Thomas Kozlowski, “Untitled #1” (2012), 7-plate aquatint with 8 colors, 2-block woodcut with 13 colors.
An interesting use of woodblock and aquatint. While I am not entirely fond of the interaction between the aquatint and woodblock in this image (it feels too static), the different aquatint plates work seamlessly together. I am wondering if he made this in collaboration with a press.
(via A Truly Subversive Artist Is Not Necessarily Someone Who Is Theatrical or Gimmicky)
This is a great story about Chinese letterpress. (via BBC News - Preserving traditional Chinese printing)
“Scale in Contemporary Printmaking” opens this week, reception Friday 5/11, 5-8 pm at A.P.E. Gallery, Northampton MA.
Wish I could be there!
(via smithprintmaking)
you have dreams about not being able to proof your litho because you don’t have any newsprint. @_____@
*goes to buy some newsprint*
When your recurring dreams are of grinding a litho stone… even when you haven’t had access to a press in over six months.
I normally stick to blogging about printmaking, but I wanted to share this project by one of my former professors. Please support Tirtza’s work if you can!
These are images of the first piece from my new screen print studio. This is a mixed-media piece (screen print, Japanese watercolor, chalk, acrylic and ink). The work is painted/printed on a door as part of the No Place Like Home door show and auction to benefit the Sawmill Land Trust in Albuquerque.
All my favorite people/galleries in one place. If you get a chance to go to Beijing, definitely visit the Beijing Studio Center, Red Gate and Homeshop.
I remember seeing this print in the Weatherspoon art museum in Greensboro, North Carolina years before I started making prints. It is one of my favorites.
Elizabeth Catlett, 1915-2012, wildly talented and influential printmaker, she will be missed. RIP (via Justseeds: Blog)
Great article about the Nashville print scene.
The Mysterious Order of the Print lives.
(via Artist Sleeps Outside Till the Grass Grows)
An Xiao wrote about this on Hyperallergic. It really doesn’t have anything to do with printmaking, but I thought it was a lovely piece and wanted to post it.
It reminds me of an earlier performance I saw in 2008 when I was living in Huantie (another art village in Beijing) where one of the neighbors was living outdoors in a suspended room at the top of one of the buildings. Somehow waiting for the grass to grow in Caochangdi is particularly poetic because of its name (grassland) and because it now has much less green space than other parts of the city. I remember walking between huge piles of soft coal used to heat the buildings when I first visited the neighborhood last winter. As spring came the piles of coal gradually dwindled and we would occasionally visit a nearby overgrown park.
A nice discussion of reasons to apply for arts residencies…
I have been thinking a lot about when to apply. When is a residency most useful? At the moment I have just moved to a new place and am trying to get settled in a new studio and in a new community. Although I feel pressure to apply for residencies, as part of the group of things artists just out of graduate school need to start doing, I find that between spending a year and a half in China (including a residency) and moving out to New Mexico, my art is already in a state of transition. My studio is still a new and exciting space. I really want to find that sense of routine before I take a vacation from it.
