The Contemporary Print 2020

P R I N TA U S T I N 2020 THE CONTEMPORARY PRINT DAVID AVERY KELLY BELTER LISETTE CHAVEZ BRIAR CRAIG TANIA CRUZ ANGELA FAZ J. LEIGH GARCIA DIRK HAGNER VERONICA HALLOCK ANNA HOBERMAN DARYL HOWARD RALUCA IANCU BRIAN JOHNSON

WAYNE MADSEN MICHELLE MARTIN JONATHAN NICKLOW RYAN O’MALLEY ˜ SAMANTHA OSBORNE KRISTINA PAABUS SUMI PERERA ALAN POCARO RAMIRO RODRIGUEZ TERRY SCHUPBACH-GORDON EMILY STOKES WENDI RUTH VALLADARES CARSON WERNER

January 17–February 15, 2020

PRINTAUSTIN PrintAustin Collective is an artist-led nonprofit organization working to showcase traditional and contemporary approaches in printmaking. Our annual festival is held January 15 through February 15. Our mission is to share our enthusiasm for printmaking by helping galleries, universities, and artists curate, exhibit, and promote works on paper and to engage a wider audience through artist talks, signings, panels, printmaking demonstrations, and print-focused art happenings.

THE CONTEMPORARY PRINT PrintAustin’s 7th annual juried exhibition features the work of artists from across the United States, Canada, South Korea, and the United Kingdom. Presented in collaboration with Big Medium, The Contemporary Print 2020 gives us fresh perspectives in printmaking by artists pushing the boundaries of traditional techniques, and showcases the versatility and developing aesthetic of printmaking. Works utilize approaches ranging from traditional Japanese woodblock printing techniques, to screen printed fabrics, and even stop-motion animation to breathe movement into print.

This year's exhibition is juried by Texas-born curator, artist, and doctoral candidate, Claudia Zapata, who joins us from the Smithsonian American Art Museum where she currently acts as the Latinx art curatorial assistant in support of their upcoming exhibition ¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965-Now. Zapata's passion for Chicanx and Latinx art, and identity-based exhibitions has inspired her previous work as the Curator of Exhibitions and Programs at Mexic-Arte Museum, the Co-Founder of the Puro Chingón Collective, and now the pursuit of a Ph.D. in Rhetorics of Art, Space and Culture at Southern Methodist University.

BIG MEDIUM Big Medium is a nonprofit organization dedicated to supporting artists and building community through the arts in Austin and across Texas. Big Medium provides opportunities for artists to create, exhibit, and discuss their work and connect to an engaged and diverse audience, while striving to make art a part of everyday life.

Big Medium produces the East and West Austin Studio Tours, Texas Biennial, Creative Standard, Tito's Prize, International Exchange, The LINE Residency, Art Swap, provides a dedicated space for innovative and experimental exhibitions through the Big Medium Gallery, and provides studio space for over 60 artists at Canopy. Further information is available at bigmedium.org or email info@bigmedium.org.

The Frailty of Realization, 2019, Etching, 9.25" x 13”

DAVID AVERY

San Francisco, California A practitioner of traditional black and white etching in San Francisco for over 30 years, I often find in the works and techniques of the master etchers and engravers inspiration or a point of departure for my own work—a bridge between past thought and contemporary issues, one that sheds light in a unique way on such concerns. In the past, prints were often used to address contemporary issues of the day, sometimes cloaking a pointed message in the trappings of classical mythological or religious themes. More recently, I have tried to utilize the same techniques with regard to current curses of humanity to invite viewers to make their own connections between the follies of our present day and those of the past.

Where do my ideas come from? The same place as everyone else’s—the brain. Or more precisely, they come from the interaction between experience and imagination that takes place within the brain, and I tend to think of my discovery of images in terms of receptivity rather than “inspiration” or “creativity”. If anything, my intent in pursuing a carefully worked out and highly detailed image is to work towards an inward goal unbounded by a set beginning or end, rather than trying to make some inner vision tangible. Even a simple nursery rhyme, once you start picking at it, will reveal layer upon layer of associations and further meanings. I consider my work successful to the extent that it continues to generate multiple interpretations, releasing this capacity for receptivity to the mysterious and the ambivalent that reflects the essential vibrancy of life.

