Art-Filled Weekend…

It was an art-filled weekend…and somehow I managed to get a healthy chunk of grading done too. I’m only planned for one grade through Wednesday, maybe, though, so something fell through the cracks. Or I just don’t know how much I can get done in the next two days, so I need to play it by ear. Scary when you’re doing labs though. I need those planned ahead of time. But the lab I was going to do Tuesday, I need to be able to prep before school or after the day before, and I can’t do that for Tuesday…staff meetings and parent meeting. So it got pushed to Wednesday and the thing before it takes up an unknown amount of time. So there’s that. Scrambling a bit.

Quilt Visions opened this weekend. I made it to Friday night’s preview, Saturday morning’s opening and my ‘stand-in-front-of-my-quilt’ time (which was really a long, interesting conversation with one of the other artists), and the dinner on Saturday night. The best part of any of these events is talking to other artists; I really enjoyed that.

I especially enjoyed hanging out with Sheila Frampton Cooper; hadn’t seen much of her since she moved to France, but now she’s back.

I tried to take photos of the space more than the quilts…really, seeing them in person is always better.

Niraja Lorenz won Best of Show with this fascinating piece; I enjoyed talking to her about it (although forgot to get a photo of her)…

Visions is not a huge space…

But they managed the show well…here is Dianne Firth’s piece, always cool to see the shadows her work makes…

And Irene Roderick drew on hers! I loved that bit…

The wall with my piece and two other interesting pieces…

Phil Jones’ heart…

Another view…

A closeup of Libby Williamson’s piece…

And look! I actually took a picture of a piece with the artist.

Sometimes my brain works.

I had a cool conversation with Susan Lapham of the second quilt from the left.

There are a couple of sections I just didn’t remember to photograph…

I tried!

Meanwhile, I did come home on Saturday and pinbasted the current quilt…

After finishing stitchdown on Friday night with Kitten’s interference…

The last time this will be seen…

Before it’s sewn into the quilt…

Pinbasting on my knees is never really fun, but this was quick…

Mostly because I had a deadline to be back at Visions for dinner…

I raided the stash of another quilter who left me a bunch of fabric when she moved…found two full yards of fabric to piece for the backing…

I was playing with all these pieces when I realized I only needed the purple and the green. Good use of them.

The dogs have been playing a bit. Sort of. Mostly Simba trying to play and Katie yelling about it.

Poor Simba…

Last night, I started quilting finally…only about 6 weeks after my original plan.

Still with Kitten in the way…

This week is a little chaotic, so I’m hoping to get an hour done a night, maybe a little more. But we’ll see. I do need to get to school, though, even though I have a few more photos of the show that need resizing, and normally I would add all the names and links. I’ll try to add those later. But for now, need to get to school and do a lab and I don’t remember what else. Yikes. I wish I had a better handle on it. But I don’t.

Aspirational Batting

Quilt Visions opens tonight…looking forward to seeing the whole show. Looking forward to my abortion-rights piece being out in the world. I started it about a year ago in reaction to Texas tightening up abortion laws. I really wasn’t thinking Roe v Wade would be a memory by the time I got it into a show.

My Body. My Choice. Lots of yelling in this quilt. It was a traumatic, stressful quilt to make. So much so that the next piece is all just pretty. That one got into Quilt National. Not bad for two quilts made in a year when I didn’t make much.

I will be at the preview opening tonight, the members’ opening tomorrow, my art time from 10:30-11, and then the show is open through January. Check it out! It’s always an honor to get into these shows…one I didn’t think I could attain 25-30 years ago. So that’s cool.

On average, I finish about 6 good-sized quilts a year. COVID has kicked my ass on that number. Well, COVID was the initial cause, but now it’s just my teaching job that does it. In 2020, I did make 6 pieces, but two were 12″ square or less. So 4 good-sized quilts. There were 8 in 2021, but two were small (12″ square or less) and one was a final finish on a quilt from 2001 or so. Two of the other 5 were relatively small pieces for me. This year? This year is fucked up for some reason. I’m on the 4th quilt of the year, but they have all been big, hefty beasts. That said, I finished the first one in January (it’s the one in Visions), and then the next one took me 6 freaking months to get out (the one in Quilt National)…then one over the summer, finished by the end of July, and this one, which I don’t even think is that big, is taking for-freakin-ever. I started it the end of July, early August, and I’m still not done. It’s the piddly I-can’t-even-work-for-an-hour shit that’s killing me. I did get exactly an hour last night, because I went to bed later. But I’m so frustrated. I so need more art time. I don’t know what is going to give (probably my sanity), because it’s not like I can just wing the day job. There is no useful curriculum that makes sense. So completely frustrated.

