My current class in graduate school and other projects are pretty demanding right now, so I don’t have a lot of time to make new art. I do still enjoy looking at some of my old art from time to time. Here is a collage I made for my old ‘zine the Lime Green News #16, circa 1996-1997. It’s a tribute to the Beatles Anthology album covers, designed by Klaus Voorman. I was inspired by the use of torn images and how they can strategically reveal what’s underneath. On the Anthology 1 album cover, Voorman ripped out the head of Pete Best to reveal Ringo’s face underneath to “replace” him. This was a mean but clever technique so I did the same thing in my collage in approximately the same spot to enhance my “homage”, only I replaced John with John. If you want to see the Anthology 1 cover and the clever use of the torn out part on a Pete Best album cover, here is a link to an analysis – “The Beatles Anthology 1 Album Cover Cropped Out Original Drummer Pete Best”.
I made the above collage in the year between getting a computer with a black and white laser printer that would print up to 300 ppi, and taking my first class in Adobe Photoshop. At the time I was enjoying the novelty of being able to print out pictures to use in collages instead of just finding images. I printed out pictures of the Beatles that I found online, and printed out a bunch of clip art that I liked, and used those printouts to build the collage. A lot of the clip art came from my Corel Draw clip art library. How I used to love to pore over the printed book that came with it to get ideas!
The black and white laser printer was a major step forward in the production quality of my ‘zine, even though by today’s standards it was still very primitive. It wasn’t until much later than I learned software like Publisher and InDesign to help me produce professional quality booklets. At the time of this image I was still following my old practice of printing out text on a printer and cutting and pasting the text among collaged elements. With the text coming from a laser printer instead of a Commodore 64 with a dot-matrix printer, it looked better and was a lot easier to read.
With access to what seemed like unlimited clip art and display fonts, I had tons of fun transitioning from low to high tech. For my ‘zine and collages, I printed elements for headers and body text along with images. Then in 1997, I learned Photoshop and how to make web pages, and that changed everything! But I still enjoy the old methods too and I like to make collages out of whatever is there, whenever I get a chance.
(There was some kind of web hosting problem and this post got erased the day after I posted it so I’m recreating it here. Lesson, which I have learned to heed from past experience – always write your article in a text file on a hard drive first so you can quickly re-create it!)
There is a possibility that during my current Social Engineering class I might want to cite in a paper or project some of the old content that I produced for a Beatles fanzine in the late 1990s and early 2000s. I was a member of the St. Louis Beatles Fan Club and we published a fanzine called “What Goes On”. I’ve been meaning for a long time to re-publish some of these old articles on my blog, but to make them fully indexable I would need to find a way to access some of the floppy and zip discs I have to get typed-out copies of these articles. For now it’s a lot quicker to scan the pages I might want to use and put them in a PDF file. In order for the PDF to be somewhat searchable, I’m leaving the introductory text and index as text and not rasterizing it. I will also include a list of keywords for each excerpt so that researchers online can at least get a hint of where to access some of this information if they want it for study. I’m going to reproduce the searchable text in the PDF in the remainder of this blog post also. Believe it or not, there is scholarly interest in not only the Beatles, but also Beatles fandom, fandom in general, and ‘zine culture.
I kind of made up my own format, very loosely based on MLA, so I don’t claim that this document adheres to a standard way of cataloging this type of material. I might revise the format later. Enjoy!
Excerpts from “What Goes On”: A Beatles Fanzine Originally published by the St. Louis Beatles Fan Club, 1999-2003 Copyright 1999-2003 the original authors
Winkelmann, Carolyn Hasenfratz. “‘Across the Internet’ #1”. What Goes On, Vol. VI, No 3, October 1999, pp. 11-13. Keywords: fandom and VCRs, home video recordings, history of media formats, Across the Internet, internet use by fandom in 1999, early days of the World Wide Web.
