I could make these drawings fairly quickly in an HTML editor. For all their supposed simplicity, it's not as easy as it looks; the hardest part is, of course, the question of what what to make.
HTML can be fairly straightforward medium. For example this string of code
will be rendered by a web browser as a black square 100 pixels high and wide:
<table bgcolor="black" cellpadding="0" cellspacing="0"
border="0" height="100" width="100"><tr><td> </td></tr></table>
But there are also extreme limitations to what one can do with HTML: everything is on the grid, right angles only, no diagonals; everything is hard edged; there are a limited number of colors (216 web safe colors; although one can make more than 216 colors, the number of colors actually viewable varies a lot from monitor to monitor); because the color is seen from a constant light source (the monitor) it tends to always have the same intensity and saturation; it is impossible to depict texture; and an image larger than one can see on a monitor without scrolling isn't very effective. The most difficult thing is pushing to find slight variations so that the medium sustains an expressive, ongoing art practice. It is this restrictiveness, though, that I find quite freeing. I enjoy the limitations and boundaries because I am presented with a set of solutions that I can't do anything about, that I accept.
The weblog in which I learned to make what I have come to call HTML drawings, A Place to Work, Nothing Fancy, ran for three years, during which I created several series of drawings. I have found that a weblog can a very effective work space that, for my purposes, became a studio, gallery, and archive, Last fall 2003 I decided to retire APTWNF and move my educational technology writing to AtWork, and my drawing activities to LookSee, where I've recently worked through several series of drawings.
Recently I found myself posting images of old paintings of mine. One painting, Untitled, is from 1981 . I found it interesting to look back at this painting, to remember making it, and also to feel how relevant it is for me now, and I began feel it feeding and motivating me. This painting is composed of several canvases, which do not line up to make the painting an overall rectangle. Instead, the composition is more like a cross turned on its side. I nicknamed the painting "Hammer."
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| Untitled, 1981, acrylic, tempera, ink on canvas, ca. 28.25 x 46.75" |
One of the things I experienced when looking at this painting was seeing how two panels, one narrow blue panel on top of an identically-sized black panel, created a kind a movement and tension, a visual instability or slippage, and at that moment it so happened I was feeling a personal, emotional instability, even an inability. This gave me the idea to make a series of HTML images of things not quite connecting or aligning, and I wanted to work through these in the hope that I could make images with this kind of tension, while also working through my own "slippage." I called this series "Don't Know How," and I hoped by making them I would figure out how to do something, both visually and emotionally. There are two sets of nine, each drawing made one day at a time over eighteen days. Set 1-9 is below (click image to view in HTML). Set 10-18 can be viewed at LookSee.
I make one HTML drawing everyday and post it on my weblog. It has become a habit, a practice, and by doing it everyday it's interesting how the drawings accumulate, how I move from one to the next, repeat things, and find new things to do. By working in series I have developed a large body of work that I often refer to and think about how to reuse. In this sense my weblog is a sketchbook, and I have been working through making images that deal in content beyond just form and color, but also about people, places, feelings, attitudes, and memory in a restrictive medium.
For awhile I have wanted to begin using the HTML imagery in paintings and drawings of a more traditional type. This has actually been quite difficult, as there are a lot of questions to answer. How much should a painting or drawing mimic or replicate the HTML drawing? How will I handle edge and surface? In cases where I have emulated a kind of overlay or transparency in HTML, do I want to draw or paint this with mixed color or by laying one transparent color over another? Using paint I have much more nuance availabe in terms of color and touch; do I want to mimic the intensity of monitor color in the HTML drawings? The HTML drawings are based on a grid; do I want move away from the grid to something more handmade? And so on.
The following six images are small studies I made to help me begin to tackle
the problem of answering these questions. I know that I will only be able to solve these problems by making these images over and over in a variety of media. All drawings are May 2004, and can be clicked to view a larger version.
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| Don't Know How (Study 1), May 2004, ink on paper, 10 x 8 inches (scanned) | Don't Know How (Study 2), May 2004, ink on paper, 10 x 8 inches (scanned) |
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| Don't Know How (Study 3), May 2004, pencil, ink, colored pencil on paper, 10 x 8 inches (scanned) | Don't Know How (Study 4), May 2004, pencil on paper, 10 x 8 inches (scanned) |
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| Don't Know How (Study 5), May 2004, watercolor on paper, 10 x 8 inches (scanned) | Don't Know How (Study 6), May 2004, pencil and watercolor on paper, 10 x 8 inches (scanned) |
Chris Ashley lives in Oakland, is a former teacher still working in education, draws in his personal weblog "LookSee" everyday, and writes in his work weblog "AtWork."
