12th Biennial International Miniature Print Exhibition 2019
Our mission is to support, preserve, and advance the art of original prints. The Center for Contemporary Printmaking is a nonprofit workshop and gallery recognized by the Internal Revenue Service as a 501(c)(3) organization.
Mathews Park 299 West Ave Norwalk, CT 06850 203.899.7999 info@contemprints.org www.contemprints.org
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2018 INTERNATIONAL FOOTPRINT EXHIBITION
12th Biennial International Miniature Print Exhibition JUNE 2 - SEPTEMBER 1, 2019
TABLE OF CONTENTS
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Juror’s Statement
5 - 55
List of Accepted Artists
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Index of Artists
54 - 57
Glossary of Printmaking Terms
58
About CCP
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Purchase Award Sponsors
2019 INTERNATIONAL MINIPRINT EXHIBITION
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JUROR’S STATEMENT
TOMAS VU- DANIEL
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I’d like to begin by stating that it was a difficult task in trying to decide which prints to choose for my submissions. The aspect I looked for was ingenuity. I wanted to see that the artist had taken the time to be creative within the constraints of the project. Second I looked for technical printmaking proficiency in the making of the prints. I wanted to see that the artist had a knowledgeable command of the technique they used to accomplish the print. Lastly I was looking for humor inside the 2 x 2 inch image. In order to pull off an image of such small size I believe that the artist had to have a bit of a sense of humor even if the subject matter depicted was of a serious matter. If these three criteria were all met I added the print to my final cut.
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Tomas Vu-Daniel received a BFA from the University of Texas, El Paso, and went on to earn an MFA from Yale University. He has been a professor at Columbia University School of the Arts since 1996, when he helped found the LeRoy Neiman Center for Print Studies. In 2000, he was appointed the LeRoy Neiman Professor of Visual Arts. Since its inception, Vu-Daniel has served as Director/Artistic Director of the Neiman Center. Vu-Daniel has exhibited nationally and internationally and has had solo museum shows in Japan, Italy, China, and Vietnam. Vu-Daniel currently lives and works in New York City.
12th Biennial International Miniature Print Exhibition
Christine S. Aaron (132) New York Canyon, 2017 Monotype 1x4 $75
Linda Adato (52) New York Upstairs, 2019 Etching and aquatint Ed. of 30 2 3/8 x 1 3/8 $75
Christine S. Aaron (132) New York Wave Pool, 2017 Monotype 1x4 $75
Linda Adato (52) New York Columns & Curves, 2019 Etching and aquatint Ed. of 30 2 3/8 x 1 3/8 $75
Linda Adato (52) New York Under the Bridge, 2018 Etching and aquatint Ed. of 30 1 3/8 x 2 3/8 $75
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Karen Adrienne (45) Maine Eyechart, 2015 Intaglio, Ed. of 6 2x2 $95
Michael Arike (65) New York City Colors, 2015 Aquatint, Ed. of 50 2 1/2 x 1 1/2 $100 Juror Award
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Kayla Alvarado (10) Connecticut Adrift, 2018 Aquatint, Ed. of 4 2 3/8 x 1 1/2 $40 Honorable Mention
Michael Arike (65) New York Shadows in Siena, 2008 Aquatint, Ed. of 50 2x2 $100 Juror Award
2019 INTERNATIONAL MINIPRINT EXHIBITION
Kayla Alvarado (10) Connecticut Mondays, 2018 Etching and aquatint Ed. of 7 1 3/4 x 2 1/4 $40 Honorable Mention
Michael Arike (65) New York Waiting, 2009 Aquatint, Ed. of 50 2x2 $100 Juror Award Renaissance Graphic Arts Award
Ruth Barrett-Danes (25) United Kingdom Laura, 2019 Collagraph and drypoint Ed. of 50 2x2 $60 Honorable Mention
Ruth Barrett-Danes (25) United Kingdom Hester, 2019 Collagraph and drypoint Ed. of 5 2x2 $60 Honorable Mention
Ruth Barrett-Danes (25) United Kingdom Happy Henry, 2019 Collagraph and drypoint Ed. of 5 2x2 $60 Honorable Mention Evolon Prize
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Bing (Marian Bingham) (69) Connecticut Vanishing, 2019 Solarplate etching 1x4 $70
Katie Bruce (140) Canada A Tender Fatigue, 2018 Etching, drypoint and aquatint, Ed. of 17 1x1 $130 Honorable Mention
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Katie Bruce (140) Canada To Wane, 2018 Etching, drypoint and aquatint, Ed. of 17 1/2 x 1 1/4 $130 Honorable Mention
Sadie Burge (46) Georgia Hive (Red & Blue), 2019 Drypoint 2x2 $40
Ewa Carlsson (101) Sweden Twitter I, 2019 Screenprint, Ed. of 3 2x2 $80
Diane Cherr (41) New York Lush 1, 2019 Collagraph monoprint 2x2 $100 Honorable Mention
Diane Cherr (41) New York Lush 3, 2019 Collagraph monoprint 2x2 $100 Honorable Mention Greystone/Evolon Award
Diane Cherr (41) New York Lush 4, 2019 Collagraph monoprint 2x2 $100 Honorable Mention
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Debra Claffey (50) New Hampshire Night Bloomer #1, 2019 Linoleum cut monoprint 2x2 $50
Dorothy Cochran (64) New Jersey Layer, 2019 Silk aquatint, Ed. of 5 2x2 $60 Honorable Mention
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Dorothy Cochran (64) New Jersey Submerge, 2019 Silk aquatint, Ed. of 5 2x2 $60 Honorable Mention
Dorothy Cochran (64) New Jersey Drop, 2019 Silk aquatint, Ed. of 5 4x1 $60 Honorable Mention
