jeremy everett

Jeremy Everett is known for working with a variety of natural and land-art processes and refers to his pieces as ‘earth drawings’. His pieces are created by submerging books, newspapers and other printed matter in chemicals and allowing the chemical reaction to crystalize. The chemicals also loosen the ink from the printed pages, so that the ink itself is crystallized and redistributed to the outside of the book structure.

see more here and here and here.

beauty and the book

I’m in love with books-as objects, as art…as friends. i love looking at them, paging through them, admiring the art of them, the craft on the outside as well as the inside and how the two come together to create a complete story.
i started reading at the age of 3, my sister at age 2 (she always wanted to do what i did ; ) i was an extremely shy and quiet child through my childhood and teenage years and i much preferred curling up in a quiet spot to read to doing anything else and in some ways, i’m still the same. i tried doing the kindle thing on my ipad, but i can’t get into it. holding a book’s weight in my hands, smelling the mixture of ink and paper, appreciating it’s structure, feeling the pages ruffle as i determine how far i am from the next chapter and totally escaping to immerse myself in another time and place within the narrative are just a few reasons why i’ll always have stacks of books lining my walls and why i’ll aways celebrate their physical presence as the well as the presence of their stories in my imagination.

an excerpt from the film, liberal arts

A: I love books. I do in, like, the dorkiest way possible.

J: Oh, me too. It’s a problem.

A: Like, I love trees cause they give us books.

J: super cool of the trees to do that, Right?

1. This ancient collection of 70 tiny books, their lead pages bound with wire, could unlock some of the secrets of the earliest days of Christianity. Academics are divided as to their authenticity but say that if verified, they could prove as pivotal as the discovery of the Dead Sea Scrolls in 1947. The books were discovered five years ago in a cave in a remote part of Jordan to which Christian refugees are known to have fled after the fall of Jerusalem in 70AD. Important documents from the same period have previously been found there…here.

2. Rosamond Purcell, photographer, from Bookworm, published by Quantuck Lane Press. More about her and her work here.

3. random image from here.

4. Quran folio, surah al-Fatihah, 13th century AH/AD 19th century (Qajar), Iran from here.

5. sara mitchell handmade book experiments, here.

6. Rare books were once kept chained to bookshelves to prevent theft from here.

7. Jacqueline Rush Lee, artist, here.

8. Spaniel Binder The Book of Common Prayer Oxford 1700, here.

9. an abandoned library in russia, here.

10. matej kren, huge structure made of thousands of books, more here.

marybeth rothman

marybeth rothman writes….

I am always searching among my collection of orphaned photobooth photographs for the man with averted eyes or the woman whose empty stare appears indifferent to communication beyond the lens. These un-self conscious expressions are emblems of the genuine self-portrait and the inspiration for my series Biographical Annotation and Pilgrim Lake Library Committee. This exploration of the paradox of the unobserved observer in the photobooth is a continuation of my investigation of portraits of strangers. This examination is motivated by a wish to reclaim these lost and forgotten souls by re-imagining their biographies.

The images I choose for these encaustic* and mixed media portraits are selected individually and then again in response to each other. This curatorial process is somewhat circular as the photos are chosen, discarded and chosen again until an affinity develops among them. These tiny self-portraits are on my worktable for months until one day their juxtaposition, a swatch of paint, or a sketch calls for further development. I then manipulate and enlarge the image to allow for more intimacy between the viewer and the work. In this large format I can fabricate a memoir by weaving abstract, encaustic paintings and mixed media elements with the photobooth photos. Many layers of encaustic paint create a visual depth that is unique to the medium.

layered and smart, hauntingly provocative and sometimes quite humorous….see more here.

swept away exhibition opening

swept away: translucence, transparence, transcendence in contemporary encaustic opened this week at the hunterdon museum of art. the show, originally curated by michael giaquinto and shown at the cape cod museum of art last year, has since traveled to it’s current venue. some of the pieces from the original show were sold and replaced with similar work by the same artist, so the show is basically the same.

the exhibition at the hunterdon is expertly hung, with the grouping and pairing of the work such that each brings out the most interesting aspects of the other. originally, a flour mill rebuilt after a fire in 1836, the building and exhibition spaces are quite unique. the spacious airiness of the main exhibition space shows the work off beautifully and allows the viewer to comfortably appreciate each piece individually as well as the exhibition as a whole.

i’ve chosen some of my best images of the exhibition here, however, not all of the works are included–mingling and documenting at an opening is a skill i have yet to master. the exhibition is open until september 7, but if you can’t get to the museum to see the show, you can see the whole exhibition by way of the very reasonably priced catalogue here and the catalogue of the original exhibition at the cape cod museum of art here.

