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Art Students League Ideas Monotypes Month of Printmaking

State of the Art

MoPrint Grows a Medium

MoPrint 2024 is finally done now, and there’s a sense of relief for me. It’s hard work, and there are a lot of details and dates to keep track of. Sometimes, I get so busy and tired, I don’t get to see everything I’d like to.

This year I did pretty well, on that point. In general, as the weather improves, I see more shows, and that improves my chances as MoPrint moves farther into Spring. I skipped the opening for the 528.0 show, for example, in frigid weather, but then saw it later on on a beautiful day. I didn’t see every show, or even most. That would be hard to do. But the shows I saw confirmed a pet theory: events like MoPrint make the print community stronger in the state.

It’s amazing how much interesting work there is to see, and it seems to get more interesting each event. Printmaking can be somewhat hidebound. It’s not so surprising, considering it was originally popularized in Northern Europe as a way of illustrating books, and eventually in Netherlands to bring fine art to the growing middle class ( It was also popular in Asia, at an even earlier period, but I’m not as familiar with the history, which I assume includes some of the same motivations. I certainly don’t dispute or minimize this influential history, just can’t speak to it). Advertising and political thought followed, and eventually with commercial processes, graphic entertainments such as comics. I enjoy all of these facets of print, but as fine art, prints have tended to play a subsidiary role to sculpture and painting. And they have tended to stick close to their commercial, didactic roots.

Two reasons come to mind: The first is the aspect of illustration I’ve already alluded to, in which printed images are often utilized in conjunction with words, in very didactic ways. Second is the primacy of process in the medium, in which complex, ever evolving technologies must be mastered in order to get consistent results. And consistency is gospel in fine art printmaking, never far from the commercial imperative of publishing and selling editions of identical images at relatively low margins.

The idea of making monotypes beguiled me ( a former painter and draughtsman ) with their spontaneity and unpredictability, and their unique properties as one-of-a-kind prints. Monotypes have been around since the 1600s, but have always been a bit of a backwater in the medium, itself a backwater in high art. Process adds another layer of didacticism to printmaking, already shuttled into the ghetto of illustrative art. Monotypes are a very simple process, and give themselves to spontaneity and experimentation. They seem to have experienced a resurgence beginning with Abstract Expressionism. With this, I think I’ve made my perspective (bias?) on printmaking clear.

These more traditional, process things seem to me to be baked into printmaking, which is why I am pleased to report that MoPrint 20024 seems to have continued the trend of encouraging experimentation in the medium, and what’s more, is starting to reward it. A strength of printmaking is social exchange, not just in the democratic accessibility of image and word, but at process level as artists gather around not very portable equipment in groups working together.

It’s not a surprising development. MoPrint, by inspiring a plethora of shows, classes and demonstrations, talks and parties, fosters exchange. I mentioned in my last post how those of us on the first organizing committee were surprised by how many printmakers there were in the region. Even at my own school, there are now more than 10 instructors offering classes. That’s a lot of different processes, techniques and approaches.

At one of my shows, the Colorado Print Educators show at Red Rocks CC, the opening was lightly attended. Late on, it devolved into a group of us teachers walking around to hear about each person’s work. One artist, who also teaches ceramics at, I believe, Arapahoe CC ( I apologize for going on my poor memory here, I regret not taking notes but did not intend to write a review ) had figured out how to print ceramic etchings onto vellum or something, and had made light boxes from that. While I can’t accurately describe her process ( I’d had no wine, I swear ), it was only one of many incredible conversations I’d had about techniques I’d never heard of. And each new technique seems to bring its own array of graphic permutations and challenges. Printmakers were forcing themselves to adapt. It’s the crucible of spontaneity and experiment.

Everywhere I went, people were having similar talks. Not to mention the “civilians”, many of whom were learning, for the first time, the difference between intaglio and relief. Or importantly, real printmaking and “fine art” Giclees and other commercial reproductions.

Dynamic color and process by Sue Oehme at Arvada Center during MoPrint 2024.

