Wednesday, February 29, 2012

Pacific Standard Time Shines the Spotlight on a Veteran Artist: An Interview with John M. White

John M. White has been making art for a long time. A fixture on the Los Angeles art scene since the early 70's, and honored last year by a retrospective at the Armory Center for the Arts, John M. White's considerable contribution to contemporary art in Los Angeles is further acknowledged by being included in four of the Getty's Pacific Standard Time exhibitions.

Throughout his career, White has focused on three major areas of work: performance art, installations, and drawing and painting. White's work has always been cross-disciplinary, seamlessly blending object-making and performance. In today's art world, there's nothing unusual about that, but when White was getting his MFA at Otis Art Institute in the late 60's, it was almost unheard of.


John M. White, Performance Guide, 1969, Ink on Paper, 28" x 32", courtesy of Sylvia White Gallery
I spoke to White earlier this week about those early days.

JC: How did you initially become interested in performance art?

JW: I was a student at Otis and I met Joan Hugo, who was a librarian there, and she was quite hip for Otis. She was connected to a lot of performance work that was going on in New York.

JC: When was this?

JW: I was at Otis from 1965-69. She would take one or two students under her wing every year. I was warned about her, in a nice way. If you really wanted to find out what was going on in the contemporary art world, you went to Joan. So I introduced myself to her and we became friends. She realized that I was looking at different things, other than painting and making objects, and that I was also interested in doing things live. One day she posted a flyer on the school bulletin board saying that performance artist Yvonne Rainer was in town, that she was a dancer and was looking for helpers. I didn't respond because I'm not a dancer. But then Joan asked me why my name wasn't on the list. She said "it's not dance, but it's called dance."

So I signed up and went down to this abandoned Cadillac showroom. Yvonne was very interested in common movement, and wanted a bunch of people to follow her around and emulate what she was doing. Very simple instructions. We met a couple of times, about 50 of us, and I began to really fall in love with the idea of just walking, then getting on the ground and rolling around and getting back up and just doing common things. That to me was very acceptable.

John M. White, Performance Guide: Boulder Delivery, 1970, Ink on Paper, 28" x 32", courtesy of Sylvia White Gallery
Next I went up to Dwan Gallery with Steve Paxton and he said he'd like to use me in a piece. "Just hold on to my body and as I walk around the audience, talking to the audience, you just hold on to my sweater." I said ok, so we did that and the audience went crazy, they went nuts, they were clapping -- there were about 200 or 300 people in the audience. Then he took me outside, we walked around the block and then came in the back way, did the same thing again and the audience went absolutely crazy again. I kept saying to myself "What is this?" It was wonderful.

So I took both Steve's and Yvonne's workshops at an abandoned warehouse in Venice when they came back in town a year later. This was my sophomore year at Otis. We tried lots of different things. I remember a really break-through piece when Steve asked me where I worked. I told him I worked in a brewery in Azusa from midnight until 6:30 in the morning. He then asked me what I did there. I said "well I do a lot of hard labor until about three in the morning and then I come into a room and I take a newspaper and I put it over my face and I fall asleep for a couple of hours on a bench." He suggested I make a piece out of it.

About a month later Steve and I went down to Del Mar to this huge factory and warehouse. I got about 15 stacks of left-over newspapers and put them in a big circle and went to the audience said I needed about 20 people to work in the piece. I pulled them aside and said I was going to cover them with newspapers and they were to count to 1000 and get up and leave. So they laid down in a circle and I asked the rest of the audience to take the newspapers, crinkle them up into a ball and throw them on top of the performers. We made this gigantic stack of crinkled newspaper, lit by one light from above which made it look very dramatic and then we all sat down and waited. One by one the performers got up and left.

We thought it was over when someone said "my husband's still in there!" We called for him and nothing happened. He had fallen asleep! So we woke him up and it was really a nice way to end the piece. Everybody laughed. It was a good audience participation piece as well as a sculptural form, and also live. It was called Paper Pile. It looked very good, it was very beautiful. So that was my initiation to performance art.

John M. White, Mind Field III, 2009, Ink on Paper, 23" x 36", courtesy of Sylvia White Gallery

JC: So from then on you did performance as well as drawing and painting?

JW: Yes. While I was still at Otis I started making paintings called Floor Plans for Performances, but when I titled them that way, Otis wouldn't let me graduate. They said they weren't a dance school and they weren't a theater school. They loved the paintings, but they hated the titles. So I changed the titles temporarily -- I called them untitled painting #14, things like that, and then I was able to graduate!

