Archives for posts with tag: prints

Mother and child, terra-cotta, approx. 14 inch tall. Elizabeth Catlett

Elizabeth Catlett died last week. She was an African-American artist and member of the Taller Grafica Popular, the famed Mexico City printmaking collective. Her Mexico City friends included Frida Kahlo and Diego Rivera. The U.S. obituaries generally referred to Ms. Catlett as a sculptor. In fact, the NY Times headline is Elizabeth Catlett, Sculptor With Eye on Social Issues, Is Dead at 96.

I was familiar with Catlett’s graphic work, but I’d never seen her sculpture. Oddly enough, I came across this one, above, when I went to MOMA to see the Diego Rivera show. The terra-cotta Mother and Child is small but has a monumental feel.

MOMA museum label for the print below.

I’ve written about my  2009 pilgrimage to the Taller Grafica Popular. I was struck then by how many international artists had produced work there, Elizabeth Catlett included. Art Historian Melanie Herzog wrote the book about Catlett, and a fine essay by Herzog on Catlett’s TGP work that can be found here.  This is a brief excerpt in which Catlett talks about her TGP experience:

“The criticism in the Taller was always positive, like somebody would say, “I think that you have a very good design, and it’s very clear, but why did you hide the hands?” And so they would say, “I can’t draw hands.” “Well, I’ll help you, or I’ll draw the hands.” Or they would say, “This symbolism has been used over and over, it’s time we had something new,” and so then they would have a general discussion of what you could use. . . . And it didn’t matter how many people worked on something, as long as it came out the best we could make it.”

Sharecropper, Elizabeth Catlett, printed with Jose Sanchez, TGP, Mexico City.

Sharecropper is one of Catlett’s master works. The safety-pin holding the coat together is a nice detail; I only noticed it now. Every deliberate mark Catlett made on this print adds up to a portrait of dignity.

Update: View a larger sampling of Catlett’s artistic output in all its diversity at Ourstorian.

The two Elizabeth Catlett works on view at the MOMA.

Q. What is the best camera for an illustrator?

A. The one you will carry with you at all times.

Pumpkin head and iPhone photo by John Fronza © 2011

If that has to be your phone, fine, get good at taking pictures with your phone. Here are some amazing shots taken on the iPhone by John Fronza, an artist and the bass player in the Voyage of Slaves. (Click the band’s name only if you like death metal and you are not in the library!) He always has phone handy, so he has this camera with him.

Cat © 2011 John Fronza

Fronza uses his iPhone’s $1.99 hipstamatic app for memorable images like these. He makes it look easy. Love the retro feel, it is as if they were taken by a Kodak Brownie, or a Holga, that old Eastern European plastic camera. Nice format, too. Like the song says: It’s hip to be square.

Bananas © 2011 John Fronza

Some say the iPhone will be the death of the digital camera. Maybe, but meanwhile the picture-taking ability of the iPhone is driving the point and shoot camera makers to add features and innovate. They are adding better image stabilization, Hi-def video, and some wild special effects, including miniature and toy camera modes. Next post we will take a look at the spectacular effects you can get with the Canon Elph.

Tom Huck in his office at Evil Prints @2010 John Fronza

Generally, I use the term illustration for non-photographic artwork used in the service of a story or concept.  In my work, I only use photos for reference. The fact is, creative photographers capture images that if paired with the right text make for splendid conceptual illustrations. Fronza’s work could illustrate some weird and spooky stories.

That last image reminds me: Evil Prints Woodcut Boot Camp 2012 is open for registration. Want learn how to make woodcuts? This is the place to go. It’s where I met Fronza. Talk about weird stories!

ASARO Prints in the Street, Oaxaca ©2007 KMcCloskey

ASARO: “The Assembly of Revolutionary Artists of Oaxaca”

ASARO is a collective of radical young Mexican artists. I met them in 2007.  ASARO’s woodblock prints were laying in the street near Oaxaca’s cathedral. The artists were sitting on the curb. Some looked to be fifteen years old. Broom handles and chunks of stone kept the artwork from blowing away. Kneeling to look closer, I was stunned by the raw power of the images: revolutionary heroes, marching skeletons, striking farm-workers, open coffins, screaming widows. Black ink on ragged gray paper. It was as if the ink was shouting. I was mesmerized.