Jane Cooper (17) New York Night Waltz, 2019 Monotype 1 1/2 x 2 1/2 $120
Jane Cooper (17) New York Gathering, 2019 Monotype 2x2 $120
Jane Cooper (17) New York Reverie, 2019 Monotype 2x2 $120
Marina Daneva (81) Connecticut Curves, 2019 Monoprint 2x2 $80 Honorable Mention
Marina Daneva (81) Connecticut Curves 2, 2019 Monoprint 2x2 $80 Honorable Mention
Marina Daneva (81) Connecticut Curves 3, 2019 Monoprint 2x2 $80 Honorable Mention
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Viviane De Kosinsky (20) Virginia Cinema, 2015 Etching, Ed. of 50 2x2 $135 Juror Award
Anne Desmet (97) United Kingdom Manhattan, 2019 Wood engraving with chine collé, Ed. of 20 4x1 $199
Viviane De Kosinsky (20) Virginia Crumb, 2015 Etching, Ed. of 50 2x2 $135 Juror Award Gamblin Artist’s Colors Award
Viviane De Kosinsky (20) Virginia Summer, 2017 Etching, Ed. of 40 2x2 $135 Juror Award
Anne Desmet (97) United Kingdom Hudson, 2019 Wood engraving with chine collé, Ed. of 20 2 x2 $199
Anne Desmet (97) United Kingdom Chrysler, 2019 Wood engraving with chine collé, Ed. of 20 1 x 3 5/8 $199
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Grainne Dowling (73) Ireland Kinvara, 2019 Etching 2x2 $120
Grainne Dowling (73) Ireland Kinvara II, 2019 Etching 2x2 $120
James T. Dormer (38) Colorado Walden XI, 2019 Lithograph, AP 2x2 $125
Melanie Dorson (104) California Little Hauntings I, 2019 Etching and aquatint with chine collé, Ed. of 6 2x2 $65
Melanie Dorson (104) California Little Hauntings II, 2019 Etching and aquatint with chine collé, Ed. of 6 2x2 $65
James T. Dormer (38) Colorado Salem, 2019 Lithograph, AP 2x2 $125
2019 INTERNATIONAL MINIPRINT EXHIBITION
Katharine Draper (61) Connecticut Tapestry 1, 2019 Monotype 2 1/2 x 1 1/2 $40
Katharine Draper (61) Connecticut Tapestry 2, 2019 Monotype 2x2 $40
Carol Dunn (134) Connecticut Beach Path, 2017 Photopolymer intaglio Var. Ed. of 50 2 3/8 x 1 5/8 $70
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Carol Dunn (134) Connecticut Early Light, 2018 Photopolymer intaglio Var. Ed. of 75 1 3/4 x 2 1/4 $70
Katharine Draper (61) Connecticut Tapestry 3, 2019 Monotype 2 1/2 x 1 1/2 $40
Carol Dunn (134) Connecticut Lure #2, 2019 Photopolymer intaglio Var. Ed . of 60 3 1/4 x 1 1/4 $70
Agata Dworzak-Subocz (139) Poland Space-9841, 2019 Digital print, Ed. of 10 2x2 $50
Jarold Eastman (110) Connecticut Tranquilize, 2019 Etching, Ed. of 18 2x2 $50
Agata Dworzak-Subocz (139) Poland Space-9838, 2019 Digital print, Ed. of 10 2x2 $50
Agata Dworzak-Subocz (139) Poland Space-9839, 2019 Digital print, Ed. of 10 2x2 $50
Daniela Ercolini (137) Italy Magia, 2019 Drypoint, carborundum and collagraph, Ed. of 5 2 3/8 x 1 5/8 $70
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Emily Eckel (4) Pennsylvania Blue vs Red A, 2019 Monotype 2x2 $50
Lisa Flynn (39) Massachusetts Two, 2019 Monotype 2x2 $75
Sheila M. Fane (79) New York Paradise Island, 2019 Drypoint and collage 2” diameter $80
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Sheila M. Fane (79) New York The Great Wave, 2019 Drypoint and collage 2” diameter $80
Cindi Ford (40) Michigan It is I, 2019 Wood engraving, Ed. of 3 2 1/4 x 1 5/8 $50 Honorable Mention
Cindi Ford (40) Michigan It is II, 2019 Wood engraving, Ed. of 3 2 1/4 x 1 5/8 $50 Honorable Mention
Cindi Ford (40) Michigan It is III, 2019 Wood engraving, Ed. of 3 2 3/4 x 1 5/8 $50 Honorable Mention
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Elizabeth Forrest (105) Canada Curving Road, 2019 Moku hanga, Ed. of 5 4x1 $100
Elizabeth Forrest (105) Canada Rippling Branches, 2019 Moku hanga, Ed. of 5 4x1 $100 Laure Gervaisee (118) Belgium The Space Between 2019 Embossing 4x1 $63
Sally Frank (96) New York Pine, 2019 Linoleum cut, Ed. of 5 2x2 $95
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Sam Gilliland (82) New York Oops: Sour Patch, 2019 Screenprint monoprint 1x4 $95
Allan Greenier (88) Connecticut Untitled B, 2019 Aquatint and screenprint AP 2 1/16” diameter $400
Jen Greely (43) Connecticut Mending XIII, 2019 Collagraph with chine collé 1 3/8 x 2 1/2 $100
Allan Greenier (88) Connecticut Untitled C, 2019 Etching and screenprint AP 2x2 $150
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Mari Gyorgyey (7) Connecticut Pop Devil, 2019 Etching 2x2 $180
Mari Gyorgyey (7) Connecticut Tom’s World, 2019 Mixed media 2x2 $125 Angela Hennessey (147) Canada Cat Nap, 2017 Lithograph, API 1 1/4 x 3 $50
Jack H. Hellaby (129) Florida Breakfast, 2019 Monotype with gold leaf and chine collé Var. Ed. of 8 2” diameter $75
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Angela Hennessey (147) Canada Raven, 2019 Lithograph and collagraph, Ed. of 5 1 3/8 x 3 $65
Ingeborg Jürgensen Hiscox (146) Canada Finland I, 2019 Linoleum cut with collage 1x4 $75
Ingeborg Jürgensen Hiscox (146) Canada Finland II, 2019 Linoleum cut with collage 1x4 $75
Ingeborg Jürgensen Hiscox (146) Canada Finland III, 2019 Linoleum cut with collage 1x4 $75
Holly Hawthorn (75) Connecticut Moss, 2019 Drypoint monoprint 4x1 $75
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Melissa Holmes (67) Georgia Ebb, 2019 Photopolymer intaglio, Ed. of 3 2 3/8 x 1 5/16 $75
Melissa Holmes (67) Georgia Flow, 2019 Photopolymer intaglio, Ed. of 3 2 3/8 x 1 5/16 $75
Jeff Huckeby (49) Texas A.I. Redux #31, 2019 Relief print with hand coloring, Ed. of 7 1 1/4 x 3 $47