— “Revolution #9: The Art of Play and the Joys of Noise.” What Goes On, vol. VII, no. 1, January 2000, pp. 6-9. Keywords: sound collages, music concrete, experimental music, sound experiments, conceptual art, performance art, home taping, cassette tape culture, Beatles 1968 Christmas message, Beatles fandom in the 1980s, history of media formats, noise tapes, White Album, playing records backwards, backwards sound experiments, St. Louis Steamers, Checkerdome, Revolution 9, soundtrack for art gallery, low-fi sound experiments, homemade sound recordings, prank calls, Commodore 64 computer, found sounds.
— “Across the Internet” #2. What Goes On, vol. VII, no. 1, January 2000, pp. 12-13. Keywords: history of media formats, Across the Internet, internet use by fandom in 2000, early days of the World Wide Web, RealPlayer, Windows Media Player.
— “Joe Davis Takes Us Back To ‘Meet The Beatles’.” What Goes On, vol. VII, no. 2, April 2000, pp. 1, 9. Aricle by Rich Reese, Carolyn’s contribution is the collages of Valentine cards on page 9. Keywords: Joe Davis, listening party, “Meet the Beatles…Again!” radio show, 97.7 KSD FM, Nick Baycott, Les Aaron, Bears Who Care, St. Louis Veteran’s Hospital, Brentwood Community Center, “The Beatles are more popular than Jesus” controversy, 101 the Fox, FM radio in St. Louis, Missouri.
— “Happiness is a Warm…Picnic.” What Goes On, vol. VII, no. 4, October 2000, pp. 4. Photos by Carolyn. Keywords: PepperLand, Creve Couer Lake park, Beatle Bob, Rich Reese.
— “I Wanna Be Santa Claus.” What Goes On, vol. VII, no. 4, October 2000, pp. 5, 11. Keywords: John Lennon tribute, Peace Tree, Christmas, Holiday party, Christmas ornaments, conceptual art, group art project, John Lennon, Yoko Ono, Bagism, performance art, peace activism, peace movement.
— “Pop! Goes The Beatles: the beatles and pop art.” What Goes On, vol. IX, no. 3, September 2001, pp. 13. Keywords: Pop Art, St. Louis Art Museum, Pop Impressions Europe, art show review, Richard Hamilton, mass media criticism, consumer culture criticism, printmaking, Peter Blake, swinging London, Eduardo Paolozzi, album cover design, Dieter Roth, illustration, fan art, interpretation of song lyrics.
— “‘Across The Internet’ #3” What Goes On, vol. IX, no. 3, September 2001, pp. 13. Keywords: Liverpool Sound Collage, Peter Blake, history of media formats, Across the Internet, internet use by fandom in 2001, early days of the World Wide Web.
— “Fans and Friends Remember George.” What Goes On, Special Commemorative George Harrison Issue, February 2002, pp. 5. Carolyn’s contribution is the George Harrison themed Pop Art ornament. Keywords: Pop Art, handmade ornament, Christmas ornament, fan tributes to George Harrison, Dave Grohl, Louise Harrison, Jools Holland, Eric Idle, Anthony Kiedis, Mark Klose, Jeff Lynne, Gerry Marsden, George Martin, fan art, celebrity tributes to George Harrison, Louise Harrison Caldwell.
— “McCartney Drives Into Chicago With Full Tank: The Sights.” What Goes On, vol. IX, no. 1, June 2002, pp. 1, 6. Keywords: Paul McCartney concert review, Chicago, United Center, Driving USA Tour, concert lighting, concert video screens, special effects, performance art, live actors, Surrealist performance, Dadaist performance, rock concert production, arena rock, mulimedia, conceptual art, Pop art, Psychedelic art, art history.
— “‘Across The Internet’ #4.” What Goes On, vol. IX, no. 2, October 2002, pp. 5. Keywords: history of media formats, Across the Internet, internet use by fandom in 2002, early days of the World Wide Web, Linda McCartney photography exhibit, Sheldon Art Galleries, Nine/One One + One art show, Art St. Louis, 9/11 art show.