I found ASARO’s prints astonishing, not only for their political content, but also for their artistic excellence. It was exhilarating to see a centuries-old medium, woodblock printing, applied to the revolutionary issues of the 21st century. For one hundred pesos (roughly 10 U.S. dollars) ASARO sold prints by day. At night they poured their energy into street art, or interventions, as they call them. If a fellow activist was arrested or “disappeared” ASARO commemorated the event immediately with prints and stencils. They pasted tissue paper prints on the city’s ancient walls, or used pre-cut stencils to create complex murals in a matter of minutes.

Oaxaca’s most dramatic times occurred in 2006 after the annual teachers’ strike spun out of control. Teachers and their supporters protested to oust Governor Ulises Ruiz. APPO, the self-described “people’s assembly” occupied the city  for  months until Mexican Federal Police brutally removed them. Amnesty International documented the killings of at least 18 demonstrators; the full report is available as a pdf. Into 2007 there were still sporadic demonstrations, arrests, and disappearances.

Stencil mural by ASARO photo ©2007 K.McCloskey

There were other talented art collectives in Oaxaca, (notably Arte Jaguar) but ASARO’s daily gallery in the street made them the most accessible. I learned that some of the crew had studied art at the university with the Japanese-born printmaker, Maestro Takeda. The trained artists taught printmaking to anyone who wanted to join. Many had led hard lives. One ASARO artist told me he was abducted by thugs and questioned for 72 hours. I believe him. In 2007, their studio’s location was secret. The police would beat graffiti artists on sight. I remember being very nervous the rainy night I carried a portfolio of 20 political prints from that studio.

'We Defend What is Ours' from ASARO's petroleum portfolio.

Since ASARO formed in 2006, they have produced close to 200 different prints. They have also done canvas paintings, murals, folk art, and performances. Yet I remain enthralled by their woodblocks. They have created print portfolios focusing on issues that transcend their original concerns including: The Murdered Women of Juarez; The Future of Mexican Agriculture; Migration; and Petroleum. They have come up from the underground in the years since printmaker Lester Dore showed their work in Madison. Kutztown Univertity’s ASARO print collection  has toured the country.  Chicago Art Magazine’s Robin Dluzen noted,It is as if the ASARO has now occupied the art world.” 

 THAT WAS THEN. THIS IS NOW.

Last month the NY Times rediscovered Oaxaca. “With the city’s street art scene, a mescal-fueled night life and one of Mexico’s most exciting regional cuisines, Oaxaca is as cosmopolitan as it is architecturally stunning.” The article points out Espacio Zapata, ASARO’s workshop at Porfirio Diaz #509. This new location is in the historic district. ASARO has also been featured in the official Oaxaca State Tourist Office’s guide to the city. Now ASARO has a blog. Recently ASARO offered a free course in printmaking at  Espacio Zapata. One of the course’s sponsors is Conaculta, Mexico’s National Council for Art and Culture.

Espacio Zapata poster for free course in woodblock printing, 2011.

There is another change. A new governor, Governor Gabino Cue, replaced the polarizing figure of Ulises Ruiz. The New York Times is right; this is a good time to visit Oaxaca.

ASARO in Princeton, New Jersey

Princeton University is exhibiting a portion of their splendid ASARO print collection. Alas, none of the artists will be able to attend the Feb. 9 reception, but I will be there. The public is invited. I am honored that Princeton asked me to write about ASARO for the gallery walls. I’m taking part in a panel discussion “Born in the Zocalo: Art and Protest in Oaxaca, Mexico” at 4:30 on 2/9/2012. Reception to follow.

ASARO: Art and Activism in Oaxaca, Mexico
Protest prints from a collective of Mexican artists
Jan 16 to March 8: Bernstein Gallery, Princeton University

Sponsored by Woodrow Wilson School of Public and International Affairs, exhibition designed by Kate Somers. With special thanks to Karin Trainer and Princeton U. Library for the loan of artwork. For directions & gallery hours, ph. 609-497-2441. http://wws.princeton.edu/bernstein/

-Kevin McCloskey


'TYPEFACE' by Miles DeCoster & Kevin McCloskey, 2012

Most of the Communication Design faculty traveled to Lead Grafitti in Newark, Delaware for a one-day letterpress workshop during winter break. We were joined by printmaker Evan Summer of the Fine Arts Dept. Lead Grafitti is a family-run studio that does fine printing (wedding invitations, for example), but also offers hands-on workshops. Our workshop involved creating a bound hardcover book in a single day and printing it on their antique presses.

