Protest at Amazon HQ today

Couldn't post a sound file so I can tweet it. Instead of protest cheers, people blew whistles to protest Amazon's removal of Wikileaks site from their cloud servers.

In the studio on #101010 – artwork for North Cascades National Park

Part of my work at North Cascades National Park during the residency involved presentations to local schools in Sedro Woolley, the library in Concrete and making a work for the Park's collection. I'm preparing this work to show at the open studio here at Planet Art on October 31 before delivering it to the Park. Here's how it looked yesterday while working on #101010, the global work party coordinated by 350.org along with a detail of a crackle paste study of trilobites. The maps were created digitally and printed on handmade paper using USGS topographical maps made by park staff in 1976. Here, you see washes I have laid on them, and I will continue to paint on top of them as well as on the crackle paste. As a result of weather effects such as landslides and vegetative growth, the landscape has changed since then. Now the underpainting and digital image reflect historic landscapes, and not the current one.

Planet Art Open Studio and Hallowe'en devotion making

12-5pm

October 31, 2010
2811 NW 93rd Street
Seattle 98117
206.782.7455
http://www.planetart.us/

see new works, prints, paintings, catalogs
special prices on prints and small works
books and small works by other artists available
bring memorabilia of loved ones passed to create your own devotion
refreshments and treats

International Exhibition in Portland

Join me and 83 other artists from 24 countries on August 5, 5-7pm at the Littman Gallery, Portland State University Building, 1825 Broadway for USA 2010: Her Presence in Colours IX, International Women Artists' Exhibition as part of week long events surrounding a conference of women artists.

The Oregon Women’s Caucus for Art (OWCA), a chapter of the National Women’s Caucus for Art, welcomes to Portland international visitors for the 9th biannual conference of the International Women’s Art Council (INWAC) based in Panang, Malaysia. This is the first such conference held in the United States and Portland will be opening its doors to welcome the artists during the first week in August. The public is invited to the week long series of free events, offering an opportunity to interact with the artists and to help promote world peace and harmony through communication and meaningful interaction.

Public Events:
Mon, Aug 2, 4 PM – MAYOR’S OFFICE WELCOMING RECEPTION
Location: Portland City Hall, 1221 SW 4th Ave

Tues, Aug 3, 10AM-4PM – INWAC International Artists’ Forum.
Artists from Asia, Europe, Australia, and Americas will give presentations, sharing their experience as artists.
Location: Ecotrust Building, Billy Frank, Jr. Conference Center. 721 NW Ninth Ave.

Thurs, Aug 5, 9AM-12noon – ARTIST TALKS
Location: Littman Gallery, PSU Smith Building, 1825 Broadway
1:30-4PM ARTISTS SEMINAR: Art Made Out of Desperate Need,
Location: PSU, Shattuck Hall Annex, 1914 SW Park Ave
5-7PM, EXHIBITION OPENING RECEPTION
Location: Littman Gallery, PSU Smith Building, 1825 Broadway
Note: Exhibition dates at Littman Gallery Aug 5-27, Gallery hours: Mon– Fri, 12-4PM


BACKGROUND INFORMATION:
 In 2008, OWCA members Madeline Janovec and Una Kim were asked in Beijing at the 8th INWAC conference, where they were participants, to host the 9th conference in Portland. OWCA agreed to host this important event. Previous conferences have been held in Australia, England, Malaysia, China, Thailand, Korea. The conference is the vision of
 Dr. Yuen Chee Ling, Director of the Conservancy of Fine Art of Malaysia and founder/president of the International Council of Women’s Art.
Her Presence in Colours reflects the cohesive spirit of women artists and their inner passion for life and art, their concern and awareness, their emotions and aspirations.

For more information: Contact: Co-Chair Karen Swallow, 503.231.7624, swallowtales@comcast.net
Co-Chair Una Kim, 503.358.8891 unakim1@yahoo.com

Crackle Paste notes

Applied crackle paste to boards, both with immediate water spray and not: not really different. Main criteria for problem cracking is thickness (or thinness) of application.
Fix: pieces were falling out: poured mixture of 2/3 matte regular gel and 1/3 self leveling gel. Smoothed in with spatula palette knife, but ridges still show. Nice satin finish. Palette knife also seems to wipe edges of paint. (ran it over many times to reduce ridges). So be cautious about palette knife.
Try: soft gel matte instead of regular gel, and less wiping.
The thinner crackle paste doesn't require the coat for surface integrity and leaves surface for absorbent.
Trying to figure out whether to scrape the small door since paste was so thick. However, there are really cool little spot indentations perhaps from bubbles or water spray. Perhaps not entirely scraping. Need to get more board material.

Also, photoshopped fossil and collaged onto canvas.
used: film grain, glowing edges tweaked, then diffuse glow, tweaked
Looks very fern like. Paint over with iridescent/interference? Certainly around border, or extending the picture...
These could work really well for chine colle.

changes in Biocenosis exhibition dates NOT!

