Blurry Pictures: Lens Edition. Full moon, June 2, 2015

Experimental photographs made during the full moon by Laura Cofrin. 

Camera as paintbrush.

Fort Collins Studio Tour - Part II

Non-Object Art

I am so happy to be sharing a studio space with Loretta Cummings. She is an artist who works conceptually. "Use attention, perception and time as your art materials and the world becomes your studio," she has said. Her gallery is often found on Twitter, or nowhere, or in her own presence during the action, a moment made art, through its ritualized recognition of the action.

I remember when I met Loretta. She and I both were students of Jennie Kiessling, an amazing Front Range Community College teacher. We were enrolled in a summer session of an art appreciation class exploring contemporary art. It was a fun learning experience, with an energized group of folks, and involved much traveling around our regional area on field trips seeing lots of great art. There was much discussion about the works of contemporary artists, including Piplotti Rist, Bill Viola, Marina Abramovic, Cindy Sherman, among others. This was my first time experiencing many of these artists, and what I learned in this class still impacts my work today.

After the class was over, there was a group of us that continued to meet. Our discussions, and museum and gallery field trips were just too enjoyable to discontinue. To this day, they are my biggest resource for support and inspiration in my art practice. They are my critique group, my educational resource, and my back up. I can count on this small group of fellow artists to keep me on the right path.

I remember very clearly the first group critque session we had after the class. This is something that can be difficult to find once an artist leaves the educational institution. A good critical discussion about the work is needed if an artist is to grow and expand in their work. Needless to say, seeing Loretta's work for the first time blew my mind. (See her piece she shared with us, "Post Cleaning Me - 7 hours of not cleaning" below.)She was working in such a way that I had rarely experienced in the past. Her ideas are the work, her actions its manifestation. The objects created, or documents of the project are secondary bi-products of the work - NOT the work. This was totally new to me, but I was intrigued. I too, have my reservatons about making objects to sell. Art as commodity is not really what I am interested in. To create work and sell the work for large dollars is not why I am an artist. The art market is daft, as I have said before, and I am not very interested in it as a creator. It is the creative gesture, the expresive actions that motivate me to return to the studio.

For the Studio Tour, Loretta will be performing a new work that involves the audience, a decision and a documentation. Intrigued? This will be an opportunity to actively participate in an art work's creation, to become the medium, and express your ideas in the action. Where do your values lie? What do you value more, experiences or acquisitions? It is sure to be a sweet or rewarding experience, so stop in to our studio to experience her art for yourself. Don't delay, supplies are limited. (Download the map from the Lincoln Center website.)

Post-cleaning me – 7 hours of not cleaning

 Loretta Cummings

In this artwork I spent consecutive 7 hours not cleaning anything. From 10am to 5pm I did not pick up after anyone, even myself. I did no scrubbing, sweeping, vacuuming, ironing, washing, bill paying, or financial organizing. I did not play support services to any family member.  If the phone rang and I thought that my help would be requested I did not answer it.

I wanted to induce helper mentality deprivation in myself.  What would happen if I allowed myself the sheer luxury of not feeling compelled to help anyone for a short period of time? How would I feel if I forced myself to drop that sense of “obligation to help” that defines how I unconsciously think of myself, what I regard as my reason for being here on the planet. This sense of obligation has been part of my life forever.  Every moment of every day I scan to see what I can do to make life run more smoothly for those around me. Not doing this requires minute by minute resistances to my habitual reactions to what I observe.

How would I really feel if this obligation suddenly disappeared? Empty? Worthless? Purposeless? Would I begin to scan for something different instead? How would I use my time? Was 7 hours enough to even get a sense of this? What if I could really live a life in which I felt more empowered to act on my own ideas and less obligated to take care of the needs of those around me? In my life (my perception of it anyway) everyone needs my help all the time and it is simply easier to take care of all those needs rather than doing my work. What if I gave myself the gift of all the time I wanted to pursue the ideas I have?

