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.

...a reflective look back.

American Beauty

Valhall Arts has come a long way in its last 5 years of existence. Like a toddler, there were the awkward moments, and mistakes, but overall it has been a fun and successful run. The growth of my photography has only begun, and I feel like a child exploring, as I make my way forward in my practice.

With the probability that the current situation is coming to an end, this month I offer a Retrospective, opening Friday May 3rd, 6-9 pm. The exhibit offers a look back at past exhibitions, and the opportunity to see the progression of my work. The gallery began with straighforward photographic exhibitions, showing the work I did while talking classes at Front Range Community College. I had good luck with the fact that the local educational institution was home to some world class instructors, and my passion for photography and the arts was ignited.

Even as I opened my first few shows, I knew I would grow tired of the standard presentation of photographs presented under glass with white mats in black or white frames. From the very beginning I was more interested in experimenting with the medium, expanding the ideas of what a photograph could look like and how a photography exhibition could be presented. I was interested in engaging my audience, really inspiring them to interact with the art works, bringing in relational aesthetics, and other contemporary practices into my projects.

Come see the transitions and changes that occurred over the five plus years at Valhall Arts.
More details and images can be found on my website, http://www.valhallarts.com.

Thanks! Hope to see you at the receptions May 3rd and June 7th,
                                                                                         ~Laura Brent

Leaping into the not so certain future...

Photographs by Laura Brent

Last night's closing reception of SKY HIGH was a successful ending to an enjoyable exhibition, although a tad bittersweet. The three month exhibition netted me my best sales period in the history of the gallery. The cloud photographing continues, however, as I plan to continue this documentary project for an entire year, capturing all seasons of skies, to complete the project of cataloging these transient objects. The future form the work may take is undetermined, but will offer opportunities for a reappearance in the future.

So what is next for Valhall Arts? This is a question that is a bit up in the air. The past status quo changed a few months ago with the sale of the historic Post Office building to a new owner. Luckily this means that many of the 'ten year past their useful life' mechanical HVAC units in the building are going to be replaced. A much need upgrade of the building will occur, and I hope this creates a new liveliness. How these changes will affect the spirit of the building remains to be seen.

There has been lighthearted talk of 'ghosts' in the building, and the entire Oak Street plaza area was once a graveyard, home to civil war casualties and honored soldiers. (although the bodies were probably moved...more research needed.*) Could it be the tainted soil which is beneath us that causes the lackluster energy? or is it the stagnant art community that pervades the area? Of the several artists that rent spaces in the building, some have decided to use this change as an impetus to move on to new adventures. Others are still debating what to do, considering possible studio trades, and/or re-locations within the building. The trouble of finding a concrete solution is compounded by the lack of information coming from the new landlords. There is gossip about other non-art tenants coming in, (possibly a restaurant), rent raises, and proposed remodeling.  It is hard to make a decision without all the facts, so I am in a 'wait and see' period of stagnation.

All this instability in the structure of my work space has distracted me from really creating any quality substantial work. I have been playing in the darkroom a bit, making photo-grams, and printing some older shots, but it has been far too long since I have used my pinhole cameras and I am lacking a clear direction of where I want my work to go. In the forefront, at this time, must be the marketing of my recent projects to other galleries in major art cities.(Santa Fe, NYC, Chicago, LA) Although I am grateful for the 2% of my local audience that appreciates my work,  I must expand my audience to reach more of those who it is intended for, the 'literati' of contemporary art, as it may be. As such, Valhall Arts, the gallery, will take a back seat. What the new year holds will be determined when it gets here.

*planning a trip to the new Fort Collins Museum of Discovery historic archive!

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

Duchamp, nothing and an already made artwork

Every summer, I take time off from the gallery life, and take a sabatical from the exhibitions at Valhall Arts.  Instead, I leave behind something for my visitors to see.  Something that is nothing.

Last summer it was an installed hole in the ground, dug in the middle of the gallery, an obvious falsity, (and Andy Goldsworthy reference)

I presented it as a joke, but also a truth.  The title, The Artist is not Present, was a direct reference to Marina Abramovic's performance (that I went to see) at the MoMA, and the shovel left in the space as a nod to Marcel Duchamp (specifically his "In Advance of the Broken arm"). The multiple choice question didactic was a way to playfully engage the audience, while dropping clues to some of my favorite popular cultural ephemera, as well as a statement of my feelings toward the reception of my artwork by my local audience. It's a construction of an environment, one that the audience was excluded from (only able to look through the window in the closed and locked door), using common objects, symbols, and cliched ideas.