After lengthy email correspondence, Phinney Center is keeping Biocenosis until April 29 at 5pm despite their scheduling conflict, preparing for their annual auction. I hope that you are able to see the show before this scheduled close. Exhibition information is still below.

Biocenosis: An exhibition at Phinney Center Gallery

Exhibition on view April 8 through April 29, 2010

Phinney Center Gallery
Phinney Neighborhood Association
6532 Phinney Avenue North
Seattle WA 98103

reception April 9, 2010, 7-9 pm (part of Artwalk)
Gallery Hours

• Monday through Friday 9am–9pm
• Saturday 9am–2pm
• 206.783.2244

Biocenosis is the process or system of organisms and natural phenomena interacting within a particular environment. The works in this exhibition include paintings and prints from 1993 through 2006. Earlier ones, from the series, Re: Seeding Gaia, link the politics of industrial botany with women's reproductive rights. A few are from the series, Penelope's Web, referring to the Odyssey and caretaking for posterity. More recent works reflect on biocenology and our approaches to landscape representation. See the statement for the exhibition below.

Please see http://www.planetart.us/ for biography and curriculum vitae.

Here is the catalogue of works, grouped by series. Sales are handled by the Phinney Center Gallery and retail prices reflect accordingly. WA state sales tax will be added.

SERIES: TITLE OF WORK MEDIA DIMENSIONS (UNFRAMED) DATE PRICE

Crisis Management in Reproduction: Sustainable Post Germination acrylic on paper 30 x 44 inches 1993 2150
Crisis Management in Reproduction: Invasive Procedures acrylic on paper 30 x 44 inches 1993 2150
Penelope's Web: Skylla's Cliff acrylic on paper 15 x 22 inches 2000 725
Penelope's Web: A Great Wave acrylic on paper 15 x 22 inches 2000 725
Penelope's Web: Departing Skheria acrylic on paper 18 x 23 inches 2000 860
Re:seeding Gaia: Germination Impression puzzle piece collagraph 9 x 12 inches 1995 360
Re:seeding Gaia: Diversity Yields Stability multi-plate relief print 8.5 x 11 inches 1996 325
Re:seeding Gaia: Brown Earth acrylic on paper 22 x 30 1998 975
Re:seeding Gaia: (Flowing Consciousness) Enlightenment is a Social Responsibility acrylic on paper 22 x 30 inches 1998 975
Re:seeding Gaia: Creek Chum in Salt Water acrylic on paper 22 x 30 inches 1999 1290
Resistance/Resilience: Children of the Rivers acrylic, photocopy and mixed media on paper 60 x 85 cm 2002 1290
Resistance/Resilience: Mountain Mudflow acrylic, photocopy and mixed media on paper 60 x 85 cm 2002 1290
Resistance/Resilience: Fish resist acrylic, photocopy and mixed media on paper 60 x 85 cm 2002 1290
Resistance/Resilience: Imagination resists domination acrylic, photocopy and mixed media on paper 60 x 85 cm 2002 1290
Resistance/Resilience: Ross Lake Crows and Trout acrylic, photocopy and mixed media on paper 60 x 85 cm 2003 1290
Resistance/Resilience: Pumpkin Mountain/Diablo Dam Crows and Trout acrylic, photocopy and mixed media on paper 60 x 85 cm 2003 1290
Resistance/Resilience: Ross Lake: High Summer acrylic and mixed media, photocopy on paper 60 x 85 cm 2005 1290
Strategic Clearing: White Pass and Bumping Lake acrylic, photocopy and mixed media on paper, mounted on stretched canvas 60 x 85 cm ea 2000 3450
Strategic Clearing: Douglas Wilderness acrylic and photocopy on paper, mixed media 60 x 85 cm 2003 1290
Strategic Clearing: Mt. Rainier acrylic, photocopy and mixed media on paper, mounted on stretched canvas 60 x 85 cm ea 2004 2450
The Slave Trade Was Free Trade: A Tale of Money acrylic and mixed media on paper 60 x 85 cm 2000 1290
The Slave Trade Was Free Trade: Trade A Tale of Struggle acrylic and mixed media on paper 60 x 85 cm 2001 1290
The Transformation of the Landscape: Worm Flows collagraph and mixed media 28 x 19 cm 2001 290
The Transformation of the Landscape: Ape Cave collograph and mixed media 19 x 28 cm 2001 290
The Transformation of the Landscape: The Breach collagraph and mixed media 28 x 38 cm 2001 350
We Call It Columbia: Iyagathl Imathl Bridal Veil, Bonneville Dam, Hood River acrylic, photocopy on paper, mounted on stretched canvas 60 x 85 cm ea [triptych] 2000 3225