This is an on-going artwork that I intend to remake often.

Resistances

·       I noted that the toilet was developing a pink ring. I did not clean it.

·       After I ate a slice of toast I placed my plate in the sink. I did not load it into the dishwasher.

·       I noted that the bathroom sink was dirty with drying toothpaste caked on it. I did not clean it.

·       I noted that the bird feeder was empty. I did not fill it.

·       I noted that the cat was begging for a treat. I did not give him one.

·       When it crossed my mind, I did not go online to look at Christmas presents for anyone.

·       I made a pot of tea but I did not offer any to anyone else.

·       I saw that the plants in the kitchen needed watering and trimming. I did not do this.

·       I noted the kitchen floor was full of cat hair. I did not sweep it.

·       I noted the kitchen counter was covered with crumbs of toast. I did not wipe it.

·       I noted there were tea bags in the sink. I did not put them in the compost bucket.

·       There were two phone calls I needed to make to arrange appointments for others. I did not make them.

·       I noted the frames on the pictures in the front room very dusty. I did not clean them.

·       I noted that Mick’s gloves and keys were misplaced. I did not move them.

·       I remembered I needed to make a grocery shopping list but I did not do this.

·       I wanted to make crackers because we didn’t have any but I did not.

·       I noted that our bed was not made. I did not make it.

·       I noted the cheeseboard was left on the kitchen counter. I did not put it away.

·       Our dog was whining. I did not feed him.

·       I noted that the toilet seat on the downstairs toilet was loose. I did not fix it.

·       I heard the doorbell ring. I did not go to see who had arrived.

·       I was worried about my children but I did not call them.

·       I noted that the bathtub was dirty and the shower stall was covered with soap scum. I did not clean it.

·       I heard people downstairs. I did not check to see who it was.

·       I noted that drawers and cupboards were open in the kitchen. I did not close them.

·       The phone rang and Mick answered it. I did not check to see who it was.

SKY HIGH

SKY HIGH ~ Artist's reception December 7, 2012, 6-9 pm

“The clouds were there for everyone.” -Alfred Stieglitz

“The photo can optically replace its object to a certain degree. This takes on special meaning if the object cannot be preserved.” –Bernd and Hilla Becher

SKY HIGH is an exhibition about beauty. The presentation is a typology of skyscapes. The photographs, a catalogue of our skies, document the variety of shapes, forms, colors, and textures, seen in the clouds above us. Each viewer sees a unique picture, the personal experiences and histories affecting the truth of what the viewer sees. The collection, and its presentation, is founded on historical precedents.

The subject of clouds was much studied by one of photography’s, and American Modernism’s, pioneer, Alfred Stieglitz.  His series, ‘Equivalents”, was produced later in his career, (most were made between 1925-1935) and were purely lyrical abstractions, intended to function evocatively, to elicit emotions in the viewer. The photograph is a metaphor, the cloud shown in the picture, is more than the ‘thing’ pictured, but primarily a ‘function’, a device, to generate a feeling in the viewer. (Equivalence: The Perennial Trend. Minor White, PSA Journal, Vol. 29, No. 7, pp. 17-21, 1963)

1923. Gelatin silver print, 4 5/8 x 3 5/8" (11.8 x 9.2 cm). Alfred Stieglitz Collection. Gift of Georgia O'Keeffe. Held in collection at The Museum of Modern Art, New York

Bernd and Hilla Becher were married German photographers who catalogued the existence of many industrial buildings, and other architecturally interesting structures, and presented them in the grid form. Their motivation was to create an historical record of this "nomadic architecture which had a comparatively short life -maybe 100 years, often less, then they disappear. It seemed important to keep them in some way and photography seemed the most appropriate way to do that." (quote by Bernd Becher)

Bernd and Hilla Becker, Installation view

What is more transient than the ever-changing vista above our heads? How often are you aware of the beauty above? If we take the time to look, the beauty is there for everyone. Remember to notice, and do not lose this treasure, the ability to find beauty.