This year I have installed something along this vein, however at the this point in my work, I have reached a state of utter disregard for my local audience. I feel like after the 4 years that Valhall Arts has been open, I have taken them as far as they are willing to go in regards to viewing and thinking about contemporary art. Their responses are baffling and frustrating, and mind blowing in their ineptitude. I am instead focusing on my ideas, my work, and marketing it to a broader audience, beyond my neighborhood, hopefully for viewers who care to take the time to understand it. This situation could be considered a brief re-enactment, an homage of sorts, to Duchamp and his behavior at the end of his career when he stated that he was no longer going to make any more art, and instead, just play chess. (Image below is Duchamp's window display for Andre Breton's  Arcane 17 at the Gotham Book Mart, 1945)

Time would reveal that this was a sort of performance art in itself, as Duchamp was busy for many years creating his final grand artistic gesture. (The creation of Etant donnes -- link via ToutFait.com, is to an animation by Robert Slawinski, and involves the five following unaltered works by Duchamp in the order in which they are listed below:

Window Display for Andre Breton's Le Surrealisme et la Peinture, 1945
Given: Maria, the Waterfall, and the Illuminating Gas, 1947
Study for Given: 1. The Waterfall / 2. The Illuminating Gas, 1947
The Illuminating Gas and the Waterfall, 1948-49
Given: 1. The Waterfall / 2. The Illuminating Gas, 1946-1966)

I want to leave my audience to wonder where I've gone, as I go out into the world to enjoy all it has to offer. I leave them only a tiny clue, easily overlooked, a QR code to scan, itself a bizarre object unique to our contemporary digital culture. I wave a fond farewell, as I bid them  to "piss off!".  To those curious few who make the effort (and have the smart phone ability) to scan the code, a surprise. See what it will bring? Yep, "Nothing Here."

Giving it all away!

My new installation is a very subtle and complex work of art. Many who visited the opening were confused and did not understand the meanings in the work. It was very common for people to rush in and out, only spending a short time looking at the installation. There was often a lack of serious consideration given to the artwork, rarely was any time taken to just experience the environment, taking in the entire installation, absorbing the myriad of sensory stimuli in the space. I was often asked, “What’s it about?” as the visitor just wanted the quick answer, for me to simply tell them my ideas. To do that would defeat the making of the art, the delivery of my ideas through beautiful environments. When I create an installation, I compose the entire environment, directing the visitor’s experience, so it is somewhat disrespectful when a visitor does not take the time to actually look at what I’ve done. Why are you here? I do not understand this mentality, this lack of attention. I assume these are folks out on the First Friday Art Walk, so they must be interested in art. They may just be unfamiliar with, or unaware of, how to look at art. It appears that there is a lack of motivation to investigate, to explore, engage and enjoy strange or confusing artworks. Where is the creative curiosity? Perhaps a person’s ego is bruised by this confusion, experiencing a feeling of stupidity because they do not understand, and this puts them off. But, do not make the mistake of confusing the subtlety of the work as some high brow, over intellectualized “art-speak”.  My ideas behind the work are persistent human emotions, issues and conditions common to all, and if the viewer would only take the time to experience the work, in its entirety, they would arrive at the answers themselves. Any work of art, will, of course, always be an individual experience, so my ideas are not necessarily the ones the viewer will arrive at, but once an installation is truly experienced, the messages and emotions and thoughts created in the viewer become valid as well. Being in the west, in the lesser populated heartland of our country, there is a bit of a disconnect with the rest of the contemporary art scene found in major cities (NYC, LA, Chicago), so the reactions of my public does not surprise me. It is confounding though. (I will digress here no further, for more discussions see other &/ future posts.) So, to aid in the reception of my work, I will explain it, in an attempt to educate my audience, and perhaps, some will be intrigued enough to want to see it (again).

Moving Pictures, Take Two

Meditations, 2012

 The space is small, sparsely furnished, with minimalistic objects and sensory stimuli. There is an intimate feel of an alter space, with the dramatic black curtains on each side of a white cloth panel in which the short film is playing in a loop. The white cloth cascades out into the small room in a wrinkled watery stroke. A small battery operated candle flickers artificially in the middle of this ‘stream of cloth’. The edges are defined with two white ‘columns’, haphazardly leaning against the walls. Opposite the video is a sterling silver necklace with a baby shoe charm, and upon further inspection, it is revealed to contain the artist’s blood. This small object is lit with a spotlight to accentuate its importance in the installation, its placement opposite the video purposefully used to contrast the ready made object with the created object. There is also a small table with a simple tin tray with bread and small cups filled with wine. There is a small didactic, similar in size to a prayer book, listing the installation materials*, and stating to “please use reverence” if one is going to imbibe in the proffered bread and wine as a sacred sacrament. This is the single sign directing the visitor to the importance of their interaction with the work, or not, as the case may be, and to be aware of the reasons behind their choice.