I realized that I was a little bit different. The feeling in LA at the time was that you were either a performance artist and you did live things, or you were an object-maker and you did drawings, paintings or sculpture, and the two camps didn't get along with each other. That was completely foreign to me. I'd do a performance and then I'd do some drawings based on the performance and I'd go back and forth. They fed each other.

I had major problems with it, getting gigs and things like that. I was actually disallowed from a show I was going to have in a nice gallery on La Cienega because the other artists said I was a performance artist and warned the gallery to be careful about showing me. I got a call from the owner of the gallery and he said "I'm sorry, we've decided not to show you." I found out a few years later that all the other artists had gotten together to push me out.

JC: Fast forward to the last couple of years. You've had a retrospective at the Armory Center for the Arts in Pasadena and you are represented in four Pacific Standard Time shows around LA. What has this meant to you?

JW: With Pacific Standard Time, I think they were trying to highlight a lot of artists like me who were under the radar. I think the older you get, the further under the radar you get if you haven't established yourself early on. So for me Pacific Standard Time has really been a godsend in terms of my public career, but I always work anyway. I don't care if it's public or not. But it has given me a chance to do a lot of things I wouldn't have career-wise.

John M. White, Solimar Beach Elements, #3, 2010, Acrylic on Panel, 23"x36". courtesy of Sylvia White Gallery

JC: One of the four shows you're represented in was the performance you did for It Happened At Pomona: Art of the Edge of Los Angeles 1963-1973 at the Pomona College of Art Museum in January. The other performances were by Judy Chicago and James Turrell. You received a glowing review in the LA Times.

JW: That was very interesting. They called me up about redoing a performance from 1971. It was a group of football players. I had 34 people in the audience and six football players and I choreographed their movements.

JC: That was Preparation F?

JW: Yes. I've never done a re-do of a performance, so when they called I told them I didn't think that it was viable. But then they called back and told me they had forgotten to tell me about the budget -- a very healthy budget. My response was "you're kidding?!" And then I said yes. They had found my price!

I came down one night for rehearsal and I asked where the football players and the coach were. I was told they were upstairs waiting for me. So I went up the elevator and I went into this room and these kids went crazy, cheering me, jumping up and down. I had just gotten out of the hospital and I was on a cane, so I went limping in and it was very dramatic. The coach had whipped them into a frenzy. We did a rehearsal and I saw that these guys were ready to go. They had studied the piece from the 70's, from the notes and photos, and they were ready to do it in a big way. It was a match made in art heaven. It has inspired me to get back into performance. I've made a couple of drawings and paintings based on that performance in Pomona already.

JC: The LA Times review must have been very validating.

JW: I was sitting here in the studio and someone called and said "bravo, John!" I said "bravo what?" He asked me if I had seen the LA Times. I hadn't, so I stopped painting and went and got one, and here's this big beautiful color photograph from my performance on the front of the Calendar section. It was not exactly validation, that's not what I'm looking for, but it was wonderful.

JC: Where does your self-validation, for lack of a better term, come from? What has kept you working all these years regardless of how your public career was going?

JW: That came from my first teacher -- he ran a private art school in his house in San Francisco and that's what he taught. I lived there for three years. He was a very strong figure.

JC: That was Giacomo Patri?

JW: Right, the Patri School of Art Fundamentals. He was a consummate teacher, an extraordinary person. He taught us to work our way through things, to do it ourselves and not to worry about getting famous or discovered. He said it was a blessing to be able to enjoy what you're doing.

I was going to become a brewmaster like my dad, and I just stumbled into his school, started taking a class, and before I knew it, I had moved in. I stopped working at the brewery and learned how to exist on almost nothing. I lived there like a monk. I've been making art ever since.

Click here for more information on John M. White

Upcoming at Offramp Gallery
March 4 - April 15, 2012:
John M. White: Recent Works
Opening Reception: Sunday, March 4, 2-5pm

Sunday, March 25, 3pm:
Betty Ann Brown reading & book signing

from her new book, Afternoons with June: Stories of June Wayne’s Art & Life

May 6 - June 3, 2012:
Chuck Feesago: Retention

Opening Reception: Sunday, May 6, 2-5pm

Wednesday, February 15, 2012

Lou Beach's "420 Characters," a Perfect Marriage of Creativity and Media for the 21st Century