1. gregory wright’s and nancy natale’s bright, welcoming pieces at the entrance to the exhibition.

2. cherie mittenthal, sara mast, tracy adams and binnie birstein.

3. lynda ray, howard hersh and marybeth rothman.

4. milisa galazzi and paula roland.

5. love this piece by donna hamil talman.

6. love the juxtaposition of david a. clark’s piece and the exit sign.

7. i first saw this piece of lorrie fredette’s work in a book and it still remains one of my favorites.

8. dawna bemis, elise wagner, david a clark and elena de la ville.

9. one of my favorite karen freedman pieces.

10. loving the palette in joanne mattera’s work.

11. lisa pressman and linda cordner.

12. i love how jane guthridge’s and my piece talk to each other. not pictured, on the other side of my piece is toby sisson’s lovely black and white piece seen here that beautifully compliments the threesome.

another excellent blog post on joanna mattera’s blog has some great images of the installation here.

carin ingalsbe

carin ingalsbe writes…

All things have a life and time line. With utilitarian things, the life of an object presents itself through the wear and tear of use. My current interest in photographing vintage clothing began with my desire to capture different aspects of the breakdown of a garment. Like African art, pieces of clothing are meant to be used until they are no longer usable. My desire to capture a moment in the life of a garment before it deteriorates is a way to understand each article of clothing and where it has been.

When I photograph a garment, I find its essence through handling it and working with it over a period of time. Sometimes the soul of the piece is revealed by turning it inside out or backwards.

The ballet presents a unique opportunity. Each garment expresses itself through an invaluable patina that has evolved through the course of incredibly talented dancers using these costumes. The journey that a costume takes is a singular road that cannot be duplicated. Because the costumes are threadbare and torn, they are, by definition, spent. My desire to reveal the value of each piece by rediscovering its pedigree is one that I hope comes through in my work. The evidence of use that each costume has sustained is the very thing that makes it worth considering. 

The attention to detail in the design of these costumes is staggering. Much of the nuance is impossible to see from the perspective of the audience. Perhaps the creators of these costumes intended to pay tribute to the dancers, elevating their experience through an intricately worked garment which beckons them to the role that they are about to perform.

i could look at her work all day…see more here.

vintage tools for making

i’ve been falling in love with vintage tools lately-the beauty of the form, the craftsmanship of the object itself…just looking at them, one gets a sense of the care, the love of the object that it was used to create. granted, these tools are mostly textile related, but i’m biased in that regard ; )

1. made from wood, mud, linen, string, paint, 2030-1802 BC, this percussion instrument called a paddle doll is modeled after a woman and consists of a flat piece of wood depicting the torso, rudimentary arms and neck, with “hair” made of beads strung on linen thread…here.

2. parts of a vintage African Ashanti Loom for Kente cloth. Kente is an ashanti ceremonial cloth that is hand woven on a horizontal treadle loom and the stripes are sewn together into larger pieces. kente cloth’s dates back to the 17th century and is a visual representation of african history, ethics, oral literature, philosophy, morality and religious beliefs…here.

3. vintage kenmore sewing machine model c877.15…here.

4. painted pine revolving spool holder with a pincushion finial, 19th century…here.

5. boston ballet costume, 1991…here.

6. scissors, c 1840, victoria & albert museum…here.

tyler fibers & materials studies fabric pattern & image course 1 & 2

fabric pattern & image level 2


amy o’neill


abbie kiefer


jane sparks


valerie houck

fabric pattern & image level 1


lindsay thompson


noble stultz


allison ellinger


kara diehl


shabria goode


rigena o’brien


ashley murray


zoe gainslaw


missy walsh


rebecca price


corinne mcfadden


molly mcnamara


jamie alloy


lauren kelly


lucia alber & gaelen mccartney (collaborative project)