Color etching, Contemporary, Early 20th Century, Etching, Gallery Event, Gallery Opening Receptions, Gallery Openings, Landscapes, Prints

“Resonant Terrain” Opens This Week!

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Resonant Terrain opens on Friday, April 17th, with a nighttime reception at the gallery from 5-7pm. 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. This exhibit of landscapes in print features work by both 20th century and contemporary printmakers and will remain on view until July 11th.

Selected Artists: Philip Bennet, Grace Bentley-Scheck, Matt Brown, Charles E. Burchfield, George E. Burr, Letterio Calapai, Sylvie Covey, Joseph Essig, Richard Florsheim, Emil Ganso, Maya Hardin, George Overbury “Pop” Hart, Peter Hurd, Robert Kipniss, Gene Kloss, Evan Lindquist, Donald Shaw MacLaughlan, Thomas W. Nason, Margaret J. Patterson, Nancy Previs, Gerald Scheck, Steven E. Walker, Levon West, and Harry Wickey.

To see the prints included in the show, click here. 

To read more about the show, click here.

Image Credit: Iceland Rocks I. By Joseph Essig. Etching printed in color and finished by hand, 2014. Image size 12 9/16 x 10 9/16 inches. Signed and titled in pencil. Edition 65. Inscribed “1/65.”

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Color Woodcut, Contemporary, Monotype, Prints, Screenprint, Woodcut

Outside the Margin Series

Our 2014 Winter Contemporary Show is still on view at The Old Print Gallery. One of the best things about doing the Winter Contemporary Show every year is catching up with all our talented contemporary artists, seeing and learning about their new projects and experiments in printmaking. It is exciting to witness the evolution of their art over time, as they play with scale, new color palettes, subject matter, and technique.
Outside the Margin (3). Susan Goldman. Screenprint monotype with woodcut, 2014. Signed, titled, dated, and editioned on back by artist in pencil. Lily Press stamp in red ink on back. Paper size 10 x 8" (254 x 203 mm).  LINK.

Outside the Margin (3). Susan Goldman. Screenprint monotype with woodcut, 2014. Signed, titled, dated, and editioned on back by artist in pencil. Lily Press stamp in red ink on back. Paper size 10 x 8″ (254 x 203 mm). LINK.

Susan Goldman (no stranger to the OPG blog- read her interview here) is one of our contemporary printmakers from DC. We have represented her work for several years now, and her new series, entitled “Outside the Margin” is an intriguing transition from her previous work. While smaller in size than most of her other prints, you can certainly link the thematic elements to her earlier monotypes. In the past, Susan has worked with the image of an amphora, exploring and celebrating ancient civilizations’ reverence for the object. Homer describes the vessel as the “Prima Materia”, a metaphor for the womb of the earth. Swirling and blossoming, Goldman’s amphorae mirror the female silhouette as it generates and nurtures new life. In her new series, Goldman uses the motif of an amphora, but layers in new pattern work and symbolism-like concentric circles and blossoms.
“This varied edition evolved out of mixing my earlier ideas about pattern inspired by travel to Morocco and my new ideas about simplifying my approach to imagery of flowers, targets and amphorae. The layering of multiple print mediums relates to an archaeology of process, what is below is mysterious and fragmented, but as one uncovers the clues, a new picture emerges that references the past and the present.”- Susan Goldman
Outside the Margin (1). Susan Goldman. Screenprint monotype with woodcut, 2014. Signed, titled, dated, and editioned on back by artist in pencil. Lily Press stamp in red ink on back. Paper size 10 x 8" (254 x 203 mm).  LINK.

Outside the Margin (1). Susan Goldman. Screenprint monotype with woodcut, 2014. Signed, titled, dated, and editioned on back by artist in pencil. Lily Press stamp in red ink on back. Paper size 10 x 8″ (254 x 203 mm). LINK.

