Gallery DeForest: Illuminating Artistry and Poetry

Book Artists Donna and Peter Thomas coming to Ashland, Oregon

2011-05-19T20:46:00.000-07:00

Peter and Donna Thomas have been making artists' books for over 30 years.

They are coming to Ashland, Oregon with their Gypsy Caravan to teach a workshop!

You can meet them

and see their books two ways:

Saturday, June 25 1:30-4:00

at Illahe Gallery

215 Fourth Street in Ashland's RR District

by taking this workshop

Sunday, June 26 10-4:00

at Ashland Art Center

357 East Main St.

Creating Artist Books Workshop:

The Nested Accordion Book; Scrolling Codex

$45, ages 15 and up

· Contact Cathy DeForest to register at 541-690-6976 or cathy@jubilationpress.com

Peter and Donna Thomas, are self employed book artists, papermakers and letterpress printers who write, illustrate, and bind their own books. In 2010 and 2011, as the wandering book artists, they traveled around the USA in their homebuilt Gypsy Wagon Bookmobile.

Since 1977 they have produced over 125 limited edition books and over 300 one-of-a-kind artists' books, which can be found in collections around the globe. They have been self-employed in the book arts since 1977, making books, teaching workshops and giving lectures. Check out: http://wanderingbookartists.blogspot.com

Amiri Baraka in Denver

2010-03-02T10:00:00.000-08:00

Last Friday (February 28, 2010) I went to see the poet Amiri Baraka read at Denver University. The former Poet Laureate of New Jersey, Amiri Baraka is a distinguished poet, author, playwright, music critic and political activist. Familiar with controversy, Baraka's poetry (and other works) battle subjects such as racism, slavery, white culture and conservatism and his reading this Friday was no exception. A jazz critic, Baraka's words were filled with jazz references, and accompanied often by rhythm as he pounded on the podium, tapped the microphone, sang refrains and scat melodies. At one point drumming with so much enthusiasm all his papers fell from the podium, his energy was especially impressive considering Baraka recently turned 75.

At times Baraka's words were full of remorse and resentment for the history of African slavery--my brother the king sold me to the ghosts--and the connected history of the Americas--at the bottom of the Atlantic ocean/there's a railway/made of human bones/black ivory. Yet he added to this the songs slaves sang to keep their pride--I may be wrong, but I won't be wrong always. Still, the history he retold warranted the notion the preparation for pain is minimal/for joy, a lifetime.

Perhaps the most animated and comical part of Baraka's reading was his series of lowkus (haikus for Afro-Americans who "don't have time to count the syllables"). Baraka strung the lowkus together by singing the melody of Bud Powell's "Un Pollo Loco." The lowkus were full of humor, much of it directed towards whites--the devil said he left heaven because there were too many niggers/that's why he started Europe--the rich--since the rich eat more than anybody else/it's reasonable to assume/that they there are more full of shit--and Bush--the main thing wrong with you/you aint in jail and in Mandarin the word Bush mean dumb motherfucker. (Watch a video of lowkus at a UC-Berkeley reading. The lowkus begin at the 31 minute mark.)

Baraka's reading was a powerful reminder of the world's madness, which is recognized by liberals, conservatives and apoliticals alike (although opinions about the root cause of this madness vary). While demonstrating the tensions that still affect issues such as race and class, Baraka spoke of the need for this country to stay vigilant against conservatism. In order to do this, "we" need to stop fighting each other and fight the common bigger enemy, which Baraka would call the Republican devils. In addition to the outcry of his poetry, Baraka repeatedly offered another solution, referencing the DU student crowd by saying things to effect of, "You are all students, study this stuff."

Baraka ended the reading with a poem that has attracted much attention entitled "Somebody Blew Up America." Living in Newark, New Jersey, directly across the river from the Twin Towers, "Somebody Blew Up America" is Baraka's response to watching the smoke rise as the buildings fell. Baraka lost his laureateship for the poem, which repeatedly asks the question, "Who?":

   Who fount Bin Laden, maybe they Satan
   Who pay the CIA,
   Who knew the bomb was gonna blow
   Who know why the terrorists
   Learned to fly in Florida, San Diego.