Click here to buy from 
Lou Beach's 420 Characters is the perfect book for today's multi-tasking, time- and attention-challenged, media-gorging, art and literature lover (like me). Limited to 420 characters (including punctuation), each of Beach's very short stories started life as a Facebook status update. Vividly distilling experience into a haiku-like framework, Beach's stories are narrative gems -- evocative, surreal and dreamlike -- the opening scene of a movie by your favorite director as you sink into your seat in the darkened theater:

"We were on a tour boat in Boston Harbor. A candy wrapper escaped from some kid's hand, scuttled our way across the deck. Russell pinned it with his boot, bent over, picked it up. A gust of wind snatched it from him, sent it out over the water. An old woman said: 'Shame on you, littering.' My brother's neck went red. He got that look that could clear a barroom in Quincy. He sighed, winked at me. 'Yes, ma'am,' he said."

Infused with atmospheric depth and populated with myriad characters, Beach's stories range from comedy to irony, tragedy and surreal montage:

"Shot by a monkey, Elsa leaned against the banyan, held a bandage to the wound. They'd entered camp just before dawn, made off with a pistol, some candy bars, and a Desmond Morris book. We counted as six shots rang out, one of them finding poor Elsa's arm. Relieved that the simian was out of ammunition, we packed up. On the way out of camp we noticed a monkey on the riverbank, hammering at a snake with the gun."

The handsome hardcover book is in and of itself a small treasure. Designed after a vintage volume in Beach's personal collection, the red cover is embossed with a gold leaf monogram, the stories printed on heavy paper and illustrated with surreal collages by Beach, also a well known artist and illustrator.

Lou Beach, The Fall, collage

Lou Beach, World of Men C, collage

Audio recordings of the stories by Beach's friends, actors Jeff Bridges, Ian McShane and musician Dave Alvin, are available on the book's website.

The book was chosen as one of Amazon Best Books of the Month, December 2011. In the following video, Beach is interviewed about 420 Characters for the series, Author Interviews @ amazon:

Don't hesitate to buy this book! Whether you read it all in one sitting or pick it up occasionally to savor a story or two, 420 Characters fires on all cylinders -- fine writing, fine art, beautiful design -- and will not disappoint.

Click here to buy 420 Characters from

Upcoming at Offramp Gallery

March 4 - April 15, 2012:
John M. White: Recent Works
Opening Reception: Sunday, March 4, 2-5pm

Sunday, March 25, 3pm:
Betty Ann Brown reading & book signing

from her new book, Afternoons with June: Stories of June Wayne’s Art & Life

May 6 - June 3, 2012:
Chuck Feesago: Retention

Opening Reception: Sunday, May 6, 2-5pm

Wednesday, February 8, 2012

Artillery Editor Tulsa Kinney's Last Interview With Mike Kelley

Like most of the art world, I was stunned when I learned of artist Mike Kelley's suicide last week. The most recent issue of Artillery magazine, with the strange close-cropped photo of Kelley on the cover, had been on my coffee table for a couple of weeks, Kelley's piercing blue eyes staring out at me, almost daring me to ignore him. As soon as I heard the news, I immediately sat down to read editor Tulsa Kinney's interview with Kelley, an interview that would turn out to be his last. Did the article hold any clues of the tragedy to come?

From the first line, "EXTRA! EXTRA! READ ALL ABOUT IT! ART STAR STOPS MAKING ART!" the interview was eerily prescient. Kinney writes: "It got quiet toward the end of our interview, and if I didn't know better, I might even say he seemed a bit melancholy that late morning." In hindsight, it almost reads like a case study in depression. These things are always so much clearer in hindsight.

Mike Kelley was an artist who enjoyed success beyond what most dare dream of. He was beloved by an almost cult-like following. Why would he do the unthinkable? What had brought this popular, talented, and sensitive man to that darkest of all places?

Having been through the suicide of a close family member, I know all too well the agony, grief, anger and guilt that survivors often feel. I hoped Tulsa's story might shed some light on those questions for those Mike Kelley left behind.

Tulsa and I sat down on Saturday afternoon in Pasadena to talk.

JC: When did you first decide you wanted to interview Mike Kelley? You said you felt an "urgency" to have him in the February issue, even though you said you didn't really have a hook for the interview at that point.

TK: I had wanted to interview Mike for a long time. Usually when you do a feature on someone, there's something else happening and that's why you write about them. But when I decided I wanted to interview Mike, he didn't have anything major going on that could be considered a hook. I just felt like I wanted him on the cover. I felt like it was time. A few of my staff members were very unenthusiastic about it.