May 31, 2004
May 30, 2004
May 29, 2004
May 28, 2004
May 27, 2004
May 26, 2004
May 25, 2004
May 24, 2004
May 23, 2004
Don't Know How 3 & 10, imagined gallery view
Background borrowed from Richard Schur.
May 22, 2004
May 21, 2004
May 20, 2004
Don't Know How 1-9, Set 1: Slippage
On 20040504 I posted a photo of a painting from 1981 and wrote, "... the two panels stacked vertically provide a kind of visual slippage or movement, as if the blue sky above had filled in the sunken black ground below that was fighting to pull itself back up again." This is idea of a kind of slippage, and the many things that might imply visually and emotionally, was on my mind each day as I made the nine drawings in this series Don't Know How 1-9, Set 1: Slippage. Each of these drawings has a misalignment, disconnect, or incompletion of some type. I'm going to continue on a 9 image Set 2.
May 19, 2004
May 18, 2004
May 17, 2004
May 16, 2004
May 15, 2004
May 14, 2004
May 13, 2004
May 12, 2004
May 11, 2004
May 10, 2004
May 09, 2004
May 08, 2004
May 07, 2004
Art supplies, revisitied
Lynn says it better than I about the seduction of art supplies.
Me, cynical, bitter, terse: "I am critical of commerical experiences that provide shoppers with illusory meaning."
Lynn, elegant, insightful, picturesque: "Art supplies, like office supplies, are objects of desire. Beautiful, often arranged in nifty fitted cases, colors and textures and tools so tangible. Who can't want to own them, possess them? The clever collapsible wooden easel, the sensual brushes, the elegant clay tools, the vibrant oils, the perfect racks of rainbow pencils-- looking at them, row upon row, induces a bliss of orderliness and sensory delight. As if, unleashed from their snug packaging, the images and shapes will flow from them directly onto the clean, rough or smooth, surface of paper or cloth. Get out of the way and it will happen."
May 06, 2004
May 04, 2004
May 03, 2004
May 02, 2004
May 01, 2004
April 30, 2004
April 29, 2004
April 28, 2004
April 27, 2004
April 26, 2004
April 25, 2004
April 24, 2004
April 23, 2004
April 22, 2004
April 21, 2004
April 19, 2004
April 18, 2004
April 17, 2004
April 16, 2004
April 15, 2004
April 13, 2004
April 12, 2004
Brent Hallard
Brent Hallard has a new online exhibit, Six. And his Tokyo Notes is always worth looking at.
April 11, 2004
April 10, 2004
April 09, 2004
April 08, 2004
April 07, 2004
April 06, 2004
April 05, 2004
April 04, 2004
April 03, 2004
April 02, 2004
March 31, 2004
March 30, 2004
March 29, 2004
March 28, 2004
March 27, 2004
March 26, 2004
March 25, 2004
March 24, 2004
March 23, 2004
March 22, 2004
March 21, 2004
March 20, 2004
March 19, 2004
March 18, 2004
March 17, 2004
March 16, 2004
About the bodhi drawings
On November 22, 2003, at the end of the "Places I Have Slept" series, I wrote:
I have seen painting shows where a painter has a motif, a figure, a layout, and each painting in that body of work is just a different set of colors. Imagine any one of my drawings repeated ten or twelve times where the only real problem from work to work is color. This works well for some people, but I seem to have a hard time doing this. I've got to at least do enough of a significant variation from work to work so that I have no only a color problem but a drawing problem, a spatial problem, a scale problem, to work with.
This current series, "bodhi" [1, 2, 3, 4, 5, 6, 7, 8, 9, 10], began, and ended, as a conscious attempt to use, more or less, the same drawing over and over. Sure, there were slight variations in the borders and in how the central square, a kind of empty frame, was handled- darker or lighter, a complementary color, a single color, floating over or embedded in the ground- but basically, the main figure, four overlapping rectangles with a central square hole, was the same. Really, I'd never used an approach like this before. And there is the risk that one produces a product line- sweaters of the exact same cut in different colors. Whatever- sometimes you do things just to see what it is to do it, and what you get when you're done.