This brings me back to the Arvada Center, which sort of became the holy center of this year’s MoPrint. They hosted the 528.0 show, a regional exhibition juried by print experts from around the nation (open to artists living within 528 miles of the Mile High City, get it?) This had its share of traditional, process-oriented work, but was certainly not afraid of experimentation. Several print installations were included, for example, including one involving car tires inked up and rolled across long sheets of paper, which strikingly addressed innovation in process, but I’m not sure had much else to say. A large wall hanging by Taiko Chandler, printed on Tyvek construction sheeting, and cut into looping designs, was far more successful. There was a beautiful installation of monotypes of ethereal leaf motifs hanging in the center of one gallery by Alicia McKim. On the walls I was struck by a simple, stenciled cyanotype, exposed, then shifted slightly and exposed again, the characteristic blue hues creating watery passages of light. All in all, a nice show. I went there during Print Jam, where crazy printmakers roll presses into the gallery and demonstrate various techniques, including a gentleman (again, apologies for not taking names ) who participates in the burgeoning discipline of traffic cone printing, where those smushed, muddy derelict orange cones we murder with our cars in construction zones are collected from the ditches and carved (they’re essentially linoleum) then rolled and printed.

If AC was the holy center, Sue Oehme was the high priest. She seemed to be everywhere during MoPrint, but her show in the upstairs gallery in Arvada set the tone. Oehme, a master printer who formerly worked in NYC with name artists such as Frank Stella, and who now runs a studio in Steamboat Springs, showed many of her clients, including a Stella, in rare black and white. Printmaking, with its stripped down aesthetics, often offers revelatory moments. And again, here was Taiko Chandler, combining collograph, monotype and stencil. A product of ASLD classes beginning in 2011, her creative progress has been phenomenal.

But the highlight of these shows was Oehme’s installations of hundreds of shards of paper and acetate, stained by their use in her watercolor monotypes and arranged in rainbow patterns of related hues on the walls, and ultimately in the heavens, hanging in resplendent clouds, floating and glittering in the front lobby, in the low early Spring MoPrint sun as one came down the main stairwell.

Other shows also highlighted adventure and innovation. NKollective, in the Santa Fe Arts District, an encaustic/cold wax gallery, showed artists such as Victoria Eubanks and Michelle Lamb, encaustic instructors who have been leaders in the rather saucy love affair between encaustic and printmaking ( using monotypes or other prints as basis for the translucent beeswax ). But a very interesting artist at NKollective is Carol Till, a graduate of the Botanic Gardens’ botanical illustration academy, the epicenter of traditional process, who turned to the polymer etching process to make multiples of her laboriously limned flowers and grasses and bird’s nests, only to see the repeated images as an opportunity for experiment. Now, combining photograms, polymer etchings, printed chine colle’ on textured papers, along with traditional watercolor, she achieves complex layerings of her images in negative and positive iterations, all still, of course, botanically accurate. She’s a sharp woman, fun to talk with, I know her and her equally interesting hub, Greg, well. It’s quite possible her work would have progressed so quickly into such unique directions without the Art Students League print room ( where she worked for a long time before buying a press), or the biennial madness of MoPrint ( with whom, she’s another longtime volunteer ). But I wonder.

Small moments of innovation pop up everywhere-Kathie Lucas smoothly blended up-cycled materials into some otherwise traditional monotype landscapes at Tenn Street Coffee.

Early during this MoPrint, I went to the Black Ink show at Trve Brewing. This show exemplifies the democratic spirit of MoPrint, and also the madness. It’s a benefit for the MoPrint org, where artists start in fall, carving donated Lino blocks, which are then printed in editions of 25 at Ghenghis Kern letterpress ( speaking of experiment- in a letterpress shop! Check out their printer’s dingbat assemblage prints next MoPrint Studio Tour ), then sold for $10 apiece. It’s a tiny Broadway South/Baker thrash metal bar with good micro beers. People line up down the block to stream in and look at all the numbered prints on the wall then get in the other line to buy 5 or 6. I was sitting in the back, by the Nashville hot chicken counter, sipping an IPA and trying to keep the prints I’d bought dry. One was actually two prints, by Collin Parson, the head curator at the Arvada Center: first, a set of wavy lines on Bristol, and another print of them on acetate, so that you can create your own adjustable moire’ image. Parson is an accomplished sculptor who saw the print medium as a chance to play with perception and optical effects- all for less than the cost of my meal that night.

