Digital Art: Seoul Triangle

Seoul Triangle

Would you believe I’d been planning this particular image for days and days and days? I wasn’t sure how it would turn out, but I’m happy with it. (It is based on the same photo as the prior two images.)

Book: Vija Celmins: To Fix The Image In Memory, edited by Gary Garrels

Cover of Vija Celmins: to Fix the Image in Memory

Vija Celmins: To Fix The Image In Memory
edited by Gary Garrels
published by San Francisco Museum of Modern Art, in association with Yale University Press
2018

In late 2018 & early 2019, SFMoMA had a fantastic exhibit of the art of Vija Celmins, and that show led to the publication of this enormous, substantive catalog of her work. It contains essays with a broad range of interpretations of her catalog, high quality reproductions, a collection of insightful interview excerpts, AND a biographical timeline that is unusually well written. It is one of the better catalogs I’ve purchased, and after enjoying it in small servings since the viewing the exhibit in person TWICE (it was that good), I read it from end to end today.

There is something remarkable about Celmins’ artistic focus. She has created a range of work to show off her skills, but her long term commitment to drawing and painting certain subjects, such as the surface of the ocean or the depth of the sky, in a very particular method, has led to a profound body of work. It is remarkable to have such a range of skills, to have shown them off through solid early representational work in oil paints and remarkable sculptures (though she considered those drawings or paintings of a sort), and also to perform time-consuming, in-depth studies of a few subjects in graphite with such SATISFYING results, all while bucking other artistic trends, and maintaining a unique “voice.”

I’m old enough to have trained in architecture back when we actually drew (no, really), and so seeing such amazing work in graphite means something to me – it’s a medium I worked in for so many years… and she does wonders with it.

The graphite drawings in particular are inspiring and gorgeous in person. From afar, they are the sea; from up close, they are the texture of graphite on paper; and you can feel yourself slipping between the two understandings, especially around the edges, and being pleased with that experience.

Her pictures of the surface of another planet are also remarkable, and you realize after viewing several that you recognize specific rocks appearing in the drawings, because the rocky landscape is NOT a random drawing of high precision, but a high precision interpretation of a specific NASA image, methodically mapped out and reinterpreted in different weights of pencil, or from a closer point of view.

The reproductions would have been satisfying enough for me, but the texts, including the interview snippets on her NEED to do this work, and on the way drawing and painting on these projects became part of her way of living in awareness… it’s all quite informative.

I love her consistency; the way she challenged herself by changing media when the time felt right; the depths of the blacks in her drawn skies; the inverse skies she created recently… there is a lot to enjoy.

Great artist; great show; unusually satisfying catalog.

Book: Maria Merian’s Butterflies by Kate Heard

Cover of Maria Merian's Butterflies

Maria Merian’s Butterflies
by Kate Heard
published by Royal Collection Trust
2016

I LOVE scientific illustrations – they are a glorious combination of art and science! I received a postcard with a gorgeous botanical illustration on it by Maria Sibylla Merian, and decided I needed to learn more.

This remarkable illustrator was born in 1647, and devoted her life to the study and documentation of insects, along with the plants they feed on. She became fascinated by insects at age 13, and studied them throughout the rest of her life. Her father and stepfather both made their living by painting; she taught young girls (including her daughters) to paint, and her painter husband (one of her stepfather’s former apprentices) helped her publish her first book on entomology of local (northern European) insects. After several complex life changes, she wound up selling most of her possessions and taking one of her daughters to a Dutch colony in Suriname to study insects in their natural environments. That trip provided the content that she developed into the publications that became her major life’s work, which were collected by scientific societies, royalty (which is how this book came to be published by the Royal Collection Trust), and wealthy amateurs.

It’s not ONLY that she was a remarkable observer, or that she could draw and paint: she also had to master printing arts to be able to sell editions of her work (printmaking is another skill set entirely), and business to sell different variations of the results at different price points (discounted advanced subscription prices, higher prices after publication; uncolored prints for one price, prints hand-colored by her and her daughters for a higher price, and painted variations on vellum for luxury editions…) . She also collaborated with a botanist to provide in depth information about the included plants.

While this little book is just about 6×8″, the printing is on heavy stock and of high quality. Not only are her plates shown in their entirety with their original titles, but there are many pages of details, so you can enjoy the precision and skill of both her drawing and coloring. It’s the color and detail excerpts that really pulled me in.

collage of details from Marian Merian's Butterflies

The book covers her early work, as well as her work in Surinam. (Note that, while she was born in Germany, she lived in Amsterdam, and the colony she visited was under the control of the Dutch at that time. There is a lot of discussion now about the meaning of the “Dutch Golden Age,” especially since so much of the wealth of Amsterdam was generated by exploitation (the death rate of Dutch sailors working for the Dutch East India Company was shockingly high), colonialism, and slavery. It’s good that this concept of whose hard work the country’s success was based upon is ongoing.)

The Royal Collection Trust has images of their copy of her book on Surinam, which I’ll link to here for your enjoyment:

Maria Sibylla Merian (1647-1717) – Metamorphosis insectorum Surinamensium

Maria Sibylla Merian travelled in 1699 with her younger daughter to Suriname in northern South America, to study the flora and fauna. The resulting natural history plates were published in Amsterdam in 1705, at her own expense.

I’m delighted with this book. I even inadvertently learned some things about moths! 🙂

Artist: Mimi O. Chun

I received a delightful art card, with a still life of vegetables. It was nicely composed, but also – the radishes had SEAMS! It was an arrangement of SEWN food sculpture!

The artist who created that is Mimi O. Chun, and she has a great portfolio that goes beyond food and includes social commentary on several topics, which I’m linking to here.

Creatures of Commerce – Mimi O Chun

Creatures of Commerce is a direct response to the discordant nature of 2018. It’s a series of chimeras mashing up creatures, culture, and capitalism. And while I’ve never before been one to indulge my surrealist impulses (it somehow feels like a slippery slope to nihilism), reality is doing a good job of inspiring them these days anyway.

Book: Turning Over an Old Leaf: Contemporary Palm Leaf Work in South and Southeast Asia

Cover of Turning Over an Old Leaf

Book: Turning Over an Old Leaf: Contemporary Palm Leaf Work in South and Southeast Asia
by San Francisco Center for the Book, exhibit curated by Mary Austin and Betsy Davids
published by San Francisco Center for the Book and Autumn Press, Berkeley
2019

I LOVE PAPER. And I often wonder how people can live without it if appropriate natural fibers and other needed supplies aren’t available to make it where they are, or if they need more than they can make. I learned about one of the answers in this lovely catalog of work on palmyra and talipot palm leaves that have been carefully dried, inscribed, inked, and bound into books or assembled into large, flat work to hang.

The leaves generally have a pleasant, soft-wood-like, pale yellow-cream color, and can support very fine linework. The catalog presents excellent samples of recent work, primarily on religious themes appropriate to their region. I especially enjoy some of the contemporary, non-traditional, gilded Thai compositions, and the Burmese scroll-length pieces that have complex edge treatments.