I Helped.......?

SOME THINGS I DID IN THE FIRST MONTH:

As an intern, I have been unsure about my position - though I am certain it is at the bottom. Still, it is pretty hard to know where to you stand. Some days the intern will feel as though he can do absolutely nothing right - but it gets better. Just remember that you are here to learn - and try not to be shy. It is good to know how to keep your eyes and ears open and your mouth shut - but nothing will be handed to you at ULAE in terms of learning. I mostly have just hovered over the printers and picked their brains - asked questions about everything they are doing, to which some printers respond much better than others. Don't feel like a nuisance - you are one - but don't let it get to you. Besides the alternative is running errands and doing office work. Since I've been here, I have helped the printers with a number of things, including helping with a Rosa Loy Litho edition. This has included some menial press operation tasks, wiping plates and cleaning rollers. I feel good about this work because it saves the printer a whole lot of time and elbow grease. On the Loy edition we ran abut 80 sheets, which means a lot of work on ach individual sheet at mant different stages. I started out by tearing paper, then cleaning plates, and wiping the litho block on the stone press. I was then assigned to tear paper AGAIN, which is the last step before curating. I will go into a bit more detail about litho and etching in later blogs - but suffice it to say, just by making myself available I have learned a whole lot through proximity and practice.

Sorry these are not chronological by any means -- damn technology!




To tear down paper for the finished prints, a tear down block is constructed to ensure that every sheet of the edition is exactly the same. The borders round the image must be the same for every sheet. The paper is held in place with pins in the registration marks, and then weighted so the paper doesn't move. It seems like a male job - but these are very expensive sheets of paper, so it must be done right.



The offset press is an essential element of the editioning process. It allows an unlimited number of prints to be run in a very short amount of time. That doesn't make it easy - it is a high maintenance machine and there are many variables that can cause printing to be a nightmare if overlooked. The Rosa Loy prints were three base colors - so 80 sheets of paper run 3 times with a different plate - thats 240 runs, then black, run on the old litho press - which in itself took an entire workday, and we only got up to the 60th sheet. In between each run, registration must be checked - ink added or removed, blankets wetted, and routine trouble shooting. The printer must also make sure every print looks exactly the same in terms of color. You can see where an apprentice is a huge help.



Here is the whole edition prior to printing the black. Some editions are several hundred - and when you get into the Johns and Rauschenbergs, even more. Each sheet is worth a TON of money. Printers get printer's proofs, which are only saleable after the edition sells out.




Here is a shot of the press at Skidmore. The surface of the sone must remain wet at all times during the printing process - so having someone to wet the stone is a neccesity. The registration setup took a little trouble shooting - but the printer eventually devised a very simple and efective system, and with two people, the last step of the editioning process went very smoothly - though it took about 8 hours of standing over the press.




Jason (the man who taught me everything In know about Lithography) carefully adds ink into the rollers, which will even distribute and oscillate the ink so it prints completely flat. The printer must often rely on sight and intuition to add and remove ink or pressure so that all prints match the matchup proof, which has been aproved by the artist prior to editioning.




Jason checks the registration. A hairs worth of misalignment makes all the difference. The image is comprised of several plates, and each must match up perfectly to get a quality print which will be ready for introduction to the art market.

This is a very breif overveiw of my apprentice work with litho. Next week - what I've learned about etching.

The ULAE Studio at Clinton Ave., Bayshore

The facilities here are unbelievable - and there is a lot to take in. I may not have time to learn what everything does, but I have already gotten some time in helping printers, and there is simply no better way to learn than hanging with these guys. This is a very, very brief tour of Clinton, I couldn't possibly cover it all - but you will see a lot more of the studio in the coming week as I outline my experiences as an apprentice. (Note the use of the word apprentice: it has much nicer sound to it. There are intern jobs, and there are apprentice jobs. If you have any interest in learning about these presses, you'll have to get in there and get your hands dirty.)





A master printer work on an offset press in the studio "across the street." The offset press is used to produce large quantities of lithographic prints. There are three of such presses at ULAE.




This is a motorized press used for printing very large intaglio prints, or etchings.




Here is an old school letter press, which as far as I can tell is used primarily for portfolio type, but I have also seen it used to generate text on litho plates.




