Look, See (2003-07) http://www.chrisashley.net/weblog/ en-us chrisashley@yahoo.com 2008-01-01T00:01:00-08:00 hourly 1 2000-01-01T12:00+00:00 Look, See has moved http://www.chrisashley.net/weblog/archives/week_2007_12_30.html 2240@http://www.chrisashley.net/weblog/ 2008-01-01T00:01:00-08:00 Ain't Gonna Work Tomorrow http://www.chrisashley.net/weblog/archives/week_2007_12_30.html 2241@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-31T00:01:00-08:00 The Birds Stop Their Singing http://www.chrisashley.net/weblog/archives/week_2007_12_30.html 2238@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-30T21:10:00-08:00 My Sweet Blue-Eyed Darling http://www.chrisashley.net/weblog/archives/week_2007_12_23.html 2237@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-29T00:02:00-08:00 Art Review : Chris Ashley: I Made This For You http://www.chrisashley.net/weblog/archives/week_2007_12_23.html 2236@http://www.chrisashley.net/weblog/ Art Writing 2007-12-29T00:01:00-08:00 While Jesus is Bleeding http://www.chrisashley.net/weblog/archives/week_2007_12_23.html 2235@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-28T00:01:00-08:00 With Nothing to Sell http://www.chrisashley.net/weblog/archives/week_2007_12_23.html 2234@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-27T17:18:51-08:00 Dwell in That Shack http://www.chrisashley.net/weblog/archives/week_2007_12_23.html 2233@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-26T00:01:00-08:00 Where Happiness Never Ends http://www.chrisashley.net/weblog/archives/week_2007_12_23.html 2232@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-25T00:01:00-08:00 Up This Hill and Down http://www.chrisashley.net/weblog/archives/week_2007_12_23.html 2231@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-24T00:01:00-08:00 Sang in True http://www.chrisashley.net/weblog/archives/week_2007_12_23.html 2230@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-23T19:36:24-08:00 The Fire is Burning (Happy Birthday Ann) http://www.chrisashley.net/weblog/archives/week_2007_12_16.html 2229@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-22T00:01:00-08:00 Set Your Fields on Fire http://www.chrisashley.net/weblog/archives/week_2007_12_16.html 2228@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-21T23:26:48-08:00 Small Praying Band http://www.chrisashley.net/weblog/archives/week_2007_12_16.html 2227@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-20T23:44:49-08:00 Where the Birds Are Still Singing http://www.chrisashley.net/weblog/archives/week_2007_12_16.html 2226@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-19T20:46:42-08:00 No Pomp or Style http://www.chrisashley.net/weblog/archives/week_2007_12_16.html 2225@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-18T23:30:42-08:00 How Much I Yearn http://www.chrisashley.net/weblog/archives/week_2007_12_16.html 2224@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-17T00:01:00-08:00 How They Linger http://www.chrisashley.net/weblog/archives/week_2007_12_16.html 2223@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-16T00:08:46-08:00 Filled With Green http://www.chrisashley.net/weblog/archives/week_2007_12_09.html 2222@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-15T00:53:58-08:00 Noise of Wings http://www.chrisashley.net/weblog/archives/week_2007_12_09.html 2221@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-14T23:49:07-08:00 Jack O'Diamonds http://www.chrisashley.net/weblog/archives/week_2007_12_09.html 2220@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-13T23:59:59-08:00 Eyes of My Mind http://www.chrisashley.net/weblog/archives/week_2007_12_09.html 2219@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-12T19:24:25-08:00 Dew Drops On The Ground http://www.chrisashley.net/weblog/archives/week_2007_12_09.html 2218@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-11T00:05:00-08:00 On The Other Shore http://www.chrisashley.net/weblog/archives/week_2007_12_09.html 2215@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-10T20:40:11-08:00 Just Before Dawn http://www.chrisashley.net/weblog/archives/week_2007_12_09.html 2217@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-09T00:01:00-08:00 Meet Them in Heaven http://www.chrisashley.net/weblog/archives/week_2007_12_02.html 2216@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-08T00:01:00-08:00 Never Go Back Home http://www.chrisashley.net/weblog/archives/week_2007_12_02.html 2214@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-07T00:01:00-08:00 Get Up Rounder http://www.chrisashley.net/weblog/archives/week_2007_12_02.html 2213@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-06T00:01:00-08:00 Rough and Rocky http://www.chrisashley.net/weblog/archives/week_2007_12_02.html 2212@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-05T00:01:00-08:00 My Burning Cheek http://www.chrisashley.net/weblog/archives/week_2007_12_02.html 2211@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-04T21:32:40-08:00 The Master's Bouquet http://www.chrisashley.net/weblog/archives/week_2007_12_02.html 2210@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-03T22:23:02-08:00 "B I T M A P: as good as new" catalog http://www.chrisashley.net/weblog/archives/week_2007_12_02.html 2209@http://www.chrisashley.net/weblog/ exhibitions 2007-12-03T11:43:24-08:00 But Not Forgotten http://www.chrisashley.net/weblog/archives/week_2007_12_02.html 2208@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-02T21:51:01-08:00 Tempted and Tried http://www.chrisashley.net/weblog/archives/week_2007_11_25.html 2207@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-12-01T22:40:21-08:00 "I Made This For You" http://www.chrisashley.net/weblog/archives/week_2007_11_25.html The MARJORIE WOOD GALLERY ANNOUNCES THE OPENING OF AN ONLINE EXHIBITION OF HTML DRAWINGS BY CHRIS ASHLEY "I Made This For You" by Chris Ashley on view, online only, now through January 31, 2008 at THE MARJORIE WOOD GALLERY... http://www.marjoriewoodgallery.com/exhibitions/ashley The Marjorie Wood Gallery is pleased to present San Francisco Bay Area artist Chris Ashley's "I Made This For You." Chris Ashley uses HTML to make colored tables that are rendered as images by a web browser. He calls these "drawings," which he has made and posted daily on his blog. Although the images he makes are typically "abstract" they often reference and allude to the real world. He tries daily to make something that is beautiful, that is pictorially interesting, and that responds to or embodies an idea or subject. Each day during December he will make one HTML drawing that will be posted online at the Marjorie Wood Gallery Website, where they will accumulate during the month. The completed set of drawings will be exhibited through the end of January. The exhibition is accompanied by an essay, "Painting on Water," by Oakland artist George Lawson. FOR MORE INFORMATION Contact: Marjorie Wood (415) 641-4967 The MARJORIE WOOD GALLERY is devoted to promoting innovation and experimentation in the visual and literary arts. Commissioned projects by emerging and mid-career artists and writers are available to view at: http://www.marjoriewoodgallery.com... 2206@http://www.chrisashley.net/weblog/ exhibitions 2007-12-01T08:02:05-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_25.html 2205@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-30T00:01:01-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_25.html 2204@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-29T07:44:47-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_25.html 2203@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-28T22:17:14-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_25.html 2202@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-27T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_25.html 2201@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-26T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_25.html 2200@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-25T10:59:15-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_18.html 2199@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-24T00:20:47-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_18.html 2198@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-23T10:40:58-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_18.html 2197@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-22T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_18.html 2196@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-21T16:58:57-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_18.html 2195@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-20T23:59:59-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_18.html 2194@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-19T23:59:17-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_18.html 2193@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-18T17:34:50-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_11.html 2192@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-17T23:17:19-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_11.html 2191@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-16T08:11:58-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_11.html 2190@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-15T07:03:15-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_11.html 2189@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-14T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_11.html 2188@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-13T19:38:34-08:00 "B I T M A P: as good as new" http://www.chrisashley.net/weblog/archives/week_2007_11_11.html Announcing Blip Festival and "B I T M A P: as good as new" VertexList space and Blip Festival have the pleasure to present "B I T M A P: as good as new" a group exhibition celebrating the history of the digital image, the aesthetics of early computing and early video-game consoles. Expect pixels, old monitors and 8 bit sounds!"B I T M A P: as good as new" is proud to feature: Chris Ashley, Mike Beradino, Mauro Ceolin, Petra Cortright, Paul Davis, DELAWARE, Notendo (Jeff Donaldson), Eteam, Dragan Espenschied, Christine Gedeon, Kimberly Hart, Daniel Iglesia, JODI,Olia Lialina, LoVid, Kristin Lucas, David Mauro, Jillian Mcdonald, Tom Moody, Aron Namenwirth, Mark Napier, Nullsleep, Marisa Olson, Will Papenheimer, Prize Budget for Boys, Jim Punk, Akiko Sakaizumi, Paul Slocum, Eddo Stern and CJ Yeh.A reception will take place at vertexList on Saturday, November 24th 2007 from 7pm - 10pm.The exhibition will be on display until Sunday, February 3rd, 2008. Live 8 BIT music performance @ the opening reception, 8.30pm. VertexList gallery hours are Friday, Saturday, Sunday 1pm -6 pm, or by appointment. We are located between Graham and Manhattan Avenues onBayard St. For more info please visit our website www.vertexlist.net or call 646 258 3792About Blip: The Blip Festival is a four-day international cultural event taking place in New York City this November into December, focusing on the 8-bit scene - musicians and artists who use low-bit videogame and computer hardware as their creative tools. The festival is the widest-reaching event in the history of the form, boasting a roster of over 40 international artists performing and exhibiting from places as diverse as Japan, the Netherlands, Spain, Sweden, Argentina, and across the United States.... 2187@http://www.chrisashley.net/weblog/ exhibitions 2007-11-13T19:03:49-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_11.html 2186@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-12T11:16:54-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_11.html 2185@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-11T23:59:59-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_04.html 2184@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-10T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_04.html 2183@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-09T23:38:51-08:00 <![CDATA[Steven LaRose’s Otherworldliness]]> http://www.chrisashley.net/weblog/archives/week_2007_11_04.html 2182@http://www.chrisashley.net/weblog/ Art Writing 2007-11-09T11:26:30-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_04.html 2181@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-08T19:26:23-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_04.html 2180@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-07T00:31:10-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_04.html 2179@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-06T17:14:31-08:00 SFMoMA: Cornell, Wall, Eliasson http://www.chrisashley.net/weblog/archives/week_2007_11_04.html 2178@http://www.chrisashley.net/weblog/ Art Writing 2007-11-06T14:07:59-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_04.html 2177@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-05T23:59:59-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_11_04.html 2176@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-04T00:33:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_28.html 2175@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-03T12:12:31-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_28.html 2174@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-02T23:59:59-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_28.html 2173@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-11-01T21:53:24-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_28.html 2172@http://www.chrisashley.net/weblog/ Art Object 2007-11-01T17:30:52-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_28.html 2171@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-31T21:53:45-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_28.html 2169@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-30T18:07:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_28.html 2170@http://www.chrisashley.net/weblog/ Art Object 2007-10-30T18:05:53-08:00 Untitled (RYB) http://www.chrisashley.net/weblog/archives/week_2007_10_28.html 2168@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-29T08:18:31-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_28.html 2167@http://www.chrisashley.net/weblog/ Art Object 2007-10-29T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_28.html 2165@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-28T16:00:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_28.html 2166@http://www.chrisashley.net/weblog/ Art Object 2007-10-28T15:56:59-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_21.html 2164@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-27T10:29:55-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_21.html 2163@http://www.chrisashley.net/weblog/ Art Object 2007-10-27T00:01:00-08:00 Untitled (RYB) http://www.chrisashley.net/weblog/archives/week_2007_10_21.html 2161@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-26T12:10:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_21.html 2162@http://www.chrisashley.net/weblog/ Art Object 2007-10-26T11:58:46-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_21.html 2160@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-25T00:02:00-08:00 Colina Doblada http://www.chrisashley.net/weblog/archives/week_2007_10_21.html 2159@http://www.chrisashley.net/weblog/ Art Object 2007-10-25T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_21.html 2158@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-24T07:29:21-08:00 STMW (Study for Window) http://www.chrisashley.net/weblog/archives/week_2007_10_21.html 2157@http://www.chrisashley.net/weblog/ Art Object 2007-10-24T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_21.html 2156@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-23T07:29:49-08:00 STMW (Study for Window) http://www.chrisashley.net/weblog/archives/week_2007_10_21.html 2155@http://www.chrisashley.net/weblog/ Art Object 2007-10-23T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_21.html 2153@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-22T07:17:50-08:00 Untitled (Silver, Green, Orange) http://www.chrisashley.net/weblog/archives/week_2007_10_21.html 2152@http://www.chrisashley.net/weblog/ Art Object 2007-10-22T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_21.html 2151@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-21T12:33:36-08:00 Glasberg http://www.chrisashley.net/weblog/archives/week_2007_10_21.html 2150@http://www.chrisashley.net/weblog/ Art Object 2007-10-21T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_14.html 2149@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-20T10:41:46-08:00 Schattenberg http://www.chrisashley.net/weblog/archives/week_2007_10_14.html 2148@http://www.chrisashley.net/weblog/ Art Object 2007-10-20T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_14.html 2147@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-19T07:42:29-08:00 Regenberg http://www.chrisashley.net/weblog/archives/week_2007_10_14.html 2146@http://www.chrisashley.net/weblog/ Art Object 2007-10-19T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_14.html 2145@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-18T07:49:28-08:00 Sash http://www.chrisashley.net/weblog/archives/week_2007_10_14.html 2144@http://www.chrisashley.net/weblog/ Art Object 2007-10-18T07:40:39-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_14.html 2135@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-17T00:02:00-08:00 Polychrome http://www.chrisashley.net/weblog/archives/week_2007_10_14.html 2143@http://www.chrisashley.net/weblog/ Art Object 2007-10-17T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_10_14.html 2142@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-16T14:21:28-08:00 Dusk http://www.chrisashley.net/weblog/archives/week_2007_10_14.html 2141@http://www.chrisashley.net/weblog/ Art Object 2007-10-16T00:01:00-08:00 Proposal for Two Windows http://www.chrisashley.net/weblog/archives/week_2007_10_14.html 2139@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-15T21:30:01-08:00 Corner http://www.chrisashley.net/weblog/archives/week_2007_10_14.html 2140@http://www.chrisashley.net/weblog/ Art Object 2007-10-15T00:13:22-08:00 Proposal for a Window http://www.chrisashley.net/weblog/archives/week_2007_10_14.html 2136@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2007-10-14T10:45:44-08:00 Case http://www.chrisashley.net/weblog/archives/week_2007_10_14.html 2138@http://www.chrisashley.net/weblog/ Art Object 2007-10-14T10:27:48-08:00 Proposal for a Window http://www.chrisashley.net/weblog/archives/week_2007_10_07.html 2134@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-13T23:59:59-08:00 Hang http://www.chrisashley.net/weblog/archives/week_2007_10_07.html 2137@http://www.chrisashley.net/weblog/ Art Object 2007-10-13T13:41:12-08:00 Proposal for Two Windows http://www.chrisashley.net/weblog/archives/week_2007_10_07.html 2133@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-12T00:01:00-08:00 Proposal for Two Windows http://www.chrisashley.net/weblog/archives/week_2007_10_07.html 2132@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-11T21:49:14-08:00 Proposal for a Window http://www.chrisashley.net/weblog/archives/week_2007_10_07.html 2131@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-10T07:49:28-08:00 Kevin Finklea at Pentimenti http://www.chrisashley.net/weblog/archives/week_2007_10_07.html Kevin Finklea: Bastards View #3, 2007, Acrylic on watercolor paper, 16 x 21.75 inches, framed, Pentimenti Gallery, Philadelphia, September 24 - October 27, 2007... 2126@http://www.chrisashley.net/weblog/ Art 2007-10-10T00:01:00-08:00 Proposal for Five Windows http://www.chrisashley.net/weblog/archives/week_2007_10_07.html 2130@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-09T07:40:40-08:00 Interview with Daniel Goettin http://www.chrisashley.net/weblog/archives/week_2007_10_07.html The interview I did with Daniel Goettin for Minus Space in 2006 is published in support of his current exhibition at Gallery Florian Trampler, Diessen am Ammersee, 23. September 2007 - 11.November 2007.... 2125@http://www.chrisashley.net/weblog/ Art Writing 2007-10-09T00:01:00-08:00 Proposal for Two Windows http://www.chrisashley.net/weblog/archives/week_2007_10_07.html 2127@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-08T00:02:00-08:00 Interview with Tilman http://www.chrisashley.net/weblog/archives/week_2007_10_07.html The interview I did with Tilman Hoepfl for Minus Space in 2006 has been used in support of his recent installation there, and also published on Tilman's website.... 2124@http://www.chrisashley.net/weblog/ Art Writing 2007-10-08T00:01:00-08:00 Proposal for Four Windows http://www.chrisashley.net/weblog/archives/week_2007_10_07.html 2123@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-07T10:40:16-08:00 Raoul De Keyser: Ice Birds http://www.chrisashley.net/weblog/archives/week_2007_10_07.html Raoul De Keyser: Ice Birds, 2007, oil on canvas, 77,0 x 56,0 cmZeno X Gallery, Antwerp... 2121@http://www.chrisashley.net/weblog/ Art 2007-10-07T00:01:00-08:00 Proposal for Three Windows http://www.chrisashley.net/weblog/archives/week_2007_09_30.html 2122@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-06T12:48:29-08:00 John Zurier: Summer, 2007 http://www.chrisashley.net/weblog/archives/week_2007_09_30.html John Zurier: Summer, 2007, Oil on linen, 28" x 22"Galeria Javier Lopez, Madrid, 19 de septiembre – 25 de octubre de 2007... 2120@http://www.chrisashley.net/weblog/ Art 2007-10-06T11:28:03-08:00 Proposal for a Window http://www.chrisashley.net/weblog/archives/week_2007_09_30.html 2119@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-05T23:59:59-08:00 Proposal for a Window http://www.chrisashley.net/weblog/archives/week_2007_09_30.html 2118@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-04T23:59:59-08:00 Proposal for a Window http://www.chrisashley.net/weblog/archives/week_2007_09_30.html 2117@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-03T00:02:00-08:00 Alan Uglow at Galerie Onrust http://www.chrisashley.net/weblog/archives/week_2007_09_30.html 2115@http://www.chrisashley.net/weblog/ Art 2007-10-03T00:01:00-08:00 Proposal for a Window http://www.chrisashley.net/weblog/archives/week_2007_09_30.html 2116@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-02T22:02:39-08:00 Proposal for Two Windows http://www.chrisashley.net/weblog/archives/week_2007_09_30.html 2114@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-10-01T21:00:09-08:00 WYSIWYG http://www.chrisashley.net/weblog/archives/week_2007_09_30.html link... 2113@http://www.chrisashley.net/weblog/ exhibitions 2007-10-01T09:39:57-08:00 Last Frontier http://www.chrisashley.net/weblog/archives/week_2007_09_30.html 2112@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-30T00:01:00-08:00 Birch Hill http://www.chrisashley.net/weblog/archives/week_2007_09_23.html 2111@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-29T00:01:00-08:00 Black Spruce http://www.chrisashley.net/weblog/archives/week_2007_09_23.html 2110@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-28T22:42:07-08:00 Stryker http://www.chrisashley.net/weblog/archives/week_2007_09_23.html 2109@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-27T20:26:44-08:00 Fairbanks http://www.chrisashley.net/weblog/archives/week_2007_09_23.html 2108@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-26T23:19:58-08:00 Hyperphagia http://www.chrisashley.net/weblog/archives/week_2007_09_23.html 2107@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-25T23:09:33-08:00 Grizzly http://www.chrisashley.net/weblog/archives/week_2007_09_23.html 2106@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-24T23:03:14-08:00 Livengood http://www.chrisashley.net/weblog/archives/week_2007_09_23.html 2105@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-23T00:01:00-08:00 Nenana http://www.chrisashley.net/weblog/archives/week_2007_09_16.html 2104@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-22T11:18:35-08:00 Creamer's Field http://www.chrisashley.net/weblog/archives/week_2007_09_16.html 2103@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-21T19:42:10-08:00 Musher http://www.chrisashley.net/weblog/archives/week_2007_09_16.html 2102@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-20T23:59:59-08:00 Hibernate http://www.chrisashley.net/weblog/archives/week_2007_09_16.html 2101@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-19T23:59:59-08:00 Toklat http://www.chrisashley.net/weblog/archives/week_2007_09_16.html 2100@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-18T20:31:36-08:00 Fifteen Watercolors http://www.chrisashley.net/weblog/archives/week_2007_09_16.html Fifteen Watercolors, September 2007, Watercolor and Pencil on Crane's 100% Fine Cotton 24 LB. Premium Weight Acid Free White Thesis Paper, 11 x 8.5 inches each (scanned; click each for large view)... 2099@http://www.chrisashley.net/weblog/ Art Object 2007-09-18T00:01:00-08:00 Tanana http://www.chrisashley.net/weblog/archives/week_2007_09_16.html 2098@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-17T19:06:39-08:00 Sandhill Crane http://www.chrisashley.net/weblog/archives/week_2007_09_16.html 2097@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-16T14:32:18-08:00 Himmel und Masse at Root Division http://www.chrisashley.net/weblog/archives/week_2007_09_16.html 2095@http://www.chrisashley.net/weblog/ exhibitions 2007-09-16T10:08:14-08:00 Athabascan http://www.chrisashley.net/weblog/archives/week_2007_09_09.html 2096@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-15T23:59:59-08:00 Juan Melé: Marco recortado n.º 2 http://www.chrisashley.net/weblog/archives/week_2007_09_09.html Juan MeléMarco recortado n.º 2 [Irregular Frame No. 2], 1946Oil on masonite, 27 15/16 x 18 1/8 x 1 in.Colección Patricia Phelps de Cisneros, 1997.102 “The Geometry of Hope: Latin American Abstract Art From the Patricia Phelps de Cisneros Collection,” at the Grey Art Gallery at New York University; reviewed by Robert Smith, NY Times: Our notions of the origins of shaped paintings are readjusted by “Irregular Frame No. 2,” a distorted grid in shades of green, blue, rust and yellow made startlingly early, as these things go, by the Argentine artist Juan Melé in 1946. In this flamboyant little work geometry turns blunt, in advance of Minimalism, and cartoonishly savvy, in advance (and somewhat contradictorily) of the abstract painter Elizabeth Murray.... 