- May 2023
Segment comb cleaning - isopropyl alcohol (gentler solvent) - odorless mineral spirits - Lacquer thinner (maybe a bit too aggressive) - naphtha (lighter fluid) take care for flammability and ventilation
Work solvent into bearing between type bar and segment comb. To dry things out one can used compressed air when done or just air dry.
If sticking keys not due to being gummed up, bend portions slightly for better alighment.
Do not lubricate the segment comb.
Only lubricate the carriage rails when necessary.
Brass bristle or nylon bristle brushes (toothbrushes) can be used to clean the exterior of the typewriter and/or cases with mild detergents or other solvents. Depending on the finish, try the brush and solvent on a small portion to determine colorfastness and potential scratching first.
- Feb 2023
- Jan 2022
Moloney, C. (2021, December 30). Southern cancels London Victoria trains for two weeks over Covid. The Guardian. https://www.theguardian.com/uk-news/2021/dec/30/southern-cancels-london-victoria-trains-for-two-weeks-over-covid
- Mar 2021
metrolinx. (2020, November 19). How COVID has impacted transit – Metrolinx releases ridership map covering all GO Transit rail routes. Metrolinx News. https://blog.metrolinx.com/2020/11/19/how-covid-has-impacted-transit-metrolinx-releases-ridership-map-covering-all-go-transit-rail-routes/
- health crisis
- public transport
- Aug 2016
There was a culture then, almost a requirement, that one needed to build platforms and contexts (social or political) to support one’s thesis, and then material practice would follow. These issues were pressing, because by this time I had begun to teach at Cooper Union. I was negotiating between promoting a rigorous painting model and a new context—conversations with students and colleagues about contemporary art issues and institutional critique. So it was a very complicated time for me as an educator, to figure out how to insist on a conversation about painting rigor in relation to contemporary art. I continued to go the way that I needed to with my own work, both protecting it from the institutional framework and furthering my ideas about painting in school and in the studio—it was a tough, amazing time.