Exhibition featured at Valhall Arts, please visit the website for more details. 

Soundscapes selected by Chris Reider,  ambient sounds and experimental music, all part of creative commons, and free for anyone.

Photograph by Laura Brent, 2012

SKY HIGH, 28 Photographs by Laura Brent, installation view

ArtHouse Sketchbook Project Process, Part 2

After much thought and trepidation, I finally began...


I started by unbinding the book, the two small staples tossed into the trash with a freeing gesture of joy at finally getting started, the loose eight pages suddenly feel less intimidating, and I am excited for their journey toward their final completed identities.


I planned to used a liquid photo-emulsion to print photographs directly onto the page, and much thought was spent addressing the layout of the book. I needed to establish where the photographs would be, where the emulsion would need to be placed, which pages were reserved for drawings, etc. The liquid emulsion I used was called "Ag-Plus High Speed Emulsion", and heating was required to liquify it before painting. I set up the painting station in my dark room, with a hot water bath for the emulsion, and progressed to apply the emulsion onto several pages from the sketchbook. The painted pages were left to dry in the dark, and once several layers of the emulsion were applied, the prepped pages were stored in a light tight bag, or loaded into a pinhole camera to await exposure.


The pinhole process was less than satisfactory. I always say, if one feels like a pro', "hot-shot" photographer, just shoot some pinholes to restore one's humility; the process is unpredictable, and results are often unexpected. My issue with the process was that the combination of the pinhole camera making a soft focused image with the soft print quality of the liquid emulsion, created images that were just too blurry to be distinguishable.

I also had issues with the chemistry of the emulsion, getting strange results due to the way the emulsion was pulled between the two leafs. I needed to repeat my processes many times, using a heavier weight paper, and painting the emulsion and exposing the two pages together, yet drying and processing the two pages separately.

Shooting photographs with the theme in mind, (Long Road Trips and Short Phone Calls) I also made prints using the traditional enlarger. Having discovered some vintage negatives, I included images of my paternal grandmother. This image was one of the first successes with the medium.


I continued prepping pages, and shooting photographs, and experimenting with the photo-emulsion and all the ways I could make marks. I used a camera-less procedure, creating photograms with the film and other objects. I was painting and drawing with more traditional mediums when not using the photographic modes, and always thinking of alternative ideas for the project. I would draw over processed photographic images, cutting, and collaging the pages and images together, weaving a visual tapestry.



Eventually, I amassed a pile of completed pages, some successes, some failures, but together they were layered and interwoven with the various techniques I'd used. The messy group felt very disheveled and unorganized, and I was unsure of my feelings about what I'd created, but I was committed to finishing the project. (After meeting Shane, from Art House, in Denver at the Million Little Pictures; Photo-Mobile exhibition, I was shocked to learn that the majority of entries are never returned!!??)



I had four sections, or gatherings, of the individual pages, each containing four leafs. I included one extra section made up of only one photograph, a pinhole image printed on resin coated photo paper. The strange quality of this middle page, seemed to bring the chaos of the other pages together, and being an actual photograph, it is a signature of sorts, a nod to the camera, the machine, I use in my art making. In the end, I included many of the 'failures', as a testament to my process, and really, a sketchbook is a place to experiment, and I wanted to show all the images I had created.

The following post will explain the binding process.

Change and State of the Arts in Northern Colorado

"It may be hard for an egg to turn into a bird: it would be a jolly sight harder for it to learn to fly while remaining an egg. We are like eggs at present. And you cannot go on indefinitely being just an ordinary, decent egg. We must be hatched or go bad." ~C. S. Lewis
Image by surrealist painter Rene Magritte

Change is good, although some may resist it, others resent it, but none can avoid it. Growth can be a painful experience but only through change can one achieve progress.

