Print shops are inherently communal. The overall expense and maintenance of printing equipment is generally only possible when shared. Being in this space, the smell of ink alongside a regular hammering of various machines (there was a particularly well-used off-set printer) reinforced one of the things I love about print making â€” its communal backbone, something that seems ever present in the proliferation of posters and brightly colored images. While at this print shop, I ran into an old friend, Andrew Oesch. I met Andrew for the first time years ago in Chicago. Oesch is a printmaker who, at the moment, teaches comic book production. In the following conversation we talk more about Providence and the enduring exchange of influence between generations.
Caroline Picard:Â We first met when you came out for a show that Anne Elizabeth Moore had curated at The Green Lantern. That show was my first introduction to Providence and I was struck by the seeming resonance between the project you and Meg [Turner] installed, (“We Built This City Together”) and my later impressions of Providence itself. For instance, you had some amazing stories about the physical place you living in at the time: cavernous rooms in old warehouses with smaller rooms built inside and space heaters. A lot of communal creative space that at the same time was somehow hyper aware of its (specific) urban context. In We Built This City Together, people were invited to take pre-printed stickers of buildings, color them in and paste them on a wall. It was sort of like a social experiment to see how people would respond to one another. It sounds very much like what those communal living situations must have been like. Â I’m starting to ramble, but can you talk a little bit about that?
Andrew Oesch:Â I hadn’t thought about the ways that communal living might have been affecting my projects before. To put things in a little perspective artists have been living in large amounts of shared space for a while, it’s not a phenomena which is unique to Providence, right? Those opportunities often form along peripheral conditions…artists move into provisional spaces that are in transition or of unclear purpose. In my personal work I do look to Â architecture â€” both its planning and history â€” for a lot of insight to the culture of a place.
A lot of the architecture and culture of Providence is informed by the industry at the beginning of the 20th century. There was a lot of manufacturing â€” textiles, tools, and costume jewelry. So there’s a fair amount of large brick mill complexes and a surprisingly dense amount of housing. In the early 1900s the peak population of Providence was around a million people.
With those historical notes in mind we come to the turn of the 21st century and all the large manufacturing is gone. TheÂ hemorrhagingÂ of thoseÂ industriesÂ started in the 70s and after a couple of decades the city isÂ fairlyÂ depressed and its population is a quarter of what it once was. Some of the large millÂ complexesÂ are there, though there are large vacant lots like broken teeth where a building might have burned down or was demolished. The buildings which remain are utilized in a variety of ways. Some have light manufacturing, some have small studios, some are flea markets, some are abandoned. The rent is cheap and landlords are permissive, so artists move in and things like Fort Thunder happen, and then they unhappen when the Real Estate market gets crazy.
One thing that I remember someone saying about why they live in these sorts of spaces is that unlike a house, these mills aren’t made for people to live in. So it feelsÂ weirdÂ to live in them; she chose to live in them to continually remind herself that she wasn’t normal, so she could remember that she feelsÂ weird.
I don’t what that says about my practice… I feelÂ weirdÂ and temporary? And to answer my own unsure rhetorical question I would say, yes. I am interested in the how Robert Smithson talks about entropy. The city is a system that shifts over time. I don’t think it is moving towards an equilibrium…and it’s not a closed system, but I can create finite systems and invite people to participate in them through various art making methods.Â Does any of this thinking make me a good housemate? That might be me starting to ramble.
CP: What kind of space does printmaking have in Providence? Has that changed over the years? And how has it influenced your own printmaking practice?
Well, I wouldn’t have a print making practice if I didn’t live in Providence…maybe that’s not true, but I began printing because I saw prints everywhere, and I was like “Oh, I wanna do that…”Print making and this place for the last 15ish years has been shaped by theÂ Dirt Palace
,Â and other lessÂ permanent industrial mill living places. It just so happens that many of the folks who live at these various places make screen prints. The biggest way these practices continue to change is because the sprawling mill living spaces are less common. Buildings have been renovated,Â demolished,Â or just outright condemned. And this hasn’t stop people from making, but it adds a provisional quality to everyones living situation. So that’s why places like the Dirt Palace are really important: it is owned by two artists committedÂ to keeping the worldÂ weird, loud, and rad. The AS220 prinshop is important in a similar way because it represents another place of stability. The contrast is that at the Dirt Palace every surface is covered by something else â€” old packing, glitter, show flyers, doodles, old paper mache projects…the spaceÂ amorphouslyÂ switchs from personal space to cooking space to work space to library to printshop to dance party and back again, while As220’s printshop walls are more neutral. Their space is more obviously a printshop.
CP: While in Providence this summer, I noticed an interesting relationship between the city’s educational institutions and the non-commercial, in many cases DIY, art spaces. Like the Dirt Palace got some kind of cartoon-making-machine because Brown no longer needed it. Do you feel like the universities have enabled the art-making community somehow?
CP:Â Yeah, Brown, RISD, & Johnson+Wales impact the city a lot. In mundane ways there is (what I imagine to be typical) resentment of the impact the universitys have on the tax base, and universities can gobble up real estate, and are touted by business leaders+politicians for innovation. But I think your observation is totally spot on;for the a certain section of the art scene universities have excess resources artists can mine. There are some Â proposterously giantÂ ways that happens and a lot of small ones too. All the Youth Arts programs I have been involved with have a few hand-me-down silk screens from RISD’s print making department. And often at the end of the year there is a dearth of printing ink too.
