For the last several weeks after school my son Miles has been making prints as one of the six participants in the ACCESS/PRINT Project mentorship at Highpoint Center for Printmaking.

The ACCESS/PRINT Project (A/P Project) is a young artists’ mentorship program for high school students in grades 10–12. The selected participants must be highly motivated and committed to creating a strong portfolio that will be exhibited in the gallery at Highpoint. Participants will work with professional artist mentors at Highpoint’s printshop to learn printmaking processes including monoprinting, drypoint etching, relief block printing and screenprinting. After this introductory period, participants will plan an independent project that uses one or more of these techniques. Through individual mentorship, peer critique and supervised work sessions young artists will develop printmaking skills and gain confidence in their art-making.

There’s a drop-in open house next week, Wednesday February 23rd, 4.30 – 7.00 pm and the show’s opening reception is April 22nd, 5.00 – 7.00 pm.

Badlands Book

This past week I made a book, Badlands, which is primarily a practice piece for my MCBA mentorship. The images were photographed in the Badlands National Park, South Dakota and originally printed in platinum, although I’ve always felt they’d work well together in a small book.

The book contains 10 inkjet images printed on soft white Somerset Book paper, with hand-sewn signatures and a black Japanese bookcloth and Fabriano Roma paper cover. It doesn’t resemble in any way the final format for my MCBA book, but I did want to get more experience with the binding techniques. It’s 10″ x 8″ in size with 6″ square images. I laid out the minimalist book design in InDesign and printed the spreads using Roy Harrington’s excellent Quadtone RIP software to control the tonality of the images.

This is only the second time that I’ve bound a multi-signature case-bound volume, so I’m pleased it at least resembles a book. There are plenty of things wrong with it, although some may not be apparent, but I know they’re there.




The Minneapolis Institute of Arts

Recently I spent a morning at the Minneapolis Institute of Arts with the assistant curator of photographs, Christian Peterson, looking at portfolios and books that have original photographs bound in as I need to figure out a way of incorporating about twenty photogravures into my book. Christian pulled the books out of storage for me, including many by Lee Friedlander. One was especially interesting as it managed to combine both a quarter bound book, original silver prints and a case.