Who are the people COVID – 19 is Killing in Your Neighborhood? Apache and Pueblo Art/Printmaking.

Joel Elgin, Athraigh Studio. Printmaking in the time of COVID-19. Small Exhibitions: Who are the people COVID – 19 is Killing in Your Neighborhood?

 Apache and Pueblo Art/Printmaking.

Sung to the tune of the Sesame Street song…

Who are the people in Your Neighborhood? The people COVID – 19 is Killing Each Day. Apache and Pueblo Art/Printmaking.

Over 89,000 people have died from COVID - 19. The Trump government wants you to see only numbers but behind each number is a person. 

In the U.S. people of color are at greater risk than others. Among the most vulnerable are Native Americans.

Today, in the second exhibit detailing Who are the people COVID – 19 is Killing in Your Neighborhood? Athraigh Studio continues the intention of showing that the dying are not just numbers, by bringing you examples of the contemporary art/printmaking of the Apache and the Pueblo.

The Apache and Pueblo are located in the in the Southwest Cultural Region incorporating the lower parts of Utah and Colorado, all of Arizona and New Mexico, and the northern deserts of Mexico. Like the Navajo, Hopi and the Zuni they are battling COVID – 19 with little help from the Trump administration.

Let’s examine how COVID – 19 is affecting Native Americans in New Mexico:

New Mexico’s 23 tribes compose just 11% of the state population.

The reported cases among tribal communities, combined, make up almost 60% of all positive cases in New Mexico.

50% of all people who had died of COVID-19 in New Mexico were Native American.

So, who are the Apache?

Na i sha Apache (Tribe of Oklahoma)

Chiricahua Warm Springs Apache (Fort Sill Apache Tribe of Oklahoma)

Jicarilla Apache Nation, New Mexico

Southern Athabaskan Native Americans. (Mescalero Apache Tribe New Mexico)

San Carlos Apache Tribe, Arizona

Dilzhe’eh Apache (Tonto Apache Tribe of Arizona)

White Mountain Apache Tribe, Arizona

Yavapai-Apache Nation, Arizona

Contemporary Apache Artists I admire:

Bob Haozous

Warm Springs Chiricahua Apache

Border Crossing (verso) 1991, painted steel

http://www.bobhaozous.com/index.html

Darren Vigil Gray

Jicarilla Apache/Kiowa Apache

"Healing Period I" Mixed-Media

https://wheelwright.org/exhibitions/darren-vigil-gray-counterclockwise/

Billy Soza WarSoldier 

Cahuilla-Apache

Man, 1969

Dry-point

https://indiancountrytoday.com/archive/painter-provocateur-and-aim-activist-bill-war-soldier-soza-walks-on-GxISbqKlD06bfoH_VFUVNQ

So, who are the Pueblo?

Seven Keres pueblos are:

Cochiti Pueblo

San Felipe Pueblo, Katishtya

Kewa Pueblo, Díiwʾi

Zia Pueblo,  Tsi'ya

Santa Ana Pueblo, Tamaiya

Acoma Pueblo, Aak'u

Laguna Pueblo, Kawaika

Contemporary Pueblo Artists I admire:

Mateo Romero

Cochiti Pueblo

Cold Middle, Gods of the Warm, 1999

Single-color lithograph

https://www.mateoromerostudio.com/

Diego Romero,

Cochiti Pueblo

Saints and Sinners, Three color lithograph,

http://www.artnet.com/artists/diego-romero/

Thanks for watching!

Please visit the Athraigh Print Studio

https://www.joelelginathraighprintstudio.com/

and

Twitter:

https://twitter.com/athraigh

Where to donate to assist the Native American battle against COVID - 19:

https://caih.jhu.edu/

https://www.firstnations.org/covid-19-emergency-response-fund/

Catch the YouTube version:

Stay well and learn about prints!

Who are the people COVID – 19 is Killing in Your Neighborhood? Navajo Nation Printmaking.

Joel Elgin, Athraigh Studio.