2092@http://www.chrisashley.net/weblog/ Art 2007-09-15T09:08:55-08:00 Glacial http://www.chrisashley.net/weblog/archives/week_2007_09_09.html 2094@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-14T23:59:59-08:00 Denali http://www.chrisashley.net/weblog/archives/week_2007_09_09.html 2093@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-13T23:59:59-08:00 Green is Good http://www.chrisashley.net/weblog/archives/week_2007_09_09.html The following was written for the catalog for Alan Ebnother's exhibition at Wade Wilson Art, Houston, March 2007, but in the end was not used. I'm using it here. I also interviewed Alan for Minus Space in 2005. "Green is Good" The subject of a recent email from Alan Ebnother is "Green." The rest of the email simply reads, "Is Good." That was it. Good for what? For Alan; for me; for painting? I don’t’ know, it’s just good. I can’t argue with that. Green is. But when I say, "green,' which green do you see? Cabbage, broccoli, chard, or lime? Mint, pistachio, rosemary, or pear? Moss, iguana, malachite, or pine? Traffic light, crocodile, seaweed, or seafoam? We each can think of our own "greens." I have a catalogue that lists over fifty different green pigments ranging from pale green-yellow earth to grassy brilliance, from the lushest emerald to dry, dark, mold-like powder. These pigments are clean dirt, crushed rock, and ground mineral from around the world with various physical qualities. A pigment is not just color; each results in a paint which is dense or smooth, fine or coarse, opaque or transparent. Once Alan mentioned, "people who first come to the desert and say that there is no vegetation or wildlife. On closer observation the desert opens itself to their vision and a complete world of plant and animal life becomes apparent." An artist looks for territory and sets to work exploring it, figuring out what is there and responding and adjusting to what he is finding. Each painting has its own qualities, and every painting is new. The artist finds what he is making only by doing it. The painter wants to bring components of the painting into place, and the materials work for and against that force. Dylan Thomas’ poem that begins, "The force that through the green fuse drives the flower | Drives my green rage; that blasts the roots of trees | Is my destroyer," reminds us of the power and energy in things that are green, and that even growth is cyclical and eventually destructive. Green has many possible meanings. Green symbolically represents the "Anahata," the fourth, or the heart/emotions, chakra related to love, equilibrium, and well-being. In our times, being green means engaging in renewable and sustainable consumption. Green is used in night vision goggles because the human eye discerns the greatest variety of shades of that color. Often, green means "go," yet is also the color of envy, poison, and radioactivity. Color enters memory, perhaps imperfectly, and despite being incredibly elusive can still resonate specifically, prompting associations tied to emotion, time, and place. The meaning of an art work, the kind that is explained verbally, is overrated. We clamor to understand, but a painting is not a package to be unwrapped with words and consumed only intellectually. Tidy explanations are for the impatient and incurious, and typically miss the point. A painting is like a corner of the desert, a complete world for the viewer to experience. The painting is the fuse, our interaction with it is the force, and our understanding is the flower. Once, Alan made a green painting, and then another and another, and he simply followed his own progression of experiences using different green pigments, different brushes, different supports and sizes. He staked his claim and committed to exploring it. Twenty six years later, he hasn’t run out of green or territory. Chris AshleyOakland, CAJanuary 2007 Above: Alan Ebnother, "December 20, 2006", Oil and pigment on linen, h: 36 x w: 36 in / h: 91.4 x w: 91.4 cm, Wade Wilson Art... 2091@http://www.chrisashley.net/weblog/ Art Writing 2007-09-13T00:01:00-08:00 Permafrost http://www.chrisashley.net/weblog/archives/week_2007_09_09.html 2090@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-12T00:01:00-08:00 Alluvial http://www.chrisashley.net/weblog/archives/week_2007_09_09.html 2089@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-11T07:11:29-08:00 Chatanika http://www.chrisashley.net/weblog/archives/week_2007_09_09.html 2088@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-10T19:50:54-08:00 Subarctic http://www.chrisashley.net/weblog/archives/week_2007_09_09.html 2087@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-09T23:46:28-08:00 Deadhorse http://www.chrisashley.net/weblog/archives/week_2007_09_02.html 2086@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-08T23:59:59-08:00 Polychrome http://www.chrisashley.net/weblog/archives/week_2007_09_02.html 2085@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-07T00:01:00-08:00 Coldfoot http://www.chrisashley.net/weblog/archives/week_2007_09_02.html 2084@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-06T00:01:00-08:00 Tundra http://www.chrisashley.net/weblog/archives/week_2007_09_02.html 2083@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-05T22:45:59-08:00 Aurora http://www.chrisashley.net/weblog/archives/week_2007_09_02.html 2082@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-04T12:07:09-08:00 Yukon http://www.chrisashley.net/weblog/archives/week_2007_09_02.html 2081@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-03T12:28:14-08:00 Boreal http://www.chrisashley.net/weblog/archives/week_2007_09_02.html 2080@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-02T23:59:59-08:00 Chena http://www.chrisashley.net/weblog/archives/week_2007_08_26.html 2079@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-09-01T23:59:59-08:00 Root Division: INTRODUCTIONS 2007 http://www.chrisashley.net/weblog/archives/week_2007_08_26.html INTRODUCTIONS 2007Exhibition of 12 Bay Area Emerging ArtistsOpening Reception: Saturday, September 8, 7-10pmThis exhibition features painting, drawing, photography, prints, sculpture, video, & film by twelve emerging artists living and/or working in the Bay Area. Chosen from over 175 submissions, jurors Gregory Lind, Jessica Hough, & Dana Hemenway decided on each artist for both the formal and conceptual strength of the work presented. The goal of Introductions 2007 is to create exposure for emerging artists in San Francisco by showcasing their artwork. In presenting engaging and high quality artwork, Root Division nurtures the accessibility & appreciation of the art of our time. Artists: Christopher AshleyAmanda BoehmJeff EisenbergJoel D. FruddenJose GuintoJessalyn HaggenjosBarbara HolmesAndrew KleindolphConrad M. Meyers IIJessie PaigeAaron RosenstreichVanessa WoodsJurors:Gregory Lind: Owner & Director, Gregory Lind GalleryJessica Hough: Director, Mills College Art MuseumDana Hemenway: Gallery Manager, San Francisco Arts Commission GalleryOpening Reception: Saturday, September 8, 7 to 10 pm Exhibition Dates: September 7 - 29, 2007ROOT DIVISION3175 17th Street (at South Van Ness)San Francisco, CA 94110415.863.7668info@rootdivision.orgGallery Hours: Wednesdays- Saturdays, 12-4 pm (or by appointment)... 2060@http://www.chrisashley.net/weblog/ exhibitions 2007-09-01T00:01:00-08:00 Glaze http://www.chrisashley.net/weblog/archives/week_2007_08_26.html 2078@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-31T23:26:44-08:00 Trap http://www.chrisashley.net/weblog/archives/week_2007_08_26.html 2077@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-30T23:59:59-08:00 Roll http://www.chrisashley.net/weblog/archives/week_2007_08_26.html 2076@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-29T00:01:00-08:00 Sump http://www.chrisashley.net/weblog/archives/week_2007_08_26.html 2075@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-28T19:26:58-08:00 In progress http://www.chrisashley.net/weblog/archives/week_2007_08_26.html Oil on canvas, 24 x 20 each... 2072@http://www.chrisashley.net/weblog/ Studio 2007-08-28T00:09:49-08:00 Shutter http://www.chrisashley.net/weblog/archives/week_2007_08_26.html 2074@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-27T19:51:23-08:00 Buff http://www.chrisashley.net/weblog/archives/week_2007_08_26.html 2073@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-26T23:59:59-08:00 Flow http://www.chrisashley.net/weblog/archives/week_2007_08_19.html 2071@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-25T17:45:33-08:00 Flaps http://www.chrisashley.net/weblog/archives/week_2007_08_19.html 2070@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-24T23:59:59-08:00 Strap http://www.chrisashley.net/weblog/archives/week_2007_08_19.html 2069@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-23T18:58:08-08:00 Breaker http://www.chrisashley.net/weblog/archives/week_2007_08_19.html 2068@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-22T23:59:59-08:00 Bay http://www.chrisashley.net/weblog/archives/week_2007_08_19.html 2067@http://www.chrisashley.net/weblog/ 2007-08-21T00:01:00-08:00 Shield http://www.chrisashley.net/weblog/archives/week_2007_08_19.html 2066@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-20T00:09:12-08:00 Mold http://www.chrisashley.net/weblog/archives/week_2007_08_19.html 2065@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-19T22:00:03-08:00 Form http://www.chrisashley.net/weblog/archives/week_2007_08_12.html 2064@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-18T23:59:59-08:00 Hold http://www.chrisashley.net/weblog/archives/week_2007_08_12.html 2063@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-17T00:01:00-08:00 Cleat http://www.chrisashley.net/weblog/archives/week_2007_08_12.html 2062@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-16T00:01:00-08:00 Dusk http://www.chrisashley.net/weblog/archives/week_2007_08_12.html 2061@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-15T23:25:16-08:00 Cove http://www.chrisashley.net/weblog/archives/week_2007_08_12.html 2059@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-14T08:52:13-08:00 Drape http://www.chrisashley.net/weblog/archives/week_2007_08_12.html 2058@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-13T23:59:59-08:00 Tread http://www.chrisashley.net/weblog/archives/week_2007_08_12.html 2057@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-12T10:39:20-08:00 Blind http://www.chrisashley.net/weblog/archives/week_2007_08_05.html 2056@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-11T00:02:16-08:00 Tack http://www.chrisashley.net/weblog/archives/week_2007_08_05.html 2055@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-10T00:25:05-08:00 Shuttle http://www.chrisashley.net/weblog/archives/week_2007_08_05.html 2054@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-09T06:28:07-08:00 Sash http://www.chrisashley.net/weblog/archives/week_2007_08_05.html 2053@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-08T07:15:09-08:00 Corner http://www.chrisashley.net/weblog/archives/week_2007_08_05.html 2052@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-07T06:23:03-08:00 Slide http://www.chrisashley.net/weblog/archives/week_2007_08_05.html 2051@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-06T06:14:59-08:00 Case http://www.chrisashley.net/weblog/archives/week_2007_08_05.html 2050@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-05T09:48:08-08:00 Brace http://www.chrisashley.net/weblog/archives/week_2007_07_29.html 2049@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-04T00:01:01-08:00 Unit http://www.chrisashley.net/weblog/archives/week_2007_07_29.html 2048@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-03T06:14:27-08:00 Grasp http://www.chrisashley.net/weblog/archives/week_2007_07_29.html 2047@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-02T00:07:05-08:00 Tongue http://www.chrisashley.net/weblog/archives/week_2007_07_29.html 2046@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-08-01T21:48:23-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_29.html 2045@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-31T07:04:48-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_29.html 2044@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-30T07:32:15-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_29.html 2043@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-29T10:48:05-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_22.html 2042@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-28T23:59:59-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_22.html 2041@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-27T23:59:59-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_22.html 2040@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-26T07:50:22-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_22.html 2039@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-25T07:48:41-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_22.html 2038@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-24T07:40:10-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_22.html 2037@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-23T07:41:07-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_22.html 2036@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-22T21:46:36-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_15.html 2035@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-21T23:59:59-08:00 Pacific http://www.chrisashley.net/weblog/archives/week_2007_07_15.html 2034@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-20T07:36:22-08:00 Pacific http://www.chrisashley.net/weblog/archives/week_2007_07_15.html 2033@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-19T06:30:37-08:00 Pacific http://www.chrisashley.net/weblog/archives/week_2007_07_15.html 2032@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-18T06:31:01-08:00 Pacific http://www.chrisashley.net/weblog/archives/week_2007_07_15.html 2031@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-17T07:18:00-08:00 Pacific http://www.chrisashley.net/weblog/archives/week_2007_07_15.html 2030@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-16T07:42:47-08:00 Pacific http://www.chrisashley.net/weblog/archives/week_2007_07_15.html 2029@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-15T10:49:15-08:00 Pacific http://www.chrisashley.net/weblog/archives/week_2007_07_08.html 2027@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-14T00:42:02-08:00 Pacific http://www.chrisashley.net/weblog/archives/week_2007_07_08.html 2026@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-13T00:36:35-08:00 Pacific http://www.chrisashley.net/weblog/archives/week_2007_07_08.html 2025@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-12T07:10:02-08:00 April 16, 1986 http://www.chrisashley.net/weblog/archives/week_2007_07_08.html 2019@http://www.chrisashley.net/weblog/ Art Object (old) 2007-07-12T07:04:59-08:00 Pacific http://www.chrisashley.net/weblog/archives/week_2007_07_08.html 2024@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-11T07:28:27-08:00 April ?, 1986 http://www.chrisashley.net/weblog/archives/week_2007_07_08.html 2018@http://www.chrisashley.net/weblog/ Art Object (old) 2007-07-11T07:25:21-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_08.html 2023@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-10T07:02:46-08:00 April 14, 1986 http://www.chrisashley.net/weblog/archives/week_2007_07_08.html 2017@http://www.chrisashley.net/weblog/ Art Object (old) 2007-07-10T06:57:27-08:00 Sandi Miot's Recent Paintings http://www.chrisashley.net/weblog/archives/week_2007_07_08.html 2022@http://www.chrisashley.net/weblog/ Art Writing 2007-07-10T00:55:30-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_08.html 2021@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-09T07:21:06-08:00 April 16, 1986 http://www.chrisashley.net/weblog/archives/week_2007_07_08.html 2016@http://www.chrisashley.net/weblog/ Art Object (old) 2007-07-09T06:52:42-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_08.html 2020@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-08T18:10:04-08:00 April 14, 1986 http://www.chrisashley.net/weblog/archives/week_2007_07_08.html 2015@http://www.chrisashley.net/weblog/ Art Object (old) 2007-07-08T10:29:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_01.html 2014@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-07T07:42:30-08:00 April 11, 1986 http://www.chrisashley.net/weblog/archives/week_2007_07_01.html 2013@http://www.chrisashley.net/weblog/ Art Object (old) 2007-07-07T07:00:56-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_01.html 2011@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-06T07:36:01-08:00 April 16, 1986 http://www.chrisashley.net/weblog/archives/week_2007_07_01.html 2012@http://www.chrisashley.net/weblog/ Art Object (old) 2007-07-06T07:30:50-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_01.html 2010@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-05T07:19:54-08:00 April 16, 1986 http://www.chrisashley.net/weblog/archives/week_2007_07_01.html 2007@http://www.chrisashley.net/weblog/ Art Object (old) 2007-07-05T06:52:37-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_01.html 2009@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-04T11:30:23-08:00 April 16, 1986 http://www.chrisashley.net/weblog/archives/week_2007_07_01.html 2008@http://www.chrisashley.net/weblog/ Art Object (old) 2007-07-04T11:11:17-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_01.html 2005@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-03T07:46:22-08:00 April 22, 1986 http://www.chrisashley.net/weblog/archives/week_2007_07_01.html 2006@http://www.chrisashley.net/weblog/ Art Object (old) 2007-07-03T07:02:49-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_01.html 2004@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-02T07:12:14-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_07_01.html 2003@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-07-01T19:11:09-08:00 Tree http://www.chrisashley.net/weblog/archives/week_2007_06_24.html 2002@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-30T10:14:04-08:00 Rock http://www.chrisashley.net/weblog/archives/week_2007_06_24.html 2001@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-29T00:38:38-08:00 Tree http://www.chrisashley.net/weblog/archives/week_2007_06_24.html 2000@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-28T00:25:16-08:00 Rock http://www.chrisashley.net/weblog/archives/week_2007_06_24.html 1998@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-27T07:32:03-08:00 Tree http://www.chrisashley.net/weblog/archives/week_2007_06_24.html 1994@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-26T17:30:22-08:00 Rock http://www.chrisashley.net/weblog/archives/week_2007_06_24.html 1999@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-25T22:05:34-08:00 Tree http://www.chrisashley.net/weblog/archives/week_2007_06_24.html 1997@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-24T21:04:09-08:00 Rock http://www.chrisashley.net/weblog/archives/week_2007_06_17.html 1996@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-23T21:34:23-08:00 Tree http://www.chrisashley.net/weblog/archives/week_2007_06_17.html 1995@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-22T00:48:54-08:00 Rock http://www.chrisashley.net/weblog/archives/week_2007_06_17.html 1993@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-21T23:58:24-08:00 Art Radio interview archive http://www.chrisashley.net/weblog/archives/week_2007_06_17.html [Update: my interview with Eva can now be downloaded mp3, approx. 13mb.] The interview I did with Eva Lake yesterday can be listened to at The Art Radio page at Voice America Women's Network, or it can be downloaded as an MP3. An hour goes by quickly. Eva did her homework and did a great job. I had thought in advance about all of the things I wanted to describe and explain. Most of that wasn't touched. Immediately after the interview I thought about all of the things I wanted to talk about: the other artists I wanted to mention: the reasons behind how I am using the HTML work to make objects now; ideas about narrative, sequence, time, chronology, accumulation. I wanted to mention Giotto, Sienese painting, Jacob Lawrence (!), Thomas Nozwkoski's collaborative book Autobiography with Judy Linn, Jennifer Bartlett's Rhapsody, and Mary Heilman. Sorry I didn't get to that. It was a good experience anyway, and I'm grateful for the opportunity to talk. Many thanks to Eva.... 1992@http://www.chrisashley.net/weblog/ About Chris Ashley 2007-06-21T15:07:37-08:00 Tree http://www.chrisashley.net/weblog/archives/week_2007_06_17.html 1991@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-20T07:15:36-08:00 Rock http://www.chrisashley.net/weblog/archives/week_2007_06_17.html 1989@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-19T07:22:40-08:00 Art Radio http://www.chrisashley.net/weblog/archives/week_2007_06_17.html Art Radio guest list Listen to Art Radio... 1990@http://www.chrisashley.net/weblog/ About Chris Ashley 2007-06-19T07:00:10-08:00 Tree http://www.chrisashley.net/weblog/archives/week_2007_06_17.html 1988@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-18T00:32:50-08:00 Rock http://www.chrisashley.net/weblog/archives/week_2007_06_17.html 1987@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-17T23:24:20-08:00 Tree http://www.chrisashley.net/weblog/archives/week_2007_06_10.html 1986@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-16T23:59:59-08:00 Figure http://www.chrisashley.net/weblog/archives/week_2007_06_10.html 1985@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-15T07:43:01-08:00 Head http://www.chrisashley.net/weblog/archives/week_2007_06_10.html 1984@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-14T07:58:55-08:00 Figure http://www.chrisashley.net/weblog/archives/week_2007_06_10.html 1983@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-13T07:18:05-08:00 The Art World http://www.chrisashley.net/weblog/archives/week_2007_06_10.html 1982@http://www.chrisashley.net/weblog/ 2007-06-13T00:12:13-08:00 Head http://www.chrisashley.net/weblog/archives/week_2007_06_10.html 1981@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-12T16:38:21-08:00 The struggling online artists http://www.chrisashley.net/weblog/archives/week_2007_06_10.html 1980@http://www.chrisashley.net/weblog/ About Chris Ashley 2007-06-12T07:12:26-08:00 Figure http://www.chrisashley.net/weblog/archives/week_2007_06_10.html 1975@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-11T12:57:06-08:00 D.K. Rowe: First Thursday, Portland http://www.chrisashley.net/weblog/archives/week_2007_06_10.html 1977@http://www.chrisashley.net/weblog/ exhibitions 2007-06-11T12:35:05-08:00 Chambers Gallery installation http://www.chrisashley.net/weblog/archives/week_2007_06_10.html 1976@http://www.chrisashley.net/weblog/ exhibitions 2007-06-11T12:27:05-08:00 Portland Art: First Thursday Picks June 2007 http://www.chrisashley.net/weblog/archives/week_2007_06_10.html 1979@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-11T12:10:58-08:00 Head http://www.chrisashley.net/weblog/archives/week_2007_06_10.html 1974@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-10T08:34:26-08:00 Fifty http://www.chrisashley.net/weblog/archives/week_2007_06_10.html 1973@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-10T08:04:50-08:00 Figure http://www.chrisashley.net/weblog/archives/week_2007_06_03.html 1972@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-09T10:12:29-08:00 Head http://www.chrisashley.net/weblog/archives/week_2007_06_03.html 1971@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-08T23:59:59-08:00 Figure http://www.chrisashley.net/weblog/archives/week_2007_06_03.html 1970@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-07T23:59:59-08:00 Head http://www.chrisashley.net/weblog/archives/week_2007_06_03.html 1969@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-06T23:59:59-08:00 Figure http://www.chrisashley.net/weblog/archives/week_2007_06_03.html 1965@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-05T00:02:00-08:00 <![CDATA[Luxe, Calme et Volupté]]> http://www.chrisashley.net/weblog/archives/week_2007_06_03.html 1968@http://www.chrisashley.net/weblog/ exhibitions 2007-06-05T00:01:00-08:00 Head http://www.chrisashley.net/weblog/archives/week_2007_06_03.html &nbspHead, 20070604, HTML, 350 x 250 pixels... 1966@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-04T01:22:53-08:00 WYSIWYG @ Chambers, Portland http://www.chrisashley.net/weblog/archives/week_2007_06_03.html CHAMBERS 207 S.W. Pine Street No. 102 Portland, Oregon 97204 503.227.9398 chambersgallery.org Presents WYSIWYG HTML Drawings by CHRIS ASHLEY JUNE 6 -- JULY 14 2007 RECEPTION FOR THE ARTIST: THURSDAY, JUNE 7, 5:30 - 8:30PM Also open first Thursday in July, 5:30 to 8:30PM Right: Jukebox 1-28 (detail), 2007, inkjet prints... 1967@http://www.chrisashley.net/weblog/ exhibitions 2007-06-04T00:32:19-08:00 Figure http://www.chrisashley.net/weblog/archives/week_2007_06_03.html 1964@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-03T12:55:35-08:00 Head http://www.chrisashley.net/weblog/archives/week_2007_05_27.html 1963@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-02T16:17:24-08:00 Figure http://www.chrisashley.net/weblog/archives/week_2007_05_27.html 1962@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-06-01T23:59:59-08:00 Luft und Flug http://www.chrisashley.net/weblog/archives/week_2007_05_27.html 1961@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-31T15:12:53-08:00 Cinematic Dataculture http://www.chrisashley.net/weblog/archives/week_2007_05_27.html Cinematic Dataculture, 2007, inkjet print, 11 x 8.5 inches... 1960@http://www.chrisashley.net/weblog/ Art Object 2007-05-31T00:55:40-08:00 Lassen http://www.chrisashley.net/weblog/archives/week_2007_05_27.html Lassen, 2007, inkjet print, 11 x 8.5 inches... 1959@http://www.chrisashley.net/weblog/ Art Object 2007-05-31T00:54:53-08:00 Percolating http://www.chrisashley.net/weblog/archives/week_2007_05_27.html Percolating, 2007, inkjet print, 11 x 8.5 inches... 1958@http://www.chrisashley.net/weblog/ Art Object 2007-05-31T00:53:55-08:00 Tuolumne http://www.chrisashley.net/weblog/archives/week_2007_05_27.html Tuolumne, 2007, inkjet print, 11 x 8.5 inches... 1957@http://www.chrisashley.net/weblog/ Art Object 2007-05-31T00:53:06-08:00 Zen Arcade http://www.chrisashley.net/weblog/archives/week_2007_05_27.html Zen Arcade, 2007, inkjet print, 11 x 8.5 inches... 