Sigh. The plus is that I’m getting closer to done on the stitchdown. Here’s Wednesday night…

I made it to the last head! I basically went in a big circle. And last night, I got one arm and her upper torso half done.

I’m pretty sure the other arm is half done? Maybe? Or not. So finish the torso and the left arm, and then I can sandwich it and start quilting. I bought batting on Monday. Let’s call it aspirational batting, because I thought I would be sandwiching earlier this week. Maybe not. I have a shit ton of work to do this weekend in between all the Visions things (which I’m really excited about!), but next weekend is pretty wide open. I’m hoping to finish stitchdown in the next couple of days, then sandwich is an hour or so, then get quilting this week. Stitchdown is taking longer than I thought it would (all those letters!)…I’m well into the 7th hour and have at least another hour, possibly two to go. So I am getting there…but I’m also evaluating the upcoming shows and seeing what I have that can be in those shows so I don’t have to make new work. I WANT to make new work, but let’s talk reality…I need to (1) make smaller work, (2) stop sleeping, or (3) quit the day job (can’t afford to do that yet). So that. Yes.

OK. School. Be efficient. Be be efficient. Don’t let the 7th graders get you down. Deal with the parents’ stuff this afternoon (was supposed to do it yesterday; didn’t happen). Enjoy the art time with other people this weekend…it doesn’t happen as often as I need or want, so enjoy. Get as caught up as possible this weekend. Keep making art.

What If I Run Out?

I came home Monday night, still on Boston time. Sort of. Yesterday, we shopped and packed, and today we’re leaving on California time. Sort of. I’m still up too early and tired and hungry at the wrong times. If at all (hunger…always tired). I’ve got 9 maybe 10 days of mostly nature in front of me. There’s some art and one house stay, but mostly nature. Mostly have showers and toilets, but maybe not on one night. I might come home on my own; I might bring the Man back with me. So many possibilities (no, I’m not leaving him by the side of the road…he might have a job). I have a couple, maybe three books loaded up to read, some stitching, a sketchbook, and probably more shirts than I need. I have more pants than the Man. IDK how he does it, but I can’t wear one pair of pants for ten days. Not happening.

Here’s hoping for some sleep, some hiking, and some relaxation. Keep the weather nice and the neighboring campsites nicer. Or empty. I’m good with empty. The campsite we’re supposed to be in tonight had 21/35 campsites empty yesterday. I’m good with that. Suspect they won’t all be that empty, but that’s OK. I bought a new camp chair to lounge in. I made rice krispies treats (that’s my camping treat). I get to see some art quilts on the way up. It sounds good, yeah? I hope it is.

Monday, I blogged from here…

The couch in the girlchild’s bedroom. I left for the airport from there and flew home, graded most of one assignment because the video screens in our row on the plane were broken. Sucked. I wanted to see the second half of the movie I started watching on the way out. Oh well.

On Monday, we got to announce (finally) that we got into Quilt Visions…

I’m excited. And so glad the jurors Sheila Frampton Cooper, Lisa Walton, and Petra Fallaux chose the abortion rights quilt, My Body. My Choice.

It’s one of those quilts that might never get into a show. Politics y’all. Difficult topics.

So I thank them for being brave. I appreciate the opportunity to show the hard quilts. I know some people aren’t going to like it. I’m hoping we can have a conversation.

Also, this.

I waver between this level of confrontation and wanting to converse to hopefully give people a different view. I think I know what they will say about their side of it, but maybe I’m wrong. I’m wrong a lot.

I read a bunch the last few days…this is from Sea of Tranquility by Emily St. John Mandel. The cat amused me.

I really liked that book. Also about a pandemic. Maybe should stop reading dystopian futures.

Because the pandemic. Yeah. I tested negative when I got home on Monday. I have no symptoms, either from my daughter’s cold or exposure before I went on break. Knock on wood that it stays that way. Guess I’m not ready to give up masks at school yet.

