All posts by mainstreetarts

Meet the Artist in Residence: Cathy Gordon

Cathy Gordon is one of our current artists in residence at Main Street Arts. She is working on mixed media paintings and cut paper pieces during the month of June, 2017. We asked her a few questions about her artwork and studio practice.

Cathy Gordon working in her studio at Main Street Arts

Cathy Gordon working in her studio at Main Street Arts

Q: To start off, please you tell us about your background.
While I grew up on Air Forces bases across the United States and always created art, my love affair with art began when my parents divorced. My father moved to Chicago and my mother, my sisters, brother, and I moved to western Kansas. I know that sounds odd because you would not associate art with a small town in Kansas but it was a critical time in my life and as it happened the high school art teacher in that small town was a truly great art teacher (and a gifted artist in his own right!). I can’t begin to tell you how many of his students went on to become artists, art teachers, designers, photographers etc… He continues to mentor me to this day.

I went on to paint, draw, and print my way through the University of Kansas and I eventually obtained my Master of Fine Arts from Fort Hays State University, a small school in Kansas with an exceptional art program. Once again, I was fortunate that my drawing professor, who became an important mentor in my life, taught by example. She was a great artist and held her students to very high standards.

My experiences with these two great teachers made me realize that not only did I want to teach but I had to “walk the walk” for myself as well as my students. I knew my students needed to see me create art. I have taught full-time at the college level for twenty-five years and have always used an active studio approach to my classes.

CathyGordonCutPaper

Cut paper piece by Cathy Gordon

Q: How would you describe your work?
My work has always been influenced by mathematics, Constructivist design aesthetics, and classical subject matter but most recently I have been inspired by the book, Visual Complexity, Mapping Patterns of information, by Manuel Lima. I am currently working on a series of cut paper drawings and mixed media collages that use the connecting lines and coordinates of mapping. Each coordinate represents a person, encounter, event, or transpiring moment in my life. The lines soon became a metaphor for the transience of life and our congruence with one another.

Cathy's workspace in her studio

Cathy’s workspace in her studio

Q: What is your process for creating a work of art?
For me, the process of creating a work of art is ongoing. I can’t turn it on and off. I am constantly contemplating a work of art whether it is in its early stages or almost completed.  It is a little embarrassing to tell you this, but I lay in bed at night thinking about artwork that I am either struggling with or considering. There is no question that the most important aspect of creation is to listen. If you truly listen to the artwork it will guide you.

On a practical note regarding creativity, it is imperative that you work on this process every day. The best-case scenario is to be in the studio working every day but if that doesn’t happen you still need to have your head in your work whether it is searching for ideas, taking notes, journaling, or exploring. We all hit creative road blocks. I once had a teacher tell me that when I feel empty and I don’t think I have anything to give, pick up a pen and draw straight lines. Keep drawing the lines as a form of meditation and the next thing you know you will be drawing. It works!

"Pear With a Five", mixed media painting by Cathleen Gordon

“Pear With a Five”, mixed media painting by Cathy Gordon

Q: What are your goals for this residency?
A: There is no question that my main goal for this residency is to create and produce art. This residency is a gift. It is a such a joy to walk into the studio and not have any of my regular life demands trying to draw me away from the studio. I am usually pretty good at dedicating time to creating art everyday but to have all day, every day to work has been nothing short incredible.

Creativity is often nurtured through experience and the fact that I came here from Texas is in and of itself, an experience. I am calling my month here, “Zen and the Art of Art.” I am looking at art along the way, creating art in the studio, meeting new people, seeing new landscapes and just trying to absorb the experiences.

I am working on both painted mixed media and cut paper projects while I am at Main Street Arts and I am working on incorporated mapping and charting into the works.

Q: What’s next for you?
A: I am a drawing and painting professor by day and an artist by night. And while that will continue, I am changing the location. As soon as I get back to Texas I will be packing up and moving to a new college in Kansas where I have accepted a new position. The adventure continues!

Q: Where else can we find you?
A: Check out my website at cathleengordonart.com

View and purchase a selection of Cathy’s work at the gallery and in our online shop

From The Director: Alternative Photography at a glance

Installation shot of the exhibition

Installation shot of the exhibition

The idea for this exhibition came from wanting to show a different side of photography. More than an exhibition showing photos of places, people, and things (those are included, of course) but also a show about how these photographic images are physically made. By hand.