Outside the Margin (2). Susan Goldman. Screenprint monotype with woodcut, 2014. Signed, titled, dated, and editioned on back by artist in pencil. Lily Press stamp in red ink on back. Paper size 10 x 8" (254 x 203 mm). LINK.

Outside the Margin (2). Susan Goldman. Screenprint monotype with woodcut, 2014. Signed, titled, dated, and editioned on back by artist in pencil. Lily Press stamp in red ink on back. Paper size 10 x 8″ (254 x 203 mm). LINK.

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Abstract, Contemporary, Gallery Opening Receptions, Gallery Openings, Prints

2014 Winter Contemporary Show

(L) Persistent Optimism 4b. By Heather McMordie. Stone lithograph with woodcut and mixed media, 2014. Ed. 2/3. Paper size 11 x 10".  (C) Persistent Optimism 2b. By Heather McMordie. Stone lithograph with woodcut and mixed media, 2014. Ed 2/3. Paper size 11 x 10".  (R) Persistent Optimism 4a.  By Heather Mcmordie. Stone lithograph with woodcut and mixed media, 2014. Ed 1/3. Paper size 11 x 10".  LINK.

(Left) Persistent Optimism 4b. (Center) Persistent Optimism 2b. (Right) Persistent Optimism 4a.
By Heather McMordie. Stone lithograph with woodcut and mixed media, 2014. Edition of 3. Paper size 11 x 10″ each. LINK.

The Old Print Gallery’s 2014 Winter Contemporary Show will open on Friday, November 21, 2014 with a free nighttime celebratory reception from 5-8pm at the gallery. Works by thirteen contemporary printmakers, all created within the last two years, were chosen for the show. The prints selected are an impressive and alluring display of the current eclecticism found in contemporary printmaking.  Purposeful and inventive, the prints are successful experiments in medium, color, and scale, and for many of the artists selected, the prints are a deviation from their previous creative propensities. The show will remain on view in the gallery until February 14, 2014.

Harmonious Rhythm I. Nancy Previs. Photo intaglio, 2014. Ed 2/15. Image size 9 5/8 x 12”. LINK.

Harmonious Rhythm I. Nancy Previs. Photo intaglio, 2014. Ed 2/15. Image size 9 5/8 x 12”. LINK.

Highlights include a haunting and mysterious photo intaglio landscape by Dublin-based Nancy Previs and three small mezzotints of the human form by Australian printmaker Cleo Wilkinson, whose printed visages emerge from a velvety black with a tonal richness and striking subtlety.  The exhibit also features three prints from emerging artist Heather McMordie’s new series, Persistent Optimism, an exciting experiment in prints-turned-drawings, each with elements of lithography, woodcut, graphite, colored pencil, and charcoal.

The 2014 Winter Contemporary Show will also showcase several works by local DC printmakers, including an abstract and playful watercolor-based monotype by Philip Bennet, bold screenprint monotypes with woodcut elements by Susan Goldman, and artfully rendered still lifes in etching and aquatint by Jake Muirhead.

Thrush. Jake Muirhead. Softground with drypoint, 2014. A/P. Image size 11 7/8 x 11 7/8". LINK.

Thrush. Jake Muirhead. Softground with drypoint, 2014. A/P. Image size 11 7/8 x 11 7/8″. LINK.

Selected Artists: Philip Bennet, Richard Carleton, Michael Di Cerbo, Eric Goldberg, Susan Goldman,  Su-Li Hung, Robert Kipniss, Mary Manusos, Heather McMordie, Jake Muirhead, Nancy Previs, Richard Sloat, and Cleo Wilkinson.

Splash #2. Philip Bennet. Oil-based ink monotype, 2013. Ed 1/1. Image size 11 x 17".  LINK.

Splash #2. Philip Bennet. Oil-based ink monotype, 2013. Ed 1/1. Image size 11 x 17″. LINK.