But beyond the physical resources and material surpluses, these institutions have supported and spawned various organizations in town.Â New Urban Arts
,Â Community Music Works
, andÂ AS220 Youth
Â all ride a paradoxical relationship. Having been incubated by Brown, they nevertheless came into being because there was something that Brown was not
providing. They exist because resentment and anger built up around the universities’ inability to engage with a corrupt under city. Resources were mis-appropriated by a twiceÂ imprisonedÂ mayor (and many others) while the public school population had 80% of its kidsÂ receivingÂ free or reduced lunch (the school bureaucraticÂ euphemismÂ for “really poor”). Even with that resentment, these folks were able to start their respective organizations with the support of fellowships from Brown, and a few key mentors, and the large pool of potential volunteers who attended those same universities. Now these organizations and programs are a little over a decade old and they are theÂ compelling civic leaders to offer something outside of the ways in which Brown,Â RISD, and Johnson&Wales do public engagement.
So what does this mean for our city’s art scene? There is a generation of people who have grown up making art and hanging out with artists and mentors at these organizations; now grown up, that generation participates as emerging makers+artists+staffers, working and making alongside their former mentors. This isÂ beautifullyÂ exemplifiedÂ in this photo I really love of The “What Cheer?” Brigade, a loud andÂ rowdy localÂ brass band, taken by a young person who was a participant in AS220’s Youth Studios, where a couple other members of the band were running a street band workshop.Â The photo has one of the trumpet players filling up most of the frame and foreground of the image, and in a the soft focus of the background there’s another trumpet player and a trombonist, it’s a good image, but those three members pictured are no longer in the band, and the photographer is.
Spring Break Book Week: Illustration Workshop led by Andrew Oesch, photo by Jori Ketten
CP: How did you start teaching comics?Â
So the last two years has been a slew of new jobs. My friend,Â Walker Mettling,
Â was one of two artists who were written into a grant to run comics workshops in theÂ Neighborhood Branch Librares
Â in Providence. The other artist ended up dropping out, and both of them asked me to fill his place so I did. Probably the most important thing about Â both Walker and me is that neither of us is a practiced comics artist. We’re approaching the whole endeavor with aÂ weirdÂ mixed bag of story-telling, print making, collage, busted graphic design sensibilities, and a general sensibility of fostering collaborative engagement. While working with Walker is new, and co-organizing workshops about comics is new, generally the project is a lot like my previous experiences as an artist educator and in that way it has been awesome!
Walker and I have been connecting kids and adults throughÂ The Providence Comics Consortium
. Admittedly there are a lot of things that we can not claim credit for. We draw on a pool of artists/friends/peers who are pysched about the ideas and images that kids create. Students in our class love to see their work adapted and amplified by adults. This simple equation of strong mutual appreciation/adoration is the essential bond that makes the project kinda magical. Kids come up with outlier ideas that adult artists areÂ captivatedÂ by. There is peculiar way kid artists funnel their attention, which is revealed in the details theyÂ obsessesÂ over and the aspects which are direct and simple. Walker and Myself are really just go go betweens them and the adults.
One of the ways we started off creating a dialogue between kids and adults was to try out our lesson ideas with a group of our friends. We would sit down and try out what we wanted to do in class with a couple of friends, this provided us with some feedback and refinement for our plans, but it also generated some awesome examples.
One of the critical story-develop tools and the primary visual vehicle between adults and kids is the series ofÂ character booksÂ we create. There are a variety of prompts and exercises we have utilized to start the germinating a character. My favorite thus far has been a process ofÂ hybridization where we start off asking the kids to draw two types of things. A pretty typical pair is “a food” and “a type of job.” The kids make these individual drawings, we put the drawings into bags and everyone picks a pair which they have to combine into a character. This abstract visualÂ mathematicsÂ can be confusing, but inevitably leads to good places… a memorable example is “The Apple Wedding Planner.” The boy who drew these from the bags was confused at first, somewhat uncertain about what a wedding planner does… but that didn’t matter because he could make his own meaning out of the random pairing he had drawn. The next phase in the character-develop is typically drawing a short strip using this character. After that little bit of narrative exploration with the character, we give them a worksheet with prompts to list the character’s friends, enemies, special powers, height, weight, fears, and a little bit moreÂ narrativeÂ about the characters origin story. We end up retyping these stats and combine all the drawings and write-ups into a booklet. Compiling and re-distributing that book has two effects: One, it gets the participants super excited because they see there work in print! And two, the kids get super inspired by each others’ creations. They start to utilize other students’ creations, creating other characters in response.
Then we give those books to adults, who are equally as excited. We ask them to create adaptations using student characters. Soon we are going to put out our first anthology which features the student work and adult adaptations, so keep an eye out for that. (You can visitÂ Secret Door Projects, to see how Ian G. Cozzens developed the Scar character).
Caroline Picard is the Executive Director of The Green Lantern Press—a nonprofit publishing house and art organization—and Co-Director of Sector 2337, a hybrid artspace/bar/bookstore in Chicago. Her writing and comics have appeared in publications like ArtForum (critics picks), Everyday Genius, Hyperallergic, Necessary Fiction, and Tupelo Quarterly. In 2014 she was the Curatorial Fellow at La Box, ENSA in France, and became a member of the SYNAPSE International Curators’ Network of the Haus der Kulturen der Welt in Berlin in 2015. Her first graphic novel, The Chronicles of Fortune, is due out from Radiator Comics in 2017. www.cocopicard.com
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