Films for Action presents: “RETHINK Afghanistan”

Films for Action presents RETHINK Afghanistan this Wednesday, October 29 from 7:00pm – 8:20pm at Liberty Hall (644 Massachusetts in Lawrence, KS).

From Films for Action:
“We must rethink our policy toward Afghanistan. Help raise public visibility of this issue in Lawrence by attending this event and getting as many people you know to attend as well.

“If you already consider yourself firmly anti-war and are thinking about skimping out on this film, hold on! Even the most die-hard geo-political savvy folks will learn something they didn’t know from this film. If you’re new to the debate it will be a great crash course for what we’ve been doing over there for the last *eight* years and whether the official reason for this war stands up to logical scrutiny. If you’ve been staying current with the issue, it will be a great chance to get freshened up on all the different issues so you can advocate your position more persuasively. I realize most of us probably don’t need any more convincing that the war should be brought to an end, so look at this film as an opportunity to raise awareness of the issue beyond the choir. We need to expand our numbers, and build a consensus across political lines.”

Find out more about the RETHINK Afghanistan, watch the film, or watch more trailers for the film here

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posted by: Tricia Rock

Listen To: Lightning Bolt “Earthly Delights”

Lightning Bolt’s blast of ethereal fury must be taken into consideration when evaluating their latest effort Earthly Delights. They’re more accustomed to playing guerrilla style shows, on the floor surrounded by their following of noise/metal enthusiasts, than appeasing the masses from onstage. Lightning Bolt isn’t seeking a MacArthur Genius Grant here, they just seem more comfortable in their niche, jarring the Jim Beam soaked brains of show goers with their trademark sonic nosebleed inducing sound.

Earthly Delights‘ instrumental themes resemble something similar to an electrical storm over murky water inhabited by several emotionally troubled mythological creatures, all of which suffer from crippling addictions to Adderall and corn whiskey. Band members Brian Chippendale and Brian Gibson utilize their instruments as medieval torture devices in most instances rather than a simple drum kit and electric bass, over which Chippendale glazes a layer of electronically manipulated and indecipherable lyrics.

Through most of the album Lightning Bolt delivers Lightning Bolt, no questions asked. But in “Colossus” we see a slight nod to the general public, a track with the ability to engage a wide variety of listeners while staying true to Lightning Bolt’s initial blue prints. The song begins with a slow-moving distorted bass riff accompanied by methodically timed drum fills and soars into a something bold, energetic and indestructible. Confidence and certainty make “Colossus” Earthly Delights‘ stand-out track.

If Lightning Bolt’s aim in their latest album is to continue pounding noise/metal fanatics in the face with their unique blend of debauchery, Earthly Delights delivers, but surrounded by a crowd of kids ready to blacken their skulls and rip up their elbows may be the only place appropriate for most of this record. Needless to say, that’s where some folks feel truly at home.

More info at LOAD Records

by: Bene Garcia

Book City Jackets Releases Artists Edition No. 2

Book City Jackets, makers of fine kraft paper book covers, is proud to present their second set in the Artists Edition series. This run, available now, features original drawings by Nishat Akthar, Cheeming Boey and Rathaus favorite Micheal C. Hsiung. Each Artists Edition set retails for $12, a fair price for some art you can use to spruce up those lame textbook covers or to hide an Oprah Book Club selection sticker. The entire Book City Jackets line is available online here.

by: Michael C. Hsiung

by: Nishat Akthar

by: Cheeming Boey

posted by: Harold Johns III

New Artstew Magazine with Ben Dory and Rebecca Jackson

Ben Dory’s “Orchardists”

The new issue of ArtStew Magazine features the art of Ben Dory and Rebecca Jackson. Check out their full interviews conducted by Scott Stewart below.

Ben Dory’s work can be seen at:

• Bourgeois Pig (6 E 9th Street in Lawrence, KS) October 26, Opening 5-7pm

Rebecca Jackson’s work can be seen at:

• Only Remnants
• Flickr
• It’s About Time (816 Massachusetts in Lawrence, KS)
• WearHaus (1800 Central Suite 204, KCMO)
• WearHaus Trunk Show, November 6, 6-10pm
• Lawrence Arts Center Holiday Show (940 New Hampshire in Lawrence, KS) December 5, 10am – 6pm

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Ben Dory’s “Beasts”

Ben Dory Interview

Scott: Please tell me a little about your upbringing, where you lived, school experience, and how you became interested in art.