While implicating the Bush Administration, and many others, in the execution of 9/11, the poem’s questioning criticism goes far beyond any single event:

       Who got the tar, who got the feathers
   Who had the match, who set the fires
       Who killed and hired
       Who say they God & still be the Devil
       ...
   Who the biggest terrorist
   Who change the bible
   Who killed the most people
       Who do the most evil
       Who don't worry about survival
    (Read the rest of the poem)

During the question and answer after his reading, a young woman asked, "Who exactly are you talking about?" to which Baraka replied something to the effect of, "That's just what I'm asking, who? ... You're in school, study this stuff." But while you're picking up those books, be warned: poets on the loose, we're coming around.

Written by Derek Pyle. Photo by Lynda Koolish from www.amiribaraka.com.

The Ghost of December Past

2010-01-15T21:59:00.000-08:00

What a December! We at Jubilation Press printed a new broadside, "Vipassana," a poem by me (Derek Pyle). In addition to that, I was honored to read poems for two audiences, at Illahe Gallery and Studio, and at the Winter Farmhouse Salon with Jeff Pevar, Inger Jorgenson and Jaese Lecuyer. For the Salon, the night was cold and the moon was dark, but as we shared together song--in the mythic sense, poems count as "song"--we were warm. I opened the evening with this poem:

        Life river cold and foggy
        winter bite working its way,
        gets pinkie fingers and tips of ears

        but if we bring our voices to verses
        the clouds move from our rainy Northwest hearts
        bodies together call warmth,
        they sing warmth's song

        At the foggy banks
        we know leavening--
        bodies together we sing warm praise,
        all the loaves break open
        to hear the song.

In writing this poem, I was inspired by one of William Stafford's journal entries (dated December 9, 1984, as found in a book of his work Every War Has Two Losers): "In the tunnels where they hid during bombings the Welsh would sing. No one outside could hear them. Their songs never silenced a plane. But in that rich darkness their music sounded so pure that a diamond formed in the soul." A warmth indeed.

As I searched for more information about the Welsh singing in the tunnels, I found another website with an article about the origins and wartime miracles of the German song we know as "Silent Night." Of the three stories I found, one is particularly famous; you may know it already. In 1914 during World War I the Germans and British fought fiercely, except on an especially cold night on December 24. That night, the German soldiers hung lights on small Christmas trees, then raised the trees for the British to see. From across the trenches, the Germans began singing "Stille Nacht," while the British sang "Silent Night." The enemies troops convened in the center of the battlefield, talking in broken languages and exchanging gifts. For a moment, the war stopped with a warmth beyond any cold weather. It was the warmth of the human heart, the warmth we so often find in song. This is the same warmth we found last December at the Farmhouse Salon--I especially liked Jeff's solo rendition of "Silent Night."

Have a warm winter filled with song and friends.

