Every year we take this photo because every year we like to be involved in the Flyway Film Festival.

This year the Festival will continue to grow and we are delighted to be a small part of it.

The Flyway Film Festival is still one of our favorite events each year. Each year it continues to improve and this year will be no exception.

We love to participate because we love films.

1) I will enjoy the buffet.
2) I will come back again. Thank you as well.
3) I will not smoke and be younger than the age of 16 as I dispense fuel.
4) I will floss twice a day, every day, the entire week before my next dental exam.

That's all I got.

=============

Actually, 2013 is ramping up to be a very ambitious year for several reasons.

Life is not simple, but it should be enjoyed. Creativity is a uniquely human delight that drives this enjoyment.

"Your Dog" by Yoshitomo Nara is a personal favorite. It is in one of the rotunda galleries of the Minneapolis Institute of Arts.

It completely captures how the world must look from a child's perspective. You cannot help but enjoy this and feel the wonderment of it all.

Happy new year!

It has been busier here than it might appear.

Earlier this year, we became involved in a project to try and measure the local Creative Economy and contrast it to other communities. Armed with this information, the goal becomes to make defensible recommendations going forward.

This is important to our business for obvious reasons, but it is also important to the community because this is where the economy is growing very rapidly.

We couldn't (or even shouldn't) do a significant project like this alone. We partnered with the Southern Minnesota Initiative Foundation, Red Wing Downtown Main Street, Inc., Anderson Center at Tower View, Red Wing Arts Association, ArtReach and the Sheldon Theatre of Performing Arts.

This is good company to keep and adds credibility to the final report.

We are proud of the final report and encourage you to download your own copy.

We have been very busy re-inventing here at the shop.

To begin with, we have been very focused on slowly unveiling Red Wing Digital. Red Wing Digital is a print-on-demand product that provides unique large-format presentation products, namely the Panel Print and the Acrylic Print. The Acrylic Print is slowly getting ready for production, but it has taken longer than hoped.

Secondly, we have a new business partner. Fine Art Prints on Demand is a United Kingdom company. This is a side of the business (printing and framing fulfillment) we have been quietly working and growing for a number of years. FAPoD is our third customer for this side of the business.

These two developments have driven our third initiative. We are moving our production to a larger facility. We have narrowed our options down and expect to be able to make some final decisions shortly.

The Flyway Film Festival is one of our favorite events each year. It is an uninhibited creative endeavor over three days in October. Each year it has grown in size and scale and this year promises to be especially exciting.

First, the Flyway Film folks received a generous grant from the Wisconsin Department of Tourism that will really boost marketing efforts. This extra money will be used to widen the circle of marketing.

Second, the festival graphic is noteworthy for the artist. Gaylord Shanilec created the original etching of the three pelicans that are used in the poster. Gaylord is unquestionably talented, pelicans are indigenous to this area and it is just an exceptional image of this region. Totally appropriate.

And finally, a very limited edition of signed fine-art are available for purchase, which will be used to help fund the festival. We printed the limited edition prints on a Hahnemuehle textured 100% cotton paper that should last for hundreds of years.

October 23-25. Can't wait.

Once again we are delighted to be a red carpet sponsor of Flyway Film Festival. This event is in its third year and is really beginning to collect some traction. The quality of the movies this year is very impressive.

The Festival begins on Thursday, October 21 with a gala event in which the sponsors, directors, actors and organizers get together, nibble on snacks, drink some wine and have creative discussions. At the end of the evening there will be an awards ceremony.

The films begin on Friday, October 22 with the screening of "Baraboo", which sounds like a very interesting film about life and the hand we are dealt. Over the course of the weekend, 21 films will be screened.

Details are at www.FlywayFilmFestival.org. See you in Stockholm in two weeks!

This week marks the final chapter of the poverty awareness photojournalism exhibit entitled "In our own backyard". This exhibit has crisscrossed the United States for the past 18 months and next week the exhibit finishes in Washington DC at the annual Leadership Summit for Catholic Charities.

Since this is the final and highest profile stop of the tour, all of the large format images are being reprinted and remounted, which is close to 120 images.

It is a very moving set of images, that address all manners of poverty and everyday life. It is really hard not to stop and soak up the texture and realism of each image.

This has been a challenging and gratifying project. One of the best parts of this project has been working with Steve Liss. He is a natural-born educator and an amazing photojournalist who gets right into the thick of it. Please visit his web site at: SteveLiss.com.

It has 18 months since the last Max Becherer update. Just to refresh, we came to know Max five years ago when we hosted his photojournalism exhibit entitled "Through the lens; Life in Iraq". Max has been in Iraq since the very beginning of the conflict (remember "shock and awe"?) and has seen action in Iraq, Afghanistan, Pakistan and Gaza.

Max has since gotten married and splits his time between Cairo, Egypt and California when he isn't in the field. He is still a combat photojournalist and he is still extremely talented. Max's work has been featured in Newsweek, Time, The New York Times, The New Yorker, US News and World Report and Men's Health.

Recently Newsweek Magazine asked Max to retrace the Iraq invasion in reverse, using his photos. That feature can be found here.

After you visit that site, please visit Max's website and enjoy his talent. It is rare to see photography this deep in the action.

Half of the fun of framing (and it is very fun) is researching the art. This was a piece that was recently acquired in an art auction and this artist merits the research.

The piece is entitled "Nude & Flowers" from 1964 and painted by Russell Patterson. It is 12"x16" and it is an oil on hardboard.

Patterson was a fascinating personality who lived from 1893 to 1977. He began his career as a magazine illustrator working for Vogue, Vanity Fair, Cosmopolitan and Redbook. During this period he achieved celebrity status as an illustrator of beautiful women.

In the early 1930's he became restless and decided to become a Broadway costume designer for several successful Broadway productions. By the end of the 1930's he had moved to Hollywood to work on scene and costume design.

Again he became restless and developed a comic strip called 'Mamie', which became a Sunday syndicated cartoon that ran for six years. The Mamie character was glamorously portrayed, which leveraged his artistic talent and his sense of fashion.

By the 1960's he reverted back to being a fine art artist, but was not above exploiting his celebrity status by being a judge for Miss America and Miss Universe pageants and endorsing Medaglia D'Oro coffee and Lord Calvert whiskey.