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2019 INTERNATIONAL MINIPRINT EXHIBITION
William Howard (130) Illinois Conflict #3, 2019 Lithograph 2x2 $50
Nicki Holt (148) United Kingdom Mountain Castle, 2019 Etching, AP 2x2 $65
Nicki Holt (148) United Kingdom Tiny Seahorse, 2019 Etching, 2x1 $70
Ursula Hülsewig (150) Germany Holy Mountain, 2019 Intaglio, Ed. of 30 2x2 $60 Honorable Mention
Eeva Huotari (122) Finland A True Friend, 2019 Etching and aquatint Ed. of 50 1 1/2 x 2 $40 Honorable Mention
Ursula Hülsewig (150) Germany Snowed Hills, 2019 Intaglio, Ed. of 30 2x2 $60 Honorable Mention
Eeva Huotari (122) Finland Sleeping Buddy, 2019 Etching and aquatint Ed. of 50 2 x 1 1/2 $40 Honorable Mention
Ursula Hülsewig (150) Germany Coast, 2019 Intaglio, Ed. of 30 2x2 $60 Honorable Mention
Roxane Hynek (94) Massachusetts Seated Woman, 2019 Monotype 2x2 $95
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Nina Jordan (131) New York Dark Money, 2019 Woodcut, Ed. of 4 1 x 2 3/8 $50
Selina Karim (92) Colorado Dispersion, 2019 Intaglio, AP 2x2 $150
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Nina Jordan (131) New York Voter Suppression 2019 Woodcut, Ed. of 4 1 3/4 x 2 5/16 $50
Kane (Sasha Meinck) (12) Connecticut Bucket I, 2018 Etching, AP 4x1 $100
Kane (Sasha Meinck) (12) Connecticut Bucket II, 2018 Etching, Ed. of 3 4x1 $100
Pauline Kinahan (144) Ireland Balls III, 2019 Drypoint, Ed. of 10 2x2 $50
Margaret Mannion Kallen (83) Ireland Singer, 2019 Etching, Ed. of 5 2 x 1 3/4 $80 Honorable Mention
Maggie Kitching (51) United Kingdom Lamb, 2019 Etching, Ed. of 20 2x2 $60
Maggie Kitching (51) United Kingdom Key Workers, 2019 Etching, Ed. of 20 2x2 $60
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Clive Knights (116) Oregon Moonlight, 2019 Monotype 2x2 $99
Clive Knights (116) Oregon Acropolis, 2019 Monotype 2x2 $99
Katherine A. Laird (60) Canada Le bibelot I, 2019 Photo lithograph, Ed. of 2 2x2 $75 Honorable Mention
Katherine A. Laird (60) Canada Le bibelot II, 2019 Photo lithograph, Ed. of 2 2x2 $75 Honorable Mention
2019 INTERNATIONAL MINIPRINT EXHIBITION
Clive Knights (116) Oregon Interstices, 2019 Monotype 2x2 $99
Katherine A. Laird (60) Canada Le bibelot III, 2019 Photo lithograph, Ed. of 2 2x2 $75 Honorable Mention
Joan E. Lane (72) New York Jasper, 2019 Monotype 2x2 $100
Joan E. Lane (72) New York Sailing Weather, 2019 Monotype 2x2 $100
Lynne Lederman (90) New York By The Thames, 2019 Drypoint monoprint Ed. of 8 1 1/2 x 2 5/8 $50 Adrienne Lederman (106) Massachusetts Blue Crane, 2012 Etching and aquatint Ed. of 25 2x2 $95
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Jaehyang Lee (152) Canada A Lotus, 2019 Lithograph, Ed. of 3 2x2 $100
Dawn Leone (95) New York Land of Ice and Snow 2019 Woodcut, Ed. of 6 2x2 $85 Juror Award
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Channing Lefebvre (15) New York Playbox, 2019 Intaglio, Var. Ed. of 9 4x1 $250
Dawn Leone (95) New York Breidarlon, 2019 Woodcut, Ed. of 7 2x2 $85 Juror Award
Dawn Leone (95) New York Jokulsarlon, 2019 Woodcut, Ed. of 7 2x2 $85 Juror Award McClain’s Printmaking Award
Eugenie Lewalski Berg (33) Massachusetts Gorge, 2019 Moku hanga, Var. Ed. of 8 2 5/8 x 1 1/2 $125 Honorable Mention
Eugenie Lewalski Berg (33) Massachusetts River, 2019 Moku hanga, Ed. of 9 2x2 $125 Honorable Mention
Suzanne Lewis (119) Rhode Island Raspberry Glaze, 2019 Pochoir, Ed. of 2 2x2 $65 Honorable Mention
Suzanne Lewis (119) Rhode Island Lemon Chiffon, 2019 Pochoir, Ed. of 2 2x2 $65 Honorable Mention
Eugenie Lewalski Berg (33) Massachusetts Mesa, 2019 Moku hanga Var. Ed. of 9 2 5/8 x 1 1/2 $125 Honorable Mention
Suzanne Lewis (119) Rhode Island Light Mocha, 2019 Pochoir, Ed. of 2 2x2 $65 Honorable Mention
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Lenny Librizzi (66) New York Etna Christmas, 2019 Mezzotint, Ed. of 25 1 3/4 x 2 $50
Inna Linov (44) Connecticut At the Museum, 2019 Linoleum cut monoprint, Ed. of 10 2x2 $150
Judith H. Long (93) Maine Bargello, 2018 Relief solarplate, Ed. of 6 2x2 $90
Judith H. Long (93) Maine Bargello 2, 2018 Relief solarplate 2x2 $90
2019 INTERNATIONAL MINIPRINT EXHIBITION
Judith Lockie (123) United Kingdom Standing Still, 2019 Woodcut, Ed. of 25 1 1/2 x 2 5/8 $88
Judith H. Long (93) Maine Bargello 4 , 2018 Relief solarplate 2x2 $90
Bernadette Madden (102) Ireland Day, 2019 Screenprint, Var. Ed. of 5 1 5/8 x 2 1/4 $70
Patricia Shaw Lima (91) Pennsylvania Insetto, 2019 Linoleum cut with chine collé 2x2 $65
Margaret McCloughlin (151) Ireland Blue Bay, 2019 Etching, Ed. of 10 2 1/2 x 1 1/2 $50
Caroline Sheriden Loose (108) Maine Grounded, 2019 Collagraph with chine collé 2x2 $50
Margaret McCloughlin (151) Ireland Orange Window, 2019 Etching, Ed. of 10 2 1/2 x 1 1/2 $50
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Stephen Menon (142) Malaysia Evil of Racism, 2019 Screenprint, Ed. of 7 2x2 $80
Stephen Menon (142) Malaysia Evil of War, 2019 Screenprint, Ed. of 7 2x2 $80
Stephen Menon (142) Malaysia Evil of Poverty, 2019 Screenprint, Ed. of 7 2x2 $80
Cynthia Millionis (63) California Untitled 1, 2019 Mixed media monoprint 2x2 $85
2019 INTERNATIONAL MINIPRINT EXHIBITION
Emmanuel Monzies (3) France Reconstruction 3x3-1 2019 Monotype 2x2 $75
Emmanuel Monzies (3) France Reconstruction 3x3, 2019 Monotype 2x2 $75
