The Hand Magazine Issue #5

The HAND Issue 5, July 2014

Creating Artistic Community in the 21st Century

15-25: Artwork

26-31: Artists Profile-Louviere + Vanessa: An Odd Volume 32-43: Artwork 44-47: Artist Profile-Evan Summer 48-56: Artwork Inside back cover: Subscription deets

Front and Back cover image: Danielle Ezzo, Lovingly Distant, Salt print, 16”x 20”, 2012, www.danielleezzo.com

Wayne Montecalvo, Two Clowns, 4-color CMYK serigraph on paper, 9”x 11”, 2004. www.waynemontecalvo.com

ontents Issue #5, July 2014

contents:

1-11: Artwork 12-14: The Antiquarian Avant-Garde:

Editors’ note: Dear readers, WOW!! A whole year has passed since we published the first issue of The Hand Magazine! I think I can safely speak for James too, when I say that it has been a blast working on this project. We have both learned so much, and have had the opportunity to connect with so many wonderful artists and see so many amazing bodies of work. We want to thank everyone who has submitted- whether your work was chosen or not- for supporting our magazine and our mission. Editors and jurors always say this, but it really is difficult to choose from so many great submissions. One of the things that we continue to be surprised and humbled by is the consistently high quality of the submissions we receive. We truly do appreciate every single submission. As artists ourselves, we know how frustrating it can be to find opportunities to show your work, especially if you’re working in non-traditional media involving a range of unique processes. We started this magazine with the goal to share our passion for these techniques and to highlight the similarities between printmaking and photography. We wanted to share the intriguing work of both emerging and more established artists with a broader audience and hopefully instill in that audience our enthusiasm. Hopefully, by appealing to both the printmaking and photographic communities, we are also bringing new audiences to our contributors.

In the beginning, we envisioned the magazine as more of a punk-DIY-photocopied zine that we would sell for cheap. However, the magazine developed through input from our contributors and adapting to the submissions, to something much higher in quality. We are very proud of that. And we have more exciting ideas for the future- limited edition cover designs, more limited edition prints for sale, and also working with galleries to put on exhibitions. We want to push our own boundaries and the boundaries we have set for the magazine. The basic idea is to celebrate and explore the concept of seeing the artist’s hand in reproduction-based media. That is the paradox that drives the magazine and our editing. Perhaps in the future that could include music, video, and film? We love to see how our contributors push the boundaries of reproduction-based media. We want to push boundaries too.

We’re really excited about the features we have in this issue. The, “Antiquarian Avant-Garde Art & Processes”, Facebook group and its members have been huge supporters of the magazine from the onset. Their mission is very similar to ours and we are delighted to include these beautiful images and the group’s open-minded philosophy. Louviere + Vanessa are two of my favorite artists and it is a thrill to have the opportunity to work with them. They were kind enough to create the layout for this feature themselves and we are honored that they have included work that they’ve never shown anywhere else. Evan Summer combines a myriad of printmaking techniques to create pieces where he combines landscape and architecture to evoke a sense of history. His work is in the collection of the Metropolitan Museum of Art, the National Gallery of Art, the Philadelphia Museum of Art, and the Brooklyn Museum of Art. We greatly appreciate his kindness in allowing us to share his spectacular work with you.

We hope you continue to support us, to submit your work, and tell your friends about us! Long life to The Hand!

Sincerely,

Adam Finkelston Owner, Publisher, Co-editor

James Meara Co-editor, Lead Designer

Adam Finkelston is a photographer and art educator based in Roeland Park, KS. He has shown his photographs in solo exhibitions in Kansas City, MO and in juried and group exhibitions throughout the United States.

James Meara is an artist based in Albuquerque, NM whose work primarily involves printmaking, but also drawing, painting, photography, & multi-media processes.

