Archives for category: Collographs


My solo exhibition, It Was to Be a Glittering City, at Under the Bridge closes January 8, 2017 with a reception from noon to three PM.  The reception coincides with the closing brunch for the exhibition by Yanira Collado at Bridge Red, which was recently recommended as a worthy venue by Elisa Turner during the 2016 Miami Art Week.

Under the Bridge is located at 12425 NE 13th Ave, # 4, North Miami, FL.

Some installation shots below; documentation by Daniel Portnoy.

. . . the show exudes a kind of acquiescent serenity….a wonderful sense of release, as if allowing oneself to succumb to the soft resonant palette of the works, a kind of subtle sense of intimacy, due possibly to the simplicity of the subjects, and the careful way the show is hung, makes things ok…. If you get a chance, stop in, take a deep breath..and let it go.

–David Rohn, Re á Semble at Art is About

 

 

In November, I’ll be opening a solo show of work at Under the Bridge, an art space in North Miami run by Lou Anne Colodny.

I’m very excited about the exhibition, and I’m in the process of making the work.

The basis for the work that will be in the show started with a couple of previous images, My Miami, an editioned screenprint that I made in 2012, and a sketchbook plan for an edition which I drew in 2015 (but have not yet made).

My Miami, 2012; Screenprint, Edition of 15, 15" x 11"

K Hudspeth Building a Wall 2015 sketchbook drawing

The text in My Miami reads:

“Trudging through sawgrass towards the glittering city of condos as people in nice cars speed by on the elevated roadway.”

The text in the sketchbook drawing reads:

“Fuck you. I’m building a wall.”

I promise that I came up with my wall comment well-before Trump began to blather about his beautiful wall–9 months before he did, in fact (I just checked).  That text, in fact, is so unrelated to Trump’s wall that I can’t use it in any form for the work I’m currently making. It might survive the association on its own, as a standalone edition, but really, my wall comment is about development in Miami; I had also planned a companion edition, in which the cinderblock is rotated vertically, and would be accompanied by this text:

“Fuck you. I’m building a mall.”

In any case, the two narratives have been simmering in my mind for quite a while now, and one of the first images that I can call ‘done’ for my upcoming show clearly shows a visual blend of the two.

Shallows, K. Hudspeth, 2016; Collagraph, Screenprint monotype, Pronto Plate lithography; Unique; 11.25" x 8.75".

Shallows, K. Hudspeth, 2016; collagraph, screenprint monotype, Pronto Plate lithography; unique; 11.25″ x 8.75″.

The figure of the woman in My Miami also remains part of the in-progress body of work, though not as a literal form.  She becomes the voice of the show–in a way; I’ve written a short fiction that is related to the exhibition, and she (or a version of her) is the narrator.

The short fiction is something that I wrote which is inspired in tone, and somewhat in theme, by The Invention of Morel, by Adolfo Bioy Casares–it’s one of my favorite stories (it’s a novella of 90 pages), and I’ve been ruining (too much love, not enough preservation) a gorgeous, 1964 University of Texas Press copy of it ever since I bought it from a used bookstore in Denton, Texas, sometime in the ’90s.  This edition includes a cover and illustrations by Norah Borges de Torre, the younger sister of Jorge Luis Borges; she’s pretty interesting, and happened to be a member of the Florida group, which I can’t help but think is an amusing relationship given my location.

Norah Borges de Torre The Invention of Morel by Adolfo Bioy Casares

Borges de Torre’s illustrations appear to be woodcuts, and their style is a delightful tropical modernism.  You can see some of the interior illustrations here (not my flickr account).

The Invention of Morel is such a resonant narrative for me that I want everyone to read it, but I’m also completely wary of spoiling it in any way.  I’ve described it roughly, and somewhat badly in my initial press-release/statement text (which will be at the bottom of this post), but a simpler thing to do might be to share this quote that my eye just caught upon as I was looking through the book before scanning the cover above:

“We will be able to live a life that is always new, because in each moment of the projection we shall have no memories other than those we had in the corresponding moment of the eternal record, and because the future, left behind many times, will maintain its attributes forever.”

The bit I shared above is but a fragment of an astounding revelation made by a man (Morel, in fact) who has ultimately, because he cannot let go of the vision he has for his desires, betrayed his friends, the moment for which he feels so deeply, and their futures.