Printmaking in the time of COVID-19. Small Exhibitions: Who are the people COVID – 19 is Killing in Your Neighborhood?

 Navajo Nation Printmaking.

Sung to the tune of the Sesame Street song… 

Who are the people in Your Neighborhood? 

The people COVID – 19 is Killing Each Day.

Today, in the first exhibit detailing Who are the people COVID – 19 is Killing in Your Neighborhood?, Athraigh Studio brings you examples of the printmaking of the Navajo Nation, the "Dineh" or "the People".

Over 87,000 people have died from COVID - 19. Our government officials want us to see numbers but behind each number is a person. In the U.S. people of color are at greater risk than others. Among the most vulnerable are Native Americans.

Today, in the first exhibit detailing Who are the people COVID – 19 is Killing in Your Neighborhood?, Athraigh Studio brings you examples of the art of the Navajo Nation, the "Dineh" or "the People".

The Navajo Nation people are located in the in the Southwest Cultural Region incorporating the lower parts of Utah and Colorado, all of Arizona and New Mexico, and the northern deserts of Mexico.

As early as 9500 BC. the first known inhabitants of the Southwest Region hunted mammoth and other game.

In 1864, "Kit" Carson and the United States federal government enacted a plan of ethnic cleansing and forced the relocation of the Navajo from their ancestral homelands to Fort Summer, a 40-square-mile reservation in eastern New Mexico. Years later the U.S.-Navajo Treaty of 1868 allowed the Navajo to return to only a small portion of their original homeland.  

We might not all have known of the forced “Long Walk of the Navajo” but we are all very familiar with traditional Navajo rugs:

Navajo, 19th Century

c. 1885-1890

tapestry weave: wool, handspun and Germantown.

Today, the Navajo have suffered at least 3,392 cases of COVID – 19 and 119 known deaths.

The Navajo Nation, the largest of all U.S. Indian reservations, covers 27,413 sq. miles yet has only twelve Health Service facilities to serve over 350,000 citizens.  The facilities have only 28 ventilators.

The Federal government may have changed its tactics since Kit Carson scorched the Navajo earth but they certainly do not appear supportive of the Navajo.  By breaking treaty promises and ignoring the many issues initially created by the forced march the government has established an ideal landing place for COVID – 19.

About thirty percent of people do not have electricity. Poisoning of the water supply by US uranium mines has contributed to over thirty-six percent of the reservation residents lack of access to running water.

The reservation is a food desert, with only 13 grocery stores, which means some people travel up to 150 miles to shop.

More than a third of the people live without paved roads, cell phone service, landlines or safe housing.

Multiple Navajo generations often live together, this is cultural but it’s also due to chronic housing shortages, federal restrictions on construction, high unemployment and poverty on the reservation.

After weeks of waiting President of the Navajo Nation Jonathan Nez  had to take the federal government to court to receive the money promised through The Cares Act.

We might not all have been familiar with the conditions on the Navajo reservation that have risen from the US federal governments long history of neglect and we might not all be familiar with recent efforts to destroy the lives of the Navajo, such as Trump’s “Curtis Bill” resolution which nullifies and shrinks  former President Barack Obama’s December 2016 proclamation establishing Bears Ears as a 1.35 million-acre national monument in San Juan County, Utah. by 85 percent.

But, Athraigh Studio would like to help make you familiar with the art created by the people of the Navajo Nation, the "Dineh" or "the People" by presenting a small exhibition of  current Navajo printmakers:

Melanie Yazzie

“He Died Before Coming Home” 1994

monotype

https://wheelwright.org/exhibitions/memory-weaving/

David Paladin,  (b. 1926, d. 1984)

“Mythmaker Stomping out Artist’s Sense of Reality”, 1975

Litho

https://davidpaladin.com/

David Paladin,  (b. 1926, d. 1984)

“Life, Dreaming Itself Into Being” 1975

Litho

https://davidpaladin.com/

Michael McCabe

Mono with Chin Cole’

https://mccabeprints.com/

 

Please tune into the video version:

 Please check out the Twitter version:

https://twitter.com/athraigh

COVID – 19 is physically separating us from our mothers, creating an emptiness on this Mother’s Day.

