Friday, March 28, 2008

catalog available

i self-published a hardcover catalog for my current show...designed by cody hudson of struggle inc and printed through i present:

featuring 40 pages of images and an interview with Karen Irinve, curator at the Museum of Contemporary Photography. printed in an edition of 100, they include a signed and editioned 9.5 x 7.8" (also edition of 100) print from the wright commission which is the last image in this post. it is entitled, "Self portrait in an infinity mirror (partially functioning)".

editioned catalogue and print, edition of 100 - $100.00

if you're interested:

below is the the small print included with the catalog:

Thursday, March 27, 2008


i guess you don't need to use the super scope when your subject is like this...but it is a nice vantage point!

Wednesday, March 26, 2008


new catalog out...check it out beloW!

Special Print Series now available

I am introducing a new Special Print Series on my website!

Go to
click on images
click on studio

There you will find "Heart (midwest)"
mounted on diebond
ed of 10, 7 left

Tuesday, March 25, 2008

hunter international

pix from easter sunday as spent by a jew

so in the spirit of using this yaschica t4 i got recently i toted it to my friend lindsey's easter formal and made some snaps. more to come i think. the immediacy of the snapshot never fails to excite me...i just forget how much i like them. plus, when shooting snapshots more often, they tend to bring out other ideas percolating under the surface. also, the parameters of point and shoot are so nicely liberating for image making, relying on instinct. i pledge to make more snapshots.

does anybody know anyone doing interesting things using a scanner-as-camera? i am making that the next shooting assignment for my robert morris college photoshop class and i found way too many flowers when putting together my slide show.

Monday, March 24, 2008

easter sunday

Friday, March 21, 2008

new Nirvana entry

still very much working on the nirvana project and accepting submissions. this one i received from a student in brian ulrich's class when i presented my exhibition to his Photography in Chicago Now class. this entry is courtesy of aj, who writes: ...The person who introduced me to Nirvana is named Natasha. I met her on my bus route in 8th grade (1999). I was living in a suburb of Dallas called Southlake. I think she had a crush on me while I lived there. Natasha was born in England and lived in France and Malaysia before coming to Texas, a fact she often lamented. The Bible Belt was a very bad place for us. She was an absolute culture clash...

Tuesday, March 18, 2008

walt whitman

i'm kinda feeling this tungsten-y living with a i crazy? is anyone out there???

i made a painful edit of the living with a portrait series tonight, throwing out a few pictures that i love, but i think the series is becoming really tight and can now grow again. if you've been following it, check it out on

and if you haven't heard obama's speech on race, look it up (March 18th)...pretty powerful. he has this singular vantage point on race that he can really speak frankly in a way that not many other politicians could or would. this vantage point powerfully opens up conversation in a way that is unprecedented in recent years, on a scale this massive...

Monday, March 17, 2008

summer residency...apply NOW!

apply to the Harold residency!

The Harold Residency Program is an opportunity for artists and musicians to further their goals and interact with like-minded individuals in a secluded environment. Situated in the Appalachian foothills of Southeast Ohio on the grounds of the Jeffers Tree Farm, the Harold Residency provides a remote location with modern studio facilities, comfortable accommodations, and chef-prepared meals. For one or two week sessions, residents refine their practices, create new work, and collaborate with fellow artists.

Each summer, our residency program serves as an introduction into a network which functions throughout the year, presenting art exhibitions, concerts, and other events in Chicago. Attending Harold opens the door to an array of opportunities beyond the residency itself: recordings made by music residents are included in our annual compilation CD (produced in partnership with Sundmagi records); residents are also invited to perform in conjunction with the record release. Visual artists are assured participation in at least one exhibition following the summer residency, and are considered for representation in fairs and festivals including Artropolis in Chicago.

This summer's residency will take place from July 7th-27th. The fee for one week is $300 and $500 for two weeks. These fees include shared housing, all meals, and communal studio space. This year we are also accepting applications from collectives, bands, and other previously-affiliated groups of artists. Four to six people may apply as a group and, if accepted, receive remote group lodging and a discounted $1000/week charge.