Emmanuel Monzies (3) France Reconstruction 2x4, 2019 Monotype 2x2 $75
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Craig A. Morgan (62) Washington Tethered Gyre, 2019 Etching, Ed. of 32 2x2 $80
Craig A. Morgan (62) Washington Gyre Rising, 2019 Etching, Ed. of 32 2x2 $80
Craig A. Morgan (62) Washington Winged Gyre, 2019 Etching, Ed. of 32 2x2 $80
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Meaghan Morrow (37) Connecticut Fluorescence, 2019 Mezzotint 2 1/2 x 1 1/2 $75
Barbara Neu (22) Maryland Prop 1, 2018 Etching, Ed. of 4 3x1 $75
Meaghan Morrow (37) Connecticut Billiards, 2019 Mezzotint 2x2 $75
James Mullen (6) New York Rose, 2019 Engraving monoprint, AP 2x1 $75
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Gunnar Nilmén (112) Sweden Departure, 2019 Carborundum aquatint etching, Ed. of 10 2 3/4 x 1 1/4 $50
Gunnar Nilmén (112) Sweden Blue, 2019 Etching and aquatint Ed. of 10 2 3/4 x 1 1/4 $50
Gunnar Nilmén (112) Sweden In Between, 2019 Aquatint, etching and drypoint, Ed. of 10 2 1/2 x 1 1/2 $50
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Malgorzata Oakes (24) New York Blue Landscape, 2019 Etching and aquatint Ed. of 20 2x2 $100
Thom O’Connor (29) New York SP 10, 2019 Photogravure, Ed. of 40 1 1/4 x 2 1/2 $60
Malgorzata Oakes (24) New York Lemon, 2019 Mezzotint, Ed. of 20 2x2 $100
Elena Obelenus (58) Rhode Island Lyrical Garden #1, 2019 Photopolymer intaglio, Ed. of 6 4x1 $95
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Chiaki Ogawa (117) Japan Tokii, 2019 Etching, Ed. of 20 2x2 $30
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Chiaki Ogawa (117) Japan Kumo, 2019 Etching, Ed. of 20 2x2 $30
Chiaki Ogawa (117) Japan Ame, 2019 Etching, Ed. of 20 2x2 $30
Heidi Palmer (18) Connecticut Studio, 2019 Solarplate 2x2 $75
Kathie Pettersson (26) Sweden Black Radish, 2019 Etching 2x2 $80
Kathie Pettersson (26) Sweden Ball, 2019 Etching 2x2 $80
Kathie Pettersson (26) Sweden Net, 2019 Etching 2x2 $80
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Pierre Philippe (31) France Totems I, 2019 Milling and burin on plexiglas, Ed. of 25 2 1/4 x 1 1/2 $34 Juror Award Graphic Chemical & Ink Co. Award
Pierre Philippe (31) France Totems II, 2019 Milling and burin on plexiglas, Ed. of 25 2 1/4 x 1 1/2 $34 Juror Award
Pierre Philippe (31) France Petite Famille, 2019 Etching and aquatint Ed. of 25 2 1/4 x 1 1/2 $34 Juror Award 40
2019 INTERNATIONAL MINIPRINT EXHIBITION
Matthew Presutti (113) Wisconsin Cloud #1, 2019 Engraving, Ed. of 2 2x2 $10 Honorable Mention
DeAnn L. Prosia (5) New Jersey Farmer Nate, 2003 Etching, Ed. of 40 2 x 1 3/4 $70 Juror Award
DeAnn L. Prosia (5) New Jersey Betty, 2003 Etching, Ed. of 40 1 3/4 x 1 3/4 $70 Juror Award Speedball Art Award
Matthew Presutti (113) Wisconsin Cloud #2, 2019 Engraving, Ed of 2 2x2 $10 Honorable Mention
Matthew Presutti (113) Wisconsin Untitled, 2019 Engraving, Ed. of 2 2 1/2 x 1 1/2 $10 Honorable Mention
DeAnn L. Prosia (5) New Jersey Sarah, 2003 Etching, Ed. of 60 1 3/4 x 1 3/4 $70 Juror Award
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Sharon Reeber (55) Missouri Raven on a Stormy Night 2, 2019 Monoprint 2x2 $95
Fiona Rimmer (149) United Kingdom Marloes, 2019 Etching, Ed. of 100 2x2 $45
Stephanie Regen (59) New Jersey Progeny, 2019 Collagraph 2x2 $125
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Stephanie Regen (59) New Jersey The Matriarch, 2019 Collagraph 2x2 $125
Diane Castonguay Rosati (28) Canada Raven, 2018 Mezzotint, Ed. of 30 1 1/2 x 2 1/4 $250
Gervasio Robles (56) South Africa Spell Cast, 2018 Engraving with chine collé, Ed. of 20 1 5/8 x 2 1/2 $40
Gervasio Robles (56) South Africa Nymph Charm, 2018 Engraving with chine collé, Ed. of 20 1 5/8 x 2 1/2 $40
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Maria Santiago (115) Minnesota Eclipse 2, 2019 Mixed media with embossing 3 x 1 1/3 $150
Ashley L. Schick (47) Georgia Hello There, 2019 Drypoint, Ed. of 4 2x2 $35
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Maria Santiago (115) Minnesota Eclipse 3, 2019 Mixed media with embossing 3 x 1 1/3 $150
Janet Scabrini (127) Connecticut Jeans House, 2019 Digital print, Ed. of 3 2 3/8 x 1 1/2 $75
Wendy Shalen (133) New York Mom at 101, 2017 Drypoint, AP 2x2 $100
Christopher Shore (42) New York Darby, 2018 Cardboard engraving Ed. of 9 2 x 1 3/4 $60 Juror Award
Christopher Shore (42) New York Year of the Pig, 2019 Etching, Ed. of 19 2 1/4 x 1 1/2 $55 Juror Award
Nomi Silverman (32) Connecticut Figure 1, 2019 Intaglio, Ed. of 11 2x2 $70
Christopher Shore (42) New York Matter, 2019 Etching, Ed. of 11 2 x 1 5/8 $55 Juror Award Jerry’s Artarama Award
Nomi Silverman (32) Connecticut Figure 2, 2019 Intaglio, Ed. of 10 2 3/8 x 1 1/2 $70
Christopher Shore (42) New York Van, 2019 Etching and engraving Ed. of 10 1 3/4 x 2 $55 Juror Award
Nomi Silverman (32) Connecticut Figure 3, 2019 Intaglio, Ed. of 9 2x2 $70
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Katrin Smith (76) Canada Godson, 2019 Solarplate intaglio Ed. of 3 2x2 $65
Mike Sonnichsen (111) Idaho Mini-Curl 1, 2019 Lego letterpress with chine collé, AP 2x2 $80
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Katrin Smith (76) Canada Fogo Island Inn, 2019 Solarplate intaglio Ed. of 3 2x2 $65
Mike Sonnichsen (111) Idaho Mini-1:4 #1, 2019 Lego letterpress with chine collé, AP 2 1/2 x 1 1/2 $80