1956@http://www.chrisashley.net/weblog/ Art Object 2007-05-31T00:51:40-08:00 Gruss Gott http://www.chrisashley.net/weblog/archives/week_2007_05_27.html 1954@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-30T17:32:23-08:00 Holz vor dem Haus http://www.chrisashley.net/weblog/archives/week_2007_05_27.html 1955@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-29T23:59:59-08:00 Rasthof Burgauer-See http://www.chrisashley.net/weblog/archives/week_2007_05_27.html 1953@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-28T00:53:33-08:00 Himmel und Masse (Osterfelderkopf) http://www.chrisashley.net/weblog/archives/week_2007_05_27.html 1952@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-27T00:01:00-08:00 Garmisch-Partenkirschen http://www.chrisashley.net/weblog/archives/week_2007_05_20.html 1951@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-26T00:01:00-08:00 Lachsfilet mit Stangenspargel http://www.chrisashley.net/weblog/archives/week_2007_05_20.html 1950@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-25T19:07:40-08:00 Europeon Befehl http://www.chrisashley.net/weblog/archives/week_2007_05_20.html 1949@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-24T22:35:04-08:00 Neun Stunden http://www.chrisashley.net/weblog/archives/week_2007_05_20.html 1948@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-23T23:59:59-08:00 Bodensee http://www.chrisashley.net/weblog/archives/week_2007_05_20.html 1947@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-22T01:12:55-08:00 Herzschlag http://www.chrisashley.net/weblog/archives/week_2007_05_20.html 1944@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-21T19:00:00-08:00 Unterlinden-Colmar http://www.chrisashley.net/weblog/archives/week_2007_05_20.html 1946@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-20T00:09:48-08:00 La Nuit des Musees http://www.chrisashley.net/weblog/archives/week_2007_05_13.html 1945@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-19T22:58:28-08:00 Tarte Flambe http://www.chrisashley.net/weblog/archives/week_2007_05_13.html 1942@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-18T23:31:59-08:00 Umleitung http://www.chrisashley.net/weblog/archives/week_2007_05_13.html 1943@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-17T19:26:58-08:00 Froschstrasse http://www.chrisashley.net/weblog/archives/week_2007_05_13.html 1941@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-16T20:22:05-08:00 Es Macht Nix http://www.chrisashley.net/weblog/archives/week_2007_05_13.html 1940@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-15T22:58:48-08:00 Ein Haus f&#252;r die Sinne http://www.chrisashley.net/weblog/archives/week_2007_05_13.html 1939@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-14T22:48:32-08:00 Chris Ashley: Five Pieces http://www.chrisashley.net/weblog/archives/week_2007_05_13.html 1938@http://www.chrisashley.net/weblog/ exhibitions 2007-05-14T00:39:27-08:00 Ist Es Schlimm? http://www.chrisashley.net/weblog/archives/week_2007_05_13.html 1937@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-13T00:01:00-08:00 Schwäbische Alb http://www.chrisashley.net/weblog/archives/week_2007_05_06.html 1936@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-12T21:52:04-08:00 Kritischer Zustand http://www.chrisashley.net/weblog/archives/week_2007_05_06.html 1935@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-11T23:59:59-08:00 <![CDATA[Äffi]]> http://www.chrisashley.net/weblog/archives/week_2007_05_06.html 1934@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-10T00:08:29-08:00 Juckt http://www.chrisashley.net/weblog/archives/week_2007_05_06.html 1933@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-09T07:27:08-08:00 Schlafen Sie Wohl? http://www.chrisashley.net/weblog/archives/week_2007_05_06.html 1932@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-08T07:39:05-08:00 Atmen Sie Normal http://www.chrisashley.net/weblog/archives/week_2007_05_06.html 1931@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-07T23:59:59-08:00 Schlossgarten http://www.chrisashley.net/weblog/archives/week_2007_05_06.html 1929@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-06T07:38:00-08:00 Stadtzentrum http://www.chrisashley.net/weblog/archives/week_2007_04_29.html 1930@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-05T18:03:25-08:00 Alles Klar http://www.chrisashley.net/weblog/archives/week_2007_04_29.html 1928@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-04T22:12:39-08:00 Stuttgart-Vaihingen http://www.chrisashley.net/weblog/archives/week_2007_04_29.html 1927@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-03T23:28:52-08:00 <![CDATA[Alte Brücke (in Frankfurt am Main)]]> http://www.chrisashley.net/weblog/archives/week_2007_04_29.html 1926@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-02T07:43:53-08:00 Wilkommen http://www.chrisashley.net/weblog/archives/week_2007_04_29.html 1925@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-05-01T07:24:46-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_29.html 1924@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-30T07:09:02-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_29.html 1923@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-29T22:07:12-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_22.html 1922@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-28T12:38:44-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_22.html 1921@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-27T07:16:27-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_22.html 1920@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-26T06:45:01-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_22.html 1919@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-25T22:29:16-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_22.html 1918@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-24T07:00:20-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_22.html 1917@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-23T07:13:43-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_22.html 1916@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-22T12:19:43-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_15.html 1915@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-21T09:34:38-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_15.html 1914@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-20T08:24:38-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_15.html 1913@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-19T06:46:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_15.html 1912@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-18T07:29:50-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_15.html 1911@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-17T20:05:02-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_15.html 1910@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-16T07:35:53-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_15.html 1882@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-15T00:59:59-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_08.html 1896@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-14T13:19:15-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_08.html 1895@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-13T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_08.html 1894@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-12T22:37:27-08:00 WYSIWYG http://www.chrisashley.net/weblog/archives/week_2007_04_08.html 1893@http://www.chrisashley.net/weblog/ Art 2007-04-12T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_08.html 1891@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-11T07:18:21-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_08.html 1890@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-10T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_08.html 1889@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-09T22:24:20-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_08.html 1888@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-08T17:49:02-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_01.html 1879@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-07T09:45:35-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_01.html 1878@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-06T00:01:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_01.html 1877@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-05T18:20:42-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_01.html 1869@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-04T07:30:59-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_01.html 1873@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-03T00:07:24-08:00 Untitled (Anniversary) http://www.chrisashley.net/weblog/archives/week_2007_04_01.html 1876@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-02T07:24:38-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2007_04_01.html 1875@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-04-01T21:59:29-08:00 Floating Away http://www.chrisashley.net/weblog/archives/week_2007_03_25.html 1872@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-31T00:01:00-08:00 Merci! Au Revoir! Bonjournay! http://www.chrisashley.net/weblog/archives/week_2007_03_25.html 1874@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-30T23:59:59-08:00 Something There is That Likes a Grand Platz http://www.chrisashley.net/weblog/archives/week_2007_03_25.html 1871@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-29T23:59:59-08:00 Say Your Prayers and Close Your Eyes http://www.chrisashley.net/weblog/archives/week_2007_03_25.html 1870@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-28T23:59:59-08:00 Astonish Me http://www.chrisashley.net/weblog/archives/week_2007_03_25.html 1868@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-27T23:59:59-08:00 What I Believe http://www.chrisashley.net/weblog/archives/week_2007_03_25.html 1867@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-26T23:59:59-08:00 All of Land Meets All of Sky http://www.chrisashley.net/weblog/archives/week_2007_03_25.html [T] Chris Ashley: All of Land Meets All of Sky, 20070325, HTML, 360 x 420 pixels[B] Ann McConville: All of Land Meets All of Sky, Bel&#339;il, Belgium, 2007... 1866@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-25T23:59:59-08:00 Going Full Speed Ahead http://www.chrisashley.net/weblog/archives/week_2007_03_18.html 1865@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-24T23:59:59-08:00 Sitting with Casualties http://www.chrisashley.net/weblog/archives/week_2007_03_18.html 1863@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-23T21:07:07-08:00 Want To Go To Paris Tomorrow? http://www.chrisashley.net/weblog/archives/week_2007_03_18.html 1864@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-22T23:59:59-08:00 Taking the Long Way Home http://www.chrisashley.net/weblog/archives/week_2007_03_18.html 1862@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-21T23:59:59-08:00 Finding My Way to Beauty http://www.chrisashley.net/weblog/archives/week_2007_03_18.html 1861@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-20T23:16:27-08:00 Collaboration with Ann McConville http://www.chrisashley.net/weblog/archives/week_2007_03_18.html The pairs of March 2007 drawings and photos, and the titles prompting them, are a sharing and exchange between Ann McConville and me. Ann is my wife. It&#8217;s been a long time since we collaborated like this. We have been together nearly twenty seven years, and we think we know each other pretty well. But even still, it is a very pleasant surprise to be working together because there is still the element of surprise: you don&#8217;t know what it will look like until you actually see it. Ann has been working away from home for a fair amount of the past year. She is a psychotherapist, and early in 2006 decided to take a leave from her work as a clinical supervisor and from her private practice in order to accept contract work, most of which has been in Europe, except for six weeks in Oahu last fall. Ann is also an artist. We met in art school, which she entered as a quite accomplished photographer, eventually moving through printmaking to painting. She learned her darkroom skills in high school, and was fortunate to have good examples and mentors early on. Also fortunate for her are two qualities- a great eye that can compose in the viewfinder, and a literary/humanist bent that moves her to make pictures that convey deep feeling and empathy. These two qualities have infused whatever visual work she does. It&#8217;s intuitive; she just does it. Living and working in Europe has enabled Ann to take lots of day and weekend trips: one weekend in Paris, another in Amsterdam, another in Berlin; a day trip to Padua, another in Antwerp or Brugge. Prague, Venice, Stuttgart. Brussels, Colmar, Verona. Ribeauville, Asiago, Metz. The names of these places and others represent a lot of occupied space on her camera&#8217;s SD memory cards. For the past year I have chosen to make HTML drawings in response to a monthly theme. I typically decide on a subject, a size of image, some motifs, and then just follow where it takes me. A set theme and size feels necessary these days; I have a day job, I&#8217;m busy, and I like knowing the subject and the size I&#8217;ll work with each day. With these two decisions set comes the hardest part: working out the image. As March approached, and because she&#8217;s home and her head is full of travels, places, names, images, and other memories, Ann suggested providing me with titles for the month, and that&#8217;s how we began. She typed up a list of over fifty titles and emailed it to me, expecting that I would choose, edit, and rearrange them. Instead, I just started at the beginning and am going down the list- I don&#8217;t want to choose, and I&#8217;m just happy to have the list. These current titles focus on the time she spent during December 2006 until mid- February 2007 in the Benelux region. The only changes we&#8217;ve made are the occasional word adjustment. At first, I thought the images I was making were too influenced by what she told me about Belgium in winter- dark, grey, short days- and her description of the landscape, which I feared would result in too many horizontal lines, sky above, ground below. I became conscious of not wanting to let this happen, but at the same time also that depicting place is what I wanted to do. My mind still isn&#8217;t made up about that. These images are always teetering between abstraction and representation. A few days into March one of us had the idea of pairing Ann&#8217;s photos with my drawings, and I&#8217;m thrilled we&#8217;re doing this. I really enjoy it when a drawing and photo is linked by a color, a kind of space, or some kind of physical or mental quality. When looking at Ann's photos, keep in mind that all of these photos are full-frame, uncropped- they are captured totally through the viewfinder. This is something I am terrible at doing-- framing an image through the camera-- and something that Ann is really good at; she is capable of seeing that way. Here&#8217;s how it sort of works: there&#8217;s the title, and I try to make some kind of abstract-like image about that title, and then Ann finds a photo that is connected to that title without it being merely an illustration. I am working downstairs on a Windows machine, and she is working upstairs on her Mac with iPhoto, but we&#8217;re not necessarily working at the same time. She views the weblog, and emails me a photo. It might be days between some of the pairings pairings, and as of this writing there are still some drawings unaccompanied by a photo, but we&#8217;ll have it worked out by the end of March. I am delighted by some of the pairings. Just a few examples are:&#8220;Danger, Risks Involved&#8221; on March 9 shows a splitting: in the drawing, red and yellow- hot, dangerous colors- separate and transform into darkness, while the photo shows an isolated fork in the road.The pair for &#8220;SHAPE Up,&#8221; March 7, includes a map of the Ardennes Offensive (from the American Cemetery in Luxembourg (http://en.wikipedia.org/wiki/Ardennes_Offensive), or Battle of the Bulge, in 1944-45, and a drawing of a kind of winged, missile-like column in motion.&#8220;Benelux Measured in Time&#8221; from March 18 contrasts a centralized reflected tree image with a three section flag-like shape, the center of which also has a reflective quality.&#8220;A State of Grace, or, Meeting the Monk&#8221; on March 16 pairs a photo of a monk who Ann picked up hitchhiking, and whose chapel she subsequently visited; he stands, turning to look at the camera, while the drawing presents a vertical, loose column of tiny pale blue particles in a pink and yellow evanescent field. I like the visual and conceptual surprises of these pairing, and besides, it&#8217;s fun visually interacting with someone I love. Now, let me make a pitch here: below is a photo of four paintings by Ann installed in our house. The two small pieces are maybe seventeen years old, ten by eight inches, acrylic on canvas board mounted on stretchers. The two larger pieces are three or four years old, eighteen by fourteen inches, PaintStick on canvas board mounted on stretchers. I hung these four in this arrangement in a central part of our house. I like them. This is a confession: I sometimes like her art more than my own. Let this be a public plea: Ann, paint more. You&#8217;re good. [L] Ann McConville, Untitled, ca. 2003, PaintStick on canvasboard mounted on stretcher, 18 x 14 inches each [R] Ann McConville, Untitled, ca. 1990, acrylic on canvasboard mounted on stretcher, 10 x 8 inches each... 1860@http://www.chrisashley.net/weblog/ 2007-03-20T22:09:10-08:00 Homage: Prinsengracht, Amsterdam http://www.chrisashley.net/weblog/archives/week_2007_03_18.html 1859@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-19T07:24:17-08:00 Benelux Measured in Time http://www.chrisashley.net/weblog/archives/week_2007_03_18.html 1858@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-18T23:59:59-08:00 Flanders (Brugge-Mechelen-Antwerpen-Ghent) http://www.chrisashley.net/weblog/archives/week_2007_03_11.html 1857@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-17T23:59:59-08:00 A State of Grace, or, Meeting the Monk http://www.chrisashley.net/weblog/archives/week_2007_03_11.html 1856@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-16T23:59:59-08:00 Some Would Say There&#8217;s Not Much to Look At http://www.chrisashley.net/weblog/archives/week_2007_03_11.html 1855@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-15T07:33:55-08:00 Thermae Waters Spell Relief http://www.chrisashley.net/weblog/archives/week_2007_03_11.html 1854@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-14T23:59:59-08:00 Manneken Pis Unbalanced http://www.chrisashley.net/weblog/archives/week_2007_03_11.html 1853@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-13T23:59:59-08:00 Nine Times Seven Plus One http://www.chrisashley.net/weblog/archives/week_2007_03_11.html 1852@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-12T23:59:59-08:00 Bon Voyage! Goede Reis! Gute Fahrt! http://www.chrisashley.net/weblog/archives/week_2007_03_11.html 1851@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-11T23:59:59-08:00 A Birthday in Paris http://www.chrisashley.net/weblog/archives/week_2007_03_04.html 1850@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-10T23:59:59-08:00 Danger, Risks Involved http://www.chrisashley.net/weblog/archives/week_2007_03_04.html 1849@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-09T23:59:59-08:00 Consulting the Oracle http://www.chrisashley.net/weblog/archives/week_2007_03_04.html 1848@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-08T23:59:59-08:00 SHAPE Up http://www.chrisashley.net/weblog/archives/week_2007_03_04.html 1847@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-07T16:23:43-08:00 Can&#8217;t Eat Bambi http://www.chrisashley.net/weblog/archives/week_2007_03_04.html 1846@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-06T23:04:22-08:00 Rue d&#8217;Ath - Constancy http://www.chrisashley.net/weblog/archives/week_2007_03_04.html 1845@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-05T22:48:44-08:00 Chocolate and Beer and Lace, Oh My http://www.chrisashley.net/weblog/archives/week_2007_03_04.html 1844@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-04T23:59:03-08:00 Watch Out For Overhead Pressure and Spills http://www.chrisashley.net/weblog/archives/week_2007_02_25.html 1843@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-03T23:26:28-08:00 Groundhog Day Revisited http://www.chrisashley.net/weblog/archives/week_2007_02_25.html 1842@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-02T00:20:17-08:00 Something About the North Sea http://www.chrisashley.net/weblog/archives/week_2007_02_25.html 1841@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-03-01T22:32:58-08:00 Shakin' All Over http://www.chrisashley.net/weblog/archives/week_2007_02_25.html 1840@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-28T23:38:42-08:00 What Kind Of Fool Am I? http://www.chrisashley.net/weblog/archives/week_2007_02_25.html 1839@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-27T23:09:25-08:00 Lost Highway http://www.chrisashley.net/weblog/archives/week_2007_02_25.html 1838@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-26T00:57:52-08:00 How Mountain Girls Can Love http://www.chrisashley.net/weblog/archives/week_2007_02_25.html 1836@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-25T00:24:57-08:00 Bits and Pieces http://www.chrisashley.net/weblog/archives/week_2007_02_18.html 1837@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-24T00:25:03-08:00 How Can You Mend A Broken Heart? http://www.chrisashley.net/weblog/archives/week_2007_02_18.html 1835@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-23T22:53:05-08:00 Sabotage http://www.chrisashley.net/weblog/archives/week_2007_02_18.html 1834@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-22T23:47:56-08:00 Only the Lonely http://www.chrisashley.net/weblog/archives/week_2007_02_18.html 1833@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-21T23:13:23-08:00 Broken English http://www.chrisashley.net/weblog/archives/week_2007_02_18.html 1832@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-20T22:08:51-08:00 I Ain't Living Long Like This http://www.chrisashley.net/weblog/archives/week_2007_02_18.html 1831@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-19T23:59:59-08:00 You Didn't Have To Be So Nice http://www.chrisashley.net/weblog/archives/week_2007_02_18.html 1830@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-18T23:42:58-08:00 Wishin' and Hopin' http://www.chrisashley.net/weblog/archives/week_2007_02_11.html 1829@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-17T21:03:45-08:00 My Bucket's Got a Hole in It http://www.chrisashley.net/weblog/archives/week_2007_02_11.html 1828@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-16T23:59:59-08:00 My Generation http://www.chrisashley.net/weblog/archives/week_2007_02_11.html 1827@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-15T22:35:35-08:00 Frame http://www.chrisashley.net/weblog/archives/week_2007_02_11.html 1826@http://www.chrisashley.net/weblog/ 2007-02-15T00:50:15-08:00 Sunshine of Your Love http://www.chrisashley.net/weblog/archives/week_2007_02_11.html 1825@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-14T18:10:02-08:00 A Change Is Gonna Come http://www.chrisashley.net/weblog/archives/week_2007_02_11.html 1824@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-13T22:27:53-08:00 Working My Way Back to You http://www.chrisashley.net/weblog/archives/week_2007_02_11.html 1823@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-12T00:16:28-08:00 Who Feels It Knows It http://www.chrisashley.net/weblog/archives/week_2007_02_11.html 1822@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-11T11:41:25-08:00 Throw Down Your Arms http://www.chrisashley.net/weblog/archives/week_2007_02_04.html 1821@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-10T14:30:22-08:00 AltGeo install http://www.chrisashley.net/weblog/archives/week_2007_02_04.html 1817@http://www.chrisashley.net/weblog/ Art Object 2007-02-10T11:00:00-08:00 Fortunate Son http://www.chrisashley.net/weblog/archives/week_2007_02_04.html 1820@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-09T23:59:59-08:00 This made me think: http://www.chrisashley.net/weblog/archives/week_2007_02_04.html This made me think:... 1819@http://www.chrisashley.net/weblog/ 2007-02-09T22:11:39-08:00 What Would You Give In Exchange For Your Soul? http://www.chrisashley.net/weblog/archives/week_2007_02_04.html 1818@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-08T23:30:48-08:00 I am quoted... http://www.chrisashley.net/weblog/archives/week_2007_02_04.html I am quoted in Botero's Politics of Mediocrity, by Chris Thompson, East Bay Express, Feb 7, 2007: ...at a roundtable discussion of the work, Harley Shaiken, the chair of the Center for Latin American Studies, opened the talk with an excerpt from a blog by Oakland artist Chris Ashley. "It is important because the subject matter is crucial to America's current image and reputation, and Botero has made a permanent record in this unlike that made in any other medium," Ashley wrote. "It is important for the way in which it was organized &#8212; outside of the museum and gallery channels &#8212; and for where it is shown &#8212; in the library of the university known for being the birthplace of the Free Speech Movement." The article makes a case against Botero's work.... 1816@http://www.chrisashley.net/weblog/ 2007-02-08T18:59:21-08:00 How To Fight Loneliness http://www.chrisashley.net/weblog/archives/week_2007_02_04.html 1815@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-07T20:17:31-08:00 Wouldn't It Be Nice http://www.chrisashley.net/weblog/archives/week_2007_02_04.html 1814@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-06T23:02:03-08:00 Needles and Pins http://www.chrisashley.net/weblog/archives/week_2007_02_04.html 1813@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-05T20:08:59-08:00 If I Should Fall from the Grace of God http://www.chrisashley.net/weblog/archives/week_2007_02_04.html 1812@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-04T23:59:59-08:00 AltGeo: a Green Line Art Project http://www.chrisashley.net/weblog/archives/week_2007_02_04.html AltGeo: loosened structures for line and colorCurated by Douglas Witmer February 5 - March 31, 2007Reception Friday March 9, 6-9pmGreen Line | Powelton3649 Lancaster Avenue Philadelphia215-222-3431Artists:Chris Ashley (Oakland), James Erikson (Phila), P. Timothy Gierschick II (Phila), Rodney Harder (NYC), Jerome Hershey (Lancaster, PA), Jeffrey Cortland Jones (Cincinnati), Tim McFarlane (Phila), Linn Meyers (Washington DC), Vincent Romaniello (Phila), Anne Seidman (Phila), Paige Williams (Cincinnati)... 