An application is attached to this email and can also be found on our website. Please submit applications by April 30th. You will be notified on the status of your application on May 15th. For more information on how to apply, or any other questions you might have, please check our website: -- or contact us at


Harold Arts is a non-profit arts organization based in Chicago, IL, devoted to fostering the collaborative and interdisciplinary endeavors of new, emerging and mid-career artists.

Thursday, March 13, 2008


greg stimac (.com) had an opening in cologne, germany the same night as i did in chicago. he was nice enough to call at a crazy hour over there to a decent hour over here and say hello the night of our openings. he is flanked by new dealers kaune, sudendorf who will be at the Next fair in chicago in april. they represent christian patterson, peter grasner, and i am a new addition to their roster as well. they took a full page ad for gregs show in the current issue of artforum. the ad features an image from the 'recoil' series, which was the show, plus 2 new videos from greg: peeling out and carwash girl (which are both viewable at the mocp in chicago). in the back is nathan baker who will living half-time in chicago, half-time in berlin from here on out, marie harten who studied in chicago for a bit but is back in berlin, and anne lass who is back in berlin and preggers too!

Wednesday, March 12, 2008

mention on

...each photograph remains an individual depiction of a particular wonderland or an odd and even sometimes dark personal moment which Lazarus masterfully captures without using his physical presence...

written by kat parker, director, rhona hoffman gallery

Monday, March 10, 2008

also, in regards to photoshop...

here are some of my favorite photoshop-using artists to show. any suggestions to add to this list?:

nathan baker
kerry skarbakka
matt siber
tom bamberger
chris jordan
sabrina raaf
loretta lux
ben gest
beate gütschow

retouching stuff

here is a conversational worksheet i put together on retouching for my class at rmc. anyone have other points i could add or corrections etc? feel free to copy this for your own! :


Here are some things to consider while retouching:

Light quality
What is the light quality of the image? From what angle is the light coming? What temperature is the light (warm, cool, or neutral)? Do you have direct or diffused light (shadows will reveal this)? Make sure any retouching decisions are in line with the light quality in your image. You may even need to add some fake shadows to keep your image consistent!

Where is the focus?
All images have a point of focus. This point of focus (or depth of field) may be narrow or deep. Cloning and image repair is easier when it needs to be done in a ‘soft focus’ area because the lack of texture is easier to match. In this situation you can use a lighter opacity to blend areas together (without worrying about losing texture).

Sometimes, especially with beginning retouchers, we see patterns—basically a shape or part of a picture is repeated over and over in an area of retouching. See the same cloud 4 or 5 times in the sky? Keep an eye on this. The answer to this problem is to keep changing your sample point when cloning. This will prevent patterning in your retouching. Also, when you are working on an area, you want to sample from both sides of a problem area. This will help the retouched area transition smoothly from one side to the next.

Photographs often have areas of grain everywhere. If you zoom in on any image you will see film grain or pixels. Whatever you see, it needs to be uniform across the image. You may bring an element into your photograph and it will be too sharp or too blurry relative to everything around it. You may need to sharpen or blur gently your retouch area. If any area is in focus and has texture, you will need to have a hard brush (opacity 80-100%) and have fairly hard brush edges (65-100%) when working in that area. Beginning retouchers soften and lose texture in their retouching areas.

View at 100%, work like a painter
Make sure you are judging your retouching at 100% viewing percentage (you can check this on your navigation tab). This is the best barometer you’ll have if the changes you are making will look good when outputted (printed). You will also have to zoom out to gauge your work, especially slight shifts in color and tone. Sometimes when you work ‘zoomed in’ for a period of time, you will zoom out and notice things just don’t look right. Your working method (think like a painter in front of a big canvas) should include zooming in to work on areas, zooming out to judge your work, and zooming to 100% to confirm everything looks okay.

