Worlds Apart: Comix+Fantasy in Prints

April 4 – May 30, 2019.

First Friday April 5, 6-9pm

 

This invitational show presents the link between graphic cartooning, tattoo design, classic comics, manga, anime, detailed grotesque ornamentation and fantasy drawing styles that are sources for expression and distillation by contemporary print artists today.    This popular “low art world” crosses generations and genres, usually outside the fine art world, and artists respond with irony, visual puns, horror vacui compositions, and technical bravura.  This exhibition celebrates the spirit of imagination and skepticism, creative play, and topical messages.   Works in print media, book forms and drawing will be included.

Artists include:

Brett Colley, Michigan

DB Dowd, Missouri

Victoria Goro-Rapaport, Nebraska

Bob Hall, Nebraska

Liz Hermanson, Texas

Darren Houser, Minnesota

Trishelle Jeffery, Utah

Brian Johnson, Texas

Phoebe Little, Nebraska

Joe Lupo, West Virginia

Josh Norton, Minnesota

Sage Perrott, Tennessee

Jordan Scribner, Nebraska

Ryan Standfest, Michigan


Worlds Apart: Comix+Fantasy in Prints

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April 4 – May 30, 2019.

First Friday April 5, 6-9pm

This invitational show presents the link between graphic cartooning, tattoo design, classic comics, manga, anime, detailed grotesque ornamentation and fantasy drawing styles that are sources for expression and distillation by contemporary print artists today.    This popular “low art world” crosses generations and genres, usually outside the fine art world, and artists respond with irony, visual puns, horror vacui compositions, and technical bravura.  This exhibition celebrates the spirit of imagination and skepticism, creative play, and topical messages.   Works in print media, book forms and drawing will be included.

Artists include:

Brett Colley, Michigan

DB Dowd, Missouri

Victoria Goro-Rapaport, Nebraska

Bob Hall, Nebraska

Liz Hermanson, Texas

Darren Houser, Minnesota

Trishelle Jeffery, Utah

Brian Johnson, Texas

Phoebe Little, Nebraska

Joe Lupo, West Virginia

Josh Norton, Minnesota

Sage Perrott, Tennessee

Jordan Scribner, Nebraska

Ryan Standfest, Michigan

 

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Field of Vision: Taryn McMahon solo printstallation

Feb 1 – March 30  

First Friday Feb 1, 5 – 8pm

Images of plants and architecture from botanical gardens investigate sites and histories, highlighting the complicated cultural construction of an idea of “nature”. The digital and hand drawn print processes explore how our interactions with the natural world are mediated through technology, and are thus fragmented and selective. Through her work, the forms are remixed through the filters of printmaking, drawing, digital photography, and collage. This installation includes prints and Hanging Gardens, a large-scale banner with pigment printing on thin Awagami Inbe paper that has been intricately cut, creating interplay between light and shadows within the environment of the gallery.

Taryn McMahon received her BFA from The Pennsylvania State University, University Park, PA, and an MA and MFA from the University of Iowa, Iowa City, IA. She has received numerous awards for her work including the Southern Graphics Council International Graduate Fellowship and residencies at Anderson Ranch Art Center, Anchor Graphics, Women’s Studio Workshop, and the Lawrence Arts Center. Her work has been featured in recent exhibitions at The Print Center, Philadelphia, PA and Carroll Gallery, Tulane University, New Orleans, LA, among others. She is an Assistant Professor of Studio Art at Kent State University.

TarynMcMahonportraitIMG_1912

 


Field of Vision: Taryn McMahon solo printstallation

Feb 1 – March 30  

First Friday Feb 1, 5 – 8pm

Images of plants and architecture from botanical gardens investigate sites and histories, highlighting the complicated cultural construction of an idea of “nature”. The digital and hand drawn print processes explore how our interactions with the natural world are mediated through technology, and are thus fragmented and selective. Through her work, the forms are remixed through the filters of printmaking, drawing, digital photography, and collage. This installation includes prints and Hanging Gardens, a large-scale banner with pigment printing on thin Awagami Inbe paper that has been intricately cut, creating interplay between light and shadows within the environment of the gallery.

