printmaking

EXPERIMENTAL EDITIONS

I am teaching Experimental Editions an 8-week intensive workshop in the letterpress studio
of Penland School of Crafts in the Spring 2018. The class will run from March 11-May 4th. The focus of the workshop will be creating meaningful content through experimentation. The course will cover the basics of letterpress printing and binding for editions and portfolios. Presentations, readings, and prompts will spark conversation and support individual practices and goals. The deadline to apply for scholarships is November 28th. Information to register can be found here. Non-scholarship registration will run until the class is filled.

Students of all studio backgrounds are encouraged to register. We will be looking at letterpress and artists' books within the context of contemporary art and writing. Historical examples of experimentation with text and publishing in the Dada, Fluxus, and Conceptual Art movements will also be explored. While gaining a firm understanding of traditional techniques, we will look at how artists use sound, video, and performance in tandem with the book, and ask how can craft be used to resonate and amplify the concepts in our work.

CLASS DESCRIPTION: http://penland.org/print/index.html
SCHOLARSHIPS: http://penland.org/classes/spring/spring_scholarships.html
REGISTRATION: http://penland.org/classes/spring/spring_registration.html

Class Description of Experimental Editions from the Penland Catalog

Class Description of Experimental Editions from the Penland Catalog

Marianne Dages, Distant Operator: January 9 - January 25th @ Napoleon

Yesterday was the opening for my first solo exhibition, Distant Operator, at Napoleon Gallery in Philadelphia. Thank you so much to everyone who came for the opening and who came today! While I was gallery sitting, I took some images of the installation for those of you who are out of town, or those who would like a sneak peak. 

You can also read a wonderful and insightful essay written by book artist and linguist Sarah Hulsey on the work HERE.

The gallery will be open on weekends from 2-6 until January 25th or by appointment.
You can reach me at mdages at gmail dot com if you have any questions.

:: right side of the gallery ::

:: Sea Exercises ::

 :: Fragmented I ::

And details of the Distant Operator wall...







Show is up...

The show is up, Distant Operator opens tomorrow, at Napoleon Gallery. Thank you so much to everyone who helped make this happen, I hope to see you tomorrow night.

Opening Reception
Friday, January 9th
6pm – 10pm

NAPOLEON

319 N 11th Street, 2nd Floor
Philadelphia, PA

Exhibition Dates: 1.9.2015 – 1.30.2015
Gallery Hours: Saturdays and Sundays 2pm – 6pm or by appointment



Distant Operator

This month, I'm preparing for my first solo exhibition as a member of Napoleon Gallery in Philadelphia. I hope to see you, if you can make it, January 9th for the opening.


"Chance, repetition, and hidden names. In this series of works on paper and object assemblage, the artist acts as distant operator, finding the connection between esoteric myth and private thought."

Opening Reception
Second Friday, January 9th
6pm – 10pm

NAPOLEON

319 N 11th Street, 2L

Philadelphia, PA

Exhibition Dates: 1.9.2015 – 1.30.2015
Saturdays and Sundays 2pm – 6pm or by appointment


Recent Dreams


Recent Dreams:

Two blond women in a narrow walkway space outside of an office building. Beautiful late afternoon winter light. One is nude, sitting atop a stuffed gray goose that is being dragged around the space by the other. They say to me, "We make art in sad places." "We are making difficult art."

Standing next to an old and frail William Burroughs, we are reading a book together that looks like an oversized dictionary. I am holding his wrist as he moves his hand across the words on the page. He is wearing a suit and hat. A piece of text about dusty and decayed wooden window shutters. Maybe the first time I can remember looking at words and reading them in a dream.

Start Over

A selection of images from Start Over, a collaboration between Huldra Press and Justin Staller, which we will be debuting at the Philalalia small press poetry and art book fair at Tyler School of Art in Philadelphia, PA tomorrow.

:: do-si-do ::

The structure of the book is referred to as a "do-si-do" or back to back binding. There cover is a long strip that connects the two sides of the book, two separate "stories" connected by an interest in cut-up writing.
:: dreams ::

My side of the book is a collection of dreams I've recorded over the years.


:: typewriter strip poems ::

Justin's side is a collection of cut-up poems that were written using typewriter ribbon from correspondence between himself and his grandfather.

:: typewriter type ::

The two sides are connected together through the typewriter aesthetic, in part a reference to the work of William S. Burroughs, who's own work was so deeply influenced by dreams and the cut-up writing technique.

:: dreams and the backs of wood type ::

My dream portion is illustrated with the backs of wood type. There is something very appealing to me about the idea of printing the back of letters, the part that can't be read. It is like the feeling people describe not being able to read in their dreams.

:: wood shape and handset metal type ::

:: ribbon ::

Justin's portions are illustrated within the text itself, using the actual typewriter ribbon as image. The ribbon is repeated through the cover, which itself wraps around, joins, and contains the two books.

:: on with this epic ::

Start Over will be available for viewing and sale tomorrow, Saturday September 27th at Philalalia. Following the fair, it will be available online. Edition of 40, letterpress printed, hand painted, and silkscreened.




Equivalents

 :: Marianne Dages, 2014 ::

:: Marianne Dages, 2014 ::

These prints were made with earth collected in Penland, North Carolina during a short residency. The earth, a mix of mica, sand, and soil, was arranged on a letterpress printing plates and exposed to light to create a raised surface to accept ink. The plates were then printed, the resulting images reminiscent of the stars.

Happenings

A few things that happened, are happening, or will be happening soon...

- If you are in Philadelphia, this Thursday September 4th is the opening reception for my two-person exhibition with Emily Cucalon at the Parkway Central Library. 


- Last week, I wrote a guest post for Fieldwork, an artwork by John Rogers and Amy Tavern that is experienced through an interactive map tracing their journey through Iceland. After exploring the map, I wrote a short piece about the connection I felt with the artists and what we collected to remember our time in Iceland. which can be read HERE.


- Next week I will be in North Carolina, for a one-week retreat/residency, generously hosted by Penland School of Crafts for former students of their Core Fellowship Program. My home base will be the letterpress studio where I plan to work on a short book and some experimental printing techniques.


- I will have a book, Oculus Song, in the Picture Books exhibit at Duke University's Power Plant Gallery, a juried exhibition of self-published and handmade photo books. The show will run mid-September through November.


- Last but not least, I will have a table at the first annual Philalalia, small press poetry and art fair on Saturday September 26 at Tyler School of Art in Philadelphia, where Justin Staller and I will be debuting our collaborative book "Start Over"



Magical Notebooks and Clamshell Time Trials

This week, I made some books and boxes for myself, something I don't do that often. It's fun and good practice, I often make things for myself to try out something I don't normally do or brush up on techniques. I made myself a notebook with a "magical symbols" print I made while at Paper Book Intensive for end papers. 

:: egyptian inspired symbols, relief printed end papers ::

:: rounded spine with cloth headband, the cover boards are beveled to fit the curve ::

:: embossed leather, it was one of my samples from Paper Book Intensive ::

In order to solve my problem of not enough flatfile storage space, I've also been practicing my clamshell boxes, in various sizes and shapes, and seeing how fast I can make them. It's like doing time trials to qualify for the imaginary Bookbinding Olympics. 

:: Deep clamshell box for storage ::

:: ephemera storage problem solved ::

When I'm in between projects or not feeling the thunderbolt of inspiration, getting my hands moving clears my head and reboots the thinking process, and if not, I have a new notebook and some fancy clamshell boxes!