In response, Athraigh Studio wishes a “printmakerly” Happy Mothers’ Day to all mothers and we hope that soon we will all be able to safely gather. Please enjoy the prints of Mary Cassatt  today.

Mary Cassatt (American, 1844-1926).

Born in Pennsylvania on May 22, 1844. Mary Cassatt eventually settled in Paris, and became an important figure in the French artistic revolution, that sought to allow freedom for artists to define their own subject matter.

Mary Cassatt chose to describe and illuminate intimate scenes of mothers and children. She did so in a strong and unique way and she lived her life in the same fashion…

“I am independent! I can live alone and I love to work.”

Mary Cassatt

Quietude, 1891

drypoint

Nursing, 1890

drypoint

Denise Holding Her Child, 1905

drypoint

Maternal Caress, 1890

color drypoint and aquatint 

Mother's Kiss, 1890

drypoint and aquatint 

Gathering Fruit, 1893

drypoint 

Thanks for checking in, please take a look at the video version on Youtube:

 or the Twitter version (better music but shorter):
https://twitter.com/athraigh 

Joel Elgin, Athraigh Studio. COVID-19. Small Exhibitions: Support Those Still Working at Your Favorite Food and Drink Hang Outs.

Today's post features a selection of prints curated in celebration of those good people who bravely prep, serve and cook for us in our favorite shops, cafés, bars, pubs and restaurants. Please support them and please share this video with them.

Do you remember where you used to hang out for coffee, tea, drinks and/or food?

Artist Unknown

Barnum & Bailey Greatest Show on Earth: By The Hair Of Their Heads

1916

Lithograph

Do you remember the people who prepared or served your coffee, tea, drinks and/or food?

In this time of COVID-19 those fine people need your support. So please order some food or drinks and pick it up or have it delivered. Here’s a “printmakerly” shout out to all those who continue to bravely prep, serve cook and clean up for us!

Edmund Blampied, 1886-1966

The Chef   (ca. 1910–1930)   

Drypoint

Edmund Blampied, 1886-1966

Chef and Diners  (ca. 1910–1958)   

Drawing

James Gillray,  1756-1815

Dumourier Dining in State at St. James's on the 15 May, 1793

Print

Helen Noel, (1912-1989)

The Fountain, 1939

Lithograph

Leonard Pytlak, (1910-1998)

Quick Lunch, 1936

Lithograph

Thanks for checking in!

Please take a look at the video version:

 

Printmaking in the Time of COVID-19. Douze Contemporains 1959, a portfolio challenge.

COVID – 19 is hampering the collective spirit of printmakers, forcing us to work alone rather in the shops we share.

Athraigh Print Studio challenges printmakers to reach out to each other and organize invitational virtual portfolios. Please share this and please post your portfolios to help fill the days of those practicing the prescribed (by science) isolation.

For motivation please look at a few examples from, Douze Contemporains 1959, a portfolio of twelve prints created by Braque, Chagall, Derain, Dufy, Leger, Matisse, Modigliani, Picasso, Rouault, Utrillo, Villon and Vlaminck (organized by J. Lassaigne and printed with pochoir by Daniel Jacomet).

Andre Derain

Paysage, from Douze Contemporains, 1959

Lithograph with Pochoir

Henri Matisse

La Danse, (1931) from Douze Contemporains,1959

Lithograph with Pochoir

Georges Braque

Les Barques Sur La Plage, from Douze Contemporains, 1959

Lithograph with Pochoir

Fernand Leger

L'Artiste dans le Studio, from Douze Contemporains, 1959

Lithograph with Pochoir

Raoul Dufy

Paddock, from Douze Contemporains, 1959

Lithograph with Pochoir

Thanks for tuning in!