Patterson was a renaissance man who grew up in the public eye. He enjoyed new challenges and he especially enjoyed his high profile status in the media.

Now the challenge becomes how to best frame this original that does this artist justice.

Cash's (sometimes called J&J Cash) is a UK company located in Coventry, England. Cash's has been producing silk embroidered bookmarks, luggage and clothing labels and name tags for over 150 years. You might assume something as ubiquitous as a clothing label would not merit museum level custom framing.

But you would be wrong.

Cash's produces a product that is clearly motivated by quality and pride in craftsmanship. It is genuinely a work of art, much in the same vein as a beautifully machined watch. A labor of love, so to speak.

This is a silk embroidered horned owl, which is part of a limited run of coniferous forest animals Cash's produced. Other varmints include a peregrine falcon, an otter and some wood ducks. Each piece is about the size of a business card and each will have their own frame.

Cash's is currently producing a series of Beatrix Potter silks, which is a perfect visual for the embroidery medium. And the price is very, very reasonable.

In 1969, friends of Richard Nixon paid for and had a two lane bowling alley installed in the lower level of the Executive Office Building. Nixon was an avid bowler and spent quite a bit of time at this bowling alley over the next five years. He had been known to bowl up to twenty games without a break.

Ollie Atkins was the official White House photographer and snapped this photo in 1970. Later that year, Nixon's White House staff used this photo to demonstrate that Nixon was not out of touch with the average citizen, and in fact was just like any other citizen.

It later achieved iconic status because of a single scene from the 1998 film "The Big Lebowski".

There is a tremendous amount of public domain imagery available from the US Government, some of it noteworthy and historically significant. Some of it kitschy. Since it was paid for with tax dollars, it really is owned by the public.

It was three years ago today that Charley Harper died.

Charley was a very unassuming artist from Ohio. He began his career as a book illustrator and over time migrated to a wildlife artist. But not the typical wildlife artist. Charley used his graphic art skills, his penchant for precision and his sense of humor to portray the natural world like no other artist ever has.

This piece is called "Isle Royale" and incorporates exactly what a birch tree forest feels like. You might think you are alone, but there are probably dozens of different eyes watching you at any given moment.

Goodbye Charley. You are missed.

This note is being added after the fact. May was a nearly overwhelming month between work, a mini-vacation, graduations and non-profit activity. In lieu of posting anything of substance, here is a photo that was taken in May.

Grand Marias, MN on May 24, 2010. The fog was very thick and the air was very gray. Probably not a good idea to stand in the middle of the road, but it was awesome.

Because the sensor in a digital SLR camera is typically smaller than the 35 mm film that it replaced, the physics of the focal point of the lens are changed. This is known as "The Field of View Crop Factor" or sometimes "The Focal Length Multiplier". The net result means your long lens becomes longer and your wide lens becomes narrower.

Wildlife photographers sing the praises of The Focal Length Multiplier because their 200 mm telephoto lens effectively becomes a 320 mm lens. Creative photographers hate it because now a 24 mm lens becomes a 38 mm lens and you can never get wide enough.

My personal lens investment is from the pre-digital era, so I never had the chance to compensate for this effect. All of my lens became too long for many of my purposes. I satisfy my need for wide by occasionally renting a 14 mm ultra-wide lens (effective focal length of 22 mm), which reminds me of the good old days, when a wide lens was truly a wide lens.

Wide is a lot of fun and it also allows me to keep the header imagery fresh.

The definition of penumbra is 'almost shadow' or 'almost dark' (or light). Penumbra is typically used to describe events in astronomy, such as when an eclipse occurs.

In photography, penumbra is a unique opportunity to capture texture and atmosphere in an almost occult-like light. A strip club has always struck me as kind of sad and desperate. I have been meaning to take this photo for years but the highway has been re-routed and it is especially tricky to get to. This isn't exactly the effect I was looking for (drizzle and water puddles would have been ideal), but I liked the emotion the headlights provided.

Jake's strip club is located in Coates, Minnesota. It had a litigious relationship with the community and for years the town continually passed laws to close it down. In 2002 the Minnesota Supreme Court ruled finally that the town was within it's authority to close Jake's. In an unwise effort to vote the local politicians out of office, Jake's owner had 92 patrons (sometimes called rummy's) fill out voter registration cards, using the strip club as their home address.

You don't mess with the feds. It is never a good idea to break federal voting fraud laws and especially in such a stupid manner. Several hundred thousand dollars later, the case was finally settled. The bar never did reopen and it has been vacant ever since. No doubt it will be torn down and the opportunity to capture Jake's in penumbra light will be gone forever.

Many years ago, a very good framing customer brought in this beautiful antique jigsaw puzzle to be framed. It was from the turn of the 19th century and the construction itself is a work of art. The pieces are scroll sawed and several pieces themselves are shaped as children's toys (monkeys, toy soldiers, etc.). It is a remarkable example of craftsmanship.

The only problem was that a single piece of the puzzle was missing. This seemed very tragic and because of the depth of the puzzle, it was as obvious as a missing tooth on a beautiful model in a toothpaste ad. But, it is what it is, and since it had been in her family for many, many years, it was decided to frame it up regardless, as is.

Jump ahead several years to the present...the customer removes a drawer from a dresser and low-and-behold the missing puzzle piece reappears from behind the drawer.

There is something very therapeutic in knowing that the missing puzzle piece will soon be reunited with its brothers and sisters and now the picture is complete.

The Lord works in mysterious ways.

Yoshitomo Nara is a 51 year old Japanese pop artist that has been influenced by anime and punk rock.  His sculptures seem cartoonish in nature and are typically animals or children.  Very often his subjects will have contradictory elements such as weapons or accusatory looks that belie their wide-eyed expressions.
 
The interesting thing about Nara is his consistency.  Artists like Nara have this pursuit of the same relentless vision regardless of the critics.  Nara says he is helpless in this matter because he is compelled to create them.
 
This fiberglass sculpture is called “Your Dog” and is part of the permanent collection at the Minneapolis Institute of Arts. 

