WetINK

Fine art print shop, dedicated to awesome printing

Cape Town

I will be in Cape Town between the 12th and the 16th of March to promote some of our awesome new print products. I will have sample books etc available so please contact me on jon@wetink.co.za to arrange an appointment and I can drop in to discuss your print requirements. We also have a new type of book bind which allows a perfectly flat opening book, this is great for specialised booklets for weddings, high end promotional material and well anything with a DPS.

Cheers

Jon

“Anvil”  by Donovan Sloane

Printed on Epson Enhanced Matt 180gsm
illuminart@gmail.com

“Anvil”  by Donovan Sloane

Printed on Epson Enhanced Matt 180gsm

illuminart@gmail.com

We wish you a blessed time with family and friends and
look forward to seeing you in the new year.
from the WetINK team.

We wish you a blessed time with family and friends and

look forward to seeing you in the new year.

from the WetINK team.

Crazy New Paper

We have a new paper available called YUPOTako. Its a synthetic paper that sticks without adhesive. I have tried this and you really need to see the paper to believe it. In hand it feels very slightly tacky, yet it clings to windows, doors, walls, practically any surface. There is no glue or stickiness on the applied surface. It seems almost impossible, yet it works.

Tako, meaning “octopus” in Japanese, is named because of the patented micro suction structure on its reverse side which acts like octopus skin.

This is perfect for advertising, window displays, or any another applications requiring movable graphics.

Please contact us to view this great new paper.

Cheers

Jon Smith

Trucard by Tullis Russell papermakers

Hi there, we are excited to announce a new paper we have available by Tullis Russell papermakers. We know there has been great demand for a stable card stock, something that doesn’t scratch easily as is the case with most papers on the indigo. Trucard is your answer.

I love this paper, it scores beautifully, no cracking, it has a very smooth and strong surface, much less prone to scratching, and is available in a gloss/gloss, gloss/matt, or matt/matt finish. The grammages available at the moment are 280gsm-350gsm.

So if you have any cards, postcards, or other stationary you would like to produce short run, please give us a ring and come though to have a look at this great stock.

Cheers

Jon Smith

trucard contains woodpulps from well managed forests certified in accordance with the rules of the Forest Stewardship Council.

Inkjet Sample books

Finally the inkjet sample books are available. Our range includes the new Sihl 240gsm smooth and textured Fine Art Range.

Please give us a ring if you would like one. Prices are R20.00 per booklet.

Angus Taylor - The Making of Grounded 1

http://www.angustaylor.co.za/

now for “The Print”

now for “The Print”

(Source: lezbeein)

Exhibition at ROOKE GALLERY
http://www.rookegallery.com/
inside@rookegallery.com

FRANK MARSHALL
RENEGADES 5 JULY – END AUGUST 2011 Renegades is a landmark exhibition by Frank Marshall, representing a decisive outcropping of a Heavy Metal subculture in Sub-Saharan Africa. Marshall’s portraits offer a tentative and considered vision of this subculture in Botswana; historically adverse in reaction to the occidental genre, making Marshall’s subjects somewhat of an anomaly. In this way, Marshall aptly dubs his subjectsrenegades, tentatively situating himself as a mediator chronicling “visions” of rebellious individuals who form part of an ulterior, emergent rootedness where traditional identities and political histories in Botswana are subverted. Heavy Metal audiences have traditionally been Caucasian, Patriarchal, and Eurocentric, making Marshall’s portraits parodies of heavy metal lore envisaging the multiple polarities of the subculture’s social strata. Renegades is thus a sociological case study of an underground minority rebelling against the status quo, redrawing the borders of both Heavy Metal and orthodox culture in Botswana.  "Dead Demon Rider" 2010 Resultantly, Marshall creates a sense of affirmation for his renegades, specifically exploring impressions of performativity, authenticity and mythology. Marshall decodes the visual rhetoric of his renegadesby making apparent the modification and hybridization of a predominantly western subculture in Botswana. The unique topology and physiognomy of each character effectively communicates the spirit imbued by the appearance of Botswana’s often-uninviting Heavy Metal subculture. Marshall’s portraits break down established archetypes surrounding ethnicity, cultural identity, and ideology. The individuals in Marshall’s photographs are on the fringe of a society already situated within the geographical and ideological space of the Other, concretizing his work in the fields of anthropology and post-colonialism.  "Morgue Boss" 2010 Tribe-like, Heavy Metal possesses an unconscious sense of brotherhood that transcends race and nationality in the context of Renegades. So too, Marshall’srenegades unpack popular stereotypes, transcending traditions, blurring the boundaries between liberty and fraternity, helping to delineate the power structures inherent to Heavy Metal, which may be misinterpreted as a trace of an oppressive past. This is in keeping with the extremism of Heavy Metal ideology, embracing anything that popular culture finds unacceptable.  "Death" 2010 Renegades will open at the Rooke Gallery on the 5th of July at 6.30PM. The exhibition will include 60 portraits (edition of 8 + 2AP) and a limited edition signed artist book available on order only. 