Like many narratives from South America that were written during eras tainted by oppressive political regimes, The Invention of Morel includes a witness figure.  This poor fellow washes up as an outsider, stumbling into what appears to be the glamorous and incongruous life of certain others.  It transpires that most of what he witnesses are relics of something that does not exist anymore.  The novella has two sets of actors, then, the people who are ‘living’ and the individual apparently witnessing their lives.  [Actually, there’s also a third actor–the character who writes the footnotes, and comments upon the observations of the witness.]  The setting is an unidentified island, which the witness-narrator describes as having large floods, and dangerously unpredictable high tides.

I don’t want to say too much that’s very specific right now about how related all of this is to the work I’m making, as specificity is an uncomfortable blow to an in-progress state of thought.  I could probably write endless amounts about Bioy Casares’ novella as it has generally inspired me and my work, but perhaps another day.

The other image for the upcoming show which I can safely call ‘done’ is below, followed by a statement and information for the same.

Saltless, K. Hudspeth, 2016; ink pencil; trace-drawing monotype; Pronto Plate lithograph, watercolor; Unique;11" x 9.75"

Saltless, K. Hudspeth, 2016; ink pencil; trace-drawing monotype; Pronto Plate lithograph, watercolor; Unique;11″ x 9.75″

 

It Was to Be a Glittering City

November 20, 2016 – January 8, 2017
Solo exhibition by Kathleen Hudspeth at Under the Bridge, North Miami, FL

12425 NE 13 AVE #4

It Was to Be a Glittering City, a solo exhibition by Kathleen Hudspeth, projects the future of Miami into a speculative eventual decline.

The imagery presents iconic vignettes spun from the narrative of an old woman’s history of place and family.  Graphic, deeply encoded images act as synecdoche for the landscape, the city, the people, their dreams, and the consequences of building those dreams.

A short fiction written by the artist accompanies the artwork, and was inspired in tone and theme by The Invention of Morel, by Argentinian author Adolfo Bioy Casares.  In Bioy Casares’ novella, the desire to capture that which cannot be possessed results in the creation of an enduring monument which itself is the means of destroying the object of desire.  The protagonist who serves as witness to these illusory events had no role in instigating them, yet lives within them, and becomes an eventual victim of desire as well.

Similarly, the audience viewing It Was to Be a Glittering City becomes protagonist, witness, and victim within the elusive remnants of consequence.

The works presented are unique, hand-pulled prints created using monotype, lithography, intaglio, screenprinting, collagraph, watercolor and gouache.

Kathleen Hudspeth is a native of Miami, Florida, and an adjunct professor of printmaking at New World School of the Arts in downtown Miami.  She is also founder and co-director of Turn-Based Press, the creation of which she was awarded a Knight Arts Challenge grant for in 2009.  She received an MFA in printmaking from the University of Miami in 2009, and a BFA in Studio Art from the University of Texas at Austin in 2000.

I was invited by Kristen Bartel, the printmaking professor at the University of Wisconsin at Parkside, to be a visiting artist on April 13 and 15, 2015.

K. Hudspeth at Univerisity of Wisconsin at Parkside

For my time with Kristen and her students, I chose to offer a chipboard relief/collagraph workshop, which we printed with a combination of intaglio and color viscosity inking strategies.

University of Wisconsin at Parkside Printmaking Workshop with vi

University of Wisconsin at Parkside Printmaking Workshop with vi

University of Wisconsin at Parkside Printmaking Workshop with vi

University of Wisconsin at Parkside Printmaking Workshop with vi

I made shaped plates for my demonstration prints; one is below.

Chipboard relief; intaglio inked with color viscosity inking. Printed on Zerkall Copperplate, 11" x 15", 2015.

The other plate wasn’t so great, but this one worked out well.  It even had the added bonus of not having an ‘up’ or ‘down’.

Chipboard relief; intaglio inked with color viscosity inking. Printed on Zerkall Copperplate, 11" x 15", 2015.

Kristen also went to the University of Texas at Austin (though well after I did), and learned color viscosity from Lee Chesney, which was entertaining for us to recount, though perhaps less so for the students.

Parkside is well-known for hosting the National Small Print Exhibition every year (I should have applied!), and the opening for it was going to be just a few days after my workshop.  Fortunately, the work was installed, and I got to see the exhibition.  I was happily surprised to see some screenprints by Lise Drost, a University of Miami professor of printmaking, and my mentor, who was the Chair of the Department of Art and Art History, as well as the head of my Thesis Committee, while I was pursuing my Masters there.

