Jasper Johns’ blue litho “0 through 9”


Jasper Johns, 0 through 9 (ULAE 189),” 1977
Lithograph, #57 of 60, Gemini
Sheet 9.65” x 7.85”; Image 6 x 4.85

“… the eye fools the mind by picking out the silhouette of one number then instantly recognizing another, sometimes in quick succession”

- c/o Peter Loughrey & LAMA: lamodern.wordpress.com

Mucca Pazza Posters complete!


Limited series of 56, 1-color silkscreen with unique handmarking on each, 18x24”. Silkscreen printing by Sonnenzimmer.
Available at Mucca Pazza’s 3/25 show at Chicago’s Mayne Stage or from them directly: mucca-pazza.org













*See previous posts about this process on 2/18 and 2/22.

Big ups to Sonnenzimmer for ace printing of the blue!

Posters for Mucca Pazza, Pt.2

(part 1 of this post is here, and here are pics of finished work!).

finished lettering yesterday, gave electronic file to print aces Sonnenzimmer for the blue silkscreen part. word this afternoon that it’s done and being trimmed to 18x24” tomorrow — friday i’ll render the final paint marker stroke on each one, and then they’re off!






UPDATE: See here for the finished work, available at Mucca Pazza’s 3/25 show or from them directly: mucca-pazza.org

A Drying Rack!

Stunned to find this beaut over at our neighborhood antique store, and moreso to find I could afford it! Granted it’s gloriously “vintage” and will require some repairs to be fully-functional, but I can get current work-in-progress up off the floor and clear some lateral surfaces for other things to set down most immediately. 
Had to disassemble it to fit it up the stairs, which was a real chore once my wife and I dragged it home across snowy sidewalks, but right now putting it back together is a pleasure — and I think listening to Kazoomzoom’s collection of Ragtime-era faves is a big help, so… Here’s free download of that, for anyone interested: http://www.archive.org/details/kzz003. 

PS: My wife is awesome for (among many other things) helping me drag this sucker home across the snow and getting it inside & upstairs.  

Rookery Prints

Six silkscreened colors, 100lb French Whitewash Cover, 18x24” Limited edition of 70 Earlier this year I had a great experience performing an edition of prints with Sonnenzimmer, one of Chicago’s premier silkscreen shops, and after a busy season have finally vetted, signed and editioned the results — available now on my brand new electronic storefront: robfunderburk.bigcartel.com! Below are some session photos and notes. To purchase prints, go to robfunderburk.bigcartel.com. See, this wasn’t a drawing that we scanned and noodled with, or blew-up on a xerox machine or anything — the whole process was very direct and completely manual. Referring to photos and location studies, I drew what would become each separate color with black paint on a clear sheet of film laid directly on top of each preceding stage after printing. The result is a series that captures the drawing experience very directly, including discoveries along the way and very little revision or redirection of efforts. Rather than a series of reproductions of something that happened before it, each of these prints represents an original act that happened in a multitude of 70. For more info about the Rookery Building itself, see Wikipedia or therookerybuilding.com. And if you visit the Rookery, be sure to step inside and see its beautiful atrium — and in the NW corner, find the one marble-clad support column that’s open in the back to reveal the fantastic ornamental skeletal iron that’s underneath it all. To purchase prints, go to robfunderburk.bigcartel.com.

“Moveable Type” at NY Times Building

Photos c/o Ear Studio


A dynamic portrait of The New York Times titled “Moveable Type”, by Mark Hansen and Ben Rubin, exists in the ground-floor lobby of The Times’ building in NYC. The paper’s daily output, archives, and activity of website visitors are parsed by statistical methods and natural-language processing algorithms, resulting in text displayed on 560 vacuum-fluorescent display screens hung along the lobby walls. Coverage at NPR’s “On the Media” and in The NY Times. Related projects are Hansen & Rubin’s “Listening Post” and a project apparently under consideration at the US Census Bureau.

Ed Ruscha re: words, print

“I guess I’m a child of communications, and I have always felt attracted to anything that had to do with that phenomenon of people speaking to each other. Maybe that itself becomes synonymous with popular culture in that newspapers, magazines — printing, specifically — have had the most dramatic effect on me. Printing was it, to me. When I first became attracted to the idea of being an artist, painting was the last method; it was almost an obsolete, archaic form of communication. I found painting to be the least interesting of all those forms of communication. I felt newspapers, magazines, books — words — to be more meaningful than what some damn oil painter was doing. So I suppose it developed from that — into the idea of questioning the printed word. Then in questioning, I began to see the printed word, and it took off from there.”


- Quoted text is Ed Ruscha in Paul Karlstrom’s “Interview with Edward Ruscha in His Western Avenue, Hollywood Studio”, 1980/81, Archives of American Art, first published in Leave Any Information at the Signal, ed. A.Schwartz, 2002, MIT Press. Image is Ruscha’s “The Mountain”, 1998, c/o Christie’s London via Artnet.

Gagosian Gallery has a particularly impressive and reasonably comprehensive overview of Mr. Ruscha’s work, fyi.

Rauschenberg for Talking Heads



Transparent record packaged in clear plastic case with three loose round transparent overlays printed with 1-color collage (cyan, magenta and yellow). Robert Rauschenberg won a Grammy Award for creating this limited-edition album for the Talking Heads in 1983. (More info here).

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