1811@http://www.chrisashley.net/weblog/ Art 2007-02-04T11:49:10-08:00 At Least That's What You Said http://www.chrisashley.net/weblog/archives/week_2007_01_28.html 1810@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-03T11:23:57-08:00 Tears of a Clown http://www.chrisashley.net/weblog/archives/week_2007_01_28.html 1809@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-02T23:59:59-08:00 The Ghost of You Walks http://www.chrisashley.net/weblog/archives/week_2007_01_28.html 1808@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-02-01T22:36:04-08:00 I Want Candy http://www.chrisashley.net/weblog/archives/week_2007_01_28.html 1807@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-31T22:25:29-08:00 Gee's Bend Quilts http://www.chrisashley.net/weblog/archives/week_2007_01_28.html 1806@http://www.chrisashley.net/weblog/ Art Writing 2007-01-31T19:04:16-08:00 Sour Times http://www.chrisashley.net/weblog/archives/week_2007_01_28.html 1804@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-30T23:57:43-08:00 Fernando Botero's Abu Ghraib Paintings at UC Berkeley http://www.chrisashley.net/weblog/archives/week_2007_01_28.html This is about as close as I got last night to getting into the opening of Fernando Botero's exhibit of his Abu Ghraib paintings at UC Berkeley's Doe Library. There was some kind of color-coded ticketing system, and when I finally found this out after waiting in one line, and looked at the line of three or four hundred people waiting to get in outside in the main line, I took some pictures through the windows and left. The paintings are not being shown at the Berkeley Art Museum. They are being shown in a large room in the library which houses computers mostly used by students for email and quick searches, through which most people walk to gain entrance to the main library. New partitions were installed, the walls were painted- it is a very serviceable exhibition space. As is probably well known by now, the paintings have shown in Rome and New York, but nowhere else, and Botero has offered the complete collection of works to an American museum willing to take and show them. No takers. As far as I can tell, the Berkeley Art Museum, the UC Berkeley Department of Art Practice, nor the the UC Berkeley History of Art department had anything to do with the exhibition taking place at UC Berkeley. My guess, and this is based soley on nothing except my own knowledge of the current faculty and the kind of students the department produces, is that the overt content, and the fact that these are merely paintings, does not engage serious enough theoretical and material concerns. Or, maybe they're just out of the loop, unaware, too busy, don't have the resources or budget, or simply can't respond quickly enough. Whatever the reason, it's a shame they're not involved. Instead, the Center for Latin American Studies is primarily responsible for organizing the exhibition, which- including a room converted for the purpose, the transporting of paintings, and the development of a complete accompanying academic program- astonishingly took place in just about exactly two months. I saw the exhibition today. It consists of forty seven paintings and drawings. There are several large paintings, and several that seem to consist of two or three panels; I don't know if those count as single or multiple "paintings"- I didn't count. There is plenty to look at, and one can get quite close and look at the paint. Due to some built-in features of the room several of the large paintings are hung with the bottom edge nearly at eye level, making one look up in a way which physically creates a sense of reverence and witness. The imagery is horrifying, but not in quite the way a photograph would be horrifying. Botero's style of figuration places the figure a little at a remove so that one needn't turn away. This is not to say he makes the subject softer and removes the horror. Instead, the style of figuration removes us from the pain we may feel when looking at a real person, thereby creating the opportunity for contemplation and reflection while encouraging empathy, outrage, and sorrow. We are able to look longer at what we are seeing and at what is being alluded to. By staying with the paintings, and seeing how these images generalize the horror, we all feel our own range of emotions, and recognize the indictment of our times and the challenge to not let this happen again. These paintings would not be effective if Botero were not a competent and knowledgeable painter. He creates pictorially effective arrangements and juxtapostions that makes the work formally interesting; subject matter alone does not make the paintings successful. On close look one sees Botero's fine sense of line, solid grounding of figures, subtle modeling of anatomy and drapery, sure sense of color, and confident economy with paint and brush. Formally, there are wonderful things he does in a painting's composition: the rhyming of an arc of urine streaming in from the left side with a raised leg ready to kick; the bright multi-colored head bands worn by each man in a large pile on the floor; the bright blue glove on the hand of a torturer whose body is outside the picture plane; the various skin tones of different figures; the contrast of the bright green hood on one man's head next to which his raised arm ends at a bright bloody red hand. In one three panel painting the victim changes postion from one panel to the next; in the experience of viewing this time is a component, and it is this prisioner's turning and suffering over time that drives us more deeply into knowing his agony, and knowing him as a living being, an individual. One of course thinks of Goya and Picasso, or Grosz or Beckmann. It's not hard to see in some paintings allusions to Christ, at least through the way Christ's life has been depicted, particularly in, say, 15th century Italian painting- the wound, the suffering, the sacrifice. I kept thinking of someone like Mantegna, particularly his paintings like Calvary and St. Sebastian. Botero's classic allusions, rather than seeming a pat anachronistic device, reinforce his presentation. This is a very important exhibition in several ways. It is important because the subject matter is crucial to America's current image and reputation, and Botero has made a permanent record of this unlike that made in any other medium. It is important for the way in which it was organized- outside of the museum and gallery channels- and for where it is shown- in the library of the university known for being the birthplace of the Free Speech Movement. It is important because it shows that painting is still relevant; no photograph can function in the way a painting functions; no other medium depicts things with the same sensuous, tactile, handmade means; no other visual medium has a thousand years of history to reinforce and extend the viewer's experience. It is important because these paintings have been brought to stand before people's eyes to see up close and in person one individuals's committed outrage carried out with intelligent skill. And it is important because Botero's paintings are made with skill and craft, knowledge and wit, compassion and generosity. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Video and/or audio of an interview with Botero by poet Robert Hass on January 29, 2007 can be streamed or downloaded. Several programs and panels are being organized by the Center for Latin American Studies. San Francisco Chronicle art critic Kenneth Baker has written a feature article and a review. San Francisco Chronicle editorial writer Louis Freedberg provides some very interesting background. In the Brooklyn Rail, Robert C. Morgan's A Note on Botero&#8217;s Abu Ghraib.... 1803@http://www.chrisashley.net/weblog/ Art Writing 2007-01-30T18:00:19-08:00 Reverend Lee http://www.chrisashley.net/weblog/archives/week_2007_01_28.html 1802@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-29T23:04:30-08:00 17 http://www.chrisashley.net/weblog/archives/week_2007_01_28.html 1801@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-28T23:29:07-08:00 I Will Survive http://www.chrisashley.net/weblog/archives/week_2007_01_21.html 1800@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-27T22:40:33-08:00 Tethered and Untethered Stars http://www.chrisashley.net/weblog/archives/week_2007_01_21.html Douglas Witmer & Chris Ashley: Tethered and Untethered Stars, 2007. Ink, acrylic, and magic marker on found paper Installed in Across the Borderline at Rike Art Center, University of Dayton, Ohio, January 11- February 10, 2007... 1799@http://www.chrisashley.net/weblog/ Art 2007-01-27T10:47:27-08:00 Call Me http://www.chrisashley.net/weblog/archives/week_2007_01_21.html 1798@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-26T07:41:34-08:00 Brick House http://www.chrisashley.net/weblog/archives/week_2007_01_21.html 1797@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-25T19:54:53-08:00 Just the Way You Are http://www.chrisashley.net/weblog/archives/week_2007_01_21.html 1796@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-24T23:59:59-08:00 Me and My Arrow http://www.chrisashley.net/weblog/archives/week_2007_01_21.html 1795@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-23T21:13:48-08:00 Kiss http://www.chrisashley.net/weblog/archives/week_2007_01_21.html 1794@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-22T23:44:23-08:00 I'm Not in Love http://www.chrisashley.net/weblog/archives/week_2007_01_21.html 1793@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-21T16:54:40-08:00 Fall On Me http://www.chrisashley.net/weblog/archives/week_2007_01_14.html 1792@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-20T23:18:17-08:00 Persephone http://www.chrisashley.net/weblog/archives/week_2007_01_14.html 1791@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-19T23:54:15-08:00 Stardust http://www.chrisashley.net/weblog/archives/week_2007_01_14.html 1790@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-18T22:34:04-08:00 Since I Been Lovin' You http://www.chrisashley.net/weblog/archives/week_2007_01_14.html 1789@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-17T21:53:53-08:00 AtB installation photos http://www.chrisashley.net/weblog/archives/week_2007_01_14.html Douglas has posted about forty installation shots of our show "Across the Borderline" at UDayton.... 1788@http://www.chrisashley.net/weblog/ Art 2007-01-17T11:24:56-08:00 The Best Day Ever http://www.chrisashley.net/weblog/archives/week_2007_01_14.html 1787@http://www.chrisashley.net/weblog/ 2007-01-17T10:13:22-08:00 Temptation http://www.chrisashley.net/weblog/archives/week_2007_01_14.html 1782@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-16T23:41:00-08:00 Wish You Were Here (EAM) http://www.chrisashley.net/weblog/archives/week_2007_01_14.html 1781@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-15T18:27:19-08:00 Coco 1991 - 2007 http://www.chrisashley.net/weblog/archives/week_2007_01_14.html 1786@http://www.chrisashley.net/weblog/ 2007-01-15T11:50:50-08:00 Love My Way http://www.chrisashley.net/weblog/archives/week_2007_01_14.html 1780@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-14T23:59:59-08:00 Across the Borderline http://www.chrisashley.net/weblog/archives/week_2007_01_14.html Across the Borderline (Chris Ashley & Douglas Witmer), University of Dayton, OH, January 11, 2007... 1785@http://www.chrisashley.net/weblog/ Art 2007-01-14T12:02:34-08:00 Night and Day http://www.chrisashley.net/weblog/archives/week_2007_01_07.html 1779@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-13T23:26:13-08:00 Change Gonna Come http://www.chrisashley.net/weblog/archives/week_2007_01_07.html 1778@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-12T23:59:59-08:00 Heaven http://www.chrisashley.net/weblog/archives/week_2007_01_07.html 1777@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-11T00:12:12-08:00 Ne Me Quitte Pas http://www.chrisashley.net/weblog/archives/week_2007_01_07.html 1784@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-10T00:16:58-08:00 Life on Mars http://www.chrisashley.net/weblog/archives/week_2007_01_07.html 1783@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-09T23:10:18-08:00 Say It Ain't So http://www.chrisashley.net/weblog/archives/week_2007_01_07.html 1775@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-08T23:59:59-08:00 Georg Baselitz at Nyehaus http://www.chrisashley.net/weblog/archives/week_2007_01_07.html I have always liked Georg Baselitz's work. I first saw his work in the flesh in 1982 at Ileana Sonnabend in New York; I liked it immediately. The paintings I saw in that show of eagles, drinkers, bottles, and oranges have stuck with me for a long time. I don't think many of my peers share my enthusiasm; perhaps I'm wrong, and they do at least respect him, much like one has must recognize Guston's late period. It's too easy to get stuck with the idea that he's the guy that paints things upside down. He's a painter, he works with images, but most of all he's making a painting, dealing with visuality, compostion, surface, mark, tension. Today I recieved an email announcing a recent exhibition. Rather than a brief press release the email contained a long and excellent essay. It is below. Maybe this will explain why I like his work. GEORG BASELITZ: WORKS FROM THE 1960s and 1970s January 11th through February 17, 2007 Opening: Thursday, January 11th, 6-8PM Nyehaus is pleased to present Georg Baselitz: Works from the 1960s and 1970s. Opening reception will be held on Thursday, January 11th, 2007 from 6 pm to 8 pm. Pictures are omnipresent. They fill our lives as if it were the most natural thing in the world. They can appear anywhere; they make use of every technology and every medium. But pictures not only come upon us everywhere: pictures have effects, they have force, they can heighten their power even to the point of violence-a metaphorical violence, of course. This they achieve in several ways. They can represent violence or endow their aesthetic means with what one might call violent directness. The viewer senses a particular aggression whenever this violence appears mixed with sexuality. And this is precisely what happened in the case of an early picture by Georg Baselitz from 1962, "Der nackte Mann." It was exhibited for the first time in Berlin in 1963, along with "Die große Nacht im Eimer"-and soon the public prosecutor was on the spot, to ban the exhibition and close it down. A scandal! Over and over throughout his artistic career, Baselitz has shocked the public-in recent years, however, not so much by means of the provocative representation of sexual organs but rather by the great force of the aesthetic strategies he chooses. It would be wrong, however, to emphasize one-sidedly the provocative element of Baselitz's work. Even in the picture of the naked man, there are many other things to observe, for-despite the painting's aggressiveness-despair, fear of the abyss, and an existential solitude or insecurity appear as well in the helpless figure lying in the mud. (Right: Georg Baselitz, Bussard, 1974, Olie på papir på lærred, h: 200 x w: 162 cm / h: 78.7 x w: 63.8 in) When Baselitz painted such pictures in the middle of the affluent society of postwar Germany, he saw himself as an outsider, alone in a political reality split between West and East Germany. And precisely this situation that offered no foothold, this feeling of in-betweenness that called into question the self-delusions that sustained East and West Germany, determined his work and fed his creative process again and again with new energy. It was the experience of an existential uncertainty in which the individual, the artist Baselitz, must reinvent himself again and again: this was at the bottom of the work. Therefore Baselitz used only a handful of motifs, which always offered anew the starting point for painterly operations: the tree, the head, the frontal male figure, the eagle, nudes, and so forth. There is much to say about what he does with these motifs, which serve as anchors in the midst of the often turbulent painterly action. Obviously the sheer speed of the painting has a special meaning, as does the materiality of the paint application. There are suggestions of gestures as well, pointing towards the psychic constellation underlying each picture. These elements are combined differently in different periods of Baselitz's work. Take, for instance, a work from the "Heroes" series, painted in 1965-66; before these works, the viewer becomes aware of the materiality of paint, which is brought out in a highly differentiated way. For the surface is not constructed according to a general principle-it is sometimes more and sometimes less impastoed, often tacky and slimy, in many places impulsive. Again and again-in the painting "Ein Roter," for instance, from 1966-anxious contour lines cut through zones of color, creating the effect of a painted jigsaw puzzle. The impression of numbness and helplessness is further reinforced by the way the colored figure appears before the white ground. The "hero"-whose inner life, emotional and agitated, is made vivid as the intense life of the colors-knows no purpose, he sees no outlet for the strength and energy which seem to have been given him. While Baselitz made manifest in the structure of the works of these years a blockage with regard to the development of a sustainable identity, he began to reorganize the strength of his pictures in the late sixties and particularly in the seventies. It is as though the veil of dream and nightmare fell away from his motifs; now they belong to the real, more or less. The earlier blockages, in motif as well as in execution, disappear and make way for a faster painting process, which the painter's gestures can make freer use of. The act of painting becomes an equivalent for the vital energies Baselitz can make visible. Where do they come from? A curious interlacing of memory and imagination may be observed; an intense friction within the structure of the pictures arises from this combination, for the motifs remain fundamentally static, as is reinforced by their placement in the middle of the picture's surface. While the motifs, therefore, might be called the unconscious of the pictorial structure, or the bridges to a memory to be uncovered, the painterly surface flashes with bolts of color, with sparks and thick masses of pigment. This new stage of Baselitz's painterly operations may be seen in the eagles and nudes of 1976-77. Although these motifs seem to be pulled from reality, Baselitz in fact adapts them from photographs he takes himself. By this means a certain distance from realism is gained, making it possible to create a space for memory. Elke, the artist's wife, appears as a nude, but she stands in the work for a connection to home, origins, inspiration, and so on. (Left: Georg Baselitz. (German, born 1938). Woodmen. 1967-68. Charcoal and synthetic resin on unprimed canvas, 8' 2" x 6' 6 3/4" (248.7 x 200 cm): 63.8 in) If, then, the motifs always recur, although the painterly facture of Baselitz's work often changes suddenly, even jerkily, one might compare the overall progress of his artistic investigations to the formation of concentric circles. For this artist, development means not the abandonment of one thing and the invention of something entirely new from one period of work to another, but instead the always renewed interpretation of the underlying constellation of an in-betweenness of past and present. In the years between 1967 and 1969 this process reached perhaps its most critical point. For the transition from the "Heroes" series, the masterful conclusion of all his early efforts, to the formulation of a new iconography of presentness, of nudes, still lifes, forest scenes, and eagles, which could embody this in-betweenness, proved to be a very risky undertaking. How could the provocative power of the earlier motifs be transformed into a new manner of painting with its resistant and aggressive traits intact? Baselitz searched for others who could guide his new investigation, just as he had earlier discovered for himself the Florentine Mannerists, the artists of the School of Fontainebleau, and outsiders like Antonin Artaud and August Strindberg. The painter was able to heighten the violence of his images without recourse to nightmares, mutilations, and organ forms by intensifying the materiality of his colors. In doing so, he could go back to his own early reception of Philip Guston and find leads for his own work in that of Franz Kline, Willem de Kooning, and Clyfford Still. While the Abstract Expressionists saw their pictorial strategy fulfilled in the suddenness of a painterly eruption, which guaranteed the selfhood of the painter a powerful symbolic presence in the picture as a counterpart, Baselitz avoided this kind of subject-bound expressivity in favor of the restlessness of in-betweenness. With his much discussed "trick" of turning his figures upside down, Baselitz asserted very clearly that his motifs serve as the scaffolding of his paintings and not as their content in the expressionist sense. But the path to the upside-down paintings proved difficult. One can see, in the many steps necessary to come at last to this decision, the pictorial logic behind the upside-down motifs-which were anything but a whim. When Baselitz inverted the motif, the in-betweenness of the painterly handling gained a new freedom. Thus it is only half right when the upside-down motifs are placed in the rich tradition of inverted pictures, such as are required by certain iconographic situations. Examples from the old masters include some motifs in Tintoretto, the crucifixion of St. Peter, and representations of Simon Magus, among many others. With Baselitz, references to such themes are not to be discounted, but ultimately something else plays the essential role-falling down as a symbol for the desire for origins, which nevertheless remain unreachable. The emphasis and retention of the middle of the picture, as the place where the presence of painting and the search for the preconscious meet in the motif, must be seen as central. And it is almost always bodies or metaphors for human bodies, such as trees, that serve as the catalysts for pictorial events. The paintings of Baselitz resemble an archaeology of the indissoluble connection between the body and emotion, the conscious and the preconscious. This investigation is paired always with the willed finding of the self. When one sees the speed and vehemence on Baselitz's paint application in this light, then an explanation for the violence of the massing of motifs in the eighties may be found here as well. Two essential elements, however, broadened the range of Baselitz's painting after 1980: the varied colors start to glow and the painter as an individual maintains a certain distance from the motif and the picture. The latter observation seems implausible at first, since many personal motifs do appear in the works of the eighties and the personal is even, as in an allegory, transformed into the universal in two large-scale compostions titled "Pastorale." But now Baselitz does not join self-invention as a painter to self-construction as a historical being, as he did in the early sixties, nor does he hint at the rather private realistic motifs of the seventies, but instead he uses his motifs in a manner that might be called allegorical. That is, he joins relics from the past and the present together in compositions, which remain necessarily-as allegories-bulky and unwieldy. The circle of motifs expands, however, in historical dimension, if often into darkened areas-as when the war-scarred Augustus Bridge in Dresden is cited. Other hints show that Baselitz includes the historical as he reflects upon his personal experiences of postwar Germany. Astonishingly, he does this by means of a new style, intensely colored and impastoed, which yields melancholy and painful tones, as in the painting "Motivschimmel-Zerbrochene Brücke." The new definition of memory in Baselitz's work comprises two seemingly incompatible strategies-on the one hand, the motifs are held at a distance, allegorically; on the other, color infuses everything that appears in the picture with almost visionary intensity. After inventing images of in-betweenness, an unstable state between different times, Baselitz arranged, with great painterly verve, his world of motifs around the unreachable core, a cool crystal which painterly representation can never reach. From time to time in recent years, the artist has spoken of this aim by means of a metaphor; he says he is searching for the "picture behind the picture." Every successful work, in this perspective, is part of a chain of painterly actions that can never arrive at their goal. There can be no now in the painting of Georg Baselitz. -Siegfried Gohr... 1776@http://www.chrisashley.net/weblog/ Art 2007-01-08T20:27:16-08:00 Let Me Go http://www.chrisashley.net/weblog/archives/week_2007_01_07.html 1774@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-07T21:52:47-08:00 Across the Borderline http://www.chrisashley.net/weblog/archives/week_2007_01_07.html "Across the Borderline: collaborative works by Chris Ashley and Douglas Witmer"January 11--February 10, 2007Rike Center GalleryUniversity of Dayton, Ohio... 1773@http://www.chrisashley.net/weblog/ Art 2007-01-07T11:31:07-08:00 Isobel http://www.chrisashley.net/weblog/archives/week_2006_12_31.html 1772@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-06T18:42:09-08:00 Heart-Shaped Box http://www.chrisashley.net/weblog/archives/week_2006_12_31.html 1770@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-05T23:59:59-08:00 Yesterday http://www.chrisashley.net/weblog/archives/week_2006_12_31.html 1769@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-04T22:32:47-08:00 Caribou http://www.chrisashley.net/weblog/archives/week_2006_12_31.html 1768@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-03T23:08:22-08:00 Bad Penny http://www.chrisashley.net/weblog/archives/week_2006_12_31.html 1767@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-02T23:17:01-08:00 Drawing http://www.chrisashley.net/weblog/archives/week_2006_12_31.html 1771@http://www.chrisashley.net/weblog/ On paper 2007-01-02T22:47:04-08:00 I Am Superman http://www.chrisashley.net/weblog/archives/week_2006_12_31.html 1766@http://www.chrisashley.net/weblog/ HTML Drawing 2007 2007-01-01T18:39:29-08:00 Two Artists Talking http://www.chrisashley.net/weblog/archives/week_2006_12_31.html The conversation is still happening between Joanne Mattera and myself at Two Artists Talking.... 1765@http://www.chrisashley.net/weblog/ 2007-01-01T11:29:06-08:00 Prime http://www.chrisashley.net/weblog/archives/week_2006_12_31.html 1764@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-31T15:45:02-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_24.html 1909@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-30T23:59:59-08:00 California Sun http://www.chrisashley.net/weblog/archives/week_2006_12_24.html 1763@http://www.chrisashley.net/weblog/ 2006-12-30T10:27:23-08:00 Prime http://www.chrisashley.net/weblog/archives/week_2006_12_24.html 1760@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-29T10:48:22-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_24.html 1908@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-28T23:59:59-08:00 AtB http://www.chrisashley.net/weblog/archives/week_2006_12_24.html Douglas is showing marvellous invention in completing simple pieces I sent him with real economy, wit, and insight. This piece for me sort of encapsulates the idea of "across the borderline." I made it as a vertical, the ragged edge at the top. He rotated it to horizontal, and with a single white arc bridged a gap and made a unified image.... 