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Did anyone notice Bryan printed and made our leporello?

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I’m so proud of our little team and totally thrilled with the finished result 🤩

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Leporello Project 2026 HIGH QUALITY without names

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Leporello Project 2026 HIGH QUALITY with names

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Sorry - combining the words seemed to be a sort of poem ...

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Sorry - combining the words seemed to be a sort of poem ...

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Act of bravery

It was a memorable experience. I’d say, a source of pride,

Out of our comfort zone, made an alliance,

The photographer, the painter, the does everything creative artist,

The family and the best friend.

So, “Light and Dark”. Abstract. Could mean literally anything.

Morality? The Cosmos? Shadow and tone.

A new concept, a story winding through opposites,

The leporello, each opening a prompt and response.

We cut our cloth: lacking time, we mostly used archives.

Dynamic, six days, six starters, six answering images.

To find a response, we looked more closely at what was shown,

Went unmapped beyond the prompting artist’s intent.

Quick fire summary. One word. Thesis, antithesis, synthesis.

A tangible result: printed, a small display in another land.

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THE FINAL LEPORELLO for you to print and glue together. 

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THE FINAL LEPORELLO for you to print and glue together. 

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Instructions:

1. print the pages one-sided ( I printed on regular 80g paper, worked perfectly!)

2. cut them along the stipple line, but leave the edge of the page on one of the joining pieces for overlap!

3. glue the strips together

4. fold creating an accordeon

5. sit back and enjoy our art! :)

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we broadened the collaboration with family or best friend

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Worked together

Each contributed

Abstract topic - light and dark

Creating new work together

Tells an idea

Prompts/opposites

Prompts/responses

Deeper meaning to find opposites

Enjoy

See more in pictures

Interesting

Seeing each other

Creating something

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small group: photographer, creatie artist, painter

light&dark and each point of view

visual ideas together

binary opposites

prompts & opposites

explore artistic collaboration

what can we achieve in a short period of time

learning smth about each other

collaboration for future

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act of bravery

out of comfort zone

team very dynamic

got together

agreed on process

each contributed in own way

huge pride in what we achieved

true collaboration

alliance

memorable experience

no fear of doing collaboration again

learning process

shows what can be achieved

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Helen Rosemier's message about reflecting on our collaboration

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Helen Rosemier's message about reflecting on our collaboration

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Helen Rosemier

Hi everyone,

Bryan and I hope you are having fun with your collaborations, and we're really looking forward to seeing what you've come up with on Saturday morning.

As you know, in addition to looking at your creative work in this next session, we will dig into how to analyse the collaborative process. We have attached some prompts and ideas to help guide this reflection. You can do this together, but it might be revealing to do it separately. Try to be honest, but keep it respectful, especially if there has been any tension.

It might be that not everything in the notes is relevant to you or your group, or that you find one method more effective than another. We're not looking for you to follow up on every suggestion. Pick your way through the slides and respond to what you find useful or pertinent. You might also want to go back to the categories proposed in the first session or refer to the materials you've discovered.

We won't have time to discuss everything on Saturday, but we hope these notes will provide a good starting point as you review this experience and reflect on how it will feed into your ongoing practice.

Please let me know if you have any questions.

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What Kind of Times Are These

BY ADRIENNE RICH

There's a place between two stands of trees where the grass grows uphill

and the old revolutionary road breaks off into shadows

near a meeting-house abandoned by the persecuted

who disappeared into those shadows.

I've walked there picking mushrooms at the edge of dread, but don't be fooled

this isn't a Russian poem, this is not somewhere else but here,

our country moving closer to its own truth and dread,

its own ways of making people disappear.

I won't tell you where the place is, the dark mesh of the woods

meeting the unmarked strip of light—

ghost-ridden crossroads, leafmold paradise:

I know already who wants to buy it, sell it, make it disappear.

And I won't tell you where it is, so why do I tell you

anything? Because you still listen, because in times like these

to have you listen at all, it's necessary

to talk about trees.

Copyright Credit: Adrienne Rich, "What Kind of Times are These" from Collected Poems: 1950-2012. Copyright © 2016 by The Adrienne Rich Literary Trust.  Copyright © 1995 Adrienne Rich. Reprinted by permission of W. W. Norton & Company, Inc..

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This sequence of images is really cool.

