Unlikely 2.0

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Editors' Notes

Maria Damon and Michelle Greenblatt
Jim Leftwich and Michelle Greenblatt
Sheila E. Murphy and Michelle Greenblatt

A Visual Conversation on Michelle Greenblatt's ASHES AND SEEDS with Stephen Harrison, Monika Mori | MOO, Jonathan Penton and Michelle Greenblatt

Letters for Michelle: with work by Jukka-Pekka Kervinen, Jeffrey Side, Larry Goodell, mark hartenbach, Charles J. Butler, Alexandria Bryan and Brian Kovich

Visual Poetry by Reed Altemus
Poetry by Glen Armstrong
Poetry by Lana Bella
A Eulogic Poem by John M. Bennett
Elegic Poetry by John M. Bennett
Poetry by Wendy Taylor Carlisle
A Eulogy by Vincent A. Cellucci
Poetry by Vincent A. Cellucci
Poetry by Joel Chace
A Spoken Word Poem and Visual Art by K.R. Copeland
A Eulogy by Alan Fyfe
Poetry by Win Harms
Poetry by Carolyn Hembree
Poetry by Cindy Hochman
A Eulogy by Steffen Horstmann
A Eulogic Poem by Dylan Krieger
An Elegic Poem by Dylan Krieger
Visual Art by Donna Kuhn
Poetry by Louise Landes Levi
Poetry by Jim Lineberger
Poetry by Dennis Mahagin
Poetry by Peter Marra
A Eulogy by Frankie Metro
A Song by Alexis Moon and Jonathan Penton
Poetry by Jay Passer
A Eulogy by Jonathan Penton
Visual Poetry by Anne Elezabeth Pluto and Bryson Dean-Gauthier
Visual Art by Marthe Reed
A Eulogy by Gabriel Ricard
Poetry by Alison Ross
A Short Movie by Bernd Sauermann
Poetry by Christopher Shipman
A Spoken Word Poem by Larissa Shmailo
A Eulogic Poem by Jay Sizemore
Elegic Poetry by Jay Sizemore
Poetry by Felino A. Soriano
Visual Art by Jamie Stoneman
Poetry by Ray Succre
Poetry by Yuriy Tarnawsky
A Song by Marc Vincenz

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Karen Fitzgerald

Karen Fitzgerald says, "I am a mid-career visual artist. I've been painting all my life. My work is fairly traditional in that I apply paint to a substrate that's two-dimensional. For 23 years I've been creating round artwork. In traditional verbiage, tondo work. For the past five-plus years, I've been using gilding as a first layer in the painting process. 23k gold, silver, 12k gold, copper—all produce a luscious surface that is dynamic—paint sits on top in very thin layers. I'm not interested in these surfaces as a decorative twist. I like viewers to hark back to sacred artwork from world religions—gilded Buddhas, golden halos on sacred Christian personalities, gilded sacred objects. The gilding signals a sacred presence in that work and suggests "other worldliness" in my work. I like the word metaphysical—it suggests the arena my work abides in.

"I was born and raised in the garden of Eden—on a dairy farm in central Wisconsin. I left at 18 to study art, but the fields, woods and ticking heart of the natural world stayed with me. That background is the source of my aesthetic. I moved to the thick of things in my mid-20's and have lived in New York City since then. The first and foremost hat on my head has always said "artist," though others have been layered on and off over the years...not many people get along in this profession without a variety of head gear. My husband and I are raising 3 sons, who are each in their own stages of fledgling."

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Comments (closed)

Alex Nodopaka
2011-07-17 18:41:17


Your rondos are so perfectly round! For variety you might draw a few a bit squished and wobbly to add skewed interest.

Most interesting I've been looking all my life for that darn famous biblical place & look, here you are straight from there! Wow! Does God speak in woolybooly tongues or Straight Pig English?