Dec. 13 Farmhouse Salon: Jeff Pevar, Inger Jorgenson and Friends

2009-12-05T09:45:00.000-08:00

    The transition movement emphasizes localized exchange as a way to avoid the environmental problems lingering on the horizon, but that is not the only reason why local is good. The local is the people we know, the people who live in our community, and when we celebrate as a community, we also experience the intimacy of a localized connection that can only grow by living together as friends and neighbors. In community we can celebrate life and beauty together, with people we know, respect and enjoy. But there are bound to be people we don't already know at these celebrations, so we also get the chance to expand our sense of community by connecting with new people.
    This sense of community is one of the many reasons I love living in the Rogue Valley. I love walking downtown and seeing familiar people. I love the exchange of ideas and the abundance of enthusiasm these people offer. And I love discovering the valley's people, niches and enthusiasms previously unknown to me.
    Similarly, I love the opportunity to read my poetry to groups of people anywhere, but especially in the valley. Last July in Ashland, we did a house concert with Jeff Pevar and Inger Jorgenson, Alison Van Olphen, Aeada Cains, Sasha Lithman and myself. Although I probably saw somewhere between 75 and 100 concerts last year alone, very few of them offered the level of intimacy and sweetness we--the performers and the audience--experienced that night. Needless to say, I am very excited for next weekend, December 13, when Jeff Pevar and Ingerson return for another house concert, this time with fellow musicians and Rogue Valley neighbors, Cornflower and Jaese Lecuyer. Very grateful to be a part of what looks to be another amazing night, I will be reading poetry at the event as well.
    Jeff Pevar is a wonderfully dynamic guitar player and multi-instrumentalist who has toured with Ray Charles, Rickie Lee Jones, Joe Cocker, Crosby Stills and Nash, Jazz is Dead and Phil Lesh (making him a musician very close to my heart!). Inger Jorgenson, an amazing painter, is the co-owner of Bohemia Gallery and Framing down on A Street (known for their happening First Fridays). Not only can you see her work at the "Winter Farmhouse Salon," as we are calling the event, but you can also hear her singing her eclectic R&B soul voice, which you may recognize from the Ashland band, Bohemian Soul. Inger and Jeff will be performing together. If you come, expect great intimacy and sweetness from their duet.
    Cornflower is just as cool as Inger and Jeff. Using loop pedals, vocal percussion and scat, he moves and groove. Listening, I might cry, or least experience bliss.
    I have never met Jaese Lecuyer, but he has recently located himself in the Rogue Valley. A Canadian singer/songwriter, I hear from Inger he's damn good.
    I will be reading poetry. It is always a blessing to share my poetry with people, and to share performing space with such amazing people, is an honor. I am really looking forward to it.

    If you want to come: The event is Sunday, December 13, at 6:30 PM. It is taking place at the home of Cathy DeForest (of Gallery DeForest) and Leon Pyle, who happen to be my parents! This is also the location of Jubilation Press, you are welcome to check out our studio on Sunday. As this is a house concert, space is limited and you need to get tickets in advance. We had a full house last July.
    Tickets are $25 and you can purchase them at Bohemia Gallery and Framing, 552 A St. in Ashland, unless you go in on a Sunday or Monday. They are closed those days. For more information, call 541-488-5227 or email inger@bohemiagallery.com. After buying tickets, you will get more info about things like the address of the house. I hope to see you there.

Have a great December. We hope to see you December 13th, 17th or some other time soon!
          Derek Pyle

Final Artist Book Exhibit at Santa Reparata International School of Art

2009-09-26T18:52:00.000-07:00

Barbara Mortkowitz showcases her creativity with a series of artist
books inspired by wanderings through the streets of Florence.

Cathy DeForest exhibits her solar etching based on
the Egyptian exhibit of the Venice Biennale 2009.

Rebecca Dant reveals her accordion book based on photographs of
gelato shops in Florence, which stands on colorful gelato spoons.

Mary Laird shows her newest letterpress book, Kindred Flame.

Maritza Davila, exhibits her prototypes for her book
based on sense of place, friendships and life's journeys.

Artist books created in Florence

2009-09-26T10:18:00.000-07:00

Raffaella Macalusa exhibits her book inspired
by the 500 year old deed for her family home.

Len and Diane Lea showing the medieval binding of her
letterpress book sewn and printed at Santa Reparata.

Kathleen Rydar exhibits her books which includes a tribute
to the letterpress printer who inspires her recent work.

Nancy Jo Mullen exhibits her artist book featuring
the marvels of paper throughout the ages.

More Book Arts Adventures with Mary Laird and Cathy DeForest

2009-08-30T23:01:00.000-07:00

Our days at Santa Reparata have been filled with creativity and wonder. Participants have made books out of bags (the original idea for a bag book came from Betsy Davids of SF). Our photos tell our story: Kathleen Rydar of SF presents her idea for her bag book inspired by shopping adventures and Nancy Jo Mullen tells the tale of how important paper has been to civilization as she hold up a bag from one of our favorite paper stores.

We also made solarplate etchings and turned them into a collaborative book bound with copper corners via Mary Laird's instructions. Cathy DeForest is shown here printing an etching from a photograph she took on her trip to the Venice Biennale.

Participants also worked on a book based on a found object. Rebecca Dant can be seen here showing her book to Dan Welden documenting the glories of gelato in Florence. The book stands on gelato spoons gathered by fellow classmates.

Stay tuned for more book art photos as we gather them up to share with you.