Ben: I grew up in Prairie Village – the burbs. We were on the edge of the city next to State Line and spent much time around Westport, The Plaza, and Downtown. Everyone in my nuclear family is involved in the arts or crafts in one way or another. It was a good balance of craftsmanship and direct creative output around our house. We had piles of supplies and books laying around for our disposal. With this as a base and general curiosity and suburban teenage angst, I began exploring subcultures and substances. The world at large has always been of interest as well. This led me to take language classes and study abroad to Japan and Finland. While I can’t pinpoint the influence of these places on my life, there has been a profound impact; the world has always seemed very large. It seems like a good dose of overexposure (good and bad) that has led me to the impractical pursuit of art and design. Within this realm, a person can feel fully satisfied and productive through the completion of each piece. It’s an inward endeavor but every creation is a mirror of my views, whether it is clear or not…..to me or anyone else.

Scott: Where did your style of drawing come from and where do you see it going?

Ben: I’ve always drawn. It’s fun and private. Kid doodles, to geometric creatures by Ed Emberly, to poor but ambitious copies of masters’ works with a good dose of still life and portraiture in a younger life. I’ve preferred the underdrawings of paintings to the finished work, ink and graphite to oils or pastels. Brian Froud (Labyrinth, Dark Crystal, Faeries), Yoshitaka Amano (Vampire Hunter D), Jhonen Vasquez (JTHM, Squee), and Hiroaki Samura (Blade of the Immortal) have been vastly influential. It has always been mind blowing to create something singularly unique on a page, even if it is a copy. Amidst all this, I’ve fallen into a clean, minimal style. It’s more immediately informative to me. I’ve developed my own visual vocabulary that is noticeably evolving.

Scott: You are thinking about doing a children’s book based on your drawings/characters, where did that idea come from and how do you see your work translating into a children’s book?

Ben: The short, minimally worded, concise story line of children’s’ books is the most appealing aspect of the format at this point simply because many of the images that are important to the book would be visually jarring to the kids. I’ve been surprised so far, though. Kids seem to dig psychedelic inspired bizarre imagery. A goal is to have a book that can do something different for all age groups. You know….like the Sneetches. Before that comes together, I think a coloring books would be nice to have around; there’s a lot of white space to fill in, and it’s interesting to see what people do with that.

Scott: How did you get into making jewelry? Is the creative process and your inspirations similar or totally different then your 2-d work? What type of people are buying your jewelry?

Ben: Metalsmithing, not specifically jewelry, stems from a desire to work with my hands and understand construction. I appreciate well made things that are functional, practical, and look cool. I’m into the fact that a person can manipulate metal in almost any way. To understand some of the processes is rewarding. There’s not many materials like that. The process for the 2-d and 3-d work are different but tedious and satisfying in similar ways. The inspiration is from a similar place – strong lines and geometries on the most base level. Balance of space is always important. The reaction and conception by the viewer is obviously different, but I want to work towards marrying the two worlds. Silver or copper formed versions of the the characters sounds very appealing. Bronze cast and vinyl versions sound rad too. The type of people who buy my metal work appreciate the hand made. The jewelry is generally large and bold and heavy. Copper is generally used, but that’s only because I can’t afford to do everything in silver.

Scott: Where did the theme “Awkward Encounters” of your Pig show originate from, and are you showing just 2-d work or 3-d work as well?

Ben: “Awkward Encounters” has been an ongoing title for this body of work. Whether it’s the characters and situations on the page or the viewers interacting with the pieces, I’ve always felt that there is a discomfort created on some levels. The negative space, melancholy expressions, and/or humanoid characters could be culprits. Much of the work is done “stream of consciousness” style, but with a consistent style and repeated imagery, a dialogue is being created that gives myself and the viewer a little more information each time a piece is completed. “Awkward Encounters” is a 2-d show only, but I’m looking forward to having dimensional mixing in the future.

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Rebecca Jackon’s Steampunk Necklace and Ebeneezer The Old Timer Robot

Rebecca Jackson Interview

Scott: Please tell me a little about yourself, where you’re from, and your background in school/art, etc.

Rebecca: I’m from Olathe, KS, but live in the country between Baldwin and Lawrence now. I have no formal art training of any kind. I was an English major with a Creative Writing minor, had a few run-of-the-mill administrative and marketing jobs, until I became a mother. Now, I stay at home with three boys (ages 7, 5, and almost 3), and I’ve found I REALLY need an outlet.

About two years ago, I became interested in mosaics through a friend’s wedding where there were mosaiced stones outside their house. So I began to mosaic (tables, wall art, frames, etc.), but felt like I was looking for something more. It was a year ago that I happened to see a found object robot on Etsy.com and instantly fell in love with the medium. (It was about that time that I also happened across steampunk jewelry on Etsy.) Since both the robots and steampunk jewelry involved taking things apart and putting them back together in a new way, they seemed to be a natural pairing for me. While I still mosaic occasionally, I’ve really found my niche in the robots and steampunk jewelry. The robots are particularly my passion. I love the hands-on, physical nature of them, and I get to write stories about each one of them (which satisfies my creative writing side).

