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Anderson is a painter & printmaker working in many disciplines. Her iconic and evocative imagery arises from her experiences as a woman and a mother, as well as her love of the natural world. Jennifer has taught various printmaking workshops atSitka since 2017, created the Roosevelt Elk artwork for the 2019 merchandise, and has been a part of the Sitka Art Invitational for the past three years.
3 color lithograph with chine collé
stone lithograph printed by the artist in collaboration with Ebinger
Aragón has exhibited internationally at venues including the Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, NY; Uferhallen, Berlin, Germany and the Society of Northern Alberta Print-Artists, Canada. His awards and residences include NYSCA/NYFA Artist Fellowship; KALA Art Institute, Berkeley, CA; Zygote Press, Cleveland, OH; and Till Richter Museum, Buggenhagen, Germany. Aragón’s work has been published in A Survey of Contemporary Printmaking (Greenville, NC: Wellington B. Gray Gallery, 2012), Peenemünde Project: Geschichte wird Kunst / Imprinting History (Berlin: Edition Braus, 2017) and ¡Printing the Revolution!: The Rise and Impact of Chicano Graphics, 1965 to Now (Washington, DC: Smithsonian American Art Museum; Princeton: in association with Princeton University Press, 2020).
Aragón’s works explore subjects of violence, transient and/or persistent memory, perception and the multiple; he uses erasure as language through the use of processes that are reductive in nature. His work is held in collections including the Museum of Fine Arts, Boston; National Museum of Mexican Art, Chicago; and Minneapolis Institute of Art.
One color lithograph
Two color lithograph
Two color lithograph
Two color lithograph
Adrian Armstrong's (b.1990 Omaha, Nebraska) multidisciplinary practice, which encompasses drawing, painting, installation, and sound, documents the contemporary Black experiences in the United States. He is deeply interested in questions of how Black experiences intersect with the history of photography, portraiture, and collage.
Using friends, family members, and acquaintances as subjects, Armstrong’s single and multi-figural works probe the influence of place and popular culture on the formation of self-image, community, connection, tenderness, and love–both platonic and romantic. More specifically, he is interested in the complex ways race informs how we assign value to and interact in the spaces we occupy.
Armstrong draws heavily on his own identity politics and lived experiences to depict the narratives of Black life. Nested in intimate and poignant settings, his figures often embody a range of psychological states, including joy, happiness, introspection, and dysphoria. Armstrong’s works seek to inspire new ways of looking at the familiar. Ultimately, Armstrong’s work is an ongoing examination into the complexities of Black identity and representation.
4 color lithograph with chine collé
3 color aquatint and soft ground etching with 21 piece chine collé and hand drawn embellishment by the artist
Inka Bell is a visual artist who works primarily in the expanded field of printmaking, using material, color, surface, and repetition to explore the relationship between two- and three-dimensions. She strips away anything that is unnecessary, leaving only what she finds to be essential and focusing on observing the behavior and processes of her chosen media.
Credit: Tamarind Website
Three color lithograph
Ellen Berkenblit (American, b.1958) is an influential Contemporary painter, known for her colorful, gestural paintings of women and animals. Often working in large-scale and in oil paint, a recurring motif in Berkenblit’s work is a magical female protagonist, frequently depicted as a cartoonish women in profile, with long lashes, rosy cheeks, and wild hair. Berkenblit had her first solo exhibition in 1984, and has since gone on to have solo shows at Anton Kern Gallery in New York, Michael Benevento in Los Angeles, TBA Gallery in Chicago, Suzanne Hilberry Gallery in Detroit, and Charim Klocker Gallery in Vienna, among others.
Born in Perterson, NJ, Berkenblit went on to receive her BFA from Cooper Union in 1980. Her work can be found in the public collections of The Museum of Modern Art in New York, the Brooklyn Museum, the Farnsworth Art Museum in Rockland, the Cincinnati Art Museum, The Museum of Contemporary Art Los Angeles, and the Museum of Contemporary Art in Chicago. She is also the recipient a 2014 Guggenheim fellowship.
Six color lithograph with glitter elements
Five color lithograph with glitter elements
Six color lithograph with glitter elements
Six color lithograph with glitter elements
Laura Berman is a contemporary artist known widely for her abstract, colorful prints and paintings. Her vibrant work celebrates the joy of seeing and the beauty of discovery.
17 color lithograph
19 color lithograph
17 color lithograph
Pepe Coronado was born and raised in the Dominican Republic and currently resides in Austin, Texas. Coronado is a founding member of the print collective Dominican York Proyecto GRAFICA, founder of Coronado Print Studio, and was a resident teaching artist at the Hudson River Museum in New York. He has taught printmaking at the Corcoran College of Art, Georgetown University and at the Maryland Institute College of Art in Baltimore, where he earned the Master of Fine Arts. Coronado was a master printer for Pyramid Atlantic in Silver Spring, Maryland; the Hand Print Workshop International in Alexandria, Virginia; and the Serie Print Project in Austin, Texas. He has been a visiting artist at Self Help Graphics in Los Angeles.
