Prints: New. Improved.

kurt_seidle_xed_7Some prints get wrecked in the printing process. It makes sense that hand-printed works are more susceptible to flaws than mechanically printed ones, but knowing that still doesn’t make it any easier to take. Inconsistencies – whether it’s ink flow, a knick in the stencil, a fingerprint or smudge – can ruin a perfectly good print. It happens. It’s just part of the process. I know this, yet I still take the flaws pretty hard.

But I got tired of feeling this way and sought to do something about it. Rather than looking at flaws as a door closing, I decided to look at them as a window opening. By doing so, there’s an opportunity to add new ideas or, in this case, make corrections. I embraced the flaws and just canceled them out. Literally.

My first step was to unearth slightly less-than-perfect prints from the depths of purgatory (i.e. the neither-here-nor-there void of the flat file) and assess the damage. Next up was fixing them. That’s achieved here by masking the flaws with a big, blunt mark. Simple as that. Rather than just erasing the flaws, I chose to acknowledge and celebrate them.


In some cases, crossing out the mistakes added to the composition. In others, it was just a means to an end. While making perfect compositions was certainly not the goal, there are some beautiful moments to behold.

There’s beauty in everything. Finding it is just a matter of perspective. Clearly my interest in signage, typography, and found objects influenced the direction, but, in retrospect, there are other references that come to mind, like the butterfly joint in a George Nakashima table or even the knots in a piece of plywood.

These days, it’s about accepting what comes your way. Taking each day as it arrives – with all the highs and lows – and making the best of it. That, in a sense, is what the Correction Series is all about.



Pictured: “Untitled (Correction)” 2020, “Untitled (Correction)” 2020, “Untitled (Correction)” 2020, “Untitled (Correction)” 2020. 

Things We Like: Drab Majesty, “The Demonstration”


Dreamy and introspective. That’s the easy answer. Some might say “dark”. Perhaps a bit. But that’s an overly simplistic and, frankly, cynical take. It could be said Drab Majesty conjures up a 4AD aura about things with hints of vintage Clan of Xymox or Cocteau Twins in both sound and style. Really, though, there are many influences – dream pop, shoegaze and classic goth among them – that tease their way into the songs. But Deb DeMure, the androgynous alter-ego of L.A.-based musician Andrew Clinco, comes calling with more than just a checklist of references.

On their second proper album, The Demonstration, Drab Majesty transcends the confines of strict style and the niche tastes of a precious few and push out into the realm of 80’s new wave and pop. The songs are catchy and irresistible and satisfyingly accessible while managing to still shimmer and haunt and hover in the corner – a perfect mix of light and dark that invites obsessive listening. Many of these songs wouldn’t seem out of place on mainstream radio of the era. The grand, euphoric “Cold Souls” comes to mind as does “39 By Design”, their languid meditation on the Heaven’s Gate cult – both tracks aptly released in advance of the album like incantations masking as pop singles.

And while there’s a lot to love about The Demonstration, DeMure’s guitar playing could be the true star. Her chiming guitar lines are captivating as they meander around and hang in the air. They lure you in, slow things down and let the white space between notes wrap you in a woozy, warm embrace. “Not Just a Name” and “Forget Tomorrow” conjure up this atmosphere perfectly, the latter playing up the 80’s-era drum machines to near-absurd levels of intensity.

But grandiose gestures are what Drab Majesty is all about. Their image and influences spill out super-saturated, dime-store drama in a kaleidoscope of colors, textures and references. They present an exquisite corpse tangled with so many conflicting cultural touch points – religious pageantry, the occult, KISS Army, Warhol wigs, science fiction, Geisha girl, Members Only – that it’s hard not to fall under their spell (or perhaps surrender to the sheer weight of their presentation) and just follow along. But it all works. Style and sound are a perfect match – light and dark, sweet and sour, high and low – that keeps you off balance and craving more.

After letting this one brood on the turntable for the better part of a month (on glorious marbled blue vinyl and on constant repeat), The Demonstration presents a complete, confident and fully realized vision. Also, the album’s production – care of Telaphon Tel Aviv’s Joshua Eustis – is cleaner and less claustrophobic than its predecessor, Careless (itself a clear statement of purpose with its fair share of great songs).

But The Demonstration is the complete package. It’s that same complex and compelling vision but pushed through with focus and clarity, delivering great songs with production to match.

Prints: Test Dept.


Up and running slowly but surely this fine 2017 season. I kicked things off, oiled things up and dusted of the cobwebs (from the elbows, that is) with a little test run of an old favorite.

In case you wanted know, here are a few things I learned printing that day:

  1. Printing with art stretched on wooden frames is really frustrating. After washing the ink out of the frame a few times, the wood begins to bow and warp making it quite difficult to get a clean, even pull of the squeegee. And this is a treated frame, too. Maybe it’s just old. Aluminum frames are much better in this regard – and much lighter, too.
  2. Printing with copper (a mixture of gold and red and perhaps something else) thickens and gunks up your screen rather quickly. A bit of humidity certainly doesn’t help the situation. But I was surprised at how quickly said situation deteriorated.

This season is shaping up to be a little more unusual – pleasantly and surprisingly so – than seasons past. I’m rolling with it and I think the body of work will reflect this embrace of the fluidity.

More to come.


