Upgrade to Pro — share decks privately, control downloads, hide ads and more …

Sculptural_Prints_Upload.pdf

goloborotko
April 08, 2020
130

 Sculptural_Prints_Upload.pdf

goloborotko

April 08, 2020
Tweet

Transcript

  1. SPRING 2020
    ONLINE CLASS
    SHEILA GOLOBOROTKO | ANDREW KOZLOWSKI
    Week Four: Sculptural Prints

    View full-size slide

  2. Week 4
    Homework: Sculptural Prints
    Metropolis (1927)
    https://www.youtube.com/watch?v=gdtZv3XROnc
    Metropolis is a 1927 German expressionist science-fiction drama film directed by Fritz Lang. Made in Germany,
    Metropolis is set in a futuristic urban dystopia and follows the attempts of Freder, the wealthy son of the city master, and
    Maria, a saintly figure to the workers, to overcome the vast gulf separating the classes in their city and bring the workers
    together.
    The film's message is encompassed in the final inter-title*: "The Mediator Between the Head and the Hands Must Be the
    Heart".
    *Intertitles are title cards shown in middle of silent films as a narration piece; Intertitles are also used in the opening or
    ending of a film.

    View full-size slide

  3. Week 4
    Week Four: Sculptural Print
    Post: Sculptural Print
    Make sure to complete the sketchbook exercise before starting your sculptural print.

    Process: These are the initial rules you must follow to complete this project:

    1. Use what you have: look around for the materials you have available.

    2. Use old prints or any printed matter such as magazines, newspapers, cards, etc.

    3. Create one or more dimensional elements; watch the videos posted in this module for inspiration.

    4. Develop your own set of rules to create your piece.
    Goal: Post!
    • One photo of your set of rules

    • Three photos of your work in progress.

    • Two photos (or more) of your final Sculptural Print.

    • Reflection:

    Write one paragraph statement for the sculptural piece you created. What did you learn from setting up
    rules? Did you break them and recreated a new set during the process? What did you learn from this
    process?

    Whatever rules or parameters you choose to create your sculptural print, remember a golden rule you
    should always follow: The Mediator Between the Head and the Hands Must Be the Heart.

    View full-size slide

  4. Who makes the rules?….or What is Conceptual Art?
    Conceptual art emerged as an art movement in the 1960s, critiquing the previously ruling modernist movement and its focus
    on the aesthetic. The term is usually used to refer to art from the mid-1960s to the mid-1970s. In Conceptualism, the idea or
    concept behind the work of art became more important than the actual technical skill or aesthetic. Conceptual artists used
    whichever materials and forms were most appropriate to get their ideas across.
    Joseph Kosuth
    Four Colours Four Words (Blue, Red, Yellow, Green)
    1966

    View full-size slide

  5. Sister Corita Kent
    Rules
    Late 60’s

    View full-size slide

  6. Richard Serra
    Verb List.
    1967–68

    View full-size slide

  7. This resulted in vastly different types of artworks that could look like almost anything – from performance to writing to
    everyday objects. The artists explored the possibilities of art-as-idea and art-as-knowledge, using linguistic, mathematical,
    and process-oriented dimensions of thought as well as invisible systems, structures and processes for their art.
    Mel Ramsden (Art & Language Group)
    Secret Painting
    1967-1968
    Cildo Meireles
    Insertions into Ideological Circuits: Coca-Cola Project
    1970

    View full-size slide

  8. Sol LeWitt
    Four-Sided Pyramid
    Concrete blocks and mortar
    180 3/8 x 398 1/2 x 382 1/4 in
    First installation 1997, fabricated 1999
    Influenced by his time working in an architect’s office, LeWitt would use assistants to produce three-dimensional works
    he called "structures." He wrote: "An architect doesn't go off with a shovel and dig his foundation and lay every brick.
    He's still an artist." Instead of executing the works of art himself, LeWitt comes up with an idea or plan for his art,
    usually a set of simple instructions—sometimes with line drawings. He then hands over the written plan to his
    assistants, and they construct the work. LeWitt's instructions are both specific and open-ended so that the resulting
    work of art varies according to the interpretation made by the draftsperson producing the work of art.
    Sol LeWitt
    Top:

    Set-back skyscraper
    Bottom:

    Ziggurat Pyramid of Kukulkan, c. 987
    Sol LeWitt
    Floor Structure Black
    Painted wood, 18 1/2 x 18 x 82 in
    1965

    View full-size slide

  9. Beginning in 1968, LeWitt created a series of works called the Drawing Series. Each piece consists of a simple set of
    instructions or a diagram to be followed and executed directly onto the wall (such as the instructions below for a wall
    drawing owned by the Tate). These works are purposefully temporal and can be produced not only by the artist
    himself, but also by other draftsmen, such as studio assistants. In this series, the artist places emphasis on the
    concept of the work rather than the physical manifestation. LeWitt wrote, “When an artist uses a conceptual form of
    art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair.
    Sol LeWitt’s Wall Drawing #50 A, 1970.

    View full-size slide

  10. Instead of creating a single wall mural, Sol LeWitt created instructions on how to create what he called “wall drawings”
    so that they would be reproducible and could be created by a collaborative team of skilled artists or fabricators. He
    fully explored in his works the relationship between the idea and the final product, between outlining the concept and
    fully defining the work. In one of his essays he says “The system* is the work of art; the visual work of art is the proof
    of the system. The visual aspect can't be understood without understanding the system. It isn't what it looks like but
    what it is that is of basic importance”.
    “The idea becomes the machine that makes the art”
    Sol LeWitt

    View full-size slide

  11. To that, when an organization or individual buys a LeWitt wall drawing, they receive two things, neither of which is the
    finished work of art. They get a certificate of authenticity and a detailed set of instructions—that is, they get the idea.
    To install the piece, they worked directly with LeWitt and now, since his death in 2007, work with LeWitt’s estate to hire
    one of his trained drafts-people to lead the installation.

    View full-size slide

  12. On September 10, 2012, three members of the installation staff at the Modern joined one of the draftsmen from the
    Estate of Sol LeWitt and began to execute Wall Drawing #50 A. The instructions are simple: “A wall divided into four
    parts by lines drawn from corner to corner. Each section with three different colors made of parallel lines
    superimposed. Color pencil.” This is the first execution of the work since the Museum acquired it in 2010. The
    installation process for the 24’ x 16’ wall took five-and–a-half weeks (672 man-hours), and it is estimated that the
    drawing is composed of over 14,800 separate lines…to marvelous effect.

    View full-size slide

  13. Between 1968 and his death in 2007, LeWitt created more than 1,270 wall drawings. Since his death, the works have
    continued to be executed, abiding closely to LeWitt’s specifications, though differing slightly each time due to the
    draftsmen’s interpretations of his instructions. In a sense, every new installation is a collaboration between a space, a
    draftsman, a wall, and LeWitt himself, composing posthumously. There is something wonderful and comforting about the
    fact that these works can’t be ruined, they can be created and destroyed a million times over, but they will not be lost.
    They exist as ideas.
    Sol LeWitt
    Wall Drawing #797
    Blanton Museum of Art
    (Video link here.)
    (Video link here.)

    View full-size slide

  14. The concept that fed Lombardi's conceptualism was that a clandestine economy, bound by no law, shuttled money
    between concerns in Texas, the Middle East, the Vatican and the Beltway. That money translated into oil barrels, or
    bundles of cocaine, or crates of arms, and inevitably manifested itself as ruthless power of the few over the many.
    Lombardi thought the best way to defeat this corrupt global cabal was to show it its own reflection.
    Lombardi's "narrative structures," as he called them, were based on information he culled from public documents,
    and while there is a sort of mad beauty to the crisscrossing arrows of his drawings, their main currency is not beauty
    but information, the feverish connections between the Saudis and the Bushes, between the millions shuttled from
    London to Riyadh and a brutally suppressed peasant uprising Latin America. He was like an investigative reporter
    whose medium just happened to be the schematic drawing.
    Mark Lombardi
    World Finance Corporation, ca. 1998
    Graphite and collage on paper
    20 × 27 1/2 in
    Mark Lombardi
    BCCI, ICIC, FAB c. 1972-91 (4th version) detail, 1996
    Colored pencil and graphite on paper
    52 × 138 in

