content may 2011 Untitled - Scott Cook
High Priestess - Wlkn-Fire Artist Interview: Sigh Gremlin Tanya Haller (aka Oksana Ink)
Untitled - Scott Cook This Doesn’t Feel Like Victory Robin Lee
Mechanical Failure - Tanya Haller
Tanya Haller - pg 8
Samantha Russell - pg 13
My Mechanical Failure - Tanya Haller
I Hate Being Me samuelbeaton
Monoprint ‘11 - Chris TalbotHeindl
8 9 10-11
Everything Must Progress - Dana Talbot-Heindl
on the front cover: Untitled
Thoughts - Jan Haskell
Scott Cook Oil on canvas sighgremlin.blogspot.com
A comment on the state of Wisconsin - Samantha Russell
Walker’s Guide to Union “Thugs” and Their Supporters - Chris Talbot-Heindl 14-17
on the inside front cover: High Priestess
Donors & Index
by: Wlkn_Fire Watercolor and ink on paper
on the inside back cover: Galynne Goodwill www.galynne.com
bitchin’ kitsch is a zine for artists, poets, prose writers, or anyone else who has something to say. it exists for the purpose of open creativity. if you have something you want to share, please email it to chris@ talbot-heindl.com.
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tanya haller. Artist Interview: Sigh Gremlin By guest columnist: Tanya Haller (Oksana Ink) http://tanyahaller.moonfruit.com
Oksana Ink: sigh: Oksana Ink: sigh: Oksana Ink:
My friend and fellow artist, Scott Cook, also known as sigh, has taken time out of his day to be interviewed and share some of his inspiring and hauntingly beautiful work. Find more at sigh’s blog: sighgremlin.blogspot.com
Scott, thanks for letting me interview you. Do tell me about your style of work. How did you come to the place you are now with your artwork? My earliest drawings as a child were houses, green people, and dinosaurs. Growing up, I invented my own cute, fuzzy cartoon characters which eventually gave way to barbarians and werewolves. By high school, I was suddenly a pervert, and I created an entire cast of characters to destroy my enemies, and I carried on with this concept for quite some time. I have so many long-winded stories behind all these phases which I don’t think I’ll have room to explain. But I allowed a masochistic state-of-mind form the content behind my work for a long time, until I started writing more, not as something to be published, but just to dissect myself. So the style of my work changes accordingly. After all your phases, what do you find keeps your style growing and evolving as an adult? Do you reflect on the past or look at the present for inspiration? Bloating in Oblivion Etching Writing is essential, and not just to painting, because it enables me to stop bouncing off the walls only to end up here and now anyway. Currently, when I paint something, it’s become very ritualistic, whereas, in the past, I felt like I had all the time in Hell. I’m at the point now where there’s no more time left to dwell in the same things I was caught up with in the past. When I think about where we are going to be in the near future, I feel like the best way to approach it is from within, rather than spending so much time blaming myself or anyone else. But to describe my recent work, it’s inspired somewhat by the tarot, which I started to get into before I began school. Aside from that, they are very personal. But some of my favorite motifs are still there, such as disfigurement and atrophy, or things thant people would associate with depression. But again, this is where “inspiration” comes for me, facing myself by peeling away layers of conditioning, and self-hate becomes pointless and irrelevant. What mediums do you find help express your effort to dissect and “peel back?” Do you ever feel limited or restricted by two dimensional mediums like some artists?
tanya haller (con’t). sigh: Oksana Ink: sigh: Oksana Ink:
I started oil painting about seven years ago, and to be honest, I don’t feel like I’m very good at it. I think my illustrative work is my strongest. With oil, my ideas come together in such an esoteric way that the end result is probably just trivial to anyone else who sees it. So, it seems pretty limiting because I have a tendency to persist at things that frustrate me. Recently, I started painting in blood, which I found extremely satisfying, both in the process and in the end result. I don’t know if you want the gory details, but here they are just in case. Sitting on the floor cross-legged, I’ll cut my thigh and dip the brush into the wound and paint just as I would with watercolor. When I first did this, it was very exhilerating, and I daresay that I haven’t enjoyed painting this much since pre-pubescence. It’s a very clinical procedure, and I really have so many scars on my body that I have no qualms about creating more. I know that many people paint with blood, but I’m obviously not trying to innovate anything. It’s my way of finding love in Blood Bathers creation, especially after what academia did to me! Blood on paper You really take your work to next levels and seem to push limits. Blood has many symbolic meanings in history when used in art. What do you have to say to new artists trying to find their voice in an art world that is becoming more and more commercialized, with less emphasis on the individual? I would say it’s a matter of remembering who you are in a soon-to-be posthuman world, where everyone is medicated for their “disorders” and being entertained, while uploading their consciousness into a digital purgatory, as basic human birthrights are being stripped away by a force that has only as much power as you give it. First of all, I’ve never had a specific intention to join the “art world” so, you’re asking the wrong person. I also think that if it’s someone’s intention to make money through art, you’re in it for the wrong reason, especially now more than ever, because it’s suicidal. Then again, the reason I’ve been as consistent as I have was because of a decision made after a suicide attempt. But my definition of success (or self-expression for that matter) has nothing to do with money, and I always felt like I have nothing to lose. Painting, like any other art form, is a form of communication for people who want to look into themselves without necessarily trying to dominate the universe. That is Blind in the Garden my inspiring speech. Thank you, Tanya! Oil on wood Great, thank you so much!