Having a background as a painter, graphic designer, and art educator before coming to Main Street Arts means that my connection to photography is not as a photographer. I use cameras regularly, have developed my own film, and have experienced the magic of the darkroom, both in high school and in college. I know the thrill of making a photograph by hand, if only on a small level. I was also an assistant to my father when he was a wedding photographer (I once dropped a roll of medium format film in the back of the church and instantly lost the images of the bride getting ready to get married—this is the horror of losing a photograph by hand). So, my connection to photography comes from a place of appreciation and of wonder. How do people capture such life and feeling in an image? Especially when you can’t review the shot you just took on a digital screen on the back of the camera.

John Coffer, shooting a plate on a cold December afternoon

John Coffer, shooting a plate on a cold December afternoon

This exhibition is an exploration of handmade photography. The various kinds of images featured fall under the “Alternative Process” heading (hence the very utilitarian title of this show!) and most harken back to a day before digital technology. The five artists featured in this exhibition represent various directions that can be taken when delving into an antique or vintage process.

“Cabbage and Gloves” photogravure and encaustic wax, by Pat Bacon

Even though this show is not meant to be a comprehensive overview of alternative process photography, each of the five artists brings something different to the exhibition. Some are staying as true to history as possible, like John Coffer with his “real-deal-ferrotype-tintypes”. At times, you could see one of John’s images and believe that you were looking at something that was made in the late 19th century. Others are going as far from history as possible, like Pat Bacon and her agricultural photogravure images. They were shot on her iPhone, printed using photopolymer plates, and buried in layers of encaustic wax.

"AND 2" by Romy Hosford (left) and "Seeing is Forgetting #3" by Jenn Libby

“AND 2″ by Romy Hosford (left) and “Seeing is Forgetting #3″ by Jenn Libby (right)

In an exhibition that is looking toward the historic with its feet planted in the contemporary, it is interesting to think about the work of both Jenn Libby and Romy Hosford. They both use memory and history as a vehicle to explore their own interests. In Romy’s salt prints and cyanotypes, she explores notions of metaphor, femininity, identity, and anxiety. While Jenn takes on the role of a documentarian, capturing bits of cultural ephemera and abstracting them through a wet plate collodion process. Asking us to reconsider the objects we are looking at in her work.

"On Looking Up, 3" by Ian Sherlock

“On Looking Up, 3″ by Ian Sherlock

Going back to the planning stages of this exhibition… I was visiting the annual Made in New York exhibition in April, 2016 at the Schweinfurth in Auburn and was struck by an abstract-leaning image of the sun and clouds, taken by a pinhole camera by Ian Sherlock. This image stuck with me for a while and was the inspiration for wanting to do a show on alternative processes. From there, it was figuring out how far down the rabbit hole I wanted to venture and it has truly been an educational experience for me.

Lastly, speaking of educational experiences, we have a tintype demo scheduled with John Coffer at the gallery on April 1st (no foolin’!). You can learn more, here. I hope that you can find the time to come and explore the work in this exhibition, it  runs through the end of March.

 

Call for Artists: 16th Annual Art Sale Benefiting Bethany House

Artists, are you looking for a way to do some good with your art? Consider donating your artwork to the 16th Annual Art Sale benefiting Bethany House!
 
The University of Rochester’s American Medical Women’s Association is hosting their 16th Annual Art Sale benefiting Bethany House, an emergency shelter for women and children. They’re seeking donations of art, gift cards, gift baskets, services, and more. Everything will be sold or auctioned with proceeds going to Bethany House. They are asking for donations to be received by Thanksgiving.
 
Work can be sent to:
University of Rochester School of Medicine and Dentistry
CACHED Office
601 Elmwood Ave, Box 601
Rochester, NY 14642
 
We will also be collecting artwork at Main Street Arts to deliver for donation! Stop by the gallery by Friday, November 18th with your donation and we’ll bring the work in for you. Please attach a business card or informational sheet with your name and contact information to your work, along with the suggested value of the item.
 
Click here for more information: Donation Request
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Letters

Letters inspire me, whether hand drawn or computer generated. Graffiti, elegant Copperplate, brush, pencil… I am obsessed with letters.

In June, I attended the International Calligraphy Conference, held in North Carolina (the next one will be in Utah). Participants choose either a week-long class or two half-week classes in everything from sign painting to Renaissance illumination.

I had the unparalleled honor of studying flourishing with Pat Blair, who serves as Chief Calligrapher at the White House. The saying goes, “If you can’t flourish, don’t prove it.” With Pat’s expert instruction and a few years of practice, I hope to prove that I can flourish!