In 2021-22, Coronado was an artist in residence at Flatbed Press where he create a body of monotypes titled the Apertura Suite.
Apertura 100-22
Monotype
2022
Paper Size: 36" x 35 ¾"
Image Size: 36" x 35 ¾"
Apertura 50-22
Monotype
2022
Paper Size: 36" x 35 ¾"
Image Size: 36" x 35 ¾"
Annalise Natasha Gratovich lives and works in Austin, Texas and is the Associate Director of Flatbed Press. Her largest series to date, The Villagers Carrying Things From Home, is comprised of eight 3x5.5 foot hand-dyed chine collé woodcuts. This series is being co-published by Flatbed Press, where the first six may be seen.
She is on the Board of Directors of PrintAustin, a month-long, city-wide printmaking event for which she has helped organize exhibitions and special events, curate the PrintAustin Invitational, and has participated in artist and curator talks, and panel discussions.
Gratovich has exhibited extensively nationally and internationally and is a sought-after visiting artist and speaker throughout the state of Texas where there is a rich historic and contemporary printmaking movement. Her work is included in numerous publications including Flatbed at 25, a UT Press monograph on the publisher. She has been invited to participate in visiting artist residencies throughout the region and has work in numerous private and public collections, the most recent acquisition going to the Library of Congress Prints and Photographs Division.
The Healer
Woodcut with hand dyed chine collé
2023
66 x 36-inch image size
71 x 40-inch paper size
“The material process of my work has evolved gradually but significantly over the past seven years as I have refined my handmade graphite paint and my methods of painting through continual experimentation. The current body of paintings’ surfaces are slowly built up on canvas with up to thirty carefully made, thin coats of paint, and my compositions are arrived at by means of many small-scale studies on similarly prepared paper. The monochromatic, matte black surfaces are then selectively hand-polished to reveal fields of lustrous, reflective silver tones that emerge from the paint film, creating light from the darkness. In the end, the complexity of my process gives way to a simple pursuit of subtle, quiet beauty.
This pursuit materializes in both formal and conceptual terms, insofar as my compositional focus on balanced asymmetry is analogous to the essential unity of presumed dichotomies. Graphite, a crystalline form of elemental carbon, has the ability to both absorb and reflect light, essentially containing both lightness and darkness. I have a conceptual and poetic interest in this metaphor, namely that a single material can embody both the void and the hope of escaping it.” - M. Benjamin Herndon
Form No. 7
four run, three-color lithograph
2021
22.3 x 20.1 inches (56.6 x 51.1 cm)
In her work, Ellen Lesperance (b. 1971, Minneapolis, MN) pays tribute to direct action campaigns and feminist activism. Lesperance's paintings are based on knit garments worn by women involved in protests, sit-ins, demonstrations, and instances of civil disobedience. Pattern, shape, and symmetry emerge in the artist's highly detailed compositions, which merge abstraction and figuration to speak to participation and protest as essential and personal acts. In her layering of archival research and imaginative interpretation, Lesperance presents the potential of past events within a political lineage that may inspire future action through translated and coded symbols.
The Final Path of Feminye
2020
Fourteen-color lithograph
Paper Size: 42 1/16 x 29 3/4 inches
Paper Type: Newsprint grey Somerset velvet
Who Killed Karen Silkwood?
2020
Three-color lithograph with chine collé and hand-knitted element
Paper Size: 42 7/8 x 29 3/8 inches
Paper Type: tan Rives BFK, Mulberry and Thai Kozo
Rose B. Simpson is a mixed-media artist working from her home at Santa Clara Pueblo, where she is rooted in the long tradition of Pueblo potters and the vibrant car culture of New Mexico. She is engaged in many disciplines, including ceramic sculpture, metals, fashion, performance, music, installation, writing, custom cars, and printmaking. She received an MFA in Ceramics from Rhode Island School of Design (RISD) in 2011 and an MFA in Creative Non-Fiction from the Institute of American Indian Arts (IAIA) in 2018. Simpson is represented in museum collections across the country and exhibited internationally.
Following her RISD program, Simpson returned home to New Mexico and enrolled in the Northern New Mexico College Automotive Science program. This unlikely move into car customization was in part to embrace the lowrider culture where she grew up, and also to master another technical skill. From the automotive shop in Española she restored a 1985 Chevy El Camino, transforming the common vehicle into a powerful symbolic entity known as Maria after the famed San Ildefonso Pueblo potter Maria Martinez (1887-1980). Simpson incorporated the classic black-on-black patterns of San Ildefonso pottery across Maria’s exterior, honoring the Pueblo tradition and also marking a radical shift in the visual language of contemporary Native American art. Maria made its first appearance in 2014 at the Denver Art Museum, as part of a performance in which Simpson delivered the car flanked by a squad of post-apocalyptic Indigenous warriors, made up of people of indigenous and queer identities.