Meara has been involved in both group and solo shows across the United States.

www.adamfinkelstonphotography.com

www.jamesEmeara.com

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Portrait III, Block print, 12”x 8.5”, 2014

Portrait II, Block print, 12”x 8.5”, 2014

Portrait I, Block print, 12”x 8.5”, 2014

Portrait IV, Block print, 12”x 8.5”, 2014 Caleb Harman www.csharman.com

Lisa Lindamood, In Between 4, Selenium toned gelatin silver print, 10”x 10”, 2013 www.lisalindamood.com

3 Sam Nguyen, Sartorial #17, Kallitype/ Van Dyke brown combination print, 11”x 11”, 2014 www.snstudioanddesign.com

Jessica Ashley Unknown, Come Sit With Me, Inkjet print from altered 35mm negative, 2014 www.jessicaashleyunknown.com

4 Adrian Elmer, Beach A, Silver gelatin print from altered 35mm negative (Diana F+ camera) 11.7”x 9.37”, 2014 www.theinksplattered.blogspot.com.au

Shadow 1 (below) and Shadow 2 (top), Photographic silkscreen print on glass (negative on black, reversed painting),10”x 8”, 2014

5 Wayne Montecalvo www.waynemontecalvo.com & www.mainsqueezepress.net

Hollow Points, Multiple block relief print, 32.5”x 24”, 2014

6 Potters Field, Multiple block relief print, 11”x 10”, 2014

Ricardo Ruiz

www.ricardo-ruiz.com

No. 6 (above) and No. 3 (below), from the series, “Light Compositions”, Silver gelatin prints, 20”x 16”, 2014

7 Joe Addison

www.joeaddisonphotography.com

Stacey Mayer, Pulled Into The Void, Mordançage print, 10”x 8”, 2014 www.staceylynnmayer.com

Dan Baird-Miller, Tomi, Tintype, 9 5/8”x 7 11/16”, 2013 www.danielbairdmiller.com

8 $JDWD :LĞQLRZVND Ray $UFKLYDO LQNMHW SULQW ´[ ´ ZZZ DJDWD ZLVQLRZVND DUWLVWZHEVLWHV FRP

Willie Osterman, I Am That (detail below), 72 11”x14” unique ambrotypes (installation: 7.5’x 5’), 2014 www.willieosterman.com

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Serena Stevens, Hollow, Collage, 19”x 15.25”, 2014 www.serenastevensart.com

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K.K. DePaul, Dark Mirror, Photo mixed media, 16”x 28”, 2010 www.kkdepaul.com

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Julia Burton, Mike, Mordançage, 11”x 19”, 2014

Ray Ewing, Splash & Play, Archival inkjet print, 30”x 40”, 2014 www.rayewing.com

The Antiquarian

Creating

Artistic Community in the st

Avant-Garde: 21 Century

By:Jacqueline Webster & Kaden Kratzer

Jeanne Wells, Clematis, Tintype, 2011 www.jeannewells.com

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I

nspired by Lyle Rexer and his 2002 book, “Photography's AntiWave in Old Processes,” Kaden Kratzer launched his Facebook®

in late 2012. Rexer, a Rhodes Scholar and faculty at the School of Visual Art in New York City, discussed several points in his volume which spoke directly to Kaden, including the move away from the multiple-producing processes towards the image-object ment; that is to say a widespread, simultaneous development of the art and a lack of artistic uniformity among its practitioners. Regardless of how the antiquarian avant-garde evolved, its development is one of rebellion, despite embracing some of the tools of the digital age. Any art or culture, inevitably carries political implications. It involves a turning away from complexity and sophistication in favor of energy and potential disorder, from which new orders can emerge.1 It is this politicizing of the medium that is the primary focus for Kaden; he views all art as a political act and admires those who can articulate their positions both visually and

Kaden Kratzer, Self-Portrait, Collodio-chloride print, 2012 www.kadenca.tumblr.com

such concept, while the latter has multiple lenses for identifying beauty in art as well as elsewhere. Kaden also views the photographic medium as necessarily complex in terms of projects, processes and aesthetics, to the point of only being

a fracturing of earlier alternative photographic process groups on Facebook®, as well as a desire to create a holistic community around the still-forming movement. While other groups formed from this fracturing, most continued on in the tradition of discussing technical processes solely for processes’ sake; there was a need to create a community that was aesthetically-based and included an ensemble of those interested in discussing projects and the artistic process. He began inviting a wide array of individuals to join the community, including curators, gallery directors, historians, university professors, practicing artists, and a talented ensemble of group adminis-

trators. What was created is a community that excels at articulating knowledge, ideas and vision that can contextually link the past, present and future simultaneously.

