Andrea Hornick: Bound and Protected

Released Tuesday, January 31, 2012

Bound and Protected, by Andrea Hornick.
15% of the sale of this print goes to Victory Junction.

Andrea Hornick is an artist whose work is informed by authority and truth as evidenced by the history of painting, historiography, and post-feminism. Her work has taken the form of painting, video, text, and performance. Over the past twelve years she has worked in painting, always with the common thread of technical, formal, and conceptual relationships to historical paintings. Her current work centers on the addition of animal spirit guides to old masters’ portraits of women in the form of altered reproductions - painting into existing copies, and works on paper inspired by old masters’ drawings. This work is a return to an earlier performance, collage, and text-based project.

Hornick is based in New York, NY. She has shown extensively in New York and Los Angeles - most recently with David Krut Projects NY, for which the catalogue, Andrea Hornick Recent Work: 1460 – 1865 was published. A 1999 publication, Andrea Hornick: works from 1779 – 1798, was published for an installation and performance of the same name. She currently teaches drawing at Barnard College in the Visual Studies Department. She has taught at Oberlin College, Auckland University, and worked as a Museum Teacher at The Jewish Museum, The Cooper Hewitt National Design Museum, The Morgan Library, and the Museum of Natural History. She has been a visiting artist at Oberlin College and the University of California at Davis. Hornick has a B.A. from Oberlin College and an MFA from the San Francisco Art Institute.

About the print:
The full title of this piece is Bound and Protected by Blessbuck Couple Who Allow Her to Be in Two Places at Once, Betty de Rothschild Serves as Shamanic Procurer of Power Animals and Hostess, on Safari. I started with a portrait of Betty de Rothschild by Ingre. This portrait actually has two companion paintings that it hangs within the center of. I chose the portraits such that they all work together and within the guidelines I established for choosing four groups of three old masters paintings to work with. This group of three consists of all Jewish sitters, so they are all from the early modern period. I then used a traditional shamanic process to choose the power animals (spirit guides) for each of the three sitters. I asked to be shown all three of the sitters' animals at once, in order that they relate. All of the animals were from an African landscape. Rothschild has a pair of blessbucks. These blessbucks help her to be in two places at once; she is hosting a safari and must be present with her guests, so one animal helps her to do this. In addition, she has offered to find each of her guests a power animal, so the other animal takes her on these quests. She gets on the back of the blessbuck, whom she rides on a journey to be shown the power animal of each guest, returns to report her findings, and then goes out again to quest for the next guest. This approximates a self-portrait, as she takes on my role as shaman, is Jewish, and wants to be in many places at once.

This is a digital print on acid free, Neenah uncoated matte 100lb cover paper that is 80% recycled. It was digitally signed by the artist and was numbered by The Working Proof.


Process drawings.

What has inspired you recently?
Recently, I have been inspired by old master's drawings. I am teaching a class at Barnard College called, "Drawing in and from Museums" which focuses on technique and appropriation. I took the students to the Hispanic Society of America in the Bronx, an amazing sort of "Little Spain". It began as a private collection museum, which usually means its roots are wonderfully strange, crafted from a collector's vision. The curator spent a few hours showing us old master's drawings and oil sketches - unframed - handling them with his hands. For the most part, they had been studio tools and were very accessible, even vulnerable. I have been steeling some ideas from Goya, Carducho, and Ribera. There was a Carducho drawing we viewed of a bird, wings spread, on an intense (though muted over time) blue paper, drawn with so few white charcoal lines - just enough to make the bird emerge with amazing volume, presence, and emotion. It was about 8 x 10 inches and had been a study for a fresco on a ceiling.

I am also inspired by a work that I am doing in collaboration with an art historian. She commissioned me to paint some animal spirit guides into a 19th Century copy of the Raphael painting, Madonna of the Goldfinch. I did shamanic drum journeys for both the sitters in the portrait, Mary, Christ, and St. John and the members of the family who own the portrait, as they project themselves onto the sitters. It was such a wonderful idea and I am seeking out other copies to work on - if possible in conjunction with living people. I love the layering of contemporary and historical personalities as the project bridges time periods, and allows a sort of time travel inherently.