Note: For the 9/11 art show referenced just above, I made two collages to submit for judging. There are some differences between them that I deliberately put in to test a theory about which one had a chance of getting in the show and which did not. My prediction was accurate, and is interesting to think about in light of the social engineering I’m currently studying. Here are the links to the two collages, if you want to guess which one got in and what didn’t.
— “New Paul Live CD = Permanent Grin.” What Goes On, vol. IX, no. 3, 2003, pp. 4. Keywords: CD review, record review, Paul McCartney Back in the U.S., concert recording, concert CD, live album, live CD, rock concert.
— “Scrapbook Scraps.” What Goes On, vol. IX, no. 3, 2003, pp. 13. Keywords: scrapbooking, digital scrapbooking, Seattle, Seattle Kingdome, record breaking rock concernts, legendary concert venues, rock concert history, Hollywood, Capitol Records building, Hollywood and Vine, Yellow Submarine, John Lennon, Hollywood Walk of Fame, gold records, travel photos, Beatles impact on culture.
My husband Tom and I were looking for an art show to go to on a Saturday evening after 5:00 pm mass and were pleased to see an ad for the show “Thank You” at Galeria Obscura by mixed media artist Marley Billie D. The theme of the show really resonated with me because an old friend of mine had died a few days earlier, and I had recently submitted a proposal for an art show that involved a tribute to another friend that passed away last year and both deceased friends and others were heavily on my mind. Appreciating the impact people had on your life when they are gone is a good thing, appreciating people while they are still here if you can is even better. I need reminders to do that more. Seeing a collage invitation for the show excited me. Collage and mixed media are near and dear to my heart (and one of my major muses) because of the way that actual found objects and papers can give another dimension to projects that brand new materials just can’t do sometimes.
I spoke to Marley briefly at the opening and expressed my appreciation for the collage, found objects and re-purposed materials used in the show. While some of the pieces in the show are actual collages or include some collage elements, each wall in the installation was itself a masterful assemblage that together created a kind of collage room. You could also think of it as a scrapbook that you can walk into. Artwork was combined with snapshots, many with captions written either on them or on the wall. The walls became a “journaling space” like you would see in a scrapbook or art journal. The black walls of the gallery space, some light gray painted frames at regular intervals, white text and “Polaroid” style photo margins in the exhibit were perfect neutral foils for the highly saturated colors in the artworks themselves. While viewing I soon realized the skill and design ability it takes to create an installation of joyful harmony when there is so much going on with colors, materials and textures.
Marley told me that Pop Art is one of her influences. I learned on the Oxygen web site that Marley Billie D was on a show called “Street Art Throwdown”. You could consider Street Art in the Pop Art category because it’s a populist form of art, and sometimes there is Pop Art subject matter incorporated into it. Marley told me that some of the Pop Art influences came out in her work in the “dot gain” pattern she likes to use in some pieces, used prominently by some well known Pop artists like one of Marley’s inspirations, Roy Lichtenstein. There is torn away corrugated cardboard also, which whether consciously or not helps me see the Pop Art influence. Cardboard cartons are a form of advertising re-created by another influence Andy Warhol in his Brillo boxes piece. The textures made by corrugated cardboard also look great combined with the dot gain pattern, both visually and thematically.
To my eye, there is also Pop Art influence in the saturated color schemes and the creative re-use of materials. There appear to be things like old wood, recycled frames and old wall decor blended in many of the pieces. The “cheesy” kind of wall art many of us remember growing up with could be considered a form of Pop Art. They are cozy, familiar, homey objects that remind many of us of happy family times from the past. Some of these discarded items from other people’s families can be found in alleyways and thrift stores, and while hunting and dumpster diving you might also find cardboard and product packaging. Very fitting to blend such materials with the retro and populist sub-contexts of the show. Also an example of how you can use kitsch to make art that is decidedly NOT kitsch.