Dan Welden Teaching Solarplate Printmaking at Santa Reparta

2009-08-28T20:46:00.000-07:00

Bottom row: Barbara Savadori, Michael Gaffney, Jacqueline Aust

Next row: Pamela Gordon, Susan Overill, Sue Doyle, Hanneke Barendregt, Dan Welden, Amy Orange, Theresa Airey, Deborah Riley, Jill Landau Reich, Rosalind Weinberg,

Susie Overill, Barbara Salvadori, Pamela Gordon, Dan Welden, Michael Gaffney, Amy Orange, Cynthia Boynton, Rosalind Weinberg.

It was an international happening under the Tuscan Sun. We came from all over the world…Bermuda, Netherlands, New Zealand, England, USA, and Italy. The studio was a cornucopia of sounds, languages, dialects and laughter. We were Professionals, teachers, writers. photographers, painters, mothers and fathers, all who wished to take a sabbatical from the real world and expand our true selves... our creative selves. We were living a dream many never get to experience. What better place than the heart of the Renaissance- Firenze? Master printmaker, Dan Welden, was the glue that held us together and made it work. Dan was our leader- inspiring, encouraging, honest. He is a great teacher, artist and humanitarian.

We learned the technical side of printmaking…how to determine the density of a transparency, expose and develop a Solar-Plate, wiping a plate, adjusting the pressure on the press, and pulling a print. We learned techniques: creating collagraphs, chine collé, making monotypes and monoprints.

The Santa Reparata School of International Art is a jewel in the heart of the city for all artists to come together and enjoy Florence, to experience what Italy and art is all about and a place to call home for those of us in a strange land. We thank you Santa Reparata, we thank you Dan Welden for all your instructions, help and encouragement, and we thank Jessica Bayer, program administrator, who keeps Dan organized and took care of all the endless details that made these three weeks enjoyable and possible.

Photographs and text written by Teresa Airey. Class portrait photograph by Cathy DeForest.

Ben Long Teaches Digital Photography in Florence, Italy

2009-08-27T20:46:00.001-07:00

Ben Long was an inspirational leader, who was knowledgeable, accessible and great fun! We each brought our photographs to a higher level and learned so much from one another as the weeks coalesced into an extensive search for images. Thanks to Ben, we travel home with a successful experience under our belts and friendships that will endure. Our work is our statement. Check out Ben Long's website: www.completedigitalphotography.com. His book Complete Digital Photography is in its fifth printing.

From left to right: Pat Beary, Barbara Kitzen, Carol Valstyn, Jessica Bayer, Ben Long, Judith Hochroth, Fraser Shein, Len Lea, and Erin Astrup

Photo of class by Susanna Lamania. Text and photography of work by Judith Hochroth.

2009-08-27T20:38:00.001-07:00

Photographs of work by Judith Hochroth.

Printmaking in the sun of Firenze!

2009-08-25T07:26:00.001-07:00

Amy Orange, Rosalind Weinberg, Susie Overhill

Michael Gaffney, Dan Welden, Elaine Bennett, Amy Orange

Jill Landau, Sue Crosby Doyle, Rosalind Weinberg,

Jacqueline Aust, Hanneke Barendregt, Dan Welden

Photos by Theresa Airey and Cathy DeForest

Juliette Aristides' Classical Painting Students in SIRSA studio

2009-08-25T07:15:00.000-07:00

Back row: Eileen Shaloum / Julie Barbeau / Zoe Franks / Toni Jones/ Charles Prutting / Aron Hart/ Juliette Aristides

Middles: Llewellyn Matthews / Stephen Brunner /Skia Laurence / Kristi Clarke / Kathy Troyer / Roger Clarke

Front: Elizabeth Zanzinger / Osamu Tanimoto /Sue Menkes / Tenley Dubois / Celeste Giordano

Juliette Aristides Teaching Classical Painting and Drawing in Florence, Italy

2009-08-25T05:58:00.000-07:00

The Classical program instructed by Juliette Aristides focuses on learning foundational drawing skills. Surrounded by the beauty of FLorence we can not help but be inspired. We are joined by Carol Hendricks our resident art historian. In the morning Carol takes us to see artistic masterpieces and helps us put the work into context. Carol lead us on a path from early Renaissance in Venice, the middle period in Florence and the high Renaissance in Rome. Half days we are found drawing on location in front of a landscape, painting, sculpture or piece of architecture.