It has been a full year since we became involved in the Catholic Charities American Poverty photojournalism project. It has been a rewarding and challenging year and now a certain rhythm takes place as the exhibit crisscrosses the United States. This coming week the exhibit presents itself in Nashville, Tennessee. The map above demonstrates where the exhibit has traveled (in red) and where it is yet to travel (in blue). Additional cites might still be added and no final confirmation yet if the final exhibit will take place at the White House.

Steve Liss is the Project Director and will travel to each city immediately prior to the exhibit reception and artfully and tastefully documents the slices of poverty unique to each community. Our job becomes image preparation (printing, mounting and packaging) all of the images for each exhibit and delivering them directly to the exhibit venue. Usually there isn't a single day to spare and thankfully UPS has delivered each and every package on time and in perfect condition. Ideally there would be a larger buffer of time for production, but then, what would be the challenge in that?

It is a challenge and from every challenge you hope you learn and improve from the experience. The official web site is worth a visit. It is very well done.

Over the years and after working with countless artists, it is easy to forget what an artist really goes through when they exhibit their art. They open themselves up for critical review and there is significant exposure on the part of the artist. They might be appear to be nonchalant or even over-confident about exhibiting, but inside their stomach acids are working overtime. For me, it was time to put up or shut up.

The 'Foot in the Door' exhibit is different in this regard. It is completely democratic, because if it fits in the box, it exhibits. Consequently, it becomes much less about the art and more about just being able to exhibit and have fun. I submitted a photograph I took ten years ago. it is entitled "Midnight on Mason Street". It was taken in San Francisco and the image exposure was on the neon leg. This severely underexposed the rest of the image and you are left with these two illuminated signs on opposite sides of the street. It is a gimmick photo, but I am partial to gimmicks. I was raised on comic books and my favorite part was always the Johnson-Smith page on the inside back cover (x-ray glasses and such). The clearinghouse of gimmicks.

My favorite image from the exhibit has to be the seed art tribute to wrestler Baron von Raschke. Classic.

Just to refresh...a customer had rescued this original Marc Chagall linoleum lithograph from slowly being destroyed by the mounting and the framing (please see: "How to commit art murder", or, "I ruined a masterpiece, but saved on the framing"...). The mats were leeching acid into the art paper, the non-UV glass was allowing the sun to fade the art and the mdf frame was slowly dissolving the art with formaldehyde out-gassing.

The rescued piece will be picked up by the customer today and some type of ceremony will take place to present the art back to the public library. I thought I would share the design details of this project:

It is a double rag mat design (100% acid free) with a filet. The bottom mat is a 1" reveal (this is a museum standard for a design with a filet) and the top mat is a 3.25" reveal. The art paper had some waviness and it is loosely held in place with archival corners on the backside. This allows the art to breathe and respond to the ambient temperature. The outside moulding is called an Amante design and is a classic moulding style. The glazing is a museum quality UV glass, which is almost imperceptible. It was decided not to conceal the staining from the previous mats and try to work the flawed feature into the overall design.

It looks very classy and is totally reversible for future framers in the event of a re-design.

Respect the art. Protect, preserve and present the art.

I love the Minneapolis Institute of Arts. I know that is not a profound observation for anybody who has ever visited the MIA, because anybody who has ever visited it, also falls in love with it. It is a friendly and welcoming arts atmosphere (which isn't as common as you would hope), the art is terrific and it is free. What's not to love?

Be that as it may, the 'Foot in the Door 4' is shaping up nicely. I had the chance to visit a second time before the public unveiling. The total submissions were beyond all estimates and the lines were long for nearly the entire four day submission period. The final number is a closely guarded secret until the public reception, but sources close to the count have provided a range of between 4,700 and 5,000 entries (compared to 1,700 submissions ten years ago, the last time this exhibit took place). Three large gallery rooms will be filled and the raw expression of creativity is almost overwhelming.

I managed to find my piece and two of the three pieces I had submitted on behalf of friends and offspring. It looked as if about half the art was up and I did hear that all of the art had been photographed for the online gallery.

This job provides for a couple of perks, one of which is being involved in interesting art exhibit projects from a 'behind the scenes' perspective. In other words, friends in the art world ask you to volunteer to help them with an event. Yesterday was a perfect example.

Every 10 years (this being the fourth time), The Minneapolis Institute of Arts hosts an event called the "Foot in the Door" exhibit. Essentially, any Minnesota resident, at no expense to themselves, can submit one original piece of art they have created to be exhibited at The Minneapolis Institute of Arts. The art cannot be larger than 12"x12" for wall art or larger than 12"x12"x12" for three dimensional art. It is a terrific opportunity to exhibit in one of the most prestigious museums in the world for four months.

Art check-in takes place over four days. As a volunteer for the art check-in, my responsibilities were 1) insure the art did not violate the size rule, 2) collect the paperwork for each piece, 3) assign a wall location, 4) provide a receipt for the art and then 5) deliver the art to the staging area. In other words, the first point of contact for the artists. The art itself was impressive and the range was amazing. Each piece was cradled by the artists as if it were a newborn.

After the art is received, it is staged in an exhibit room and waits to be registered in the computer and photographed for the on-line catalogue. Over 1,000 artists checked in art the first day and over 3,000 submissions are expected. At the peak crowd size, the wait was 2.5 hours, but everybody was extremely patient and in a very good mood.

One of the other perks in volunteering is checking in your own art (and your friend's art) without the complication of waiting in line. Those will be posted later.

Today my back is killing me (marble floors) and I am exhausted. It cost me a day's pay to be there and the tuna sandwich was stale when I finally had a chance to eat. But I made many new friends and saw many familiar friends and would do it again in a New York minute. I can't wait for the exhibit reception which is on February 18, 2010.

January is usually a quiet month in the art and framing industry. There might be a small bump in business because of some Christmas follow-up framing, but that trickles away pretty quickly.

This January was an exception. Several projects came in the door because of fiscal calendar years that started January 1st. Another major Catholic Charities project was delivered, this time for a Centennial Leadership Summit in San Jose, CA. This was the largest venue so far (this being the 4th) and it will move across the United States every month until September, where hopefully it will exhibit at the White House. Go to www.AmericanPoverty.org to get the most current updates. I love working on this project because it leverages the power of photography and it is an absolute adrenaline rush in meeting the tight deadlines. In this business, this is known as a 'good gig'.