Here's the video version:

 

I’d be excited to share your COVID - 19 small print portfolios on the main website:

https://www.joelelginathraighprintstudio.com/

Printmaking in the Time of COVID-19. “Henri Matisse, Selected Pochoir Prints”

COVID – 19 has been the motivation for the run of depression era prints I’ve posted most recently. The themes of breadlines, unemployment and financial crisis seem to be repeating.

To cheer youall up, today’s video features the Fauve rich color of Henri  Matisse and a peek into how he made the color happen in his prints.

The career of Henri Matisse (1869 – 1954) encompasses nearly all media and numerous areas of content. The possibilities of colorful cut shapes printed using the pochoir technique, first utilized to reproduce his Jazz Portfolio in 1943, enchanted Matisse, and caused him to leave painting and concentrate on his famous cut outs.

So what is pochoir?

Pochoir is a direct technique for hand coloring through a stencil usually in conjunction with intaglio or  lithography.  A stencil was cut from a thin metal and the stencil and stencil-brush were  used to create the complete image or to add color selectively to a printed image. A separate stencil was created for each color. On occasion, up to forty stencils were used. 

Pochoir printing was most popular in Paris, from the late 19th century through the 1930’s. At the peak of its popularity, there were dozens of studios in France using this technique, each employing up to 600 workers.

By the mid twentieth century, pochoir was replaced in popularity by more mechanized forms of color printing such as lithography and serigraphy. Pochoir’s expense and time intensive process help relegate the practice to the dusty shelves of most printmaker’s techniques.

Odalisque au Tambourin, 1929.

Color pochoir (hand-colored stencil print after a study for the painting of the same title).

Harmonie Jaune, 1929.

Color pochoir (hand-colored stencil print) after a painting.

La Séance du Matin, 1924.

Color pochoir (hand-colored stencil print) after a painting.

La Séance de Trois Heures, 1924.

Color pochoir (hand-colored stencil print) after a painting.

The Nightmare of the White Elephant, from Jazz, 1947

Color pochoir with gouache on ivory wove paper.

The Codomas, from Jazz, 1947.

Color pochoir with gouache on ivory wove paper.

Thanks for checking in!

After looking at these Matisse prints, I'm pulling Pochoir off my own dusty shelf.

Please catch the video version of this post:

Joel Elgin, Athraigh Studio. Printmaking in the Time of COVID-19. A Series of Small Exhibitions: “Jacob Lawrence: The Life of Toussaint L’Ouverture”

Joel Elgin, Athraigh Studio.

Printmaking in the Time of COVID-19. A Series of Small Exhibitions:

“Jacob Lawrence: The Life of Toussaint L’Ouverture”

Jacob Lawrence (1917-2000), is more well known than many of the other printmakers recently featured by Athraigh Studios. We might know his prints in general but let’s take a specific look at his brilliant series, the “Toussaint L'Ouverture.”

Content first: Jacob Lawrence is depicting Toussaint L’Ouverture the mastermind behind the Haitian Revolution. In the last years of the 1700’s Toussaint L’Ouverture won independence from Europe, defeated Napoleon’s army, and brought Haiti out of slavery. In 1804, after the people who were then referred to as “slaves” won their freedom by force, Haiti became the first black republic in the West.

Form: In 1936, at the age of 21, Jacob Lawrence created 41 paintings of the life of L’Ouverture. In 1986, Lawrence produced 15 silk screens inspired by the original paintings.

I’ve included only 5 images from the series for today’s presentation but I encourage you two go to the following link to see the entire series, including a description written by Lawrence of each print.

https://www.davidsongalleries.com/artists/modern/jacob-lawrence/toussaint-louverture/

General Toussaint L'Ouverture

Silk screen on Bainbridge two ply rag paper, 1986

The Coachman

Silk screen on Bainbridge two ply rag paper, 1990

Strategy

Silk screen on Rising two ply rag paper, 1994

Deception

Silk screen on Rising two ply rag paper, 1997

To Preserve Their Freedom

Silk screen on Bainbridge two ply rag paper, 1988

 Want to see the video version of this exhibition?

Stay well and learn about prints!

https://www.joelelginathraighprintstudio.com/