Katrin Smith (76) Canada Western Brook, 2019 Solarplate intaglio Ed. of 3 2x2 $65
Mike Sonnichsen (111) Idaho Mini-1:4 #2, 2019 Lego letterpress with chine collé, AP 2 1/2 x 1 1/2 $80
Kristen Struebing-Beazley (100) Massachusetts Knotted 3, 2019 Etching 2x2 $40
Roger Sutcliffe (53) Canada Red in the Face, 2019 Electro etching, Ed. of 3 2x2 $50
Valerie Syposz (74) Canada Purple Fence, 2019 Linoleum cut and Woodcut Ed. of 7 2x2 $75 Juror Award Awagami Paper Award
Valerie Syposz (74) Canada Orange Fence, 2019 Woodcut, Ed. of 8 2x2 $75 Juror Award
Valerie Syposz (74) Canada Green Fence, 2019 Woodcut, Ed. of 8 2x2 $75 Juror Award
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Marjorie Tomchuk (27) Connecticut Surge, 2019 Monoprint embossing with marbling 2 x 1 1/2 $50
Melinda Green Tepler (89) New York Moon Goddess, 2019 Photopolymer intaglio Ed. of 4 1 3/4 x 2 1/8 $50 Honorable Mention
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Adeline Tousignant (13) Connecticut Miss American Fly, 2018 Aquatint, Ed. of 8 1x1 $40
Melinda Green Tepler (89) New York Open Flower, 2019 Photopolymer intaglio Ed. of 4 2 1/4 x 1 3/4 $50 Honorable Mention
Will Tuthill (103) Virginia Cozy Corner, 2017 Lithograph, Ed. of 25 2 7/16 x 1 9/16 $95
Melinda Green Tepler (89) New York Showing Off, 2015 Etching monoprint 2x2 $70 Honorable Mention
Lara Vaienti (30) Italy Prejudices, 2019 Lithograph with collage 2x2 $150
Heather Urness (120) Canada After Bonnyville, 2019 Solarplate, Ed. of 5 2x2 $75
Alexandra Vatis (86) New York Bad Dreams, 2019 Collagraph, Ed. of 2 2 1/2 x 1 1/2 $70
Heather Urness (120) Canada Heart, 2019 Solarplate intaglio Ed. of 5 1 1/2 x 2 1/2 $75
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Margarita Vatis (87) New York Blaue, 2019 Photopolymer intaglio 1 1/2 x 2 1/12 $50 Honorable Mention
Mitchell Visoky (84) New York A Moment’s Impression I, 2019 Silkscreen monotype 2x2 $75
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2019 INTERNATIONAL MINIPRINT EXHIBITION
Margarita Vatis (87) New York Nénuphar, 2019 Photopolymer intaglio 2x2 $50 Honorable Mention
Mitchell Visoky (84) New York A Moment’s Impression II, 2019 Silkscreen monotype 2x2 $75
Mitchell Visoky (84) New York A Moment’s Impression III, 2019 Silkscreen monotype 2x2 $75
Claudia Waruch (99) New York ShiBori Shroud 2019 Solarplate with chine collé 2x2 $100
Claudia Waruch (99) New York Excerpts of ShiBori-I, 2019 Solarplate with chine collé 2x2 $100
Claudia Waruch (99) New York Excerpts of ShiBori-II 2019 Solarplate with chine collé 2x2 $100
Cleo Wilkinson (1) Australia Spinning Top, 2017 Mezzotint, Ed. of 40 2x2 $120 Honorable Mention
Cleo Wilkinson (1) Australia Vestige, 2018 Mezzotint, Ed. of 50 2x2 $120 Honorable Mention
Cleo Wilkinson (1) Australia Witness, 2015 Mezzotint, Ed. of 50 2x2 $120 Honorable Mention
2019 INTERNATIONAL MINIPRINT EXHIBITION
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Jamie Willis (107) Georgia Above the Chaff Can 2019 Etching 1 1/2 x 2 1/2 $65
Tina Wohlfarth (141) Germany Bandana #1, 2019 Mezzotint and paper cut 2 5/8 x 1 1/2 $95 Juror Award
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Yuko Yotsuzuka (145) Japan Burning Space I, 2019 Aquatint, Ed. of 20 2x2 $80
Tina Wohlfarth (141) Germany Bandana #2, 2019 Mezzotint and paper cut 2 5/8 x 1 1/2 $95 Juror Award
Yuko Yotsuzuka (145) Japan Burning Space II, 2019 Aquatint, Ed. of 20 2x2 $80
Tina Wohlfarth (141) Germany Bandana #3, 2019 Mezzotint and paper cut 2 5/8 x 1 1/2 $95 Juror Award Takach Press Award
INDEX OF ARTISTS AUSTRALIA Cleo Wilkinson BELGIUM Laure Gervais CANADA Katherine A. Laird Katie Bruce Diane Castonguay Rosati Elizabeth Forrest Angela Hennessey Ingeborg Jürgensen Hiscox Jaehyang Lee Katrin Smith Roger Sutcliffe Valerie Syposz Heather Urness ENGLAND Ruth Barrett-Danes Anne Desmet Maggie Kitching Judith Lockie Nicki Molt Fiona Rimmer FINLAND Eeva Huotari FRANCE Emmanuel Monzies Pierre Philippe GERMANY Ursula Hülsewig Annette Raver Tina Wohlfarth
ITALY Daniela Ercolini Lara Vaienti IRELAND Margaret Mannion Kallen Grainne Dowling Pauline Kinahan Bernadette Madden Margaret McCloughlin JAPAN Chiaki Ogawa Yuko Yotsuzuka MALAYSIA Stephen Menon POLAND Agata Dworzak-Subocz SOUTH AFRICA Gervasio Robles
SWEDEN Ewa Carlsson Gunnar Nilmén Kathie Pettersson THAILAND Kraisak Chirachaisakul USA Melanie Dorson, CA Cynthia Millionis, CA James T. Dormer, CO Selina Karim, CO
Kayla Alvarado, CT Marina Daneva, CT Bing Bingham, CT Katharine Draper, CT Carol Dunn, CT Jarold Eastman, CT Jen Greely, CT Allan Greenier, CT Mari Gyorgyey, CT Holly Hawthorn, CT Inna Linov, CT Kane (Sasha Meinck), CT Meaghan Morrow, CT Heidi Palmer, CT Janet Scabrini, CT Nomi Silverman, CT Marjorie Tomchuk, CT Adeline Tousignant, CT Jack H. Hellaby, FL Jeannette Stargala, FL Sadie Burge, GA Melissa Holmes, GA Ashley L. Schick, GA Jamie Willis, GA Mike Sonnichsen, ID William Howard, IL Barbara Neu, MD Eugenie Lewalski Berg, MA Lisa Flynn, MA Roxane Hynek ,MA Adrienne Lederman MA Kristen Struebing-Beazley, MA
Karen Adrienne, ME Judith H. Long, ME Caroline Sheridan Loose, ME Cindi Ford, MI
Clive Knights, OR Emily Eckel, PA Patricia Shaw Lima, PA
Maria Santiago, MN
Suzanne Lewis, RI Elena Obelenus, RI
Sharon Reeber, MO
Jeff Huckeby, TX
Debra Claffey, NH
Viviane DeKosinsky, VA Will Tuthill, VA