The thrash band on the stereo was punishing their vocal cords, while the tattooed kids in all black, jeans, Airwalks, the whole bit, stood next to fashionistas to buy art. It was kind of glorious, a leveling in the art scene. Most of these printmakers could never get into a museum. But, on the other hand, that night, the museum people couldn’t get into the thrash metal bar.

Thus, a very quotidian medium meets its moment with verve, fearlessness, and a democratic spirit ( not to mention, prices ). After 11 years, MoPrint has changed the art scene in Denver.

#MoPrint #Printmaking #Art Shows #ASLDprintmakers

Categories
Monotypes Month of Printmaking

LessPrint

At MoPrint Print Jam at the Denver Art Museum, I got the opportunity to tell the world everything I know about printmaking. Photo is by Denver photographer and photography teacher Tom Finke

Most of my major participation in MoPrint is now complete, and all of the events went pretty well.

Last weekend was the latest, Print Jam at the Denver Art Museum, produced by Month of Printmaking and featuring 14 artists giving demonstrations and drop in workshops, including me. The crowd was very steady all day (11-4), and the organizer, Emily Moyer did a great job.

I helped with the Monotype table featuring 3 artists, 2 of whom had taken their first monotype classes with me. That’s always a source of pride. I fancied that we had some of the largest gatherings at our station, but that may just be team spirit on my part.

There are still openings and ongoing shows featuring my work, as well as many many others, but the events that required planning and organization on my part are now finished, which means I’m now essentially a tourist. What a relief!

The party began early for me Saturday, as I was one of the first artists to complete my demo, and spent the day relaxing and enjoying the other artist demos as well as assisting my own team at the monotype station. I took a ton of photos and some video that I hope to turn into a MoPrint promo that I will donate to MoPrint.org, should they want it. With that project, I hope to again jumpstart production of my own videos for this site, and for my YouTube channel.

But the pace of that will be much more relaxed and leave time to produce some larger monotypes for a new show, whenever that may happen. My class schedule will also be somewhat reduced as I recharge my batteries. I’ll update soon, but the next post here will undoubtedly be about reading projects. Other than that, I’ll see you next weekend on the #studiotour and at #steamrollerprinting in April.

#moprint2022 #asldprintmakers #monotypes #denverart #artstudentsleaguedenver

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Art Students League Etchings and Small Work Month of Printmaking Uncategorized

Warming Up at MoPrint

Yes, it’s fair to say that the Black Ink fundraiser at TRVE Brewing was popular.

Despite the on again, off again winter weather, MoPrint is off to a great start, and people seem to be eager to see it after 2020 was cancelled, mostly, by the pandemic. I’ve seen several shows already, which is more shows than I probably saw all 2021.

ARThropod, Artists on Santa Fe: Carol Till and Jeff Russel take differing approaches to the subject matter, insects ( arthropods also include lobsters and crayfish, etc, I believe, but I saw mostly insects in the exhibit). Carol is a botanical illustrator by trade, who has migrated to printmaking. So hers are naturalistic, though abstract elements such as chine colle and hand colorings have been added. Jeff is more known for patterning and collage, and his prints follow that approach, projecting a more decorative designerly style.