Ray Nichols & Vicki Meloney on press, photo © 2012 Miles Decoster

Ray Nichols is a former University of Delaware professor, reincarnated as a letterpress guru. Ray taught visual communications for years before he led a UD summer course to England. A chance visit to Alan Kitching at the Royal College of Art’s letterpress studio changed Ray’s life and he decided to build Lead Grafitti. Ray and his wife Jill shared a number of fascinating projects including their Kickstarter funded series based on the Tour de France.

Inked bike chain becomes map of France, from Tour de Lead Graffiti.

They also showed us a beautiful limited edition book of Bruce Hornsby’s essay on Bruce Sprinsteen’s Thunder Road illustrated by Jill.

Lead borders at Lead Graffiti, photo © Evan Summer

In the history of graphic design we talk about Ottmar Mergenthaler’s earthshaking 1884 invention, the linotype machine. From Gutenberg’s time until the linotype, printers needed thousands of individual pieces of moveable type to print a page. The linotype allowed an operator to type a line, then hot molten lead flowed into a brass matrix to create an entire “line o’ type.” We all got to work on an Intertype linecaster for a few minutes, which is essentially the same as Mergenthaler’s machine.

Tray Nichols explains linotype operation to Kevin McCloskey. photo: Evan Summer

Those of you who studied typography or graphic design will recall a colophon is, “the statement at the end of a book giving details about its authorship and printing.” The colophon below was cast from hot lead and lists participants and instructors at the Lead Grafitti workshop.

Colophon, the printing credits, at the end of our book.

Thanks to Profs. Ann Lemon and Vicki Meloney for arranging this worthwhile experience. I found it more fun than Disney World, and the lines were shorter. Lead Grafitti offers workshops year round and will customize an event based on your group’s experience level and particular interests. Info at: leadgrafitti.com

Ann Lemon and Miles DeCoster checking their type. Photo by Evan Summer


Black is back. Twenty years ago at a party in Hoboken I overheard a young punk mother complaining because she couldn’t find black baby clothes for her toddler. Today black is back. I got two presents wrapped in black. One was a brilliant new calendar from CD alum Ross Moody’s greeting collective, 55his.com. It couldn’t have come at a better time. Spoiler Alert: 2011 is ending in a less than 3 weeks.

Sketches lifted from 55hi's blog about illustrating the 2012 calendar.

The Monster Calendar includes illustrations by Sock Monkee, Chris Sandlin. I got an artist’s proof, but the calendars available at 55his.com are part of a limited silkscreened edition. Illustrators will want to check out the 55hi’s blog to see the entire process of putting this work of art together.

If you want to help save the U.S.Post Office, get over to 55hi’s for all your greeting card and gift needs.

Or maybe save some money to spend at  Sean Starwar’s site. The 2012 calendar picks up exactly where my Sean Starwar’s 2011 calendar leaves off. (see below.) Sean Starwars is one my favorite printmakers. Kutztown grad Jason Urban recently featured Starwars year-long printmaking project on the Printeresting site. Starwars grew up in Eastern Pennsylvania, but now lives in rural Mississippi. I’ve met him a few times, and he is the nicest hyper-guy you would like to meet.      Sean has a voracious appetite for Mountain Dew. Somewhere on the internet there is a Youtube video where he demonstrates how to add your own caffeine and sugar in an emergency when your local Piggly-Wiggly has nothing left on the shelf but the diet caffeine-free version!


Sean Starwars did a woodblock print every week of 2011. That’s over 50! Let that be an inspiration to you (and me.) Sean is having a holiday special sale at his Etsy page. Sean Starwar’s Etsy store page may be the only one that includes all three of these descriptive tags, “Mountain Dew” and “Christmas Sale” and “Rebel Scum.”

Remember. If you buy a calendar, always, always, check the date!

The Great Apes, etching © by Bruce Waldman

The Fine Arts Department is bringing Bruce Waldman to Kutztown. The Communication Design faculty and students are supporting this visiting artist event with a poster and pizza.

Waldman is primarily a printmaker and a friend of our notably friendly Fine Arts Professor Evan Summer. He teaches at SVA, the School of Visual Arts, NYC. His prints are in the permanent collections of the Metropolitan Museum of Art in New York, The New York Historical Society, The Bronx Zoo and The Library of Congress. The Queen of England also owns one of his artworks.

The Silent Conversation © Bruce Waldman

The Printed Image: Bruce Waldman presents his work in words and images. 7:00 pm Monday, Nov. 14, 120 Sharadin. Pizza for students at 6:15 pm in the Lobby outside SH120. Free and open to the public.