1762@http://www.chrisashley.net/weblog/ Art 2006-12-28T21:06:02-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_24.html 1907@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-27T23:59:59-08:00 across the borderline http://www.chrisashley.net/weblog/archives/week_2006_12_24.html 1761@http://www.chrisashley.net/weblog/ Art 2006-12-27T18:38:08-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_24.html 1906@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-26T23:59:59-08:00 Morandi's "Bottiglie e fruttiera" http://www.chrisashley.net/weblog/archives/week_2006_12_24.html 1759@http://www.chrisashley.net/weblog/ Art Writing 2006-12-26T11:18:54-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_24.html 1905@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-25T23:59:59-08:00 Ladybugs http://www.chrisashley.net/weblog/archives/week_2006_12_24.html 1758@http://www.chrisashley.net/weblog/ 2006-12-25T18:20:05-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_24.html 1904@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-24T23:59:59-08:00 Charline von Heyl: Happy End http://www.chrisashley.net/weblog/archives/week_2006_12_24.html 1757@http://www.chrisashley.net/weblog/ Art 2006-12-24T14:06:16-08:00 Prime http://www.chrisashley.net/weblog/archives/week_2006_12_17.html 1756@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-23T18:14:00-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_17.html 1903@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-22T23:59:59-08:00 For Ann (Happy Birthday) http://www.chrisashley.net/weblog/archives/week_2006_12_17.html 1755@http://www.chrisashley.net/weblog/ On paper 2006-12-22T22:52:21-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_17.html 1902@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-21T23:59:59-08:00 John Zurier: Night 2 http://www.chrisashley.net/weblog/archives/week_2006_12_17.html 1754@http://www.chrisashley.net/weblog/ Art 2006-12-21T23:19:51-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_17.html 1901@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-20T23:59:59-08:00 Untitled 1-4 http://www.chrisashley.net/weblog/archives/week_2006_12_17.html Untitled 1-4, 2006, ballpoint pen on Canford Snow White Imperial, 20.5 x 15.5 in.... 1753@http://www.chrisashley.net/weblog/ On paper 2006-12-20T20:20:31-08:00 Earthquake http://www.chrisashley.net/weblog/archives/week_2006_12_17.html Version #2: This report supersedes any earlier reports of this event.This is a computer-generated message. This event has not yet been reviewed by a seismologist. A minor earthquake occurred at 7:12:28 PM (PST) on Wednesday, December 20, 2006.The magnitude 3.7 event occurred 4 km (2 miles) ESE of Berkeley, CA.The hypocentral depth is 9 km ( 6 miles). Magnitude3.7 - local magnitude (ML) TimeWednesday, December 20, 2006 at 7:12:28 PM (PST)Thursday, December 21, 2006 at 3:12:28 (UTC) Distance fromBerkeley, CA - 4 km (2 miles) ESE (112 degrees)Piedmont, CA - 4 km (3 miles) N (354 degrees)Emeryville, CA - 5 km (3 miles) ENE (59 degrees)Albany, CA - 6 km (4 miles) SE (124 degrees)San Francisco City Hall, CA - 19 km (12 miles) ENE (59 degrees) Coordinates37 deg. 51.6 min. N (37.860N), 122 deg. 14.2 min. W (122.237W) Depth9 km (5.6 miles) Location QualityExcellent Location Quality ParametersNst=212, Nph=212, Dmin=2 km, Rmss=0.1 sec, Erho=0.1 km, Erzz=0.3 km, Gp=21.6 degrees Event ID#nc51177042 Additional Information map with fault names Topo map centered at earthquake (This link takes you offsite). ShakeMap shaking intensity maps Did you feel it? NCSN First Motion Mechanism 1 Waveforms Did you feel it? || Shake Map North For more information, see http://quake.wr.usgs.gov/... 1752@http://www.chrisashley.net/weblog/ 2006-12-20T19:21:09-08:00 Prime http://www.chrisashley.net/weblog/archives/week_2006_12_17.html 1751@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-19T19:25:45-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_17.html 1900@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-18T23:59:59-08:00 Quote http://www.chrisashley.net/weblog/archives/week_2006_12_17.html From Gary Garrels, Plane Image: A Brice Marden Retrospective (The Museum of Modern Art, New York, 2006): If you paint your whole life," de Kooning said, "you take that for granted, and after a while all kinds of painting become just painting for you-- abstract and otherwise," p. 61. (de Kooning, quoted in anonyumous, "Willem the Walloper," p. 63.) "To be an artist is not about making individual works. To be an artist is to do your work and let your work express the evolution of a vision," p. 117. (Brice Marden, quoted in Brenda Richardson, Brice Marden Cold Mountain (Houston: Houston Fine Art Press, 1992), p. 41.) Image: Paul Cezanne, Hortense Fiquet in a Striped Skirt, 1877-78, Oil on canvas, 72.5 x 56 cm (28 1/2 x 22"); Museum of Fine Arts, Boston... 1750@http://www.chrisashley.net/weblog/ Art 2006-12-18T00:40:33-08:00 Prime http://www.chrisashley.net/weblog/archives/week_2006_12_17.html 1749@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-17T00:26:30-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_10.html 1899@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-16T23:59:59-08:00 Helmut Federle: Delirious Acceptance http://www.chrisashley.net/weblog/archives/week_2006_12_10.html Helmut Federle (born Solothurn, CH, 1944) Delirious Acceptance (The So-Called Many) 2003acrylic on linen, 330 x 550 cmCollection of the National Gallery of AustraliaPurchased 2003 "The painting... has an autobiographical reference, since it documents Federle&#8217;s experience of encountering overpowering background noise at an Austrian railway station."... 1748@http://www.chrisashley.net/weblog/ Art 2006-12-16T08:34:25-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_10.html 1898@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-15T23:59:59-08:00 Where Was I? http://www.chrisashley.net/weblog/archives/week_2006_12_10.html 1747@http://www.chrisashley.net/weblog/ About Chris Ashley 2006-12-15T15:50:29-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_10.html 1897@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-14T23:59:59-08:00 Where Am I? http://www.chrisashley.net/weblog/archives/week_2006_12_10.html For several years I&#8217;ve had a personal policy: post an HTML drawing on my weblog everyday. I&#8217;ve generally succeeded, only missing a day here and there, feeling a little pang the few days I did miss. I&#8217;ve prided myself on my streak, just not lending it quite as much dedication as Lloyd and his six year and a half year streak (May 5, 2000 to the present). Only two people have asked me if there is some problem with my weblog right now. They&#8217;ve noticed that I haven&#8217;t posted a drawing everyday this month so far- am I missing some drawings? I&#8217;m glad to see that my devoted audience of two has noticed. It&#8217;s nice to know how large one&#8217;s audience is, and your names. Now that I know who I&#8217;m talking to, perhaps you&#8217;ll read the rest of this. For a long time I have been making HTML drawings in series or sets. Often, at the end of each series I&#8217;d write a little bit about my intentions, or the drawings&#8217; subject or inspiration, or about a visual thing I was working on, and so on. For whatever reason, I&#8217;ve done little of that this year, and so I&#8217;m going to review this past year by month in another post. I&#8217;m not sure why this happened. I blame the day job. The other change this past year is that before 2006 the number of drawings series varied in number. If I had determined to do a series of drawings about some subject that dictated to me a specific number of drawings I would do however many I needed to do, then move onto another series. But January 2006 is the last month I operated this way. I don&#8217;t recall exactly why, but starting in February 2006 each series began to span an entire month, which means that I picked an approach or subject that could last 28, 30, or 31 days. I think this had something to do with a desire to settle into longer rhythms, to know what I was going to be working on for the next four weeks. This shifted the sense of dailyness into the parameter of one month within the larger framework of a year, rather than a feeling of endless starting and stopping, starting and stopping. I also think this may have been influenced by the installation of 365 printed HTML drawings, one year&#8217;s worth, hung in rows by month, which was titled, funnily enough, 365, which I showed at 1708 Gallery this past May. Maybe that kind of breakdown naturally led me to a way of thinking of time as a frame. Even though this change happened just a few months ago, I can&#8217;t remember for sure how and why this happened. Maybe I can blame the day job. I had this feeling as December 2006 approached, a little bit of a feeling of dread or anxiety or boredom. I don&#8217;t really know what the feeling is. But what I decided to do was to break the drawing streak. I decided that I would only make drawings on prime numbered dates, and to not complete my streak of making 365 drawings this year. I decided to intervene on my own behalf, to prevent myself from completing the streak. It&#8217;s not that I couldn&#8217;t do it, it&#8217;s that I decided to interrupt the inevitable- my daily habit and perfect attendance- and wind my way down to the end of the year. But what I&#8217;m really teetering on the brink of is a big question: will I keep making images using HTML for my weblog? I don&#8217;t know the answer yet. I have to think about it. I have to look closely at my impulses, intentions, needs. I wish I could blame all of this on my day job, but it's about something else. This is just something an artist thinks about- Why am I doing this? Is it played out? Where does it lead? Time to shift gears? I have received a lot of encouragement over the past several years from many people to take the HTML drawings into other media. Print &#8216;em big. Paint &#8216;em. Project &#8216;em. I really appreciate the thought and attention and encouragement. But none of that is going to go anywhere with this work. These images are meant to be seen only in the place for which they are made- on your monitor framed by its edges, framed by the browser window, framed by my weblog, framed by the chronological time in which they appear, code delivered over a network, assembled by the browser into a luminous blocky image made by pushing at the limits of a very crude medium. A lot of people don&#8217;t seem to understand that. It&#8217;s like this: we all know that looking at a painting as a JPEG on the web is not even close to seeing the real thing. I feel that not seeing an HTML drawing on the web, within my weblog, is not seeing the real thing. I'm not going to repurpose these images in such obvious, simplistic ways. I was able to make 365 because the point was not about making a nicely finished printed object for sale. Sure, images are the central point of the work, but underlying it is the idea of accumulation, habit, regularity, variation within limited means, and a kind of representation in abstraction. The idea for that project was about much more than simply making prints, and it allowed me to reuse the images in a way that felt like a logical extension of what I've been doing. I feel that that's the way I need to operate. I have a couple of future possible exhibition opportunities that may involve the HTML work- if I&#8217;m going to take advantage of those opportunities I will need to figure out a way to use the images that, for me, does not violate some natural principles I have deduced from the original context and location of the drawings. That&#8217;s not an easy problem to solve, and I don&#8217;t know how I&#8217;ll do it, but I am not going to take existing images and blow them up to four or six feet and mount them on aluminum or Plexiglas. And I am not going to duplicate them with paint on canvas. Forget about it. I&#8217;m not interested. I do have some other ideas I&#8217;m mulling over, but I&#8217;m not going to jinx it by going into them. Part of me feels, hey, I&#8217;ve got a good thing going here, keep it up. Another part of me feels ready to move on, but to what? Of course, I&#8217;m making analog drawings and paintings, so it&#8217;s not as if I don&#8217;t have work to make, but paintings and drawings are not a very webby thing to do, and this weblog thing has been a part of my daily life, and a signifcant part of my art, for over five years. I&#8217;m just thinking out loud here. I&#8217;m feeling like I&#8217;m in the middle of some kind of crisis, unsure of whether or not throwing something away is the right thing to do. This is the kind of &#8220;feelings exposed,&#8221; personal, earnest weblog post that I swore I would never do again. But I am just this close to&#8230; something, and I felt I owed both of you, my dear readers, an explanation. Thanks for reading. Let's see what happens in January. No promises, but something might change.... 1745@http://www.chrisashley.net/weblog/ About Chris Ashley 2006-12-14T00:24:23-08:00 Raoul de Keyser http://www.chrisashley.net/weblog/archives/week_2006_12_10.html Raoul de Keyser, Kraantje en tuinslang, 1965, oil on canvas, 59.06 x 47.24 in, 150 x 120 cm, Collection S.M.A.K. Stedelijk Museum voor Actuele Kunst, Ghent, Belgium Raoul de Keyser, Wait, 2006, oil and charcoal on canvas, 49 3/8 x 31 5/8 in, 125.4 x 80.3 cm, David Zwirner Gallery... 1746@http://www.chrisashley.net/weblog/ Art 2006-12-14T00:10:43-08:00 Prime http://www.chrisashley.net/weblog/archives/week_2006_12_10.html 1744@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-13T19:57:00-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_10.html 1887@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-12T23:59:59-08:00 Wave http://www.chrisashley.net/weblog/archives/week_2006_12_10.html 1743@http://www.chrisashley.net/weblog/ On paper 2006-12-12T19:00:14-08:00 Prime http://www.chrisashley.net/weblog/archives/week_2006_12_10.html 1742@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-11T23:57:55-08:00 Rudolf's Diner: Table http://www.chrisashley.net/weblog/archives/week_2006_12_10.html ...]]> 1741@http://www.chrisashley.net/weblog/ 2006-12-11T10:54:23-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_10.html 1886@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-10T23:59:59-08:00 Untitled 1-18 http://www.chrisashley.net/weblog/archives/week_2006_12_10.html Untitled1-18, November-December 2006, graphite on Strathmore 80lb. medium drawing paper, 8 x 6 inches each... 1740@http://www.chrisashley.net/weblog/ On paper 2006-12-10T15:24:23-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_03.html 1885@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-09T23:59:59-08:00 Stars 1-20 http://www.chrisashley.net/weblog/archives/week_2006_12_03.html Stars 1-20, October 2006, ink on paper, Size A5 (5.83 x 8.27 inches)... 1739@http://www.chrisashley.net/weblog/ On paper 2006-12-09T23:04:13-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_03.html 1884@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-08T23:59:59-08:00 Prime http://www.chrisashley.net/weblog/archives/week_2006_12_03.html 1738@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-07T00:54:38-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_03.html 1883@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-06T23:59:59-08:00 Ruby http://www.chrisashley.net/weblog/archives/week_2006_12_03.html 1737@http://www.chrisashley.net/weblog/ 2006-12-06T23:10:18-08:00 Prime http://www.chrisashley.net/weblog/archives/week_2006_12_03.html 1736@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-05T23:14:43-08:00 Tomma Abts http://www.chrisashley.net/weblog/archives/week_2006_12_03.html 1735@http://www.chrisashley.net/weblog/ Art 2006-12-05T18:37:00-08:00 Two Artists Talking http://www.chrisashley.net/weblog/archives/week_2006_12_03.html The conversation continues between Joanne Mattera and me at Two Artists Talking.... 1734@http://www.chrisashley.net/weblog/ 2006-12-05T18:21:22-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_12_03.html 1881@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-04T23:59:59-08:00 It gives me great pleasure to announce: http://www.chrisashley.net/weblog/archives/week_2006_12_03.html It gives me great pleasure to announce: I will not be attending any of the art fairs in Miami. I will not be showing art at any of the art fairs in Miami. I am not associated with any galleries that will be at any of the art fairs in Miami. I will not be writing about any of the art fairs in Miami. I will not be reading any of the reports about any of the art fairs in Miami. I will not be looking at any photos or videos from any of the art fairs in Miami. I will not think about any of the art fairs in Miami. I will not think about any of the art fairs in Miami. I will not think about any of the art fairs in Miami. I will not think about any of the...... 1733@http://www.chrisashley.net/weblog/ 2006-12-04T16:19:34-08:00 Prime http://www.chrisashley.net/weblog/archives/week_2006_12_03.html Prime, 20061203, HTML, 300 x 300 pixels... 1732@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-03T12:14:42-08:00 Prime http://www.chrisashley.net/weblog/archives/week_2006_11_26.html 1731@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-02T18:24:34-08:00 Not Prime http://www.chrisashley.net/weblog/archives/week_2006_11_26.html 1880@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-12-01T23:59:59-08:00 New Acquisition: Joseph Hughes http://www.chrisashley.net/weblog/archives/week_2006_11_26.html 1730@http://www.chrisashley.net/weblog/ collection 2006-12-01T13:00:21-08:00 New Acquisition: Mel Prest http://www.chrisashley.net/weblog/archives/week_2006_11_26.html 1729@http://www.chrisashley.net/weblog/ collection 2006-12-01T12:57:15-08:00 New Acquisition: Douglas Witmer http://www.chrisashley.net/weblog/archives/week_2006_11_26.html 1728@http://www.chrisashley.net/weblog/ collection 2006-12-01T12:54:00-08:00 Mel Prest @ Branch Gallery http://www.chrisashley.net/weblog/archives/week_2006_11_26.html Mel Prest @ Branch Gallery, Durham, NC, November 17, 2006&#8211;January 6, 2007. Below is gouache on paper, roughly 22.5" square.... 1727@http://www.chrisashley.net/weblog/ Art 2006-12-01T11:19:46-08:00 Witmer & Kirkland @ Red Door http://www.chrisashley.net/weblog/archives/week_2006_11_26.html Congratulations to Douglas Witmer and J.T. Kirkland, whose solo shows open today at Red Door Gallery in Richmond, VA.... 1726@http://www.chrisashley.net/weblog/ Art 2006-12-01T11:09:31-08:00 William Tuggle http://www.chrisashley.net/weblog/archives/week_2006_11_26.html Artist William Tuggle and I have corresponded a few times over the past year. He is currently showing at The Tulare Historical Museum in Tulare, California. Below is an article published today in The Fresno Bee. Artist combines abstract and digital work By Mary Lou Aguirre / The Bee 12/01/06 04:33:27 A look at the paintings inside the Tulare Historical Museum's gallery is sure to bring to mind Picasso. But the collection of abstract and digital artwork actually is by Long Beach artist William Tuggle. The "Nu Works Art" exhibit continues through the end of the year. This is Tuggle's second one- man show at the museum. The first was in 2001, when he was 83. Tuggle is a former Tulare resident who graduated from Tulare Union High School in 1935. The former beauty salon owner is self-taught. Tuggle returned to painting after closing the doors of his business after 40 years in 1998. These days, he is creating paintings such as "Red, White and Blue." The painting features choppy images of the U.S. flag, barbed wire and an eye within geometric triangles and circles. Tuggle, who also is a photographer, often mixes digital prints with acrylic paints to create collages. He talked about the blend of his artwork and computer software during a recent phone interview. "I'm 89 years old, and you don't find many like me using a computer in any way," he says. "At first, it was just a struggle, but I was determined to learn it." Tuggle says it was helpful to talk with digital image artist Maxine Olson of Kingsburg. "She was very encouraging and said I could do anything on a computer," he says. "I can scan my earlier acrylic paintings, copy and paste parts and create a new piece of artwork." He e-mailed photographs of his completed artwork to John F. Simon Jr., a noted New York-based digital artist whose work Tuggle was familiar with. "My forte is design and composition," Tuggle says. "He e-mailed that he liked my work very much. It really made me feel good." However, Tuggle isn't sure most local art collectors are ready for digital artwork. "Only young people dig the art," he says. "Others might be reticent about this type of art. I may go back to my old art way and keep my fingers in this."... 1725@http://www.chrisashley.net/weblog/ Art 2006-12-01T10:35:50-08:00 Half Crown http://www.chrisashley.net/weblog/archives/week_2006_11_26.html 1724@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-30T19:33:17-08:00 Lot http://www.chrisashley.net/weblog/archives/week_2006_11_26.html 1723@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-29T07:15:57-08:00 Cubit http://www.chrisashley.net/weblog/archives/week_2006_11_26.html 1722@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-28T21:11:16-08:00 1-30 (Across the Borderline) http://www.chrisashley.net/weblog/archives/week_2006_11_26.html Douglas Witmer and I are working on drawings for our installation, Across the Borderline, at University of Dayton, OH, opening January 11. We are posting images to an AtB weblog, but Blogger, or something, is giving me trouble. See more there, but in the meantime, here are thirty recent drawings by me: 1-30, 2006, ink on unbound & unfolded notebook paper, 17.25 x 6 inches each... 1721@http://www.chrisashley.net/weblog/ On paper 2006-11-28T11:44:52-08:00 Snooker http://www.chrisashley.net/weblog/archives/week_2006_11_26.html 1720@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-27T21:29:59-08:00 Alphabet http://www.chrisashley.net/weblog/archives/week_2006_11_26.html 1719@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-26T10:30:17-08:00 Silver http://www.chrisashley.net/weblog/archives/week_2006_11_19.html 1718@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-25T09:34:33-08:00 Advent http://www.chrisashley.net/weblog/archives/week_2006_11_19.html 1717@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-24T20:40:14-08:00 Skidoo http://www.chrisashley.net/weblog/archives/week_2006_11_19.html 1716@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-23T13:51:19-08:00 Two Little Ducks http://www.chrisashley.net/weblog/archives/week_2006_11_19.html 1715@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-22T17:51:06-08:00 Die http://www.chrisashley.net/weblog/archives/week_2006_11_19.html 1714@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-21T19:23:17-08:00 Score http://www.chrisashley.net/weblog/archives/week_2006_11_19.html 1713@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-20T23:11:12-08:00 Blue Streak http://www.chrisashley.net/weblog/archives/week_2006_11_19.html 1712@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-19T17:34:54-08:00 Anagram http://www.chrisashley.net/weblog/archives/week_2006_11_12.html 1711@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-18T23:49:19-08:00 Wallpaper http://www.chrisashley.net/weblog/archives/week_2006_11_12.html 1710@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-17T00:17:02-08:00 Fourth Power http://www.chrisashley.net/weblog/archives/week_2006_11_12.html 1709@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-16T00:07:13-08:00 SPF http://www.chrisashley.net/weblog/archives/week_2006_11_12.html 1708@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-15T19:46:27-08:00 Pounds & Stones http://www.chrisashley.net/weblog/archives/week_2006_11_12.html 1707@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-14T23:06:17-08:00 Pinecone http://www.chrisashley.net/weblog/archives/week_2006_11_12.html 1706@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-13T20:00:18-08:00 Jury http://www.chrisashley.net/weblog/archives/week_2006_11_12.html 1705@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-12T16:29:19-08:00 Sun Spot Cycle http://www.chrisashley.net/weblog/archives/week_2006_11_05.html 1704@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-11T00:38:19-08:00 Tithe http://www.chrisashley.net/weblog/archives/week_2006_11_05.html 1703@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-10T00:08:48-08:00 Redivider http://www.chrisashley.net/weblog/archives/week_2006_11_05.html 1702@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-09T00:27:06-08:00 Oktas http://www.chrisashley.net/weblog/archives/week_2006_11_05.html 1701@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-08T21:11:43-08:00 St Ives http://www.chrisashley.net/weblog/archives/week_2006_11_05.html 1700@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-07T21:08:41-08:00 Fathom http://www.chrisashley.net/weblog/archives/week_2006_11_05.html 1699@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-06T23:08:26-08:00 Vowels http://www.chrisashley.net/weblog/archives/week_2006_11_05.html 1698@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-05T18:28:13-08:00 Deck http://www.chrisashley.net/weblog/archives/week_2006_10_29.html 1697@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-04T19:13:55-08:00 Hat-trick http://www.chrisashley.net/weblog/archives/week_2006_10_29.html 1696@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-03T00:23:34-08:00 Brace http://www.chrisashley.net/weblog/archives/week_2006_10_29.html 1695@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-02T20:21:13-08:00 Ace http://www.chrisashley.net/weblog/archives/week_2006_10_29.html 1694@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-11-01T23:36:50-08:00 Douglas Witmer @ Gallery Siano http://www.chrisashley.net/weblog/archives/week_2006_10_29.html Douglas Witmer "The Black Keys" and other paintings November 2-24, 2006 Opening Reception Friday, November 3, 5-7pm First Friday 7-9pm (this means if you want the "good" snacks, show up before 7:00) Gallery Siano 309 Arch Street Philadelphia... 1693@http://www.chrisashley.net/weblog/ Art 2006-11-01T16:48:21-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_29.html 1692@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-31T23:25:07-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_29.html 1691@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-30T08:01:06-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_29.html 1690@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-29T09:23:23-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_22.html 1689@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-28T00:37:11-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_22.html 1688@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-27T18:11:47-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_22.html 1687@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-26T21:06:07-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_22.html 1686@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-26T00:45:54-08:00 Mauai Sketchbook http://www.chrisashley.net/weblog/archives/week_2006_10_22.html All fourteen scans of the twenty seven Mauai Sketchbook drawings are compiled on a single page.... 1685@http://www.chrisashley.net/weblog/ 2006-10-26T00:43:52-08:00 Two Artists Talking http://www.chrisashley.net/weblog/archives/week_2006_10_22.html There is a lively ongoing conversation between Joanne Mattera and myself at Two Artists Talking.... 1684@http://www.chrisashley.net/weblog/ 2006-10-26T00:41:57-08:00 Ernie Kwiat Monster Drawings http://www.chrisashley.net/weblog/archives/week_2006_10_22.html Ernie Kwiat's Monster Drawing march towards Halloween continues, and continues, and continues... Good stuff here.... 1683@http://www.chrisashley.net/weblog/ 2006-10-26T00:39:47-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_22.html 1682@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-25T22:30:17-08:00 Mauai Sketchbook http://www.chrisashley.net/weblog/archives/week_2006_10_22.html Mauai Sketchbook (Honokawai), October 8-10, 2006, ink on paper, Size A5 (5.83 x 8.27 inches)... 1681@http://www.chrisashley.net/weblog/ Art Object 2006-10-25T18:57:33-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_22.html 1680@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-24T21:30:45-08:00 Mauai Sketchbook http://www.chrisashley.net/weblog/archives/week_2006_10_22.html Mauai Sketchbook (Honokawai), October 8-10, 2006, ink on paper, Size A5 (5.83 x 8.27 inches)... 