Black Ink, TRVE Brewing: A MoPrint fundraiser, and a crowded one, with lines out the door. That’s what selling editions of linocuts donated by 60 artists for $10 will get you- a madhouse. It’s rare and gratifying to see people line up to buy art, of course, but I didn’t stick around too long as I’m not totally ready for crowds yet, and I had other commitments. I’ve posted a quick snap of the craziness, and I got my share of affordable art, of course. A lot of money was raised to keep #Moprint going. No word on how my own effort sold, but whatever prints are leftover can be bought at the Open Portfolio event at the Botanic Gardens, this Saturday from 1-4 PM.

This Lino cut by Greg Santos will soon be on my wall.

ASLD Print Fair Exhibition: I’m in this show, but will nonetheless extoll its overall strength. ASLD artist such as Kathie Lucas, Mami Yamamoto, Taiko Chandler and Michael Keyes contributed noticeably strong work, among many others. The opening was also crowded and many works have already sold. It’s up through March 27.

I also saw monotypes, ink transfer prints and some very interesting oil resist prints/drawings at Edge, and a great ceramics installation at Pirate. I tried to see the Women in Printmaking show at 40 West, but it was unexpectedly closed, so I’ll try again. I’ll be out there this Friday night for the opening of SurfaceIn/sight, a national printmaking show I juried, and that I’m excited about.

I will also be at the Botanic Gardens Open Portfolio show this Saturday with a portfolio of many (mostly smaller) prints culled from the flat files and past shows. Other upcoming events are described more fully, here.

#moprint22 #printmaking #denverart

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Art Shows Art Students League Etchings and Small Work Monotypes Month of Printmaking

Month of Printmaking 2022

Illustration of artist's monotype process in relation to Month of Printmaking
This monotype is one of several ghosts and variants I created from a trace monotype image I did in 2021. The chair imagery is simple, but lends itself to multiple treatments and suggests to me a state of being in the present, with the asterisk suggesting more info to come, or in other words, change. It’s about presence. Showing at Art Gym imPressed show, March 24-April 17.

It’s been a busy, snowy run-up to #moprint2022. But the pandemic seems to be easing, at least in the vaccinated parts of the state, so we can keep our fingers crossed that this one will go off as planned, unlike 2020.

I committed to a lot of events, which has kept me running, but it’ll be fun if it all comes off. Note: I do not anticipate doing the Summer Art Market this year, to give myself a break, and to re-fill my inventory. So MoPrint may be the best opportunity to see work by me this year. Of course, you can always contact me (above) for a private showing. Here’s as complete a list as I can give right now:

February 26, 4 PM: Opening for Print Educators of Colorado show at Lincoln Center, Ft. Collins. I have 2 pieces in the show and anticipate being there for the opening. The show runs through April 9.

March 4, 5:30-8:30 PM: Opening for ASLD Print Fair Exhibition, Art Students League of Denver, 200 Grant St. I’ll have 1-2 pieces in the show. There are free demos by ASLD faculty and artists upstairs. I will be here most of the night.

March 4, 5-10 PM, Trve Brewing, Broadway and 2nd, Black Ink fundraiser for MoPrint. I will have an edition of 20 lino cuts available at a ridiculously low price of $10 apiece, along with 60 other artists. It all benefits Month of Printmaking. I will be here for part of the night.

March 5, 10-4 PM: ASLD Print Fair Pop Up Portfolio show and free artists demos at ASLD 200 Grant. I will have a portfolio of selected prints available for sale, and I’ll be here all day. Prints are an affordable way to start a collection!

March 11, 5-10 PM, Core New Art Space. A show of many techniques in printmaking, that I juried from a national call for entries. Show runs through March 27. I will be at the opening, at least for the later hours.

March 12, 1-4 PM, MoPrint Open Portfolio, Denver Botanic Gardens, Mitchell Hall. This is also a portfolio show, so no framed work, and mostly small pieces that I can display on a table. I predict prices will be very affordable.

March 19, 11-4 PM. I will be doing a demo this year at the MoPrint Print Jam at the Denver Art Museum, Martin Building Creative Hub. There will be 14 separate demos ( by various artists, in various techniques), and 3 workshops you can participate in. My demo will be at 11 AM.