Burning Bonsai, 2019, Screen print on Hanji, 16” x 19”

KELLY BELTER

Seoul, South Korea I am a Seoul-based artist and screen printer. Originally focusing on digital art, I began screen printing in 2018 as a way to bring my work to a tangible form. My progression into silkscreen printing has allowed me to experiment with mixed editions and color variations. With the goal of telling a short story in a single image, I favor bold patterns and vibrant palettes to bring attention to the women, objects and environments I depict.

My personal background as a half-Korean woman growing up in America has highly influenced my work. Since moving to Seoul four years ago, I have navigated my own feelings on my multicultural identity, conflicting ideas of femininity and a lack of belonging to either culture. This is reflected in images that mix elements of Korean and Western culture, and I often incorporate small Korean elements that I observe in daily life. As an extension of my own narrative to find belonging and space, my motifs explore personal spaces and private moments, adding an element of the strange to heighten a sense of disconnection and magical realism.

Sometimes You Look Like You Like It, 2014, Lithograph, 11" x 14”

LISETTE CHAVEZ San Antonio, Texas

I am a multi-disciplinary artist whose work addresses themes of family, religion and the occult. Through intricate drawings, prints, and heavily involved installations, my work reflects upon personal narratives that reveal hidden truths within cultural taboos.

Mirroring everyday life as I see it, my work teeters on the edge of beauty and trauma. Although hesitant to expose my own family history and traumas, I understand how sharing personal experiences, both good and bad, produces the discourse to help us better understand the human condition.

WRITTEN IN STONE, 2018, Screen print, 29” X 41.5”

BRIAR CRAIG

Lake Country, British Columbia, Canada My role as an artist is largely that of editor. I choose, edit, juxtapose, and then present images and texts that are compilations of the things I see and record in my daily life. Taking, as my starting point, Roland Barthes’ ideas of the “Death of the Author”, I am playing with the theory that we are all the authors of the works we see. We will interpret and make sense of what we have before us in idiosyncratic and personal ways as we wade through a never-ending barrage of visual and textual information.

Increasingly, I have been using texts in a more socio/political manner (sometimes jumbled and sometimes not) as a kind of commentary on the current state of the world. Given the divisiveness of the most recent federal elections in Canada and the US and in the Brexit vote, my work is attempting to provide the viewer with words and phrases they can interpret in their own idiosyncratic biased or unbiased ways.

Ultra-violet cured screen printing inks allow the medium (a form of mass communication, production, and reproduction) to synthesize refined details and subtlety with the directness and immediacy associated with traditional forms of propagandist poster making.

Our Tangled Bond, 2018, Screen print and accordion binding, 15” x 45”

TANIA CRUZ Henrico, Virginia

Looking through my family, there is a feeling of otherness. Whether it be my hair texture, skin color, or body type, I’ve been the odd man out. Using various print techniques, I have begun to explore my identity as a woman of mixed ancestry and where I fit in correlation to my relatives. Elements that are present throughout my work include hair, family photos, and text. These images discuss the complexities within our familial bonds. Hair is the connector between both cultures because it is an important status symbol. Photographs are used to give faces to certain relatives. Text is utilized to give context to the viewer and express thoughts that can’t be communicated visually. Methods ranging from relief, screen printing, and letterpress are used in the discussion between my own two worlds. Depicting the tensions between the two, forces me to begin addressing my role between the two sides.

Feeling Myself, 2019, Relief print and collagraph, 8.5” x 11”

ANGELA FAZ Dallas, Texas

Born and raised in the Ledbetter neighborhood in West Dallas, I am the daughter of a Mexican immigrant and a fourth-generation Texan. Beyond the story of imposed borders, my art practice exists within the intersections of race, class, and gender, which informs my art today. My work sifts through indigenous, Mexican, and American remnants and investigates assimilation and transformation through installation and relief printmaking.

My work for the past several years explores Dallas history, and most recently, how the body exists in these places with complex histories. Place and body share a kinship that I enjoy examining within the context of borders, ownership, and gender binaries.

My current project, Queer Lewks embraces gender fluidity in which personas are introduced to question their performance in the world. Feeling Myself utilizes a blind emboss of a pre-Columbian fertility sculpture and present-day gender expression as an inquiry. This body of work thus far utilizes printmaking techniques such as relief, collagraph, and chine-collé.

