More staple-picking and staple-gunning for me, and Noelle started etching a plate! I watched her paint it with chemicals. After that, they put the copper plate on a heating device and applied the Sugar Lift goop stuff. I think Sugar Lift would be a great name for a band, but the stuff itself is kinda nasty-looking. They said I might be able to have a plate to etch; I hope that's the case. I don't know what I would draw on it, but it would be nice to try it out.
Ed and Brian, two of the printers here, have a ping pong table. It's fun to watch them play after lunch. They keep ongoing scores.
P.S., Ed is totally a labradoodle-caveman. With glasses.
It was such a beautiful day; I felt like napping.
On a random social note, I was supposed to hang out with this pen-pal friend of mine after work, but her phone had died. I'm told that this happens a lot with her. I hope I can hang out with her soon. I like how peaceful Skidmore Place is, but being here by myself is psyching me out in the evenings.
No ghost encounters yet, at least.
Showing posts with label 5 Skidmore Place. Show all posts
Showing posts with label 5 Skidmore Place. Show all posts
Thursday, August 28, 2008
Thursday, August 21, 2008
King Cullen's
One of the first things Mom and I did when we arrived in West Islip is...well, besides find 5 Skidmore Place, we found the grocery store.
Let me put this simply:
Consumers is to Stillwater, OK, as King Cullen's is to West Islip, NY. It's this grocery store and the one I'm typing directions for here has kinda narrow aisles and feels a lot like Consumers.
At the time of writing this post, I can't say if this is the best grocery store, but it seems like it's the closest one to 5 Skidmore Place.
Directions:
Take Gladstone (turn right if you're heading out from Skidmore Place) over to Union.
Turn left on Union.
Keep going until you see King Cullen's on your left.
There are other King Cullen's, but this one is fairly simple to find.
Sunday, May 11, 2008
First post
Yes, we have arrived. Just finished up the first week here on Long Island. Everyone at the shop is really nice and they are like a big family. Went into Manhattan yesterday and was somewhat unimpressed, I guess once you've seen one big city you have seen them all. Went to MOMA, eh. Maybe I just have a little travel lag. Maybe the boroughs will be a little more up my ally, not high class, tourism, money and fakeness of Manhattan. I will enjoy the Farmers markets that are going to open next weekend, and expoloring the ethnic regions will be a blast.
Monday, February 18, 2008
An Intern Reflects!
Being an intern can be hard on the soul - but but keeping a certain perspective on things makes all the difference.
The forklift at the studio has Mr. Goldston's 1984 Oklahoma tags on it. You might not be the butt of any Oklahoma jokes - but I would be shocked if you weren't. I have to admit, Oklahomans must seem pretty peculiar to this crowd.
Not much visual aid this week, or rather, what there is has little to do with the text. Suffice it to say I've been much busier and involved in the goings on at ULAE, so photography takes a backseat, and you get tasty leftovers that I couldn't fit in previous blogs.
It might be advantageous to discuss a few things I've noticed about this place, and the art world at large. I will try to keep this as positive as possible. Becoming more involved has led me to realize what a blessing an art related job such as this can be. If there is any single thing I have learned from this experience it is that there is life beyond art school. One simply must know where to look, and be willing to pay one dues. Certainly, this won't put anyone on a faster track to making it big as a visual artist, but it depends on how you use the facilities at your disposal, and put what you learn as a printer to use. The level of professionalism exercised at this shop has forced me to work on my own precision and attention to detail. It has effected the quality of my own work immensely, and my attitude towards art making in general. Then of course there is the development of new skills and familiarization with new aspects of the trade - but this will take years. Many printers here have a specialization, but broaden into other areas out of necessity in producing large editions of a certain type. Just in standing by and being a nuisance I have gotten a crash course in litho, aquatint, intaglio, and photogravieur. As I understand it, every studio has it's own methods in each area, so it isn't surprising that they do things differently here than at Gemini, or Tandem (or OK State).
A pile of broken lithographic stones sit behind Skidmore Place.
The downside of course is that the pressure is immense at times, and putting any of this knowledge to use in personal projects might be hard to do. Deadlines on large editions change at a moments notice, artists drop in to check on their work, or to create new work, and the level of craftsmanship cannot falter due to shortage of time. There is a lot of money involved here, so keeping it cool and staying focused is important. Things must be done right - and there is an enormous number of variables that ensure that things will go wrong. I have already noticed a decrease in my enthusiasm, though I chock most of it up to being the intern, and wading in the muck at the bottom of the heap. Some days I feel like a printer, and am treated as such - and other days I am DEFINITELY the intern. I am constantly reminded of my place. The other thing that I picked up on rather quickly is that many of the people who work here commute and hour or an hour and a half and the beginning and the end of each day. I thought at first it was just stubbornness - insisting to live in Brooklyn because of the cool factor. But I can honestly say that I never want to live on Long Island again in my life. There is no one above high school age or below mid forties that lives here as far as I can tell, and thus there is very little to do. I find myself, as well, living for the next chance to get into Manhattan or Williamsburg or Park Slope. So - if the printers seem grumpy, just imagine yourself in their position. It's a great job, but it is also a lot of baggage and stress.