JC: Why?

TK: One of the younger staff members thought that he was too old-hat, and that nobody knew who he was. Even my husband was kind of a naysayer. But I held my ground. I don't have really any other reason for wanting to do it, I can't explain it, I just wanted him on the cover this issue.

JC: Did it have anything to do with that issue of Artillery being your first national one?

TK: No, not consciously.

JC: But you finally found a hook for the article?

TK: Yes, right before the magazine came out, Kelley got accepted in the Whitney Biennial, and it was for the eighth time! So it was perfect.

JC: When and how did you approach him about the interview?

TK: I emailed him around the first of November, but I didn't hear from until a couple of days later. And when I did hear from him, he presented me with a whole laundry list of reasons why he hated my last issue! He said he was still going to do the interview, because he was a person of his word, but he was pissed off!

He said there was a lot in that last issue that interested him (this was the one with the burning bank on the cover), but he was not happy with the Detroit article and he was not happy with the Ed Ruscha article that John Tottenham wrote that was critical of Ruscha's recent show at the Hammer. He was very upset about that.

At the end of the list, and I think this was what he was unhappy about the most, was the gossip column. My gossip columnist had written some not-so-nice things about Mike. I usually don't mess with that content, because if I go in there and whitewash everything, then we don't have a gossip column. The gossip columnist called him a "paragon of perv" and some other things and Mike was really pissed off about that. What Mike wrote to me about it, his rebuttal, was hilarious, and at the end he said "Tulsa, how can you print such crap? Cancel my subscription."

So I was very nervous and I thought I wasn't going to get my interview. I could tell he was hurt. He's a real sensitive guy. That was something that I learned about him.

JC: When did the interview take place?

TK: November 14

JC: So many things in the interview seem to foreshadow this tragedy. I'm going to read a couple of quotes and ask you to react: "It got quiet toward the end of our interview, and if I didn't know better, I might even say he seemed a bit melancholy that late morning."

TK: Right. I really held back in my copy. I was really concerned, I've been around mental illness and I could see that he was very depressed. In my original notes I had written "he seems deeply depressed" and there were other notes that I didn't even want to put in.

JC: Again, reading from your interview: "When I asked him if he ever believed in Heaven and Hell, he responded deliberately, in his deep, gravelly Detroit accent, 'No. I never believed in anything.' He seemed sad when he said that, with a faraway look in his eyes."

TK: We were seated on either side of an L-shaped couch and he just looked straight ahead and answered me in monotones, "yes, no, I never believed in anything, it was a load of shit." He seldom looked at me and it was very eerie, very sad.

JC: In the letter to your readers that you wrote shortly after his death you wrote: "I needed to wrap up our interview as I felt I was taking too much time from Mike. Out of nowhere, he just blurted out that he was going to stop making art."

TK: Afterwards my husband said "why didn't you talk about that? That's your story." But the whole interview was so emotional, and he dropped that bomb just as we were wrapping up, and I just had to stop. He went into a lot of personal stuff with me that I was not really expecting. I knew I was going to ask probing questions, but I didn't know he was going to cooperate so much. And then he had been so pissed off at me, I thought he was going to be an asshole, which he wasn't. It was more like he was resigned. It was like "just take me, take whatever you want." It was way too heavy. I didn't know him that well.

Before we started the interview that day he said he wanted to see a draft before it was published. And I said, "Mike, no, come on, you know I'm not going to agree to that." He said "well I want to see the quotes. I really want to see them. I don't want to come off looking like an idiot." I wanted to say no, but I felt like I had to give him something because he was so pissed off about the gossip columnist. So I said okay.

That interview was so intense, and what was really sweet of him was that he had two books for me, one was a catalog for his Kandors exhibition and the other was his Destroy All Monsters book. I was so touched -- this guy was so pissed off at me and then he's giving me the interview of my life and he's giving me these books. I just looked at him and thanked him and apologized again for the gossip column. Tears actually welled up in his eyes and said, "that really hurt my feelings. That really hurt." That's when he told me he was having problems with his girlfriend and that he didn't need that kind of shit. Then I said "I'm so sorry, what can I do?" to which he replied "you can retract it! That's what I want! I want you to retract it!"

I said "Mike, if we have a feature on you, a cover and then a retraction, it's going to look like I'm kissing your ass." But then I reluctantly said okay. I felt I had to, so I worked it into the story.