Bendita Sea el Agua, 2019, Screen print with punctured holes and embroidery, 15” x 15”

J. LEIGH GARCIA Kent, Ohio

As a biracial Latina, a seventh-generation Texan of European descent on my mom’s side and granddaughter of Mexican immigrants on my dad’s, I have followed the roots of my own ancestry to shape my artistic practice. Major events in Texas history such as the Mexican-American War, Battle of the Alamo, Treaty of Guadalupe Hidalgo, and Bracero Program have created a complex relationship between my two cultures: Texans and Mexicans.

The residual racial discord that has resulted from these historical moments—particularly, the racialization and displacement of unauthorized Latinx immigrants—is both the context and focus of my work. Through printmaking, papermaking, and installation art, I encourage awareness of our current immigration and foreign affairs policies through the lens of my biracial cultural identity.

Fugue in RGB Immgation Error code 404, 2019, Letterpress and relief print, 11” x 14”

DIRK HAGNER

San Juan Capistrano, California The series 9 Fugues in RGB consists of full-color prints that deal with the subject of immigration, combined with common computer error codes often encountered. Most of us probably have gotten a “404” response on the web, the error code for “page not found”. While the numbers are taken from the standard list of codes, titles of the codes were changed to more pertinent keywords and combined with blind embossed portraits of immigrants highlighting their plight.

Current political trends invalidate human beings and particularly poor immigrants and refugees of color. Their humanity is reduced to inconsequential disposable errors. It is a human tragedy.

There are 9 prints in the series, and 5 of the total edition have been bound into artist books. All prints were executed in letterpress with large wood type and relief etching.

Changing Landscapes, 2019, Lithograph with mixed media, 21” x 28”

VERONICA HALLOCK Baton Rouge, Louisiana

My work blends traditional stories with my own experiences, shaping narratives through my reaction to new landscapes I encounter and the stories I hear from its people. From the narratives, I create my artwork taking form in print, drawing, and artist books. My color choices, often heavily saturated, are evocative of the environments and the seasons that I draw inspiration from. My work ranges in representation from personal internal struggles to broader cultural changing identities, but it is always represented through folkloric symbolism. Through this symbolism, I draw upon a meaningful and proven history of storytelling and motifs that imbue my work with visceral imagery. My aim is to not reveal too much of the story behind the imagery, and allow the viewer to bring their own cultural stories and connotations to shape the information before them.

The Stoic Philosophy of Seneca, 2018, Etching, monotype, lithograph and digital print, 10" x 16”

ANNA HOBERMAN Brooklyn, New York

The production of multiples, within a culture that is saturated in mass-produced items, is a paramount issue in my practice.

Each time I embark on a project, I consider the abundance of multiples that surround us. I am particularly fascinated by the seemingly instinctive need to personalize objects to make them “our own”, like stickers on a notebook, doodles and thoughts jotted in the margin of a text, or a collection of pins and patches on a denim jacket. These personal touches reveal an intimate connection between a person and their possessions. How and what one chooses to impose on an object, can tell us a lot about the owner. As part of my printmaking practice, I actively seek out anomalies and personal anecdote with a goal to create a new set of multiples from something that was once considered unique. Playing with notions of the multiple and what it means to make a multiple singular again are the types of conceptual exercises that inform my aesthetic and work.

Even the full moon listens to falling water, 2019, Japanese woodblock print, 13" x 10”

DARYL HOWARD Austin, Texas

After receiving my BFA from Sam Houston State University, I lived and taught art at an overseas school in Tokyo in the 1970s. During this time, I was introduced to a private collection of 18th and 19th century Ukiyo-e woodcuts. Feeling an immediate connection to the works, I wanted to learn more about the woodblock printmaking process and embarked on an apprenticeship with master printmaker Hodaka Yoshida. The technique of woodblock printmaking is part of my soul.

After forty-five years of sketching, carving and printing, I am still as excited as I was when I pulled my first print with Hodaka in Tokyo in 1974. The traditional Japanese method of woodblock printmaking has become my way of expressing my world.

This process involves seeing images through a series of shapes, arranged and colored to represent the essence... the magic... that I experience.

Child's Play, 2019, Print-based stop motion animation, 3:30

RALUCA IANCU Ames, Iowa

Endlessly looping, the trains in Child’s Play retrace their trajectories. History repeats itself.

