This past weekend I taught another 2.5-day workshop on the polymer photogravure process at Highpoint Center for Printmaking. Again, I was fortunate in having eight fantastic participants, most of whom happened to be photographers.
The first evening we looked at prints and discussed the kind of film output that is necessary for polymer photogravure and how it varies from the kind of film needed for other processes. We finished the evening by making the film positives using an Epson printer, ready to start making plates on the Saturday.
On Saturday morning I demonstrated the preparation of the plates, the two exposures – aquatint screen and film positive – and the processing. We also covered inking and wiping and how it differs from copperplate. Then they were on their own, making plates and printing, and even after just half a day’s hands-on experience the results were amazing; they were all producing very respectable prints. Sunday was spent working on other images, outputting more film, making new plates or experimenting with the same image using stiffer/looser inks or different papers.
So, thank you Regina Flanagan, Nancy A. Johnson, Carrie Shea, Martina Gates, Philip Anderson, Ashlin Mears, Claudia Danielson and Gina Dabrowski.
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…
POLYMER PHOTOGRAVURE WORKSHOP
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
SHADOWS TRACES UNDERCURRENTS
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
A SENSE OF PLACE IN ARTIST BOOKS
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.
2011-2012 McKNIGHT ARTIST FELLOWSHIP EXHIBITION
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.
2012 PHOTOGRAPHY AT THE CENTER FUNDRAISER
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.