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Abstract, Contemporary, Gallery Updates, Monotype, Prints

Washington Post Review of “Kaleidoscope”

Philip Bennet’s “Organic,” from his solo show at the Old Print Gallery in Georgetown.

Philip Bennet’s “Organic,” from his solo show at the Old Print Gallery in Georgetown.

Mark Jenkins, arts writer for The Washington Post, featured our Philip Bennet solo show, Kaleidoscope , in his most recent arts column. Follow the link below to read his article, and make sure to stop by the gallery before June 14th to see these “complex yet unified pieces” in person.

Washington Post 6/6/2014 review of “Kaleidoscope”

( Quick note: Our exhibit  is the last show reviewed, so it does take some scrolling to get to the write-up on Kaleidoscope).

The article also featured an image of Bennet’s 2008 watercolor monotype Organic. The print is still available for sale. Feel free to contact us at the gallery for more information or to purchase the print.

To see the show online, follow this link: OPG Website- Kaleidoscope. 

To read our previous 2011 interview with Philip Bennet, follow this link: printmaker Q&A: Philip Bennet.

 

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Contemporary, Digital Printmaking, Engraving, Landscapes, Lithograph, Photogravure, Photolithograph, Prints

Sylvie Covey’s Printmaking Process

Lake George II. By Sylvie Covey. Photolithograph, 2010. Edition of 4. LINK.

Lake George II. By Sylvie Covey. Photolithograph, 2010. Edition of 4. LINK.

Last week, we talked with the fantastic contemporary artist Sylvie Covey  (She is one of the OPG artists we will be bringing to this week’s Capital Art Fair). Sylvie  Covey is a favorite here at the Old Print Gallery- we featured her stunning Lake George II in our 2012 Winter Contemporary Show, and gallery visitors and collectors are always moved by her impressive, expansive black and white Wyoming landscapes.

Sylvie was gracious enough to share some words on her technique and creative process used in her print series Wyoming (2011) and Lake George (2010), both available in our Georgetown gallery.  We hope you enjoy this inside look into her unique approach to the world of digital printmaking. Thanks again for sharing Sylvie!


 The process of making art is a continuous learning experience. As a multi media artist I attempt to celebrate, transcend or reverse the conventions of visual languages.

In today’s world we artists want to embrace new technologies while also holding on and comparing them with more traditional methods of making art.

Wyoming VII. By Sylvie Covey.  Photogravure, 2011. Edition of 6. LINK

Wyoming VII. By Sylvie Covey. Photogravure, 2011. Edition of 6. LINK

I take photographs of  fabulous landscapes, and dramatize the images digitally, sometimes in black and white, sometimes in split-toning, sometimes making color separations in CYMK. [Cyan, magenta, yellow and black.] I then print the files on laser transparencies to obtain positive films, to the scale of the anticipated final work.

The transparencies must have a specific microscopic halftone to define the image, for photo-etching I use 85 dpi, for photolithography I can go up between 220 to 300 dpi.

Wyoming IX. By Sylvie Covey. Photogravure, 2011. LINK. Edition of 6.

Wyoming IX. By Sylvie Covey. Photogravure, 2011. Edition of 6. LINK. 

I expose these transparencies on light-sensitive plates: for photo etching I must first laminate a copper plate with a polymer UV sensitive film emulsion. For photo lithography I use pre-sensitized aluminum plates [Fuji plates]. Once the plates have been exposed with UV light to the positive transparencies, the plates are developed in their respective developer, washed, and processed for printing.

I hand print all my plates and make very small editions, usually less than 10, because I have so many images to work with.

I print both photo etchings and photolithographs on my Charles Brand etching press.

I am very much involved in the process of making art with newer technology. Currently I work with transfer methods, on a variety of supports.

— New York, 2014. Sylvie Covey.

Lake George I. By Sylvie Covey. Photolithograph, 2010. Edition of 4. LINK.

Lake George I. By Sylvie Covey. Photolithograph, 2010. Edition of 4. LINK.


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