As a lettering junkie, I’ve also studied with a number of highly-respected calligraphic artists – Julian Waters, John Stevens, Carl Rohrs, Mike Gold (Art Director at American Greetings), Peter Thornton & his talented wife Sherri, Reggie Ezell, and many more over the past 18 years. Each instructor, whether in a one-day workshop or a year-long intensive study, has contributed at least a nugget of inspiration. I am always anticipating my next “fix!”

Inside the Artist’s Studio with Kate Fisher

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I have been working on this body of work for over a year. Each piece involves several steps and these steps have evolved with time. I started by taking or finding photos. One of the fascinating things for me with this project has been meeting the people whom I have photographed. I usually introduce myself, show them what I am doing, and take some photos. Sometimes they share something of themselves, sometimes they say very little. Almost all of the people I have asked were very curious and willing to let me take their photograph.

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Using the photograph as reference, I then work on a contour/outline drawing. Since my very first drawing class, I have been fascinated by contour drawings. They seem related to haiku poetry. Good ones can say the most with limited lines or words. When I have gotten a drawing that I am pleased with, I use the Bernina sewing machine free motion stitch, and sew the drawing, sometimes adding texture, color or detail. Then I to go to the Genesee Book Arts Center and print the names of the figures using the Vandercook press. This involves looking through the antique wood type collection to find a font that works with my drawing. Then I go to the press where I set the type, proof the print and print the name on the stitched drawing.

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The final step is deciding which threads go and which stay. The threads are very important to these pieces. I feel that they not only add line and motion but they seem to really create a metaphor for the people I have met and stitched. They are changing, growing, and vital.

I am usually the only one to see the back of the stitched drawing. To me they are fascinating, messy and very lively, while still capturing the feel of the figures. I have included an example for you to see.

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People often ask me how long a figure has taken me to create. I never know how to answer this and mentioned it to an artist friend. She said that her response when asked that question is, “a lifetime.” Certainly that is true.


Stop by Main Street Arts to see Kate’s artwork in our current exhibition The Human Figure (runs through July 1). View her work online at www.blackbirdknits.com

Take a look at our previous Inside the Artist’s Studio blog post by painter Nate Hodge.

Inside the Artist’s Studio with Leslie Schomp

Schomp,Self-Portrait with Snake and Mouse

Schomp, “Self with Snake and Mouse”, 2015

As an artist I am interested in many subjects. Although it can sometimes be difficult in the studio to choose what I wish to work with or which direction to settle on, my work is at its best when I can layer these varied interests.  The piece included in this exhibit, Self-Portrait with Snake and Mouse is a cloth stitched sculpture and is inspired by many historical objects I was researching at the time.

William Bartram

William Bartram, Drawing, Natural History Museum Archives

In early 2015 I travelled to London to see the work of Maria Sibylla Merian, William Bartram and Mary Delany. Their 18th century works are drawings, paintings and collages that record their close observations of flowers, animals and insect interactions.  Their appeal for me was the balance between the violence of some of their subjects’ interactions and the exquisite use of composition and materials.  The work links science and art beautifully.

Maria Sybilla Merian,  From British Museum

Maria Sibylla Merian, From British Museum

This sculpture is part of a larger series that are self-portraits investigating animal behavior to gain self-awareness. The work often questions whether we project human traits onto animals or whether we are simply just alike. I investigate primary experiences shared by all, such as hunger, self-protection, fear, aging and love. I pursue how animal skins (chicken, elephant, horse, fox, snake, etc.) can translate into drawn line or sewn edges.

Snake,  Natural History Museum in London

Snake, Natural History Museum in London

I was able to view taxidermy at the Natural History Museum and historical and contemporary works in textiles at the Victoria Albert Museum, which also greatly impacted the ideas for this sculpture.

What I cannot see in museums, I research in books. Below is a photo of an anonymous Egyptian funerary portrait sculpture from the book Portraiture by Shearer West.  This was one of the largest influences on this work.

Anonymous, Portrait of a Woman, AD 190-220,

Anonymous, Portrait of a Woman, AD 190-220,

Schomp, Process

Schomp, Process: early parts of “Self with Snake and Mouse”

I am often asked why I use cloth instead of clay or wood.  As an artist I believe you find a material you want to grapple with.  It’s not something that is necessarily easy or available but something that perhaps you have a history with or an instinctual desire to pick up and wrestle with.  I have worked with cloth my whole life since I was a  child in a convent school in Ireland where we knitted, embroidered and quilted. I made my own dolls and clothing.  I find myself buying vintage textiles and clothing in antique stores.  I’m drawn to it’s ability to be flat or structural. Its connection to the body as something practical, ornamental, or sensual is of immense interest. Textiles are part of my own history.