The repetition of the prints and the animation mimics the obsessive nature with which we revisit traumatic memories, as we ask ourselves the same questions over and over again: What happened? or How? or Why?

#138A, 2018, Screen print, 22” x 15”

BRIAN JOHNSON Austin, Texas

My recent prints play with implied clarity and visual noise, using the graphic forms found on comic book covers as a primary source material. Figures in conflict: fighting, struggling or overwhelmed, have been removed from their context, to become an abstract silhouette. The spaces they once occupied, are equally potent as collateral damage, hinting at the drama they once contained. Through removal, resampling and redrawing, the figures and spaces transform into a mix of the recognizable and the indecipherable.

Multiple images have been created from the same source material; one image can influence the legibility of others, revealing connections. These images embody the idea of continual conflict and what is left in its wake. They become an expression of our inability to empathize and our growing need to dehumanize others with which we disagree.

flickr_avg_1, 2016, Etching, 18” x 18”

WAYNE MADSEN Noblesville, Indiana

I am a new media artist and educator specializing in algorithmic practices and human computer interactions. All of my work uses technology and social mediums to create a dialog through the framework of my practice wherein non-artists can discuss and further this dialog about how they, as a group, relate to the contemporary arts. These projects coalesce as experiences that relate the viewer to the producer.

The computer art I create uses generative algorithms and small, random variations to develop unique views each time the work is visited; I have written the system, but it is the computing device, together with the viewers, which apply their own 'creativity' into the creation of what is seen. It is amazing to me that altering just a few key variables can have drastic effects visually, just as people are connected but infinitely varied. There is beauty in these small differences, these small moments, these defining characteristics, and in how we communicate with technology. f lickr_avg_1 is an intaglio print that comes from a series created by taking every existing creative commons licensed images from flickr for specific sculptures, then averaging them together, and finally printing the result in intaglio. In this series of works, the random variables are controlled through the situational angles that are common in how people photograph these particular sculptures. In all of my work, I explore ways in which humans and technology interact and intersect.

Tethers, 2016, Photo polymer etching, 18” x 14”

MICHELLE MARTIN Owasso, Oklahoma

I am interested in the depiction of social interactions and societal commentary through experimental, non-linear narratives created by using pre-existing source imagery in a collage/drawing/printmaking hybrid process. Collage, as a stand-alone technique or as an embellishment, has a long tradition within graphic arts, especially with respect to the surrealist compositions of Max Ernst. While I admire the traditional applications of this technique, my work focuses on pushing the traditional boundaries of collage, combining it with digital drawing and hand printing techniques in such a way to create images that appear to be “unbroken,” with no obvious delineations that point to the disparate sources of the original images. I draw from sources as varied as the Old Masters and Victorian-era popular imagery, from Albrecht Dürer and Gustave Dore to clip art, to create seamless prints that belie their heterogeneous origins. This process is, as I see it, a form of “image sustainability,” a recycling of past imagery into new forms that combine digital technologies with hand-made processes of etching, sewing, and chine-collé. The resulting prints, from the series titled Mystorical Constructions, have prompted viewers to wonder not just how they were made, but when—are they historical artifacts or contemporary fiction?

Both monumental and intimate in scale, the historic images I repurpose are seductive. They encourage nostalgia for fairy tales and whimsical stories, and yet also generate disquieting and open-ended narratives that serve as a form of “stealth” political and social commentary. Exploring themes of monstrosity and hybridity—both in concept and execution—my work investigates the modern experiences of identity, fear, and desire filtered through a historical lens.

Two-Headed Stuffie, 2019, Relief print and fabric, 12” x 17” x 3”

JONATHAN NICKLOW Evergreen, Colorado

Exploring the idea of the multiple in printmaking, I work outside of the margin of the edition, using traditional and mix media printmaking methods in prints, sculptures, and installations. My work considers society’s developmental impact on the natural world, the human condition, popular imagery, and fairytales. My art is in constant progress, allowing myself to build and discover different layers of meaning and new developments. Each work leads me towards a different direction but always concerned with the same themes. My work is a conversation through visual poetics allowing duality, language play, and the accumulation of developing iconography.