The short film is a digital collage made with an iPhone camera, using an 8mm film application, and has a vintage feel, being black and white, dust scattered through out and a jumpy, frame skipping look. This artificial aged feel is purposeful, used to instill a sense of nostalgia in the work, a timelessness, and something coming from long ago, giving the work the appearance of traveling through time, yet actually being a false indicator, made as is was with a modern device.  The 3 minute film begins with a blank shot, a rhythmic beating of shadows against a white background, really bringing again, the artificial aging, and digital creation, with its ‘dust’ and ‘projector’ noise to the viewers attention. The image is what one might see upon waking in the room, opening the eyes, beginning the day, the bare ceiling filling the entire frame, with only a bit of the wall grounding the imagery like a landscape. The next scene is a quiet shot of a stark and empty table and chair, cast with a dramatic black shadow, cutting the round table not quite in half. This could feel like a lonely time, but my intention was one more of reflection, and meditation (thus the name, Meditation 2012, part of the Moving Pictures series). The round lines in the chair and table contrast with the sharp straight line created by the shadow on the table. There is an interrupting triangle of another shadow, just breaking the edge of the frame, with other straight shapes distracting the viewer. The stillness and length of the shot, the slight, slow movement in a circle, all are commentaries on the quietness of the moment, perhaps a morning ritual, or a time ‘at the table’, a place for sustenance.  The last shot of this scene is one from a distance, and we see the doorway, and the intersection lines forming a cross in the reflections on the French door. The doorknob a round point in the frame, moving slowly in and out to draw the viewer’s attentions, foreshadowing what’s to come.

Midway through the film the scene cuts to a shot looking out the window, now the dominant shape is the square, the strong white lines creating multiple crosses, the ‘outside’ is introduced, as the view looks out the window. There is a very subtle, slow drawing in and out, almost peering out, but then drawing away, moving forward and back, like a breath; it is a preparation of sorts, a conscious change of thought from the previous scene at the table, one of the ‘self’, and now is shifting to thoughts of the ‘other’. This is continued in the next scene shift, taking the viewer on a slow progressive journey from inside the home, out into the community. However, there is a reluctance, a hesitancy, even as the pace of the film begins to pick up. The scene is that of a closed door, with its fairly uninviting feel, shot from the distance as it is, and the noise taking on a low volume roar of space. The stagnation is broken in the last 30 seconds of the film by a dramatically different scene with movement, as the viewer is ‘walked’ out of the courtyard. We see again the windows, but from the outside now, and only in passing glances. The strong white lines of the columns as they pass by are symbolic of the daily duties, and responsibilities of daily life, the scene ending with a pan to the sky, a symbolic ‘going out into the world', and finally the film culminates in a final still view of the portico of a church, linear columns holding up gently curved archways, and a reverent statue of St. Francis barely discernible in the shadows, signifying an arrival, a finding of ones place, a relaxing celebration with the first obvious sounds heard, those of birds, and with it, a peaceful feeling of freedom finally arriving, as the film washes out.

The overtly religious symbols I use in the film are there to direct the viewer to spirituality, but it need not be necessarily Christian; it can be any sort of spiritualism. The work was opened on Good Friday, probably the holiest day in the Christian faith. I reference the Christian story of God’s giving of the Son with the repeated use of  the iconic visual symbols, the cross, and communion cups, accentuating the sacrifices that were made for the sins of humankind, and the forgiveness that is given through God’s gesture. The ritualistic re-enactment through communion, is highlighted with the objects associated with that ritual, also offered as sustenance and refreshment, and an offering to the visitor. The white cloth on the floor is a symbolic of the parturition, and Mary's sacrifices she was required to make. I wanted to spotlight the sacrifices we all make, and as a symbolic gesture of my own, drew my own blood for the work. Another message in the work is also one of forgiveness, something everyone needs, even giving grace to ones self. We are all lost children, who suffer through our own sins and mistakes. We all sacrifice ourselves as adults for our own children, or others, spilling our own blood. These things I touch on through the purposeful use of the particular objects in the space. I also point out that this is not a holy space, though the obvious artificiality of some of the objects. The fake old style modern technology used to make the film, the candle not being a real candle and the columns not really there, all remind the viewer that it is a work of art and not a sacred place, as it can be anywhere. It is offered as an opportunity to be used as a spiritual space, but more importantly I want the viewer to take away enlightenment within themselves, about sacrifice, forgiveness, and finally acceptance and peace.

