About

Connor Everts, Studies in Desperation

Connor Everts, Studies in Desperation
Cardwell Jimmerson Contemporary Art
8568 Washington Blvd., Culver City, CA
July 20, 2007–August 25, 2007

The visitor to Connor Everts, Studies in Desperation at Cardwell Jimmerson first confronts a lengthy introductory wall text that is also a rumination on the politics of art censorship. This socially-minded tone is right for the show’s contents: beyond lies a group of lithographs and charcoal drawings from the mid-1960’s that provoked an obscenity lawsuit at the time of their making. But it also sets up an expectation of transgressive art, of a shock—a shock that never comes. Far from sensationally indecent (the charge of legalistic eyes back then), Everts’ work visually maps psychic states of dread, alienation, desire using the subtlest effects of medium and hand.
In the series of drawings entitled Prototype, Studies in Desperation, this formal economy is at its most potent, with a few choice erasures of a dense charcoal background coming to suggest grotesquely deformed mouths, limbs, loins. At times the work’s  disturbed spaces indeed contain erotic references, albeit in abstract form, but even these episodes seem less than lewd. The show, in other words, brackets the moralistic debate over Everts’ art as a telling historical phenomenon. And one leaves Cardwell Jimmerson’s pristine white cube pondering another, very present-tense question—namely, in our age of hyperexposure, what image (if any) could read as reliably obscene?
(reprinted from Artslant.com)

More about this trial is on the Cardwell Jimmerson website here

Connor Everts with Paul Darrow were founders of the Los Angeles Printmaking Society in 1962


LAPS Foundation

  The LAPS Foundation was founded in 1987 to encourage the next generation of artist printmakers in southern California.

Foundation Scholarship Grant Awards
Each year printmaking students are encouraged to apply for our Foundation Scholarship Grant Awards. They must submit an application signed by a faculty member from the college they are attending. LAPS student members are eligible. No active regular member of LAPS is eligible for an award. It is common for student awardees to remain active in the printmaking community after they have won a student award. LAPS Foundation spent many years fundraising to create a self supporting endowment for the cash grants provided for the Scholarships. Past awardees have included many current LAPS members, such as Dirk Hagner, an active LAPS Board member. Each student who receives an award is invited to a special board meeting where they receive their check. Student winners are encouraged to donate a print to the Foundation collection, which in turn supports fundraising. The Foundation has a collection of prints that are used in a variety of LAPS fundraising efforts. A patron of LAPS is entitled to choose a print for his/her personal collection as a gift for a patron donation of $150. Patrons receive invitations to attend special patron events as well as all regular LAPS events.

GRANT APPLICATION INFORMATION

2008 Winning Applicants
First prize Award Colleen Kennedy Premer from Saddleback College ($1000)
2nd Prize Winner Camilla Taylor from California State University Long Beach ($500)
3rd Prize AwardJames Coxon from Orange Coast College ($350)

2007 Winning Applicants
First prize Award to Leanne Reinhold
2nd prize Winner Susan Unoura. Both are students at Saddleback College

Congratulations to all of our student applicants this year

Membership and the Foundation
All members in good standing of LAPS are members of the Foundation. There is an Executive Board of the Foundation consisting of President, Treasurer, Secretary, the current President of LAPS, and one other. There is at least one annual meeting of the Executive Board, and a financial report is submitted to the Board of LAPS.

Background Information
The LAPS Foundation was founded in 1987 as a nonprofit public benefit corporation. It is organized under the Non Profit Public Benefit Corporation Law for charitable purposes, and is not organized for the private gain of any person. [Sec 501c]

The original 1987 Executive Board of LAPS Foundation included Robert W Brown, President. Masha Schweitzer, Treasurer, and Barbara Frankel, Secretary, and Mina Kan President of LAPS.

 


John '48
, 2010, an intaglio print by Brian Borlaug, a 2011 recipient of the LAPS Foundation Student Scholarship

 

History

In 1962, Los Angeles artists Connor Everts and Paul Darrow began discussing ways to improve the perception of printmaking as an art form. They decided that the best method to accomplish this goal would be to improve exhibition opportunities, educate the public, and popularize printmaking as an art form. They received support and encouragement from Ken Ross, of the newly formed Los Angeles Arts Commission, and Ebria Feinblatt of the Los Angeles County Museum of Art. They were joined by artists Leonard Edmondson, June Wayne, Ynez Johnston, Emerson Woelffer, Guy Maccoy, Dick Swift, Tom Fricano and others to form the Los Angeles Printmaking Society.

Within a year, by-laws were drawn up and LAPS was incorporated as a non-profit organization. The organization began with thirty invited members. In the early years LAPS was fortunate to have the support of a wonderful artist and patron, Esther Lewis, who generously donated studio and gallery space on the second and third floors at 818 Spring Street in downtown Los Angeles. At that time LAPS was a small cooperative organization providing various services, including gallery and studio space to its members.

Over the years, the local LAPS group has expanded and now is an international society of well over 400 artist/printmakers from all across the USA, including members in Canada, Europe, Australia, South Korea and Egypt. New applicants are juried in every other year by distinguished jurors during the LAPS National exhibitions and by fellow members twice a year. LAPS members include artists, curators, educators and collectors. LAPS offers Associate, Student, and Patron memberships and encourages participation of all members in membership and exchange exhibitions, symposia and print related journalism.

In 1973 the first "LAPS National Print Exhibition" was held at the Los Angeles Municipal Art Gallery in Barnsdall Park. James Brown, director of the Virginia Museum of Fine Arts, juried it. One hundred and eleven works were selected from 800 entries. The Grunwald Center for the Graphic Arts at UCLA hosted the Seventh, Eighth and Ninth National exhibitions.

Since 1973, LAPS has sponsored a National Print Exhibition approximately every two years with the 20th National in 2009 returning to the Los Angeles Municipal Art Gallery once again. Unlike many other print exhibitions, LAPS includes recent work from the major presses that are so prominent in Los Angeles, encouraging a thorough dialogue of the contemporary print. Artists of international stature exhibit alongside local and national artists juried into the show. Many generous vendors, corporations, organizations and private collectors have been supporters of the National Exhibition, donating cash awards and purchase prizes.

Over the years, jurors have included Peter Frank, Archana Horsting, Ruth Weisberg, Kevin Salatino, Ed Ruscha, Nathan Oliveira, Ynez Johnston, Laddie John Dill, Henry Hopkins, Elizabeth Smith, Bruce Davis to name a few. In 1995, LAPS began organizing with a consortium of galleries in Los Angeles to exhibit prints and print related exhibitions in conjunction with the National Exhibition.

Besides the National, LAPS sponsors many member exhibitions and exchange shows. Exhibitions have been held not only in Los Angeles, but also in Ireland, South Korea, France, Great Britain, Sweden, Norway among the locations.

LAPS publishes a newsletter called Interleaf and a journal, Newsprint. The organization continues in its educational role by sponsoring symposia, student portfolio critiques, and offering low-cost student memberships.

From the initial conversation between two artists in 1962, the Los Angeles Printmaking Society has grown and enriched the art of printmaking and created an active community beyond its founder’s expectations.


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