1679@http://www.chrisashley.net/weblog/ Art Object 2006-10-24T18:50:05-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_22.html 1678@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-23T23:48:23-08:00 Mauai Sketchbook http://www.chrisashley.net/weblog/archives/week_2006_10_22.html Mauai Sketchbook (Honokawai), October 8-10, 2006, ink on paper, Size A5 (5.83 x 8.27 inches)... 1677@http://www.chrisashley.net/weblog/ Art Object 2006-10-23T16:47:03-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_22.html 1676@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-22T14:14:47-08:00 Mauai Sketchbook http://www.chrisashley.net/weblog/archives/week_2006_10_22.html Mauai Sketchbook (Honokawai), October 8-10, 2006, ink on paper, Size A5 (5.83 x 8.27 inches)... 1675@http://www.chrisashley.net/weblog/ Art Object 2006-10-22T08:29:12-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_15.html 1674@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-21T17:33:17-08:00 Mauai Sketchbook http://www.chrisashley.net/weblog/archives/week_2006_10_15.html Mauai Sketchbook (Honokawai), October 8-10, 2006, ink on paper, Size A5 (5.83 x 8.27 inches)... 1673@http://www.chrisashley.net/weblog/ Art Object 2006-10-21T12:49:14-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_15.html 1672@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-20T16:39:46-08:00 Mauai Sketchbook http://www.chrisashley.net/weblog/archives/week_2006_10_15.html Mauai Sketchbook (Honokawai), October 8-10, 2006, ink on paper, Size A5 (5.83 x 8.27 inches)... 1671@http://www.chrisashley.net/weblog/ Art Object 2006-10-20T14:28:20-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_15.html 1670@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-19T00:04:29-08:00 Mauai Sketchbook http://www.chrisashley.net/weblog/archives/week_2006_10_15.html Mauai Sketchbook (Honokawai), October 8-10, 2006, ink on paper, Size A5 (5.83 x 8.27 inches)... 1669@http://www.chrisashley.net/weblog/ Art Object 2006-10-19T00:02:00-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_15.html 1668@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-18T21:44:01-08:00 Mauai Sketchbook http://www.chrisashley.net/weblog/archives/week_2006_10_15.html Mauai Sketchbook (Honokawai), October 8-10, 2006, ink on paper, Size A5 (5.83 x 8.27 inches)... 1667@http://www.chrisashley.net/weblog/ Art Object 2006-10-18T17:36:23-08:00 Flight 37 http://www.chrisashley.net/weblog/archives/week_2006_10_15.html 1666@http://www.chrisashley.net/weblog/ 2006-10-18T17:34:35-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_15.html 1665@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-17T00:52:51-08:00 Don Voisine: R-Value at Abaton Garage http://www.chrisashley.net/weblog/archives/week_2006_10_15.html 1664@http://www.chrisashley.net/weblog/ Art Writing 2006-10-17T00:29:26-08:00 Mauai Sketchbook http://www.chrisashley.net/weblog/archives/week_2006_10_15.html Mauai Sketchbook (Honokawai), October 8-10, 2006, ink on paper, Size A5 (5.83 x 8.27 inches)... 1663@http://www.chrisashley.net/weblog/ Mauai Sketchbook 2006-10-17T00:26:30-08:00 Flight 37 http://www.chrisashley.net/weblog/archives/week_2006_10_15.html 1662@http://www.chrisashley.net/weblog/ 2006-10-17T00:25:21-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_15.html 1661@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-16T23:11:38-08:00 Painting: poignancy and ethics http://www.chrisashley.net/weblog/archives/week_2006_10_15.html 1660@http://www.chrisashley.net/weblog/ 2006-10-16T15:04:28-08:00 Mauai Sketchbook http://www.chrisashley.net/weblog/archives/week_2006_10_15.html Mauai Sketchbook (Honokawai), October 8-10, 2006, ink on paper, Size A5 (5.83 x 8.27 inches)... 1659@http://www.chrisashley.net/weblog/ Art Object 2006-10-16T00:31:36-08:00 Flight 37 http://www.chrisashley.net/weblog/archives/week_2006_10_15.html 1658@http://www.chrisashley.net/weblog/ 2006-10-16T00:21:01-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_15.html 1657@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-15T14:45:28-08:00 Mauai Sketchbook http://www.chrisashley.net/weblog/archives/week_2006_10_15.html Mauai Sketchbook (Honokawai), October 8-10, 2006, ink on paper, Size A5 (5.83 x 8.27 inches)... 1656@http://www.chrisashley.net/weblog/ Art Object 2006-10-15T10:24:01-08:00 Flight 37 http://www.chrisashley.net/weblog/archives/week_2006_10_15.html 1655@http://www.chrisashley.net/weblog/ 2006-10-15T10:21:56-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_08.html 1654@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-14T10:29:42-08:00 Mauai Sketchbook http://www.chrisashley.net/weblog/archives/week_2006_10_08.html Mauai Sketchbook (Honokawai), October 8-10, 2006, ink on paper, Size A5 (5.83 x 8.27 inches)... 1653@http://www.chrisashley.net/weblog/ Art Object 2006-10-14T10:06:11-08:00 Flight 37 http://www.chrisashley.net/weblog/archives/week_2006_10_08.html 1652@http://www.chrisashley.net/weblog/ 2006-10-14T09:57:45-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_08.html 1651@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-13T22:56:47-08:00 Mauai Sketchbook http://www.chrisashley.net/weblog/archives/week_2006_10_08.html Mauai Sketchbook (Honokawai), October 8-10, 2006, ink on paper, Size A5 (5.83 x 8.27 inches)... 1649@http://www.chrisashley.net/weblog/ Art Object 2006-10-13T00:45:02-08:00 Flight 37 http://www.chrisashley.net/weblog/archives/week_2006_10_08.html 1650@http://www.chrisashley.net/weblog/ 2006-10-13T00:14:34-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_08.html 1648@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-12T01:51:06-08:00 Mauai Sketchbook http://www.chrisashley.net/weblog/archives/week_2006_10_08.html Mauai Sketchbook (Honokawai), October 8-10, 2006, ink on paper, Size A5 (5.83 x 8.27 inches)... 1646@http://www.chrisashley.net/weblog/ Art Object 2006-10-12T01:30:12-08:00 Suitcase http://www.chrisashley.net/weblog/archives/week_2006_10_08.html Detail: Suitcase Tokyo installation; more pictures by Brent Hallard... 1647@http://www.chrisashley.net/weblog/ Art 2006-10-12T01:03:43-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_08.html 1645@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-11T00:58:05-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_08.html 1644@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-10T23:59:59-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_08.html 1643@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-09T23:59:59-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_08.html 1642@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-08T23:59:59-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_01.html 1641@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-07T23:59:59-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_01.html 1640@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-06T00:55:02-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_01.html 1639@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-05T23:45:32-08:00 Suitcase http://www.chrisashley.net/weblog/archives/week_2006_10_01.html Suitcase, Tokyo, October 2006Texts: Wee Things; Suitcase... 1638@http://www.chrisashley.net/weblog/ Art 2006-10-05T10:39:22-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_01.html 1637@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-04T22:37:40-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_01.html 1636@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-03T21:12:57-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_01.html 1635@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-02T21:35:15-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_10_01.html 1634@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-10-01T22:32:49-08:00 Ornette I-IV http://www.chrisashley.net/weblog/archives/week_2006_10_01.html Ornette IV, 2006, oil and Rust-oleum aluminum on clear acrylic on linen with aluminum tacks, 12 x 10 inches ~ ~ ~ ~ ~ ~ ~ Ornette I-IV, 2006, oil and Rust-oleum aluminum on clear acrylic on linen with aluminum tacks, 12 x 10 inches each "Ornette" refers to Ornette Coleman, who recently said, &#8220;Right now, I&#8217;m trying to play the instrument, and I&#8217;m trying to write, without any restrictions of chord, keys, time, melody and harmony, but to resolve the idea eternally, where every person receives the same quality from it, without relating it to some person.&#8221;... 1633@http://www.chrisashley.net/weblog/ Art 2006-10-01T18:55:05-08:00 Thirty (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_24.html 1632@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-30T23:25:26-08:00 Twenty Nine (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_24.html 1631@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-29T23:10:43-08:00 Twenty Eight (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_24.html 1630@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-28T00:01:00-08:00 Twenty Seven (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_24.html 1629@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-27T23:25:17-08:00 Twenty Six (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_24.html 1628@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-26T19:35:41-08:00 Twenty Five (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_24.html 1627@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-25T19:15:29-08:00 Twenty Four (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_24.html 1626@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-24T10:51:24-08:00 Twenty Three (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_17.html 1625@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-23T10:14:41-08:00 Twenty Two (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_17.html 1624@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-22T01:00:00-08:00 Twenty One (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_17.html 1623@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-21T23:47:56-08:00 Twenty (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_17.html 1622@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-20T09:13:25-08:00 Nineteen (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_17.html 1621@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-19T09:09:43-08:00 Eighteen (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_17.html 1619@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-18T22:33:20-08:00 Seventeen (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_17.html 1618@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-17T00:05:09-08:00 Sixteen (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_10.html 1617@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-16T00:47:53-08:00 Fifteen (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_10.html 1616@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-15T23:59:59-08:00 Fourteen (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_10.html 1615@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-14T09:38:10-08:00 Thirteen (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_10.html 1614@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-13T23:59:59-08:00 Twelve (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_10.html 1613@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-12T22:02:50-08:00 Eleven (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_10.html 1612@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-11T22:06:00-08:00 Ten (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_10.html 1611@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-10T10:48:56-08:00 Nine (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_03.html 1610@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-09T10:56:09-08:00 Eight (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_03.html 1609@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-08T15:37:38-08:00 Seven (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_03.html 1608@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-07T00:01:01-08:00 Six (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_03.html 1607@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-06T18:12:02-08:00 Five (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_03.html 1606@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-05T00:29:43-08:00 Four (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_03.html 1605@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-04T00:22:18-08:00 Three (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_09_03.html 1604@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-03T00:29:07-08:00 Two (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_08_27.html 1603@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-02T19:32:26-08:00 One (Prototypen) http://www.chrisashley.net/weblog/archives/week_2006_08_27.html 1602@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-09-01T23:18:47-08:00 Big Bojagi http://www.chrisashley.net/weblog/archives/week_2006_08_27.html Someone thinks I should be making bigger paintings:... 1601@http://www.chrisashley.net/weblog/ Art 2006-09-01T16:24:37-08:00 Culmination http://www.chrisashley.net/weblog/archives/week_2006_08_27.html 1600@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-31T23:49:51-08:00 Congrats to Don Relyea http://www.chrisashley.net/weblog/archives/week_2006_08_27.html Don Relyea, artist, composer, and maker of The Reductionizer (which I've been using during August to make HTML images) and other things, and his family welcome kid #3, a son, Aiden Aldon Relyea, born August 29. Congrats to everyone.... 1599@http://www.chrisashley.net/weblog/ 2006-08-31T09:28:37-08:00 Joanne Mattera: Heat of the Moment http://www.chrisashley.net/weblog/archives/week_2006_08_27.html Joanne Mattera: Uttar 294, 2006, encaustic on panel, 36 x 36" JOANNE MATTERA "Heat of the Moment: New Paintings in Encaustic" Arden Gallery, Boston, September 5~30, 2006 Reception: Friday, September 8, 5-7 pm Gallery Talk: Saturday, September 9, 1pm... 1598@http://www.chrisashley.net/weblog/ Art 2006-08-31T00:12:48-08:00 Flight http://www.chrisashley.net/weblog/archives/week_2006_08_27.html 1597@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-30T17:22:30-08:00 Eva Lake http://www.chrisashley.net/weblog/archives/week_2006_08_27.html 1596@http://www.chrisashley.net/weblog/ Art 2006-08-30T11:42:09-08:00 Joseph Hughes http://www.chrisashley.net/weblog/archives/week_2006_08_27.html SF painter Joseph Hughes has a new website and a show opening Sept. 7 in SF at Takada Gallery.... 1595@http://www.chrisashley.net/weblog/ Art 2006-08-30T10:53:11-08:00 Ernie Kwiat http://www.chrisashley.net/weblog/archives/week_2006_08_27.html Ernie Kwiat has an August run of digital drawings- they're great. See 08 Green Fuzz or 05 Hay Fever. Check out the sketch made in Painter. Ernie tells me that it is his intention to draw a monster a day until Halloween, which I happen to know is his favorite holiday. That's gonna be like close to a hundred drawings. 11 Summer of Love, digital, Ernie Kwiat... 1594@http://www.chrisashley.net/weblog/ Art 2006-08-30T10:30:53-08:00 Candlestick (19660829) http://www.chrisashley.net/weblog/archives/week_2006_08_27.html 1593@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-29T23:49:09-08:00 Pinot Grigio http://www.chrisashley.net/weblog/archives/week_2006_08_27.html 1592@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-28T23:59:59-08:00 Meds (Gravenstein) http://www.chrisashley.net/weblog/archives/week_2006_08_27.html 1590@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-27T23:59:59-08:00 Bunyan http://www.chrisashley.net/weblog/archives/week_2006_08_20.html 1589@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-26T00:01:01-08:00 Loch Ness http://www.chrisashley.net/weblog/archives/week_2006_08_20.html 1588@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-25T01:23:05-08:00 Sasquatch http://www.chrisashley.net/weblog/archives/week_2006_08_20.html 1587@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-24T23:55:55-08:00 Delacroix: The Sea and Cliffs near Dieppe http://www.chrisashley.net/weblog/archives/week_2006_08_20.html Eugene Delacroix: The Sea and Cliffs near Dieppe, 1851, (La mer et les falaises près de Dieppe, avec reprise de la mer se brisant contre la paroi à droite), Watercolor and pencil on paper, 10¼&#8221; × 15½&#8221;, Dated lower right; stamped lower left: Lugt 838a; $75,000. James Harris Gallery and Jill Newhouse, New York Present Junctions: Selected Drawings from Contemporary Artists and Modern Masters See a very nice Vuillard drawing. And a Manet watercolor.... 1586@http://www.chrisashley.net/weblog/ Art 2006-08-24T07:09:26-08:00 Passage http://www.chrisashley.net/weblog/archives/week_2006_08_20.html 1585@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-23T23:54:19-08:00 The thing about Matthew Barney at SFMoMA is that... http://www.chrisashley.net/weblog/archives/week_2006_08_20.html The impressive thing about Matthew Barney is that he has the project management skills, or the resources to hire good project managers, to create his films, installations, and props (some people call them sculptures). The mysterious thing about Matthew Barney is the fact that he has the backing to basically do whatever he wants. The depressing thing about Matthew Barney is how bland his work is. The smartest career thing about Matthew Barney is that his work appears ambitious because it's big and colorless and uses unusual materials. The surprising, and not so surprising, thing about Matthew Barney is how derivative his work is. "DRAWING RESTRAINT is an ongoing performance-based project exploring the notion that form emerges through struggle against resistance[1]." That sounds good. But it doesn't look so good. I'd like to propose a moratorium on artists who explore notions. The real show at Barney's SFMoMA exhibition (through September 17, 2006- be sure and miss it) is the viewer walking through these massive spaces. Video monitors are mounted hanging from the ceiling, everything is white, everyone is walking around looking up. One room is all hanging monitors and vitrines, white and quiet- it feels like fashion, like shopping, like walking through some hip clothing store with music videos playing on monitors. Everybody is trying so hard to figure out what the hell is going on here. They're all being good obedient art lookers. Everything is so big. It obviously took a lot of work to do all this. The museum put some resources into this event. The museum has tried to celebrate this exhibition. It must be very important. That's the message. I tried. It didn't work. Barney's grandiose metaphors and mythology are trite. It's J. R. R. Tolkien and Carlos Castaneda rolled into... no, it's not even that good. There are many many many Beuys references: Sketchy, shaky, faint pencil drawings of body fragments? Check! Vitrines? Check! Vaseline, the equivalent of Beuys' use of fat? Check! A 35mm film can on the floor? Check! The artist in costume, adorned, or transformed? Check! Industrial material in its natural, "formless" form? Check! The artist as a seer or healer? Check! Highly metaphorized and oh so grand mythology? Check! Even the drawing on the wall above the stairs that he did on-site during a performance dressed as General Douglas MacArthur borrows the central cross form from Beuys. The photo stills aren't anything special. They're just dull and thoughtless fragments. They're all frame and nothing interesting. The drawings aren't anything special. They're just dull and thoughtless fragments. They're all frame and nothing interesting. The sculptures are really big. It's kind of cool to see big blocks of cast petroleum jelly falling apart. I don't know why the exhibition doesn't stink up the museum. The sculptures aren't much, however, without the videos to give them a little context. And the videos are tedious. The lighting and framing and the cuts are ugly. It looks like crappy digital video. Speaking of artists who think they're in the same league as Beuys, I'm sure Barney could get some sound film making advice from Julian Schnabel- it might be a huge improvement. Aspects of the installation which place the viewer in the place of passive spectator are simply offensive- that one small room with all the video monitors and vitrines is awful because of the position in which it places the viewer. I was struck by what I perceive as Barney's indifference or disregard for the place of the viewer in the work. One of the most fascinating things to me was seeing the fourth floor south gallery with all the walls removed- I'd never seen that space opened up like that. Three or four years ago the Eva Hesse show was in those very same galleries - that was a great show; I'd put Hesse up against Barney any day. William Wiley is a really interesting, genuinely imaginative artist who creates characters and situations, invents little worlds, uses language in fun ways, is visually interesting, and deals in important topics. He could be seen as a predecessor to Barney, even more so than someone like Bruce Nauman, Jack Smith, Scott Burton, Ree Morton, Joan Jonas, John Waters, Yoko Ono, Vito Acconci... But Wiley's just a little ol' local boy Northern California senior citizen painter. The saddest thing about Matthew Barney is that, despite my being open to the work and this exhibit, it's just plain boring. I'm not easily bored. I have a lot of goodwill towards artists, towards people trying to make stuff that has meaning. But this stuff isn't that interesting to look at, much less think too hard about. This is the kind of show that makes me think, now why do I have that museum membership? Photos by mac-tasitc at Flickr used without permission. More exhibition photos at Flickr or Fecal Face.... 1584@http://www.chrisashley.net/weblog/ Art 2006-08-23T17:00:00-08:00 Pacific http://www.chrisashley.net/weblog/archives/week_2006_08_20.html 1583@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-22T23:32:11-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_08_20.html 1582@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-21T23:54:05-08:00 Bojagi http://www.chrisashley.net/weblog/archives/week_2006_08_20.html Bojagi, 2006, oil on canvas, 16 x 12 inches... 1578@http://www.chrisashley.net/weblog/ Art Object 2006-08-21T01:25:00-08:00 Bojagi http://www.chrisashley.net/weblog/archives/week_2006_08_20.html Bojagi, 2006, oil on canvas, 20 x 16 inches... 1579@http://www.chrisashley.net/weblog/ Art Object 2006-08-21T01:24:00-08:00 Bojagi http://www.chrisashley.net/weblog/archives/week_2006_08_20.html Bojagi, 2006, oil on canvas, 18 x 14 inches... 1580@http://www.chrisashley.net/weblog/ Art Object 2006-08-21T01:23:00-08:00 Bojagi http://www.chrisashley.net/weblog/archives/week_2006_08_20.html L-R: Bojagi 3, 2, & 1, 2006... 1577@http://www.chrisashley.net/weblog/ Art Object 2006-08-21T01:22:00-08:00 Travelling Northward (After Tu Fu) http://www.chrisashley.net/weblog/archives/week_2006_08_20.html Travelling Northward (After Tu Fu), 2006, oil on canvas, two panels, 20 x 16 inches each (20 x 33.75 inches installed)... 1581@http://www.chrisashley.net/weblog/ Art Object 2006-08-21T01:21:30-08:00 Tres Sendas http://www.chrisashley.net/weblog/archives/week_2006_08_20.html Tres Sendas, 2006, oil on canvas, four panels, 12 x 9 inches each (12 x 40.5 inches installed)... 1576@http://www.chrisashley.net/weblog/ Art Object 2006-08-21T01:21:00-08:00 Strummer http://www.chrisashley.net/weblog/archives/week_2006_08_20.html Strummer, 2006, oil on canvas, four panels, 12 x 9 inches each (12 x 40.5 inches installed)... 1575@http://www.chrisashley.net/weblog/ Art Object 2006-08-21T01:20:00-08:00 Firetruck http://www.chrisashley.net/weblog/archives/week_2006_08_20.html 1574@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-20T21:23:39-08:00 Andy and the Lion http://www.chrisashley.net/weblog/archives/week_2006_08_20.html Andy and the Lion, by James Daugherty, The Viking Press, New York, first published 1938, fifteenth printing March 1967 Yet another book read to me by Captain Kangaroo: "In this retelling of Androcles and the Lion, Andy meets a lion on the way to school and wins his friendship for life by removing a thorn from his paw. Andy is always barefoot ... when he visits the library to get a book on lions, on the way to school, meeting the lion and later at the circus. This book was first published in 1938. It has about two dozen illustrations." This is the last book I've scanned and will show here. They can all be viewed on a single page.... 1573@http://www.chrisashley.net/weblog/ Book Covers 2006-08-20T21:00:46-08:00 Run Weatherman Run http://www.chrisashley.net/weblog/archives/week_2006_08_13.html 1572@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-19T13:19:47-08:00 The Little Fire Engine http://www.chrisashley.net/weblog/archives/week_2006_08_13.html The Little Fire Engine, by Lois Lenski, Henry Z. Walck, Inc., New York, 1946 Lois Lenski also wrote Cowboy Small, featured 20060806. "In this adventure, Fireman Small rushes to battle a fire in town. When the alarm bell rings, Fireman Small suits up and roars down the road in his shiny red fire engine. When he helps extinguish the fire and rescues a young girl, Fireman Small becomes a hero in Tinytown."... 1571@http://www.chrisashley.net/weblog/ Book Covers 2006-08-19T12:38:34-08:00 Moekolumne http://www.chrisashley.net/weblog/archives/week_2006_08_13.html 1570@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-18T00:58:44-08:00 The Travels of Babar http://www.chrisashley.net/weblog/archives/week_2006_08_13.html The Travels of Babar, by Jean De Brunhoff, translated from the French by Merle S. Haas, Random House - New York, 1934 Everybody knows Babar. I like the blue heads and the daintily held yellow handkerchiefs in the trunks. Blue, yellow, and black. I like the texture of the basket. Of course, the anchor, and the wound rope, should be hanging down, not at an angle. Who is Babar, King of the Elephants, travelling with? Why, it's Queen Celeste! The Babar stories are full of expressive language, sophisticated beyond the early reader level. In the twinkling of an eye, Babar has unbound Celeste. They both hurl themselves on the cannibals. Some are wounded, others take flight; all are terrified. Unbound, hurled, cannibals. The syllabic rhythm of the last sentence. It's fun to read aloud with flourish. Although, humans attacking animals- is that cannibalism? If the animals are anthropomorphized, I suppose so. And sophisticated emotions: They have landed. The aeroplane has gone back. Babar and Celeste are speechless with surprise. Where are Cornelius, Arthur, and the other elephants? A few broken trees! Is that all that is left of the great forest? There are no more flowers, no more birds. Babar and Celeste are very sad and weep as they see their ruined country. The Old Lady understands their grief.... 1569@http://www.chrisashley.net/weblog/ Book Covers 2006-08-18T00:35:10-08:00 Thicket http://www.chrisashley.net/weblog/archives/week_2006_08_13.html 1568@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-17T00:55:00-08:00 The True Book of Tools for Building http://www.chrisashley.net/weblog/archives/week_2006_08_13.html The True Book of Tools for Building, by Jerome Leavitt, Ed. D., pictures by Bill Armstrong, Childrens Press, Chicago, 1955... 