scott cook, robin lee. This Doesn’t Feel Like Victory By: Robin Lee
This doesn’t feel like victory. When another man is dead. This doesn’t feel like victory When someone’s been shot in the head. The mission doesn’t seem accomplished, like it didn’t once before. We may have won a battle. but we may’ve waged another war. Murder yields more murder. Pain delivers pain. An eye for an eye, till everyone’s blind, and tainted in the brain. Another martyr has been martyred. Another points been proved. Making judgments on the tv, involved but so removed. The evil man’s been taken down. The good man’s finally won. But lest we forget, we’re not done yet. There’s more evil yet to come. But evil’s eye belongs to the beholder. And most beholders are beheld, by books, prayers, and steepled temples, by the molders that mind-meld. Untitled Scott Cook Blood and watercolor on paper sighgremlin.blogspot.com
And when the minds are molded, there’s no telling what they’ll do. But usually when the trouble’s ended more trouble will ensue.
robin lee (con’t). We should believe in justice. We should fight for what’s right. But we don’t need to be under gods, if they’re god’s that make us fight. Justice isn’t served with bullets. We can’t bleed until there’s peace. We’re all prisoners of war, on or off shore, if from war our minds aren’t released. We’re thankful for those who serve us. And thankful for those who served. We can only hope and pray, duties were as good as they deserved. We can celebrate our triumph. But it must be bitter sweet. Because one man’s triumphant triumph is another’s defeating defeat. With each cheer we will remember bodies falling down dead. From the sky or in the dessert, on our tv’s, in our heads. And each one of those memories we would rather not’ve had. Can’t jubilate with ingrown hate. Can’t ignore feeling bad. Terror will always haunt us, in what ever form it takes. And peace will never find us if we kill in it’s name’s sake. I may not be a sympathizer. But I do sympathize. When victory’s considered victory When it means another man dies.
Mechanical Failure Tanya Haller Photoshop illustration
My mechanical failure by Tanya Haller
They made the gears, they made them wined. And when they rusted, they were refined. The bones soon melted, cracked and dried. And for the humans, one machine did cry: “The fear of death, of sickness and of age, all brilliantly set this barbaric stage. The only dream we can now recall, was you wanted to have no dreams at all.”
samuelbeaton. I Hate Being Me.
By: samuelbeaton www.samuelbeaton.com So, I have recently come into a little bit of fame by appearing in a webisode (or whatever the kids are calling it). I even got stopped while shopping for groceries and the young woman asked me “Hey, are you that guy?”. True story. However, I’d really like to be known more for the thing I’m writing right now. I mean, there is no substance to my humor. I am not a “big deal”. Let’s do this. My hatred of myself.
It started when I was a child and I failed at almost everything. Don’t believe me? Try to get a 5 year-old Samuel Beaton to draw a diamond. Won’t happen. Totally still have a problem with that shape. Maybe it’s because of the blood that drips off of it. Not sure. I digress. I have also failed at making friends. I have about 4 close friends and I’m in my late 20’s. Is this a mistake? I don’t think so. I think that if there happens to be a God, he’s a dick. To me, at least. Cartoons
I remember when Scooby Doo was hilarious while mowing down that insanely large sandwich. I mean, he’s a dog. Hilarious. Then his coke fiend friend has to join him. Dude, let a dog eat a sandwich. Stop getting in on his action. Sorry, I got lost for a second. Anyway, cartoons are like amazing pieces of art that people pass off as the Green Bay Press Gazette. It makes my life feel a little bit sadder. I Don’t Care What’s Going On
I get a lot of questions about what’s going on in the news. Honestly, I couldn’t care less. You all want some answer from me. I don’t work for CNN or MSNBC. However, I will tell you this: When the world ends because of a horrible, pain-filled, ending, you can call your congressman. Maybe he’ll tell you the same thing I will: Sell your Packer tickets. That’s it, kids. I’m not smart.