You can understand by what I have written above why I had a strong personal reaction to this show. To explain further, the huge blue spoon and fork seen on the wall in my photo are perhaps examples of those objects that for some artists can become powerful symbols that appear repeatedly in an artists’ body of work. Sometimes the audience knows right away what the symbols mean, in other instances they are part of a more private language that the artist uses. Giant wall utensils also appear in one of Marley’s paintings – see it here on her Instagram account. I grew up in a house with several painted plaster ornaments decorated by my Mom, myself and my brother. For example my Mom “antiqued” a giant wall set that included fork, spoon and ladle, and displayed plastic grapes in the ladle part of it! I can relate intensely to this symbol. I think what Marley did in painting either the actual objects from the painting or objects like them dark blue and including them on this wall is a masterstroke, both in color choice and concept. The feelings they might evoke in someone who grew up surrounded by similar objects are powerful. They are also good examples of Pop Art because of their kitsch appeal, large size, bold colors and celebration of ordinary household objects, all characteristics that help signal the Pop Art genre. To add yet another level of meaning, utensils are associated with Thanksgiving, a ritual that involves food and family, is coming up in two days, and probably had something to do with the timing of this show.
I’m thankful for all the people who had something to do with forming my character and creativity as I have lived life. And I am thankful for Marley’s show for inspiring me and reminding me what I owe to others.
I mentioned Pop Art subject matter above when I explained how Pop Art often celebrates objects that “ordinary” people use and encounter in their daily lives. A hamburger is one of the quintessential and ubiquitous American foods, and pop artist Claes Oldenburg was one of many pop artists who have celebrated the hamburger when he made his famous giant soft hamburger sculpture. The chain restaurants that feature objects on the walls evocative of the chosen restaurant theme could be considered a form of Pop Art as well. I don’t know a lot about the industry that supplies these objects, but I would like to! Some restaurants appear to use reproductions and/or vintage and antique objects to help create the desired atmosphere. It is very fitting that the new Red Robin restaurant in Richmond Heights, Missouri is decorated with colorful and engaging Pop Art. At least some of it appears to be specially commissioned work. I went to eat there because some of my friends were checking it out and I wanted to socialize with them (see photo). The art work was a special treat that I did not expect. Basically they turned the dining area into a giant Pop Art installation. There was even a hamburger hassock! The graphic below is a montage of some of my favorite pieces. Enjoy while contemplating an art form that originated as commentary on commercialism being shamelessly used as advertising! And very appealing advertising if you ask me…
I’ve been wanting to try reverse applique for a long time. I also like piecing together fabric scraps to see what I can make with them. I decided that pieced fabric would be interesting to sew behind the front of an apron with a large Easter Egg shaped cutout on the front. Here is how I did it.
First I gathered together some fabric scraps. I picked out pink, blue and green pastels and decided to add some navy blue and red to the mix also. Why add those colors to the traditional Easter pastels? Right before I started sewing this apron, I stayed for the weekend at a home with a great art collection that included several prints by my all-time favorite artist, Alexander Calder. One of the things he was known for was the use of primary colors with black. Here is a composite of some selections from this collection, with a couple of other artists’ works (Joan Miró and Roy Lichtenstein) thrown in that use similar color schemes.
The finishing touch on the apron was to sew a row of rick-rack to the top edge of the pockets.
As you can see, I made more pieced fabric than I needed just for this apron. That’s because I have another idea for using more of it. What will it be? I have a pretty wild idea. If it turns out well you’ll see it here on this blog someday!
I started seeing poop emoji pillows for sale in mall kiosks last fall. Ever since then I’ve been tempted to buy one – why? They make me laugh, that’s why, and I like to laugh! But I have been too embarrassed to buy one. It’s kind of hard to justify at my age! At JoAnn Fabrics and Crafts, where I teach classes, they have started selling emoji merchandise. You can buy patches, pillows, pillow kits, suncatcher kits and more. The poop designs seem to sell out a lot faster than the other emojis, so I guess I don’t need to be embarrassed. Still, I feel better about making a poop patch and poop pillow rather than buying one. I can always justify it as sewing practice, right?