About the use of the bodhi as a subject, I'll let the Wikipedia speak:
Bodhi (Pali, Sanskrit: lit. (supreme) knowledge, Enlightenment., from the Sanskrit word "Budh") is a title given to the specific Awakening experience attained by the Indian spiritual teacher Gautama Buddha. It is sometimes said to be the attainment of complete and perfect sanity.In these drawings I wanted to find an image that had a kind of dynamic strength - movement, off-balanced catching, or balanced instability, or something continually righting itself- caught in that moment of being held in balance, a moment of stillness about to change again. The four rectangles were a solid structure, though not symmetrical, and and empty frame either floated over these rectangles, or appeared to be embedded in each rectangle, or even sat at a lower level. I liked those different readings. Stillness and movement.
Bodhi is attained only by the accomplishment of the Paramitas (perfections), when the Four Noble Truths are fully grasped, and when all karma has reached cessation. At this moment, all greed, aversion, delusion, ignorance, craving and ego-centered consciousness are extinguished.
See also: Buddhism and Nirvana
March 15, 2004
March 14, 2004
March 13, 2004
March 12, 2004
March 11, 2004
March 10, 2004
March 09, 2004
March 08, 2004
March 07, 2004
March 06, 2004
March 04, 2004
10: Avirodha - Absence of obstruction
10: Avirodha - Absence of obstruction
March 03, 2004
March 02, 2004
March 01, 2004
February 29, 2004
February 28, 2004
February 27, 2004
February 26, 2004
February 25, 2004
February 22, 2004
February 21, 2004
February 20, 2004
February 19, 2004
February 18, 2004
February 17, 2004
February 16, 2004
February 15, 2004
February 14, 2004
February 13, 2004
February 12, 2004
February 11, 2004
Lohans 7 & 8: Elephant Riding & Laughing Lion
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Chris Knipp pretty much speak for me in this well-written piece: The Case Against Bush.
February 10, 2004
February 09, 2004
February 08, 2004
February 07, 2004
Arhats [16]: Cudapanthaka
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This is the sixteenth and final Arhat drawing. I have compiled all 16 as a single entry. I have some more to say later about how these came about and the problems I set for myself in this series.
February 06, 2004
February 05, 2004
February 04, 2004
February 03, 2004
February 02, 2004
February 01, 2004
January 31, 2004
January 30, 2004
January 29, 2004
January 28, 2004
Arhat [6]: Bhadra
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More dead solderis. See the count- around 524.
January 27, 2004
Arhat [5]: Nakula
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Lloyd: beautiful pix and text, great display.
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Where does a painting, and more specifically, an abstract painting, fall, when it's not just busy being itself, between metaphor and analogy?
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Jerry Saltz on Arshile Gorky:
I revere Gorky's work. Yet sadly, I know this is not his time. His forms look erotic to me, or otherworldly in very real ways. And his touch is scintillating. Yet to younger artists these days, Gorky comes off as relentlessly abstract, too rigorous, serious, pure and formal. Nowadays, his hard-won surfaces and meticulous shapes strike people as labored or too idealistic. His phantasmagoria comes off more platonic than it is.
Sounds great to me. Guess I'm not a young artist anymore.
January 26, 2004
January 24, 2004
Arhat [1]: Pindolabharadvaja
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Arts Research Center Annual Conference : When Is Art Research?
February 6, 9am-5pm
Geballe Room, Townsend Center for the Humanities, 220 Stephens Hall
Free admission
When the Arts Research Center was established at UC Berkeley in 2001, its stated
goal was to "create a deeper appreciation within the academic community
of art-making as a vital form of research that both interprets and re-imagines
our world." This year's ARC conference will advance this mission by focusing
on what research means to practicing artists. Some questions that may be addressed
include:
- What constitutes research for the artist and what typical roles does it
play in the finished product? - What is the focus of the participating artists' inquiries/experiments/explorations?
- To what degree do they see what they're doing as contributing to an inquiry
that others are also pursuing? Is their work "in conversation" with
the work of others? - To what degree do they find the term research useful or accurate in describing
what they do? What are the term's limitations as applied to artists' work?