DeAnn L. Prosia, NJ Dorothy Cochran, NJ Stephanie Regen, NJ
Craig A. Morgan, WA Matthew Presutti, WI
Christine S. Aaron, NY Linda Adato, NY Michael Arike, NY Diane Cherr, NY Jane Cooper, NY Sheila M. Fane, NY Sally Frank, NY Sam Gilliland, NY Melinda Green Tepler, NY Nina Jordan, NY Joan E. Lane, NY Lynne Lederman, NY Channing Lefebvre, NY Dawn Leone, NY Lenny Librizzi, NY James Mullen, NY Malgorzata Oakes, NY Thom O’Connor, NY Wendy Shalen, NY Christopher Shore, NY Alexandra Vatis, NY Margarita Vatis, NY Mitchell Visoky, NY Claudia Waruch, NY
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GLOSSARY OF PRINTMAKING TERMS WHAT IS A HAND-MADE PRINT? A hand-made print is created by the artist who prepares the plate from which the print is printed using a variety of methods depending on the type of print involved. A digital print is made on a computer using the computer to create a piece of artwork. Most prints are printed on dampened paper. The paper is soaked from fifteen minutes to several hours. When ready to print the artist dries the paper between blotters or towels until any wet areas are blotted away. This softens the sizing and makes the paper more receptive to the ink and in the case of intaglio or embossing allows the paper to be actually pressed into the plate. These papers are heavy rag papers like Arches or BFK. Light Japanese rice papers are not dampened usually. While oil based ink is necessary for lithographs, other prints can be done with either oil or water based ink. Water based ink will dry quickly which gives the artist less time to ink the plate, especially in a monotype or any plate using several colors. However the finished print will dry within a day. Oil based ink can be worked with for several hours before printing but the finished print will take several days to dry completely. In any case the plate must be cleaned thoroughly before storing as dried ink will distort future prints. A hand made print is not a finished piece of artwork that is copied and printed by mechanical means. Many purchasers of art work buy what they think is a hand-made print when what they really buy is a photocopy of a watercolor or oil painting frequently numbered and signed by the artist. Sometimes the signature is a printed one and is valueless as such. INTAGLIO: The image is cut into the material. Intaglio methods include: ETCHING: A copper or zinc plate, well polished, is coated on all surfaces with an acid resistant ground (a type of varnish). A sharp tool is used to scratch through the ground in the manner of a pen and ink drawing. The plate is then immersed in the acid bath (ferric chloride or nitric acid) and watched while the acid eats the metal wherever the scratched lines have been made. If some areas are meant to be lighter than others the plate is removed, rinsed and dried and the area painted with an acid-resistant coating, called “stopping-out varnish�, and the plate is returned to the acid as soon as the varnish is dry. This can be done several times, as the deepest lines will hold the most ink. The plate is then rinsed, dried and the varnish removed. Etching ink is then pressed onto the plated until all areas are covered. Then the ink is wiped off the plate with tarlatan - a stiff gauze fabric, which while cleaning the plate leaves the ink in the etched lines. Wiping the plate is an art in itself; too much wiping creates a pale print and too little a dark muddy print. Further polishing of light areas can be done with a page from an old phone book or unprinted newsprint. The plate is then placed on the bed of the press and the dampened paper over it. The paper picks up the ink from the acid bitten crevices and the finished product is an etching. DRYPOINT: The bare plate is scratched with a sharp tool straight into the plate, which can be copper, zinc or plastic. This is hard work as even a plastic plate is hard to scratch very deeply. Today electric tools are often used to aid in the incising of lines. In doing this a burr is formed which gives a slightly different quality to the finished print. As the burr wears off in printing the prints will vary a little. The plate is inked and printed in the same way as an etching. SOFT GROUND: The varnish ground is softened with Vaseline and then mesh, fabric, string, etc. can be put on the plate and run through the press, creating an impression of the items in the ground. The ground can also be marked with a pencil, toothpicks, etc. The plate is placed into an acid bath like an etching and stopping out varnish can be used. The plate is cleaned, inked and printed as is an etching and the result is a soft ground etching. The resulting images are softer rather than the linear crispness of an etching. AQUATINT: Powdered rosin is sifted evenly onto a clean polished metal plate and is then heated on a hot plate to melt the rosin enough so that it adheres to the plate. Too much heat and it will melt the particles into each other. The plate is put in the acid bath and removed each time that stop-out varnish is needed to create the image from light to dark areas. There is no line drawing, just wash areas, somewhat like a watercolor painting. The edges of the areas are burnished by rubbing with a metal tool to blend them. The cleaning, inking, wiping and printing are the same as an etching.