1567@http://www.chrisashley.net/weblog/ Book Covers 2006-08-17T00:20:38-08:00 Bukowski (August 16, 1920 &#8211; March 9, 1994) http://www.chrisashley.net/weblog/archives/week_2006_08_13.html 1566@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-16T18:46:33-08:00 Jack and the Three Sillies http://www.chrisashley.net/weblog/archives/week_2006_08_13.html Jack and the Three Sillies, by Richard Chase, pictures by Joshua Tolford, Houghton Mifflin Co., Boston, 1950 From Resources for Readers and Teachers of Appalachian Literature for Children and Young Adults- "Jack and the Three Sillies" - or - "Jack's Wife": There are many variations on this old tale about noodleheads or sillies or foolish people. There is usually a series of three individuals or couples or groups doing something incredibly stupid such as trying to get the moon out of a pond where they see its reflection, or showing ignorance of everyday practicalities such as how to put on pants. Often the main character sets out to find others who are as foolish as his or her spouse or fiancé(e). It is interesting that in some of the Appalachian tales, the main character is Jack's wife and the sillies are all men.... 1565@http://www.chrisashley.net/weblog/ Book Covers 2006-08-16T07:27:29-08:00 Untitled http://www.chrisashley.net/weblog/archives/week_2006_08_13.html 1564@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-15T23:39:13-08:00 Umbrella http://www.chrisashley.net/weblog/archives/week_2006_08_13.html Umbrella, by Taro Yashima, New York: The Viking Press, First published 1958, third printing February 1961 Wikipedia: "Taro Yashima (1908&#8211;1994) was the pseudonym of Jun Atsushi Iwamatsu. After studying for three years at the Imperial Art Academy in Tokyo, he became a successful illustrator and cartoonist before going to jail because of his opposition to the militaristic government. In 1939 he and his wife went to America to study art, leaving their son Mako behind in Japan. After Pearl Harbor Mr. Iwamatsu joined the U. S. Army, and went to work as an artist for the OSS. It was then he first used the pseudonym Taro Yashima, out of fear that if the Japanese Government found out there would be repercussions for Mako and other family members. After the war, he and his wife were granted permanent residence status by act of Congress, he was able to return to Japan and collect Mako, and his daughter Momo was born. "In the early 1950's he began writing and illustrating children's books under the pseudonym he'd used in the OSS. Crow Boy (1956), Umbrella (1958) and Seashore Story (1967) are Caldecott Honor books."... 1563@http://www.chrisashley.net/weblog/ Book Covers 2006-08-15T07:41:47-08:00 Ishi http://www.chrisashley.net/weblog/archives/week_2006_08_13.html 1562@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-14T23:59:24-08:00 George Lawson in Folly http://www.chrisashley.net/weblog/archives/week_2006_08_13.html George Lawson is interviewed in Folly; download the August 2006 issue as PDF. "I'm concerned with what constitutes painting, how best to use the medium to discover an image. I think about what makes a picture open or closed, and how best to bring together the different constituent elements of all things visual, just as one might strive to integrate (as I mentioned Jung before) pre-dispositions to think, emote, intuit and touch things. But I'm not too concerned with categorizations. Most categories, abstract and figurative for example, don't offer me much in the way of a differentiating principle. They don't help me to orient myself and my world to painting; they don't open up or deepen my experience of painting." George Lawson: Japanese Firemen 2, oil on linen, 2005, 64 x 54 in... 1560@http://www.chrisashley.net/weblog/ Art 2006-08-14T19:11:51-08:00 A Hole is to Dig http://www.chrisashley.net/weblog/archives/week_2006_08_13.html A Hole is to Dig: A First Book of First Definitions, by Ruth Krauss, pictures by Maurice Sendak, Harper & Brothers, 1952 Classic!... 1561@http://www.chrisashley.net/weblog/ Book Covers 2006-08-14T19:00:00-08:00 Francis Bacon http://www.chrisashley.net/weblog/archives/week_2006_08_13.html 1559@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-13T19:31:50-08:00 Fish in the Air http://www.chrisashley.net/weblog/archives/week_2006_08_13.html Fish in the Air, story and pictures by Kurt Wiese, The Viking Press, New York, 1948 1949 Caldecott Honor Book Award A boy named Fish gets a fish kite. A big wind comes and pulls Fish and the fish kite into the air. They are finally caught in a fisherman's net. Other than that, this is a pretty uneventful story, much less award-winning, and I can't believe the award was for the illustrations. I don't know; beats me.... 1558@http://www.chrisashley.net/weblog/ Book Covers 2006-08-13T00:46:21-08:00 Mono Hot Springs (2004) http://www.chrisashley.net/weblog/archives/week_2006_08_06.html 1556@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-12T13:11:18-08:00 A Pony for Linda http://www.chrisashley.net/weblog/archives/week_2006_08_06.html A Pony for Linda, by C.W. Andersen, The MacMillan Company, New York, 1958 Inside are highly rendered pencil drawings pretty obviously made from photos- there's just a quality of light to them that looks like a black and white photo. Girl riders, horses, and Linda's gracious gift of the trophy and blue ribbon to the other girl who had to travel farther for the competition after the judges couldn't decide on a winner- I guess this is what you'd call Chick Lit. But the cover- heavy. Terrific pale green cloth background that feels very spacious and distant, and then the title and images sit right on the surface like they're rubber stamped. The more I look the more I think, Chick Lit- look at the dainty pointed hooves.... 1557@http://www.chrisashley.net/weblog/ Book Covers 2006-08-12T10:09:48-08:00 Sherrie Levine http://www.chrisashley.net/weblog/archives/week_2006_08_06.html 1554@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-11T17:55:19-08:00 What's Inside of Me http://www.chrisashley.net/weblog/archives/week_2006_08_06.html What's Inside of Me, Herbert S. Zim, illustrated by Herschel Wartik, William Morrow & Company, New York, 1952 This book is kind of creepy, but I can't decide if it's a good kind of creepy or a disturbing kind of creepy.... 1555@http://www.chrisashley.net/weblog/ Book Covers 2006-08-11T07:02:15-08:00 James K. Polk http://www.chrisashley.net/weblog/archives/week_2006_08_06.html 1553@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-10T07:40:11-08:00 Cowboy Small http://www.chrisashley.net/weblog/archives/week_2006_08_06.html Cowboy Small, by Lois Lenski, Henry Z. Walk, Inc., New York, 1949 "Cowboy Small takes good care of his horse, Cactus. In return, Cactus helps Cowboy Small get work done on the range. Together they round up cattle for branding and live the good life. At night, Cowboy Small eats at the chuck wagon, sings with his friends, and sleeps under the stars." Lois Lenski (1893-1974) is a well known author and illustrator. In 1946 she was awarded the Newbery Medal for Strawberry Girl. A school is named after her in Littleton, Colorado- why? I wonder about the connection between Littleton and her Mr. Small Series. A sweet little book. Many reviews at Amazon. Nice touches: like the font a lot, with its subtle narrowing and broadening; the yellow "socks" on the horses legs; the plaid lines of his shirt are the cover fabric; the two dashed lines on either side of the tail; cool chaps; the deep space of the right side (his left) of his hat rearing back around his head; the horse is prancing, like a carousel horse; that little touch of yellow along the edge of the saddle's horn popping right up out of Cowboy Small's crotch. For a simple drawing it's very complete and articulate- the rope, the saddle, the one spur, the kerchief. The two clouds over the single sheep crammed into the left side right in front of the horse is a little peculiar; I feel this need to put the sun or a big cloud on the left side between "Cow..." and the tail. The horse's head looks a little like a burro.... 1552@http://www.chrisashley.net/weblog/ Book Covers 2006-08-10T00:52:34-08:00 Connemara Tartan http://www.chrisashley.net/weblog/archives/week_2006_08_06.html 1551@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-09T21:40:52-08:00 Don Relyea's Reductionizer http://www.chrisashley.net/weblog/archives/week_2006_08_06.html The HTML images I've been posting during the month of August are made with Don Relyea's Reductionizer. Learn more, download, play: The Reductionizer. Don writes: The reductionizer is a software art project. It was spawned from an email conversation with artist Chris Ashley. Basically I wrote him and said, "Hey I have this script, would this be of use to you?" He was definitely interested and dialog ensued discussing ideas, possible features and suggestions. In it's current state it is more like a photoshop filter than an art tool. The current thinking is to move it into the realm of a simple art tool for creating art on the web. Adding features that give the artist manipulative capability is desirable. What is it? It converts bitmap images to html table layouts and provides for easy scaling of cells using sliders and text entry fields. It has a very reductionist lean to it, in that it is easy to reduce a photograph down to a more abstract lower resolution image. It exports to both graphic and html formats. It will have editing functions like a pencil, eraser, paint bucket, hand and gradient tools to allow for more creative freedom. It will have z sort able layers, palettes and an eyedropper. It also has a component that randomly grabs photos from flickr from random wordlists sorted by interesting. The image absorbed, below was scraped automatically by the reductionizer. I doodled on it with the pencil tool after reducing it.... 1550@http://www.chrisashley.net/weblog/ Art 2006-08-09T18:00:39-08:00 Eileen Fell & Tim Schwartz http://www.chrisashley.net/weblog/archives/week_2006_08_06.html Eileen Fell: yellow leaves, 2005Tim Schwartz: Tops 2, 2006, oil on linen, 19"x13" Eileen Fell and Tim Schwartz just launched a new website. I met Eileen and Tim last October in Philadelphia at the Urban Canvas opening. I wrote about one of Tim's paintings in January, 2006: Tim Schwartz: Untitled (Four Ways). Look at some more past work. = = = = = = = = = I chose the two images shown here. I decided on two verticals simply because I thought it would make a nicer post. I resized them to the same height so they'd make a more nicely formatted post. I don't know the actual dimensions of the photograph. I wasn't aware until these two images were side by side that, very loosely, they share a kind of compositional wedge shape in the upper right area. The work of these two artists is separated at the website, more like two separate sites. My intention here was not to homogenize the images, so don't let your looking end here, go to their website.... 1549@http://www.chrisashley.net/weblog/ Art 2006-08-09T07:00:01-08:00 Mike Mulligan and His Steam Shovel http://www.chrisashley.net/weblog/archives/week_2006_08_06.html Mike Mulligan and His Steam Shovel, story and pictures by Virginia Lee Burton, The Riverside Press, Cambridge, Houghton Mifflin Company, 1939. Classic. Captain Kangaroo read this story to me. I was shocked when I saw this book in the library's discard pile. Since it was first published in 1939, Mike Mulligan and His Steam Shovel has delighted generations of children. Mike and his trusty steam shovel, Mary Anne, dig deep canals for boats to travel through, cut mountain passes for trains and hollow out cellars for city skyscrapers. But with progress come new machines and soon the inseparable duo are out of work so Mike Mulligan and Mary Anne travel to the small town of Popperville and accept one final challenge &#8212; to dig the town cellar in just one day. What happens is a testament to their friendship and to old-fashioned hard work and ingenuity.... 1548@http://www.chrisashley.net/weblog/ Book Covers 2006-08-09T00:45:28-08:00 Slieve Gullion, Armagh http://www.chrisashley.net/weblog/archives/week_2006_08_06.html 1547@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-08T23:38:11-08:00 How to Play Baseball http://www.chrisashley.net/weblog/archives/week_2006_08_06.html How to Play Baseball by Martin Iger and Robert Fitzsimmons, Doubleday & Company, Inc., Garden City, New York, 1962. When the last time you saw a boy with a crewcut wearing a cardigan, cuffed pants, and leather shoes with heels swinging a bat? Yellow sweater, yellow socks- such a stylish dresser! This kind of printing makes home plate levitate at just below knee level. I really like the simplicity of the hands. I like the how black outline is used and not used- it's all around the pants, but none around the bat or arm, none on the forehead or top of nose. That bat is quite a club. Nice exposed achilles and lifted heel on the right trailing foot. The more I look at the right leg sticking out from behind the left knee the weirder it looks. Try it: forget that the right leg joins a hidden thigh- just see it as joined to the left leg. It's like his right leg grows out of his left knee. I find the ear pretty convincing. There are a couple of things at work here that aren't too far from my Berkeley paintings: flat areas, use of background as a color, dark outline used extensively but not completely. The red area defined below the bat, around home plate, up against his stomach, and down to his knee is an interesting shape once your eyes call it out. That white arm pokes out of the puffy folded sleeve like a bone sticking out of meat. All photos inside, including part of a photo deeper inside the book on which the cover is based:... 1546@http://www.chrisashley.net/weblog/ Book Covers 2006-08-08T00:22:16-08:00 Sopa de la Zanahoria http://www.chrisashley.net/weblog/archives/week_2006_08_06.html 1545@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-07T22:06:10-08:00 Saving Arnold J. Kemp from the Land of Baloney http://www.chrisashley.net/weblog/archives/week_2006_08_06.html Arnold J. Kemp: Daydream Nation Exhibition dates: July19 - August 19, 2006 Stephen Wirtz Gallery I get several gallery and museum press releases and curator's statements everyday, many of which are full of such ridiculously grandiose claims that I both laugh and boil. I've been tempted to occasionally post the most offensive ones here, but usually just hit delete, instead. But not today. I saw this show last week and generally liked the work, but there's a problem here. Here's the first paragraph of the press release: Conceptual in origin and formal in presentation, these abstract works on paper and canvas are dominated by bold, geometric expanses of solid black. Kemp's refined palette also incorporates ink washes, graphite line, and the juxtaposition of areas of white pigment to create thematic variations. These rigorously balanced and aesthetic constructions exist on their own as strong studies in spare minimalist composition, yet are informed by calculations rife with literal and metaphorical reference to language, aspects of personal history, and politics. OK, I can live with most of that. But there is nothing in this work seen in person that lives up to the following paragraph. The ideas contained here might be important for the artist, but for the viewer, me, who is looking at painting with eyes and a working knowledge of art history and doesn't see painting as a conceptual prop, it's just baloney: As a black artist creating black paintings, Kemp activates a conceptual strategy that comments on the notion of established expectations of what black artists should make. Kemp questions the appropriateness of the categorization "black art" while simultaneously exploring the position of his work in a lineage of influence. While acknowledging a rich ancestry of artists who have created black paintings including Barnet Newman, Ad Reinhart, Goya, and Joan Mitchell among others, Kemp also cites a conceptual strategy and slippage of meaning that also resonates in the work of artists such as Adrian Piper, David Hammons, Sun Ra, Igor Stravinsky, Duke Ellington, Alice Coltrane, Mike Kelley, and Lorna Simpson. I defy anyone to see these paintings cold and have any idea expressed in that previous paragraph pop into their head unprompted, and once it's introduced, for that idea to matter at all in relation to the work, as it's made, with the imagery it contains, hanging in that gallery, standing right in front of it. Risking playing in the potential minefield of race, what if the press release for Robert Ryman's next show said, "As a white artist creating white paintings, Ryman activates a conceptual strategy that comments on the notion of established expectations of what white artists should make." Painting, or any art, as a "conceptual strategy that comments on the notion of established expectations" is not only an uninteresting idea, it's an idea that is at least twenty years into solid status as a cliche. Crap like this is embarassing and makes it harder to convince your relatives that art is actually a good thing.... 1544@http://www.chrisashley.net/weblog/ Art 2006-08-07T11:18:44-08:00 Joseph Hughes http://www.chrisashley.net/weblog/archives/week_2006_08_06.html Richard Schur and me in the mirror with paintings by Joseph Hughes from the mid or late-90's- a dark green one behind us and a yellow one in the entry room of Joe's house, San Francisco, 20060805. Each painting has much more detail and surface and color variation than shown here. And they are impeccably crafted; the details of the work are a big part of the looking and seeing here. About Joseph Hughes: [1] Takada Gallery; [2] Seeing the Hovering Image: Joseph Hughes' Recent Paintings, 2004Oct; [3] 2004 review.... 1543@http://www.chrisashley.net/weblog/ Art 2006-08-07T00:03:23-08:00 Icebergs http://www.chrisashley.net/weblog/archives/week_2006_08_06.html Icebergs, by Roma Gains, Illustrated by Bobri, Thomas Y. Crowell Company New York, 1964 Great cover- simple, graphic, abstract: subject-specific and referential but still oblique and open with possibility. A rarity- the illustrations inside are just as good as the cover, except of course they have to inform the subject more, so the presence of boats and other human-incidental details spoils the abstraction. See the absurd simplicity and elgance of #1, the Suess-ian Baroque exaggeration of #2, and the Matissean jazz form and eye-sucking black hole in the middle of the iceberg of #3.... 1542@http://www.chrisashley.net/weblog/ Book Covers 2006-08-07T00:01:04-08:00 Bldg http://www.chrisashley.net/weblog/archives/week_2006_08_06.html 1541@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-06T22:46:29-08:00 Wait For William http://www.chrisashley.net/weblog/archives/week_2006_08_06.html Then flop, off came William's shoe, and there he stood with one shoe off and one shoe on. "Wait for me!" called William. Wait for me, my shoe's come off!" Wait For William, by Marjorie Flack, Houghton Mifflin Company, 1935 Once there were three children who lived in a white house in Pollywinkle Lane in the village of Pleasantville. The oldest of these three children was a big boy whose name as Charles and he was eight years old. The middle one was a girl whose name was Nancy and she was six years old. The youngest was a little boy and his name was Wiliam and he was just four years old. One summer morning when William was riding his scooter up and dow the walk Charles said, "Hurry up, William, put away your scooter and we will take you down to Main Street to see the Circus Parade." Nowhere in my copy is Richard A. Holberg credited, as he is on the cover below:... 1540@http://www.chrisashley.net/weblog/ Book Covers 2006-08-06T08:05:02-08:00 Buzz Aldrin http://www.chrisashley.net/weblog/archives/week_2006_07_30.html 1539@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-05T23:54:13-08:00 The Earth is Your Spaceship http://www.chrisashley.net/weblog/archives/week_2006_07_30.html The Earth is Your Spaceship, by Julius Schwartz, pictures by Marc Simont, McGraw-Hill/Whittlesey House, 1963 Great cover, so-so inside illustrations, lousy text with lousy science. This book is really about the Earth, not space, but just barely- it touches on gravity, rotation and orbit, compostion of the earth, atmoshphere, but it's mostly pap. Spaceship Earth is a merry-go-round- A merry-go-round in space That turns and turns And never stops. You can say, "Stop the earth I want to get off! But it won't And where would you go if it did? Round and round And never a stop. Round and round But your head doesn't spin. Merry-go-round Earth Takes a whole day- Twenty-four hours- For just one turn! This book feels really 1963: Here's some context for this cover that's meant to appeal the future space traveller in every little boy (and, not too likely, little girl): "The first human spaceflight was Vostok 1 on April 12, 1961; Soviet cosmonaut Yuri Gagarin made one orbit around the earth..." "Kennedy was eager for the United States to lead the way in the space race. Sergei Khrushchev says JFK approached his father twice about a "joint venture" in space exploration&#8212;in June 1961 and Autumn 1963. On the first occasion, Russia was far ahead of America in terms of space technology. JFK later made a speech at Rice University in September 1962, in which he said, "No nation which expects to be the leader of other nations can expect to stay behind in this race for space" and, "We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard."[12]. On the second approach to Khrushchev, the Russian was persuaded that cost-sharing was beneficial and American space technology was forging ahead. The U.S. had launched a geo-stationary satellite and Kennedy had asked Congress to approve more than $22 billion for the Apollo Project, which had the goal of landing an American man on the moon before the end of the decade. Khrushchev agreed to a joint venture in Autumn 1963, but JFK died in November before the agreement could be formalized. In 1969, six years after Kennedy's death, the Project Apollo goal was finally realized when Neil Armstrong and Buzz Aldrin became the first men to land on the moon." A footnote to a very interesting article titled The Ecological Colonization of Space specifies, "The first published instance of "spaceship earth" is in a children's book by Julius Schwartz, The Earth Is Your Spaceship (New York: McGraw Hill, 1963), a book that probably was inspired by (Buckminster) Fuller." I love how crudely the figure and the transition from light to dark on the earth is drawn. And speaking of crude, see how the shadow cuts diagonally across North America on the lower left up across the North Atlantic way above Scandinavia- is that even possible?... 1538@http://www.chrisashley.net/weblog/ Book Covers 2006-08-05T08:14:11-08:00 Cielo Stellato http://www.chrisashley.net/weblog/archives/week_2006_07_30.html 1537@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-04T22:48:04-08:00 Lentil http://www.chrisashley.net/weblog/archives/week_2006_07_30.html Lentil by Robert McCloskey, published by, as it says on the title page, "The Viking Press, Inc. in May 1940." To the right, "A photo in The Columbus Citizen of McCloskey donating Lentil to the Ohioana Library in 1940. (Left to right: Mrs. J. E. Clark, Mrs. Clarence Wrum, Mr. McCloskey, Mrs. Depew Head, and Mrs. E. N. Manchester." " A boy named Lentil saves the day when a grumpy old man tries to ruin a small town's big celebration." This book, by the great Robert McCloskey, author and illustrator of classics like Make Way for Ducklings and Blueberries For Sal, is fantastically illustrated. In a bit of a reversal of the trend developing in my first three book covers posts, which is that the book cover art is superior to the actual book illustrations, the drawings inside Lentil are rich, complex, and dynamic, very lively and appealing- McCloskey has a great sense of energetic line and form, and he appropriately uses just enough of the formal, academic side of drawing- persepctive, naturalistic light sources, rendering that shows lots of life drawing. Perhaps I should scan a page and show it here since I can't find images other than the cover on the web. I'd guess that the earliest reader for this book is a very proficient second grader, but the illustrations probably cannot be fully experienced by anything less than a more cognitively-developed fourth grader. That's my guess, but there's lots of variation there depending on many factors regarding the reader. (Incidentally, there are lots of great resources for assessing reading levels and lists of books rated by levels. Not surprisingly, much of this is targeted at home schoolers. Reading Levels of Children's Books: How Can You Tell? has a very comprehensive list of rating methods, and "Leveled Book Lists" has tons of leveled titles by grade and title; they agree with me about Lentil, rating it at 2.75, which means a grade level second grade reader three quarters of the way through that school year. Grade level reading proficiency, when demonstrated, can actually seem quite high these days if one spends a lot of time in urban school districts where many students who are second language learners are struggling with fluency. My experience as a teacher was an eye opener regarding how much of a struggle it is for students from low-literacy background to learn to read with genuine understanding and pleasure.) But let's talk about this cover. Orange and green is a favorite color combination of mine. This scan is a little dark, but in-person the green strokes on Lentil's shirt really pop. This is a pretty simple cover that I find really relaxed and pleasing. The illustrations inside are drawn with some kind of crayon, which makes for a kind of grainy quality, while the cover seems almost painted. The line quality is solid and flowing, rather than the stop-and-start quality of drawn line. The green inside Lentil's shirt feels like four quick strokes, and the black surrounding him are a bunch of relaxed flat strokes pulling up from the sharp diagonal line over which his arms reach. The curled shape in front of Lentil is pretty obviously the corner of a page furling back towards the reader; in terms of knowledge about the world, you can take the image literally- see it, got it, done. But visually, if you just let go of that knowledge, and let seeing take it's own path (do you know what I'm saying here- that seeing can have it's own knowledge and logic which can be completely detached from knowledge attached to language, letting seeing something become an experience of openness and possiblity and flexibilty and iterative process rather than an experience with a single finite answer), but there are two things that can plausibly deny this reading. First, the top left corner and the fold at the right of this "page" don't extend out to the edges of the cover- the page is inset from the edges, meaning that it isn't even a complete illusionary depiction of a page. The logic isn't complete, so I can see this foldover as some other kind of shape. This is the image aspect of the cover that as the reader I can choose to go with or not. Second, this is a cover, with a fabric background, and it's hardcover, so my seeing of these details denies that I am seeing a page. This is the object aspect of the book. My prior knowledge of what a book is informs what I know about how a book works, but it is actually my seeing that confirms this is a cover. These may seem like small points, but it is these small points that are part of the looking experience. This is part of how I look at a painting. Now, I know this is the curled edge of a page, but I don't have to see it that way. Two other ways I keep seeing this shape under Lentil's arms are as one side of a folded paper airplane, and also as the cover of a bed or sleeping bag folded over, which means Lentil would be laying it bed playing the harmonica. That's not McCloskey's intention, but I enjoy the possibility that I can read this image in at least three ways. Another version of the cover (right), however, confirms more certainly what McCloskey had in mind, I think, and this version completely discards the ambiguity which I enjoy so much. This version is red, black, and white rather than orange and green, and shows off McCloskey's drawing style. I prefer my orange and green version. Three other final things I think are worth pointing out. The diagonal line under Lentil's arms separates two qualities: on top, there is a great variety of line- the choppiness of the black strokes' edges, the tight green in the shirt, the angualarity of the hands, the folds in the shirt. And below it's all smooth edged lines and shapes, right into the lettering. It doesn't hit you over the head, but it's a nice contrast. The shadow under the fold is really nice- see where it's nice and fat on the right and follow it over to the left as it approaches the corner of the page and really becomes narrow- it's that little bit of thinness of the shadow that stands out and makes the page hover- that little moment is really nice, and when you broaden your vision and take in the cover as a whole that narrow little slice, postioned very near the middle of compostion, does its job without you really knowing how much power it exerts. Finally, there's a strong triangle form present here: [1] beginning at the top left corner, trace your eyes down the straight line of the fold under Lentil's arms diagonally to the right where the shadow ends; [2] turn direction left and follow the tops of the title lettering in a straight line all the way over the spine of the book; [3] run your eyes right up the spine back to the fine point where the left and top of the depicted page join. That triangle is a central area of energy in the compositon; once you trace it it's really strong. The slight curving line of the folded over page bisects this triangle in half from apex to base. The line has a lot of presence, dividing the triangle into empty space on the left side, and the form of the curled page on the right. Inside both halves of this triangle are the projected musical notes out of Lentil's harmonica, floating over half the page and the empty space. This is the most abstract space of the image- those notes denote sound, something happening in air that we can't see, and yet visually here they are, making the most spatial, atmospheric space in the entire image. Perhap's this is why this is the area in which some kid couldn't resist drawing some stars- that's the place where something less pictorial but more energetic is happening. One last thing: this book, like many of the others I'm showing here, is an artifact of mid-twentieth century America showing an absolute ideal white middle-America equal to your best Frank Capra effort. There is a tendency for books like this to be discarded from many school and public libraries in order to make room for a selection of books with greater ethnic, racial, and cultural diversity. Making libraries more diverse is a good thing, but it's unfortunate that a wonderfully illustrated book like McCloskey's may be set aside simply because of the era it depicted.... 