- For artists who operate within research universities, how does this environment
and its definitions or expectations of research effect or modify their creative
practice? Are there other "environmental" factors (for instance,
the pressures of fundraising) that influence the role of research in an artist's
work? - Are there certain artistic media, techniques, or forms that are easier or
more difficult to conceive as research? What is it about certain activities
that makes them amenable to being perceived in this way?
Visual Arts as Research, 11:15am
Squeak Carnwath (panel chair), Professor in Residence, Art Practice, UC Berkeley
Greg Niemeyer, Assistant Professor, Art Practice/New Media, UC Berkeley
Anne Walsh, Assistant Professor, Art Practice, UC Berkeley
John Zurier, painter
Melissa Day, MFA candidate in Art Practice, UC Berkeley
January 23, 2004
16 Arhats
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| [1] Angaja holds a fly whisk and incense bowl. | [2] Ajita has the head covered and the hands in the meditation mudra. | [3] Vanavasin with the mudra of explication and holding a fly whisk. | [4] Kalika holds a gold earring in each hand. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| [5] Vajriputra with a fly whisk and hand gesture. | [6] Bhadra performs the mudras of explication and meditation. | [7] Kanakavatsa holds a jewel lasso in both hands. | [8] Kanaka Bharadvaja has both hands in meditation. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| [9] Bakula holds a mongoose. | [10] Rahula holds a jewelled tiara. | [11] Chudapantaka has both hands in meditation. | [12] Pindola Bharadvaja holds a book and begging bowl. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| [13] Pantaka holds a book and performs the mudra of explication. | [14] Nagasena holds a vase and staff. | [15] Gopaka holds a book. | [16] Abheda holds a stupa. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
January 21, 2004
12/16 Arhats
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| [1] Angaja holds a fly whisk and incense bowl. | [2] Ajita has the head covered and the hands in the meditation mudra. | [3] Vanavasin with the mudra of explication and holding a fly whisk. | [4] Kalika holds a gold earring in each hand. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| [5] Vajriputra with a fly whisk and hand gesture. | [6] Bhadra performs the mudras of explication and meditation. | [7] Kanakavatsa holds a jewel lasso in both hands. | [8] Kanaka Bharadvaja has both hands in meditation. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| [9] Bakula holds a mongoose. | [10] Rahula holds a jewelled tiara. | [11] Chudapantaka has both hands in meditation. | [12] Pindola Bharadvaja holds a book and begging bowl. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
January 19, 2004
4/16 Arhats
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| [1] Angaja holds a fly whisk and incense bowl. | [2] Ajita has the head covered and the hands in the meditation mudra. | [3] Vanavasin with the mudra of explication and holding a fly whisk. | [4] Kalika holds a gold earring in each hand. |
4/16 Arhats
January 18, 2004
January 17, 2004
January 16, 2004
Walking The Deck
Walking The Deck
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I'd call this a must read- long but worth it:
How the GOP's anti-elitism could ruin America's economy.
By Richard Florida
Voters are seeing not just a decline in manufacturing jobs, but also the outsourcing of hundreds of thousands of white-collar brain jobs--everything from software coders to financial analysts for investment banks. These were supposed to be the "safe" jobs, for which high school guidance counselors steered the children of blue-collar workers into college to avoid their parents' fate.But the loss of some of these jobs is only the most obvious--and not even the most worrying--aspect of a much bigger problem. Other countries are now encroaching more directly and successfully on what has been, for almost two decades, the heartland of our economic success -- the creative economy.
January 15, 2004
January 14, 2004
Navidad en el Pacífico cerca Baja California
Navidad en el Pacífico cerca Baja California
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I like this statement by Margie Livingston about "The Structure Paintings," January 8 - February 29, 2004 at Greg Kucera in Seattle:
Growing up in the Pacific Northwest, I developed a love of the out-of-doors that has become integral to my work. In graduate school, I came to understand how this affinity could be traced through my German heritage to Romanticism. But as I live in a time when the environment is threatened, my experience of nature includes a sense of loss. This sense of loss compels me to work from the landscape. Five years ago I started studying the structure of trees in my neighborhood. Transforming this experience into an abstract language is the basis of my current paintings.