Aesthetic decisions
Sometimes, no matter what, you can’t fix the image, or a detail can’t be repaired. A nose may be missing completely for instance. In this case, you will have to build up a nose from the rest of the face, or clone a nose from another source and then adjust it to match the image. In other situations, you may choose to remove an element from an image rather than repair it (if you have the freedom to do so---do you have a client?). Sometimes, we have to change an image to make it appear normal. Think creatively, what could normal look like?

Sunday, March 09, 2008

driving with a portrait???!!!

Friday, March 07, 2008

opening today: This is gonna take one more night

Entire Three Minute Duration of 'America's Answer Fireworks Package' ($99.95), Independence Day 2007, Archival inkjet print,

Jason Lazarus

This is gonna take one more night.

Opening Reception: Friday, March 7th 5-8pm

835 W. Washington Blvd.

Chicago, IL 60622

Chicago, IL, March 7, 2008--Bucket Rider soldiers on toward spring with our first solo exhibition of photographs by Jason Lazarus. We will present selected works from several of Lazarus' recent series. In Gallery One, we present new works in his Self Portrait as an Artist series, two works from Living with a Portrait, and one commission from his Wright auction house project. In Gallery Two, we present three new works from NIRVANA.

Jason Lazarus has steadily built a body of work that reveals new insights into self-representation, authenticity, and public versus private modes of communication. His works fall somewhere between confession and reportage, illuminating personal and single moments that fold into a larger context of public discourse. He has expanded his investigation of what contemporary self-portraiture means and how it can be depicted by photographing the icons and photographs that people live with each day in Living with a Portrait. He has turned the playfulness that can be found in his early Self Portrait as an Artist series on the masterworks of Wright's recent auction, creating photographic statements of what it means, both personally and politically, to live through and on the art that captivates us. In Nirvana, Lazarus takes a very personal moment, when one is first introduced to a seminal, life-changing rock band, and creates a living cross section of the way we come to grips with our own identity within a larger cultural framework. The most recent additions to his Self Portrait series see Lazarus removing himself from the proceedings. Instead, these pictures document the world around him. His own absence from images like Entire Duration of 'America's Answer' Fireworks Package ($99.95), Independence Day 2007 or Inside Cabrini Green housing project (before razing), ultimately reveal his presence as personal and political manifestations of the self. His new artist book, The last rose of summer on my nightstand, a curated collection of found photographs and the diaristic entries written on back of each image, will be available for viewing. A catalogue of recent work published on occasion of this exhibition will be available through the gallery.

Jason Lazarus received his M.F.A. in photography from Columbia College. He currently teaches photography at Columbia College, St. Xaver University, and Robert Morris College. Lazarus has had solo exhibitions at the Museum of Contemporary Art, Chicago and D3 Projects, Santa Monica. He will be part of the forthcoming exhibition, Black Is Black Ain't, curated by Hamza Walker, opening at the Renaissance Society, in April 2008. This is his second exhibition with Bucket Rider Gallery.

For more information contact Patricia Courson.


Wednesday, March 05, 2008

interview text:::

so this is an interview between karen irvine, curator at the museum of contemporary photography, and myself for the exhibition catalogue that will come out a couple weeks after the opening. karen and the museum are such a great institution in chicago that very keenly follow the work of young as well as established photographers. their programming seems to anticipate movements in contemporary photography without exception. the piece above is referenced in the conversation:

KI: In this exhibition, This is gonna take one more night, you include four projects that at first seem very disparate. What is the relationship between the projects on view?

JL: Well, for the last two years I have been making an incredible amount of work, including the start of three new projects. In whole, the four projects relate to each other in really interesting ways. At the risk of overwhelming the viewer, I am trying to mount an exhibition that reveals a photographic practice that is not only the traditional one of making pictures with a camera, as I do in the Self Portrait as an Artist series and Living with a Portrait series, but appropriating and curating vernacular photography as it's done in the Nirvana series and The Last Rose of Summer on my Nightstand artist book. The three new projects inform Self Portrait as an Artist, and the show is a curated selection that leads, hopefully, to the examination of an artistic voice.