As of May 2014, the Antiquarian Avant-Garde group had more than 1,800 members; admittance to the group is by invitation and those who request admittance are scrutinized by the group administrators, with an eye towards quality of art work, diversity, and potential to contribute to the conversation.

As a result, only a small percentage of applicants are accepted, with the goal being to maintain a high level of activity in the group while maintaining support from the non-artist members. One of the challenges that Kaden sees in the group is that artists are by nature shy creatures – they are very comfortable sharing pictures of their cameras or their chemical formulas, but few are just as comfortable sharing their work with the larger group. While some of this may 13 be as a result of various issues with the Facebook® platform (nudity rules, copyright issues, terms of...

service, etc.), he believes that the Antiquarian Avant-Garde group can play a vital role in the movement as a safe place to discuss ideas and projects. As to the future of the group, Kaden would like its members to become more socially active. More discussion about projects, the exhibiting and sales of the antiquarian processes, and the sharing of art and ideas will serve to keep this 21st century antiquarian community vibrant and thriving.

1 Photograph http://www.tufts.edu/programs/mma/fah189/2002/nmadahar/introduction.html

can be found at www.facebook.com/groups/Antiquarianprocesses/ Kaden Kratzer is a photographic artist who lives “a life too diverse to be boxed-in by a resume.”

He currently resides in San Francisco, California.

His website is http://kadenca.tumblr.com Jacqueline Webster is a photographic artist who works exclusively in traditional and historic processes. She currently lives near Golden, Colorado.

Her website is www.jwebsterphoto.com All images in this article are copyrighted and used with the artists’ permission.

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Jaqueline Webster, Satsuma, Waxed salted paper print www.jwebsterphoto.com

Filipe Alves & Rute Magalhaes, Untitled, Lippman plate, 2014 www.silverbox.pt

Javier De Reparaz, Memories 01 (above) and 04 (below), Carbon transfer, 20”x 25”, 2014 www.ankide.net

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As Each End Looms And Subsides, Layered hand-cut ziatype prints on glass, 16”x 24”, 2014

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What The Snow Hides, Layered hand-cut ziatype prints on glass, 2014

Evan Stanfield www.evanstanfield.com

Sanne Griekspoor, Untitled, Lumen print (scanned before fixing), 7”x 5”, 2011, www.sannegriekspoor.com

17 Robert Dutruch, Mature Gerbera Daisy, Ambrotype, 6.5”x 8.5”, 2014 www.dutruchstudio.com

Mountains + Valleys (Yosemite #4), Archival digital print, 20”x 26.25”, 2013

Mountains + Valleys (Monument Valley #1, Diptych), Archival digital print, 18”x 54.5”, 2013

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Millee Tibbs www.milleetibbs.com

Robin Samiljan, Wrigley Building (above), Photo transfer, encaustic medium, pigments, oil pastels, 12”x 12”, 2013 www.robinsamiljan.com

19 Danielle Ezzo, Two Women, Salt print, 16”x 20”, 2012 www.danielleezzo.com

Untitled #1, Duotone solarization, 11”x 14”, 2014

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Untitled #2, Duotone solarization, 11”x 14”, 2014

Tyler Haberkorn www.tylerhaberkorn.com

Last Stand 2, Rawlins oil print, 10”x 7”, 2014

Last Stand 1, Rawlins oil print, 9.5”x 14”, 2014

David Fugate www.davidfugatecreations.com

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Run Charlie Run (Vietnam Reenactment: “A” Company, 1/7th Cav. 1st Cavalry Division, Boalsberg,PA Intrepid Aircraft Carrier Museum, New York, NY) Dye sublimation print on aluminum, 16.5”x 20”x 2”, 2013

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Liberation (Historic Site, German Invasion Point, Gennep, Holland 1940. Reenactment & World War II Air Show, Reading, PA, 2011) Dye sublimation print on aluminum, 16.5”x 20”x 2”, 2013

Rose DeSiano

www.desiano.com

Israel 08_10, Black and white infrared (from medium format film) archival pigment print 26”x 34”, 2014

Kauai 09_2, Black and white infrared (from medium format film) archival pigment print 26”x 34”, 2013

