This intensive, exciting workshop will awaken the possibilities for the woodcut printing process for the beginning and advanced printmaker. This approach is not technically tradition-bound…but inventive, with contemporary, creative methods, that can be spontaneous, simple and direct. This expressive medium will be introduced and explored through demonstrations and discussions of cutting techniques, oil-base inks and water-base inks, modifiers, and printing by hand as well as using the press. Participants will go from designing their images and cutting blocks, to printing several projects using a variety of methods and individual discoveries. For all levels.
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.
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.
Play with the woodtype and printers cuts to make holiday cards and sentiments. Learn the basics of typesetting and lock-up and how to use the Vandercook and the new (old) Challenge presses for type-high explorations.
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.
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.
Two artists from Tokyo Japan have been in residence here during November. Kazuko Araki and Kaoru Morita are sharing a great experience for concentration on their printmaking and enjoying cultural exchange. This is their first visit to the USA, and they are seeing Nebraska go through all the drama of fall to winter changes, while enjoying the open prairie landscape, football crowds, and studio activities of exhibitions and workshops. We are enjoying our language efforts and translations about life and printmaking! Special thanks to the Center for the Science of Human Endeavor in Tokyo for continuing to facilitating this exchange opportunity for Japanese artists!
Kaoru is working in Mokuhanga (Japanese watercolor woodblock) with soft colors printed by hand, one each day for a color record of atmosphere and influences. She specializes in shallow carving into the woodblock, so that beautiful nuances of tone are printed. Her drawing is here of a still life from some of the handblown glass pieces of Kenny Walton, and her woodblock print from this image is just getting underway.
Kazuko has created two editions of collagraph prints, from multiple cardboard plates, that have textures and drypoint scratches that hold the ink, printed in registration for a constructivist landscape for mountain goats. She is inventive with her platemaking and the beautiful printed layers. These two artist friends have studied printmaking together at the Musashino Art School in Tokyo.
Saturday & Sunday, November 3 -4, 10:00am – 4:00pm
For all levels
$150 + materials
Learn this traditional intaglio technique where drawing marks and textures are etched below the surface, and the drypoint technique is directly scratched to build burrs on the surface. These techniques create beautiful details and line qualities.
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”.
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”.
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.