March 24, 5-8 PM, imPressed, opening for juried sprint show, Art Gym. I will have one medium sized piece in the show, and I plan to attend the opening. Show runs through April 17.

All info is on the MoPrint.org website, along with all of the other Moprint-associated events. I will be seeing as many as I can; hope to see you there!

#moprint2022 #ASLDprintmakers #ASLDprintfair #denverart

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Art Shows Art Students League Month of Printmaking Workshops

State of the Artist

Illustrates post on 2022 schedule
“No one, I think, is in my tree..” That wasn’t on my mind when I made this, but I just watched the “Get Back” movie, so I couldn’t help it. “Tree with Moonrise”, Monotype, 2021

It was a busy holiday season because of medical appointments. Most were catch up on things deferred during lockdown, or even earlier. I’m hoping it will pay off this year with a more active lifestyle, including travel.

2022 won’t wait however. Here are some things I have planned for this year:

  • MoPrint 2022! It was cancelled in ’20 as COVID came roaring in. We’re hoping this one will have better luck.
  • MoPrint events I’m helping organize: Art Students League Print Fair, March 4-5, Demos, portfolio show and month-long exhibit. ASLD.org
  • MoPrint shows I will be exhibiting in: Art Students League Members Exhibit, March 4-28; Print Educators of Colorado, 2022, Lincoln Center, Ft. Collins
  • MoPrint Shows I will be jurying: Core Gallery Details TBA- I will post these
  • MoPrint fundraiser where my work will be offered:
  • Other shows my work will be offered: ArtMA childhood cancer benefit gala at the Denver Design Center, February 12
  • Classes offered: A full complement, from sampler, to beginners, to experienced, about one per month, beginning with an online class on ‘Monotypes At Home’ which is registering now and begins next week.
  • Kids Class offered: My ‘Mad Science Monotypes’ art camp returns July 5-8 for 14-17 yo
  • I’m still monitoring print studio sessions at the League many Sundays and Fridays. $15 a session, a screaming deal. Register online
  • Look for an interview to be posted by Voyage Denver in their ‘Inspiring Stories’ section.

Most of these take place January-March, making for a frantic start to the year, which is always true during MoPrint years. After that will be much more relaxed as I am not planning to do the Summer Art Market this year. Yes, this will be the first one I’ve missed in over 20 years, although I won’t really be missing it as I’m planning to volunteer.

I felt like a break would be good for recharging my batteries and refilling my portfolio. I also intend to explore other options such as online sales, videos and even ebooks. These are things I’ve dabbled in, but never had time to pursue properly.

While this blog was less than regular this crazy Fall. I will try to update regularly, so check back. I haven’t updated my ‘Workshops’ page yet with a full ’22 schedule, but will try to do that next week. I have many book blurbs from all my holiday reading while isolating and convalescing, too.

I wish everyone a happy, prosperous, safe New Year. Fingers crossed, we’ll begin to emerge from several very dark years and there will be opportunities for all to pursue fulfilling lives.

Categories
Ideas Month of Printmaking

End Game

What is the end game in the studio? Sometimes a deadline will bring focus, leading to a well resolved work, sometimes it inhibits experimentation, bringing repetitive ideas. I guess both- experimentation and production, are important.

At this time, I’m trying to produce new work for the upcoming MoPrint ’22, which will bring show opportunities, if COVID doesn’t cancel it again. But I’ve also had more time to work, read and think, which has brought a lot of experimentation.

Trestle With Stars, Monotype, 2021, 15×21″. Ideas of narrative, creative progression, crossings come to mind. It uses relief elements and viscosity effects to create a sort of dreamscape or subconscious landscape.

Most of these experiments haven’t turned into finished, showable work yet. Here’s one that seems acceptable. Not quite sure where the idea of a trestle came from, but from a creative stand point, it seems to allude to being carried from somewhere to somewhere else. The journey is not resolved, but a tenuous structure appears to offer support and transit over the chasm.