I was hoping to get some stitchdown done the Friday I left and/or yesterday around packing, but I just didn’t have the energy. I have to concede defeat. I will not meet the deadline. It’s OK. It’s still a beautiful quilt and will find a home, an exhibition, somewhere to be seen. Most of them do. Yes, some of them don’t. Those always perturb me. Sometimes it’s obvious why…they’re a little TOO quirky and strange. Sometimes I have no idea why.

Last night, we watched the first episode of a series. I wondered why the Man chose that, since the probability of his being gone until sometime in late July/early August is pretty high. Ah well. It wasn’t that compelling. I stitched stuff down because it was brainless. Kitten hung out with me because she missed me.

I missed her too.

I need to keep track of how much embroidery I do while camping. I am currently panicking that 5 blocks of embroidery is not enough. Is that crazy? It might be. I feel like I finished one on the last trip. OK, so to keep track, I have two blocks of the four March blocks embroidered, so I’m taking two with me, plus three or four from April. Should I pack May? Is that crazy? I don’t know. I just don’t know. WHAT IF I RUN OUT?!

Crafty people understand. OK, we leave in 35 minutes. I need to go pack the food and get the hell out of here. See you on the web. I have internet in three days? Maybe?

All About the Sky…

December is the month of Instagram’s Top Nine…always interesting to see what OTHER people liked of my posts. When I was younger, I’d listen to the top 106.7 songs (radio station) of the year. Do they still do that? I realize with the whole work-from-home thing that I am never in the car, never listening to the radio. That was the only place I listened. Interesting. So much new music could be coming out and I wouldn’t even know. For the daily blog challenge, today is the Top 5 books…probably not fiction, which is good, because I don’t think I could take it down to 5…like ever. My head has so many books in it, I wouldn’t be able to suss out this one from the next one. The top 5 books are the ones I’ve loved the most recently. I just finished Harrow the Ninth by Tamsyn Muir…great book, second in a series, but I think the second book was better than the first, and I loved the first one (Gideon the Ninth). But you’ll have to like some sci fi/fantasy to read it.

So probably, this being a quilty blog challenge, we should talk about quilt books. Probably most people would talk about how-to books or pattern books, but I’m of the opinion, being an art quilter, that you should peruse quilt art and fiber art books, or even just plain old ART books. Tickle the mind with inspiration and ideas and signs of others’ creativity. Book catalogs of the big artsy quilt shows, like Quilt National and Visions…I read those like novels, staring at the photos, reading the statements.

Compilations of many quilts, especially when they expand on the artist technique or intention…

You know, I love picture books.

I don’t want to know how to make that quilt. I’m fascinated with the why and the thinking behind it.

They don’t all have to be quilts to be inspirational…branch out.

I sold most of my quilt how-to books and pattern books years ago. I kept a few, Baltimore Album stuff, some historical ones, some embroidery how-to books, but mostly I have art books now. And I thoroughly enjoy them. Over and over again.

I should be doing schoolwork right now, but I did a lot of that today. Grades are due on Tuesday, though, plus I need to put together posts for next week for all three subjects/levels, plus finish grading all the panicked late work kids are doing, and do some weird engagement thing that I still don’t understand. So it makes sense that my brain is completely shut down at the moment, talking itself in circles actually, trying to decide whether hopefully cautious makes more sense than cautiously hopeful. Fuck me.

I ironed the sky last night. I made a run of 17 sky fabrics.

I pick out my favorites and then try to make them all work together, and in the end, they mostly do. I had a quilt drawing pop into my head just now when I was thinking about this run of 17 fabrics. And it was all about the sky. In a week, well plus a day, I’ll have time to draw it.

Sky pieces ready for ironing…

Fun stuff.

It’s only 10:30 and I’m exhausted. I’ve been exhausted for weeks.

Hi Nova. You are a sweet slightly cross-eyed cat.

I feel like I’m going cross-eyed with tiredness. I’ll go to bed a little early tonight. I still want to iron tonight, and I’ll have to work my butt off tomorrow getting stuff done (what’s new?). But I need a break from school and Zoom. I need a moment with my fabric, y’all.

Quilt Visions 2014: The Sky’s the Limit

So I went to the Quilt Visions opening a few weeks back and this is what I thought: Wow. This is ABSTRACT. In fact, if you didn’t have squares or abstraction in your piece, you probably weren’t in this show. I can think of about 3 pieces that weren’t abstract, and two of them were abstracted. And another two were so close to the subject, that they read as generally abstract. It reminded me of the Visions of old, back up at the Oceanside Museum of Art, where I’d walk through and say, well, I don’t do squares and I don’t do abstract, so I will never get in.