Schomp, Process Shot of "Double Self-Portrait with Elephant Skin"

Schomp, Process Shot of “Double Self-Portrait with Elephant Skin”

My process is layering bundles of cloth together slowly until I reach the final form. The bundles get smaller as I arrive at the surface. The stitching on the surface is like drawing and are maps of how planes form. At times I use wire or wood for a support. Cloth acts like the body. The bundles are like organs and it can be stretched like skin. Its outer layers reveal the inner ones. It puckers, gathers, stretches and hangs. I use all kinds of cloth for it’s texture, color, weave, translucency, history, or meaning. These attributes often inspire my content or how I approach my subject matter. My work often hovers between the 2d and 3d worlds. My drawings are often objects and my sculptures often contain drawings on surface.

Schomp, Self-Portrait With Elephant Skin

Schomp, Self-Portrait With Elephant Skin, ink on paper

I also create drawings in ink to play with ideas and textures before I settle into a sculpture that may take 6 months to make such as Self-Portrait with Snake and Mouse.

I live in the country in Massachusetts. The landscape is a daily powerful visual in my life. As a gardener I am always struck by the heartache, fear, desire, violence and  beauty of the natural world.  These works are an investigation into how I see myself as part of and apart from nature.


Stop by Main Street Arts to see Leslie’s sculpture “Self-Portrait with Snake and Mouse” in our current exhibition The Human Figure (runs through July 1). View her work online at www.leslieschomp.com.

Take a look at our previous Inside the Artist’s Studio blog post by painter Robert Samartino.

Inside the Artist’s Studio with Paul Garland: TRIO – Three Related Painting Series

NON-OBJECTIVE ABSTRACTION

Modernist traditions of the 20th century have informed my art for many years and continue to do so. From large format watercolors on paper exhibited early in my career at the Everson Museum in 1981:

Everson Museum, 1981

Everson Museum, 1981

Everson Museum Triptych, 1981

Everson Museum Triptych, 1981

to smaller works recently presented at Axom Gallery in Rochester:

Axom Gallery, Rochester, NY

Axom Gallery, Rochester, NY

Paintings by Paul Garland at Axom Gallery, Rochester, NY

Paintings by Paul Garland at Axom Gallery, Rochester, NY

The rich core of modernist abstraction runs through my painting.

LANDSCAPE

I am fortunate to live and work in an beautiful geographical area. Fair Haven State Park is located only a few hundred yards from my home and studio in Fair Haven, N.Y.

When I retired from my teaching position at SUNY Oswego after thirty two years as a professor of art I had the opportunity to more fully appreciate the beauty of the park and began a routine of daily walks by the shore of Lake Ontario prior to starting work in the studio.

The more I walked the more fully I appreciated the beauty of the great lake, adjacent bay and pond, creek, hills, fields, animal life, woods. The ever changing  light and color effecting everything every day.

Soon I felt a strong desire to bring nature into my art practice. This ultimately lead to a series of landscape paintngs which are based on my direct observation of nature.

CONVERGENCE

The two works I am showing in FIFTY LANDSCAPES – This Is and This Remains – are part of a extended decade long series titled CONVERGENCE. The paintings from this series combine and juxtapose modernist abstraction with  specific landscape imagery I have experienced in the natural world.

THIS IS and THIS REMAINS

THIS IS and THIS REMAINS

THREE CONCURRENT PAINTING SERIES

For the past year my painting have primarily been focused on non-objective abstraction.

However my interest in nature and landscape painting continues.

OLYMPUS DIGITAL CAMERA

The  third series, CONVERGENCE, has been mostly in the planning stage rather than active painting in recent months. I anticipate a return in the near future to the series that combines non-objective abstraction and landscape painting.

OLYMPUS DIGITAL CAMERA

This  TRIO of three distinct painting series; Non-Objective Abstraction, Landscape Painting and Convergence reflect my strong personal interests and essential aesthetic and conceptual concerns. They constitute a rich, varied, and fulfilling studio practice.

Stop by Main Street Arts to see Paul’s artwork in our current exhibition, Fifty Landscapes (runs through May 13). View his work online at www.paulgarlandart.com. Paul will also be having a solo exhibition at Axom Gallery during the fall of 2016.

Take a look at our previous Inside the Artist’s Studio blog post by artist Lana Grauer.

