Friday, October 6th, 6 – 9 PM
Negative Space Galllery @ DL HQ
On View 10/6 – 11/30
“Making photographs serves as a medium to express my interest in the unexpected and density of relationships that we share with others and our built and natural environment. Through the use of the photographic frame, I explore the tenuous nature of looking and seeing, hoping to continuously expand the questions that it can arouse.
By framing and capturing these environments, I materialize my own experiences with the aim of expressing a curiosity in a larger collective unconscious. I am often looking for images I have seen previously and hope to recreate in my ongoing photographic practice – with the goal of arousing further interest and careful looking and framing in the process.”
Robert Frank, Edward Weston, Lee Freidlander, August Sander, Harry Callahan
Konstfack Skolan, Stockholm Sweden
CalArts, Valencia CA
Moderna Museet, Stockholm Sweden
Black and White Film, Silver Gelatin Prints, Full Frame Analog Photography
Peter Karnig Photography
PO Box 395
Oceanside, OR 97134
Friday, August 11th, 6 – 9 PM
Negative Space Galllery @ DL HQ
“These imaginary landscapes are created with layers of found oscilloscope recording papers from the Black Hole Surplus in Los Alamos, NM. The Black Hole Surplus was a large thrift store from the collections of a former Los Alamos National Labs machinist and technician, Ed Grothus.
Due to the nature of how I like to render formations, my process is slow with cutting, tearing and gluing each layer to add depth and texture. These horizons are filled with criss-crossing, overlapping lines that are used to graph formations, rough edges, sediment filled crevasses and places that exist in these papers.”
Kim Miskowicz is a visual artist based in Oakland, CA. Her work has been exhibited at numerous Bay Area venues including Artists’ Television Access, Headlands Center for the Arts, San Francisco
Cinematheque, NIAD, and Krowswork. She received her Bachelor of Arts in Fine Arts at the University of New Mexico and did post graduate study in painting and experimental film at the San Francisco Art Institute and has been an artist in residence at Kala Art Institute and Project 387. Her work focuses on a response to material and data overload creating breaks in continuous thoughts similar to a building obstructing a view of a simple horizon. Her paintings and films are inspired by the belief in therapeutic
effects of viewing distant forms in the landscape. She uses film and video as a multiplier and quick viewer of minutely varied compositions and makes large scale found paper collages. She explores media and material absorption in relation to determining what of our personal, emotional and informational lives one preserves versus invalidates.
Oil Paintings & Woodcut Prints
by AARON JOHNSON
Friday | December 9th | 2016
6 – 9 PM
On view : December 2nd – January 27th
Aaron Johnson’s oil paintings and woodcut prints explore the natural world and our human relationships within it. Gestures of California trees draw his eye to their underlying structure and geometry of forms. The paintings use the traditional materials of oil on linen canvas and the woodcuts are printed from multiple woodblocks with a 1947 Vandercook hand press. The process takes patience, but encourages a slower, more contemplative way of looking at the interconnectedness of life.
Aaron studied art at UC Santa Cruz, with a focus on painting, drawing, and printmaking. He gained more printing experience during his years at The Yolla Bolly Press, where he served as the letterpress printer for numerous limited-edition books. Aaron’s studio is in the Live Oak neighborhood of Santa Cruz where he participates in the Open Studios Art Tour each October. His work has been exhibited at Stanford University, Triton Museum of Art, San Diego Museum of Art, and Monterey Museum of Art.
More information and images at: www.aaronjohnson.net
Santa Cruz Printers’ Chappel
Celebrating 35 Years
Broadsides, Prints & Books
On view Friday 9.9.16 – Wednesday 10.21.16
The Printers’ Chappel of Santa Cruz first met at the home of book dealer George Kane in the early 1980s. Letterpress printers, bookbinders, papermakers, marblers and book dealers were present to help shape this loose organization of friends and colleagues.
Our first exhibition of the Chappel’s work took place in 1983 at the Art Center in Santa Cruz. Two hundred catalogs with a foreword by William Everson, Santa Cruz’s distinguished poet and master printer, were letterpress printed and produced as a collective effort. Each participant contributed a page representative of their work, and the whole was hand-bound by Chappel members.
In subsequent years the membership shifted and grew but maintained a distinct identity shaped by our location on the northern lip of the Monterey Bay. We mounted gallery exhibitions and hosted many expert visitors at meetings and public talks. Chappel members undertook publishing efforts, accepted commissioned work, offered lectures, and taught printmaking, design, letterpress printing, marbling, binding and the history of the book. The core members stayed in the community maintaining relationships formed at the university.
This exhibition chronicles the work of thirteen longtime members of the Printers’ Chappel of Santa Cruz. It shows the breadth of exploration over more than three decades and celebrates our early work along with the most recent. Our shared history informs our work and illustrates how old friends continue to influence one another over time. We take pride in our 35-year commitment to the book arts.
My works are constructions that are informed by imaginary imagery, the natural environment, architecture, memory, and process. I consider the places that I depict to be the result of my struggle to understand, interpret, and inhabit the complex landscape of the world that I find myself in. My re-imagined landscapes contain zones of refuge, places of disorientation, exposure, and often include helpful navigational cues.
An important part of my practice is the collection of material. I use exclusively discarded material; primarily gleanings from the cutting floors of outdoor equipment producers, but also portions of abandoned and houseless couches, and pieces of upholstery samples I’ve purchased from Scrap. The materials are paired based on how they relate in terms of color, shape, and size. As I connect the pieces, patterns and shapes slowly emerge, providing a sense of direction. The process is largely additive, but portions are often removed to help create volume, or if incongruent.”
Mansur transforms textiles that are bound for the trash into intensely worked collages with a striking sculptural presence.
I’ll Show You How I Got Here
On view 07-01-16 through 09-01-16
Friday | July 8 2016 | 6 – 9 PM
Negative Space Gallery @ Dependable Letterpress
1192 Illinois Street / between 22nd & 23rd
N U D E | A Photographic Study Of The Human Form | Jason Madara & George McCalman share M Studio in the North Building of the AIC and have collaborated since 2014 on a series of photographic portraits called The Individuals Project featuring subjects from various creative communities throughout the Bay Area. The series of nude studies has never been shown before and will be the debut of their artistic collaboration.
What an amazing inaugural show opening here at Negative Space! Thanks to everyone who joined us and made the night such a success. We’re so honored and happy our first show is with our AIC neighbors, George McCalman & Jason Madara! Their epic scale photographs look truly incredible.
Thanks also to The Black Swans for providing a wonderful soundtrack to the evening & Almanac for the delicious beer.