Aquatint, Contemporary, Prints

Peri Schwartz and Greg Burnet Collaboration

One of the gallery’s contemporary printmakers, Peri Schwartz, has just finished a collaboration with printmaker Greg Burnet– developing a gorgeous spit-bite aquatint titled Bottles & Jars III. The production company Kings in the Back Row filmed their artistic process and collaboration. The resulting video offers unique, behind-the-scenes access into a printmaker’s studio. Watch as the two printmakers discuss and mix color palates, decide on tonal values, and pull proof after proof, until they get it just right. This beautiful, short video shows the benefits you can reap when you have a harmonious union of two creative minds working towards one pursuit. Truly inspiring!

Thank you Peri for sharing a glimpse into your “day-to-day” as a printmaker. To see and purchase available prints by Peri Schwartz, click here.

Advertisements
Standard
Abstract, Contemporary, Monotype, New Additions, Prints

New Additions: Philip Bennet Monotypes

NEW ADDITIONS bannerNEW ADDITIONSIn advance of our Monotypes show, which opens on July 17th, contemporary printmaker Philip Bennet dropped off several new prints to The Old Print Gallery. It is always a pleasure to interact with our contemporary printmakers. Every meeting creates an opportunity to talk with them about their approach to printmaking, new techniques they are exploring, and challenges (both good and bad) they are working through in their studio. Bennet’s new prints deviate from some of his earlier work, both in scale and color palette, so we asked him to share some of his creative process with our OPG blog readers and collectors. We hope you enjoy!

“For some time friends and other artists have asked: “Why don’t you work bigger? Because as a colorist, your prints would have greater impact.” So this spring I took the plunge and did a group of full sheet (22 x 30″) prints. For my plate I chose Mylar, a thin plastic. By using large brushes along with plenty of water, I could more easily enhance the flow of color. Also, I decided on a different watercolor palette consisting of mostly soft warm colors of violets, mauves, reds, oranges, and yellows. I used my usual technique of working intuitively and letting the colors bleed by lifting and rotating the Mylar to create unforeseen effects. I often add a little splatter. “Opposites Attract” and “Moving Violet” are two examples of this technique.” – Philip Bennet , 2015

Opposites Attract. Philip Bennet. Watercolor monotype, 2015. Diptych. Image size 17 x 25 1/4". Edition 1/1. Signed and titled by artist in pencil. Printed on Japanese paper. LINK.

Opposites Attract. Philip Bennet. Watercolor monotype, 2015. Diptych. Image size 17 x 25 1/4″. Edition 1/1. Signed and titled by artist in pencil. Printed on Japanese paper. LINK.

Moving Violet. Philip Bennet. Watercolor monotype, 2015. Image size 16 7/8 x 11 1/4". Edition 1/1. Signed and titled by artist in pencil. LINK.

Moving Violet. Philip Bennet. Watercolor monotype, 2015. Image size 16 7/8 x 11 1/4″. Edition 1/1. Signed and titled by artist in pencil. LINK.

Crazy Rhythm II. Philip Bennet. Watercolor monotype, 2015. Image size 9 3/4 x 13 3/8". Edition 1/1. Signed and titled by artist in pencil. LINK.

Crazy Rhythm II. Philip Bennet. Watercolor monotype, 2015. Image size 9 3/4 x 13 3/8″. Edition 1/1. Signed and titled by artist in pencil. LINK.

Crazy Rhythm III.  Philip Bennet. Watercolor monotype, 2015. Image size 9 3/4 x 13 3/4". Edition 1/1. Signed and titled by artist in pencil. LINK.

Crazy Rhythm III. Philip Bennet. Watercolor monotype, 2015. Image size 9 3/4 x 13 3/4″. Edition 1/1. Signed and titled by artist in pencil. LINK.

The prints have been added to our inventory, and can now be seen in our DC gallery and online. Thanks to Philip for offering us a glimpse into your creative decision-making.

 

Standard
Abstract, Aquatint, Contemporary, Drypoint, Early 20th Century, Engraving, Etching, Gallery Opening Receptions, Gallery Openings, Gallery Updates, Landscapes, Mezzotint, Photo engraving, Prints

“Resonant Terrain” to open on April 17th

The Old Print Gallery is excited to announce its new print exhibit, Resonant Terrain, which will open on Friday April 17th, with a nighttime reception at the gallery from 5-7pm. This exhibit of landscapes in print features work by both 20th century and contemporary printmakers, including Matt Brown, Margaret Patterson, Joseph Essig, Sylvie Covey, John Taylor Arms, and more. The selected works range from representational to abstract, depicting vistas, valleys, and views of our shared terrain. The show will remain on view until July 11th.

Sentinels. Robert Kipniss. Mezzotint, 1992. Editon 60 + 10 ap. Image size 13 13/16 x 9 1/4" (350 x 234 mm).

Sentinels. Robert Kipniss. Mezzotint, 1992. Editon 60 + 10 ap. Image size 13 13/16 x 9 1/4″ (350 x 234 mm).

The landscape has a long tradition in art, and Resonant Terrain explores how printmakers choose to depict the natural world through its evolution and transformation into the modern era. Although united in the theme of landscape, the works are realized through differing conceptual and methodical approaches. Some, like Robert Kipniss, use the velvety blacks and luminous whites of a mezzotint to infuse landscapes with a poetic melancholy and stillness- depicting a terrain seemingly untouched by the viewer or even the artist. Others, like Harry Wickey and Gerald Scheck, use the chaotic crosshatching of a drypoint needle or the unpredictable acidic bite of the aquatint to evoke the untamed, wild majesty of the natural world.

Storm in the Mountains. Harry Wickey. Drypoint, 1935. Edition 100. Image size 8 7/8 x 12 3/4" (223 x 324 mm).

Storm in the Mountains. Harry Wickey. Drypoint, 1935. Edition 100. Image size 8 7/8 x 12 3/4″ (223 x 324 mm).

Alone Again.  Gerald Scheck. Drypoint, etching, and aquatint, 2005. Edition 25. Image size 19 5/8 x 21 3/4" (497 x 550 mm).

Alone Again. Gerald Scheck. Drypoint, etching, and aquatint, 2005. Edition 25. Image size 19 5/8 x 21 3/4″ (497 x 550 mm).

As our landscapes evolve and modernize, so too do the artists’ tools and technologies, as shown in the methods of two contemporary printmakers selected for the exhibit. Nancy Previs crafts photopolymer plates from her own un-retouched photographs, documenting the life-force of the natural world found hidden within her increasingly urbanized home city of Dublin.  Using a similar photogravure process, Sylvie Covey transforms her own photographs into impressive, mammoth-sized prints of the vast Wyoming landscape.

Seen together, the prints selected for the show unveil the emotional power and pull of the natural world, a beauty and mystery that entraps and enchants artists, and serves as a deep pool of inspiration for their work.

Wyoming III. Sylvie Covey.  Photogravure, 2011. Edition 6. Image size 18 x 23 7/8" (457 x 608 mm).

Wyoming III. Sylvie Covey. Photogravure, 2011. Edition 6. Image size 18 x 23 7/8″ (457 x 608 mm).

Standard