Summer News and Subscriptions!

We have been hard at work the last few months, processing donations from our incredible supporters…THANK YOU! Our campaign raised over $5,000, giving us the opportunity to advertise with several art and design websites and podcasts. An example of one of our ads is below (thanks to our very favorite graphic designer, Bryan Ewsichek), which can be seen in various forms on Colossal, 99% Invisible, Web Urbanist, Vandalog, and Spoon and Tamago for 2 weeks!

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In addition to our online spots, we have also been featured on two episodes of Michael Ian Black’s podcast, “How to be Amazing!” Shout outs from MIB himself are at the beginning of Episode 34 (with Lauren Mayberry from CHVRCHES) and Episode 36 (with Michael Showalter). Our final spot will air on August 3, so stay tuned!

AND…of course…we have been sending out artwork to our subscribers! Check out some of the work that went out recently by Evan Hume, Allison Long Hardy, and Stephanie Kwak!

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Evan Hume, “File 4343,” Archival inkjet print, 19 x 13 inches

 

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Allison Long Hardy, “9.25.14,” Ink and marker on paper

 

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Stephanie Kwak, Ink and watercolor on paper, 6 x 9 inches

Start receiving art in your mailbox next month, directly from the artist of your choice! Support artists and collect art, while getting fun surprises in the mail each month…what could be better?

SUBSCRIBE TO ART!

 

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May Subscriptions!

May has been a VERY EXCITING month for Project Dispatch for a couple of reasons. Most importantly, we launched a huge fundraiser for a media campaign to help us expand our subscriber base! The campaign is a combination of radio sponsorships with Radiotopia podcasts, such as Michael Ian Black’s “How to be Amazing,” and online advertisements with Hyperallergic Media to increase traffic to our website.  PLEASE take a minute to check out our campaign, and consider a contribution…there are some super amazing thank you perks for you if you do!

May also included some awesome work by Allison Long Hardy, Chris Chen, and Amy Hughes Braden. Check it out below, and visit our website to see more examples of their work! And SUBSCRIBE to start receiving work like this is the mail NEXT MONTH!

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Allison Long Hardy, “Circle and Line 7,” Mixed media

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Chris Chen, “Shell Station, Nogales,” C-print, 8 x 12 inches

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Amy Hughes Braden, Untitled, Mixed media

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April Installments!

Your monthly teaser! Check out the works that went out to our subscribers this month by P. Corwin Lamm, Frank Adams, and Meg Chamberlain!

We need your support…and you need new art for your walls! Please visit our website, and get to know the artists involved. You can even start with a one month subscription just to get your feet wet…

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P. Corwin Lamm, “Florida…,” Digital print, 2016

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Frank Adams, Untitled, Archival inkjet print, 2016

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Meg Chamberlain, “Slither,” Watercolor and pencil on paper, 22 x 14 inches

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March Subscriptions!

This month featured artwork by Stephanie Kwak, P. Corwin Lamm, and Elizabeth Graeber! Visit our website to more examples of each of their work, and explore the other artists that you can receive work from with a subscription! We get that sometimes it’s just too hard to choose, so we offer sampler subscriptions as well. Subscriptions truly help us continue doing what we love…making art and sharing it! Please consider a subscription if you want to support the creative process of these artists, and build a collection of incredible one of a kind pieces at the same time!

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Stephanie Kwak, “Date with Ikea 2,” Archival inkjet print, 10 x 8 inches

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P. Corwin Lamm, “Ice and dust…” Archival inkjet print

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P. Corwin Lamm, “Woolly mammoth resting place…” Archival inkjet print

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Elizabeth Graeber, “Mushroom,” Screenprint

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February Subscriptions!

We are loving the work that went out to our subscribers last month…and we are pretty sure the recipients of these pieces are loving their growing art collections! Check out the works below by Frank Adams, Amy Hughes Braden, Evan Hume, and P. Corwin Lamm. And visit our website to find out more about how to grow your own art collection AND support artists directly in the process. Did we mention that it’s also SUPER FUN to get art in the mail every month?