Inside the Artist’s Studio with Carl Chiarenza

Representation, as I use the word, does not mean documentary of the natural, social world. It does not refer to specific times and places.  Representation refers to how photographic syntax allows and restricts–how it frames the visual transformation of what is seen from the vantage point of the camera’s lens.

Acropolis Revisited 300, 2010

Acropolis Revisited 300, 2010

I’m interested in how what is in front of my lens comes together into a new object–how the photograph causes a genuinely real but fresh experience which did not exist before its appearance. The word “representation” is about photography’s way of transforming the supposed reality of things, as opposed to photography reproducing or tracing the world. A photograph may be used to represent the unknown, the mysterious, or invisible as much as it may be used to represent the known and visible.  It can be used for both prose and poetry where metaphors may dominate the viewer’s response and second thoughts may override the immediate response.

A photograph presents both artist and viewer with a challenge, because we want to know the subject depicted–as if the photograph were not there.  For over 165 years an extraordinary number of forces have led us to believe photographs are windows on reality, even when reason tells us otherwise.  We share photos of our children and say “this is my daughter”, as if the photograph were not there. We fail to recognize that while a photograph is different from other kinds of pictures it is still a picture. Therefore, it is characteristically different from what was in front of the lens.

Untitled 297, 2010

Untitled 297, 2010

Instead of trying to hide photography’s special characteristics of transformation in an illusion of material reality, I try to expose and exploit them. I underline the fact that the viewer is seeing an abstraction, a picture rather than actual events, as in the pictures in this exhibition.  Of course, individual picturemakers and picture users have their own ways of transformation, and today’s digital tools just compound those possibilities.

A Carl Chiarenza photograph in Fifty Landscapes, the current exhibition at Main Street Arts

A Carl Chiarenza photograph in Fifty Landscapes, the current exhibition at Main Street Arts

Even without considering the digital revolution, the difference between photography and reality is central to my thinking.  In the case of the media photograph (For example, the widely published image issued by the Bolivian government as evidence of the capture and death of Che Guevera, 1960s revolutionary) this difference can have serious consequences for our understanding of political and social events. How can we know the true relationship between the photograph and the actual facts about Che? This is also seen in the ongoing debate over facts and images of events in the Middle East. The issue of difference in my work has an additional wrinkle: how to hold the viewer’s attention beyond the initial frustrating attempt to decipher “what it is”. The problem is how to get the viewer to abandon their belief in the photograph as window, to bring them through the window to a new and unique visual event rather than an illusion of one that already occurred.

My photographs are made from collages which I construct specifically to be photographed in black and white. This process creates form and subject simultaneously. The collages are means to an end and are discarded once the photographs are completed. The photographs do not look like the collages from which they were made. They are transformations which refer to and represent visual sensations which I know only from a mix of past encounters with other pictures, music, the world, dreams, and fantasies.

The studio and darkroom are like scientists’ laboratories.  Artist and scientist both tinker with the known in search of the unknown. Both have a desire to see realities never before seen.  That desire motivates my work. I set myself free to explore the  photographic picture potential of the process itself, encouraging chance, accident, and discovery.

Noumenon 148, 1987

Noumenon 148, 1987

As Albert Einstein said, “One of the most beautiful things we can experience is the mysterious… It is the source of all true science and art. He who can no longer pause to wonder is as good as dead.”

My commitment is to exploring how little we know compared to how much we think we know, and to how little we know compared to how much we feel.  To make photographs which could convey such enigmas is my continuing obsession.

Stop by Main Street Arts to see Carl’s artwork in our current exhibition, Fifty Landscapes (runs through May 13). View his work online at www.carlchiarenza.com. Take a look at our previous Inside the Artist’s Studio blog post by painter Meredith Mallwitz.

Prospectus: The Human Figure

 

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A call for traditional, stylized, and abstracted representations of the human figure. The goal of this exhibition is to present a cross section of figurative artwork currently being done across the country. Open to artists working in all media. This exhibition is open to all U.S. residents at least 18 years of age.

$1,000 in Cash Awards

Juror
Jonathan Binstock, director of Memorial Art Gallery in Rochester, NY

Important Dates
Submission Deadline: March 21, 2016
Notification: The week of April 11, 2016
Exhibition Dates: May 21–July 1, 2016
Opening Reception: Saturday, May 21, 4-7pm

Entry Fee
$25 for entry of up to 3 images.
$5 for each additional entry. Once entry is submitted, fees are non-refundable regardless of acceptance into the exhibition.