Ann Ginsburgh Hofkin www.aghofkin.com

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Thomas Whitworth, SPACE TOY SKIES (TV Robot 1 Sunset), Inkjet print, 20”x 24”, 2012

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Peter Wiklund, Solargraphy V- Ruined, Pigment inkjet print (taken with film can pinhole camera with several months of exposure), 14”x 20”, 2014 www.peterpinhole.com

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(Installation view) 9’x 7.5’

Lindsey Schmitt, Shiner Minnows, Lithograph, 2014 www.lindseyschmitt.com

(Detail view) 22”x 30”

An Odd Volume

An Odd Volume, (Detail) 2013, Inkjet on Kozo with gold leaf and resin from the book, The Oblivion Atlas, 38" x 54"

A Lingering Presence, 2013 from the book, The Oblivion Atlas, Inkjet on Kozo with gesso, gold leaf and resin, triptych: each panel 48" x 32"

A Wine Tasting, Gone Wrong, 2012 Three dimensional two color monotype on newsprint, triptych: each panel 24" x 18"

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Yippee, 2013, collage with gold leaf 20" x 16"

Redon’s Old Lady, 2013, collage with gold leaf 20" x 16"

AQ Quicker ic Pulse, 2013, Inkjet on Kozo with gold leaf and resin from tthe book, T he Oblivion Atlas, 20" x 16"

Nest, 2012, Three dimensional two color monotype on newsprint, 24" x 18"

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Still Life with Amnesia, Cinégraph, 2009, 3,550 super 8mm film stills, artist made LED lightbox, feathers, 18" x 22"

“In regards to the cinégraph (super 8 films, 3,550 stills physically altered and re-assembled into photographs)… we devised this new technique as a way to come full circle–so to speak– from our photographic beginnings which inspired our filmmaking and back again to these experimental films/photos creating new ways of seeing through the destruction of the medium.”

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The World is Exciting Enough Without You (Angel Five Ways, Way #2) 2012, Inkjet on Kozo, gesso, gold leaf, resin in artist made frame, 38" x54"

There was a little girl,

Who had a little curl, Right in the middle of her forehead.

When she was good, She was very good indeed, But when she was bad she was horrid.

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— H.W. Longfellow

Tradition and adventure — a description both personal and cultural, not ascribed to us, but by us.

The South gave the world flight, rock-n-roll, the birth of a nation of filmmakers and an endless source of artistic raw materials.

Louviere + Vanessa combine the mediums and nuances of film, photography, painting and printmaking. They utilize Holgas, 8mm film, destroyed negatives, gold, resin, wax and blood. They have a long fascination with themes of duality and paradox: beauty as horror, creation as destruction, the personal as a universal. Craft, concept and history are the devices they use to explore the gray zone within those themes.

Louviere + Vanessa explore the idea that the medium of photography is more important than any one photo because the radical mechanics of photography has caused them to consider the making of images. They’ve taken the raw materials, changed variables and given them new possibilities within the realm of photography.

louviereandvanessa.com Louviere + Vanessa are Represented by A Gallery for Fine Photography in New Orleans agallery.com 504-568-1313

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Heather Oelklaus, Missile (detail from “Poke”), Photographic emulsion on mica, 4”x 5”, 2014 www.camerakarma.com

32 Ross Faircloth, NvrmdTheGlitch, Gelatin silver print, 40”x 40”, 2011 www.rossfaircloth.com

Elizabeth Castaldo, Persephone 2, Photolitho and collage on paper, 24”x 18”, 2012 www.behance.net/elizabethcastaldo

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Veiled Memory, From The Series, “The Haunted Mind” Dass transfer on paper, 12”x 12”, 2014

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Symmetry, From The Series, “The Haunted Mind” Dass transfer on paper, 12”x 12” ea., 2014

Ashley Whitt www.ashleywhitt.com

Nikki Segarra, Drowning Is Not So Pitiful, #2 (top) and #3 (bottom) Appropriated film stills, kallitype print on cloth, 16”x 16”, 2013 www.nikkisegarra.com

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Viable, Photograph with encaustic, 8”x 10”, 2010