I had a lot of trouble writing this piece. His staff kept contacting me saying Mike really needed to see the quotes. So I finally sent them to him around December 22 and he read them, of course, very out of context. He was livid. He said "Tulsa, I had no idea you were going to print all this. I just told you that to give you an idea of where my art comes from. I can't handle this, this is way too much." He even said "I'm not a fucking movie star or a personality, I trusted you, I had no idea this would be so raw. No way about the Gagosian stuff, why would I allow my career to be jeopardized?" And that's kind of interesting, because at that point he was still thinking about his career.

So I let him fix the Gagosian quotes, because I didn't want to jeopardize his career either. We went back and forth, but in the end, when I got the quotes back, he had hardly touched them. I was astounded. I thought I was going to have to rewrite the whole article. He left in the stuff about his dad disowning him, he left in the part where he said he was going to quit making art and he made sure that I added the stuff about the Detroit project. And then one thing that was really strange, in the passage where he talks about having to get out of Detroit or he would go insane, he added "I had a nervous breakdown." He added that.

JC: Skipping forward, a month later, to the photo shoot in December. You said he was more upbeat that day?

TK: Yes, he was kind of charming, cute. I was joking around with him, asked him if he gotten a facial, his skin looked brighter, he was laughing. He seemed very giving and had a great sense of humor.

JC: I want to ask you about that cover shot. It's an unflattering shot and very intense. Why did you do it that way?

TK: Tyler Hubby is the photographer and he was very excited to shoot Mike Kelley. Mike insisted that we were just going to do headshots. Mike didn't want to smile, he was just staring right in the camera, and I did say to Tyler "get up close, get a close one." I don't know, I just wanted that option. I like close-ups. When my art director, Bill Smith saw it he said "this is clearly the favorite. It's terrifying, but it's intense and that's what you want." To look at it now, it's heartbreaking, just fucking heartbreaking.

JC: After the article was published, did you hear from Mike at all?

TK: I was very, very worried, of course, because at that point I know he's ultra-sensitive. I emailed him and told him the magazine was out and did he want me to bring some copies by. I had them delivered the next day and I was just waiting and waiting. Finally he wrote back, just one line: "Tulsa, I got the mags. Thank you. I read the article, it reads good, my cover photo looks like a mug shot."

That's all he said and I really couldn't tell if he liked the article or not. I was hoping for a little bit more from him, but it was very perfunctory.

JC: Was that your last contact with him?

TK: Yes.

JC: And that was early January?

TK: Yes, around January 9th.

JC: How did you hear the news of his death?

TK: I got a phone call from a good friend and he just said "Mike Kelley's dead. He killed himself." I was shocked that he was dead, but I wasn't surprised that he had killed himself. This was Wednesday around noon.

JC: You mentioned that you'd felt something like survivor's guilt, "If only I'd done this or if only I'd done that."

TK: Right. You always feel like you're the person who maybe could have done something. I had heard he was at an art event in Eagle Rock on Sunday, and I thought maybe if I had gone there I could have cheered him up a little bit. I'm not thinking I could have saved Mike Kelley. But I thought, maybe I should have reached out to him. I could tell he was really depressed.

JC: Ultimately, it's no one's fault. Suicide is how you die from depression, just like a stroke is how you die from high blood pressure. But it's common to feel that way.

TK: Right. With me it was more of a fleeting thing, maybe I didn't do as much as I should have done. He was really depressed.

JC: I assume you will you be covering his death in your upcoming issue.

TK: I am hoping to tap into a lot of his close friends and give them each about 200 words to write about him, instead of one big obituary.

JC: Anything else you'd like to add? It must feel strange to find yourself in the position of having done the last interview with Mike Kelley, an artist you admired so much.

TK: I don't think I've really processed it. I had to go right to work, answering the phone, putting something on the website. I went right into work mode and that's what I've been doing ever since.

Click here to read Tulsa Kinney's interview with Mike Kelley.