Scott: Where do you find the objects that you use to create your robots and jewelry?

Rebecca: I try to recycle nearly everything I use in my robots. I look online at vintage sites to find older items, but I also go to antique malls, thrift stores, and occasionally garage sales. It’s important to me that everything–or as close as I can get it (even in screws and nuts)–is recycled. This can be particularly challenging with arms and legs, but I also enjoy the challenge and the creativity it unexpectedly brings. Plus, it’s one thing that sets me apart from many other robot builders who use a mix of recycled and new.

My jewelry is made from vintage watch and clock parts that I mainly find online or at antique malls. Some of the findings and pendant plates are new, but the featured piece is always vintage. I also try to buy mainly vintage chains to incorporate into the piece. Since steampunk is a marriage of the old and new, I try to do just that in the pieces.

Scott: I read the article on the Art 365 blog, and there is a description of your Ebeneezer — The Old Timer Robot, as well as descriptions for other robots on your Etsy, do you create a story for all your characters and does the idea for the character come first or after the piece is completed?

Rebecca: All my robots have a story to tell. (Writing the story is almost the best part.) It seems to come as I’m creating the piece; sometimes I might have a glimmer of an idea before I start assembling the robot, but mostly it comes after completion and I feel the personality it has as a whole. I try to incorporate the story into what the robot is made of so that it’s not just one-off personality traits, but a real incorporation of the robot’s specific characteristics. The hardest thing is watching some of my favorites sell because I get so attached to them after writing their story.

Scott: Some of your robots also have some functionality for storage, is that something you strive for?

Rebecca: All my robots have some sort of functionality. This is another thing that sets me apart from other robot artists right now. Mostly that functionality comes through in their storage abilities, but I have also made a couple of robot lamps and a robot ipod player (think speakers as legs and an ipod docking station in the head). Even my Bitty Bots have storage in their little bodies. I want the robots to be more than a piece of art. Sure, they’re fun to look at, but I want to have an answer to the inevitable question, “What do I do with it?” So the functionality of the piece is central to its making.

Scott: Your jewelry has a specific look, do you have a vision of the final product, or is it a more organic process?

Rebecca: Making my jewelry is definitely an organic process. Often, I put things together at least two or three times before I find the right fit. It’s something I feel more than know. I definitely like Victorian age things and try to bring that into many of my pieces, but I also just try to showcase the gears and intricate clock workings as best as I can.

Scott: Who do you design your jewelry for? The modern nerd, or do you think the style of your jewelry could as easily attract all types of fashionistas?

Rebecca: I do think my jewelry attracts a wide variety of people. I definitely appeal to the modern nerd, but I also have people from all walks of life stop to look at it. I think people are excited to see something different from the standard jewelry out there.

It’s hard for me to say what my views of fashion are because I’m distinctly unfashionable (you can ask anyone who knows me). I hardly even wear jewelry, but something about the steampunk genre really appeals to me. I read a lot of Victorian age novels growing up (and as an English major), and that could be a bit of an influence on my interest in steampunk. It’s just cool to bring something old (but not simply “retro”) into something new and create an homage to a time when things were simpler.

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interview by: Scott Stewart
posted by: Brent Carter

Artist Shout Out: Brendan Monroe

Self-Interpretation, 2009 26 x 40″ Acrylic on paper

“California native Brendan Monroe’s drawings, paintings and sculptures tread the delicate balance between heartrending and humorous, brittle and beautiful. With earth-toned palette and soft-spoken melancholy and violence, they feature thin-gammed potatoes burdened by uprooted tree, rising gobs of dirt that huff and puff through corrugated lips, boys who sprout fauna from their nostrils, and big-nosed, big-faced tadpoles that travel through muddied waters. In his work is embodied anthropomorphism, hints of Bosch and dashes of Dzama, and a narrative dexterity all Monroe’s own” (Galerie LJ).

Frenzy, 2009 26 x 20″ Acrylic on paper

Taking Time and Letting Go, 2008 11.5 x 16″ Acrylic on paper

Trying So Hard To Be, 39 x 18 x 17″ poplar and acrylic

Monroe’s latest body of work entitled Places Between Here and Here is currently on display at Richard Heller Gallery in Santa Monica, CA. Check out photos from the opening at Arrested Motion.

See more of Monroe’s work here

posted by: Brent Carter