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Frank Adams, “Polahex,” Archival inkjet print

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Amy Hughes Braden, “Third Eye (Blind),” Mixed media

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Evan Hume, “Project Blue Book File 5144 – November 25, 1957, Wayne, MI,” Archival inkjet print, 8.5 x 11 inches

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P. Corwin Lamm, “In a balloon…,” Digital Print

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January Subscriptions!

We are thrilled to feature these works by Becca Kallem, P. Corwin Lamm, Eleanor Barba, Dana Maier, and Kristoffer Tripplaar as part of the first monthly installments of 2016. We also released our 2015 Artist Portfolio this month, which is now available for purchase on our site. Our sixth artist portfolio highlights the selections of Karyn Miller, of Arlington Art Center, as part of a new project we initiated in 2015 to involve curators in our subscriptions. Over 25% of the works in this volume were selected by Karyn for 3 month subscription groupings, and are indicated with a red dot throughout the book.

Not a bad way to start off the new year! If you like what you see below, head over to our website to sign up for a subscription of your own – you can customize it for any artists you want, and for however long you want!

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Becca Kallem, “Imaginary Planet,” 10 x 8 inches, Tempera, pencil, and gouache on paper

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P. Corwin Lamm, “Treasures…,” Digital Print

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Eleanor Barba, “I like hearing you say that; I like it too,” 15 x 11 1/2 inches, Screenprint

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Dana Maier, “Mouse in Cup,” Ink on paper

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Kristoffer Tripplaar, Untitled, 11 x 14 inches, Pigment print

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January Featured Artist: Kendall Nordin

In the process of creating this post, the e-mail exchanges and conversation with Kendall were so much about the prescriptive and limiting nature of words. Kendall preferred a phone call interview be recorded, so we gave it a shot. Unfortunately, I am poorly lacking in live interview skills, and the recording was too conversational. I was too excitable and nervous – a terrible combination. I decided to transcribe some of her answers, but even in doing so, I would have had to apply some personal statements in order to contextualize her responses. Kendall’s answers to the above questions were off-the-cuff, and should be read as such. She is currently in the process of writing a new statement. I’ve never been so eager to read an artist statement, and that might be the case for some readers. I hope to update this post with Kendall’s statement when it is made available, and maybe by that time I’ll have done some crafty editing so I can include some of our phone call interview.

 

So without further ado, Project Dispatch presents…

Kendall Nordin

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Untitled, Giclee prints, 12 x 15

You say in your bio that you left words behind, and much of your work is about the residue of the artistic (or any) endeavor. In your statement you describe this focus as “the shadows and the spaces in between, the gaps, the structures and processes just below the surface”. What incited this shift away from words and into the inexpressible and ephemeral? What have you learned about the “surface” by focusing on what lies beneath?

I think its all part of the longer intellectual journey that I’ve been on for as long as I can remember.  After finishing my college degree in Theology, I was taking a nap in my cousin’s hammock and tearing up from exhaustion and the sunlight hit my eyelashes.  I spent probably 20 minutes just opening and closing my eyes slowly and thinking, after all I’ve learned, THAT is what I want to make.  I want to make images/videos/work like THAT.  Of course it took me another 5 years to pursue art seriously and another couple before I felt comfortable calling myself an artist.  It’s only now that I’m starting to come to terms with the fact that the work I make is inextricably linked to my earlier interest in religion.  I can imagine that in another 10 years I will have evolved again and be able to more simply identify what I am doing.  It seems like it becomes more and more clear the more and more I do.

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Untitled, Giclee prints, 14×17

Parsing things into “surface” and “underneath” makes for a dichotomy that I don’t think really exists.  All levels of seeing are available at all times.  Focusing on not the thing but a system or focusing on a minute detail allows me to see the thing more clearly– it doesn’t fall away.  I call what I do primarily Drawing based.  And some of categorizing it like that lets me talk in this way about seeing.  When you draw a figure, you can’t focus only on a hand– you have to focus on the overall image and energetic flow and then drill down to the details.  But it is the details that makes the drawing really have personality so they are equally important. I guess overall I’m more comfortable letting an image or an installation do its work without me having to describe it, than writing a poem and having to actually make grand pronouncements about my perspective.  I hate being prescriptive.  When you’re making work that’s really trying to talk about the big questions of life and the human experience, the words sound pompous and reduce the impact.

