I thought about recycling the last sentence from some writing of mine, only the text is total, but that line, which so neatly closed my essay, seemed pretentious by itself. I dropped the vernacular as if into the dinner conversation at some point and immediately realized Id found my phrase: as to be torn out from the sheet; if to remain as a string capable of being pulled. The next day anne and I quickly worked out a procedure for making the edition: first a layer of black cotton, then white string spelling out as, in cursive, then a layer of overbeaten abaca, then a red string cursive if (except for the dot. I let the ends of the strings emerge from the left margin of the sheet. Once the proofs had dried, i tore the white string away, revealing the sheets black interior. The red string remained, dangling from the side of the work, inviting viewers to give it a little tug.
Tear 'em, up, paper, owl Craft
In January of that year I was invited by the college Art Association to contribute an editioned work to their ongoing series of commissioned artists prints, benefitting caas Professional development Fellowship Program. The edition was to be produced at the rutgers Center for Innovative print and Paper (now the Brodsky center for Innovative editions) in the mason Gross School of Art on the rutgers campus in New Brunswick, new Jersey. Most of my work as an artist has been on, or of, paper, yet Id never made paper until my visit to the Brodsky center. My initial impression of the paper studio was of rank, fecund aromas. McKeown, a master papermaker with the mfa from Yale, presided over this area. My first thought was of making a little book with handmade paper pages, but I was enthralled by a small paper piece Anne had made to show me, consisting of strips of abaca fiber and linen over cotton, in which lengths of string had been. Pulling the strings out created torn edges in the paper strips that resembled the torn pages in my altered books. I tugged at one string and then another, enjoying the process but not especially liking the look of the tears. It wasnt until that evening, over dinner at an Ethiopian restaurant, that it occurred to me to use lengths of string to form words in script. But what was there to say?
Once in the studio i realized that the accidental arrangement of the books in that carton was at least as visually appropriate to the image i had in mind as any of the sketches Id made, so the finished work includes that box, upended and. All of the books are placed paper with spines turned away from the camera. The titles are unreadable, but slightly open pages can be seen here and there. So how might things proceed from here; how to stall a sentence so that it lingers over a nothing-in-particular in order to make the duration of its reading stand in for a silence of some sort. This sentence, writ large, is the text. Sentence, a pencil drawing of mine from 2003. Heres another, from an ink wash drawing, life sentence, i made the same year: a brief morning those screams of rage or joy then the long becoming of body. And self consciousness of power and regret in the waning day breathe in and out. Another invitation, in 2002, brought me to papermaking.
I make grids of old postcards, whose images I have partly or almost completely sanded away, into arrays of ghost images windmills, bridges, castles, and flowers are among my assortments over which I sometimes paint the silhouettes of stacked books. In 1999 I was invited to spend a free day in the studio with a polaroid 20 x 24 camera. One of the small number of these special large-format cameras was then on loan to columbia college Chicagos photography program, and invitations were being made to artists unfamiliar with the machine and its capabilities. Id previously used film cameras mainly to document my work, but was familiar with the exceptional physical and chemical attributes of large format Polaroids from seeing the 1979 installation, at the david and Alfred Smart Gallery (now Museum of a life-sized Polaroid photographic reproduction. The Transfiguration of Christ, from the original oil on wood painting in the vatican Museum. I decided summary to make my own version of a transfiguration by photographing all of the books in my library by or about dieter Roth, whose extraordinary work with artists books had greatly influenced my thinking about the book as art. I loaded a cardboard box of Roth books into my car and drove biography to Chicago.
Now and then I would make collages out of this material, at first by carefully cutting away the text on one or several pages, but saving the strips of the spaces between lines of type. Since i had cut the words out at what type designers call x height, the tops and bottoms of some letters were left behind. The bowl beneath a lowercase g made for an especially evocative graphic residue. Little fragments of letters, still almost readable, peppered my otherwise blank. Page collages, and thinking of my cutting away process as a form of erasure led me to think about erasing images. The exemplary object for such erasure was the postcard. Souvenir par excellence, the postcard is writing for from one to another, and putting one into the mail validates both the experience of the place pictured on the front and the bonds of whatever nature joining the sender to the recipient.
Jeezy tear that pussy
I could do a very good job of drawing the elements of a still-life. I enjoyed sketching the figure or a landscape. Indeed, the first ten years of my exhibiting career consisted almost entirely of drawings, although of a more process-oriented kind. In a sense i became the artist i am now through an act intended as a negation. Let me explain: In 1972 I read about the work of Robert Ryman in an essay, by robert Pincus-Witten, in the june issue. Looking at the black and white reproductions of Rymans white paintings, my thoughts ran something like, this is resume not art. This is just white paint.