A shot from the front room of Skidmore. On a nice days, Skidmore can be a lovely place to be.
It can be tremendously rewarding some days, and other days it can make you feel like dirt. I guess this aspect of being a working stiff has always eluded me - and I can honestly say I miss college a lot already. However - it has been a huge eye opener as to how the art world works, and as to what goes on behind the scenes. One printer said that he went to to Met to see the new Jasper Johns "Gray" exhibit, which featured many prints that he himself had pulled and handled. However his name is nowhere on that sheet of paper. Only Johns'. Not surprisingly, most of the notable artists who work with ULAE haven't set foot in Bayshore in years, but still have their prints editioned here. Is it right or wrong? I don't know - it just is. I know that part of the thrill of making prints for me is actually making the prints. I like to be involved in every step of the process - but I am not a famous artist, and if I were I can hardly say that I wouldn't let ULAE edition my prints for me and sell them for big money. I can't say it doesn't sound appealing. It is still awe inspiring to be in the presence of such history and legacy - but if I hadn't come out here to do this I may never have realized that such a place existed. I always thought the art and the artist were inseparable - as naive as it sounds - but it makes complete sense that the thing that can drive the two apart should be the almighty dollar. I might sound jaded - but I'm totally comfortable with it - not that it's up to me. It's just been a real eye opener. Strangely though - this awesome opportunity has really helped me reconcile with my decision to go into the arts. It is always breathing down my neck - what comes after school? Do I really expect to make a living on paintings? In a culture driven by media, fast news, flashing lights and dwindling attention spans, do I really expect to get anyone's attention? The average time a gallery goer takes to look at a painting is less than 3 seconds. The art world is subsequently very tough and fickle, and riddled with nepotism and politics - and all of these things should inform the student of the arts about the path before him. While there is a strange, naive comfort in being the penniless underdog, sticking to his genuine artistic ideals and creating meaningful but misunderstood work only to be praised after his death - seeing what these printers do gives me a great deal of hope and optimism. I can see myself in a job like this one day, becoming a master of a respectable trade, and living off of it in order to feed myself while kicking the dream around. There is one printer here who I relate to on this level - and he uses all of his time outside of the studio to create his own work. He makes use of the facilities at Clinton, and produces really nice work. I see this as an admirable use of his occupational situation - though the trade offs are great (he resides in Bayshore) he is still on track to a career as a professional artist. Being close to NYC with a stable income is a tremendous asset to this goal, because if there's one thing NYC has, it's money, where there's money there is much more likely to be an art market. Culture is one thing that New York is not shy of - and for a county boy like me, that's real derned excitin'.
Studio at Skidmore is like a litho library documenting the presence of people like Motherwell, Frankenthaler, Dine and Oldenberg. The litho images of their work are, by and large, untouched.
For a great bit of history and an awesome photo essay about ULAE - make sure to check
out their new website: http://www.ulae.com
The forklift at the studio has Mr. Goldston's 1984 Oklahoma tags on it. You might not be the butt of any Oklahoma jokes - but I would be shocked if you weren't. I have to admit, Oklahomans must seem pretty peculiar to this crowd.
Not much visual aid this week, or rather, what there is has little to do with the text. Suffice it to say I've been much busier and involved in the goings on at ULAE, so photography takes a backseat, and you get tasty leftovers that I couldn't fit in previous blogs.
It might be advantageous to discuss a few things I've noticed about this place, and the art world at large. I will try to keep this as positive as possible. Becoming more involved has led me to realize what a blessing an art related job such as this can be. If there is any single thing I have learned from this experience it is that there is life beyond art school. One simply must know where to look, and be willing to pay one dues. Certainly, this won't put anyone on a faster track to making it big as a visual artist, but it depends on how you use the facilities at your disposal, and put what you learn as a printer to use. The level of professionalism exercised at this shop has forced me to work on my own precision and attention to detail. It has effected the quality of my own work immensely, and my attitude towards art making in general. Then of course there is the development of new skills and familiarization with new aspects of the trade - but this will take years. Many printers here have a specialization, but broaden into other areas out of necessity in producing large editions of a certain type. Just in standing by and being a nuisance I have gotten a crash course in litho, aquatint, intaglio, and photogravieur. As I understand it, every studio has it's own methods in each area, so it isn't surprising that they do things differently here than at Gemini, or Tandem (or OK State).
A pile of broken lithographic stones sit behind Skidmore Place.
