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Printmakers pushing the envelope of their art including sections of a picket fence, through a press to show the aftermath of Hurricane Sandy and express additional he ongoing exhibiecological concerns — in tion at the Lehman this case, the affects of global College Art Gallery warming and extreme weather. titled The MorpholAn 18-foot-high piece that ogy of the Print explores the extends ďŹ ve feet out from the way contemporary artists wall by Rob Swainston turns and printmakers are combinviewers’ attention away from ing conventional techniques nature and back indoors. The with innovative approaches to work consists of a series of printmaking. intricately designed prints Lehman’s art gallery neatly presented in symmetridirector Susan Hoeltzel, who cal rectangular boxes to form assembled the show with a grid. The work is modeled curatorial assistant Yuneikys after the ceiling of hyperbolic Villalonga, says the 32 works paraboloids covering the galon display show the range and lery designed by the modernist diversity of how some artists architect Marcel Breuer and printmakers are using Ms. Hoeltzel said the piece prints today. invites visitors at the gallery to “These are unfamiliar techcontemplate the architecture niques in printmaking,â€? said Ms. Hoeltzel. “These are differ- and the space around them. ent ways of thinking about how “It makes you think about the angles of the building you’re people make multiples.â€? in and this ceiling slanting and The traditional purpose twisting above,â€? she said of prints is to allow artists to Morris Park make copies resident Rosemaof their origirie Fiore used a Morphology of the nal works and smoke painting Print runs through distribute them machine she January 8, 2014. The widely to the built along with public at affordLehman College Art lit color smoke, able prices, Ms. Gallery is located at ďŹ rework residue Hoeltzer said. 250 Bedford Park and color monoBut the artists Boulevard West. For type ink to create and printmakers more information call the swirling in the current 718-960-8731 or visit lines that spiral Lehman show www.lehman.cuny.edu. furiously along are blending the paper in media and applySmoke Painting ing experimental techniques, including stitching, Monotype #5. Jean Shin employs digitized digital embroidery, etching, embroidery to converge a relief, collage, calligraphy, conductor leading an orchessilicon carbide, installations, tra with bars of the musical sculptures and even smoke machines to expand the bound- score My Country by Czech composer Bedrich Smetana aries of print. and a band of sound waves as The exhibit opens with an a means to reect the nature installation of a life-size intiof music. The image of the mate living space titled Fabricated Image/Reected Space, by conductor’s back covered with a black suit encompasses the Jeremy Coleman Smith. The majority of the print, with the walls, oor, armchair, lamp, score in a narrow strip of white plates and wallpaper are all at the bottom and the sound made from paper with printed waves sewn at the point where designs on the surface, while the two meet. the print covering the outside Valerie Hammand’s photowalls are designed to depict gravure Apports conjures mysticlapboard. cal notions with so-called ghost Ms. Hoeltzer says Mr. photography of the 19th century. Coleman draped wet paper Ms. Hammond employs the over cedar board to make an bare back of fellow artist Kiki impression of the grain, and Smith as a canvas to cast the then made prints that show the glowing celestial images that intricate patters of the wood. appear like a photonegative. Andrea’s Zittel’s Sprawl, The Lehman Art Gallery which resembles a digitized and the school’s art departNavajo blanket, reects on ment moved to its present site the environmental impact of on the college’s campus in the expansion of her home1984, when ofďŹ cials decided to town, Las Vegas, further into relocate and expand the library the desert. According to the that once stood in its place. exhibition guide, Ms. Zittel Today, the gallery is used as used a satellite image of the an education tool for college, southwestern desert to create elementary, middle and high a large lithograph by reproducschool students. ing the image 16 times and “We use the exhibitions then mirroring and matching extensively to teach for colthe multiple images. lege and public schools,â€? Ms. In the large print Jamaica Hoeltzel said. Bay, Maire Lorenz ran otsam,
By James Palmer
jpalmer@riverdalepress.com
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Photos by Marisol DĂaz
Clockwise from top left: WHITFIELD LOVELL’s ‘Barbados’ (2009) LOVELL’s ‘Georgia’ (2009) TAMMY NGUYEN and Lesley Dill’s ‘The Thrill Came Slowly’ (1996)
Courtesy of Lehman College Gallery
Collaborating with artists to make a good impression By James Palmer jpalmer@riverdalepress.com
says of embroidery. This notion is satirically portrayed in a piece Ms. Solodkin teamed with Elaine Reichek to create titled The Pounds, 1913. The work refers to a conversation between Ezra Pound and his future wife Dorothy Shakespear in which the poet encourages his paramour to paint rather sew. Ms. Solodkin highlighted words in the print to accentuate the title and points in the conversation. In addition to working as master printer producing hand-printed lithography, woodcuts and linoleum cuts, Ms. Solodkin is a milliner who makes hats. She has also taught at Columbia University, the School of Visual Arts and the Pratt Institute. Though she has scaled-down her printmaking operation, Ms. Solodkin has no plans to retire, saying, “I’m working with major galleries, major museums, major artists and major works of art.�
Photo by Marisol DĂaz
JUDITH SOLODKIN, master lithographer, in her Riverdale Avenue studio.
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aster printer and Riverdale resident Judith Solodkin created several of the prints displayed in the Lehman Gallery’s exhibition, Mythology of the Print. The ex exhibition emphasizes examples of experimental works by modern printmakers that are redeďŹ ning the medium. Ms. Solodkin is on the forefront of the movement to expand the borders of traditional printmaking. “I work with other artists to translate their work into another medium,â€? she says. In 1974, Ms. Solodkin was the ďŹ rst woman to graduate as a master lithographer from the Tamarind Institute, part of the college of ďŹ ne arts at the University of Mexico in Albuquerque. She established her printmaking company, Solo Impressions, in Manhattan the following year. She moved to her current location
on Riverdale Avenue in 2011. Ms. Solodkin describes her printmaking process as one of collaboration whereby she and the artist create a ďŹ nal work that satisďŹ es both. The method is often intricate and the pace slow because she says at each step along the way, “We’re trying to ďŹ gure out what do — how to proceed.â€? For the past 15 years, Ms. Solodkin has used digitized embroidery to add a tactile quality to some of her prints. She uses a computerized six-needle embroidering machine that translates a drawing to a sewing ďŹ le. The needles then sew the design in thread. She also uses an electric sewing machine to manually sew stitches onto prints. Ms. Solodkin says the art world has traditionally viewed embroidery as what she terms low art, whereas painting is typically considered high art. “It’s not taken as seriously because it’s women who predominately do it,â€? she