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COLOR and COLORED ETCHINGS: A color etching has the color inked into the plate with colored etching inks. It can be done by applying each color separately to the plate and carefully wiping or with a separate plate for each color requiring very careful registration for printing each plate on to one piece of prepared paper. Either method is time consuming and requires endless patience. A colored etching is an etching printed in the usual way that later has color added to it with paint or perhaps pastel. It’s a quick and easy way to color an etching but is not an integral part of the print. ENGRAVING: An engraving tool is used to cut a line into a plate. The cut is very cleanly made without any burr and without the slight roughness of acid biting. It is difficult and nervewracking work that requires precision and patience and the tools must be constantly sharpened. The deeper cuts are darker as they hold more ink and as the tools are apt to slip many an error has to be burnished out (rubbed with a metal tool) before proceeding. MEZZOTINT: Special expensive tools are used in “rocking” across the plate vertically, horizontally, and both diagonals. When the surface is completely scored, which may take a day or so, and then the design image is carefully burnished erasing the scored surface. The plate is inked, wiped and printed as in an etching. The result is a rich velvety black with soft edges to the light image areas. PHOTOGRAVURE: A general term for any metal plate process in which an image has been transferred to a metal surface by photographic means. A corrosive bath is used to incise the image into the plate before inking and printing. Photo-etching is a term alternatively used. Any of the above ways of making an etching can be used in combinations to achieve very unique and interesting handmade intaglio prints. SOLARPLATE: is a simple approach and safer alternative to traditional etching and relief printing. Since Dan Welden’s development of the process in the 1970s, printmakers, painters, photographers, and art teachers interested in multiple impressions have utilized printmaking with Solarplates. Solar plates are steel-backed, light sensitive, photopolymer printmaking plates. After exposing with U. V. light, the plate is developed with water. Solar Plate may be exposed using sunlight, but an exposure system and vacuum frame gives more consistent results. Both positives and negatives can be utilized; intaglio and relief printing techniques can be applied. RELIEF PRINTS: A printmaking process in which the design remains on the surface and the unnecessary parts are cut away. Relief prints include: WOOD CUTS: A piece of wood is carved with wood carving tools (gouges) and the remaining surface is inked with an ink roller (brayer). Often the grain of the wood is incorporated into the pattern. It can be printed on a press or by hand rubbing with a baren or wooden spoon, etc. More than one color can be used, but more often a separate wood block is used for each color. Either oil based or water based ink can be used and a variety of different papers. WOOD ENGRAVING: The wood used has no grain as the blocks are made with the grain on the vertical. The end of the block is carved and fine detail can be achieved. Separate blocks are usually used for more than one color. REDUCTION WOOD ENGRAVING: All the colors of a design are left on the block and the whole block is inked in the lightest color. More than the required number of prints are made of that first color. Then the part of the block that bears only the first color is cut away and the next color is printed. This is repeated for each color cutting the color away after each set of prints. Precise registration is very important. In the end the block is destroyed and if fifty prints were made to begin with, perhaps thirty-five or forty might successfully carry all the colors in registration. LINOLEUM and SOFT PLASTIC: These plates are carved with special tools and are softer and easier to work with and have no grain. More than one color can be inked on one block or separate blocks can be carved for each color. The printing can be done with a press or by rubbing. Various papers can be used.
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COLLAGRAPH: Similar to a relief print, but instead of carving into the plate, the image is built up on the surface of the plate. The base plate can be cardboard, plastic, metal, wood, or anything available. Then the design is built from cut out paper, card stock, fabric, string, netting, lace, feathers, drizzled and dried glue, etc. When everything is glued down and dried the whole plate is sprayed with spray paint or varnish so the plate can later be cleaned. Then the plate is inked with one or more colors using either water based inks or oil, and printed as a woodcut. The plate can be inked in various ways many times and cleaned for storage. EMBOSSING: A plate with a raised design somewhat like a collagraph is printed on heavy prepared paper using no ink. When displayed with appropriate lighting the embossed design can be very effective. LETTERPRESS: A relief technique for printing movable type (though blocks with images may also be used). Metal, wood, or polymer forms of a standard height are set in place in the bed of a press. Since ink is transferred from the surface of the blocks by the application of pressure, letterpress prints are recognizable for their embossed printed forms. LITHOGRAPHY: Printmaking based off of the principal that oil and water do not mix, if the plate is kept wet and the design has been done in oil, the wet plate can be inked in oil ink and printed on prepared paper. The oil based ink adheres only to the design area while rejected by the wet areas then printed on a special press. Lithography encompasses: STONE LITHOGRAPH: Lithograph translates to “Stone print” and all were originally done on specially prepared stones. The stones are heavy and expensive. The design is drawn on a stone with a grease crayon or painted with a grease-based ink (called tusche). When finished it is treated and cleaned and in appearance looks like a blank stone once again. However the design is there and while the stone is kept wet the ink is applied with a brayer. The oil-based ink adheres only to the design area and is printed on a lithography press. Separate stones are used for separate colors. ZINC PLATE LITHOGRAPHY: A specially treated zinc plate is used much as a stone, but is cheaper and easier to handle. The fine shading achieved on a stone is not quite as attainable on zinc. PAPER LITHOGRAPHY: A paper printed from a copy machine has an oil-based toner (computer ink is water based and will not work). Since wet paper is fragile the paper is sprayed with water and flattened onto a plastic plate. In order to keep the paper wet it is coated with liquid gum Arabic. A small amount is spread on the wet paper and allowed to rest about five or ten minutes. Then more water is sprayed on the paper and the ink is applied. Ordinary oil paint can be used as a substitute but must be modified. A few drops of linseed oil helps. Paint that is too stiff will tear the paper and if too soft will result in a pale print. The color is applied with a brayer and washed off. This step is repeated two or three times, after which excess water is gently blotted off, and the plate is ready to print on prepared dampened paper. An etching press works well. Any color or combination of colors can be used, but only applied with a brayer on very wet paper. The photocopied print can be constructed from anything - pen and ink drawing, a photo, cut outs, feathers, just about anything you can copy. The size is limited by the copy machine paper dimensions. POLYESTER PLATE LITHOGRAPHY: (PRONTO plate printing), a new and nontoxic form of lithographic printing was developed by George Roberts while he was Professor of Printmaking at Boise State University. Polyester Plate Printing started as a low cost yet professional form of commercial offset lithography. The medium is capable of reproducing the full spectrum of lithographic marks such as: hand drawn brush strokes, ink wash, texture, crayon and pencil marks, and is equally well suited for digital imaging. Plates can be also imaged directly with a laser printer or a photocopier. The process is more straightforward than conventional lithography as the plate does not require chemical processing in the form of etching with acid. CHINE COLLÉ: The process of adhering one piece of paper to another by using a liquid adhesive and running them together through the printing press. Chine is French for “China,” which refers to the thin Asian paper originally used with this technique, and collé means “glued.” SCREEN PRINTING: In essence this comprises a hand-cut or photographic stencil with the silk mesh of the screen holding the stencil parts in place. A piece of silk mesh fabric is stretched onto a wooden frame. The frame is hinged on one side to a base. A drawing is placed under the silk, and any part of the silk that is not the color to be printed is stopped out with a glue or lacquer or a photo process can also be used. The bare silk that is not painted out will allow the ink to be squeezed through the silk. After the prepared screen is dry the paper to be printed is put in place. If more than one color will be used in the print, accurate placement of the paper is critical. The paint is placed on one end of the screen and dragged across the silk with a rubber squeegee. The frame is lifted enough to remove the paper and replace it with the next piece and the paint is dragged back again and so on until the full number of prints are made. The printing is very fast - a minute or so per print. The set up of the image on the screen takes a good bit of careful planning. The screen is then cleaned of the paint, thenthe stencil removed and the stencil for the next color is put on the screen. Many different colors can be combined on one print, and the stencil can be done in a painterly way or a crisp cut out stencil or with photography. Either water-based or oil-based paint can be used.