Baiba are you putting this into the leporello format? Or shall we each do this ourselves?

And now we need to think about a cover, and whether the image speak for themselves or we make a running text through them.

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My response to Baiba (12)

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So for this collage semi-abstract, I took the prompt of posts projecting above sea waves, and worked up the idea of growing trees reflected upside down in still water, and used a colour scheme, broadly orange on blue, rather than monochrome. This is a cropped version. I have included the landscape version as well. But I think the portrait oriented cropped image works better. Thanks Louise.

I also threw in a very fast oil painting on the same theme using up old paint on the palette and daubed on / scraped off / moved with a plastic card. But I propose the collage as my response for leporello.

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That 100% stone image just begs for a 100% nature one. :) It has similar colours and shapes though.

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Meeting during workshop:

painter, photographer, creative artist currently into text/artbooks/zines

Short on time

Make WhatsApp and padlet

Put on padlet anything we think relevant to light/dark theme from our own interests

First zoom one week later:

Short on time, keep this feasible

Develop light/dark theme into binary opposites

Pick on the idea of folding booklet (leporello) with openings or spreads with two facing pages

Develop this as prompt and response, in some way opposing the prompt, a binary, but not rigid, an interpretation

Maybe light/dark is monochrome greyscale image

Work out scheme so each person posts two prompts and two responses - six openings or double page spreads each for a prompt and response

Perhaps an interconnecting theme for successive prompts, but not necessarily, otherwise time delay waiting for each prompt before posting next

No work by others, own work only (except can include excerpts e.g. text from poems)

Mainly work from our archives for speed.

At end think through front and back pages and any text running through the whole book.

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I wanted to explore an image of to mycelium network hidden in the forest floor, but I wasn’t sure how to create the image. Here are the experiments with resists, ink, water, bleach and words (from a scientific paper on the subject) to try to capture the sense of these complex ecological structures.

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I knew all those photos I always make will come in handy one day. This one of is of an anti-slip rubber floor material on a ferry last summer. :D

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I wasn’t sure about my response to Baiba’s prompt. I said I may create another response and this is it. This is what I had in mind all along, the hidden life of plants, not above ground but the fungal network underground. Sorry if changing this throws you at all.

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One of the themes I am working with is Plant Blindness which means people underestimating the importance of plants in the lives and even existance of humans on the planet. It resonated with the figure in Neil's drawing that is being blinded by another person's hand. There is always somebody in the society in whose interests it is that we do not see the environmental problems.

Even though we did not agree on a colour scheme, I kind of like the black and white theme. In this image the textures come out nicer in B&W, but it doesn't mean the whole book has to be like that.

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Here are the remaining ones. I am going to make a cup of tea and think before selecting and adding to "prompts" column.

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These are the first six artworks from my archive from which I am trying to select as prompts. I am thinking about offering prompts that lead more readily to a response, something with a sense of narrative, not story as such but a visual stimulus to an opposing reaction.

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I participated in a lecture on Critical theory this week. Maybe you were there, too! It was was a very quick introduction into what Critical theory is and why it matters in art and culture.

The theory of structuralism caught my eye becaue it talked about binaries in art, which means that this theory interprets elements in oposing them. For example, dark vs light meaning that there is no light if there is no dark, that we cannot understand what dark is if we dot know what light is.

I kept thinking about our little project while listening to that.

Then I taked to ChatGTP about the practical application of this theory in art and it have me an idea I would like to share with you. It might be useful for our project.

ChatGTP enlightened me on different opposites, not just dark and light and suggested a book could follow a pattern of images where on each opening of the book shows both of the opposites.

I was thinking of our leporello and was thinking that this could work quite well in a collaboration where one person puts up an image and the other person adds something that they see as opposite to the original image. The author of the first image does not have to say what the opposite is about, it is a random image. The other person has to come up with the interpretation themselves.

!!!! We do not HAVE TO make any work!!!! We just scroll through our camera rolls on our phones and find images of either our paintings or other work or photographs we have already taken.!!!!

After this port I will share some ideas for opposites as generated by our collaboration partner ChatGTP. :) It is just source of ideas and information, we are not copying any texts or images.