When I was in seventh grade, my Mom made a duffel bag for me out of an old pair of my jeans. I used to use it for Girl Scout camping trips. It’s a good size for transporting a sleeping bag, pillow, air mattress and sheets. When I was older, for nostalgia reasons I got it out again and I decided it would be a good place to display my growing collection of patches. Over the last several years I’ve been sewing on old patches and collecting new ones and adding them to the duffel bag. It’s a great conversation starter on trips and reminds me of fun times!
To make the poop patch, I downloaded a pattern and used Photoshop to size it for a patch. I printed out the design and traced it onto tracing paper. I made extra tracings to use for cutting and lining up.
To make a poop patch like mine, transfer a tracing of the outline of the poop, the white smile and the white part of the eyeballs onto scrap chipboard. Cut out the chipboard.
Place the poop outline chipboard template onto a piece of medium brown felt. Trace around the chipboard with a ball-point pen and cut out the brown poop piece. Trace around the smile and eyeball pieces on white felt and cut out.
Take a tracing on tracing paper of the whole poop design, with the brown lines and facial features indicated and pin it to the front of the brown felt piece. Use it as a guide for where to pin the white smile and eyeball pieces. Using white thread, sew around the edges of the white pieces to hold them in place.
Using dark brown embroidery thread, sew the brown diagonal lines using a running stitch. Don’t sew the outline yet – you’ll sew the outline when you sew your patch where it’s going to go. Carefully tear the paper away. A pair of tweezers is helpful for removing tiny bits of paper that might stick in small crevices.
Make a tracing on tracing paper of only the eyes, including the pupils and cut out, leaving some space around the eyes for pinning in place. Pin your tracing over the eyes so you can see exactly where to sew the pupils. With black embroidery thread, outline the pupils then fill them in solid with a satin stitch. Tear away the paper.
When you sew on your patch, use brown embroidery thread around the edge. You’re done!
Pictured above is the small pillow I made from the same pattern at a larger size. Because of the larger size I sewed on black felt ovals for the pupils instead of using stitching only to fill them in. I used two pieces of dark brown felt as the pillow body. Cut a little larger, they made a nice outline. I sewed the medium brown felt portion with all the details onto the front.
A therapist recently suggested the use of a talking globe for family discussions. This reminded me of the family intervention scene with the talking pillow in the TV show Breaking Bad. In my immediate family we are all fans of the show and I thought it would be funny to make a talking pillow and have a portrait of the main character Walter White aka Heisenberg on it. That should create a more convivial atmosphere for us. I feel a little silly making fan art at my age but if I call it Pop Art it’s more legit, right?
I traced a drawing of the character at the size I wanted onto translucent tracing paper. I decided to applique felt onto the dark hat and sunglasses areas so I used my tracing to make additional outlines for the hat and glasses on scrap paper. I pinned the scrap paper to the felt and cut the shapes out. Another method for transferring a shape design to felt is to make a chipboard template and trace around it with a ball point pen or graphite pencil for light colors or a light colored chalk pencil for dark felt colors.
Next I cut out two square pieces for the front and back of the pillow from scrap knit white fabric with a texture to it that was suggestive of cross stitch backing fabric. I ironed fusible webbing onto the backs of each piece because stretchy fabric like this knit is sometimes hard to keep square.
I pinned my tracing to the front of the pillow and fastened my felt pieces in place over the sunglasses and hat areas. I stitched the felt pieces around the edges with black embroidery thread to hold the applied pieces in place. I then stitched the rest of the design with two different weights of embroidery thread through the tracing paper. When I was finished stitching I carefully tore the tracing paper away. In places where the stitching was close together I used a pair of tweezers to tear out some small remaining tracing paper bits.
I pinned the pillow halves together with the good sides facing out since I was not planning to turn the pillow inside out. I stitched the halves together with more of the black embroidery thread leaving a gap at the bottom edge for stuffing. I stuffed he pillow with fiberfill then sewed the gap shut. The last step to finish the pillow was to trim the raw fabric edges with pinking shears.