KI: The Self Portrait as an Artist series is a very open and versatile project that includes so many different things – literal self-portraits, some of which are funny, portraits of other people, such as Wolfgang Tillmans, and more open-ended, or ambiguous pictures, that seem to simply suggest your own politics and identity, such as the picture of the moon that's entitled Standing Under the Same Moon as Barack Obama. What I am wondering is: couldn't the three new projects, since they are all part of your experience as an artist, be included in Self Portrait as an Artist series? In other words, how do you decide that an image or idea doesn't belong in that series and instead belongs in a new, discrete project?

JL: The Self Portrait as an Artist project is about the notion of an examined life—in this series in particular, it’s mine. When I take a picture of a portrait that someone else owns, like I do in the Living with a Portrait series, and not one of my own, I'm trying to pry open a sacred little gap, infiltrate someone else's world, and create, in spirit, a self-portrait for them. That parallel way of working is a nod to the Self Portrait as an Artist series but relies primarily on the unseen owner of the portrait, the portrait itself, and a relationship with the portrait that we can vicariously step into with each image in the series.
In the Nirvana Project, I invite the participants to recall the memory of who introduced them to Nirvana, submit a snapshot, and spill a story out to me. It’s a bit like curating, which I am fond of doing. The interesting thing about this project is the private memories that the common denominator of Nirvana bring about, which leads to other discussions about adolescence, pop culture, and identity. I want the viewer, along with myself, to feel like we're almost walking into a room where we shouldn't be, and our voices are low because we don't want to disturb the happenings or the emotional content.
Same thing with Last Rose of Summer, which started from me swooning as I read the back of a photograph that was inscribed with the words “The last rose of summer on my nightstand” and was dated 10/29/61. The beautiful part of it is that her audience was herself. When I happened upon her images it was as if someone said, "You don't have to lower your voice anymore. You can just walk around because this person's never coming back." And because they're found photographs it really starts being sentimental and romantic, like, I get to walk around in this woman's heart, more than her mind or thoughts. That's what really floored me, and what gives the project its own critical mass to become its own series.

KI: It's interesting that you talk a lot about sentimentality and nostalgia when you speak about the Last Rose project. For the woman, the images were, presumably, very important, and for you as an artist they are important, but for her children or her grandchildren, if she had any, or somebody else who stumbled upon them, they would perhaps seem silly or expendable. That's one of the ironies of vernacular photography, that people's photo albums are usually the most important things in the world to them, but one or two generations later they usually mean very little to their heirs as they contain pictures of a lot of unrecognizable people or situations.
Most of the pictures in the book are of flowers that the woman grew in her garden. Her intentions were very documentary, it seems, but the pictures are not very compelling as documents; rather they are compelling in the story they tell about one woman's life. In the book you remain very committed to the idea of veracity and remaining faithful to her vision and story. But you could easily put false images in the book and write some of your own text, to heighten the emotional and sentimental content. You don't do this, but in the editing process, and as an artist who radically shifts the context of the original photographs, don't you change their meaning anyway?….and how does the meaning and impact of the pictures change through your practice?

JL: I try to retain what I feel are the most amazing parts of her story. The changes that I made in editing the Last Rose archive from 150 images down to 30 images, and including the writing on the back of the snapshots, parallels my artistic strategy in Self-Portrait as an Artist. I realized much later that the Last Rose editing was very intuitive because it followed a way of working that I have been developing for a while. I eliminated the photographer’s self portraits because I don't want people to see her likeness, because if it's there the viewer tends not to wonder about what's beyond the edge of the frame. And without it, they are allowed to imagine all these wonderful things.
In my artist statement I had the phrase, "What I want to do is, share the ritual of looking with the viewer." And when you read that you said, "I think there are a lot of younger, more emerging photographers who would exactly fall under that rubric." I think you mentioned Jason Fulford's work or Tim Barber’s Tiny Vices project. In any event, we were discussing work that is very experiential…about the pleasure of looking. I think romanticism is a big part of what people like Fulford or Barber are doing, and Last Rose is the found-vernacular version of that strategy.