Now in reality, it’s different jurors every year, so that does have an effect on the show. The three jurors are Patty Hawkins, Sue Benner, and Bruce Hoffman, two art quilters and one director/curator. The jurors stated that they wished for the exhibit to show that art quilting is fine art, and it shows a universality of artistic expression. They were directed to “assess the entries in the broader contemporary art context.” Benner admitted that “as a panel we tended towards abstraction.” I’m glad they admitted that. Hawkins claims they were “seeking outstanding artistry within the broad range of voices.” Hoffman mentions that “all art should be judged with the highest of criteria and should be true to great design, understanding of color relationship, secure in strong draftsmanship and the nuances of fine craftsmanship.”

I am glad that they said nothing about the show being innovative or the cutting edge of the art quilt world, because those things would be untrue. Let me be clear, there is some beautiful work in this show. There is some amazing work in this show. There are also pieces that are derivative and that I can walk right past without feeling a need to explore. Yes, that’s always the case, but I would hope it would be less so in one of the bigger art quilt shows. Much as I love having the Visions Art Museum in my town, it’s small…I wish it were a bigger space and that the Quilt Visions exhibit could also be bigger. Then again, I wish a lot of things that haven’t happened yet. And the theme? I saw a few quilts that hit the theme, but I don’t know that the theme is the point.

I would suggest you get a copy of the catalog if art quilting is your thang…you don’t have to MAKE them. You can just like looking at them. Here’s some that I thought were intriguing.

Melody Randol’s piece Still Waters is quietly beautiful. OK, maybe not so quietly with all those marks, but a stunning piece, really deep with wonderful mark-making. What’s interesting in looking at her website is that she has a lot of beautiful landscapes on there, but none that look like this piece.

Rachel Brumer’s 88 Constellations is another intriguing abstract, with marks and stitching representing an “abstracted vision of a turbulent sky,” interesting because it is mostly white. This doesn’t look like much in print, but is wonderful in person.

Diane SiebelsHead 3 was a piece I really loved. A flashback to crazy quilts, but without all the pieces, the stitching is full of movement and color. I have to say, this piece doesn’t fit into the show, but I’m glad it’s there (and to be honest, I wish there were more pieces that didn’t FIT into this show…it would be more interesting). Siebels has some interesting tree constructions on her website as well. I will tell you that I couldn’t see the heads on there on Chrome; I had to switch to Firefox. YMMV.

Maggy Rozycki Hiltner’s Red and White Quilt with Racist Embroidery is more interesting because of the thought behind it than the actual construction. Rozycki Hiltner added rescued racist embroideries from old textiles to a rescued red and white quilt, bringing up all those stereotypes of African Americans in our past, definitely a conversation piece. She has some very interesting and political (and some just amusing) pieces on her website, all echoing or appropriating the embroideries of the past, those dish towels and potholders and tablecloths.

Jean Herman’s Katherine a la Picasso caught my eye because it was one of the few figurative pieces in the show, yet highly abstracted. I’m still not sure I like it, but if I stand and stare at a piece for a long time, I would call it successful. The black line unifies it greatly.

Helen Geglio’s The Lost Art of Mending 3: Constellation is a quirky little piece that needs to be stared at. It has the look of the top of someone’s bed, but it’s the mending marks and hand-stitching that makes this an interesting piece. This is an abstract I can get behind. I would love to see more of her work, but she seems to not have a website.

Emily Richardson’s piece Swiftly is a subtle piece, but so beautiful, with the depth of the silk and the color shifts across the piece, plus the hand-stitching. Richardson doesn’t seem to have her own website, but here is one gallery that represents her.

Vicki Carlson’s Points in Time is another piece where the hand-stitching has made it interesting. The color movement in the repeated circular shapes where they overlap creates a lot of interest. I do think this one also reads better in person.

There were other pieces that were executed well or looked nice, but they just reminded me of other pieces I’d seen about a million times. And there were some, like Shin-hee Chin’s piece Ryu, Gwan-Sun where I was intrigued by how the piece stays together…it’s interesting to look at in terms of construction, and I do love how she is experimenting with making faces in different ways.