Exhibition at ROOKE GALLERY

http://www.rookegallery.com/

inside@rookegallery.com

FRANK MARSHALL

RENEGADES 
5 JULY – END AUGUST 2011 

Renegades is a landmark exhibition by Frank Marshall, representing a decisive outcropping of a Heavy Metal subculture in Sub-Saharan Africa. 

Marshall’s portraits offer a tentative and considered vision of this subculture in Botswana; historically adverse in reaction to the occidental genre, making Marshall’s subjects somewhat of an anomaly. In this way, Marshall aptly dubs his subjectsrenegades, tentatively situating himself as a mediator chronicling “visions” of rebellious individuals who form part of an ulterior, emergent rootedness where traditional identities and political histories in Botswana are subverted. 

Heavy Metal audiences have traditionally been Caucasian, Patriarchal, and Eurocentric, making Marshall’s portraits parodies of heavy metal lore envisaging the multiple polarities of the subculture’s social strata. 

Renegades is thus a sociological case study of an underground minority rebelling against the status quo, redrawing the borders of both Heavy Metal and orthodox culture in Botswana. 

Frank Marshall: "Dead Demon Rider" 2010 
"Dead Demon Rider" 2010 

Resultantly, Marshall creates a sense of affirmation for his renegades, specifically exploring impressions of performativity, authenticity and mythology. Marshall decodes the visual rhetoric of his renegadesby making apparent the modification and hybridization of a predominantly western subculture in Botswana. The unique topology and physiognomy of each character effectively communicates the spirit imbued by the appearance of Botswana’s often-uninviting Heavy Metal subculture. 

Marshall’s portraits break down established archetypes surrounding ethnicity, cultural identity, and ideology. The individuals in Marshall’s photographs are on the fringe of a society already situated within the geographical and ideological space of the Other, concretizing his work in the fields of anthropology and post-colonialism. 

"Morgue Boss" 2010 
"Morgue Boss" 2010 

Tribe-like, Heavy Metal possesses an unconscious sense of brotherhood that transcends race and nationality in the context of Renegades. So too, Marshall’srenegades unpack popular stereotypes, transcending traditions, blurring the boundaries between liberty and fraternity, helping to delineate the power structures inherent to Heavy Metal, which may be misinterpreted as a trace of an oppressive past. This is in keeping with the extremism of Heavy Metal ideology, embracing anything that popular culture finds unacceptable. 

"Death" 2010 
"Death" 2010 

Renegades will open at the Rooke Gallery on the 5th of July at 6.30PM. The exhibition will include 60 portraits (edition of 8 + 2AP) and a limited edition signed artist book available on order only. 

Exhibition Opening at Gallery AOP

44 Stanley Avenue  Braamfontein Werf   Johannesburg

Nathaniel Stern - Giverny of the Midwest

30 July - 13 August 2011

Opening Saturday 30 July at 14:00
Opening address by Jeremy Wafer
(Associate Professor in Fine Arts, Wits School of the Arts)

For Nathaniel Stern’s ongoing series of performative prints, he straps a desktop scanner, laptop and custom-made battery pack to his body, and performs images into existence. He might scan in straight, long lines across tables, tie the scanner around his neck and swing over flowers, do pogo-like gestures over bricks, or just follow the wind over water lilies in a pond. The dynamism between his body, technology and the landscape is transformed into beautiful and quirky renderings, which are then produced as archival art objects.

 

Giverny of the Midwest is a panoramic installation of nearly 100 such prints, rendering water, lilies, leaves and other organic forms into lush and rippling images. The source materials were scanned during a week-long camping trip next to a lily pond in South Bend, Indiana, and edited together over the course of nearly 2 years. The piece explicitly cites Monet’s large-scale painting and installation, Water Lilies (1914-1926), at the Museum of Modern Art in New York. It is similarly an immersive triptych of over 250 square feet (totaling 2 x 12 meters), and follows the patterns of light and color in Monet’s panorama. But Giverny of the Midwest’s three large panels move between proximity and distance, and are broken down into differently-sized and -shaped prints on watercolor paper, each evenly spaced apart. The tensions between flow and geometry, life and modularity, place it in further dialogue with other trajectories of modern and contemporary art, and simultaneously activate the possibilities of working across digital and traditional
forms.