At this juncture, Valhall Arts is undergoing a shift in the way it operates. Going forward, the gallery will no longer be showcasing other artists, but instead will serve as the working exhibition space for Laura Brent, the artist. I am hanging up my 'gallery director' and 'curator' hats for the time being. This change was brought on by the ever increasing demands on time and a prioritization of my artwork above the running of a gallery, and promoting contemporary art to Fort Collins.

The general climate in this area has been lukewarm in its support of the arts in general, and icy-cold when it comes to interest in contemporary art. Due to this lack luster reception of contemporary art in Fort Collins, I will be putting my energies into art creation, and distribution/exposure to other areas of the country. The gallery will still be open during the First Friday Gallery Walks, held the first Friday of every month, 6-9 pm, and my contemporary artworks will still be shown, however the shows will be a looser arrangement of current projects in process, instead of juried, group, curated exhibitions.

Why is there this lack of interest in the arts in Fort Collins? There are those in the community who would have this be an arts destination in the spirit of Santa Fe, but we have a long way to go to reach this high ideal, and need a better foundation, and extensive improvements in the types and qualities of artworks created, exhibited and received in our town, to make this goal a reality. There is a superficial embracing of the arts, and misguided support by a local (unnamed) arts promotional group. There are too many resources and dollars spent supporting art activities that do nothing to create lasting effects for the art community. The program supporting street entertainments over the past few summers, is, in my mind, a flip-flop of how this sort of thing should work. These opportunities, if made available to working performers through legislation, could actually generate income for the city (through license fees, for example). Instead, funds were spent to promote buskers to bring their entertainments to the migrant visitors to our city. Instead, these resources could have been better spent supporting local, existing, organizations to build a permanent infrastructure and take us further down the road toward our goal of being an "Art Town".

The wealthy donors in the region, those who give generously to these promotional organizations do not seem interested in supporting the arts, or there is a lack of understanding of art historical models and metropolitan art cultures. We do have our newly built (and almost completed) history and science museum, and the university has a wonderful arts center with world class performing and visual arts. But the private sector in general, the visual arts field in particular, is filled with amateur/hobbyist infused art co-operatives, and a few remaining commercial galleries, each offering the expected 'western' souvenirs, (landscape paintings and photographs of aspen trees in their fall colors), these mundane and tired artworks, offering little in the advancement of the arts. Art can expand one's mind, bring the world to one's community and teach us something of ourselves and our culture. Instead, it seems, our community is only interested in being entertained.

Why this lack of diversity and interest in the arts? Is this due to an un-enlightened or un-educated art audience? With the higher educational institutions in our town, I would expect a better informed audience, with a more diverse understanding of art history and the cultural importance of showing important works to enhance of our local community. How else are we to achieve our goals, without high quality institutions and private organizations to bring this to the public? How can these organizations survive with out the support and commitment from the public?

I've been smelling something funny in my local art scene, a rotten egg is among us, and only through change can we become the bird we hope to be and fly into the future to become an art destination. At this point its all just scrambled, and I am ready for the next change.

New Exhibit in the Works

The new exhibition planned for November is called "Moving Pictures". It is an installation with two video works by Laura Brent, that look more like photographs. It is an experimental piece, and the videos, in which very little happens, will make the viewer wonder about what they are seeing.
The title, used before in a 2002 exhibit at the Guggenheim (NYC), included works by Marina Abramovic, Vito Acconci, Kara Walker and Shirin Neshat, among others. The exhibit explored the affects of this new reproducible media in art making, it ability to render visible conceptual concepts and questioned the supposed objectivity of representation in itself .
This small solo presentation could never attain the drama of the museum's show, but I want the viewer to gain a sense of themselves, their youth, and their mortality. This piece follows my ongoing study of how we see things, how our media saturated culture has affected our way of looking, and visually experiencing and interacting with our environment. It is similar in feel to Brent's previous exhibits, Public Practice, and "pinching the light fantastic".