Its not even white in these pictures. Theyre white paintings that look gray in reproduction because halftone images cant ever be completely white. Irritated and fascinated, i decided that if a white painting was art, then a pencil drawing which was merely shades of gray was also art, and I set to work straightaway. This exercise in shading was easier said than done. Wherever my crosshatching overlapped, a darker band emerged in the graphite, and after many hours of working and reworking the paper, my field of gray was visibly traversed by many horizontal bands. It was beautiful, at least to me, and also a way to understand something of what Ryman was doing diamond's with that white paint. When you tear pages out of books, you accumulate a great many torn pages.
On occasion I cut printed papers up and paste some pieces down. From time to time i stack things up (again, mostly books) in front of a camera and make photographs. In recent years ive sloshed paper pulp around in vats, lifted masses of it up in screens, deposited the wet sheets on tables and festooned them with strands of string or yarn before pressing and drying them. On other occasions ive painted on paper or pages (not, so far, on canvas). Before, during, and after all of this, ive made drawings, or else written words that sometimes can be read as art.
On given days these processes, or others that seem similarly inane in summary, occupy me in the studio. I assert that i am an excellent tearer of pages or stacker of books, but what then constitutes my virtuosity? Look at one of my altered books and you can see the torn edges of every sewn or perfect-bound sheet that formerly comprised its text block. My systematic excising of pages leaves a form whose organization in itself challenges the suggestion of random harm within the word, tear, commonly used to describe what ive done. As for my stacking, its the ordinary work of aggregation, whose oddness arises from what it is Im building up with. Books in a row could be on anybodys shelf, but books in a stack raise some interesting questions. As an art student i acquitted myself well enough in the sculpture, printmaking, and painting studios.
The, millions: The, death of the, ingénue, the, millions
For 2015 Johnny aubert (Beta) is joined by luis Correia (Beta aigar leok (tm racing eero remes (tm racing matthew Phillips (KTM) and Matti seistola (Sherco ch racing). Set to create a stir Antoine meo makes his long awaited return to enduro action following injury in 2014. Cristobal guerrero makes an eager debut with Yamaha and last but not least laia sanz (Honda redmoto) will be there too. After a quiet winter for enduro, the 2015 season certainly explodes back into life this weekend. By way of presentation introduction i offer as my own an explanation of my artistic methods provided summary by a student attending a lecture Id just given about my work. So, he paused before asking his question, your art is tearing stuff up or stacking things? I paused myself before replying, well. I tear stuff up; always paper, mostly pages. I stack things; mostly books, but sometimes more organic materials.
Defending champion Alex Salvini (Honda redmoto) heads the Enduro 2 class. The man to beat for the 2015 season Salvini should have his way. On paper the Enduro 3 category seems thrilling. Champion Oscar Balletti faces Manuel Monni (tm deny Philippaerts (Beta boano) in search of redemption and freud newcomer Thomas Oldrati (Husqvarna) is ready to climb on top of the podium with the husqvarna 300. lynn / m, the junior class will see giacomo redondi square off against ewc youth Cup champion david Soreca (Beta boano. Other Juniors include matthew Bresolin (ktm gp motorsport nicolò Bruschi (Honda) and Nicolas Pellegrinelli (ke motorace moto mtc) back in the competition after a serious accident last may. The foreigners class features the crème de la crème of the enduro world.
beach of Lignano sabbiadoro is about 12 minutes and the Cross Test, located near Luna park will challenge the riders immediately after the start. Everything will be repeated five times. On Sunday the official start is set for.30 with three laps to be completed by noon. The afternoon will see the start of the lignano Enduro beach Race for a two-hour marathon. Edmunds / m, but who are favourites for success in Lignano? The Enduro 1 class is wide open with defending champion Thomas Oldrati off. But Simone Albergoni returns with Kawasaki to challenge the field that includes maurizio micheluz (Husqvarna) and Alessandro battig (Honda redmoto).
Tearing something means damaging it a little bit, while tearing up means completely destroying something by dividing it into small pieces. When was the last time legs you tore your clothes? Have you ever torn up something you'd written? Posted on February 19, 2015 Categories. News, the opening round of the Italian Enduro Championship is shaping up to be a belter with Antoine meo, alex Salvini, matt Phillips, johnny aubert and Cristobal guerrero all going head to head. The winters officially over. The first round of the Italian Enduro Championship opens this weekend with a two-day sand fest at Lignano sabbiadoro. A new location and a new formula for a championship will see the best riders compete. Antoine meo matthew Phillips, johnny aubert and Cristobal guerrero will join Alex Salvini, thomas Oldrati, oscar Balletti, philippaerts, manuel Monni and david Soreca.
Non profit business plan pdf
Don't Confuse These: tear tear. Here's another pair you shouldn't confuse! I tore my shirt yesterday. I made a small summary hole. And my friend tore up a piece of paper into small pieces. So what is the difference between tearing something and tearing it up? You're right as always!