Monoprints and Etchings: Lecture/Demonstration, primarily for printmaking students. Mon. 11/14, 3:00 P.M. Printmaking Studio, Sharadin. See Prof. Summer for details.

"Vampires, Werewolves, and Zombies" illustrated by Bruce Waldman

An Illustrator’s Insight: Bruce Waldman is also a Society of Illustrators medal winner. His work has appeared in numerous publications including The New York Times, People, and The New Yorker. He will focus a bit more on this part of his career when he meets illustration students. Tuesday Nov.15, 9:30 A.M. 209 Sharadin (Illustration Studio)

For more information on Bruce Waldman see www.brucewaldman.com

from Vampires, Werewolves and Zombies, illustration © Bruce Waldman

Poster, above, by Frank Marsters

Illustration Concentration Site News: We reached a milestone: over 40,000 distinct visitors to this blog! This is the total for just over a year. WordPress has a special page of links for Illustration blogs. It features “the best in Illustration-related posts from around the WordPress.com community, updated daily.” Yesterday WordPress featured this Illustration Concentration blog again and we’ve been getting lots of new visitors. You are welcome to subscribe by putting your email in the box on the lower left corner. No salesman will call.

Reminder: You may see advertisements on the blog. We have no editorial control of those ads, and receive no compensation for ads. That money goes to WordPress for doing all they do. I don’t even get to see the ads when I log in on my computer, but sometimes see ads over other people’s shoulders for luxury cars, hammocks and vacations in Mexico. We must have a very upscale readership!

Wheat-pasted woodblock print lettering on vacant billboard, Chicago © Zoe McCloskey 2010

The New York Times 6th Floor Design blog recently featured artwork by Zoe McCloskey which should be familiar to graphic designers. In the image above Zoe takes individual block printed letters to spell out “Lorem ipsum dolor sit…”  The Times’ Hilary Greenbaum calls it “the most popular sentence in the world that is not meant to be read.”

To read more about Lorem ipsum, click the link above. You will find a link there to web site, Lipsum.com. To see more of Zoe McCloskey’s wheat-pasted street art check www.zoemccloskey.net.  Zoe got an email from the Times’ blog asking to use her image to illustrate this story. Of course, she was delighted. Not everyone is as nice as the NY Times about asking permission to use your artwork.

Everyday  graphic designers swipe images without attribution. You can do some things to protect your images. Don’t put images on the web at a higher resolution that 72 dpi. That way, at least you know your work is not likely to be reprinted.

Let people know you care about where your art goes.

If you have a website, or blog, a place where you put lots of images, let folks know in writing how you feel about them using your work. For example, a student recently pointed me toward a charming historical web comic,Kate Beaton’s Hark A Vagrant.  Here’s how Beaton deals with reader’s questions about re-using her artwork.

harkavagrant.com @ 2011 Kate Beaton

Q: Can I use one of your comics for this paper I’m writing/class I’m teaching/blog post I am writing?  A: Sure! If you’re not making a profit on it and you cite me correctly, why that’s just fine!

Q: Can I use one of your comics as a basis for this script I’m writing/in my book/my online app/some other enterprise? A: That’s trickier, you may have to talk to my agent, but write to me anyway and outline your ideas, and we can work out fees and rights of use and that sort of thing.

Q: Can I use a drawing for a tattoo or can you draw me a tattoo?  A: Oh dear, I am really uncomfortable with this idea! Get an anchor on your bicep, not a fat pony on the small of your back.

Add a Copyright © Notice to Your Image

Before you put your art or illustration up on the web always add your copyright info into the image’s metadata. It is not that difficult. With the image open in Photoshop, open “File Info.” You will get a dialogue box like the sample below, where I put the copyright info for a print I created. On a Mac, in most fonts, the © symbol becomes available by hitting the option key and the letter “g.” Folks can still swipe it, but at least you should be able to prove the work is yours.

Below is another of Zoe’s street images.”Let’s Meet Here.” She says the building owner painted over this message as soon as she put it up.

Let's Meet Here. Wheat paste on wall. Brooklyn © 2009 Zoe McCloskey

Zoe’s most photographed artwork was from New Orleans’ Lower 9th Ward in the wake of Hurricane Katrina. She pasted bandages over a house that was destroyed by Katrina. More images can be found here. Even though Zoe and other street artists are essentially putting their work out there for free, it still isn’t right to swipe the work without attribution.

Bandages wheat-pasted to house, New Orleans, 2009 © Zoe McCloskey

“Even if you are just making a neighborhood flyer or obscure blog entry, images can spread like wildfire these days. It’s always the right thing to give credit when due.” – Lincoln Cushing.