Taryn McMahon received her BFA from The Pennsylvania State University, University Park, PA, and an MA and MFA from the University of Iowa, Iowa City, IA. She has received numerous awards for her work including the Southern Graphics Council International Graduate Fellowship and residencies at Anderson Ranch Art Center, Anchor Graphics, Women’s Studio Workshop, and the Lawrence Arts Center. Her work has been featured in recent exhibitions at The Print Center, Philadelphia, PA and Carroll Gallery, Tulane University, New Orleans, LA, among others. She is an Assistant Professor of Studio Art at Kent State University.

 

 

TarynMcMahonportraitIMG_1912

STELLAR Small Prints 2 – Invitational Exhibition

December 1, 2018 – January 26, 2019

First Friday December 7, 6-8pm

 

John Amoss, Georgia

Susan Belau, California
Marnix Everaert, Belgium

Andrew Kozlowski, Florida

Jillian Sokso, Oregon

Art Werger, Ohio

 

 

This exhibition presents the work of outstanding printmakers that use small printed forms for intimate visual engagement and graphic invention. The quality of their vision is expressed through an attentive nature and handwork. Additional small prints from the Constellation Studios collection will be on view.


STELLAR Small Prints 2 – Invitational Exhibition

December 1, 2018 – January 26, 2019

First Friday December 7, 6-8pm

• John Amoss

• Susan Belau
• Marnix Everaert

• Andrew Kozlowski

• Jillian Sokso

• Art Werger

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This exhibition presents the work of outstanding printmakers that use small printed forms for intimate visual engagement and graphic invention. The quality of their vision is expressed through an attentive nature and handwork. Additional small prints from the Constellation Studios collection will be on view.


The Print: Tried & True, Techno & New

Rough Cut

September 29 – November 21, 2018

First Friday Opening Reception:   October 5, 6-8pm

 

Featuring:

Stacy Asher, Lincoln, NE

Randy Garber, Boston, MA

Shelley Gipson, Jonesboro, AK

Nicole Pietrantoni, Walla Walla, WA

Miguel Riviera, Kansas City, MO

Barbara Robertson, Seattle, WA

Erik Waterkotte, Charlotte, NC

Listening,Receive 1KuncCaritas

Seven contemporary artists present works in print media and new technological approaches that examine the continuing necessity for the print in contemporary culture, with an aesthetic need for the printed mark with intent, and how impact is made.   Printmakers have continuously been the adapters of new technologies since the 15th Century, and are at the forefront of “inter-print” adaptations today, with the use of digital technologies for printing, for carving and platemaking, for photo-mechanical integrations, as well as photo imagery inclusions.   Significantly, prints today respond to the look of our technological age, that grants aesthetic weight to data gathering, chart and graph lines, the visual overload and dynamism of designed ad/image production, glowing screen colors and light as the impression. These artists question how to see and examine the world around us, through visual cues and memory.

 

This exhibition coincides with the Mid America College Art Association Conference hosted by the UNL School of Art, Art History & Design, October 4-6, 2018.     The conference theme is “Techne Expanding: New Tensions, Tools, Terrain”.


The Print: Tried & True, Techno & New

September 29 – November 21, 2018

First Friday Opening Reception:   October 5, 6-8pm

Rough Cut

Barbara Robertson (above)

Featuring:

Stacy Asher, Lincoln, NE

Randy Garber, Boston, MA

Shelley Gipson, Jonesboro, AK

Nicole Pietrantoni, Walla Walla, WA

Miguel Riviera, Kansas City, MO

Barbara Robertson, Seattle, WA

Erik Waterkotte, Charlotte, NC

Seven contemporary artists present works in print media and new technological approaches that examine the continuing necessity for the print in contemporary culture, with an aesthetic need for the printed mark with intent, and how impact is made.   Printmakers have continuously been the adapters of new technologies since the 15th Century, and are at the forefront of “inter-print” adaptations today, with the use of digital technologies for printing, for carving and platemaking, for photo-mechanical integrations, as well as photo imagery inclusions.   Significantly, prints today respond to the look of our technological age, that grants aesthetic weight to data gathering, chart and graph lines, the visual overload and dynamism of designed ad/image production, glowing screen colors and light as the impression. These artists question how to see and examine the world around us, through visual cues and memory.