Our day begins under the Loggia de Signoria, drawing the classical sculptures of Roman antiquity, followed by espresso and a trip to the many museums that house the treasures of the Florentine Renaissance. In the afternoon we move into the studio to work from the life model. It is here in the studio that we learn the theory behind the great art that we are looking at and how to incorporate it into our own work. We are enjoying this amazing opportunity to study the language of design as it has been handed down through the ages. Check out Juliette Aristides' art at: www.aristidesarts.com.

Her books include: Classical Painting Atelier and

Classical Drawing Atelier.

Photograph by Cathy DeForest

Philippa Blair Painting Workshop In Florence

2009-08-22T13:01:00.000-07:00

Dorothy Helyer in discussion with Philippa Blair.

Paintings by Philippa Reed.

Kathy Birdsong, Phillipa Reed and Marion Vidal.

Photographs by Phillipa Reed.

Philippa Blair Painting Workshop In Florence

2009-08-21T06:25:00.000-07:00

Philippa Blair is taking her class on a physical and metaphorical journey, exploring Florence, Fiesole and Venice, through archways, pathways, canals and history. We have crossed oceans and decades to come here and now we trudge pavements, board buses and bob along on vaporetti to uncover new layers of meaning before us and beneath us, oh and above us, but don't forget to watch your step and not trip.
We have stood transfixed in front of frescoes in medieval monkish cells and as well as taken in the bold graffiti next to the rows of bicycles and scooters to the doorway to our studio. We have gathered the materials for our journeys from favorite art supply stores, kitchen benches, pavements, hillsides and rubbish bins in the spirit of re-cycling and rediscovery. This is a personal exploration for all, as well, a "vulnerable journey of learning", so please treat our new steps and discoveries with care as we share them with you. Check out Philippa Blair's web site at: www.philippablair.com.
Photos and text by Philippa Reed of New Zealand. From left: Philippa Reed,
Brett de Gregoria, Dorothy Helyer, Michelle Librett, Marion Vidal, Kathy Birdsong

2009-08-20T21:38:00.001-07:00

Samantha Budy discussing Fragmented Self Portrait with instructor, Kristi Colell. Myrna Ratcliffe and Jason Nyugen working.

2009-08-20T21:25:00.001-07:00

Myrna Ratcliffe at work during the Mixed Media class session, August 16th.

Samantha Budy at work on watercolor
Fragmented Image.

Mixed Media Workshop with Kristi Colell

2009-08-20T21:11:00.000-07:00

Kristi Colell, California Lutheran University art instructor, got her mixed media students off to a jump start by photographing their first impressions of the streets of Firenze early in the morning. Returning to the San Gallo campus, their slides were developed and the process of Polaroid Emulsion began. The Mixed Media class then joined Dan Welden and Juliette Aristides Solar Printmaking and Classical Drawing and Painting classes on a three day journey to the Venezia Biennale beginning August 10th.
Thee Venice trip inspired more visual information to incorporate into the students own artwork. In addition to the Biennale the Mixed Media class visited Ravenna and Bologna.(note attached photos) The group returned to the studio August 13th and began applying their Personal Italian Visual statements by incorporating the medias of watercolor, carbon lithography, solar plate collage, Polaroid emulsion, photo emulsion, collage and figure drawing. Photo: Kristi reviewing Sharon Dyer's Colors of Florence and fragmented in Florence ideas.

2009-08-15T09:05:00.001-07:00

Letterpress printers: (left to right) Raffaella Macaluso, Diane Lea, Rebecca Dant, Maritza Davila, Elaine Bennett, Barbara Mortkowitz, Nancy Jo Mullen, Mary Laird and Kathleen Ryder (not in photo).