Why did you choose to pair Victory Junction with your print?
I would like to choose Victory Junction, which provides a camping experience for children with serious illnesses. This feels appropriate for this print because I find animal spirit guides for historical figures and I work with shamanic processes. For this, spending time in nature has been transformative and necessary. I believe spending time in nature can be incredibly restorative and healing. I have lost family members due to serious illness and can't imagine what that would be like for a child.

How have you seen art transform the world around you?
When I am viewing art in a gallery or museum and feel a palpable, temple-like silence, that is transformation happening. People are really looking and experiencing; opening themselves up to being changed inside by the work, even if just in a small way. They may not think about it intellectually - it hits the intellect after the fact. I see my students express something, give an assignment an extra push, and feel a sense of being able to communicate something they didn't know was even there, or didn't know was communicable. I often feel that I am transformed by making, and then another step further, when the work is shown. I have seen work that has made me feel - spiritually - not alone. These are the works that inspired me to continue when I was a student. Staying open to these moments keeps me going.

If you could pick one artist to mentor you, who would it be?
To pick a mentor, I would imagine some combination of Lisa Yuskavage and Vermeer, either as a sort of pair or a confluence of the two. These are artists that I admire greatly and learn from endlessly. Whenever I view their work, I study it. Lisa Yuskavage has taken old masters, internalized their techniques, and made them her own. She has contemporary colors and subject matter and uses her insane skill to make sensitive, dramatic work. One can look at them for a long time - the experience is not over when you have digested the narrative. The technique, the form, and the subjects cycle and dialogue with one another, allowing layers of experience. Vermeer, while also dramatic, has a slower feel, like going back in time. One can feel the slow speed with which he considered the light and forms, and then undertook to convey them with such passion. I love that he used a camera obscura to compose and even at times to project the subject onto his canvas to aid in his drawing. I often use more contemporary tools for these purposes. I think of it as mediating the image to give oneself new perspectives. I also just love camera obscuras, especially ones you can walk into.

Estibaliz Hernández de Miguel: Shuffle Back in Line

Released Tuesday, January 24, 2012

Shuffle Back in Line, by Estibaliz Hernández de Miguel.
15% of the sale of this print goes to Doctors Without Borders.

Estibaliz Hernández de Miguel is a self-taught artist, freelance illustrator, and amateur storyteller, who lives in Bilbao, Spain, and works under the name of Pintameldia (this stands for Paintmyday).

For twenty years she was involved in the music industry - managing bands, founding an indie record label, writing in music zines, promoting concerts, and running a chain of record stores. You can feel this connection to music throughout her artwork. Even though as a child she always liked to draw, she took up a pen and a sketchbook late in her twenties and only stopped for a brief time when her first daughter was born. She took it up again later when the craving to make art was too loud to bear.

She has collaborated on several projects, designing for an Argentinean fashion brand, and promoting her own project, “We are a Happy Family”, along with eight international artists. She is currently working on some children’s books.

About the print:
I was watching a video shot by Juan Rayos called Carving the Mountains. The song used in the video is Rox in the Box by the Decemberists. The lyrics "...and you shuffle back in line" got into my head. I considered my initial impression (more related to the complete lyrics of the song), but after handling the words separately for a while, the image evolved into these women standing in line, who had probably forgotten where they were heading in the first place. Some feel lost, while others have a more active attitude.

This is a digital print on acid free, Neenah uncoated matte 100lb cover paper that is 80% recycled. It was digitally signed by the artist and was numbered by The Working Proof.


What have you been up to since we last worked together?
I have been trying hard to get my work out there. I finally opened an Etsy shop and recently collaborated with the fashion brand La Casita de Wendy and their Crafter Project and publishing company, Impedimenta. Fortunately, I have also been featured and mentioned on many blogs.

On a more personal level, we are trying to build a house, which has turned out to be more complicated than expected. I am fighting daily with the feeling of most of my energy being taken away by setbacks and bureaucracy. The silver lining is that I now have a renewed interest in decoration and design.

And, I've definitely been drawing a lot.

Your work features women or girls in childlike situations. How do children or your childhood inspire you?
My childhood was a very happy one. I come from a big family, full of strong and opinionated women. I spent my childhood playing around with my brother, sister, and cousins, under the surveillance of my mom, my gramma and my aunts. I was quite the observant type - fascinated by the adult world and their conversations and relationships. Now it just feels right to draw feminine characters and their interactions. I also have two daughters who inspire me every single day.