*Installation Materials:

3 minute 7 second looped black and white video

Black and white cloths

White columns

Bread and wine offering

Silver necklace with baby shoe charm

Candle

The artist's blood

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.

The Fine Art of Letterpress Printing

Valhall Arts is pleased to announce an upcoming exhibition featuring the Fine Art of Letterpress printing by Shelby Montross of Meadowlark Creative. The exhibition will open Friday, September 2nd, with a reception from 6:00-9:00 p.m., and continue through October 7, 2011.

"Sometime in-between the invention of moveable type and the proliferation of 24-hour copy centers, the craft of letterpress printing evolved from an essential trade to a forgotten one," states Montross. "Abandoned by all but a few craftsmen, the art of letterpress printing became that of a bygone era. Printing, it seemed, had lost its soul, its beauty, and its individuality. Meadowlark Creative is bringing it back."

Printing on a 1951 10x15 Chandler & Price (one of the last ever made) and a Vandercook 317 letterpress, Meadowlark Creative meticulously designs and prints custom prints, business cards, stationary, invitations, and announcements that are as unique and memorable as the message you wish to communicate.

Shelby Montross of Meadowlark Creative will relate her experiences as professional designer interested in the creative and commercial potential of letterpress, and will introduce general concepts, terms, and processes involved in creating personal and professional letterpress work.

During the gallery walk receptions on the 'First Fridays', (Sept. 2 and Oct. 7) participants will have the opportunity to create their own print, using hand-set type and print coasters on a Kelsey 3x5 letterpress with both metal and wood type.

The Artist is not present.

The Artist has....
A. escaped down the rabbit hole.
B. left the building.
C. gone buffalo hunting.
D. __________________

Installation featured at Valhall Arts for the summer.
Stop by the Plaza level of the Fort Collins Museum of Art to see it.
(201. S. College Avenue, Fort Collins, CO)

3rd Anniversary Retrospective

In a nod to all the artists that have helped to make Valhall Arts a success, I am pleased to announce the 3rd Anniversary Retrospective, opening April Fool's day, 4/1/2011, with a reception from 6:00-9:00 p.m., at the gallery.

Artists included are;

Thom Bator
Cathy Becker
Laura Brent
Kerry Brooks
Camellia S. El-Antably
Jennie Kiessling
Griffin Marsh
Andrew Michler
Frank Stanley
Rae Stimson

Your continued support over these last 3 years has helped Valhall Arts grow and prosper. With the recent changes in our local art community, we are proud to continue to bring thought provoking contemporary art exhibitions to you, the audience. Your participation is required for success, so please stop in, and say ‘hello’, and be a part of the art world.

We are located at 201 S. College Ave, Fort Collins, CO, right on the Oak Street plaza, in the historic Post Office building, with the Fort Collins Museum of Art.

Valhall Arts is proud to support the Fort Collins Music eXperiment, April 8th and 9th, visit their Facebook page, or website to learn more.

TPAAK Young Curators Install the Exhibition

Today was a blast with the entire 4th grade class installing the 7 artworks they created, researched, and curated. The groups all worked together wonderfully, and the show looks great!

Be sure to stop on in on Friday, Dec. 3, from 6-9 pm, at Valhall Arts, 201 S. College Ave, Plaza Level 2, Fort Collins, CO, and meet the students at the opening reception. The exhibition continues through Dec. 17. Visit www.valhallarts.com to learn more.

TPAAK Young Curators at Valhall Arts

Young Curators Group: A project of Front Range Community College and T.R. Paul Academy of Arts and Knowledge, Exhibition opens at Valhall Arts, Friday December 3, 2010, 6-9:00 pm

With help from Front Range Community College's Museum/Gallery Studies, Ms. Mockerman's 4th graders at T.R. Paul Academy of Arts and Knowledge have been working hard at becoming young curators. The Young Curators Group meets every Monday afternoon, with students, faculty and community artists that are part of the the Museum/Gallery Studies collaborative from Front Range Community College. All visit and attend field trips with TPAAK students to explain and engage in the process of a museum curator’s job.

Ms. Sarah Mockerman’s 4th grade class is learning about the art history of cultures around the world and more specifically, the symbols that are represented in each religion. In the spirit of the holiday season, TPAAK students have recreated pieces of art from each culture and will, as the Young Curators Group be curating and installing an exhibition of the work at Valhall Arts that will open Friday, December 3, 2010. The Exhibtion will run through Saturday, December 18, 2010.