One Good Egg, Photograph with encaustic, 8”x 10”, 2010

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Steffani Frideres www.steffanifrideres.com

Christine Ann Verhoeven, Untitled #26, Inkjet print from distressed negative, 10”x 10”, 2013 www.christineannphotographic.tumblr.com

37 Malcolm Easton, Untitled #1, Pigment print, 16”x 20”, 2013 www.eastonimage.com

Adaptive Foraging, Cyanotype & 4-color gum bichromate on watercolor paper, 37”x 27”, 2013

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Dance of Cthulhu’s Daughter, Cyanotype & 4-color gum bichromate on watercolor paper, 27”x 37”, 2012

Dan Herrera

www.danherrerastudio.com

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Saint Sebastian on the Hill, Tri-color gum bichromate, 19”x 13”, 2011

Diana Bloomfield www.dhbloomfield.com

Girl in Mirror, Tri-color gum bichromate, 12”x 8”, 2014

Andrea Leigh Gore, Safe Ground, Giclée print on fine art paper, 20”x 20”, 2014 www.andrealeighgore.4ormat.com

40 Jennifer Georgescu, “Star Gazers” Night Walks, C-print, 25”x 25”, 2014 www.jengeorgescu.com

Legs, Photograph of performance with assembled screenprints, object dimensions: 2’x 4’x 3’, 2011

41 Debris, Mixed media drawing, 22”x 30”, 2012

Raluca Iancu

www.ralu.ca

Benoit Capponi, La Pause, Silver gelatin print on Bergger semi mat, 10”x 10”, 2012 www.gris18.com

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Elizabeth Cataldo, Primordial Forms, Silkscreen and inkjet on paper and vellum with accordion binding, 4.5”x 5”, 2012 www.behance.net/elizabethcastaldo

Curious Desire, Etching, watercolor and mylar, 3.5”x 5”, 2014

Clinging To Impermanence, Etching, monoprint,watercolor, mylar, 3.25”x 4.5”, 2014

Temporarily Restrained, Etching, collograph, watercolor, mylar, 3.25”x 4.5”, 2014

Internal Sprawl, Etching, monoprint, watercolor, 3.75”x 3.75”, 2014

Shrouded Achievement, Etching, collograph, monoprint, watercolor, 3.25”x 3”, 2014

Allison Rosh www.allisonhrosh.com

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ARTIST PROFILE:

EVAN SUMMER

“M

y interior and landscape images are about a history, a magical history but one that includes danger, being alone and fear. They are powerful images that reflect time and change.

And they are symbolic of conflict -- conflict between human creation and the forces of nature. I feel a sense of mystery and sometimes I’m even a little uncomfortable thinking that I created them. But I continue to come back to 1 images of landscapes and structures. At the same time I am interested in form and space, not as in academic realism, but not abstraction either. In all my work there is a healthy respect for craft and tradition. Mark making and technique are intertwined inseparably with imagery, and the two have evolved together in my work.

The prints I’ve selected are mostly new, done in the last few years. I included a plate too, a large collagraph plate. I think of myself as a plate maker more than as a print maker. I often like the plates, especially collagraphs, better than the prints, and I feel a closer connection to the plates.

-Evan Summer

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Titles and Information 1. Memory, Etching and drypoint, 33”x 24”, 2013 2. Landscape LV, Collograph, 35”x 45”, 2011 3. Landscape LV Plate, Paper, epoxy, carborundum and acrylic media on board 4. Northern Sky, Etching and drypoint, 24”x 36”, 2014 5. Perspective Study 2000, Collograph, 44”x 34”, 2000 6. Landscape LI, Etching and drypoint with graphite and pastel, 29.5”x 18”, 2014 7. Dream House, Etching and drypoint, 24”x 18”, 2010 8. Landscape LII, Drypoint and etching, 36”x 24”, 2013 9. On The Outskirts, Etching, engraving, drypoint, 26”x 36”, 1985 10. Ground Collapse, Etching, drypoint, and collograph, 24”x 36”, 2014 WWW.EVANSUMMER.COM

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Supernova 4, Monoprint, 25”x 25”, 2014