Spar, 2019, Reduction woodcut, 19” x 23”

RYAN O’MALLEY

Corpus Christi, Texas My current body of work cycles through multiple forms of print media and non-traditional portraiture to explore aspects of humanity. The genesis for these works is 150 hand-cut stencils of people that have been personally and positively impactful. Faces have been reduced by paper and blade to their most essential shapes. This matrix serves as the foundation for each series of works. They touch the major printmaking processes including relief, intaglio, lithography and serigraphy, as well as expansion into new visual territories.

The production and display of these ideas are transmutable, allowing endless recycling and repurposing of imagery, and investigates how concept meshes with medium and matrix. The print included in The Contemporary Print 2020 is a multicolor reduction woodblock print, published in March, 2019 at Evil Prints Studio in St. Louis Missouri.

La Duree, 2019, Handmade book, 7" x 10" (Cover), 150" (Extended)

SAMANTHA OSBORNE & ALAN POCARO Charleston, Illinois

Inspired by French philosopher Henri Bergson’s interrelated concepts of time and consciousness, La Durée charts the course of a single experienced moment as it transitions from stimulus to storage, to memory and its recollection. Each printed page and iridescent passage is a fragmentary map of the mind’s eye and a window onto the unconscious processes that drive it.

The Beginning of the End, 2018, Aquatint, screen print, and lithograph, 20” x 16”

KRISTINA PAABUS Oberlin, Ohio

In my work I examine the systems that we use to control our surroundings – or in turn the structures that try to control us. These strategies include architecture, language, religion, the Internet, and government. Through abstraction and metaphor, I create actual and depicted spaces of somewhat recognizable, yet precarious situations.

Using a multidisciplinary approach, I create hybrid spatial conversations that observe, interpret, and respond to experiences of attempted control and containment. I explore the operations, fractures, and perceptions of these systems to uncover underlying common codes within our shared experiences.

This conceptual armature informs my creative practice and manifests differently in each project. My recent work has focused on investigating the lasting impact of Soviet occupation on both tangible and invisible spaces.

As a first-generation Estonian-American, I have a particular interest in understanding the effects of occupation, while also contextualizing and questioning contemporary global narratives. My research in Post-Soviet countries such has allowed me to gain firsthand visual evidence into cultural and built spaces. The resulting works unpack architectural experiences that describe histories of power and restriction.

2B Or Not 2B [To Be Or Not To Be], 2019, Etching, 6.5” x 38.5”

SUMI PERERA

Redhill, Surrey, United Kingdom 2B Or Not 2B, an artist book variation of an ongoing series of sound installations, was made as a tribute to Shakespeare. The soundwaves seen in the pages/print were generated by the sound of 2B and non 2B [1H-4H, 1B, 3B-6B] graphite pencil leads writing the phrase: ‘To Be Or Not To Be’ on different substrates. This book produces sound as the pages flap against each other when opened & shut. It may also be suspended to create waves of different amplitudes and stays silent.

The relief rolled gradient of colour simulates the Doppler Effect of sound intensity. Sound-installation were exhibited at various International Print Prizes, Biennials & Solo Shows.

Sabidurias Populares (lick), 2017, Linocut, 18” x 12"

RAMIRO RODRIGUEZ South Bend, Indiana

My current work deals with the relationships that inform my world. My evolving role as a son, brother, husband, parent, and community member inspires my work. Observations, hopes, fears, dreams, and questions are presented in the graphic lines of linoleum and woodblock relief prints. The images speak of the commonalities between people and the struggles of being part of a greater human family. The prints serve as a means for me to process and relay the events in my life, whether it is my memory of growing up in a large and extended Mexican family in a rural community or the daily events experienced as a middle-aged parent.

Initially, I began using my work as a way to process and record the impact my sons have had on my perceptions.

Their fresh insights continually ask me to define and re-evaluate my worldview. The work is also a way to make sense of my concerns for their future. What is my responsibility? How should I react in relation to ecological destruction, racism, economic inequality and children in detention? These issues and more have become part of the storytelling as well. This process of observing, creating and presenting helps me find and define my place in this world. In doing so I hope to connect the microcosm of my little family to the macrocosm of the human family.

Swimming Lessons #2, 2018, Etching and woodcut collage, 14" x 24”

TERRY SCHUPBACH-GORDON Tobaccoville, North Carolina

My prints address concepts of identity, fragility and strength and are part of a deeply personal narrative about who we are and how we claim grace for our different voices and our different bodies. I am a printmaker and book artist working with images and language seen through the lens of disability and identity. In my work, I use images exploring concepts of water and buoyancy to describe and re-frame our understanding of frailty and resilience.

