
Slightly-sunnier greetings collectors! I'm running around today wishing that I had more time to compose myself, not to mention this very newsletter to you all. A bit frazzled, I'm here to present, as promised, some warm and fuzzy editions, just in time for spring. (It will be spring soon, won't it?) If winter persists in its cold unbearableness, perhaps these little guys, Lamb No. 3 and Piglet No. 2, by Sharon Montrose will provide some cheer!?
Of the baby animals, I am a fan, oh yes, it's true. Trolling the internets for pics and videos of little critters is a sure-fire way to de-stress and cheer myself up when I'm feeling blue. But my fondness for them is shared, I think; even the toughest among us melt a little when confronted with creatures.
But why and how we react so differently, and often, adversely, to cuteness and cuddly little animals is something I've been thinking about for awhile. It's a gut reaction, sure, but there are lots of smarty-intellectual reasons for it too. As I've been spending time in the gym, feeling a bit like a caged animal myself, I've been reading, in parts, John Berger's acute (pun intended, couldn't help myself) essay, here for you in PDF form: Why Look at Animals? It's a good follow-up to an ongoing internal dialogue that I've touched upon as I've introduced other animalia editions — including William Wegman's About Four Thirty, Charlie Crane's Panda and Colleen Plumb's work from Animals Are Outside Today — and as I've thought about works by artists I'd love to bring to 20x200 too, like Richard Barnes.
My point in all this is that we ARE animals, and it's sort of easy to forget that, living as we do in a world where our efforts are increasingly less physical. I am among the guiltiest in that regard (though, yes, the gym is becoming a habit — its absurdities are cause for a discussion of their own). But I've been thinking about Sharon's editions in particular lately because baby animals equal spring and Easter, and we've timed these editions to converge with those things.
And in the end, at the risk of sounding like a total cheezeball, I love the idea of hundreds of our collectors' homes having these images on their walls, because living with the prints can remind them, too, that, you know, they're living. And there's an irresistible levity to them — every home should have room for levity and laughter.
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