We also had our first order from Turkmenistan. To be more precise; Ashgabat, Turkmenistan. This is a former Soviet Union republic that declared independence in 1991. It was a nice sized order of 10 large format mounted images and one extremely large canvas print. There is a sense of satisfaction in knowing your handiwork is on the job in some remote part of the world.

On an unrelated note; Downtown Mainstreet agreed to co-sponsor a photography competition with Red Wing Framing & Fine Art Printing. It is always fun to have too much to do.

And finally, if nothing else I learned a long time ago to surround yourself with very smart people. Or at least stand close to them.

I am uber-excited about a new project that some very smart people I have come to know are advising me on. This is on a six-month timetable, so the details will roll out over time.

This is very tragic, but thank God a good samaritan rescued the art.

This original Marc Chagall lithograph had been donated to the local library. Many years ago, somebody made the decision to frame this irreplaceable art with the cheapest framing solution available. This included a cheap mdf frame with standard glass and paper mats. To further insult the art, the art was glued to the back of the mat.

So, let's summarize how this art was nearly ruined;

1) The frame was made from a cheap mdf material which out-gasses formaldehyde (an effective way to dissolve art),
2) The glass provided no UV radiation protection from the sun so fading is inevitable,
3) The mat was a cheap paper mat with acids that leeched into the art and foxing (bacteria) is growing on the paper,
4) The glue. Sigh, don't even get me started about the glue.

A biological, chemical and radioactive attack on the art. A true WMD from an art standpoint.

Friends don't let friends frame drunk.

Be that as it may, it is an amazing piece of creativity. Chagall was a Jewish Russian-French artist who lived from 1887 until 1985. He was a giant in the art world and an early innovator of Modernism. It really is inspiring to examine.

We are working on a new and completely archival frame design. I will post it when the project is finished.

Admittedly it might seem odd to write a haiku to a vehicle, but I feel I owe it at least that, especially since I am about 2,000 miles behind my scheduled oil change.

The 2006 Honda Element has been a beast for me (in a good way). It is the perfect art transport vehicle. Once the rear seats are removed, there is almost 73 cubic feet of very rectangular space, which is perfect for hauling art upright. It is very dependable and practical. On the downside, it is a bit cold blooded and the passenger ride is somewhat upright.

So, in lieu of an oil change (maybe next week) and in the tradition of 5-7-5 haiku rhythm:

Ode to Element
A square can roll round
Even in Winter

Happy new year!

The Newseum is an interactive museum of news and journalism in Washington D.C. The mission of The Newseum (from their web site) is to "educate the public about the value of a free press in a free society and tells the stories of the world's important events in unique and engaging ways". In other words, it is all about the First Amendment. It is located just off Pennsylvania Avenue near The U.S. Capital. This is a high profile location in a high profile city.

As part of our ongoing relationship with the AmericanPoverty.org photojournalism exhibit, we produced several very large (48”x72”) mounted prints for a reception at the Newseum later this week. The images needed to be large because the reception hall is large and visual impact is important. This is an exhibit designed to create momentum for the AmericanPoverty.org campaign going forward.

These images have this beautiful platinum print finish. Platinum prints (sometimes called platinotypes) is one of the oldest photographic processing techniques and provides the greatest tonal range of any printing method using wet chemistry development. But because this is the digital age, platinum prints are ‘replicated’ in the computer, yet they do a terrific job of re-creating the original look.

2010 will see an acceleration of activity with Catholic Charities and AmericanPoverty.org.

And we can hardly wait.

Details have been finalized for our next original art exhibit. "Hard Boiled Art" presents original pulp magazine cover art from the 1930's to the 1960's. The exhibit will run from November 5th to December 6th, 2009 with a reception that is still to be determined.

This is a unique art form. Pulp magazine covers were very sensational and were considered the most important aspect in the sales of any particular pulp series. The socially acceptable boundaries were often tested and the topics reflected the then current popular culture.

The covers were typically machismo in nature with elements of evil or danger and at least one hero. The 1930's had strong detective and science-fiction followings and the 1960's were all about the 'Red Scare' of the communists.

Regardless of the threat, the damsels in distress typically had a torn blouse. :)

Come and enjoy the exhibit. This is a rare opportunity to see the original art that was used to create the published covers. It is fun and an absolute snapshot of an industry that hardly exists any longer.

This weekend is the much anticipated 2nd annual Flyway Film Festival. The event begins on Thursday night with a meet-and-greet reception and the opening night of movies begins on Friday night with "Storm", followed by "Ink". In many cases both actors and the directors of the films will be at the film festival to answer questions and over the course of Friday, Saturday and Sunday over 30 independent films will be shown.

Saturday will be a bit different with a one-day, genre-specific event of classic and cutting-edge independent zombie films. And everybody loves a good movie about the undead :)

We are proud to be a red carpet sponsor of this ambitious art endeavor and to have provided the large format graphics to promote this event.

Details are at www.FlywayFilmFestival.org. See you in Stockholm this weekend!

For the humor-deprived the title might seem borderline inappropriate, but it actually is very appropriate.

Photographers have a responsibility to document the world as it is. So many icons of our existence are disappearing and once they are gone, they are gone forever. A drive-in movie theater only lasts as long as the economics of local development allow it to. Once the land becomes more valuable as anything other than a drive-in, adios drive-in movie theater.

Pay attention to everything and take nothing for granted. Don't tell yourself that someday you will take a certain photo. Take it today.

Last week Catholic Charities USA kicked off their annual conference in Portland, Oregon with the large format photojournalism exhibit produced by the In Our Own Backyard photojournalism team. This exhibit was entitled AmericanPoverty.org and is meant to raise the awareness of people living in poverty in the United States. Catholic Charities has declared the goal to reduce poverty in the United States by 50 percent by the year 2020. This is a very aggressive goal, but Catholic Charities understands that the only way to meet an aggressive goal is to set the bar very high.

In Our Own Backyard is a team of skilled and seasoned photojournalists who have witnessed first-hand the struggles of extreme poverty in the United States. This team includes, in part, Steve Liss, Jon Lowenstein, Brenda Ann Kenneally and Eli Reed. These are talented photojournalists, with strong personalities and stronger communication skills. They have crisscrossed the United States in capturing exactly what it means to be poor.