That’s my story, and I’m sticking with it. I’m reading a lot of Gary Panter ( Jimbo in Paradise, DalTokyo, Cola Madnes ) He tends to really push an idea graphically, while still trying to at least allude to basic narrative. His characters invest a lot of energy and desire into quests, though what is quested (cheeseburgers, vintage muscle cars) sometimes seems quotidian or even preterite. This seems like a good model for what my studio work is trying to accomplish.

#ASLDprintmakers #MoPrint2022

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#MoPrint2020 Art Shows Art Students League Monotypes Month of Printmaking Workshops

Under Pressure: Twigs and Berries for a New Decade

The holiday break was brief, as #MoPrint2020 is upon us and I’m up to my neck in the sort of events that that 3-month fiesta of the pressure arts brings us. Call it over commitment, call it opportunism, call it giving in to ‘pressure’. I’m calling it a great source of material for a blog that is supposed to be about my so-called printmaking career.

The official Month of Printmaking 2020 will be, as always, March of this even-numbered, biennial year. But MoPrint has always had a way of spreading through the first four months, and the first shows kick off this month, with a juried show at D’art last week and the two signature shows at Arvada Center beginning this Thursday, January 16, 6-9 PM.

I’m in the Arvada Center’s “Imprint: Print Educators” invitational show which is concurrent with the “528.0” juried show. IFine art prints are becoming more popular as affordable collection starters. If that interests you, it’d be hard to top this night as a place to jump in.

You can pick up a schedule-flyer for all MoPrint events there, or any of the events I’m about to list. If you make it to every #MoPrint2020 event, I’m thinking there ought to be some sort of cultural “Ironman” medal waiting for you. I’m exhausted just thinking about only the events I’m involved with.

Here goes:

Rhythm in Balance: Five Contemporary Printmakers” is a show assembled by Patricia Branstead a fellow Art Students League instructor. I’m in it with Judith Bennett, Austin Buckingham, and Charles Woolridge. It’s at Niza Knoll gallery on Santa Fe. Opening night is February 21, and there will be a First Friday event as well.

That same night there will also be work of mine,  along with student work at the nearby Very Special Arts Colorado’s Access Gallery. This is a celebration of a class I co-taught with Javier Flores from VSA with special needs young adults. Two shows in one place! They are also planning a First Friday event.

I’ll again be a part of the Artma Benefit Auction for Childhood Cancer, February 8. They do put on a good party, and they treat donating artists well , something I emphasize is an important consideration when I’m donating. My piece has sold each time, so get there early.

 Teen Mad Science Monoprint workshop, March 14. The idea is to offer MoPrint2020 events for kids, too.Go to ASLD.org to register online. If this doesn’t fill, you’ll see me at:

The Open Potrfolio event at Redline March 14 is a very casual affair with artists simply showing prints on a table. I generally show things that are too old for my other shows, which means I can offer some bargain prices. If I can’t do this ( because of teen class, above) you can still see my bargain portfolio at:

Pop-up Print Sale and Show at ASLD March 28. Yes, same thing as the Redline event, but with Art Students League printmakers. There will also be framed work for sale, and the Monotype-A-Thon will be going on during the same time. A can’t -miss event.

That’s it so far, I suppose there may be more, and I’ll be posting about my DPL workshops soon, which are always open to the curious public. I’ll post my regular Adult classes at ASLD, also. Stay warm and hope to see you at one of these events.

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Art Shows Art Students League Month of Printmaking Workshops

Dangly Bits

My Mad Science Monoprint workshop is this close to filling up. It’s my last publicly available class this year and runs for five Monday evenings, ending in time for Holidays.

I’m also co-teaching a class in  large monoprints for Very Special Arts Colorado students with Javier Flores, of VSA and Metro State. It’s been fun, with the side benefit that I am working on a Lino cut for the first time in decades.

I’ll have two pieces in the Arvada Center’s January show Print Educators. It will be one of the signature shows for #Moprint2020. The opening is January 16.