The downside of course is that the pressure is immense at times, and putting any of this knowledge to use in personal projects might be hard to do. Deadlines on large editions change at a moments notice, artists drop in to check on their work, or to create new work, and the level of craftsmanship cannot falter due to shortage of time. There is a lot of money involved here, so keeping it cool and staying focused is important. Things must be done right - and there is an enormous number of variables that ensure that things will go wrong. I have already noticed a decrease in my enthusiasm, though I chock most of it up to being the intern, and wading in the muck at the bottom of the heap. Some days I feel like a printer, and am treated as such - and other days I am DEFINITELY the intern. I am constantly reminded of my place. The other thing that I picked up on rather quickly is that many of the people who work here commute and hour or an hour and a half and the beginning and the end of each day. I thought at first it was just stubbornness - insisting to live in Brooklyn because of the cool factor. But I can honestly say that I never want to live on Long Island again in my life. There is no one above high school age or below mid forties that lives here as far as I can tell, and thus there is very little to do. I find myself, as well, living for the next chance to get into Manhattan or Williamsburg or Park Slope. So - if the printers seem grumpy, just imagine yourself in their position. It's a great job, but it is also a lot of baggage and stress.
A shot from the front room of Skidmore. On a nice days, Skidmore can be a lovely place to be.
It can be tremendously rewarding some days, and other days it can make you feel like dirt. I guess this aspect of being a working stiff has always eluded me - and I can honestly say I miss college a lot already. However - it has been a huge eye opener as to how the art world works, and as to what goes on behind the scenes. One printer said that he went to to Met to see the new Jasper Johns "Gray" exhibit, which featured many prints that he himself had pulled and handled. However his name is nowhere on that sheet of paper. Only Johns'. Not surprisingly, most of the notable artists who work with ULAE haven't set foot in Bayshore in years, but still have their prints editioned here. Is it right or wrong? I don't know - it just is. I know that part of the thrill of making prints for me is actually making the prints. I like to be involved in every step of the process - but I am not a famous artist, and if I were I can hardly say that I wouldn't let ULAE edition my prints for me and sell them for big money. I can't say it doesn't sound appealing. It is still awe inspiring to be in the presence of such history and legacy - but if I hadn't come out here to do this I may never have realized that such a place existed. I always thought the art and the artist were inseparable - as naive as it sounds - but it makes complete sense that the thing that can drive the two apart should be the almighty dollar. I might sound jaded - but I'm totally comfortable with it - not that it's up to me. It's just been a real eye opener. Strangely though - this awesome opportunity has really helped me reconcile with my decision to go into the arts. It is always breathing down my neck - what comes after school? Do I really expect to make a living on paintings? In a culture driven by media, fast news, flashing lights and dwindling attention spans, do I really expect to get anyone's attention? The average time a gallery goer takes to look at a painting is less than 3 seconds. The art world is subsequently very tough and fickle, and riddled with nepotism and politics - and all of these things should inform the student of the arts about the path before him. While there is a strange, naive comfort in being the penniless underdog, sticking to his genuine artistic ideals and creating meaningful but misunderstood work only to be praised after his death - seeing what these printers do gives me a great deal of hope and optimism. I can see myself in a job like this one day, becoming a master of a respectable trade, and living off of it in order to feed myself while kicking the dream around. There is one printer here who I relate to on this level - and he uses all of his time outside of the studio to create his own work. He makes use of the facilities at Clinton, and produces really nice work. I see this as an admirable use of his occupational situation - though the trade offs are great (he resides in Bayshore) he is still on track to a career as a professional artist. Being close to NYC with a stable income is a tremendous asset to this goal, because if there's one thing NYC has, it's money, where there's money there is much more likely to be an art market. Culture is one thing that New York is not shy of - and for a county boy like me, that's real derned excitin'.
Studio at Skidmore is like a litho library documenting the presence of people like Motherwell, Frankenthaler, Dine and Oldenberg. The litho images of their work are, by and large, untouched.
For a great bit of history and an awesome photo essay about ULAE - make sure to check
out their new website: http://www.ulae.com
Tuesday, January 22, 2008
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.
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.
Monday, December 3, 2007
Map of where you will be staying....
You will be living at Skidmore in West Islip
You will be working in Bay Shore
The Train Station to NYC is in Babylon
View Larger Map
You will be working in Bay Shore
The Train Station to NYC is in Babylon
View Larger Map
Monday, November 5, 2007
Where you'll be Living
Interns will be staying at 5 Skidmore place. West Islip NY 11975 at the house that the original studio was created in 1957. Its a large three bedroom house located in a small round about it, it includes two studio spaces as well as a Lithography studio that interns can use. There is also the possibility that a Intaglio Press will be added to the studio space as well. Interns will be given a list of things that need to be kept up at Skidmore. There is a guest bedroom up stairs that is open for artist and guest of ULAE. There was also a deck just added to the back of the house which is really nice.
P.S. - There have been reports of this house being Haunted...Strange noises happen at random times as well as disappearing socks.
Below are some pictures taken from the House
This is the front of the house
Front Room
Second Room
Kitchen
Dinning Room
artist Studio/computer Room
More Pictures to come soon
Second Room
Kitchen
Dinning Room
artist Studio/computer RoomMore Pictures to come soon
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