It has been a delight to be involved in this project. The deadlines were tight and God bless overnight delivery. There are a minimum of six more cities that will be hosting this exhibit over the next year, so we look forward to future involvement. Learn more about this large format photojournalism project at AmericanPoverty.org.

It has been 18 months since Jon Hassler died. Jon was well known for his literary skills, but many people are not aware that Jon was an artist before he was a novelist. He would teach English during the school year (high school and college) and during the summer he was on the art fair circuit. He began writing relatively late in life (Staggerford was published when he was 44), but he always enjoyed painting whenever he had the chance.

Just like his books, his paintings have reoccurring themes; rural landscapes, long light, complex skies and almost always a strong vanishing point element. In fact, they are almost exactly what you would expect if you have read any of his novels or short stories.

We came to know Jon five years before he died from the complications of progressive supranuclear palsy. Jon and his wife Gretchen entrusted us with 22 of his original paintings (above left, 'Snowfall', 20"x16", oil on canvas; above right, 'Road to Johnson's Farm I', 16"x12", oil on canvas), all of which were painted in the late 1980's. These are all remarkable originals and a portion of each sale will be donated to CurePSP (www.psp.org).

We are super excited.

This year Red Wing Framing & Fine Art Printing will be a 'Red Carpet Sponsor' of the 2nd annual Flyway Film Festival in Pepin, Wisconsin from October 22 to 25, 2009. The primary venue will be the Lake Pepin Art & Design Center. Besides providing support in part for the entire event, we will be the presenting sponsor for the opening night events on Friday night, October 23rd at 7 pm.

This is a significant investment for our modest operation, but it makes sense for several reasons;

1) We like what this group is trying to accomplish and their ambitious way of going about it.
2) We love films, which should be apparent by past entries regarding the Chief Theater in Red Wing.
3) We feel it is very important to contribute to the community and we like art venues that try to be all-inclusive.

More about this as the calendar gets closer to the the film festival.

A Certified Picture Framer (CPF) is a designation administerd by the Professional Picture Framing Association (PPFA). The PPFA adminsters the five hour CPF exam twice a year and tests in the areas of: (1) art and framing preservation, (2) framing knowledge, (3) the mechanics of framing, (4) the mathematics of framing and (5) art and image mounting.

To insure that any framer who has a CPF stays current in the professional framing field, a CPF must retake the exam and re-certifiy as a CPF every five years.

This is a very arduous and rigorous process, which is why very few framers bother becoming CPF's. Red Wing Framing Gallery is one of only five CPF's actively working in Minnesota.

We are very proud of the professionalism in which we address our business and we take our industry very seriously.

This should be important to any client if their art is important to them.

Pulp cover art has a unique place in art history. It has terrific nostalgia appeal for anybody who enjoyed The Hardy Boys, comic books or even a peek at The Old Man's collection of True Detective or Stag magazines. It had the specific purposes to grab your attention on the newstand in a crowded field of competitor's and to evoke an emotion, usually with a provocative image of impending peril or suggestive sensuality. Common elements usually include a couple of 'toughs', a large breasted woman and a 'citizen' or a 'hero'. The above example (original on the left, Rudolph Zirn, 1939) has all three.

We are excited and delighted to announce a gallery exhibit of original pulp cover art. The show will open in October (date tbd) and will include both the original art and the subsequent ephemera the originals were used to produce. The colors are extremely vivid and the techniques used by the artists to project a response is fascinating.

This is the third year in a row that we have had the pleasure of working with Grapefruit Moon Gallery in presenting their collection of illustration art. In 2007 we presented original pin-up art (here and here) and in 2008 we presented original Cream of Wheat advertising art. Pulp magazine art is yet another sub-genre of illustration art that we are proud to present.

The 'pulps' were fiction magazines that were very popular from about 1930 to 1960. The term 'pulp' comes from the cheap paper typically used in production (cheap paper has a lot of wood pulp). The magazines became noteworthy for their provocative covers. The covers became so important that in many cases the covers were designed first and the text was designed around the covers. Pulp magazines were also a major employer of short story authors and the subsequent demise of the pulp industry created a vacuum for these authors that has never been filled.

Oil or gouche paintings are used to create the original cover art. The colors are intentionally vivid to compensate for the primitive printing technology at the time. Several pulp cover artists (i.e., Frank Paul and Margaret Brundage) became accomplished artists in this genre and attracted a following. Pulp art has recently experienced a renaissance in popularity and is widely sought by collectors.

More details as they evolve but I thought this teaser would have value.

Recently this Norman Rockwell concept sketch was in the shop to be re-framed. Rockwell would rough sketch a proposed painting, present it to a potential client and solicit feedback. Hopefully he would be awarded the project, finish the piece, get paid and then move unto the next project.

Does the fact that an artist is directed what to paint diminish the art itself? Not at all. Artists who can support themselves strictly on their own creative output are rare. And it is a minor step from an artist taking on a commissioned project to a full-time commercial illustrator. The net result might not be an artist's first choice, but finding opportunity to be creative within the boundaries of a client's expectations requires both a unique skill set and maturity as an artist.

This is the segue into an upcoming exhibit that was just finalized this week. The working title (and it will change soon) is "Tough Guys and Tough Cookies" and will be a presentation of original art used for pulp magazine covers. This art typically presents scenes of over-the-top drama, usually with somebody in peril. It is a sub-genre illustration art that required efficiency and productivity on the part of the artists. The pay checks were smaller than most of their colleagues, but it paid the bills and allowed artists to create art for a living.

This is the third year in a row we have had the pleasure of working with Grapefruit Moon Gallery. The first two shows (original pin-up art and original Cream of Wheat art) were very successful. This will be a bit different, but consistent with the idea of presenting 20th century illustration art and various subsets. More details next week.

Several Fiddler on the Roof selections were sung (a teaser for an upcoming production) and Rosanne Cash and her husband came out and performed for about 90 minutes. It was a straightforward performance, very professional and simple (two guitars). Just a class act. Then Roomful of Blues picked up the tempo for the next 90 minutes. The skies cleared (it was spitting rain on occasion) and the Sheldon Brass Band took the stage and played mostly some traditional John Philip Sousa music.