KI: I also think it's not only about the pleasure of looking and the romanticism, but also about finding a different way to engage the viewer, to activate the viewing process. And this usually means not making a direct societal critique or an observation of politics and history. It's about ambiguity, really. I always think of that kind of work as a type of visual poetry, if you will, where it's really up to the viewer to make his or her own connections. That approach, or sensibility, is exactly what I admire in your work, particularly in the Self-Portrait as an Artist series. That open-endedness is intriguing and you make it very apparent that there are a lot of complexities in the seemingly simple idea of making a portrait, or a series of photographs for that matter.

JL: I will say one thing, I am still very interested in making a societal critique in the Self Portrait as an Artist series. There are references to Obama, Somalia, Michael Vicks, and Chicago public housing, as well as Independence Day last year. I am always trying to decide: How do I put varied themes together in the same project? I have to make new "rules" for myself that allow me to simultaneously make a picture that feels documentary such as Cabrini Green, Before Razing and an image that is a very interior picture of myself, such as the still life of the plant on my ex-lover’s windowsill.

KI: There are so many artists out there who are doing what is called "political work," but they're afraid to be too opinionated or to direct in their message –

JL: Burtynsky!

KI: Yes, you know, the artists who position their work by saying, "I'm not making statements, I'm asking questions…" You seem somewhat more willing to take risks. But by expressing, even subtly, a political opinion or position in your work, like mentioning Somalia or Barack Obama, couldn't that could be construed as being a bit too self-promoting?

JL: The devil's advocate would say, from an art world perspective, it's easier to be like a Burtynsky and hang out in that zone where you're like, "I'm just making pictures." Critics, collectors and audiences are already primed and accustomed to that kind of work. I'm not criticizing Byrtynsky; I think it's a totally valid strategy. But his strategy is saying, "I'm making pictures that the viewer has to navigate, and that could propel him or her to care more or to do research or to try to change the world – or not." That’s a legitimate strategy, but that's one that doesn't interest me much. I feel like, from a market perspective, what I'm doing is risky because it's a different way of looking that's not comfortable or familiar. It’s work that explicitly investigates the subject and the photographer in the same series.

KI: So do you agree that you are making direct political statements? Are you trying to tell people that they should vote for Obama, or care about Somalia?

JL: The pictures that are political are about an encounter, as the Emmett Till image was about encountering an exhumed grave. The Beautiful Mogadishu image is a performative piece that is about encountering the story from afar of one man in Somalia who writes “Beautiful Mogadishu” on t-shirts every day--not to be ironic, but to remind citizens that before 1991 Mogadishu was beautiful and they are constantly distancing themselves from that moment. Standing Under the Same Moon as Barack Obama is an encounter with this notion of a political icon cum celebrity. By tracing these encounters within the Self Portrait as an Artist series, I pull the viewer through times, places, and thoughts that have connected me with the political world around me, and thus redefined me. I am keeping an archive of the times when I have cared.

KI: What complicates the question of intention, I think is you’re your title, Self-Portrait as an Artist, because the viewer is not sure if you're creating an honest self-portrait of who Jason Lazarus really is, or if you're portraying who you are when you adopt the persona of an artist.

JL: The notion of striking up a persona is less interesting to me than a series that is, as I intend the Self-Portrait as an Artist series to be, an epic project—one that goes until my death. I want it to be ambitious in scope, steady in its commitment, and a sincere investigation of myself and the world around me which doesn’t preclude the tools of humor and play. I think that the idea of being an artist is integral to a self aware society because the art that is left behind is an insightful account of ideas and feelings connected to a particular era. Hopefully each project is a kind of new and interesting thing to leave the world.