What is the meaning behind the lampshade on the heads of the women in your artwork?
A lot of people ask me about the origins of the lamp-ladies. Like many of my drawings, it comes from a dream that I had, which in turn was inspired by a conversation with a friend. That conversation revolved around the burka. I had happened to see my first woman-in-a-burka in Bilbao and I had been shocked. Later that day, we discussed how a piece of fabric is capable of distorting the image of a person, turning her into a shadow. The conversation revolved around that idea, and around how we all have our own “modern burkas” - clothes or brands that we wear as symbols of status or modern tribal communication.

That night, I was fortunate to dream of these sweet lamp-ladies - lamp shades hiding their faces, their expressions, smiles, tears, beauty and flaws. But, on the contrary, they gave me very good vibes. They were a little confused but strong, melancholic but radiant, enlightened.

What I mean is we are all prisoners of symbols and it’s important how we don them. My lamp-ladies belong to their own tribe of delicate and confused warriors.

Why did you choose to pair Doctors Without Borders with your print?
I chose to pair my print with Médecins Sans Frontières because saving lives is as heroic as can be. MSF provides medical aid to those in need of care, no matter the geographic, political situation, or religious beliefs. It means a lot to me to contribute to them in this way.

How has your work developed over the last year?
My style has always been defined by my technical limitations. I have learned to work within them. As a self-taught artist, I find myself in a position where I know what I want to be on the paper, and I have to work my way around to accomplish it. This year I’ve been learning to work with more textures and I have also plunged into more illustrative work. I feel more confident developing my usual topics, and now I believe my work has a personal seal that was blurred before. Also, I am less scared of trying new things.

What is inspiring you these days?
First of all, I am inspired by the massive amount of work by others that I see daily. I try to soak everything in. Seeing how other artists work triggers my imagination and my desire to create. As always, I am drawn to anything related to magic, folklore and sentiment, but only if expressed in a very simple way.

Also, there’s always literature and music - and lyrics, phrases and words which evoke images. Right now I am trying to release lots of drawings which are based on those evocative images.

Estibaliz's previous edition: I Bring the Magic, You Bring the Cookies.

Amy Vazquez: Florecen en la Memoria

Released Tuesday, January 17, 2012

Florecen en la Memoria, by Amy Vazquez.
15% of the sale of this print goes to The Pablove Foundation.

Amy Vazquez is an artist from Miami, FL, currently based in San Francisco. Her work is made with a variety of materials - including but not limited to watercolor, acrylic, gouache, india ink, ink pens, and graphite. Using organic and geometric forms, her work focuses on the juxtaposition between the natural and the man-made which we are constantly surrounded by in the urban landscape. Incorporating natural patterns, imagined floral imagery, and obstrusive forms, she aims to create new landscapes that exist in the threshold between the familiar and the unknown.

About the print:
Florecen en la Memoria is a giclee print of an original mixed-media work on paper.

This is a giclee print on Hahnemühle archival photorag fine art paper with Epson UltraChrome inks. Each print was signed and numbered by the artist


What has inspired you recently?
I recently just returned from a short trip to Thailand and was inspired not only by the scenery and colors but also by the resourcefulness with which people live. I'm constantly inspired by my surroundings - patterns, colors and textures, books, the people around me.

Why did you choose to pair The Pablove Foundation with your print?
After reading about Pablo's inspirational story, I immediately wanted to pair my print with The Pablove Foundation. Their dedicated fight against childhood cancer and their efforts to ease the struggles of the children that are in this battle are incredible and worth recognizing and supporting.

How have you seen art transform the world around you?
I believe that art is one of the most important connecting threads in humanity - it grounds us, connects us, and asks us to stop and pay attention and question. I constantly see it transform, beautify and challenge the world around us.

If you could pick one artist to mentor you, who would it be?
I would have to choose Margaret Kilgallen, who I believe is one of the most important contemporary art figures, and whose unmistakable hand continues to deeply affect and influence the visual art world, even a decade after her passing.

Who are some artists you think people should know about?
There are far too many under-recognized female artists that should be more widely discussed and appreciated. The late Louise Bourgeois, Leonora Carrington, Jenny Holzer, Sophie Calle, and Wangechi Mutu are among some of my favorites.

Alex Perez: El Butcher

Released Tuesday, January 10, 2012

El Butcher, by Alex Perez.
15% of the sale of this print goes to Farm Sanctuary.