And then there were a few that I thought, why is this in here? This is not what I would consider fine art, to quote the jurors. And yet, I know that looking at a million pictures of things that look better in real life and trying to make decisions for a coherent show must be difficult. I also wish that if the jurors were only going to focus on abstracts that they admitted that beforehand, so the figurative people could decide if they wanted to make a donation to the museum, because that’s what it is when the jurors go that way. I guess they could have realized their tendencies after that fact, but it’s amusing to me that there’s never been a show that hasn’t been heavily abstract…and even if I were the juror, it is the way with art quilts that the entries would probably be mostly abstract…but can you imagine picking a Visions or Quilt National exhibit one year that is almost all figurative work? That might be interesting…in a whole ‘nother way. Hey, I think I suggested a show like that to SAQA, and they told me I needed to find a gallery that would do that (ahem. hello.).

Anyway, the show’s worth seeing. Most of the bigger-name shows are…even if it’s just for the 3 or 4 that rock your socks off. Seeing fiber art in person is always better than on a screen or a printed page. You’ll see a lot of abstracts, things that you feel like you’ve seen before. There was a lot of hand stitching this year. The food at the opening was great and so were the people. I love meeting artists. Someone told me this was “the best Visions show they’d ever seen.” Um. Not for me. I’ve seen more exciting and interesting shows…I’m thinking of I think it was the last one at the Oceanside Museum of Art, with the huge pieces they could hang there. It had a wide variety of work from abstracts to calm landscapes to bright and vibrating florals. It rocked my world. This one? Eh. Go for the few pieces that make you happy.


Quilt Visions:Brainstorms…Finally

I know. I’ve taken a long time to post this. I like putting links to artists, so that takes time, but the closing exhibition is next Saturday (February 9) and the exhibit itself closes February 17, so I’d better do it soon or it makes no sense at all.

I loved the Oceanside Museum of Art space for showing Quilt Visions…it’s huge and has high ceilings and big open spaces (although it seems pretty crowded on opening night no matter what). I was concerned the Visions Art Museum space would be too small, too crowded. I think they helped a bit by reducing the size of pieces, but then again, you miss out on the giant VALYA felted face, the Velda Newman flowers, or Wendeanne Ke’aka Stitt’s Day of the Dead piece when you limit the size. So that’s a loss…that said, the show had interesting work, as always. The catalog is good for statements and all that. I have them going back 10 or 12 years, I think.

So they let the artists wander around and take pictures. I wasn’t very scientific about it, because I figured I had the catalog for good pictures of the pieces…I just wanted a general idea of the layout and the space.

This picture is the entrance to the back gallery (which is now the VALYA gallery). You can see from the left the tip of Dinah Sargeant’s piece, Velda Newman’s White Pelicans, which is beautiful in color and stitching, and Marilyn Henrion’s Soft City: Broadway Windows, which is digitally manipulated photography. I’m not usually a fan of that, but I like what’s she’s done here. In the back room, there is an image of most of Tiziana Tateo’s Unstable Balance and Barbara Lange’s Monochrom V-Quest, which has fluorescent thread that glows in the dark…interesting when you realize insects can see light waves that humans can’t.

This is inside the back gallery, with my piece Sediment on the left, then Patricia A. Washburn’s piece Neon Reflections on a NYC Skyscraper, Wen Redmond’s First Light, and on the other wall, Lori Lupe Pelish’s Hey! OK OK piece, which is very cool and much more beautiful in person than in pictures.

Here’s a closeup of Pelish’s piece(s), which still doesn’t do them justice. She performs miracles with fabric patterns.

This is another view of that back gallery, with Pelish’s piece on the left, then Leesa Zarinelli Gawlik’s Wandering Through next to Tateo’s piece. Interesting that the two Italians were side by side. Notice also all the standing fans…this space is not air-conditioned, and with lots of people, it’s HOT.

This is the other corner, with Tateo and Lange’s pieces, and Valarie Robinson’s Homage to Federation, using the shape of pioneer dresses, then drawing and writing on the shapes with the sewing machine. It would have been nice with a colored wall behind it.

The last corner with Robinson’s dresses, my piece, and Washburn and Redmond’s pieces.

This is the small space right next to the back gallery (I really did photograph back to front). On the left is Joan C. Sowada’s All the World’s a Stage, a small piece, and Kathy Weaver’s Mimetic Concerns. I loved her robots and I still love her scientific pieces. They have a great movement and color in them. To the right is a great graffiti piece by Judith Plotner, Urban Vibrations. I used to take pictures of urban graffiti, and this piece reminds me of what attracted me to those places.