KI: A lot of the time you shift the meaning, and the context, of your photographs through text. Is this a kind of a critical strategy -- I mean, is it meant to illustrate that there is no such thing as veracity in photography? Or is it a commentary on the inability of photography to tell a certain kind of story?

JL: I'm not interested in taking any sides on the idea of photography as truth because that's not exciting or interesting to me. I think that the text component is oftentimes the thing that fixes the images' trajectory. I usually don't physically connect the title to the image, in order to allow people more room for them to insert themselves in the work. To see a moon in the night sky and not think of Obama immediately is nice– I can simply use aesthetic, feeling and mood to ' warm the viewer up.’ The Wolfgang Tillmans piece is a newer strategy of working within the Self-Portrait as an Artist series where I do physically connect the title and the image…I write, Jim Goldberg style, below the print. To me, that picture is so much about Tillmans, and a lot of people won't even know who Tillmans is unless you're a photography person. Even a photography person probably won’t recognize what Tillmans looks like. For me, because it's so critical in that piece that the viewer know who it is, I write it. Text is so visually expressive and imperfect, just like his eyes being closed. I'm ok with fixing the meaning of the image right on the print immediately, because holding back on that image doesn't make as much sense.

KI: I like that Tillmans picture because it's like a paparazzi photo. I was at that opening, too, and a lot of people had snapshot cameras and were trying take his picture. He, not surprisingly, was very elusive in how he navigated the crowd, because he's a celebrity in the art world. When you say that the image is about Tillmans, is it about Tillmans as an individual or Tillmans as a famous artist? You seem to hint at both the allure and downside of being a famous artist in this picture, to say that the role of the artist is both glamorous but sometimes ridiculous, too….

JL: I think it’s about Tillmans the famous artist and me the error-prone sycophant. The picture is truly a snapshot that fails the universal test for success—his eyes are closed. Months later, I realized what a great piece this snapshot could be. It implicates me as the photographer who missed the moment in the aura of a celebrity photographer. I’m definitely not the landscape photographer standing triumphantly on the precipice creating vista views of lands not yet seen.

KI: Living with a Portrait is a nice bridge between Self Portrait as an Artist and the Nirvana and The Last Rose projects because your presence as an artist is really felt there, whereas in Nirvana and Last Rose you use found photographs. In Nirvana you include a statement about your process that explains that you ask people to send in pictures and tell their stories. So you’re acting as an editor….

JL Yes, Living with a Portrait involves making photographic images in a traditional way, very slowly, very controlled. The formalism in those images is meant to clear away the clutter so the viewer can see only a small number of signifiers of the portrait-owner, and actually have somewhat of a psychological relationship with the portrait. This ultimately puts the viewer in the place of the portrait-owner. When you are standing in front of those prints at full size, this intimacy creeps in and you remember the power of portraits...their physicality, their steadiness, the gaze of the subject...and how these things multiply through time.

KI: I normally wouldn't ask an artist how his or her work reflects who he or she is as a person, because I'm generally less interested in the artist's personal history than I am in their work's appeal on a more universal level. But in your case it's totally appropriate because who you are as a person is your conceptual foundation. You embrace that romantic notion of “this is all about me,” but you're twisting it and making it new and fresh and ironic and at the same time it’s sincere and ambiguous and all of the things we talked about. At its most successful your work becomes all about us, too. You said that you were a Nirvana fan in high school. And The Last Rose, is there something personal that you could share that would explain how that touched you?

JL: It was just so honest, that the photographer took pictures so earnestly and truthfully, and without an audience. I'm interested in other people who do those things that are kind of parallel to what I feel like I'm doing, and I feel like it's as valid as what I'm doing. And so if I can create a portal for other people to be seduced or invigorated or empowered, or to cry from these stories, I think they become paramount in their importance to mine. So I look at that book as important as any self-portrait I make, because at the end of the day we're both just people trying to enjoy our days, making the world our muse. And it says something about me because I get such a poetic kick out of watching people digest the things around them, especially visually...