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A black and white leporello zine I found on Pinterest

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A black and white leporello zine I found on Pinterest

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Georgia O’Keeffe walking at the White Place, New Mexico, 1957, photographed by Todd Webb
© Estate of Todd Webb, Portland, Maine, USA

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My Faraway Nearby – Tate Etc | Tate

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Men put me down as the best woman painter…
…I think I’m one of the best painters.

Georgia O’Keeffe

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Georgia O'Keeffe is best known for her paintings of magnified flowers, animal skulls, and New Mexico desert landscapes. This exhibition brings together some of her most important works, including Jimson Weed/White Flower No. 1 1932, the most expensive painting by a female artist ever sold at auction.

Making her debut a century ago, in 1916, O'Keeffe was immediately recognised as a trailblazing artist, while today her legacy as an American art icon and a pioneer of twentieth-century art is widely recognised.

With no works by O'Keeffe in UK public collections this exhibition is a rare chance to see the beauty and skill of her remarkable paintings outside the US.

Men put me down as the best woman painter...
...I think I'm one of the best painters.
Georgia O'Keeffe

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This major retrospective of American modernist artist Georgia O'Keeffe re-examines her entire career, her development, her trajectory west, and the profound influence and legacy of her work. On at Tate Modern, 6 July - 30 October 2016

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A timeline of Georgia O'Keeffe (1887-1986) in her formative years as student, teacher, artist, and her associations as a renowned painter living in New Mexico and New York.

Georgia O'Keeffe (1887-1986)

1. 1915

Began correspondence with Pollitzer as a confidante. Expressed the connection she felt between art and music. Wrote to Alfred Stieglitz and subscribed to Stieglitz's magazine. Also subscribed to The Masses. Read the English edition of Wallis Kandinsky's Concerning the Spiritual in Art (1911, trans. 1914).

2. 1916, Fall

Early in her time in Canyon, Stieglitz sent her a copy of Faust, saying he had discovered it as a boy, and it helped him in despairing moments. She saw a production of Israel Zangwill's play The Melting Pot in Amarillo with fellow faculty. Stieglitz reported that he sat next to Emma Goldman at a production by the Provincetown Players on MacDougal Street and attended Wagner's Tristan and Isolde at the Metropolitan Opera. Woodrow Wilson elected president of the United States in a close race with Charles Evans Hughes.

3. 1933, Jan.-Mar.

Georgia O'Keeffe: Paintings New & Some Old at An American Place, a retrospective of work from 1927 to 1932. Rodakiewicz, in Alvarado, Veracruz, Mexico, working on Redes with Paul Strand, received a six-month assignment to Brazil in association with brothers Andre and William La Varre's Brazilian-Guiana expedition.

4. 1934, Jan.-Mar.

Resumed painting. Exhibited with Marin at the Society of Arts and Crafts in Detroit, Mich. Annual show at An American Place. Georgia O'Keeffe: 44 Selected Paintings was a retrospective of work from 1915 to 1927. It included the clamshells and Jack-in-the-pulpit series and emphasized the early abstractions. Lewis Mumford emphasized the translation of feeling, the use of symbol, and the erotic nature of O'Keeffe's art in his review for The New Yorker. Metropolitan Museum of Art purchased Black Hollyhock, Blue Larkspur, painted in New Mexico in 1929. Rodakiewicz sent her a small shell from Acapulco that she kept in her pocket as a talisman. Ned Scott replaced Rodakiewicz in camera work at the film shoot in Veracruz.

5. 1947

Featured in a segment of Rodakiewicz's tourism-oriented film The Southwest ( Land of Enchantment: Southwest USA). Her disenchantment with his portrayal of her, combined with Rodakiewicz's arrival in Abiquiu for the shoot with a young female assistant, caused a permanent rift in the previously close friendship.

6. 1951-1961

Edith Gregor Halpert of the Downtown Gallery in New York became O'Keeffe's new art dealer and gallery space in Manhattan.

Exhibited at the Downtown Gallery until the mid-1960s.

Rafted on the Colorado River with friends and traveled on international trips to Mexico (in 1951, with Spuds Johnson and Eliot Porter, meeting Frieda Kahlo and Diego Rivera), France and Spain, and Peru, the Far East, Southeast Asia, India, the Middle East, and Italy, followed by a tour of Japan, Formosa, the Philippines, Hong Kong, Southeast Asia, and Pacific Islands.