Asher places graphic charged words to provoke our reading eye and mindfulness as a means to shape culture. Garber seeks to express the confusion and clarity of information, with structures that suggest the cochlea, the eardrum, and instruments of sound.   Pietrantoni combines laser burning and corrosion onto paper to speak of nature’s cycles of decay, destruction and loss. Gipson creates sensual surfaces across digital prints as bodies fall or leap, with despair and hope giving us anxious encounters with human nature.   Riviera references the sense of truth and respect in map imagery, as digital deletion with laser engraving enacts the exchange of viruses and natural resources that are relevant to the history of colonization. Robertson questions how imagination, geometry and structure relate to our physical and cultural environment, as rapid changes create loss of landmarks as touchstones for our history and continuity, while technology is a promise for a better world.   Waterkotte uses print and graphic production to intersect the archetypal using backlighting to double the layering, seeking to detect messages or visions that come from mysticism, beliefs and familiar but individual occult.

Curated by Karen Kunc, Cather Professor of Art, UNL.

This exhibition coincides with the Mid America College Art Association Conference hosted by the UNL School of Art, Art History & Design, October 4-6, 2018.     The conference theme is “Techne Expanding: New Tensions, Tools, Terrain”.

Listening,Receive 1KuncCaritas

Randy Garber (left)  Shelley Gipson (right)

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Erik Waterkotte (left)     Stacy Asher (right)

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Nicole Pietrontoni (left)   Miguel Rivera (right)


Project Volumina: New Prints by Karen Kunc

August 25 – September 22, 2018

Constellation Studios

Reception: Tuesday August 28, 7 – 8pm

 

Project Volumina presents a print installation of compelling new work by artist Karen Kunc, created while on Faculty Development Leave in spring 2018. She was inspired by viewing collections and treasures from museums and libraries to create a new “image bank” of resources. Specifically, she studied rare books, manuscripts and incunabula (early printed books before 1501 in Europe) from the Dibner Library of the Smithsonian Institution, and the Library of Congress while in Washington DC. References are drawn between historical processes and technologies, scientific illustration, printed conventions of spatial illusions, systems of charting, mapping, mathematics, alchemy and astronomy.   She discovered these ideas from topic selection, chance encounters, page turning, following threads of connections and visual stimulus. Her new prints are created in a mixed media approach from woodblocks, etching plates, hand coloring, pochoir stencils, while trusting the unpredictable for experiential responses. Volumina revisits a theme Kunc has addressed in the past, and here again, her printed pages suggest quantities and quantities…..of printed knowledge or lore, history forgotten yet preserved, and inevitable change through time.


Project Volumina: New Prints by Karen Kunc

August 25 – September 22, 2018

Constellation Studios

Reception: Tuesday August 28, 7 – 8pm

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Project Volumina presents a print installation of compelling new work by artist Karen Kunc, created while on Faculty Development Leave in spring 2018. She was inspired by viewing collections and treasures from museums and libraries to create a new “image bank” of resources. Specifically, she studied rare books, manuscripts and incunabula (early printed books before 1501 in Europe) from the Dibner Library of the Smithsonian Institution, and the Library of Congress while in Washington DC. References are drawn between historical processes and technologies, scientific illustration, printed conventions of spatial illusions, systems of charting, mapping, mathematics, alchemy and astronomy.   She discovered these ideas from topic selection, chance encounters, page turning, following threads of connections and visual stimulus. Her new prints are created in a mixed media approach from woodblocks, etching plates, hand coloring, pochoir stencils, while trusting the unpredictable for experiential responses. Volumina revisits a theme Kunc has addressed in the past, and here again, her printed pages suggest quantities and quantities…..of printed knowledge or lore, history forgotten yet preserved, and inevitable change through time.


The Slow Read

Ready, Get Set…Slow Read

Q: What is the opposite of a book club on steroids?

A: Reading Willa Cather’s novel ‘My Ántonia’ at the slow pace of six pages per day.

SlowReadWhat is the Slow Read?

The Slow Read is a public literary / art project conceived of and produced by Portland-based artist Barbara Tetenbaum. “After taking a workshop on video mapping, I had this vision of projecting the pages of a novel onto the wall of a building, so people would read together in public. The project has now grow to nearly a dozen public sites and can be accessed by anyone on their personal computers. This means that everyone in America and beyond can essentially read as a community,” says Tetenbaum. “This year is the centenary of a book I’ve been working with for some time, ‘My Ántonia’ by Willa Cather. It made perfect sense to use this particular novel for the Slow Read and a chance to find a deeper connection to her words and the issues Cather was illuminating which are still relevant today. Some readers will stumble upon this novel for the first time, others will be rereading it again, discovering something new in her story. I want to offer a piece of culture in the form of shared daily ritual, to be experienced slowly over time, providing a counterweight to the spectacle-based world we live in.”