 

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Untitled, Giclee prints, 14×17

You have an “art alter ego” called Le Chien Sauvage. Can you tell us a little about her? How did she come into existence, and what role does she serve in your practice? Has she made any appearances lately? Have you and your alter ego ever made work together?

I love Le Chien Sauvage.  Basically I have a ton of work and stuff that I do that doesn’t neatly fit into the categories that my main practice does.  Given the stupid constraints of the art world and marketing, I have to have a concise way of describing who “KendallNordin” is when she makes work and what kind of work she might make.  So I use other names to let me do other things.  Le Chien Sauvage is basically an instigator.  Like my 22-piece all women rock improv orchestra in Australia, PANIC.  Or like super weird aggressive costumed performance pieces that have a bit of a political edge to them.  Or protests about how artists are considered/treated/valued.  Nothing’s been happening recently with that part of my practice– probably because I’m not really surrounded by the kinds of things that incite that work– art world events, other contemporary artists, collaborators to my instigations– where I live right now.  I don’t think that we could make work together.  I think Le Chien Sauvage would probably just get really annoyed by KendallNordin’s work.  I’m looking forward to when I have enough time and energy to do it all again.  If someone gave me a show as Chien Sauvage, I would crush it, but I just don’t have the time to work out those applications and do the necessary contact making in order to get the show.

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Untitled, Giclee prints, 12 x 15

 

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Untitled, Giclee prints, 14×17

You are a new mother. How has this impacted your process and your work? 

I gave myself a 6 month window to not think about my art career and not feel bad.  I was surprised by how little work I got done while I was pregnant while simultaneously feeling an extraordinary pressure to get a lot done since life was about to change.  It has not changed my deep and abiding need to MAKE, but my resources are even more tapped out than before.  I’m having to start again small– with what I can do.  This current series of photos for PD has grown out of me driving around while the baby naps in the car.  I thought I would want to make work about the baby– but right now, that’s not evident.  Since I didn’t make work that was particularly biographical or personal before, I don’t know why it’s surprised me that I’m not super interested in doing it now.

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Untitled, Giclee prints, 14×17

What is your primary focus in your work right now? 

Summers in Alaska are crazy.  They’re very external.  Now that the light is going and it’s getting cold, everything starts to get very internal.  I imagine that the next few months will bring some good crystallized thinking about the next directions for my work.  I am becoming more and more honest about the fact that I make secular nonsecular art.  The words about that and how to get deeper into that will start to form.  Since I don’t have a studio at the moment, I’m really only fantasizing and drafting installation work.  I’ll be confined to a table and my computer (though I’m hoping I might manage to make some work outside at some point).  So I imagine the next few months will bring more photography, video, some drawing, maybe some sound work, and (crossing my fingers) finishing a graphic journal I’ve had on hold for about a year.

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Untitled, Giclee prints, 12 x 15

Have you made any discoveries in your practice as a result of becoming a member of Project Dispatch and making work for subscriptions?

Yes!  I’ve mentioned this in interviews before but I have had to really come to terms with what “commercial” work I can do and how deeply uncomfortable I am making a product just for sale.  I have to think of the work as series, as focused, and as research for larger pieces.  Though I think the past couple of years the work has ended up being its own resolved thing.

If you could pick three artists from the Project to subscribe to, who would they be?

Today I’d choose Frank Adams, Evan Hume, and Allison Long Hardy.  Other days I would probably choose the random selection option.

 

To see more work by Kendall, visit KendallNordin.com.

Start your subscriptionto Kendall throughout the month of January to receive a 10% discount!

 

 

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