Images
All entries must be submitted electronically to mstreetarts@gmail.com. Judging will be done entirely from JPEGs. No other formats will be accepted. JPEGs must be 72 dpi, and 1200 pixels in largest direction. Maximum file size for any individual image is 3 MB.

JPEG images MUST BE labeled LAST Name_FIRST Name_The number that corresponds with that work’s placement in the Entry Email (1, 2, 3, etc.), for example: smith_jane_1.jpg, smith_jane_2.jpg, smith_jane_3.jpg

Image List/Information
Include the following in the body of your email in this order:
- Your Name
- Address
- Phone
- File Name (for each submission)
- Title, Medium, Size, Year  (for each submission)

Please title your email as follows, “YourFirstName YourLastName, Juried Show Submission”.

Insurance
Artwork will be insured against loss, damage, or theft while on gallery premises. Artists should insure work during shipping to and from the gallery.

Shipping
Artists will pay shipping to and from gallery, pay close attention to shipping dates after notification of acceptance.

Sales
All sales will be handled by gallery staff at Main Street Arts. The gallery retains 40% commission on all sales, please price your work accordingly.

Selected work
All entries must be of original design and personal execution. No reproductions. 2 Dimensional artwork must be ready to hang. Work on paper is to be suitable framed. Acceptable display of 3D work may be floor based, pedestal based, or wall mounted.

Entry must be able to fit through our front door, which measures 90″ x 39″. Artwork which differs greatly from submission images will not be accepted.

If the artwork is framed, the size given for works should be the framed size. Height must be given before width regardless of whether the work is a vertical or a horizontal. Entry information must be provided in full. Failure to follow instructions may result in the nullification of your entry.

Your payment will serve as your acceptance of the terms and conditions stated in this prospectus.

STEP 1: Submit Images and information by email to mstreetarts@gmail.com

STEP 2: Pay entry fee via PayPal (click here to view the PayPal button on our submission page)

Submission Checklist
_  Payment via PayPal
_  Images attached to email
_  Files named properly
_  Name and contact info in body of email
_  Image list included in body of email: File Name, Title, Media, Size, Year


About our Juror
 Jonathan P. Binstock is the Mary W. and Donald R. Clark Director of the Memorial Art Gallery, University of Rochester. He was formerly Senior Vice President for Modern and Contemporary Art in the Art Advisory & Finance group of Citi Private Bank. At Citi he worked with clients and their families in the US and abroad to build personal art collections, and assessed the quality and value of $1+ billion worth of artworks in the Bank’s art lending program. He joined Citi after more than a decade of curatorial work in museums. An expert in art of the post-WWII era, prior to Citi he was Curator of Contemporary Art at the Corcoran Gallery of Art in Washington, DC, and Assistant Curator at the Pennsylvania Academy of the Fine Arts in Philadelphia.

Dr. Binstock earned a Master’s degree and PhD in art history from the University of Michigan, Ann Arbor, and has taught art history at the University of Michigan and the University of Pennsylvania. He lectures regularly in graduate seminars on art and cultural criticism at Columbia University. In July 2015 Dr. Binstock completed a residency at the Getty Leadership Institute at Claremont Graduate University.

Dr. Binstock is the author and/or curator of, among other books and exhibitions, Dan Steinhilber: Marlin Underground (2012); Sam Gilliam: A Retrospective (2005); Atomic Time: Pure Science and Seduction (2003), which featured art by Jim Sanborn; the 47th (2002) and 48th (2005) Corcoran Biennials; Andy Warhol: Social Observer (2000); two exhibitions devoted to the late and influential artist Jeremy Blake (2000 and 2007); and, most recently, Meleko Mokgosi: Pax Kaffraria, published by the Hammer Museum, UCLA (2014). He is a peer reviewer for the US General Services Administration Percent-for-Art Art in Architecture Program, a scholarly consultant for the Visual Art Gallery of the Smithsonian National Museum of African American History and Culture, a member of the Association of Art Museum Directors, and of the Board of Trustees of the American Federation of Arts.

Combining Monoprint and Collagraph with Barbara McPhail

Print by Barbara McPhail

Print by Barbara McPhail

Combining Monoprint and Collagraph with Barbara McPhail

In this four session course, you will combine two printmaking techniques (monoprint and collagraph) to make expressive original prints. A variety of materials are used along with printmaking inks to create a unique image. No experience is required, all materials are provided. Call, email, or stop in to the gallery to sign up today!

Saturdays 12–3pm: November 7, 14, 21, and December 5
$100 for four sessions

Print by Barbara McPhail

Print by Barbara McPhail