[ skip to content ]

East/West: A Survey of Contemporary Printmaking

  • Treelee MacAnn, Changing Patterns, photopolymer plate intaglio type
  •  Matthew Egan, Amlia and Irene, archival pigment
  •  Jane Kent, Double Take, mezotint
  •  Ken Daley, A Tale of Generosity, relief and typeset
  •  Ralph Slatton, Goya's Rabbits, etching, aquatint
  •  Jim Bryant, Temple of the Good Harvest, Woodcut

Oct 19th - Nov 25th, 2012 -

Oct 19- Nov. 25                East/West: A Survey of Contemporary Printmaking       

Opening reception Friday Oct. 19 7 - 9 p.m.

The "East/West: A Survey of Contemporary Printmaking" reflects and celebrates the diversity of printmaking practice and education in the United States.  Organizers asked 100 of the most prominent printmakers/educators to embrace their current image making techniques and conceptual concerns. The result is a portfolio of prints that are diverse in image.  These artists embrace tradition as well as alternative in printmaking techniques found in lithography, intaglio, woodcut, silkscreen, archival pigment, hybrid, intaglio types, and photo-relief prints.

The artists were chosen based on their distinguished careers as both artists and teachers.  They practice the art of printmaking derived from the tradition of "the artist/teacher in residence" as developed by many major Midwest universities in the 1960's. This portfolio celebrates these artists as innovators, for their continued development of the printmaking medium and their own unique artistic visions. These printmakers have had and continue to have dramatic impacts on printmaking education, their institutions and printmaking workshops.

This article was posted on: October 19, 2012

JAN. 24 – MARCH 8
The World Outside
Brooklyn painters Matthew F Fisher and Ryan Schneider address humanity’s complex relationship to nature. They construct images of sun and moon, sea and sky, and plant and animal, using both tranquil acrylic and tempestuous oil. Calling their divergent approaches “post plein air” and sharing an ambition to paint time “unobstructed,” Fisher and Schneider depict nature as an objective reality, a cultural construction, and a subjective feeling.