I?ve brought fragments of the landscape in to my studio ? branches, leaves, twigs. I work from direct observation. I?ve slowed down the process of making ? committing to each mark and its relationship to the whole before moving on to the next. I?m trying to make each daub of paint contain location, drawing, gravity, color, and light. These marks are fragments that reference the greater whole. I?m searching for a way to translate my experience of nature onto the canvas that exists outside of the Abstract Expressionist and Impressionist ways of seeing. To this end, I?m studying how each mark informs the rectangle, investigating perspective and geometry, as well as researching photography as a means to alter how I see.
My work is a search for equivalencies and resonance. It tells the story of intense looking. My hope is to make work that is personal, connected to history, and yet, still relevant.
- Margie Livingston - http://margie.net/
"I?ve slowed down the process of making ? committing to each mark and its relationship to the whole before moving on to the next."
"I?m trying to make each daub of paint contain location, drawing, gravity, color, and light."
"These marks are fragments that reference the greater whole."
"I?m searching for a way to translate my experience of nature onto the canvas..."
"...I?m studying how each mark informs the rectangle, investigating perspective and geometry..."
"My work is a search for equivalencies and resonance. It tells the story of intense looking."
January 13, 2004
El Pacific cerca Baja California
January 12, 2004
El Pacifico cerca Baja California
El Pacifico cerca Baja California
January 11, 2004
El Pacifico Cerca Baja California
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January 10, 2004
Departure, Bahia de Banderas, Puerta Vallarta, Jalisco, MX
Departure, Bahia de Banderas, Puerta Vallarta, Jalisco, MX
Bahia de Banderas, cerca Puerta Vallarta, Jalisco y Nayarit, MX
Bahia de Banderas, cerca Puerta Vallarta, Jalisco y Nayarit, MX
Las Islas Marietas, cerca Puerto Vallarta, MX
Las Islas Marietas, cerca Puerto Vallarta, MX
January 07, 2004
Artesania Flores, Lazaro Cardenas, Puerto Vallarta, MX
Artesania Flores, Lazaro Cardenas, Puerto Vallarta, MX
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Now and then an incidental reminder shocks me into the sudden deep recognition of the importance of Cezanne, in general, and specifically, to me. Today's reminder came via Terry Teachout.
Cezanne, Paul
The Garden at Les Lauves (large)
c. 1906
Oil on canvas
65.4 x 80.9 cm (25 3/4 x 31 7/8 in.)
The Phillips Collection, Washington, D.C.
From this past Sunday's Washington Post:
"The Garden at Les Lauves" (circa 1906) may be the last landscape painted by Paul Cezanne. Is it finished? Hard to say. Cezanne's brush strokes look like crude daubs -- until they lock together into one spacious whole. His hand was swift. You can almost watch him scribble (horizontally in the foreground, up and down in the middle ground, swirlingly in the sky). Somehow he gave the empty air a kind of inner skeleton.
"Somehow he gave the empty air a kind of inner skeleton."
January 06, 2004
Hotel Molina de Agua, Ignacio L. Vallarta, Puerto Vallarta, MX
Hotel Molina de Agua, Ignacio L. Vallarta, Puerto Vallarta, MX
Huaracheria Fabiola, Ignacio L. Vallarta, Puerto Vallarta, MX
Huaracheria Fabiola, Ignacio L. Vallarta, Puerto Vallarta, MX
January 04, 2004
January 03, 2004
January 02, 2004
January 01, 2004
December 31, 2003
December 21, 2003
December 20, 2003
December 19, 2003
December 16, 2003
December 15, 2003
December 14, 2003
December 13, 2003
December 12, 2003
December 11, 2003
December 10, 2003
December 09, 2003
December 08, 2003
December 07, 2003
December 06, 2003
December 05, 2003
Untitled 1
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I'm going to stop the Ruby's Escape drawings; they're not what I wanted and I don't know where to go next. When I'm like this, wondering about what next, I go back to doing simple drawings, sometimes iconic little things, just looking for an image, a motif or a line, a shape or a space, just looking for a launching point into something else.
I don't know about your monitor, but on mine that blue surrounded by red just pops, even though it dramatically drops back behind the red. Drawing-wise the blue is the figure and the red is the ground, but spatially, forced by color, the red is the solid and the blue is a void.