chris talbot-heindl. Monoprint ‘11
By: Chris Talbot-Heindl In our little town of Stevens Point, twelve nationally and internationally reknown artists have come to make what are called a monotype prints, as a unique educational and fundraising event for the University of Wisconsin-Stevens Point’s art department. The event started on May 27th and will continue through June 2nd. During these six days, the professional artists work, assisted by art students who act as printmaking assistants, gaining valuable knowledge and experience from the masters. Monotype prints and how they are made vary greatly. But their common characteristic is that each one is a single unique impression. When people think printmaking, they usually think of using a plate in order to make an edition of several, but monotype prints are each unique - and can be considered a cross between printmaking, painting, and drawing. Bob Erickson, who organizes the even and who teaches the printmaking classes at UWSP said that the event hopes to “inform the public about printmaking and also show what professional artists do - their process, their work. Most people don’t get to see that.” In this vein, the studio space will be open to the public, so they can learn about how these artists develop their work, from 1-5 p.m. each day of the event.
The culmination of the event is an exhibition and sale, June 2nd from 7-9 p.m. at the Edna Carlsten Gallery, located on the second floor of the Noel Fine Arts Center on the UWSP campus. Two monotype prints from each artist will be matted, framed, and hung in the gallery and sold as a fundraiser for the department.
chris talbot-heindl (con’t). Monoprint ‘11 Artists Michael Barnes Jamie Bertsch Harold Boyd Mark Brueggeman Catherine Chauvin Rhea Edge Bob Erickson Ina Kaur Jill McKeown Fahimeh Vahdat Ericka Walker Keith Wilson
Monoprint ‘11 Open Hours Everyday, between the hours of 1-5 p.m. the printmaking studio at the Noel Fine Arts Center will be open to the public. Watch the artists work, see their process, and ask questions.
Monoprint ‘11 Exhibition and Sale
Thursday, June 2nd, 7-9 p.m. in the Edna Carlston Art Gallery at the Noel Fine Arts Center. Come view the work and/or purchase. Everyone is invited and welcome.
For More Information
To learn more about the artists, what a monotype print is, and about the event itself, visit the Monoprint ‘11 website at www. uwsp.edu./art-design/rerickso/ Monoprint/artists.aspx
dana talbot-heindl, jan haskell.
Everything Must Progress Dana Talbot-Heindl Photoshop painting www.talbot-heindl.com
By: Jan Haskell
In the year 2011, we have seen the rise and fall of many ideas/symbols of what we could refer to as blossoming utopias. In the United States, there has been great conflict as one idea falls and is summarily replaced by another. A seemingly endless polarization on all sides, leaving the human spirit to blow in the wind like an old flag. The control asserted upon the individual has squeezed out ideas and replaced them with political goals of advancement. The question not being asked is do these political goals actually strengthen the individual or are they meant to control them? Here in Wisconsin, we have seen the battle ground
drawn by corporate and union masters. Each claim that their goals are meant to reach a perfect world for us. They bend their will by spending millions on willing political individuals, who will eagerly take and take. They use the political parties, and the political system, not to advance the will of the people, but rather to advance their own power. We, the workers, farmers, small business owners ect. are mobilized to fight for the small breadcrumbs that are thrown, while the masters consolidate their power and wealth. Do not take my thoughts to be anti one or the other. They are simply thoughts which need to be expanded on. For example, in a corporate utopia, there would be one general board of directors overseeing all corporations. They would provide the basic needs of life while stifling the individual from advancing on personal achievement. One would be part of the
A comment on the state of Wisconsin Samantha Russell Photograph
corporation and the success would be that of the corporation rather then the individual. There would be traps set to limit the amount of advancement as well as to keep each worker in their place. In a union utopia, would the outcome be any different? The worker would be just another uniform whose needs would be secured by the union. Wages would be set, health care, pension, ect., but what would be the drive for the individual? Advancement would be determined by the union, perks also would be under the control of the unions.
In both cases, could the individual see rewards as anything more then a bribe meant to keep them in check, something given and something taken away? The reason I pose this thought is that to think either master is truly working for any benefit other than themselves is a bad high. Just look at the triangle of power: C.E.O, Union leadership, and Politicians. The only place we fit into this equation is by surrendering our consent via a vote.
chris talbot-heindl (conâ€™t).
chris talbot-heindl (conâ€™t).
chris talbot-heindl (con’t).
Walker’s Guide to Union “Thugs” and Their Supporters Chris Talbot-Heindl Gicleé print www.talbot-heindl.com 17
chris talbot-heindl, donors, index. advertisers Bitchin’ Kitsch
Galynne Goodwill Lovers of Wisdom 2011 Summer Tour 18 mcfishenburger
artists Cook, Scott Haller, Tanya (Oksana Ink)
Lee, Robin Russell, Samantha
6-7 13 9
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