August 20, 2016 · Print This Article
Sometimes it seems impossible to fully conceive environmental space, and the many time scales that extend far beyond that of a single human life. What does it mean to imagine the ever expanding rate of extinction, full absences defined by “critters” I never knew existed, much less imagined. At such times, I simultaneously bump into a limit to my own imagination and the certainty that those limits must break open. With that in mind, I wanted to tie in an ongoing publication project by Rebecca Mir Grady, an artist, bookmaker, and jeweler based out of Chicago. She has been working on her publication series, SHE IS RESTLESS for about five years. The series is deceptively modest; each palm-sized publication is handmade, each dedicated to one subject: spill, drought, lost at sea, polar vortex, each ecologically minded. Upon opening one book, a single page folds out, expanding outside the bounds of its cover into a flat, single graphic. The humility of the endeavor, the shifting and interactive experience of scale, and the delicate line drawings each publication contains collude to offer a path towards making-thinking-learning through environmental crisis. You can read a previous interview I conducted with Mir here.
Christian Kuras and I have been busily preparing for a class we should have called “The Decent into Awesome.” A class that brings together Avital Ronell, Silkscreens, and Juggalos/Celine Dion, publishing as form, and the new sincerity manifesto, so wrong it can only be right. It is going to be magic. We will make, talk, collaborate, share, and be awesome. (We will definitely figure out whether awesome is really something we want to be and no prior printmaking experience isÂ necessary!)
Our friends at Ox-Bow just let us know that their are still a couple of slots open in our class and we thought we should remind you of the life altering good times that can be had at Ox-Bow. I am going to be polite and not mention the dance parties or Eric May’s (and co’s) amazing cooking or the blazing good times that will be had around the fire every evening. I will just mention that there are still slots available in the following classes and that it is one of the greatest experiences to give your art life.
Towards a New Sincerity with Christian “North” Kuras and Duncan MacKenzie (7/14-7/27)
Lithography with Mark Pascale Â (8/11-17)
If this was is not enough maybe you should check out these images and maybe you should come?
This week: Richard and Duncan talk with Anders Nilsen.
Anders Nilsen was born in northern New Hampshire in 1973. He grew up splitting his time between the mountains of New England and the streets and parks of Minneapolis, Minnesota. He was weaned on a steady diet of comics, stories and art, from Tintin and the X-Men to Raw, Weirdo, punk rock, zines, graffiti and regular trips to art museums.
Nilsen studied painting and installation art at the University of New Mexico in Albuquerque, also making comics and zines mostly outside class. In 1999 he started photocopying strips from his sketchbooks, self-publishing them as Big Questions #1 and #2. That same year he moved to Chicago to do graduate work at the School of the Art Institute. In 2000 he turned an artists book heâ€™d done in undergrad into his first properly printed book, The Ballad of the Two Headed Boy, with a grant from the Xeric Foundation. The same year he took advantage of an offset lithography class at the Art Institute to print the third issue of Big Questions, with all original material. In 2000 he dropped out of graduate school to do comics on his own. He received grants from Chicagoâ€™s Department of Cultural Affairs to publish the next three issues of Big Questions.
Andersâ€™ comics have been translated into a number of languages. He has exhibited his drawing and painting internationally and had his work anthologized in Kramerâ€™s Ergot, Mome, The Yale Anthology of Graphic Fiction, Best American Comics and Best American Non-Required Reading, as well as The Believer, the Chicago Reader and elsewhere. Other titles by Nilsen include Dogs And Water, Donâ€™t Go Where I Canâ€™t Follow, Monologues for the Coming Plague, Monologues for Calculating the Density of Black Holes, and The End #1.
Nilsen keeps a blog at themonologuist.blogspot.com where he posts occasional new work, and a website with examples of past work and various illustration heâ€™s done at andersbrekhusnilsen.com.
He currently lives with his cat in Chicago, Il.
Anders Nilsen also received Ignatz Nominations for Outstanding Artist for Big Questions #7 & #8, Outstanding Series (Big Questions), and Outstanding Comic (Big Questions #7) at the 2006 Small Press Expo. Dogs and Water won an Ignatz for Outstanding Story in 2005, and his graphic memoir Donâ€™t Go Where I Canâ€™t Follow won an Ignatz for Outstanding Graphic Novel in 2007.
Hey, kids and other young-people types: what looks like a super-fun zine workshop will take place this Saturday afternoon at ThreeWalls with Anne Elizabeth Moore, based on the Cambodian zines featured in her current project Holle Cambodia. Moore’s website indicates it’s a youth program that’s free for kids; adults (who are welcome to participate, too) should be prepared to donate 5 bucks. More details, below.
Zine Workshop with Anne Elizabeth Moore at ThreeWalls
Join us on Saturday, March 7, 2009 from 3:00 pm – 5:30 pm for a zine workshop with writer, artist and activist Anne Elizabeth Moore. We’ll provide the supplies and refreshments.
“Staunch critic of consumerism and media activist Anne Elizabeth Moore has been writing, publishing, and interceding in culture since the age of 15. The indomitable author of Unmarketable: Brandalism, Copyfighting, Mocketing, and the Erosion of Integrity, founding editor of the Best American Comics series, and former editor of now-defunct Punk Planet has seen her work exhibited in major museums, praised by the business press, and forcibly ejected from retail establishments.
Recently, Moore went to Cambodia to teach the first generation of feminists in the country self publishing as a way of combating governmental oppression and self-censorship, and co-founded the Anti-Advertising Agency’s Foundation For Freedom, an organization that aims to limit advertising in the public sphere by offering cash incentives and giant novelty checks to ad pros in exchange for quitting their jobs. She currently teaches at the School of the Art Institute of Chicago and travels throughout the globe to lecture on corporate and governmental oppression and freedom of expression.”
A five dollar donation is suggested at the door.
119 n. peoria #2d
Chicago, IL 60607