December 03, 2003
Ruby's Escape IV
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Reading material:
I repeat, the latest issue of Rudolf's Diner, the theme of which is Gratitude, December 2003, is now online.
The December Interactive University News is out.
December 02, 2003
About Ruby's Escape
Some people asked me, "What happened? Did Ruby escape?" No, I've just had this title in mind for awhile; what Ruby escaped from was a bad home situation into our lives, which of course, if I do say so myself, is an excellent situation. These drawings are about her leaving one place for another, for a better place. There's no narrative, and I don't know where these will go or how many there will be.
About Smokey, Jackie, Jackie, Mookie
The drawings of last week, "Smokey, Jackie, Jackie, Mookie," culminated in a final set that evolved out of six iterations. Sometime back I had written down chains of names based on first and last names: Smokey Robinson's last name leads to Jackie Robinson, whose first name leads to Jackie Wilson, whose last name lead to Mookie Wilson. All of the names I did like this were of African Americans. I could've gone from, say, Jackie Wilson to Flip Wilson, or any other variation. I liked the symmetry of singer, baseball player, singer, baseball player. Also I like the sound in each name of the hard "k" and the ending "y" vowel. Originally the list was six or seven names, but I lost it, and just did these four. For a bunch of silly drawings based on blocks of color doing four of these drawings everyday, each an extension of the previous day's drawings, was pretty engaging and a little challenging.
December 01, 2003
November 30, 2003
Part VI: Smokey, Jackie, Jackie, Mookie
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| Mookie Wilson | Jackie Wilson |
November 29, 2003
Part V: Smokey, Jackie, Jackie, Mookie
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| Mookie Wilson | Jackie Wilson |
November 28, 2003
Part IV: Smokey, Jackie, Jackie, Mookie
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| Mookie Wilson | Jackie Wilson |
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It isn't often that I'm going to highlight a comptemporary "realist" or "representational" painter, whatever that is anyway, which is a whole other discussion, but I have long like John Wesley's paintings, which are currently showing at Fredericks Freiser in NY.
November 27, 2003
Part III: Smokey, Jackie, Jackie, Mookie
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| Mookie Wilson | Jackie Wilson |
November 26, 2003
Part II: Smokey, Jackie, Jackie, Mookie
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November 25, 2003
Part I: Smokey, Jackie, Jackie, Mookie
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| Mooke Wilson | Jackie Wilson |
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Ana Finel Honigman on Howard Hodgkin at Artnet.
Joe La Plac interviews Donald Baechler at Artnet.
November 24, 2003
Test 2 & 3
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My grandmother, my father's mother, was born in Texas in 1905, coming to California in the late '30's. My mother's parents, both born in the late 1890's and raised in Arkansas, came to California post-WW II. Both sets of grandparents retained a certain way of talking throughout their lives.
In particular, my paternal grandmother used occasional language and phrasing that was passed down to us, sort of jumping over or through our father. For example, instead of sawying "a few" she would say "a couple or three." I still say this. When we'd go get hamburgers to bring back to her house after a Saturday of yard work for her she'd get the condiments out of the refrigerator in order to "doctor them up." She didn't say ice cream, usually, but instead, "Would you boys like some cream?" And whenever one of us was being difficult or disagreeable she would call us "contrary." Don't be so contrary." "Now, you're just being contrary." My younger brother and I can crack each other up by using that word with a very slight twang in an affectionate way.
I know I'm contrary. Often I'll say I don't like something, criticize it, dismiss it, and I immediately think after, "Well, do I really? Who do I think I am?" I rarely feel contrary when I've been positive, but I often feel contrary in conversation, as if it's my nature to go another way.
Last Friday, on ending the series "Places I Have Slept" I wrote:
- I have seen many painting shows where a painter has a motif, a figure, or a layout, and each painting in that body of work is just a different set of colors. Imagine any one of my drawings repeated ten or twelve times where the only real problem from work to work is color. This works well for some people, but I seem to have a hard time doing this. I don't naturally repeat myself, but instead have to choose to constantly do so. Typically, I've got to at least do enough of a significant variation from work to work so that I have not only a color problem but also a drawing problem, a spatial problem, and a scale problem to work with.
Knowing this, I decided to do just that for a couple or three days; the drawings on Saturday, Sunday, and today use the same structure. Only the color schemes change. It wasn't so bad.