This press hasn't been used since I've been here - but it is one of the three offset presses here.




This is the press I've become most familiar with. One of the printers has let me help him with a few proofs and even an edition. I will go into the details of my first hand experience a little later.

The ceilings of the main studio have large portraits of artists working here and at the studio in Skidmore Place. It's fun to pick out where the are in each photo and try to picture Barnett Newman or Lee Bontecou standing in that exact location when you get home.








A portrait of Tatyana overlooks it all - if you mess up, she'll know.

The nicest house I may ever live in....

LIFE AT 5 SKIDMORE PLACE:
Here is where the interns stay. This place is totally beautiful, and has been the shelter and workplace of some of the most famous artists of our time. Reading this blog is one thing, but nothing will prepare you for your first experience at Skidmore.


5 Skidmore place, today.


Early 60's: Tatyana Grosman and Jasper Johns
This is the original site of the ULAE facility. The company was started here.

It will be isolating at times, as I mentioned last week. Try to take advantage of this new place, and the facilities. I opt toward cooking for myself, or trying a new restaurant. Ask the ULAE staff where to go, or venture out on your own. Be aware: even though the island seems small - it is easy to get lost. Just know that your major highways and roads are all east/west, and that you will often not notice when you crossing from town to town. Street names change back and forth - just mapquest everything for awhile.



Here is the main living room. The house is full of art books and Russian literature. Every wall has a print or painting on it, many signed artists proofs by Johns or Rauschenburg.



As I understand it - this was at one time, Jasper Johns' personal studio space. It is a bit hidden away from the rest of the house, attached to Tatyana's old bedroom by a tiny doorway.



This is a sort of sun room, totally full of books. A great place to relax and look at great art. Again, many of these are Tatyana's personal books, signed by Rosenquist, Winters or Johns.



This kitchen is amazing. I spend a great deal of time here.

There are a great deal of things not pictured here - as I said, noting will prepare you for what's in store for you here.

Knowing your budget will help in advance:
INTERN EXPENSES COVERED:
- expenses to and from NYC up to 400$ (all subway, taxi and trains are paid for)
- food 18$ per dinner, 10$ per lunch (no booze or cigarrettes will be covered)
- museum entry, art lectures and tours
- telephone bill
- hygeine and other neccessities
- gas and routine maintenance for your vehicle

INTERN EXPENSES NOT COVERED:
- Theatre tickets, Concert tickets
- General sightseeing
- Travel beyond NYC
- Nightclubs
- Magazines, Books, CD's
- Extra Curricular classes, Materials

Plus: You will be expected to clean, and keep an eye on the heating and electric. you will have a landline and cable. Just be practical and reasonable with your expenses. Be up front and keep all of your reciepts. You will be reimbursed for anything you spend out of pocket for neccessities. Bring some funny money with you for uncovered expenses.

The studio here is at your disposal IF: You make sure not to disturb existng plates, stones or work. Guest artists work here quite frequently, as do the litho printers. This press is the only press at ULAE set up to run stones.



This is a shot of the stone storage behind the Skidmore litho press. Yes, this is all at the house. Behind the house there is a massive deposit of broken litho stones.

I highly recommend getting a printer to help you get set up with a plate to etch, a stone to grain or a litho plate to draw on. You might also bring some of your own work to keep you occupied. I have several things in the works - which I will touch on next week.

A BIT OF ADVICE:

Everyone here will tell you that Skidmore is haunted - and the general consensus is that it is Tatyana. She lived in this house, and started the company there. This house has a tremendous history, so it isn't suprising that it might feel a bit off. I can tell you that you will hear a lot of things. Some house sounds, and some unaccounted for. Tatyana might keep you up at night, and you may feel not alone at many times, but just know that the energy is good. She was an amazing lady who touched a lot of lives. Be good to the house, draw from it's energy, and you will be fine.

You can take the boy out of the country.......

I arrived in Bayshore early on the morning of January 4th. It is a bit like arriving on another planet - and if you're like me the first week will be a bit strange and hard - but it gets better. By week two - you'll really be living it up. Here is a brief account of what I've encountered in the first 7 days.