Illustration of Print Educators show at Arvada Center
“Dreaming Chair”, Monotype, 20×26″, 2017. This is an experiment that combines imagery created at the end of many previous studio sessions, when I simply printed layers of leftover mylar elements onto a fresh sheet. At the end I highlighted the table image and added a trace monotype image of the chair.

The winter-spring catalog is now open for registration online at Art Students League of Denver. My first workshop availability in 2020 will be Jan 7. That will be my Monotype Starter beginner’s class, which prepares you for my other classes, and also certifies you to use our big airy print room independently ( for a reasonable fee per month). I don’t know whether it will fill up, but it can’t hurt to register now.

My last library workshop of the season, at Green Valley Ranch branch, has once again been re-scheduled for November 20 at 5:30-7 PM.

I’m going to do my Besties top ten book list for comics and graphic novels again this year. I can’t say I’ve kept up on this year’s releases that well- mostly because of still catching up on last year’s releases, but I realized that this is a decade-turning year and I have lots of opinions on this decade’s batch of comics, some of which will be noted for a long time. So I’ll have plenty of candidates. I’m adding a link to last year’s version, my first attempt at this holiday staple.

My webstore is again making progress after upgrading my website programming and security to hopefully accommodate the finicky Woo Commerce plug-in. I’m taking a few days’ break after a busy fall, but will return to it within days. Still hoping for a Thanksgiving launch.

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Art Shows Art Students League Chine Colle Etchings and Small Work Monotypes Month of Printmaking

Mo’ Activity

My haul of delicious prints from Saturday’s #MoPrint2018 Open Portfolio event at Redline Gallery. Clockwise from top left, prints by Jeff Russell (etching w/ Chine Colle’) Greg Santos (silkscreen), Michael Keyes, Michael Keyes (both woodcuts), Sasha Thackeray (aquatint etching), Holly White (linocut), Javier Flores (woodcut reduction), and Sasha Thackeray(etching w/ Chine Colle’).

My interview with Westword’s Susan Froyd is up on the site today. It’s in association with Month of Printmaking Colorado, along with several other printmakers: Jennifer Ghormley, Taiko Chandler, Sue Oehme. It’s a privilege to be included in this series, and it’s a joy to be involved in the burgeoning Denver printmaking community, which for reasons mentioned below, is very supportive and friendly. This includes Westword itself, really. Mo’Print has an all volunteer organizing committee; we try hard to market and publicize professionally, but over the last five years, Susan Froyd, Michael Paglia, and Patty Calhoun have never failed to give it the attention I feel it deserves. This has really helped prevent it from slipping through the cracks during its early stages. I try to return the favor to the community in the interview, and in other ways, as printmaking really enriches my life.

It’s been a busy month owing to #MoPrint2018, and I’m pretty happy with most of the shows and events I’ve been involved with. I had a blast Saturday at the Open Portfolio event at Redline, selling and trading prints in a relaxed setting.

I have two more events upcoming, one of which is the Studio + Print Tour, which I’ll do at the Art Students League Print Room from 10-4 with two or three other artists from the League. Mami Yamamoto and Taiko Chandler will be there too. We’ll probably have snacks and prints there, but later that evening, there will be the Ink Mixer at Ink Lounge, where you can get beer and snacks and see their silk screen set-up and mix with artists and printmakers.

The diversity is incredible. When I joined the 12-15 member Month of Printmaking Colorado organizing committee in early 2013, I think we felt that we knew, or knew of- all the major players in Colorado printmaking. Wrong. Silkscreeners, lithography artists, bookmakers, letterpress artists and more came out of the wood work. Not students or dabblers, mind, though there are plenty of those as well, but career printmakers, small business people, educators. Accomplished creatives, in other words.