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Catherine mentions her "new employee orientation." Huh? Did I miss something? You already have a job in El Paso?
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In CIRCA art magazine John Beagles write:
In a recent article, Robert Johnston, a Glasgow-based artist and writer, criticised the pervasive evil of the 'good idea' in contemporary art. Recounting a unproductive exchange with a college tutor, where he had been informed that he needed a 'good idea' to ground his work, Johnston came to the conclusion that he "hated good ideas." His irritation and disillusionment with any art that can be reduced to a movie-pitch hook is interesting, timely and astute...
For Johnston 'good idea' represents a constellation of insidious strands in contemporary art. The good idea propels the kind of art which, in its streamlining of artistic aspirations down to a single idea, frequently demonstrates as much depth as a puddle. Johnston's dissatisfaction - "if there's one thing I can't stand it's the kind of art whose whole raison d'être is the good idea" is understandable. In part I share it.
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November 23, 2003
Test 1
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Jim's second weblog, Shed, (his first is private) is about a month old and, previously private, suddenly public. Good stuff here, a very interesting project. Dig around a little, there are a few surprises. Be sure to read "When."
November 22, 2003
End of "Places I Have Slept" series
The Oakland HTML drawing is the last drawing in the series "Places I Have Slept," which began August 3, 2003. I saved Oakland for last since it's where I live and a town I like. The series includes 133 places (I know there are more places than this, but I can't remember or name them), a drawing for each place. There are just a few instances where I posted two or three drawings on a single day, usually places that, in my mind somehow, I associate together.
All drawings start with a small table, say 18 x 16, with each cell 20 x 20 pixels. Except for a few drawings most have a strict grid structure of 20 x 20 pixel units. In a few cases I varied row height or column width, but mostly I set out to do pretty straightforward grid drawings. There is nothing fancy here: no tables inside tables, no non-standard table attributes, no layers, no style sheets.
The tables are made with Dreamweaver. Each day I picked a place from the list, meditated on the name, even if briefly, and tried to go with the image that popped into my head, at least as a starting place. What almost always happened is that the image changed a lot through the making as I added or deleted columns and rows and copied and pasted code from one area of the table to another. In some ways it is more like a collage process.
During some periods I'd get in a groove, finding new effects, enjoying the space being created, fretting over too much illusion-like transparency or the hint of perspective. Each time when doing a drawing I'd think of a next step, and knowing that this next step might be a laborious thing to do, and thus undo if I didn't like it, I would copy the current state, paste it, and work on this copy. Sometimes I would have a page, then, with maybe a dozen drawings, each a previous state of the next. A drawing might go through a many changes in the making, and it's interesting to looking back through some and see the stages they went though; I have them all saved.
Sometimes I would make a very complex image, going through eight or ten stages, only to feel that I wasn't getting what I wanted, and so setting off in a completey different direction for the final drawing that might be made in just a few mintues very quickly and very simply, as if I had to go through a very elaborate process to arrive at something direct, even minimal with few shapes or colors.
When I made the list and started this series I had no idea it would last this long. I thought I would do more multiple-drawing days, but it didn't work out that way. I also started out with the intention of all drawings being the same size and dimensions, but I quickly abandoned this as each place is quite different in my memory, and the associations of some were more fond or intense than others. Having them all be the same size or dimensions would have instead lead to a logo-like series, and clearly to me, as some places are more important than others, or feel different, then each drawing had to be somewhat unique.
I have seen painting shows where a painter has a motif, a figure, a layout, and each painting in that body of work is just a different set of colors. Imagine anyone of my drawings repeated ten or twelve times where the only real problem from work to work is color. This works well for some people, but I seem to have a hard time doing this. I've got to at least do enough of a significant variation from work to work so that I have no only a color problem but a drawing problem, a spatial problem, a scale problem, to work with.
It's been nice to have a project with predetermined subjects, freeing me each day to memory, imagining, invention, and discovery.
