The Printed Portfolio

Sometimes it is really nice to sit and look at books. Let’s be honest, images look different printed. You can really get a sense of how an artist sees his/her images. While we love the ease of searching for photographers and illustrators online and being able to send creatives links…there is just something more intimate about a printed portfolio.

We like to take our time and talk about each book and about the individual images. We discuss the pagination, composition, consistency, palette, last night’s date, weekend plans, printing quality… you get the idea.

—  Art Buyers Are People Too

Website Updated



I’ve updated my website to make it a little more practical from my end, making it (hopefully) easier to update galleries and put up new work. We’ll see about that last bit…

The main change is that I’ve lost the sidebars. I loved the layout but it proved to be a problem because large amounts of text always looked awkward in a thin column. It also made the maximum size an image could be displayed way too small because of its fixed width design. By eliminating the sidebars the overall look is cleaner, especially on an iPad or iPhone* but I can easily implement them on individual pages if I need to.

And the number of photographers websites that still rely on Flash always surprises me. I’m not a web designer but I do realise the importance and need for a site that will work well on a desktop machine, a laptop and an iPad. The last one is the deal breaker for me. If it doesn’t work or look good on an iPad, then I won’t use it.

If you’re a photographer, prefer your work displayed as slideshows and have a self-hosted WordPress website then you should really look into Made by Raygun‘s Portfolio Slideshow Pro and Portfolio Framework plugins. Easy to use and well worth the small amount they cost.

*You shouldn’t be looking at a website of photographs on an iPhone. Really.

Christian A. Peterson — Fine Photography Books


After more than thirty years as associate curator of photography at the Minneapolis Institute of Arts, Christian A. Peterson resigned last year to concentrate on writing about the history of photography and selling out-of-print photography books. He currently has two catalogues online, the first being a general selection from his vast collection while the second concentrates on Walker Evans, Robert Frank and Lee Friedlander.

I anticipate issuing about three catalogs a year, usually on particular themes and movements, such as nineteenth-century photography, pictorialism, and the Clarence H. White School.
(612) 824-2827

New Platinum Work

Night1438 Hedgehog Cactus

I’m continuing to work on Cy’s The Midnight Garden, a series of night blooming flowers printed in platinum. I’ve printed 17 images and have some small adjustments and tweaks to make on a few of them. Once these prints are out of the way and the last image has been edited, the project’s effectively on hold until next spring, when the flowers will start blooming again. I’m using Magnani Revere paper, which I’ve come to love. It’s a heavyweight paper (300gsm) that’s producing good blacks and, so far, no coating problems. 21″ x 16″ image area with a black border on 30″ x 22″ Magnani Revere paper. 

Workshops and Exhibitions

September and October are going to be busier than ever, so here are several things that are happening over the next couple of months. There’s also ‘one more thing’ that I’m excited about, but I can’t say anything about that yet…



In October I’ll be teaching a 2.5 day workshop at Highpoint Center for Printmaking in Minneapolis, using the polymer photogravure process. We’ll start on Thursday evening by looking at prints, discussing the differences between copperplate and polymer gravure and how to make the digital film positives using an Epson inkjet printer. Then on Saturday, we’ll expose and process the plates ready for a full day’s printing on Sunday.

The class size is limited to 8 participants. More information can be found here.
Thursday, October 11th, 6pm – 9pm and Saturday and Sunday, October 13th and 14th, 9am – 4pm.

Highpoint Center for Printmaking
912, West Lake Street, Minneapolis, MN 55408
Telephone (612) 871-1326

s t u image FINAL.jpeg


On October 18th there is a public reception for the show shadows traces undercurrents that opens at the Katherine E. Nash gallery. Curated by Christine Baeumler and Joyce Lyon, the show is part of Mapping Spectral Traces: A Dakota Place and is an international group exhibition mapping unseen and acknowledged pasts that continue to structure present-day social relations. I’ll be exhibiting twenty of the Dark Matter photogravures.

The opening reception is Thursday, October 18th, 6 – 8pm and the event is free and open to the public. The show runs between October 16th and November 17th, 2012.

Katherine E. Nash Gallery
Regis Center for Art, University of Minnesota
405, 21st Avenue South, Minneapolis, MN 55455



There is also a companion exhibition A Sense of Place in Artist Books, that runs from October 12th to December 12th, 2012 at the ALA Library Gallery, Room 210, Rapson Hall. This exhibition has been curated by Karen Kinoshita and the opening is on Friday, October 19th, 6.30 – 8.30pm.



The work of the four 2011-2012 McKnight fellows is also on show at the Rochester Art Center, between September 14th, 2012 and January 6th, 2013.

Beth Dow uses historical references and traditional photographic processes to address our use of land and experience of time. Her current project, ‘Here, Nor There,’ employs tongue-in-cheek conceptualism to cross-reference historical and local architectural landscapes which re-imagine history and space.

Peter Happel Christian’s work investigates social relationships with the natural landscape using photography, but operating within a broader practice which integrates performative events, sculptural objects, as well as science, philosophy, and history to create connections and disconnections with the natural world.

James Henkel’s new body of photographs, LAB WORK, is a continuation of his interest in studio based still-life photography. Using vessels found in a chemistry classroom as subject matter, these works distance objects from their intended functionality by representing them as abstract formal arrangements that explore the relationship between art and science.

Colleen Mullins’ most recent work explores her sense of memory, family, and place through revisiting and documenting sites along the West Coast, recharting her family’s histories and creating new personal meaning.

The opening reception is on Friday, September 14th, 2012 at 7pm. For those in Minneapolis, a shuttle will run from the Walker Art Center to the Rochester Art Center. More information on that can be found here.

Following at 9pm there’s an opening reception after party Flux: Late Night Art, Performance and Music with Black Lacquer.



October 26th sees the benefit fundraiser for Photography at the Center. I have a photogravure that’ll be up for grabs – for just the purchase of a $15 lotto ticket, if you’re lucky!

Follow this link for more information.