To the right of the Plotner piece is Carol Coohey‘s My Breath Coming out of Your Chest and Kerby C. Smith‘s Stone Stretch: Reflection, which was intriguing. To the right is one of my favorite artists, Dinah Sargeant, with her piece Leaping into Watersky. I got to meet Dinah finally and that was very cool…I love all her work.

Facing this gallery is Susan Cavanaugh‘s Ori-Kume #30, which has great threads running through and floating off the piece. To the right is Robert S. LeathersKings Canyon.

Looking further along that wall, you can see the right side of the Leathers’ piece; Nancy L. Cordry‘s Interjections; Lisa Kijak‘s complex The Stars Motel, Chicago; Katie A. Pasquini Masopust’s Pizzicato; and more (better pictures to follow).

This is the second gallery back from the entrance, with Nancy M. Condon‘s Kaleidoscope on the left wall, then Deborah M. Franzini‘s Vortex, and Ree Nancarrow‘s Black Spruce One (much better in closeup, check out the catalog).

Another view of Franzini and Nancarrow’s pieces, then Sandra Poteet‘s In the Wind, VALYA‘s Engrams.59, which was unfortunately cut off in the catalog; and Gail J. Baar‘s Lost & Found: Blocked.

On the wall closest to me is Kathleen KastlesName That Tune, a hand-painted piece. On the furthest wall is Linda Colsh‘s Twilight. I’ve always loved her work and it was a joy to meet her in person as well, for the first time. To the right of Colsh is Charlotte Ziebarth‘s Deep Pool, Bright Water, and Denise Oyama Miller‘s great tree piece, Sentinels.

This is a closer picture of Ziebarth and Oyama Miller’s pieces, plus Betty Busby‘s Growth Factor, stunning in person and in the book with details of the cell parts. It was nice to meet Betty as well…it’s fun to hear people’s voices and see them interacting, so the picture you have of them with their work makes more sense.

This is near the entrance, with Mary T. Buchanan‘s Isolation Gown on the left, then a view of the gallery behind, and Brooke Atherton’s beautiful Quilt Archaeology. California Fibers, the group I joined last year, awarded her with the Beyond the Boundaries award (and cash!). It’s a truly wonderful piece and very deserving of the award.

This is another view of Atherton’s piece, plus Viviana Lombrozo‘s Codex (very small…better in the catalog!), with Kijak and Pasquini-Masopust’s pieces on the other wall.

Pasquini-Masopust’s piece with Mary Pal‘s intriguing cheesecloth piece Solace, which was entered into I’m Not Crazy. I’m kind of glad it didn’t get in, because it gave her the opportunity to get it into Visions instead, and then I got to meet her. Terri Shinn‘s 3-D book piece Time Crumbles Things is on the pedestal next to Colsh’s piece.

This is another view of Pal, Shinn, Colsh, Ziebarth, and Oyama Miller’s pieces. The sound system was set up for something that day.

This is a closeup of the wall with Poteet, VALYA, and Baar’s pieces.

In the front, across from the desk, there is a wall with Won Ju Seo‘s A Korean Woman in Modern Times #1, which had the tiniest silk-thread stitches on it.

I know I missed at least one of the quilts in my photos, and like I said, the catalog does a much better job. I tried to find a reasonable link for all the artists, so if you were missed out and have a website, let me know and I’ll add it.

Here’s one of the group pictures (everyone dresses better than I do).

These came off someone’s phone…I never got a copy of a decent picture. I’m sure it exists somewhere. This is Sunday morning after the artist’s breakfast and talks.

This is the hallway outside, where we were eating breakfast and then signing catalogs.

Another photo of that. I came on Sunday in jeans and a T-shirt, knowing I was going directly to a soccer game after.

I have an insider at VAM who sent me photos of the catalog photographers shooting my quilt (sideways).

I’m so glad I don’t have to do this any more.

Finding a good photographer is the best thing I did for my artworld experience.

They worked hard. Interesting to see the computer analyze it as well.

Yup. Hair. Always.

Nice and flat.

Not sure what she was pointing out (a mistake? I do have them).

It’s nice to have work in professionally produced catalogs.

Anyway, if you haven’t seen the show yet, you should, because you don’t have much time left. You should buy the catalog, because it has great pictures and statements from the artists. It was a cool experience being one of the artists this year, instead of just the audience. Hopefully that will happen again.