KI: And it's appealing to people because it concerns memory, and death – and it illustrates what photography has always been used for – to try to hold onto the past, to go back to the past, to memory. And I think she's probably always looking at those flowers in her garden and she's so proud of them and she wants to hold onto them -- there's something just so fundamentally beautiful there. She doesn't want them to fade away, but knows they ultimately will.

JL: Yes! And the most devastating part is that the ability to go to a resale shop and find great troves of vernacular photographs will, probably end in my lifetime. It brings up great questions about how our private archives will pass on to future generations, or if they will. The durability of a vernacular snapshot with no “home,” sitting in a box in a resale shop or thrift store is great, because it affords us time to find a new owner for it, and consequently new meaning and new life.

Monday, March 03, 2008

friday needs to chill out!


A Group Show featuring work by:
Ben Driggs
Ciara Ruffino
Laura Cartwright
Kris Casey
Nate Otto
Ashley Hudson
Jihee Kim

Opening: Friday, March 7 7pm-1am

With the music of:
Golden Birthday
Abra Aducci

Happy Dog
1542 N Milwaukee
Chicago, IL 60622

Harold at MCA!

Magical Musical Showcase
Harold Presents...Boss Carpentry
Tuesday, March 4
Museum of Contemporary Art (Puck's cafe)
220 E. Chicago

Harold has been invited to participate in the Museum of Contemporary Art's Magical Musical Showcase.

Magical Musical Showcase

First Tuesday of the month, 6:30 - 8 pm
Some of Chicago's most renowned music clubs present their favorite local singer-songwriters. This hour long set provides an opportunity for emerging musical artists to present their original work.

Harold Arts presents ten instrumentalists performing a new composition, Boss Carpentry. The music explores the margins between flamenco, avant-garde jazz, the singer-songwriter, and electronic compositions. Featured musicians include Ron Bay III on guitar, Jaimie Branch on trumpet, Todd Carter on electronics, John Paul Glover on baritone guitar, Joe Jeffers on vocals, Maya Jenson on cello, Jacob Kart on guitar/vocals, Jeff Kimmel on baritone sax, and Ben Carver on percussion.

Hope to see you there!
Harold Arts

call for entries:

go see for yourself!

Sunday, March 02, 2008

finally, a RAY GUN!

you'll have to watch one ad first.
then you get to see the rAY gUN!

a show and an idea, for YOU!

ok here is the idea for YOU! assuming YOU are a photographer.

for my show (although it won't be ready for the opening), i am having an exhibition catalogue printed through, who actually do decent printing and hardcovers. the hardcovers cost about $35 apiece, and you can get very small quantities or one at a time. now, i wanted to make a nice hardcover, but who is gonna spend $35 on a nice hardcover catalogue of my show. my mom, maybe a couple loyal and employed friends, but that is about it. so, the idea is this:

the catalogues will be printed in an edition of 100 (so what? there is more!!!) and each of these will come with a signed and editioned print! an 8x10 of the little circle piece below, which is from the wright commission, titled,
"Self portrait in an infinity mirror (partially functioning)"

so then it is kinda cool to get the catalogue, because you get something of value bundled in (if you like photo). i think this is a great idea for young artists who want to use on-demand publishing to really present their work in a tight, edited, handable way that can be sent off anywhere and feel kinda pro. the proceeds from sales can be used to make more that i can gift/send off to 'ImportantPeople'!

ps: if anyone wants to reserve one of these they will be $50 available through me or bucket rider. email me at will be available in about 3 weeks (too late for the opening unfortunately)!

ok here is the invite:

ok, for those of you in town, my solo show, entitled, "This is gonna take one more night", opens at Bucket Rider this week:

Thursday 5-7pm preview
Fri 6-9pm opening

if i wasn't at my own show i'd be a craig doty's 12x12 at the mca...can't wait to see it...i bought a piece from craig right before he got accepted to yale a few years ago...any corporate collections out there need buyers???