It was the final score, which was Tchaikovsky's 1812 Overture, that something truly remarkable happened. Right at the crescendo, right at the peak of the music, cannons began firing off explosions and all the church bells in town started ringing. Red Wing has a lot of church bells and between the Brass Band, the cannons and the church bells, it was a very moving experience. Several people started spontaneously crying and it is hard not to get choked up thinking about it now. The Sheldon Theatre deserves a ton of credit for making this an amazing day in Red Wing history.

It has been fun charting the progress of the newest neighbor in our neighborhood. But now it is time to move on to other curious topics.

The Red Wing Central Park Bandshell appears to be ~99% complete. The railings need to be anchored and the grass needs to be mowed one more time. It seems right-sized for the park; not too big and not too small.

The side walls (six total) all pivot open when needed. The inside ceiling has a complete lighting system. It isn't clear what purpose the two round towers to each side serve. They each have doors as well, and when opened close the gap between the towers and the shell. It might be both dressing rooms and off-stage space. One of the very interesting aspects of this location is that in every direction a church steeple can be seen.

This is the view from the bandshell looking out. The balustrade wall was built in 1880 when Hamline University owned this land.

Even the view behind the Bandshell is impressive. The activities begin on July 4th at 3 pm, The Sheldon Phoenix Theatre, Rosanne Cash, Roomful of Blues, the Sheldon Brass Band at 9 pm (complete with cannon) followed by fireworks over the Mississippi River. Awesome.

It is a week before the Red Wing Central Park Band shell grand opening and it looks like the project will finish right on schedule. All of the landscaping is in, the roof is finished and the walls are just finishing up. Photos will be posted this week.

This photo is what the bandshell replaced. It essentially was a semi-circular stage with no walls, roof or sound (except those two primitive speakers on each side). One feature that did carry over from the old stage is the two small curved staircases in the front.

88 degrees and humid, but dry.

The landscaping and sod arrived this morning and by the end of the day all of the greenery should be installed. In speaking with some of the subcontractors, the project is slightly ahead of schedule.

For anybody who is curious about the mysterious little back door; it leads into a vary narrow and small utility room. The circuit breaker box and the water meter are in this room. Kind of disappointing.

The walls arrive tomorrow (rumor has it).

The first of 32 - 1/2" laminated and tempered glass windows were installed today in the back wall of the shell. This promises to be one of the more striking design elements of the Bandshell. It should really open up the entire shell from both sides. The limestone block is quarried in Winona, Minnesota and each block is hand-cut. The pattern is random. The keystone blocks are manufactured in a factory.

Rain is forecast for the rest of the week.

It is hard to tell if the Bandshell is ahead or behind schedule. The irrigation system was installed today and the handicap access ramp concrete was also poured. Fill was being spread by the hard working Sentence to Serve crew. Sentence to Serve are nonviolent offenders that work on community improvement projects. There are mixed feelings about Sentence to Serve labor; on the one hand working outside is better than killing time in a cell. On the other hand it is an easy source of cheap labor for communities that can become too easy to use.

The sod is scheduled to be laid on June 29, which seems awfully close to the July 4th dedication. The entire park (one city block) will be re-sodded.

Red Wing is unique because it has such an authentic core downtown. This doesn't mean it is frozen in time. Rather, it has more to do with having traceable roots. Buildings are typically not torn down, and when they can be salvaged and restored, they are.

One of the lasting elements that are easily overlooked are the ghost signs of Red Wing. Sometimes called fading ads or brick-ads, they are remarkable in their staying power. Red Wing has many brick buildings and there are several examples of ghost signs all over town. You need to look close to see the Coca-Cola ghost sign. The Hotel Haven sign is pretty much illegible.

The above corner is Plum and East 3rd Street (SE corner) in Downtown Red Wing.

The Red Wing Central Park Bandshell continues to make progress. The roof is on, but not yet shingled. The foundation work seems to be complete, judging by the dirt fill that was brought in. The back wall will be glass and the shell walls will be the next significant milestone.

The inauguration of the Bandshell will be on Saturday, July 4th, 2009. The schedule of events are as follows (all times are pm):

+ 3:45-4:30 The Phoenix Theatre will sing selections from their upcoming production of 'Fiddler on the Roof' (free!)
+ 5:00-6:00 Rosanne Cash (free!)
+ 6:45-8:00 Roomful of Blues (free!)
+ 8:45-9:30 Sheldon Brass Band finishing with 1812 Overture, complete with real cannon! (free!)
+ 10:00- ?? Fireworks over the Mississippi River (free!)

Recently a letter to the editor of the local newspaper made the argument for funding art at the elementary school level. Apparently there has been discussion about reducing the amount of art received in elementary schools because of budget pressures. The typical solution has been to increase the tax levy and ask the tax payers to pay more.

A more sustainable approach is to simply spend local. Every dollar spent locally in a community can have up to three times the multiplier tax return to the community versus buying from an out-of-state big box retailer, all without raising taxes a single cent. Let's use two simple examples:

Example 1) A citizen spends a dollar at a local big-box retailer. Taxes are exchanged for that dollar spent and the dollar is promptly deposited in an out-of-state bank account somewhere in Four Corners, Arkansas. That dollar is retired as far as the local economy is concerned.

Example 2) A citizen spends a dollar at their local custom frame shop. Again, taxes are exchanged but this time the local frame shop owner races to their local bank to cover the check they wrote to the local plumber to have their hot water heater repaired. The plumber in turn cashes that check to buy a silk suit from Josephsons Clothing Store. Tom from Josephsons then uses that money to buy himself a beer next door at The Staghead Restaurant to celebrate having finally sold that XXXL silk suit.

The same dollar has contributed to the local economy three separate times, each time participating in the overall tax exchange and actively contributes to the cash flow of four different local employers.

Red Wing Downtown Main Street is focused on exactly these types of issues. The Eat-Shop-Play-Local tag-line could include many other action verbs (Buy. Stay. Invest.), but the point is to think about where your money goes after you spend it.

Visit the DTMS web site or the DTMS Facebook page and consider joining this non-profit organization.