ULAE STUDIO: First Impressions


A photo of Jasper Johns suspended above the offset presses in the main studio.

In the first week I have already learned so much. I have spent a better portion of my time at the studio picking the brains of the printers about their current projects and processes. This takes initiative and a little gumption. It's easy to feel like you are in the way as an intern - but just make yourself available and try to get to know the people around you. If you seem uninterested you will be ignored. Generally, everyone is very nice and fun - so be yourself, but remember why you are here. You will be running some errands, taking out the trash, and doing the dishes - but my advice is, do these things quickly and regularly. Sweep and clean whenever it needs to be done - don't wait for someone to ask or tell you to do something. Make it known that you are eager to work. Your attitude during the first week will make a big difference. However - be sure to set aside some time each day to get started on a project. Many interns do not accomplish any original artwork here - which is a shame, because when you see the facilities you will realize how unique this opportunity is. So treat it that way - and the printers will take a shine you right away. This internship seems nebulous because it is what you make of it. Ask questions, ask if they need help - and make it known you are here to learn about what they do. I have already made progress towards two etching plate and am grinding a litho block with the help of the printers. They are awfully busy - but have made it a point to help me start projects. Litho is new to me, and Jason has been great about helping me understand the offset press in the studio, and the litho press at the house -- where you will be living. More about 5 Skidmore Place below.

5 SKIDMORE PLACE: Home Away From Home

There is a fully functional litho studio in the center of the house. Get started on that block, baby!! When you first arrive you will likely be overwhelmed by the amount of art and literature surrounding you. There are plates for Rauschenberg etchings, Cy Twombly etchings and countless litho blocks in the studio area. I can't imagine a creative individual not flourishing here - this place is inspiration at every turn. There are three studio spaces, a sun room which has become a sort of reading area, and beautiful kitchen and a great patio. There are three beds, and a huge basement for laundry - but which is transitionally becoming a fourth studio area. I have my materials set up there. Word to the wise: bring lots of stuff to work on. Get busy right away and keep yourself occupied. This place gets a it lonely. You will have a TV and DVD in your room, and a insurmountable number of art books. If you know people in the city - that is great. They can help you get around and get you out of the house on the weekends. The first week will probably be a bit strange - until you get used to the sounds of the house. It can get pretty spooky and dismaly isolating. do yourself a favor a get out as much as you can, try a new restaurant every night (Babylon has a zoning ordinance that allows NO chain restaurants!) or get some fresh fish and cook up a nice meal on this massive range. Remember if you get bummed or lonely that it gets better, and most interns have felt that way at some point. You are really close to the beach - so weeknights could be good for a night time beachfront mosey. You will be living the life after you get adjusted.

NYC: Just go!

Don't be scared of the city - just know it will take a little time to get used to the transit. All your travel is covered (I will post a breakdown of the Intern budget below) as long as you keep it reasonable -- carry a bit of cash with you and always keep a train schedule with you. Make absolutely sure you know when your last train is coming back. It is about one hour and fifteen minutes to Penn Station. From there you can get around with the subways - get a Metrocard at the station. If you use cash, keep every single receipt or ticket stub. It seems daunting - but you'll get it. I have generally limited my trips into the city to the weekends. The commute isn't long, but getting around and back to the train on time can get damn tiring. You will be expected to be at work at 8:30 every morning. Be sure to get a Not For Tourists Guide - you can get them at Borders or Barnes & Noble - and this little book will make getting situated much easier. It contains maps of all the Villages and townships, and plots all bus, subway and train routes for the city - including your train, the LIRR. The best place to catch a train is Babylon - about a five minute drive from Skidmore House. Grab a LIRR train schedule and keep it on your person at all times. Cabs can be sketchy here - make sure to carry cash for this. (In general I would say having your car here is a must. All of your auto expenses are covered for your drive up and your stay. It will very hard to get to and from work without your own means of conveyance.) As for the city - you will want to go every night. Bayshore and Islip are a bit boring. Make a list of your key destinations, look them up in the NFT Guide, and plan accordingly. Your time here will fly by - so don't put things off too long. I highly recommend the Strand book store - one of the country's largest. The art book section is pretty mind blowing. More next week!