Mary Laird Teaching Letterpress in Florence

2009-08-14T21:43:00.000-07:00

Mary Laird, book artist and letterpress printer came from Berekely, California to teach artist books at Santa Reparata. She reconditioned the Swiss printing press at the studio to get it in working order. After her magnificent introduction, the class went to work setting metal and wooden type for a book based on a medieval form of a laced binding with copper corners. The class used Bodoni metal type and and an assortment of wooden type to create the book. The book is entitled, Le Sorelle del Libro and will contain a collection of solar plate etchings created by each student. Mary Laird is proprietor of Quelquefois Press and teaches at the SF Center for the Book as well as in her home studio.

Ben Long Teaches Digital Photography in Florence, Italy

2009-08-14T08:19:00.000-07:00

Deborah Riley Show "Quiet Moments" opens in Florence Italy

2009-08-14T08:17:00.000-07:00

Current resident artist, Deborah Riley, opened her one person show at the SIRSA Contemorary Art Gallery in Florence, Italy on Thursday, August 14. Her stunning work is series of solarplate etchings which utilize her expertise in darkroom photography as well as printmaking. Her prints resemble mezzotints in value and tone and draw the viewer into another realm. She describes her work in this way: "My images are about finding the marks, merging photography and drawings with printing as the vehicle. The images are monoprints created on the surface of the plate. On a good print day, I find the quiet place where the marks seem to dwell. I invite the viewer to bring his or her own thoughts and feelings to the work. The subject matter can be interpreted to encompass such feelings and emotions as loneliness, despair, anger, and grief. It can also be interpreted to depict feelings of love, hope, joy, and perseverance. All the intertwining aspects of being human."
Deborah teaches her techniques in the US and abroad. More of Deborah's work can be viewed at www.drileyprints.com.

Marbling Paper Demonstration in Florence

2009-08-11T22:01:00.000-07:00

A small group of us visited Il Papiro at Via dei Tavolini 13r for a demonstration of the process for making marbleized paper. This is the paper often seen in the end papers for books and was originally intended to cover up the ends of the string used to bind the book. It is quite amazing to realise that all of these hand made papers are all different even if several sheets of the same design are needed, because of the nature of the process. The process begins with a shallow bath of about the size of the paper being used. This bath has a thin paste in it, a lot like paper paste, the consistency of which has a significant effect on the resulting print. Acrylic paint in a variety of colours is dropped into the bath, leaving a mosaic of paint drops on the surface. The next step is to drag a thin stiff wire through the pan leaving the beginnings of the worls that characterize marbled paper. The end design is shown in the attached photo. Paper is then carefully laid onto the surface of the design in the liquid and then carefully removed leaving the pattern on the paper. The design on the surface of the pan liquid is destroyed in the process. -Photography and text by Len Lea of Selma, Oregon

Magnani Paper Mill Visit

2009-08-08T10:29:00.000-07:00

The making of the new Magnani paper: Silk Revere. Photo by Maritza Davila

Dan Welden At Magnani Paper Mill

2009-08-08T09:47:00.001-07:00

Francesco Natali giving a tour to book artists. Photo by Maritza Davila

Magnani Paper Mill Visit

2009-08-08T09:42:00.000-07:00

Dan Welden led over seventy of us to the Cartiera Magnani Paper Mill. This mill was founded in 1404 and is a wonderment to behold. We were graciously hosted by Dr. Eng Renzo Angelo Cardini, CEO and his staff including Dott. Francesco Natali, the sales manager for Magnani. After being warmly welcomed by the mayor of Pescia and the assistant bishop of the region, we were given a tour of the paper mill. Located on the banks of the Pescia river, Magnani has printed security and currency papers since the 18th century, including the currency for Italy, Brazil. Chile, Iran and Thailand. Most impressive to all of us was seeing the machinery that produces some of the finest art papers in the world including their distinctive papers for etching, watercolor, serigraphy and lithography. On the cutting edge for over 600 years, Magnani is continuing this by producing a watercolor paper for digital printing as well as a new line of papers called Revere. We were able to touch the paper called "Silk Revere" on the rollers as it was being made.

After being wined and dined by one of the most delicious Tuscan meals many of us ever had, we of course bought papers that we will now print on back at Santa Reparata! We cannot recommend their papers enough! Check out their website: www.legionpaper.com/The-Mills.htm