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MONOTYPES: A one of a kind print. A second print, called a “ghost” can be made but will look very much lighter. MONOTYPE: A plastic plate has ink applied to it with brush, sponge, brayer, etc. Any color or design can be used. Objects such as feathers, lace, string, etc. can be placed on the plate; ink on the plate can be manipulated with fingers, Q-tips, brushes, etc. Ink applied too thick will slide off in printing and if too thin, will dry out and not print. The plate is placed on an etching press and the dampened paper placed on top. After the print is made a second print can be made from the same plate, but they will look very different. Before cleaning the plate the design can be manipulated with added ink, etc., but the result is still a one of a kind impression. The CLAYPRINT MONOPRINT is an innovative process created by Mitch Lyons in the 1960’s and continually developed by him even today. The “plate” for the print is a leather hard slab of stoneware clay. The media is white slip mixed with house paint colorants and ceramic stains to produce a rainbow of colors. The colored clays in the form of slip, moist clay, and powdered chalks are applied to the slab using a full range of painterly, printmaking, and ceramic techniques. Once the image on the slab is complete, a slightly dampened sheet of Reemay interfacing canvas is carefully laid on the slab, and light pressure is applied by hand to lift a thin layer of colored clay from the surface. The colored clays bond to the interfacing to produce an archival monoprint. STENCILS: Cut out pieces of card stock can be inked, arranged on prepared paper, and printed either on a press or by hand. The CLICHÉ VERRE: Process is a cross between art and photography. It Is a method created using photography equipment but can be done on pieces of art, not just photographs. The method consists of etching, painting or drawing on a transparent surface, such as glass, thin paper, or film and printing the resulting image on a light sensitive paper in a photographic darkroom. This process originated in France in the early 19th century. Contemporary cliché verre artists also utilize scanners and editing software to produce the images on acetate or as digital prints.
WHAT ARE THE INSCRIPTIONS ON THE BOTTOM OF THE PRINT? Traditionally, signifying inscriptions are written in pencil at the bottom of a print. Reading from left to right, the inscriptions indicate the edition number, the title of the artwork, and the artist’s name (and sometimes the date), e.g. 2/30 Untitled #1 A. Smith, 2012 Artist’s Proof (A.P.) A print reserved for the artist and not included in the numbered edition. An artist’s proof can be identified by the inscription “A.P.” found in the lower left-hand margin instead of a number. Printer’s proofs are reserved for the printer and are inscribed “P.P.” Bon à Tirer (B.A.T.) A print that is not included in the edition, but which indicates the standard a printer tried to duplicate for the edition. A print which is bon à tirer (translated from French as “ready to pull”) can be identified by the inscription “B.A.T.” found in the lower left-hand margin. What is an Edition? A set of identical prints made from the same matrix (or set of matrices). Often a number of other prints – artist’s proofs, printer’s proofs, bon à tirer, and hors commerce (“not for trade”) prints – are made at the same time but are not considered to be part of the numbered edition. Each print in a limited edition is usually numbered in the lower left-hand margin. The form of this inscription is as follows: number in the edition/size of the edition (i.e. 15/50). To guarantee a limited edition, the artist or printer can “strike” or cancel the plate by incising an X on the printing face after completion.
ATTRIBUTION The majority of the descriptions above are attributed to Elizabeth MacDonald, with additional material by Julyen Norman.
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ABOUT CCP The Center for Contemporary Printmaking is a nonprofit multimedia studio and gallery dedicated to the art of the print. At CCP artists can work independently, collaborate with master printers, or enroll in workshops conducted by nationally recognized artists. We provide studios, equipment, and technical expertise. Exhibitions of original prints are held regularly in the gallery, and diverse educational programs are offered for experienced and emerging artists. THE EXHIBITION PROGRAM AT CCP Each year, the Center for Contemporary Printmaking (CCP) hosts a series of exhibitions in the Grace Ross Shanley Gallery, including works by established professional artist/printmakers, the Biennial Footprint International Print Exhibition (on even numbered years), the Biennial International Miniature Print Exhibition (on odd numbered years), and an Annual Members’ Exhibition. We wish to acknowledge and thank the following foundations and organizations for their help and support in enabling the Center to service the local community:
Takach Press | Awagami Factory | Gamblin Artist’s Color | Shanley Family Foundation Fairfield County Cultural Aliance | Renaissance Graphic Arts | Wescustogo Foundation Jerry’s Artarama | City of Norwalk, CT | Connecticut Art Trail | Low Road Foundation McClain’s Printmaking Supplies | Graphic Chemical Ink | Speedball | Greystone
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