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Georgia O'Keeffe: The Making of the Artist, 1887-1950, and After | Articles and Essays | Georgia O'Keeffe and Alfred Stieglitz Correspondence | Digital Collections | Library of Congress

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A timeline of Georgia O'Keeffe (1887-1986) in her formative years as student, teacher, artist, and her associations as a renowned painter living in New Mexico and New York. Began correspondence with Pollitzer as a confidante. Expressed the connection she felt between art and music. Wrote to Alfred Stieglitz and subscribed to Stieglitz's magazine.

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Who are they that our collaboration is named after?

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Who are they that our collaboration is named after?

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I looked up the pair our collaboration is named after. Fascinating on multiple levels, not least the idea of the gendered "muse":

https://archive.artic.edu/stieglitz/portraits-of-georgia-okeeffe/

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Georgia O'Keeffe and Alfred Stieglitz met in 1916, when she paid a visit to 291 to see an exhibition of Marsden Hartley works. Nearly twenty-four years his junior and just gaining recognition as a painter, O'Keeffe made an immediate impact on Stieglitz-both artistically and emotionally. The two began an avid, often daily correspondence that eventually turned into a passionate affair before they finally married in 1924. Stieglitz included O'Keeffe's drawings in a group show immediately after their meeting, and her one-person show was the last to be mounted at 291. He would continue to promote her work at subsequent galleries, and in 1925 he featured her in the landmark Seven Americans exhibition alongside his own photography and pieces by Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, and Paul Strand. After Stieglitz's death in 1946, O'Keeffe was appointed executor of his estate, and she divided the Stieglitz Collection among several institutions, including the Art Institute of Chicago. Learn more about the Stieglitz collection here.

O'Keeffe's presence revitalized Stieglitz's photography, which he had neglected in favor of the journal Camera Work and his gallery. She first posed for him in the spring of 1917, and as their relationship deepened, he continued to photograph her "with a kind of heat and excitement."[1] Over the next twenty years, he made over three hundred portraits of her-nude and clothed, performing mundane tasks and posing dramatically in front of her paintings, showing her entire body as well as isolated views of her neck, hands, breasts, and feet. In 1919, he wrote to Sadakichi Hartmann: "I am at last photographing again. . . . It is straight. No tricks of any kind.-No humbug.-No sentimentalism.-Not old nor new.-It is so sharp that you can see the [pores] in a face-& yet it is abstract. . . . It is a series of about 100 pictures of one person-heads & ears-toes-hands-torsos-It is the doing of something I had in mind for very many years."[2]

Stieglitz displayed many of these-including, somewhat provocatively, several nudes-for the first time as part of his retrospective of photographs at Anderson Galleries in 1921. O'Keeffe wrote that Stieglitz's "idea of a portrait was not just one picture"[3]; instead, it was a composite of pictures addressing an idea and personality too large to fit in a single photograph.

[1] Georgia O'Keeffe, introduction to Georgia O'Keeffe: A Portrait by Alfred Stieglitz (Metropolitan Museum of Art, New York, 1978), n.p.

[2] Alfred Stieglitz to Sadakichi Hartmann, Apr. 27, 1919, Alfred Stieglitz/Georgia O'Keeffe Archive, Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library, Yale University, box 23, folder 546.

[3] Georgia O'Keeffe, introduction to Georgia O'Keeffe: A Portrait by Alfred Stieglitz (Metropolitan Museum of Art, New York, 1978), n.p.

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Through Alfred Stieglitz's dedicated photographic work of a half century, he tirelessly promoted photography as a fine art, gathering around him first Pictorialist and then modernist photographers.

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I was introduced to John Virtue years ago within an experimental drawing workshop. Here is one piece from Virtue in the Tate (John Virtue born 1947 | Tate) and another found on ArtUK (Landscape No. 664 | Art UK) with three pieces I did in response based on views of Chicago (I had just visited).

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I hope I've invited you successfully!

Looking forward to working with you 😁

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Photo ideas...

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Photo ideas...

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Photo ideas...

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Photo ideas...

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So this artist was another pointer from my tutor, and some of his work chimes with Louise’s first photo on this padlet.

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After we spoke, I went to the Serpentine Gallery for an exhibition by painter Peter Doig, at the suggestion of my tutor. I was then on the look out for ideas based on “light and dark”. I wasn’t disappointed.