1536@http://www.chrisashley.net/weblog/ Book Covers 2006-08-04T17:40:07-08:00 Hotel Steinberger, Frankfurt http://www.chrisashley.net/weblog/archives/week_2006_07_30.html 1535@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-03T23:37:57-08:00 A Tiger in the Cherry Tree http://www.chrisashley.net/weblog/archives/week_2006_07_30.html A Tiger in the Cherry Tree by Glen Dines, The MacMillan Company, 1958. This book is inscribed on the title page, "to Melrose School, Glen Dines." I have no idea if the author really signed this book, but I'm going to trust that it was. Melrose School is the school where I taught in Oakland, CA. I wish Mr. Dines had included the date. Just look at this image. It's incredible. There's that big dominant orb shape, the flowing twisting banner on the left, and different patterns in the clothing of the four figures. The palette is unusal- there's a common blue-gray cloth cover, and a typical use of black, but most of the color real estate goes to the pale creamy peachy orange. This scan makes the cover a little bluer and the pale orange a little redder and more intense than it really is, but only slightly. The orange just pops off the cover, but there are many aspects to the composition here that contain that orange and make this image really hold to the confines of the cover. First off, note that in a graphic medium- two or three colors only- where line is really important, that the central orange oval, a giant lantern, has no outline. It is the only orange shape in the whole composition that is not outlined (except for the tiniest bit of a headcover on the partial figure in the upper right quadrant overlooking the lanter), whereas everywhere else the orange is sharply contained by black. I think this lack of outline, combined with the merest curving edges of the black lantern cap and the black lantern base, is what allows the lantern to read as round, because very little else suggests this- the lettering of the title on the lantern doesn't suggest sphericity. Imagine a black outline around the edges of the lantern, try visualizing it- were it there I think visually it would it would be much harder to see the lantern as spherical. It's a small thing, and many artists would've continued their process and just outlined everything, but here is an instance of a little restraint that is enormously significant. I wrote yesterday about seeing the cloth cover's color as both a color used in the image and as a hole that my eye falls into. This is the image/object duality, and something painters are often after. In the case of this cover my eye keeps following the flow of front banner on the left and falling into the hole of the banner. I actually get a really good feeling from looking at this part repeatedly, of letting my eye flow with the banner and then drop into the color of the book's cover. A painter will look at a painting as an image but they also look at the paint- what does the paint, it's qualities, the way's it's applied, tell you? It's about forest and trees, not forest or trees. Go to a museum and watch people look at paintings and you'll see that most people never go up to the painting to look at the paint; they're content with standing back and just seeing the picture. It's the same with looking at this some of these covers- these small little details count for everything. As I write this and look at the cover an obvious thing hits me that I'd never quite realized when I looked at this cover before. The two forgegroud figures on either side and the one in the background right are holding bamboo poles that join above the lantern and from which it hangs. It's obvious, I know, but when looking at this before I never said it to myself. I think that's one thing I like about this image- I wasn't able to read it right away. I'd always assumed that the far left figure held the banners aloft, and I was way wrong. Why do the two figures foreground left each have one eye covered? The robes of the three foreground figures mix complexity of pattern and color with great variety. The far left figure has a lot of orange, which balances out the dominant black on the right. The middle figure is more complex in terms of color and pattern- it's just loud enough to do something really interesting: most of this drawing has fairly straightforward, smooth-edged, flowing line quality except for the two roosters at top; they are drawn with much more character, with shorter, choppier, more angular strokes. This is the most graphically expressive or "ragged" drawing here, and I think it's nicely balanced by the more complex robe of the central girl figure below. So, around the lantern there is a left and right, top and bottom kind of balancing through color, density, pattern, weight, and visual action. Both the banner pole and bamboo pole on the right go up diagonally to the left, making a nice wide channel that the eye rows down from top to bottom while reading the title. My eye tends to run in a couple of different ways- round and round the lantern counter-clockwise, or begin at the dark figure at the bottom right, go up the bamboo pole, jump over to the top of the banner and follow it down like a funhouse slide, slide over to the left up through the black figure again, and start over: "When I get to the bottom/I go back to the top of the slide/Where I stop and turn and I go for a ride/Till I get to the bottom and I see you again/Yeah, yeah, yeah[1]." ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ A little more about the story illustrations rather than the cover: From biblio.com, "Lovely book about how a timid tiger and an old magician came to live in a cherry tree in a Japanese village. Beautifully illustrated, in the style of Japanese woodcuts." No, the illustrations are not in the style of Japanese woodcuts, and to me aren't nearly as interesting as this cover. Compostionally they have a lot going on, but the drawings are more completely rendered and telling, rather than, in this cover, dynamic and suggestive. The drawing and compostional style inside the book are actually quite conventionally Western, but that's no great surprise. This is the third book in a row I'm showing here for which the cover artist is different than the actual story artist, and in which the cover art is way more interesting that the internal art. Another cover can be found for this book that looks like it was done by the author and is vastly inferior to the two color print job I have. One thing I can't quite get a handle on is this book's relation to history as a book for English readers. In 1958 American occupation of Japan was just six years in the past, and the country was still in the middle of rebuilding and retooling. If I had read this book in, say, the post-war and early Cold War 1965 at age 8, what would my unformed world view think of this? First, my impression would be that most Japanese adult males wear heavy black-framed glasses. Check that off the list: Japanese, male, adult, black glasses, expressive eyebrows? Check. My second impression would be that everyone in Japan wears wooden platform shoes (they're called Geta- I had to look that up), whereas anyone who watches a Kurazawa movie knows that isn't true (I say that with tongue in cheek). And my third impression would be that when the Japanese build a little bridge over a tiny brook the bridge has to be one of those semi-circular ones that arches high up in the middle that you have to practically climbs up and down. As I look inside these books I realize even more fully that I collected them for the covers, not what's between the covers. How about that?... 1534@http://www.chrisashley.net/weblog/ Book Covers 2006-08-03T14:10:01-08:00 Sutro http://www.chrisashley.net/weblog/archives/week_2006_07_30.html 1533@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-02T23:00:11-08:00 Ask Mr. Bear http://www.chrisashley.net/weblog/archives/week_2006_07_30.html Ask Mr. Bear, story and pictures by Marjorie Flack, The MacMillan Company, New York, 1958 See 20060801 for explantion of this series. On the surface Ask Mr. Bear seems like a pretty typical pattern book for early readers. A very young boy, Danny, asks the Hen if she can give him something for for his mother's birthday, and the Hen offers an egg, but his mother already has an egg, so they go along until they encounter the Goose who offers feathers for a pillow, but she has a pillow, and so on through the menagerie. Books like this reinforce reader recognition of a set vocabularly through repetition to develop reading fluency, and also practice and develop the reader's ability to recognize and predict narratives and narrative typs and patterns, character types, and so on. This is the kind of book where you read to a young child, "So Danny and the Hen and the Goose all hopped along until they met..." and then the younger developing reader guesses what is next- another animal, of course. If the reader is really young and may not be able to predict quite yet you can turn the page, they'll see the animal and shout, "A Goat!" Everyone has experienced this. But there are some strange things about this book. After Danny has asked five barnyard animals for a gift the Cow finally suggests Mr. Bear, who lives in the woods, but none of the animals will accompany Danny. Danny goes to the woods alone and asks Mr. Bear, who whispers something in Danny's while in a pose that's just a little too intimate. At the end Danny ends up giving his mother a "Bear Hug" for her birthday. It's bizarre that Danny goes to the woods alone, and that Mr. Bear is the only non-barnyard animal and has, in this context, a foreboding formal title "Mister". The Bear-to-Boy relationship probably sails over most readers heads. The cover is obviously done by a a different artist, and this makes me think that these two and three color covers were not typicall done by the book's illustrator. In yesterday's post I remark on how different the cover is from the inside illustration, and Ask Mr. Bear is no exception. The drawings inside this book are also quite different from the cover: on the cover the lines outside the define the boundaries of the figure; inside, the drawing style is more of what I typically call Dufy, though lots of other artists and illustrators do this- color is layed down and then defining lines are drawn on top, with the under color peeking out beyond the drawn outlines. The style of drawing on the cover contains each figure and separates them from each other, while the drawings inside use this Dufy style, which diffuses each figure a bit situates them better in their environment on the page. The Danny on the cover looks nothing like Danny inside the book. Outside Danny has a big head with dark haired jutting out over his forhead. Inside Danny is Arayan blonde, taller and better proportioned. The animals are all drawn differently, too; for example, Inside Goat has a beard, Outside Goat doesn't. It's peculiar to me how the Sheep and Goat are cut off on the left hand side about half an inch inside the binding- why bring it in like that? I wonder how many young kids were confused by the Sheep's head attached to the rear of the Goat? The pale green and dark purple printed on the cover are not colors used inside the book. And there is something weird that happens when I look at the cover: there are five figures- four animals and a boy. The entire bodies of the animals are printed. All of Danny is printed except for the inside of his shirt and the tops of his socks- the fabric is used as a color. But because Danny is the only figure that uses the background as a color my eyes fall through his torso to the cover's fabric. His torso kind of drops out as a hole in the composition, and I see his over-sized head as precariously balanced on a torso-skeleton of a few thin lines. It makes him strangely disembodied. Danny, Hen, Goose, Goat, and Sheep all look to our right, off the edge of the book, as if they've just glimpsed the next animal they will encounter, which in the book is the Cow. But this cover gives no indication that there is a Cow- the title suggests that they are looking at Mr. Bear, and to me they seem, especially Danny, just a tad reticent. Getting ready for those secrets to be whispered in his ear, I guess.... 1532@http://www.chrisashley.net/weblog/ Book Covers 2006-08-02T06:40:44-08:00 Daisy http://www.chrisashley.net/weblog/archives/week_2006_07_30.html 1531@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-08-01T23:33:22-08:00 Across the Borderline http://www.chrisashley.net/weblog/archives/week_2006_07_30.html Douglas Witmer and I will be showing a collaborative drawing installation titled Across the Borderline at the Rike Center Gallery at the University of Dayton, Ohio in January 2007. We will use a weblog, Across the Borderline, to document our preparation for this show. A proposal for the show and the gallery floorplan can be found there, too.... 1530@http://www.chrisashley.net/weblog/ 2006-08-01T00:32:52-08:00 Two Artist's Talking http://www.chrisashley.net/weblog/archives/week_2006_07_30.html A few weeks back Joanne Mattera and I began a weblog conversation called Two Artists Talking, to which we'll post once or twice a week and plan to continue indefinitely.... 1529@http://www.chrisashley.net/weblog/ 2006-08-01T00:31:22-08:00 Flip and the Cows http://www.chrisashley.net/weblog/archives/week_2006_07_30.html Flip and the Cows, story and pictures by Wesley Dennis, Cadmus Books, published by E. M. Hale and Co., Eau Claire, Wisconsin, 1942 A couple of weeks ago Steven LaRose posted a scan of a book, Anyone Can Paint!, which reminded me of a project I've wanted to do for a couple of years but have avoided because it's labor intensive- scans of childrens' books I have. So in the next few days I'll scan and post a few. I have three or more boxes of books like this collected during my elementary school teaching years in the 90's as our school library threw them out, usually in large batches. Kids just weren't checking out books like this anymore. These are books of my own childhood. I primarily collected books that tended towards graphically strong one and two-color printing on colored covers, something that seems to have been dropped over the past two or three decades. I'm a little repelled by, but also drawn to, how these books clearly represent a kind of post-war white American idealism of the late 40's and 50's. I also have books from the early 60's that get a whole lot more graphically loose, sort of jazzy, with splashes of color and line reminescent of Raoul Dufy, or in other cases clearly using geometric and collage elements. Many of these covers do standard stuff: make good use of flat areas of few colors, layout and carve positive and negative space, have lines with interesting qualities or shapes with suggestive edges, and activate the background as an active color and area. This is all Art 101 kind of stuff, but it's a lot easier to point out and talk about than it is to do it successfully. The drawings inside Flip are fairly academic, drawn in charcoal and crayon, and aren't nearly as interesting as the cover, which is one of my favorites. A simple google of Wesley Dennis returns lots of links to his work; apparently, he was quite well known for his horse drawings (1, 2, 3). A number of used copies are availabe via Alibris, the descriptions of which often refer to the book bearing the name of a school or library; one synopsis says, " A colt realizes his desire to jump across the brook following a dream in which he sprouts silvery wings." I love the three fonts: the block letters used for "Flip" and "Cows", the tidy linked letters use for "and the", and the swinging cursive of the author's name. I like the rectangular field of red and the few lines carved into the black to make Flip; it's not really that well drawn, but you easily getting the feeling of "young horse". I am mezermized by the regular sawtooth halo around Flip- you'd think it wouldn't work, even be a little buzzy or unsettling, but so much of the cover is crisp and even that this jagged halo neatly envelopes Flip and makes the strong red recede. And finally, I really like the double-sawtoothed stretch of black grass below that spans from edge-to-edge, beneath which Flip's hooves disappear into the background of the fabric of the cover; by simply contrasting slightly larger blades of grass above with small ones below an easy feeling of foreground and background is suggested. Later editions of this book have a much less compelling cover.... 1528@http://www.chrisashley.net/weblog/ Book Covers 2006-08-01T00:30:00-08:00 When I Met You (Baja) http://www.chrisashley.net/weblog/archives/week_2006_07_30.html 1527@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-31T22:43:02-08:00 When I Met You (Merritt) http://www.chrisashley.net/weblog/archives/week_2006_07_30.html 1526@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-30T22:43:18-08:00 When I Met You (Intaglio) http://www.chrisashley.net/weblog/archives/week_2006_07_23.html 1525@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-29T21:07:03-08:00 When I Met You (Domesticity) http://www.chrisashley.net/weblog/archives/week_2006_07_23.html 1524@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-28T23:15:34-08:00 When I Met You (Hand Gestures) http://www.chrisashley.net/weblog/archives/week_2006_07_23.html 1523@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-27T23:10:47-08:00 When I Met You (Beach) http://www.chrisashley.net/weblog/archives/week_2006_07_23.html 1522@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-26T23:32:50-08:00 When I Met You (Together) http://www.chrisashley.net/weblog/archives/week_2006_07_23.html 1521@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-25T23:39:25-08:00 When I Met You (Sleep) http://www.chrisashley.net/weblog/archives/week_2006_07_23.html 1520@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-24T23:03:12-08:00 When I Met You (Conversation) http://www.chrisashley.net/weblog/archives/week_2006_07_23.html 1519@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-23T22:40:06-08:00 When I Met You (Pacific) http://www.chrisashley.net/weblog/archives/week_2006_07_16.html 1518@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-22T18:26:31-08:00 When I Met You (Marina) http://www.chrisashley.net/weblog/archives/week_2006_07_16.html 1517@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-21T23:30:32-08:00 When I Met You (Road Twilight) http://www.chrisashley.net/weblog/archives/week_2006_07_16.html 1516@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-20T23:36:20-08:00 When I Met You (Apartments) http://www.chrisashley.net/weblog/archives/week_2006_07_16.html 1514@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-19T23:38:42-08:00 When I Met You (Dancer) http://www.chrisashley.net/weblog/archives/week_2006_07_16.html 1513@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-18T17:31:16-08:00 When I Met You (Green Vest) http://www.chrisashley.net/weblog/archives/week_2006_07_16.html 1512@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-17T22:32:41-08:00 When I Met You (Families) http://www.chrisashley.net/weblog/archives/week_2006_07_16.html 1511@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-16T19:00:31-08:00 When I Met You (94606) http://www.chrisashley.net/weblog/archives/week_2006_07_09.html 1510@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-15T23:29:16-08:00 Oz/Floyd http://www.chrisashley.net/weblog/archives/week_2006_07_09.html You know you've always wanted to see it: The Wizard of Oz with Dark Side of the Moon as the soundtrack, all 43' 10" of it (Google Video).... 1509@http://www.chrisashley.net/weblog/ 2006-07-15T09:25:53-08:00 When I Met You (Sleeping Bag) http://www.chrisashley.net/weblog/archives/week_2006_07_09.html 1508@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-14T23:59:00-08:00 When I Met You (Strand) http://www.chrisashley.net/weblog/archives/week_2006_07_09.html 1507@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-13T23:25:02-08:00 When I Met You (Shoulder Length) http://www.chrisashley.net/weblog/archives/week_2006_07_09.html 1506@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-12T22:42:14-08:00 Geoform http://www.chrisashley.net/weblog/archives/week_2006_07_09.html In 2005 Julie Karabenick and Howard R. Barnhart founded Geoform, "an online resource and international forum focusing on the use of geometric form and structure in contemporary abstract art. The Geoform project explores and celebrates the continuing vitality and rich diversity of style and aesthetic intent of its practitioners worldwide." Geoform includes an invitational Artist Directory, a growing number of interviews with artists listed on Geoform, and links to online resources concerning abstract geometric art. Four of my images and a statement have recently been added to the site. The current interview is with Gail Gregg. Joanne Mattera, about whom I wrote earlier this year, was interviewed fall 2005. There is lots there to look at and read at Geoform.... 1504@http://www.chrisashley.net/weblog/ Art 2006-07-12T17:00:22-08:00 When I Met You (Bette Midler Sings "In The Mood") http://www.chrisashley.net/weblog/archives/week_2006_07_09.html 1503@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-11T18:39:00-08:00 When I Met You (Tokyo) http://www.chrisashley.net/weblog/archives/week_2006_07_09.html 1502@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-10T00:38:07-08:00 When I Met You (North Beach) http://www.chrisashley.net/weblog/archives/week_2006_07_09.html 1505@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-09T14:10:15-08:00 When I Met You (When Were You Born?) http://www.chrisashley.net/weblog/archives/week_2006_07_02.html 1500@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-08T23:37:26-08:00 When I Met You (Fingers) http://www.chrisashley.net/weblog/archives/week_2006_07_02.html 1499@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-07T16:09:40-08:00 When I Met You (Swimmer) http://www.chrisashley.net/weblog/archives/week_2006_07_02.html 1498@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-06T20:58:26-08:00 When I Met You (Hilltop) http://www.chrisashley.net/weblog/archives/week_2006_07_02.html 1497@http://www.chrisashley.net/weblog/ HTML Drawing 2006 2006-07-05T23:27:57-08:00 Il Fiammenghino: Design for a Cupola http://www.chrisashley.net/weblog/archives/week_2006_07_02.html Results from the Sotheby's auction, July 5, 2006, London: GIOVANNI BATTISTA DELLA ROVERE CALLED IL FIAMMENGHINOMILAN 1561 - AFTER 1627DESIGN FOR A CUPOLA WITH THE HOLY SPIRIT AND CIRCLES OF ANGELS AND SAINTSESTIMATE: 4,000-6,000 GBPLot Sold. Hammer Price with Buyer's Premium: 21,600 GBPMEASUREMENTSdiameter 270mmDESCRIPTIONbears old attribution on the mount: camillo procaccinopen and brown ink and wash, heightened with white, on blue paper; circularPROVENANCELord Brownlow EXHIBITEDAmsterdam, Rijksmuseum, Italiaanse Tekeningen, 1970, cat. no. 77 (as Camillo Procaccini)CATALOGUE NOTEThe attribution to della Rovere was first proposed by John Gere and supported by Andrea Czere. The drawing is very similar to one in the Victoria and Albert Museum which has been connected with the decoration of the ceiling of the choir in SS Gusmeo e Matteo in Gravedona, near Lake Como, which is signed and dated 1608 (see Peter Ward-Jackson, Victoria & Albert Museum Catalogue. Italian Drawings, London 1980, vol. II, p. 85, cat. no. 807, illus.). The old attribution to Procaccini is not surprising as della Rovere worked closely with that artist....