Thank you for your patience in following the 6 month progress of my ambitious (read: larger) recent endeavor, Das Narrenschiff. Several of you have expressed interest in seeing the work when it was completed, and I’m happy to report that the plate is finally finished. I would also like to offer the etching to those of you who are interested at a prepublication price of $675.00, plus framing if needed. This offer will extend through the end of this month (March), after which the regular retail gallery price of $750.00 will apply.
Das Narrenschiff was inspired (read: wholesale appropriation) by the renowned painting Ship of Fools by Hieronymus Bosch, who in turn was probably influenced by Sebastian Brandt’s 15th century litany of follies in verse (112 to be exact) titled Das Narrenschiff. The medieval Ship of Fools trope tapped into by Brandt probably originated in an excerpt from Book VI in Plato’s Republic. Needless to say, modern concerns combined with indiscriminate anachronism take precedence in my new work, and everyone should be beginning to wonder what that taste is when they bite into their next tuna sandwich.
Das Narrenschiff will be printed in an edition of 35 on Hahnemuhle Copperplate Warm White paper. The image is 14 ¼” x 7 ½”, and the paper size is 20” x 12 ½”. Viewing of the final impression can be arranged by contacting me at your convenience. Please take a gander at the attached image, and I hope you will be encouraged to see the actual print. Be the first one on your block (neighborhood, county, state, alternative reality) to acquire one!
Here is a copy of the Washington Post Article by Mark Jenkins containing a review of my solo exhibit at the Washington Printmakers Gallery this last July. Stay tuned for more information on this year’s Open studio.
Here’s a review by Mark Jenkins
in the July 21st Washington Post:
David Avery’s “Tempestuous Muse,” on view at Washington Printmakers Gallery. (David Avery/Washington Printmakers Gallery)
“As a maker of hand-etched prints, David Avery is something of an antiquarian. He also inserts text – sometimes in Latin – into his exquisitely detailed work. So, of course, the San Francisco artist centered his display at Washington Printmakers Gallery on a print titled “Obeliscolychny.” It’s a word he allows is “obscure and rarely used,” in an essay accompanying the show, “Pursuing Invisible Reflections.”
The term refers to a lighthouse, which in Avery’s depiction is a spindly stack of many kinds of buildings, including monument, windmill and tumbledown shack. Here as in the other prints, the look and some of the content is closer to Albrecht Durer than any contemporary artist.
Yet the classic imagery is wittily updated. Avery interjects Renaissance-style intimations of mortality and damnation into everyday scenes: A skeleton rides a stick horse whose head is a equine skull, or a woman jogs with a stroller and a dog, accompanied by Death (riding a bicycle) and a demon. Such mash-ups would be only mildly amusing if the artist didn’t so successfully emulate centuries-old motifs and methods. Indeed, Avery is so adept that viewers in bygone eras might have surmised that he’d sold his soul to the devil.
Recently I was interviewed by Cy Musiker for the KQED Arts section on their web page as part of his review of a show at the Juan Fuentes Gallery titled “Creation & Resistance: Printmaking in Dark Times”. The piece in question, “Year of the Rooster” was not reproduced in the article (!), so here it is. The Latin on the scroll reads: “The World Wishes to be Deceived” (Thank you, James Branch Cabell), which is really what the piece is about, more than just Trump per se. You can see the article here: https://ww2.kqed.org/arts/2017/03/21/political-prints-pull-no-punches-at-juan-r-fuentes-gallery/ .
You can also visit the exhibit at the gallery at Accion Latina at 2958 24th Street (between Harrison and Alabama), Tues through Sat, 11 AM to 5PM through April 7th.
As promised, a new etching based on the engraving Tantalus from the 16th century by Hendrick Goltzius has been completed this summer, and is titled Running on Empty. This is the third in a series of four, and who knows when the fourth will be done, as I adamantly refuse to entertain the possibility of ever doing another one of these again each time a new one is completed.
As you will remember (!), Tantalus, a mortal fathered by Zeus, had, among his other indiscretions towards the gods, decided to kill, dismember, and boil is son Pelops, and serve him at a banquet for the inhabitants of Mt. Olympus, to test whether they were actually omniscient. It was a mistake. They were.
His punishment was to be made to stand in a pool of water that receded every time he tried to satisfy his thirst, and to stand under a tree that pulled away its branches whenever he tried to pluck any fruit. (In ancient Greece, cannibalism and the killing of kin were considered to be among the worst atrocities one could commit). Of course, I have replaced the fruit tree with a gas pump nozzle (see lower right). Does the denial of science in the name of commerce render the balance of nature oblivious to the cannibalization of our children’s future?
See image and info on my website: http://www.davidavery.net/prints/empty.html
This spring I had a very successful exhibition at the Sarratt Gallery at Vanderbilt University in Nashville, and will once again be participating in San Francisco Open Studios at John Gruenwald Press, which will take place on the second weekend, October 22nd and 23rd. Stay tuned for more information.
I am currently having a solo exhibit this March at the Sarratt Gallery at Vanderbilt University in Nashville, TN. I was subject of an article in the Nashville Monthly Arts Magazine about the exhibit, which will continue through April 1st. Images included in the show can be accessed at piggybackapponline.com.
So far this year, I have been a recipient of both a Purchase Award and Jurors Award at the Sixty Square Inches 18th North American Small Print Exhibition at the Purdue University Galleries, and the Lindquist Purchase Award at the 2016 Delta Small Prints Exhibition at the Bradbury Art Museum in Jonesboro, AR.