Exhibition Theme ~ Religions From Around the World

Names of the artworks ~ Hindu Color Splash, Buddhist Prayers, Judaism Night Sky, Knots of Christianity, Islamic Crescent, The Short Days and Long Nights of Winter Solstice, Kwanzaa

Learn more about the T.R. Paul Academy of Arts and Knowledge, click here.

The American Dream: A Juxtaposition

Just entered my video into an exhibit in Chicago.
Below is my statement:

How does one define the American Dream? Is it the attainment of a collection of priceless objects, living the lavish lifestyle of wealth and fame? Or is it attained through our accomplishments? The often touted goal of "having it all", is this possible? How does one maintain the delicate balance of family, career, and personal accomplishments, without losing the personal sense of themselves? True happiness comes from the intra-personal relationship with one’s self, and the inter-personal relationships with others, through the interactions of a small community of close contacts. Ultimately, we are defined by our dreams. The American Dream is a personal institution, one that suffers in our disconnected, wired world, with its fast paced modernity. We offer only passing glances to others as we go about in our media focused consumerist culture, missing the greater things of value, a true awareness of the moments, and real connections. Only through living a valid life, doing what one loves, contributing to civilization in a lasting way, and engaging with others, can the American Dream be realized.

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".

"In the Attic"

Promotions

So, I must do a bit of self promotion, wearing the gallery director 'hat', and promote the artist. Seems I do a better job with promotions of other people's shows vs. my own shows, so I have kicked myself in the rear and am doing a bit of marketing before the exhibit closes. Here is the new postcard; I have created it in the theme of the Polaroid, a few of which appear in the gallery.

New Photographs by Laura Brent, opens Friday!

Putting together the new exhibit of my latest photographs, opening this Friday, Sept 3, with a reception from 6-9:00 p.m. The works included feature new images in two previous series, both the "White Dress" and "Toyland". Also, I will be showing some more personal photographs, images taken of my family and our times spent over the summer. To exhibit these intimate family pictures is challenging for me, as I am a very private person and try to keep my professional and personal images separate. The quality of the images is inspiring me to share the work with my audience. I only hope they will enjoy them as much as I do.

Also included in the exhibit are some Polaroid images, both new and old, and digital images formed in the 'polaroid' style, using the latest technologies.
Photo Credit: "River", taken in Fort Collins, Colorado, 2010 by Laura Brent. All images copyright of the artist.

Maasai Exhibit Closing Soon!

Don't let this exhibit pass you by! The summer exhibition at the gallery, "Through Our Eyes: An Exhibit of Maasai Photographers", will close with a reception on August 6, 2010 from 6:00-9:00 p.m. Visit the website for more information. ValhallArts.com (All images copyright of the the artsits.)
Photo Credit: "Children without Mothers", Musa ole Shenaai

Short Film Showing at the Lyric Cinema and Cafe

Valhall Arts is pleased to announce our first formal venture into the world of film. A showing of the short documentary film, "Through Our Eyes: A Maasai Photographic Journey" will occur on July 17th at 1:00 pm at the Lyric Cinema and Cafe, (300 E. Mountain Ave, Fort Collins, CO 80524), in conjunction with the current exhibit featured at the gallery. The film, created by Lindsay Simpson and Joana Roque de Pinho, documents the project organized by Roque de Pinho, in which she placed cameras into the hands of the Maasai people of Southern Kenya, allowing them to creatively document their lives and culture. Please visit the website, www.valhallarts.com for more information.

The line-up will be as follows:
1:00 PM Opening short film, "Grasping the Grey Ghost" (Simpson's goshawk documentary set in Arizona on the Grand Canyon, approx. 15 mins.)
1:15 PM Featured Presentation, "Through Our Eyes: A Maasai Photographic Journey" (approx. 30 mins)
1:45 PM Bonus Feature, "Fort Collins Music Experiment" , by Nic Tapia, (approx. 30 minutes)

A suggested donation of $2 is requested.
Hope to see you there!

Public Practice Exhibition

Well, my new exhibit went off with a bang, even if it was last minute. I was fine tuning the particulars up to 3pm Friday, but everything worked out well. The photo-booth was a fun time, with people making faces, and laughing behind the curtains. The typewriter was a huge draw to young and old alike. Some new and amazing comments were added to the walls, and for some, it was a first time experience to use such an ancient machine (ha!). The videos, put into a loop and projected onto the wall/corner, were quite intriguing, and it will be interesting to see the creative abstraction one continue to grow and change. The gallery will be open Thursdays 12-2pm or by appointment. The exhibit will be on display through November. Visit www.valhallarts.com for more information.