University of Wisconsin at Parkside National Small Print Exhibit

Because they’ve held this exhibition annually since 1987, and there are purchase awards associated with it, Parkside has prints on nearly all the interior walls of the campus.  Like, really.

University of Wisconsin at Parkside campus interior, April 2015

University of Wisconsin at Parkside campus interior, April 2015

University of Wisconsin at Parkside campus interior, April 2015

It made me incredibly happy to see so many prints as part of a day-to-day college experience.  It’s rewarding to be in a place where an esteem for printmaking is evident.

Unsurprisingly, the Parkside printshop is very nice, and very well maintained!

University of Wisconsin at Parkside printshop

University of Wisconsin at Parkside printshop

University of Wisconsin at Parkside printshop

University of Wisconsin at Parkside printshop

University of Wisconsin at Parkside printshop

University of Wisconsin at Parkside printshop

I had a lot of fun in the Wisconsin overall–mostly thanks to my brother, who is a philosophy professor at Parkside.  He took me cool places, like to the Mars Cheese Castle.

Mars Cheese Castle

Mars Cheese Castle's Castle

It was cool because I like cheese.

My brother took me to other cool places, too, like the headquarters of a personal care products corporation in Racine.

Johnson Wax Headquarters

Johnson Wax Headquarters

That was cool because I like personal care products.  Wait . . . no.  Architecture.  Because the architecture is cool.

Have you seen Wright’s Johnson building (the Research Tower) at night, by the way?

Johnson Wax Headquarters

If I were a certain type of person, I would be easily convinced that the Johnson Wax Headquarters was really an alien base.  All your base are belong to Johnson Wax!  That was a total non-sequiter.

Another cool place that my brother took me was to the Kenosha History Center.

Kenosha History Center dolls and toys

Kenosha History Center dolls and toys

Kenosha History Center Cars

Kenosha History Center Cars

Kenosha History Center Cars

Kenosha History Center

Kenosha History Center Annie Oakley on a Bike

The Kenosha History Center was cool because I am clearly a giant nerd.  Also: Annie Oakley riding a bicycle while taking aim.  Not just any bicycle, but a Sterling Bicycle.  Built like a watch!

That alone was worth the price of admission.  Well. That and the AMC AM VAN prototype.

Speaking of cool, Wisconsin in April is cold (nevermind that 60 degrees sign above–that was the warmest day I was there, and the natives were frolicking in the heat).  The landscape is so entirely different from Miami, too.

University of Wisconsin at Parkside campus, April 2015

University of Wisconsin at Parkside campus, April 2015

University of Wisconsin at Parkside campus, April 2015

University of Wisconsin at Parkside campus, April 2015

University of Wisconsin at Parkside campus, April 2015

And speaking of Miami, another cool place my brother took me was to Stevens Point, Wisconsin. [Wait for it!]  Stevens Point had a philosophy conference, which was fun, but it also has a sculpture park.  Look what I found in the sculpture park:

Tom Scicluna in the Stevnes Point Sculpture Park

Tom Scicluna in the Stevnes Point Sculpture Park

Work by a pal of mine from Miami.  Small, small, small, cool world.

 

I had two works in at the Florida Gulf Coast University for Self Published, a show of artists books and editions that was curated by Juana Meneses and Leila A Leder Kremer.

Three framed prints and a large-scale pattern repeat screenprint were shown at the MDC-NWSA Faculty Show, Work/Work at the Museum of Art and Design.

KH at MDC Museum of Art and Design, WorkWork, 2014 edit 2

The image below shows the registration marks that I used to print the large-scale pattern repeat.

K. Hudspeth, registration marks for Stupid Lubbers (large scale

On November 22, 2014, as part of the Miami Book Fair‘s local focus The Swamp, poet Stephen Schaurer read poems from broadsides that he collaborated on with me and Ana G. Gonzalez Silva; Ana and I were co-presenters, showing the finished broadsides on stage while he spoke. The broadsides were on view in Sweat II  at the Miami-Dade College Kendall Campus gallery.

The broadside that Stephen and I collaborated on is titled Cuts, and is a two-run print using an intaglio-inked collograph plate and Pronto Plate lithography.

Cuts, by K. Hudspeth and Stephen Schaurer