The eight copies of my new book, The Coming of the Cocklicranes, or His Kingdom Restored are now all bound and available, currently for the price of $1500.00. However, due to the small edition size, the price will increase as more copies are sold. Don’t be left out! I am currently working on two new etchings, including the my take on the next Goltzius engraving in his series of four, featuring the shortcomings of Tantalus. Look for it this summer.
I hope that you will be able to make time in your Busy Schedules to visit me on the occasion of this year’s San Francisco Open Studios at which, in addition to exhibiting with four other accomplished printmakers (see below), I will be premiering The Coming of the Cocklicranes or His Kingdom Restored, a limited edition artist book featuring four etchings by the same name (now taking pre-publication orders!). Of course, as you have come to know and expect, a vast sampling of those pieces of paper smashed into polished copper plates which have been defaced with scratches and rudimentary chemistry will also be on display. Refreshments will be served.
WHERE–Gruenwald Press, 1663 Mission Street, San Francisco (entrance on Plum Street), identified with a prominent festively colored yellow sign reading “Gruenwald Press”. See map link for the secret entrance on “Plum Street“. http://mapq.st/1LAdN7Q
WHEN–October 31 to November 1, 11 AM to 6 PM
Reception (party!) October 30, 5:30 to 8:30 PM
WHO--Kathy Aoki, David Avery, Jonathan Barcan, Susan Belau, John Gruenwald
Please Note: there is regrettably a flight of stairs which has to be negotiated in order to reach the studio, HOWEVER, if needed, the freight elevator is easily accessible and can be utilized by calling 415-734-0376 and waiting patiently…
The harbingers of Autumn include the publication of five new prints; a series of four etchings entitled The Coming of the Cocklicranes (view here), as well as the just recently completed Runner (Mom, Death and Devil), based on the (you guessed it) famous Durer engraving of a similar name. In addition, there is the upcoming publication of a new artist book based on the aforementioned series of four etchings, which is anticipated to be ready for my 2015 Open Studio exhibition. This year I will be showing at the John Gruenwald Studio the weekend of Oct. 31st, along with four other accomplished and varied printmakers. More information will be forthcoming as the date approaches.
This year has seen a solo exhibit at the New Grounds Gallery in New Mexico, a three person show at the Sandra Lee Gallery in San Francisco, as well as prints included in an exhibit at the Venice Biennale, the Child’s Gallery in Boston, and several competitions with six awards and honorable mentions.
Yes, I will be returning to Open Studios this year with the Bay Printmakers at Ft. Mason. If you have not had a chance to view my print and book, Obeliscolychny, this will be an excellent opportunity. New this time around will be my contribution to the Al Mutanabbi Street Project (see the previous post below), as well as a work in progress consisting of four etchings based on yet another excerpt from Rabelais, The Coming of the Cocklicranes or His Kingdom Restored. In addition to being selected by two jurors as one of their ten “must see” artists at Open Studio, here are some recent shows and awards I have received:
Chancellor’s Purchase Award, 2014 Delta National Small Prints Exhibition
Purchase Award, Lilliputians March National Small Works Exhibition
First Place, Paperchaser 2014 Exhibition
Juror Award, Ink and Clay 40
Honorable Mention, Real and Surreal. In addition, I will be participating in a Four Person Show at Sandra Lee Gallery in 2015.
I have participated in 18 competitive and invitational shows this year, including a show at the Curator Gallery in New York, as well as a selection from the IPCNY’s New Prints shown at Christie’s, and and a show selected from participants in the North American Print Biennial of the Boston Printmakers. I will have a complete listing for 2014 available at Open Studios.
Ex Libris—In Absentia, a hard ground etching on copper was created in response to a call to printmakers from around the world to engage with and explore the implications of the destruction of Bagdad’s intellectual and bookselling district on Al Mutanabbi Street by a car bomb in 2007. The Al Mutanabbi Street Project seeks to draw attention not only to the attack in Bagdad, but through the idea of “Al Mutanabbi Street starts here” to raise awareness of the connections between Bagdad and the threat to culture (artistic and literary thought and exchange of ideas) in the face of the potential for intolerance and violence on our own street.
Woland famously remarked in Bulgakov’s “The Master and Margarita” that “Manuscripts don’t burn”, meaning…what, exactly? Of course, they do burn, and so do people, as evidenced by this project, but perhaps it is the sense that ideas don’t burn that makes this such a powerful statement. In which case, where do they go, when so emphatically rejected by the arbitrary and malevolent forces of “the real world”? Is there some sort of continuum, a “space behind the curtain” so to speak that allows minds to connect and reconnect with the essence of burned manuscripts? These are some of the questions that came to mind in the process of exploration engendered by this project.
Too Close to the Sun, my most recent etching, is now available and has been selected from over 3000 prints to be shown along with work from 28 other artists at the IPCNY’s New Prints 2014/Winter exhibition from January 22nd to March 12th, 2014. It was also accepted into the 2014 Delta National Small Prints Exhibition from January 30th to February 28th, 2014.
Too Close to the Sun is based on the 16th century engraving of the fall of Icarus by Hendrick Goltzius from his series, The Four Disgracers that depicted the results of blind arrogance and ignorance in the face of the inexorable forces of the gods and nature. Safe, Clean, Cheap—Phaethon in the 21st Century, which can be seen on my website, was my previous attempt in this vein. I have adapted the work of Goltzius, which was created at the time to comment on the excesses of Phillip II in oppressing the Netherlands, to reflect on current curses of humanity that have been created for our own good by people who know what’s best.
A final note—due to the all-encompassing forces of supply and demand as exemplified by the Invisible Hand of the Marketplace, as of the end of January the price for the etching (not the book) Obeliscolychny will be $1000.00.