Alex Perez is a self-admitted awkward individual. He currently resides and works as a graphic designer in Madison, Wisconsin. With a passion for illustration and custom typography, Alex creates mischievously playful designs that contain elements from his surroundings. His work pulls influences from friends and family, type specimens, as well as vintage ephemera.

When he’s not fixated on design, he’s typically enjoying a tasty beer from a local brewery, a healthy amount of BBQ, or listening to ABBA. As a relative new comer to the design community, he looks to establish himself as a multifaceted designer that brings fanatical energy and unexpected solutions to his work.

About the print:
The El Butcher piece resulted from observing the humorous infatuation people around me have for most meats - an infatuation that I’m just as guilty of. I felt compelled to create something that had a hint of humor for folks that embrace their love for a good old plate of bacon.

This is a digital print on acid free, Neenah uncoated matte 100lb cover paper that is 80% recycled. It was digitally signed by the artist and was numbered by The Working Proof.


What has inspired you recently?
Like many, I find myself looking at old Scandinavian folk art. The minimalistic approach and the sense of balance that many artists have is very appealing to me. It’s something that I aspire to in my own work.

Why did you choose to pair 826 National with your print?
I chose the charity Farm Sanctuary. The treatment and living conditions of animals is something that should always be considered when consuming meats.

How have you seen art transform the world around you?
I enjoy seeing people coming together to do collaborative projects. These projects tend to deliver a more influential message through art and design, having a wider impact on the public. It results in being more aware of what we surround ourselves with. I think that’s pretty cool.

If you could pick one artist to mentor you, who would it be?
I love the work of 1950’s illustrators and cartoonists; the simplicity and careful execution of the work created by people like Cliff Roberts or Ed Benedict is something I aspire to in my own work. I like the idea of learning from artists of that era.

Who are some artists you think people should know about?
Cory Loven, Lesley Barnes, Tuesday Bassen, Zara Picken, and Sol Linero.

James Gulliver Hancock: On the Road

Released Tuesday, January 3, 2012

On the Road, by James Gulliver Hancock.
15% of the sale of this print goes to 826 National.

James Gulliver Hancock is an Australian artist and illustrator currently working out of the Pencil Factory in Brooklyn, NY. He has worked internationally for both arts and commercial clients, taking his whimsical perception around the world. He grew up in Sydney, Australia, and in kindergarten remembers devising the most complex image he could think of: refusing to move on to the next activity after painting - instead detailing a complex drawing of a city of houses, and including every detail, every person, and every spider web between every house. He still has the drawing, and is still interested in obsessional documentation. He loves the work of outsider artists and recently started a project with his Down Syndrome brother at He has also become well known for his ambitious project

About the print:
I don't know if it's the people I hang out with, but over the last few months I've seen copies of Jack Kerouac's On the Road lying around everywhere. I've usually seen it with people who are passing through, and have adjoined the book to this romantic idea of wanting to be somewhere else... the idea of the "grass is always greener". So here we have the statement of "I'd Rather Be On The Road" - almost like a call to yourself daily to remind yourself of where you want to go, and how you're going to leave. The car is a symbol of leaving it all behind. Also, who hasn't wanted to draw those spaghetti freeways in Los Angeles - they are awesome.

This is a two-color screenprint on 250gsm paper. Each print was signed and numbered by the artist.


What has inspired you recently?
Alexander Calder screenprints, Peggy Guggenheim's lifestyle in Venice, Brooklyn DIY people who make knives, chocolate, beer, etc, with great passion.

Why did you choose to pair 826 National with your print?
I chose to pair my print with 826 National. I love that the organization provides extra teaching for kids outside of school, makes homework cool and fun, and have those super fun shops for time travel and superheros.

How have you seen art transform the world around you?
It is obvious that people get great pleasure from art (and pain). It still amazes me that abstract colours and shapes can change a person's outlook.

If you could pick one artist to mentor you, who would it be?
I'd want someone tough. I feel like I never had someone brutally honest. I just watched a documentary on Steve Jobs and he seemed so harsh at times, but strived for a perfection in everyone around him. It would be great to have a harsh critic around. Maybe Rothko could be like this - someone to philosophize with and then make you cry.

Who are some artists you think people should know about?
There are so many, I'm constantly updating things that influence me at: