Tag Archives: Eric Waldemar

Early Abstractions has gone to the Getty.

Posted on April 30, 2010 by Eric

I had Harry Smith’s own 16mm print of Early Abstractions for about 20 years, since he got it out from under the bed at his little apartment on the Naropa Institute grounds. I just passed it off to Rani Singh … Continue reading →

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Sorting continually through all that comes in, obliges, and reveals itself.

Posted on April 28, 2010 by Eric

A few more items for the RMCAD show in September. It’s been a busy few weeks – just back from California, off soon to Missoula, MT for an iron pour, with the end of the semester a little more than … Continue reading →

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Big Show of Little Pictures

Posted on April 13, 2010 by Eric

Grabbing odd moments in a busy life as a daddy/lecturer/artist, I’ve been working on a series of tiny prints, some of which will appear in an intricate array at Rocky Mountain College of Art & Design’s Rude Gallery this September. … Continue reading →

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First, make it, then, later, maybe ask questions about it. Or leave it alone.

Posted on February 12, 2010 by Eric

Again, a batch of newish prints, which are more or less unedited, on purpose. More and more, art students are trained to shape a consistent “brand.” I prefer a free mind to an art hobbled by professional strategy. One kind … Continue reading →

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Back at the Press

Posted on January 25, 2010 by Eric

The other night, I showed Carl Fuermann how to make a monotype, and while doing so, got back on that horse for a bit. Thank you, Carl. Just a few little bits here to share from that evening and a … Continue reading →

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Black Ink

Posted on October 29, 2009 by Eric

Several people asked me about relationships between the ink drawings in Time and Attention and the prints. Many of the drawings were made during a period when I was working on images for Richard Loranger’s book Poems for Teeth.  Working … Continue reading →

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Things that appear:

Posted on October 13, 2009 by Eric

Representation may not be the point, exactly, but I often do enjoy it when “pictures” appear. In general, I find that in general, apparently non-objective works tend to begin as deliberate “pictures of something,” while on the other hand, virtually … Continue reading →

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