Design historian Lincoln Cushing has written extensively about swiping art on his docspopuli.org website. He is particularly angry, rightly so, when artists make money from the swiped images with no respect for the original creator. As he puts it, “don’t contribute to our own historical amnesia.” Here is his essay on Best Practices for using the Graphic Artwork of Others.  I recommend it. Cushing shows some practical examples of ways to credit the original artists, even if you can’t contact them, or don’t even know their names.

St. Patrick Driving The Elephants Out of Ireland, woodblock print, ©2011 Kevin McCloskey

Sharadin Gallery will soon have a new name, The Marlin and Regina Miller Gallery. I once proposed that after “Gallery” the words “of Art and Design” be added, to be more inclusive of design. Oddly enough, that modest proposal was met with fierce resistance from some faculty.

KU Faculty Exhibition:  Sept. 8 – Oct. 3, 2011. Opening Reception: Sept. 8, 4-6pm

The 2011 KU Faculty Exhibition includes works of art and design by my colleagues in Communication Design, Art Education & Crafts, and Fine Arts. I have three works in the show. You can see my large woodblock print of St. Patrick, carved in St. Louis at Evil Prints, and printed in KU’s printmaking studio. Prof. Elaine Cunfer will also be exhibiting a print done on KU’s etching presses this year.

Evan Summer photo from http://www.guanlanprints.com

Special thanks to Prof. Evan Summer for graciously permitting us to use that studio space. You may be aware Prof. Summer was awarded KU’s 2011 Arthur and Isabel Weisenberger Faculty Excellence Award. His printmaking class has always been a popular art elective for aspiring illustrators. He deserves the honor and we are looking forward to seeing his new etchings.

Grand Opening: Sept. 8, 4-6pm

The (former) Sharadin Art Gallery will officially be dedicated and renamed The Marlin and Regina Miller Gallery in honor of the donors who contributed to the Sharadin Arts Building renovation. The public is invited to the Miller Gallery’s opening reception and dedication ceremony on Thursday, September 8, 4-6 P.M. Light refreshments will be served. Hope to see you there.

-K.Mc

Martin Lemelman, beloved Kutztown illustration faculty emeritus, shared some good news. He learned that his graphic novel, Two Cents Plain: My Brooklyn Boyhood was chosen by The New York Society Library  as a winner in the 2010-2011 New York City Book Awards. He didn’t even know the book was in the running. Martin was on campus recently and told us he is at work on a new graphic novel project. It is still in the gestation period and he doesn’t want to jinx it, so the project will remain a secret, for now.

Panel from Two Cent Comics Martin Lemelman 2011

Meanwhile, he has been experimenting with web comics on his blog, www.twocentcomics.com. The panel above will give a sample of the flavor of his latest work.

Speaking of web comics, James Pannafino, KU alum, now Millersville faculty, recently visited our illustration class to talk about business models for web comics. He explained there are ways to monetize web comics include Google ads, merchandise, t-shirts, cups, and print-on-demand books. I was already familiar with Kickstarter, the web fund-raising platform for creative artists. James had an interesting take on Kickstarter, calling it a way to “pre-sell a comic book project.”

Basically, you run you idea up a the Kickstarter flagpole, and try to entice folks to support you vision. James said a comics artist might offer free computer wallpaper for any donation, a signed copy of the comic for $10, a print for $20 and, maybe, a signed original page for $100.

© Jim Hill 2011

© Jim Hill 2011

I just popped over to Kickstarter to find a good example of this illustration business model. I searched for comics, found an interesting one.  Jim Hill of Portland, Oregon has a wild idea combined with a crisp illustration style, and a good pitch. Apparently, it is his thesis project, a graphic novel called The Dead Don’t Die, about zombies in the Old West. At this date, 3/21/2011, Jim Hill already has $2,402 pledged from 56 backers, more than enough to do the book. Of course, not every Kickstarter idea is successful in getting funded.