While the work is not “about” disability, disability is the lens through which I see the world. The prints are a combination of intaglio, woodcut, collage, and letterpress. Many are cut and pieced, like quilts and are hand-sewn and one of a kind.

I work individually and in collaboration with writers and artists. Most of my work incorporates language and poetry as part of the image itself. The work is small in scale and deeply personal. I am currently working with poems by Theodore Roethke and Gwendolyn Brooks. Their words insist that we are “all infirm” (Brooks) and capable of being mended, or at least (Roethke) capable of “rising upwards” from the “rock shut ground”. The definition of “whole” thus becomes something that is both broken and mended. In the language of disability culture, to be both "broken" and "abled" is revolutionary. In my prints and books it is a way to address and redefine what we call beauty and how we speak about our bodies.

Great Reveal I, 2017, Lithograph, relief, and etching on paper, and acrylics on wood, 13” x 20”

EMILY STOKES

Orange City, Iowa I create allegorical spaces to explore the tension between preserving what is familiar and confronting the new.

As a transplant to Sioux County, Iowa, home to more factory farms than any other county, I am surrounded by both agricultural bounty and the environmentally degenerative impact of this bounty. Each neatly pruned acreage reads like a Grant Wood painting – innocent and quaint, representative of a deeply ingrained way of life. But the quest to achieve high yields and sustain family farming dynasties comes at the expense of natural resources. In a region where so many stake their identities on ag, I wonder if and how this community, and the many others like it, can reconcile livelihood with reality. Such is the question that fuels my visual work.

To create my work, I use a combination of painting, printmaking, drawing, and digital imaging. I pluck images from my surroundings to build a symbolic language with plurality of meaning. I stage these symbols against invented backdrops that are rooted in the real, yet unidentifiable. Monuments, animals, pavilions, ribboncutting ceremonies, and townspeople appear as recurrent elements, and although I reference my immediate environment, I purposefully generalize it to invite a broader scope of viewers. Fragmented narratives meander through landscapes that alternate between realism and abstraction. The resulting images are questioning, lonely, or hopeful.

Texans vs Tejanos, 2019, Lithograph and screen print, 15" x 11”

WENDI RUTH VALLADARES Dallas, Texas

My printmaking explores the nature of Mexican-American linguistic mestizaje—specifically a Chicano Spanish colloquially known as Spanglish. I use nostalgic objects and domestic spaces (e.g. toys, interior, exterior domestic spaces, picture frames, etc.) from my childhood to connect to the Spanglish culture I grew up in. Raised in a bilingual home of Mexican-Spanish and American-English speakers, language and culture crossed over to the point where Spanglish-ness was inevitable. The duality of identities plays a strong role in my work as I come from a dominant mestizo bloodline of Mexican and Tex-Mex Chicano family.

Considering this lineage, I reference the Aztec indigenous Mexican history alongside the Mestizo Chicano present.

Overall, I focus on the line of the in-between. I speak to both personal and collective identity in my work, to the English and Spanish speaker. The significance of cultural identity—physically and conceptually—are important themes throughout my work.

Behold a Bed Bug, 2018, Linocut and screen print on paper, 5” x 7”

Housekeeping!, 2019, Woodcut and screen print on paper, 5” x 7”

CARSON WERNER Austin, Texas

Greetings from the Seaside Inn is a set of 10 woodcut and linocut illustrated postcards with screen printed backs recounting my stay at a run-down roadside motel in New Hampshire in the summer of 2018. On their website there were photographs with brash yellow timestamps from 2010: Kids sliding down the unfurled pink tongue of a giant green frog into a pool. A volleyball court. A weird elephant statue. It looked tattered but charming. It looked fine. In reality, there was an odd assortment of characters where both the normal and sinister looking took on an equally threatening air. It seemed possible to me that both the shirtless, tattooed man loitering outside his room and the young teen couple, hand-in-hand, were likely to try to do me harm. The postcards take aspects of that stay and heighten them to surreal and absurd lev els. The choice of woodcut and Japanese paper give the cards an indefinite sense of time and place that adds to this mood -- somewhere between eerie and silly.

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A special thanks to our sponsors for helping to make PrintAustin 2020 possible: This project is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department and other private donors.