During this centenary year of My Ántonia’s publication, readers around the country and the globe can follow along on their cell phones, laptops — or at a public site location – and read closer and deeper than before. From May 30 through August 11th, images of the first edition page spreads will be looped on a dedicated website (www.slowread.org) and offer the first-time reader, or long-time fan, this unusual, slow unfolding of the novel.

Why?

“Cather shows us what it was like to live on the 1890’s Nebraska prairie, a life that was tough and beautiful at the same time.” says Tetenbaum, “Cather herself grew up in Red Cloud around immigrants from Central Europe and Russia. ‘My Ántonia’ reads as a chronicle to their humanity and struggles during the formative years of the American Plains. The immigrant experience is particularly relevant in our current political climate, and perhaps there is a way to find a meaningful dialog through Cather’s story.”

Where?

Public venues such as libraries and museums are hosting the Slow Read, usually through a publicly-accessible video monitor. {At Constellation Studios, 2055 ‘O’ Street, the monitor faces the street and is best viewed in the evening, and runs 24 hours with new page selection added each morning} Individuals who don’t have access to these sites can read along on their own internet-connected devices by going to www.slowread.org and clicking the “Today’s Reading” button.

Barb Tetenbaum will be taking the project on the road in early June to show at outdoor sites. Go to the website blog to find the next screening: https://theslowread.squarespace.com/news/

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When?

The broadcast begins on May 30th and ends on August 11, 2018. If you miss a day, the website has an archive of previously shown pages.

Want to participate?

The Slow Read web-stream is free and available at www.theslowread.org

What else is there?

The Slow Read website links to activities, discussions, exhibitions and lectures organized by Cather institutions and scholars. It also contains a visual concordance of images from eight years of personal artist projects connected to this novel. Explore the website for all this.

Where can I find the public Slow Read venues?

Currently, these sites are hosting the Slow Read:

Willa Cather Foundation in Red Cloud, NE     willacather.org

Love Library at Univ. of NE-Lincoln   https://libraries.unl.edu

Constellation Studios, Lincoln, NE   https://constellation-studios.net

Jaffrey Public Library, Jaffrey, NH   www.jaffreypubliclibrary.org

Oregon College of Art and Craft, Portland, OR   ocac.edu

Portland Institute for Contemporary Art, Portland, OR   pica.org

Pacific Northwest College of Art Library, Portland, OR pnca.edu

Working Library, Portland, OR c3initiative.org/working-library.htm

Union College in Lincoln, NE

Check www.slowread.org/abouttheproject to explore additional locations as they are added and to track The Slow Read mobile pop-up on the road.

About the artist/director of The Slow Read:

Barbara Tetenbaum is a visual artist interested in the act of reading. She uses the mediums of books, prints, installation, and animation to explore this subject matter. She founded her artist book imprint, Triangular Press, in 1979. Barb is the recipient of two Fulbright Fellowships, career and project awards from the Oregon Arts Commission, Ford Family Foundation, Oregon Community Foundation and the Regional Arts and Culture Council. She is currently Professor and Head of the Book + Print at the Oregon College of Art and Craft. She holds a B.S. (Fine Art) from the University of Wisconsin-Madison and an MFA from the School of the Art Institute of Chicago.


Pattern Play: Woodcut Print Invitational

June 1 – July 31, 2018

First Friday Reception, June 1, 6 – 8pm

Artists play with printmaking solutions that feature graphic patterning, complex play of image making, effects of optical or layered color mixing, all created through carving and printing of woodblocks. There is raw yet elegant mastery in their works and references to nature, science and social commentary.

Inspiring are new prints from Anne Burton (Lincoln), Betsy Best (Seattle) and Jean Gumpper (Colorado Springs), and significant suites of prints from the past by Keiko Hara (Walla Walla) and Brian Curling (Radebeul, Germany), brought to view from the flat files in the Constellation Studios collection.