Upcoming events at Offramp Gallery

Through February 12, 2012:

Bianca Kolonusz-Partee: Countries of Origin
Closing Reception & Artist's Talk: Sunday, February 12, 2-5pm

Through February 12, 2012:

Megan Madzoeff: Cut it Out!
Closing Reception & Artist's Talk: Sunday, February 12, 2-5pm

March 4 - April 15, 2012:
John M. White: Recent Works

Opening Reception: Sunday, March 4, 2-5pm

Sunday, March 25, 3pm:
Betty Ann Brown reading & book signing from her new book,
Afternoons with June: Stories of June Wayne’s Art & Life

May 6 - June 3, 2012:
Chuck Feesago: Matter of Perspective

Opening Reception: Sunday, May 6, 2-5pm

Wednesday, February 1, 2012

Prints and the Pursuit of Knowledge

Click here to buy Prints and the Pursuit
of Knowledge

Prints and the Pursuit of Knowledge in Early Modern Europe is the catalog from a recent eponymous exhibition at Harvard's Arthur M. Sackler Museum. (The exhibition is currently on view at the Mary and Leigh Block Museum of Art at Northwestern University, Evanston, Illinois, through April 8, 2012.) Weighing in at a hefty 6.5 pounds and sporting an embossed reproduction of the head of Albrecht Durer's Rhinoceros on the soft-bound cover, this catalog delivers a fascinating look at the scientific technology of the sixteenth century and the celebrated artists who participated in it.

In her introduction, Prints as Instruments, curator Susan Dackerman describes her vision for organizing the exhibition:

“This project emerges from the tradition of Bildwissenschaft, the German branch of visual studies that encompasses images and objects across art-historical hierarchies of subject and media, without a predisposed notion of high and low art forms. Prints and the Pursuit of Knowledge treats images and objects that have been neglected in the art-historical discourse because they were considered in aesthetic terms with little attention to their content, or were relegated to such other fields of study as cartography, astronomy, or the history of medicine – even though most were created by recognized artists who also produced work in genres considered more legitimate by art historians.”

In the following video, Dackerman provides further insight into the exhibition:

Exhibition Overview: Prints and the Pursuit of Knowledge in Early Modern Europe from Harvard Art Museums on Vimeo.

The flap prints by Heinrich Vogtherr the elder referenced in the video above were undoubtedly the high-tech anatomical representations for their time. To view them in a contemporary context, you can download a free app for your iPad or iPhone. The app lets you tap the image to reveal each of the flaps and provides an English translation for the text. For instance, if you tap on the "Matrix" flap you will learn that "the uterus is a vessel specified by God the Lord, in which the small children are received, nourished, and formed into a human body."

There are prints in the catalog that make you happy you live in the 21st century, such as Hans von Gersdorff and Hans Wechtlin the elder's Instruments for Use in Cranial Surgery, shown below.

Hans von Gersdorff and Hans Wechtlin the elder, Instruments for Use in Cranial Surgery, in Gersdorff, Field manual for the treatment of wounds, Strasbourg: Hans Schott, 1540. Book with woodcuts with hand-coloring. Philadelphia Museum of Art, Purchased with the SmithKline Beckman Corporation Fund, 1949-97-11. Photo: Philadelphia Museum of Art.

Other things haven't changed that much from the 16th century. The Invention of Copperplate Engraving image takes me back to my printmaking classes at Otis, the main difference being the clothing and the absence of women.

Unknown engraver, after Stradanus (Jan van der Straet), Invention of Copperplate Engraving, from Nova reperta (New inventions and discoveries of modern times), c. 1599–1603. Engraving. Sarah Campbell Blaffer Foundation, Houston, BF.1998.9.9. Photo: Sarah Campbell Blaffer Foundation, Houston.

Among the most beautiful of the prints is Albrecht Durer's woodcut Rhinoceros. The following video explains the appearance of the fanciful second horn on the creature's shoulders.

Object Discussion: Dürer's Rhinoceros from Harvard Art Museums on Vimeo.

The 442 page catalog contains over 100 reproductions of woodcuts, engravings, and etchings; maps, globe gores, and globes; anatomical flap prints; and paper scientific instruments used for observation and measurement, each with accompanying text. Hours of delight, discovery and illumination are guaranteed.

Click here to buy Prints and the Pursuit of Knowledge from

Upcoming events at Offramp Gallery

Through February 12, 2012:

Bianca Kolonusz-Partee: Countries of Origin
Closing Reception & Artist's Talk: Sunday, February 12, 2-5pm

Through February 12, 2012:

Megan Madzoeff: Cut it Out!
Closing Reception & Artist's Talk: Sunday, February 12, 2-5pm

March 4 - April 15, 2012:
John M. White: Recent Works

Opening Reception: Sunday, March 4, 2-5pm

Sunday, March 25, 3pm:
Betty Ann Brown reading & book signing from her new book,
Afternoons with June: Stories of June Wayne’s Art & Life

May 6 - June 3, 2012:
Chuck Feesago: Matter of Perspective

Opening Reception: Sunday, May 6, 2-5pm