Things We Like: Best of Summer 2014


So, at 10:29 PM on Monday, the 22nd of September, summer officially came to a close. Fall is here and with it comes a litany of preview lists from every publication and every blog, usually filled with all the same stuff in a different order. But you rarely see anyone compile a greatest hits list of the season that just wrapped. That’s where we come in. While the so-called tastemakers hunt for “the new” like the crowd at a Black Friday piñata party, we’re content to just hang back and—once the dust settles—collect and savor those truly great moments. So without getting too wordy, let’s get to it:

That’s right, not one exhibit, but the whole thing. We were there for the Sigmar Polke retrospective (and the stellar permanent collection, of course), but MoMA was stacked top to bottom with solid exhibitions. We totally hit that sweet spot where the start and end of various shows overlap for a week or two. Good news, because we were able to take in other surveys on our short list like the Lygia Clark retrospective and Christopher Williams’ “The Production Line of Happiness”. And yet the the museum just kept on giving: a Robert Heinecken show, Toulouse Lautrec prints, and an experimental photography survey were rounded out by the Design Department’s short review of classics by faves like Anni Albers and Massimo Vignelli.

Oh, yes, and our apologies to Ray. Sorry we missed you. It was late, we were tired and they really didn’t make it easy to find you.


Jeff Koons
Love him or loathe him, this career survey—Koons’ first in New York—delivered with cheap thrills and high production values. Bursting at the seams with day-glo colors, industrial sheen and naked bodies, the Whitney’s Breuer building buzzed with cheers, boos and a lot of head-scratching. Unlike some critics, though, we choose to buy-in and accept the premise. Why resist when the results are so ridiculously satisfying? To suggest, as some have, that Koons is not an artist because he doesn’t act like one seems completely short-sighted and missing the point. Or that his work doesn’t count because the subject matter is fluff (Did they miss that “what is art?” discussion in Art History 101? Somehow sleep through the 1960’s?). Yes, the work is flashy and intoxicating (and the artist is flashy and intoxicating), but that doesn’t mean that it’s/he’s lacking in substance. Why, all of a sudden, are the critics so willing to take a work at face value? Koons is complex and his work is complex. Scratch below the surface and you’ll find lots to love, lots to hate and much to debate.

Empanada Mama
Tasty pockets of fried goodness jam-pack the menu at this shoebox of a restaurant. And the watermelon lemonade was pretty tasty, too.

The High Line
Abandoned rail line turned urban oasis delivers on its promise to offer a quiet, contemplative experience with a new view of the city.

Hatch Show Print
A meet-up with the family in Nashville let us indulge in a trip to this legendary print shop. We’ve hosted Hatch for lectures and exhibits, bought their books and prints, and basically know their work inside out, yet we’ve never made the pilgrimage to the source—until now. Though the shop is now housed within the confines of the sparkling Country Music Hall of Fame, it still burns with an unvarnished, youthful energy as they continue to crank out prints repurposed from their historic archive of vintage wood type, dingbats, and hard-carved artwork.



This House in Strathmere
We happened upon a new modernist beach house while on a bike ride through Strathmere in July. “Pure” and “simple” are not words that typically come to mind when you think Shore architecture, but this minimal, compact beach retreat (by Ambit Architecture) feels right at home amid the stark, severe landscape of sand, sky and water.


Youth Code
A little late to this party, but, hey, better late than never. This electro duo shocked the withering soul of industrial back to life with a confrontational style and minimal aesthetic that owes more to Belgian EBM greats like Klinik or Vomito Negro than guitar-obsessed icons like NIN or Ministry. Pardon the cliche, but “electro-punk” does sum it up pretty well. And they’re hot with the kids, so if YC can turn indie-inclined Crystal Castles fans onto EBM classics, all the better.

Aphex Twin – “Selected Ambient Works II”
This is an oldie that somehow saw a lot of play this summer. Odd, not only because it’s been sitting dormant on my shelf for quite some time, but also because it has more of an introspective, autumnal vibe than a loud, pumping (if somewhat abstract) one you associate with summer. Maybe it was a reminder from deep within that AFX’s first album in 13 years, Syro, arrived in September. In any case, it’s packed with somber electronic goodness perfect for dreaming or dozing.

Suita Sofa Chaise Lounge by Antonio Citterio (in Yellow)
Our new favorite sofa, even if it’s an old design for Vitra. At NeoCon 2014.


HBF Textiles – Chicago Showroom Redesign
2×4 reimagined the HBF showroom as a cozy, intimate studio. Less glitzy showplace and more residential library, it feels like the perfect place to really focus and get to work.

More NeoCon 2014
Clean, simple and arguably pretentious experience and product design from Arper,  new rugs by textile masters Maharam,  and the poppy, geometric Wallace Sewell collection for Designtex.



Things We Like: Station to Station


Masterminded by video artist and multi-tasker Doug Aitken, Station to Station puts art, music, food, and performance on a train and shares it with the world via happenings at station stops across the country. With a mix of international icons and local treasures appearing at various points along the way, you never know quite what you’re going to get from, uh, station to station. Luckily there’s a comprehensive website that keeps you informed while chronicling the action for those of us who cannot attend. Actually, though, you could say that the website itself is a participant as it grows and morphs and changes each day with more content than one can rightfully digest in one viewing.

Basically, it’s like the circus coming to town. But a lot more fun and a little less scary.