A little over a month ago, a prototype of the 2009-2010 traveling exhibit of the 'In Our Own Backyard; U.S. Poverty in the 21st Century' was unveiled at the College of St. Catherine in St. Paul, Minnesota. This was an opportunity to weigh the reaction and measure the effectiveness of the message. Think of this as a preseason event before the annual Catholic Charities USA convention in Portland in September, 2009.

Things have not slowed down since then. Details have been fine-tuned and the new web site can be found here. The tentative schedule for the traveling exhibit is:

September 24-29: Portland, Oregon
October 29, 2009: Sacramento, CA
January 21, 2010: San Antonio, TX
February 24, 2010: Atlanta, GA
March 8, 2010: Albany, NY
March 25, 2010: Nashville, TN
April 22, 2010: Cleveland OH
April 29, 2010: Chicago, IL

Track the updates by following it on Facebook:

Introducing the Red Wing Framing Gallery Panel Print.

It's a Panel! It's a Print!

It's a Panel Print!

It begins with any digital photo and ends with a full-print bleed, UV-protected, 1/4" thick hardboard panel print that is pool-table flat and rugged!

The Panel Print has a linen laminate finish and a 1" reverse frame mount. The mount lays flat on the wall and the print is an elevated surface that creates a modern 'drop-shadow' effect on the wall.

It can be printed at any size or aspect ratio (great for panorama photographs) and it has been especially popular with photographers who appreciate this very contemporary look. It also works great for commercial projects that are restricted from using glass or need to cover large wall surfaces, yet still need to project elegance and creativity.

Call the shop today at 1-651-385-0500 and create your own art from your own images!

Now, back to the regularly scheduled programming.

1) T-2 weeks: Once the project is defined, the supply chain of raw materials begins to fill up. This exhibit required two cases of 4'x8'x1/2" black Gatorboard.
2) T-1 week: Each image was printed on a premium luster photo paper (a wide color gamut, scratch resistant, but susceptible to fingerprints), vacuum mounted to the Gatorboard and then trimmed to size and packaged. 50 images were printed and mounted for this exhibit.

3) T-24 hours: The finished materials were delivered the day before the exhibit opening. The exhibit panels were problematic for a few reasons, but the image layout was deemed the most critical.
4) T-12 hours: The image title blocks completed the story-lines. I was delighted to see that Carlos Gonzales from the Minneapolis Star Tribune was participating. I came to know Carlos from the Max Becherer exhibit.
5) T- 4 hours: No exhibit is complete without a politician. In this case it was the Honorable Mayor Chris Coleman of St. Paul.
6) T- 0 hours: This exhibit generated a lot of discussion. A 'first person, photojournalistic' style was used.

7) T+x: From St. Paul, the exhibit moves to Portland, Oregon and then begins a nine city nationwide tour, with the goal of ending at the White House in 2010.

Math, art and terrorists in a single blog entry. Now that is efficient blogging.

The Central Park Bandshell took a big leap forward yesterday when the crane arrived to install the ironwork. The entire back wall will be glass, so the bandshell will be inviting from both sides. The roof shape is supposed to create a better acoustical environment. The rendering on the bottom image is the architectural orthographic projection.

The actual audience will not be semi-transparent.

The Minneapolis Star-Tribune did a nice story today about Dan Murphy and his illustration art collection. We had the pleasure of working with Dan and Sarah on two different occasions; once in 2007 for The Dream Girl exhibit and again in 2008 for The Cream of Wheat exhibit.

Dan has a terrific collection and is a recognized expert of this genre. I look forward to working with Dan again this year, maybe with a pulp men's magazine (think True Detective) or a science-fiction exhibit.

The Strib article can be found here

Steve Liss is an accomplished photojournalist, as evidenced by having 43 Time Magazine cover photos to his credit.

But it isn't this professional success that Liss takes the most pride in. Steve Liss is a humanitarian who uses photo essays to communicate tough topics. His subjects have ranged from poverty in the Mississippi Delta, to runaway youth living on the streets of Hollywood, to a study of the Nuns of Mankato and Alzheimer's disease. He has been the recipient of the Soros Justice Media Fellowship for his work on juvenile justice and the Alicia Patterson Fellowship for his work on domestic poverty.

We are delighted and excited to be asked to participate in his latest project entitled; In Our Own Backyard: U.S. Poverty in the 21st Century (web site). This is a unique poverty awareness project being undertaken by 15+ preeminent American photojournalists. The project goal is to use the visual power of large-format documentary photography to elevate the discussion of making the fight against poverty a national priority.

This project is in partnership with Catholic Charities and their campaign to cut poverty in half by 2020. Nine major photographic and multi-media exhibits, each with 50 emotionally-moving large format photographs will tour throughout the United States begining in the fall of 2009.

This project will be kicked off at a leadership summit on April 20, 2009 at the College of St. Catherine, St. Paul, MN. Registration is here and an invitation postcard is here.

Poverty has many faces and it is impossible to ignore when seen up close and personal. It is projects like this that make work seem less like work and more like purpose.

By going backwards through telephone directories (this is known as a 'Jim Rockford') and speaking with Barb Tittle, it was possible to stitch together a more complete history of this building.

This building has a very significant photography (and real estate) lineage.

312 West Avenue chronology:

1894 - 1902 Lidberg Studio (original location)
1902 - 1920 Lidberg Studio (new location)
1920 - 1936 E. H. Lidberg Real Estate
1937 - 1947 Davison Studio
1948 - 1949 Wood's Studio
1950 - 1952 Hodge Studio
1953 - 1979 Chalet Studio
1980 - 2004 InComm Realty and Maas Realty (later Coldwell-Banker)
2005 - 2007 Gary-Donald Arts, a private art dealer
2008 - Present Red Wing Portrait Studio (and Red Wing Framing Gallery)

For 73 years, out of a total 115 years, this building has been home to 6 different photography studios. For 40 years out of this same 115 years, this building has been home to at least 3 (if not 4) real estate companies.

Draw your own conclusions.

1894 - Andrew Lidberg, an immigrant from Jarpen, Sweden builds and opens The Lidberg Studio at 443 W. 3rd Street, Downtown Red Wing, Minnesota (the corner of W. 3rd Street and East Avenue), which is immediately next door to Charlie Wah's Chinese Laundry. The Daily Republican on April 9th, 1894 writes, "Mr. Lidberg opened his gallery today, and it is a fine one. He will employ only competent workers and work at the lowest living prices."