Coronae 1 , Monoprint, 25”x 25”, 2014

Coronae 8, Monoprint, 25”x 25”, 2014

Starburst 5 , Monoprint, 22”x 22”, 2014

Laura Berman www.laurabermanprojects.com

Heather Oelklaus, Heal, Chemigram, 48”x 48”, 2014 www.camerakarma.com

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Jodie Hooker, Mojave 7, Gum over platinum print, 10”x 7”, 2013 www.hookerj.com

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Zilvinas Glusinskas, Left Road, Gum Bichromate, 8”x 11.5”, 2013 www.facebook.com/photographerzilvinasglusinskas

Jodie Hooker, East Oregon 2, Gum over platinum print, 10”x 7”, 2013 www.hookerj.com

Zilvinas Glusinskas, Gate, Gum Bichromate, 8”x 11.5”, 2013 www.facebook.com/photographerzilvinasglusinskas

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Horse Opera, Etching (spitbite), drypoint, monotype, collage, latex paint, 57”x 34”, 2013

Orbit/ Salt, Etching, drypoint, collograph, chine collé, latex paint, 57”x 34”, 2013

Lindsey Clark-Ryan www.lindseyclark-ryan.i8.com 52

Jean Daubas, Cosmic Shapes Triptych, Photography/ scannography, 5.5”x 15”, 2012 www.jeandaubas.com

Jacqueline Roberts, Triptych VII, Wet plate collodion tintypes, 5”x 4” ea., 2012 www.jacquelineroberts.com

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Linda Lucia Santana, La Valentina- Daguerrotipo, Lithograph on enameled metal with blind embossment, 2013 www.lindaluciasantana.com

54 Jeanne Wells, Red Shell 2, Polymer photogravure with chine-colle, 4”x 4”, 2014 www.jeannewells.com

Michelle Robinson, Station Fire 3c, Etching and copper leaf, 20”x 15”, 2012 www.michellerobinson.neon.org

55 Diana Sanchez, Day 6 (From the “Becoming Edible” series), Archival pigment print, 36”x 28”, 2013 www.diana-sanchez.com

Drew Douglas Simons, The Visitors, Digitally manipulated mordançage, 20”x 16”, 2014 www.drewsimons.com

56 Graeme Dearden, Glass Working Poem Vitreograph, 20”x 12”, 2014 www.graemedeardenart.com

Marc Schimsky, Trapped In The Mirror, Photopolymer etching, 11”x 9”, 2013 www.marcschimsky.com

Subscriptions and Purchasing Info: The HAND Magazine will be printed quarterly in January, April, July, and October. The HAND is available in the following ways: Yearly subscription: $35- includes free submission for that year (4 issues). When limited edition issues are made (with hand- printed covers and/ or tipped- in prints), sub-scribers will get a regular issue with their subscription.

Subscribers can purchase limited edition issues at the regular price.

Single issue submission (inside USA): $15 *Submission fee includes a copy of the magazine

Regular single issues (inside USA): $10 Canada and Mexico- Add $5 to the above prices.

All other foreign countries, add $10 to the above prices.

Limited edition single issues: Prices on limited editions will vary Submission and purchasing information can be found at our website at: www.thehandmagazine.wordpress.com

Robert Schaefer, Blue Space Hand, Cyanotype print, 10”x 7”, 2014 www.schaeferphoto.com

Issue #6 (October 2014) Submissions Due August 31st The HAND Magazine is always seeking entries for future issues.

There is NO THEME. The HAND Magazine is printed in color, however, black and white/ monochrome images are still accepted and will be reproduced accordingly.

The due date for entries for Issue #6 is August 31, 2014 The HAND Magazine is a magazine for reproducible art: We will consider any and all techniques that incorporate photographic and/ or printmaking techniques.

The cost for submission is $15 (more outside the US) and includes a copy of the issue, which you will receive whether or not your images are selected for publication Artists may submit up to 5 images per entry fee.

We are also looking for articles that describe a contemporary body of printed art. Please submit the article and up to 4 images. If the article is selected for publication, we may ask for more images to accompany the article.

Send all submission material to: thehandmagazine@icloud.com For the required submission file specifications, payment information and submission forms, visit the website: www.thehandmagazine.wordpress.com, and click on the “Current Call For Entries” page.

L.L.J.

L.L.T.T.H.-L.M.