Pecha Kucha Seattle Slide List

The Hazel Tree Mother: The Tree in Winter, 2007, acrylic and digital collage, Alice Dubiel
Lay Women Healers in Medieval Europe, mural for Student Health Center, San Jose State University, 1979, acrylic media, Alice Dubiel
Apocalyptic Visions: Scrolls for a Fearful Time: We feared the slow death of fish and marine life from the poisoning of the planet, Scroll II, watercolor on paper, wood, silk, 1984, Alice Dubiel
Rhinewater Purification Plant, installation, 1972 Museum Haus Lange, Krefeld, Germany, Hans Haacke
Dreaming the Earth Whole: Watershrine, 1990, Bumbershoot Seattle, mixed media installation, Alice Dubiel; for complete installation, collaborators Marita Dingus, Ann T. Rosenthal, Sarah Teofanov
Flowing Salmon Shrine, 1997, mixed media, (Carkeek Park and other locations) Alice Dubiel
Agriculture and Reproductive Freedom: A Tale of Crisis Management, 1992-1997 (2 images), Alice Dubiel
Re:Seeding Gaia: Flow, 1996, acrylic on paper, wood, Alice Dubiel
Penelope’s Web: The Light Bursts Forth, 1999, acrylic and mixed media on paper, Alice Dubiel
The Landscape Tale, from Agriculture: An Alchemical Treatise, 1993-4, installation at 911 media arts, Seattle
The Landscape Tale, exhibition announcement, 1993, commercially printed art card of image by Karl Friedrich Schinkel, 1809, and letterpress of map of Paris c. 18th C. superimposed, Alice Dubiel
Strategic Clearing: Mt. Rainier, 2004, acrylic, photocopy and mixed media on paper, mounted on stretched canvas, Alice Dubiel
Strategic Clearing: White Pass and Bumping Lake, 2000, acrylic, photocopy and mixed media on paper, mounted on stretched canvas, Alice Dubiel
North Cascades Lichen Leaves, 2006, digital print and relief paint, Alice Dubiel
Mt. Stephen, 2009, photo by Alice Dubiel or Jim Hopfenbeck
Walcott 2009, conference reception at Whyte Museum, Banff, Alberta, photo by Alice Dubiel
Opabinia regalis, specimen prepared by Charles Doolittle Walcott, described by Harry Whittington, photos by Chip Clark, and Opabinia action figure, courtesy Royal Ontario Museum, Toronto
Sculpin egg mass, Summer 2009, Golden Gardens Park Beach, photo by Alice Dubiel
A New Song in Praise of Peace, 2009, acrylic and mixed media on board, Alice Dubiel (also cover to Laude Novella, compact disk recording by Medieval Women’s Choir)

Also included Seed Card piece, Imagination Resists Domination: Crimson Clover, 1994-2003. This was a revision of seed packets pieces accompanying shrines and other installations.
Here's the text:
Imagination resists domination
Crimson clover
Plant in urbanized areas to colonize increased plant space, roots break the subsurface. Green manures fertilize and cultivate soils. Plant the seeds of your dreams in the dark of your imagination. As you sow, visualize a city which nourishes without depletion, where fertility is wealth. Hold the soil in your hand. Make your wish come true.
© 1994-2003 Alice Dubiel
http://www.planetart.us/
for The Landscape Tale: http://www.varoregistry.org/dubiel/more4.html
for Crisis Management: http://www.varoregistry.org/dubiel/more3.html

Slide List for Social Injustice, The Gallery at Tacoma Community College

Diego Rivera
Mujeres Muralistas
Alice Dubiel, Lay Women Healers in Medieval Europe
John Heartfield
Hannah Hoch
Deborah Lawrence
Judy Chicago
Miriam Schapiro
Joyce Kozloff
Alice Dubiel, Crisis Management in Reproduction: Women and Agriculture

The Slave Trade Was Free Trade

A Statement

I believe that visual traditions and themes create a kind of language that exerts a powerful effect on social consciousness. I am interested in the Western landscape tradition, especially in its ability to distance the viewer from the outdoors and other people.

When exploring themes with ecological content, searching for different visual languages for landscape, I have been inspired by many traditions including contemporary pattern and decoration strategies, Roman and Byzantine mosaics, Japanese decorative art, indigenous Australian paintings and the shrine technologies of many cultures. The term biocenology is useful because it is the study of communities and member interactions in nature.

These acrylic and mixed media paintings in the series, The Slave Trade was Free Trade, incorporate the words of Frederick Douglass, the 19th century US orator. Inspired by the writings of historian Robin Blackburn, The Overthrow of Colonial Slavery and The Making of New World Slavery, I was interested in identifying the intersections of human activity, economics and culture, ecosystems and geologic presence. I am trying to develop a visual and symbolic language to express the contradiction of diversity and overlapping multiplicity within a culture whose dominant ideology expresses conflict in individualism and capitalism. Paintings are framed as if laboratory specimens, reflecting the culture’s attempt to contain such truth and control it.
January 2002