1899 - Upon graduating from Red Wing High School, Andrew 's son Edward joins the studio full time. The Lidberg's begin producing the first series of colored souvenir post cards of Red Wing and the surrounding area. The photos were exposed on glass plates and developed at the studio. Negatives were then produced and sent to Germany to be lithographed into color post cards. These postcards are now collector items with a passionate following.

1902 - Local businessman T.B. Sheldon donates money to the City of Red Wing to build the country's first city-owned theater. To make room for the Sheldon Theatre, The Lidberg Studio is moved across the park mall to 312 West Avenue where the building is located today. A glass wall is oriented to the east to provide natural light illumination for portraiture photography.

1910? - Andrew Lidberg retires. Frank Booth, a graduate of Effingham School of Photography in Illinois, joins the studio.

1915 - Because of the war in Europe, it becomes increasingly difficult do receive color lithographs from Germany. Senator Knute Nelson has to intervene to get a production run of postcards released. Production is moved to Chicago (Acmegraph Company) and Milwaukee (E.C. Kropp Company).

1915 - Edward Lidberg begins his real estate career and the photography business begins to wind down. By 1920 the building is a full-time real estate office.

1920 - 1953 Very few building details. The best guess at this point is that from approximately 1920 to 1936 it was a real estate office and from about 1937 until 1953 it was various photography studios.

1953 - The Chalet Studio opens. This portrait studio is owned and operated by Ms. Louella Champs.

1972 - Edward Lidberg dies.

1978 - The Chalet Studio closes. The building is in very rough shape with the roof in danger of collapsing.

1979 - The building is repaired and restored by Dick Tittle. It becomes home to InComm Realty and Maas Realty

2008 - The building becomes home to Red Wing Framing Gallery and Red Wing Portrait Studio.

What goes around, comes around. Even if it takes 114 years.

Clare Baker called last November for an interview for The Big Picture magazine, which is a trade journal for the wide-format printing industry. The gist of the article is about printers who have carved out a niche business of providing wide-format, fine-art printing. Wide-format printing is anything larger than 44" and fine-art printing is usually defined as low-volume, high-mix printing with tight duplication standards.

Over a period of weeks, Clare and I would occasionally talk, but I lost track of the publication date. I was pleasantly surprised to receive the article in my mailbox this week. Clare did her homework and did a terrific job of detailing the priorities in wide-format fine-art printing:

1) Invest in capture, calibration and proofing technologies.
2) Push the envelope in new applications and learn from the failures.

An electronic version is right here.

I was delighted to get a note from Max Becherer this morning. I have planted the seed of thought with Max to begin to prepare a five year retrospective photojournalism exhibit for next year. Max has been in Iraq since the initial days of "Shock and Awe" and has made a career of globetrotting to the hot spots on the planet. But let Max speak for himself:

"Hi John!

So good to hear from you. I hope you are having a great New Year! I am in Cairo, Egypt at the moment but should be heading to Iraq for the Provincial Elections later this month. I also think it will be a good place to be when Obama takes office. I was up at the Egyptian Border with Gaza last week and watched as Israeli bombs blow up the tunnels and as the Palestinian wounded came over on their way to Egyptian hospitals. It was a difficult scene. I was waiting for a chance to enter Gaza but they are keeping a tight lid on things there.

So, your idea sounds great. I would love to do a five year retrospective. There are so many ways we could go with it for sure. I have a portfolio book of images I collected from the last five years.

Last year I started covering the elections in Pakistan. It was interesting and I was even able to head up to Peshawar where the North West Territory begins. What a wild place. In any case, I was in Iraq at the last part of this year for the New York Times and then did an assignment about Samarra for the Smithsonian Magazine which is on newsstands now. This week I head to Baghdad for a month and then in April I will be in Afghanistan where things are expected to be difficult this year. That is all for now.Thanks for checking in with me. I hope we get to see each other soon. Say hello to the crew for me!
Best, Max"

This week we decided to host our first major exhibit at our new location. It is an exhibit of original art from the Cream of Wheat advertising campaign from the period of 1913-1925. It begins on October 10, 2008, which doesn't leave much runway for a show of this magnitude, but it was a fairly spontaneous decision on the part of all the players involved.

The worst thing an art gallery can do is be boring, and this exhibit is anything but.

This exhibit is fascinating on many levels. To begin with, the art is amazing. The campaign director was very insistent on using the best available illustration artists and the art reflects that. The imagery is very wholesome and comforting and humor is a common element in many of the illustrations.

The exhibit also presents and discusses the use of racial stereotypes in the media. Times change and so do acceptable standards. The Cream of Wheat campaign usually used an African-American chef as a welcoming and reassuring icon. Was this naive, demeaning or enlightened on the part of Cream of Wheat?

And finally, Cream of Wheat went from a minor grain mill in North Dakota to a major worldwide cereal company in ten years because of their effective use of advertising and image branding. This alone is worthy of a Harvard business case study.

Cream of Wheat was located in Northeast Minneapolis from 1897 to 2002. The company has changed hands several times and is no longer independent. These paintings were in storage in the archives of the headquarters until the building was converted to condominiums in 2005. This might be the last opportunity to see a body of work this complete.

The best part of this exhibit is the chance to work with Dan and Sarah again. We first worked with them last year for The Dream Girl exhibit and they are a class act. Maybe next year we can do a pulp fiction or science fiction theme?

Leah Lundgaard is the latest 'Art al fresco' artist. We came to know Leah several years ago and have enjoyed watching her grow as an artist over the years. Leah is a full time artist and is both a painter and a potter.

She typically paints with either a watercolor pencil or with oils. A common element in her paintings is a burst of color and activity, i.e., fall leaves or waves crashing on beach rocks.

Her pottery has an interesting pattern of geometry. I see a Fibonacci sequence in her patterns. This is a common sequence found in nature. Sunflower heads, honeybee combs and artichoke flowers are all examples of Fibonacci patterns.

Leah is modest and soft-spoken and a very genuine person. She clearly has an inner voice that she expresses with her art. Visit her website at: www.triple-l-design.com and buy lot's of her art. Right now.