One of the few perks of being an artist is the ability to trade for an art collection. For me, lately that has meant prints. Here’s a photo of my haul from Saturday. It’s worth noting that several of these are from artists I had just met that day. I think because printmaking is regarded traditionally as a fairly humble corner of the art market, and because we often need to congregate in groups to utilize public presses, that printmaking has a social component that some media don’t have. One of these community presses, Mark Lunning’s Open Press is moving out of town owing to the real estate inflation. I’ll miss Mark and Open Press, and I’ll write a post about them soon.

Categories
Art Shows Art Students League Monotypes Month of Printmaking Workshops

Month of Printmaking 2018 and Other Doings

“Conceptual Studio”, Monotype. Actually an impression of a very real studio where I worked during a residency in Sheridan, WY. It is up for auction to benefit the Art Students League of Colorado during their “Art and Soul” gala, February 10.

I’m Preparing art for a number of different shows and events this Spring. Most are related to the MoPrint (Month of Printmaking) festival of events and I’m organizing one event myself. It makes for a busy schedule.

“Master Printer and Print Educators of Colorado”, McNichols Building 3rd Floor, January 13-April 8 : This one has already opened, though viewing hours are limited, and the venue is often closed for private parties. The best way to see it may be the MoPrint Kick Off event on February 23 at 6-9 PM. I will be there. I have 3 pieces in the show ( I fall into the second category in the title), but I did not have any large work ready for the show.

“Hand Pulled: Mark Lunning’s Open Press”, PACE Center, Parker, Co, March 2-April 30: This is a show honoring the Open Press artists. The printmaking facility on Bayaud Ave run by Master Printer Mark Lunning is soon to close and move to Sterling, Colorado owing to the rapidly dwindling affordable space for arts orgs during the recent development boom. I haven’t worked there in a couple of years, since I now do most of my work at the Arts Students League, so this show will feature 3-5 large pieces from my past work there. It will be a mini retrospective of sorts. Opens March 2, 5:30-8 PM

Open Portfolio, Redline Gallery, March 17, 2-5 PM: This will probably be the most affordable show I’ve done in a long time. It was a fun show during the last MoPrint (2016) so I’ve decided to join it this year. Every artist has more art than they can sell, and this will be for printmakers, a chance to clean out the flat files at bargain prices, and that’s just what I’m doing. You’ll also see a lot of young artists trying to launch a name for themselves, I’m sure. Starting a print collection, and on a budget?

Art and Soul, Art Students League, February 10: This is the major fundraiser for the League, a big party with food and art auctions to benefit the school, and I always donate a piece. Tickets here.

artma, February 8: A fairly glitzy event that benefits The Morgan Adams Foundation.org. This year it will be in the Evans School at 11th and Acoma, an opportunity in itself to see this historic building.

I’ll mention here that many of us artists are approached by charity auctions on a regular basis. Any auction is risky to begin with, as it can be damaging to your ‘market value’, especially if poorly organized and callous about their donating artists’ career needs, as many appallingly are.

This is not one of those, however. artma is the creme de la creme of charity auctions, with artists on the board of the event, professional treatment for donating artists, and an overall spirit of gratitude for artists’ generosity. I’ve been donating for several years because of this.

Meininger Art Supply, Broadway, March 3, 11-1 PM: I’ll be doing a monotype demo here. It’s a fun place to do one, and well equipped for the large groups they usually get. It’s about an hour, but you get a coupon at the end. Come early for a good seat, though they have mirrors and PA, so it works in the cheap seats, too.

Monotype-aThon, Art Students League, March 3, 9-5 PM: Same day! I’ll rush over there to join eight other artists doing 2-3 hour shifts, with the public invited to watch and kibbitz. There will be prints donated for sale to benefit the League and MoPrint, light snacks and lots of different approaches to monotype making.

A Moxie U class at the Art Students League, March 15, provides a more ‘hands-on’ intro to monotypes, with materials provided and all the ink mixing and prep done for you. It’s less than $35, so it’s a great way to celebrate Moprint 2018!

I’ll have a complete list of all Spring workshops soon.

I’ll look for some of you at these events. Feel free to come say hello and chat.

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