November 21, 2003
Inisheer
Inisheer
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More, in a way, tooting my own horn, or pointing at myself- Brent Hallard's comment at Tom Moody's weblog:
- Stuck in a hotel room, YEP. I feel pretty much the same way as you suggest. Chris's stuff and comparing Halley's cell, and the two environments is nice. Not be so fond of Halley's work--overly fussy looking always to be hunting out the now--tells me pretty square on they are not the now they earnestly want to spell, which would lead to a long story, so back to Chris. it's just a sheer blow away of creative persistence and joy opening a browser watching things go 'different' on a daily basis. I click every day or so and just enjoy. You could say, Chris Ashley has become a part of a daily healthy harmless ritual. In his comments I sense there is a feeling he wants something back from them--something concrete--but I suggest he settle for the ephemeral--something like fame.
Thanks. Very much. And yes, I do want something, though I'm not sure it's something "back." It has something to do with the HTML drawings being a component of my overall arts project, but that other components of the project aren't going as well. That's all I'll say about it right now.
See Brent Hallard's site.
November 19, 2003
Mojave
Mojave
I have linked to Tom Moody's weblog for a couple of months now, checking in every other day or so. He's an artist, writes about art, and in addition to digital art has interests in other media- film and music, gaming, for example. I find his comments incisive, interesting, and sometimes quite surprising.
I dont' know how Tom discovered my weblog, but he made a very interesting comment about my table drawings way back in late August, extending the logic of Greenbergian flatness, color, and, well, thingness through the minimalists, Flavin, and Lewitt to using code to send instructions to the browser to create a particular display on a monitor. I thought this was an extremely interesting take on the HTML drawings, one I certainly hadn't formulated myself.
Imagine my surprise when I looked at his weblog this morning and found more comments by Tom about my work. He really gets what I'm doing, I think, and I'm grateful, flattered, and reassured at the same time.
He writes about a friend's reaction to the drawings:
- "I think on some level, though, my friend still thinks of Ashley's work as reproductions of paintings, and is critiquing them imagining them "in the flesh," with smooth surfaces and crisp-but-not-brittle edges like, say, Cary Smith's. But such paintings don't exist, it's all illumination in your browser. Somehow people with an eye for traditional abstraction are going to have to subtract out that extra step they're taking of imagining the reified image and just enjoy the fleeting thing they're seeing on the screen. This is true anti-materialist practice: what conceptualism promised thirty-five years ago but never delivered, at least in a visually compelling form."
I have to admit to straddling this issue a bit myself. My own ambivalence- hope or denial about my own artwork- is betrayed by the series of imaginary gallery views I created from previous HTML drawings this past January. I've long called these drawings macquettes, as if they were models or sketches for things I would produce out of real materials. But I've also always known , and kind of denied, that my method is one where I find the image through it's making. I knew that as soon as I might attempt to translate one of these tables into, say, paint, that through it's making it would become something else entirely, not to mention the fact the mediums themselves- a computer monitor vs. a canvas- have nothing to do with each other. I think I'm learning to let go of hoping to pull these two things together, and instead thinking about what else I've learned that I can use- process, habits, subject matter, and some loose and general ideas about form, color, and space. But the fact remains, the HTML drawings are things in themselves. They are what they are. And I appreciate Tom's take on this.
I'm pretty sure I'm the only one keeping score here- the list on the far left of this page, "Places I Have Slept," contains 133 names. There are two remaining: Inisheer and Oakland. That means this series, which began August 8, 2003, will end on Friday.
What next? Oh, I'm sure I'll think of something.
November 18, 2003
November 17, 2003
November 16, 2003
November 15, 2003
November 14, 2003
November 13, 2003
November 12, 2003
Airlines
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November 11, 2003
November 10, 2003
November 09, 2003
November 08, 2003
November 06, 2003
Steep Ravine
Steep Ravine
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Raoul de Keyser at David Zwirner
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Check out Chris Knipp's movie reviews.
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Howard Hodgkin:
October 31, 2003
October 29, 2003
October 28, 2003
October 27, 2003
October 26, 2003
October 25, 2003
October 24, 2003
October 23, 2003
Olema
Olema
I have fixed, I think, the display of tables here with a very slight modification of the style sheet:
.blogbody
font-family:palatino, georgia, verdana, arial, sans-serif;
color:#333;
font-size:large; (was set at small, tried medium, settled on large)
font-weight:normal;
background:#FFF;
line-height:100%; (was set at 200%, distorting the height of table cells)
October 22, 2003
October 21, 2003
June Lake
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Places I Have Slept: June Lake
The drawing is supposed to be squares, not rectangles; I don't know why it is displaying like this.