Simpson had her first residency at Tamarind Institute in 2021. Working alongside a team of Tamarind printers, she created two editions; one lithograph is a large-scale figurative image reminiscent of the towering androgynous forms of her ceramic sculpture (to be released later this Fall), and the other lithograph is the iconic Maria, capturing both sides of the black automotive sculpture in a diptych. After working intensively to rebuild and customize the El Camino body, she realized in making the Maria lithograph that this was the first time she had actually drawn the car. The sleek rendering conveys the dramatic presence of the altered vehicle and all it signifies, and the immediacy of the drawing evokes the familiarity of a close family member.
Simpson is represented by Chiaroscuro Contemporary Art, Jack Shainman Gallery, and Jessica Silverman Gallery.
Let Story Go
2021
Ten-color lithograph with dusting and chine collé
Paper Size: 60 x 28 inches
Paper Type: White Rives BFK and Okawara
Maria
2021
Two-color lithograph, diptych
Paper Size: 18 x 46 inches
Paper Type: Okawara
Darden Smith’s multi-media practice encompasses songs, photography, drawing, illustration, video, printmaking, essays and performance. Moving between and combining mediums allows a broader horizon in which to work. His music is rooted in the Texas songwriting traditions, and as such, the power of story, rhythm and a sense of place is prevalent in all his work. In his mind, a piece, whether it’s a song, drawing, photograph or a print, isn’t finished until it sings.
Darden's visual work is influenced by cartoons, line drawings, Karl Blossfeldt’s nature photography, Cy Twombly’s paintings, Francesco Clementi’s watercolors, his quite extensive stamp collection, and what he calls rhythmic visual dissonance – the objects and repeated patterns of our lives. He’s not interested in making an exact replica of what he sees because, as he says, “we already have that.”
As a musician and songwriter, he has released 17 full length albums and toured extensively in the US, UK and Europe. He has composed music for film, TV and dance/theater. Grand Motion, a full evening symphonic work, was commissioned by the Austin Symphony in 1999.
The Habit of Noticing: Using Creativity to Make a Life (and a Living), his first book, was published in 2018. The expansive project Western Skies (2022) encompasses an album of new music; a spoken word album of essays; a book of photographs, lyrics and writings; lithographs; drawings and video.
Darden's artwork is in private and corporate collections in the US, UK and Europe, as well as the Library of Congress’ Prints and Photographs Collection.
Riot # 3
Varied Edition monoprint with chine colléd lithograph
2023
30” x 22”
Riot # 4
Varied Edition monoprint with chine colléd lithograph
2023
22” x 30”
Riot # 6
Varied Edition monoprint with chine colléd lithograph
2023
30” x 22”
Riot # 17
Varied Edition monoprint with chine colléd lithograph
2023
22” x 30”
“Like my paintings, the prints in this group are composed of many layers—somewhere between seven to ten. The layering allowed us to create a kind of depth that was not illusionistic, but rather, psychological. We weren’t concerned with the abstraction/figuration dichotomy, and instead focused on discovering innovative techniques and color relationships. One of our favorite techniques was to take one, very heavily coated print and place it face to face with a blank paper. The residue or trace of the fully saturated print would be the start of a new print. In that sense, the same marks are embedded in almost every piece but the layering differentiated them all in the end.
I think of all the prints as interior or psychological landscapes. Carl Jung, whose work fascinates me a great deal, talks about the importance of integrating our Shadow, or repressed self with our conscious self. These prints are perhaps my surrender to Shadow and my hope is that they will invite a similar kind of acceptance in the viewer.”
— Maja Ruznic, 2022
Shadow 10
2021
Monotype
Paper Size: 33 x 22 inches
Paper Type: Thai Kozo/white Arches Cover
Shadow 14
2021
Monotype
Paper Size: 32 x 22 inches
Paper Type: Thai Kozo/white Arches Cover
Shadow 5
2021
Monotype
Paper Size: 22 3/4 x 24 inches
Shadow 4
2021
Monotype
Paper Size: 37 x 24 inches
Paper Type: Thai Kozo/white Arches Cover
Catching the Night
2021
Fourteen-color lithograph with chine collé
Paper Size: 32 x 23 inches
Paper Type: Thai Kozo and black Revere suede
Lepidoptera Collection
2021
Suite of five single-color lithographs with chine collé
Paper Size: 10 x 8 inches
Paper Type: White Arches Cover and Thai Kozo
Eye Spots
2021
Two-color lithograph with chine collé
Paper Size: 27 3/4 x 22 inches
Paper Type: Thai Kozo/white Arches Cover and Gampi