News From Evil Prints, St. Louis

Tom Huck and Tony Fitzpatrick

I promised an update on my trip to St. Louis to visit Tom Huck at Evil Prints. Huck hosted the greatest St. Patrick’s party I can remember, and topped that with ‘The Printbangers Ball’ at the Atomic Cowboy. As an alum of Huck’s 2010 Woodblock Bootcamp, I was invited to join in the festivities. On St. Patrick’s Day, the extraordinary artist Tony Fitzpatrick, blew in from Chicago for the festivities. I had met Fitzpatrick once before when he came to Kutztown as a visiting artist around 1990. Huck credits Tony with naming and founding the Outlaw Print movement. The fact that Tony Fitzpatrick left Chicago on St. Pat’s Day gives you some idea of his high regard for Huck and the artistic community Huck has fostered in St. Louis.

detail from Wolfbat Warship © 2011 Dennis McNett

Bill Fick, who literally wrote the book on printmaking was there, and Martin Mazzora of Cannonball Press. Huck flew up the Mexican master, Artemio Rodriguez for a week-long residency. Etcher Micheal Barnes brought a gothic iron see-saw, that doubled as a printing press. You had to see it. I didn’t get a good picture, but there is one at the site, nonindigenouswoman.com. I traded prints with my friend John Fronza. John also participated in Dennis McNett’s Wolfbat a print-covered warship that rolled from Evil Prints to the Atomic Cowboy on Saturday night. I asked Dennis if he had police permits for the parade, he told me he lives by the wise words, it is often “simpler to ask forgiveness than to ask for permission.”

Huck dearly loves comics, so I made a one-shot comic zine based on his amazing artwork and equally amazing life story. I carved a woodblock for the cover art and the centerfold, but resorted to scratchboard, and India ink for most of the interior pages. Here’s a picture of Huck reading the zine; I know he enjoyed it.

If you would like to study woodblock printing with a master in a fantastic studio for a very reasonable price, Huck’s Bootcamp 2011 is open for enrollment. He’s got two sessions, one in June, one in July. Kutztown printmaking major Josh Dannin is heading out there, hey, maybe you can carpool!

Wanna’ buy the zine, Tom Huck: A Life Out of Line? Get in touch with me, or visit Moonpenny Press.


Some critics say Tom Huck is the greatest American artist working in woodblock today. While others might dispute that ranking, he is certainly among the handful of modern masters that includes Bill Fick, Endi Poscovic, and a few others, depending who you ask.

"Up Dung Creek" by and © Tom Huck

Huck runs Evil Prints, a state-of-the art print studio in a borderline neighborhood of St, Louis. Most university print programs would envy his work space and  presses. Huck is surrounded by an entourage good-looking women, and bad-looking men.

Tom Huck and Stephanie, a studio assistant

Printmakers are an odd lot. Huck is odder than most. He throws wild ‘performance’ parties. He is sponsored by Pabst Blue Ribbon. He tours Central Europe with the heavy metal rock band, Moterhead. Until last year, he somehow managed to juggle his wild side with another life as a faculty member at Sam Fox School of Art and Design, Washington University, St. Louis.  Something happened.

Huck in his office with California printmaker Jason Bonilla

Something he said or did led W.U. to let Huck go. According to press reports he did not go gently in that good night. From what I can gather he hired a lawyer and negotiated a settlement. Let’s assume the settlement includes a non-disclosure agreement, since Huck will talk about anything other than his separation from W.U.

"Beef Brain Buffet" © 2002 Tom Huck

This week, his old school, Washington U. is playing host to SGC, the biggest, most respected printmaking conference in the U.S. Huck was not invited to participate. He doesn’t take slights well. He decided to mount his own week-long alternative conference “Evil Week” at the same time, as a response to SGC.  He has a one-man exhibition at the St. Louis University Museum of Art. He’s got a red bus to serve as a free ferry from the SGC conference to his big event, the Printbanger’s Ball.

Huck says Home Depot has decent birch ply & superior hot dogs.

Artemio Rodriquez, a great Mexican printmaker is artist-in-residence at Evil Prints for the week. Of course, there will be a St Patrick’s day party on March 17. Looks like there will be one hell a Wolfbat War Vessel parade directed by Dennis McNett. There is Pub Crawl Scavenger Hunt, –order a Pabst at any of Huck’s favorite dives and you might snag a limited edition coaster with a  print by Huck or guest artists including Bill Fick, Gary Panter, and Sean Starwars. Best place to read about the Evil Week events is EvilPrints.com. Also check out Printeresting, the most dependably readable printmaking blog for the scoop on Huck’s alternative activities.

McCloskey and Huck

As a 2010 graduate of The Evil Prints Bootcamp I have been invited to join in this counter-conference. I’ll be there this weekend at the Printbanger’s Ball selling prints and a special zine created in honor of the occasion. Hope my print sales will cover my airfare. (Note to the Governor: No Kutztown University funds used for my trip.) Look for an update next weekend.

"HUCK" © Kevin McCloskey 2011

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