    View full-size slide

  15. John Cage: Chance Operations
    John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer, music theorist, writer,
    philosopher, and artist. Cage studied Indian philosophy and Zen Buddhism in the late 1940s, and the I Ching became
    his source reference for life, using the guide as a random chance generator, as well as philosophical reference.
    Choice
    “Chance Operations” would seem a haphazard process, but these are structures, a series of strict rules that remove
    choice from the artist. Choice is what most artists most value. If you let go of choice, what remains in your artworks?
    “He numbered the different tools and asked which to use, then how many marks to make with each tool. Next he
    asked how many marks should be long, how many medium, how many short. He had with him a sheaf of pages
    showing I Ching-derived numbers, computer-printed and ready to use to get answers without the need to throw
    coins.”
    John Cage
    Chance Operations
    Objects and drawings

    View full-size slide

  16. Chance Operations
    The basic principle is to remove one’s own intention from the work and hand that over to the oracle. Intention is always
    to some extent circumscribed by one’s own tastes and personality, whereas non-intention moves beyond like and
    dislike and becomes something more resembling an act of nature.
    “I use chance operations instead of operating according to my likes and dislikes. I use my work to change myself and I
    accept what the chance operations say. The I Ching says that if you don’t accept the chance operations you have no
    right to use them. Which is very clear, so that’s what I do.
    “The first thing the I Ching teaches us is acceptance. It essentially advances this lesson: if we want to use chance
    operations, then we must accept the results”
    John Cage
    Chance Operations
    Objects and drawings

    View full-size slide

  17. “Interdeterminacy is the possibility of a unique form.” It results when sturctures within a composition generate
    unpredicatble outcomes.
    ‘If something is boring after two minutes, try it for four. If still boring, then eight. Then sixteen. Then thirty-two.
    Eventually one discovers that it is not boring at all.’ – John Cage
    John Cage
    Chance Operations
    Drawings

    View full-size slide

  18. Hans Haacke (b. Cologne, Germany, 1936) took the fight inside the museum. His seminal installation, “MoMA
    Poll,” presented visitors with two transparent ballot boxes, a ballot and a sign that posed a question about the
    upcoming gubernatorial race: “Would the fact that Governor Rockefeller has not denounced President Nixon’s
    Indochina Policy be a reason for you not to vote for him in November?” (By the time the exhibition closed,
    roughly twice as many participants had answered “yes” as “no.”) MoMA did not censor the work, but not all
    institutions were as tolerant.
    Hans Haacke
    A yellow ballot used for Haacke’s “MoMA Poll.”
    1970

    View full-size slide

  19. Jenny Holzer (b. Gallipolis, Ohio, 1950) was 25 years old when she began compiling her “Truisms,” more than 250
    cryptic maxims, terse commands and shrewd observations. Culled from world literature and philosophy, some of the one-
    liners are judgmental (“Any surplus is immoral”), others bleak (“Ideals are replaced by conventional goals at a certain
    age”), and a few echo the half-baked platitudes found in fortune cookies (“You must have one grand passion”). The most
    resonant are the political ones, none more so than “Abuse of power comes as no surprise.” After printing them as
    posters, which she pasted among real advertisements throughout downtown Manhattan, Holzer reproduced them on
    objects, including baseball caps, T-shirts and condoms. She projected them on the enormous Spectacolor LED board in
    Times Square in 1982, with smaller scrolling signs to evoke the digital clocks and screens through which we are
    continuously fed information (and told what to think) in urban environments. Holzer continues to use the “Truisms” today,
    incorporating them into electronic signs, benches, footstools and T-shirts.
    One of Jenny Holzer’s “Truisms”
    featured on a Spectacolor light board in
    Times Square as part of the Public Art
    Fund’s “Messages to the Public”
    exhibition (1982).

    View full-size slide

  20. Felix Gonzalez-Torres (b. Cuba, 1957; d. 1996)
    came to New York City in 1979.
    When he created “Untitled” (Portrait of Ross in
    L.A.) in 1991, he was mourning the loss of his
    lover, Ross Laycock, who had died of AIDS-
    related illness that year. The installation ideally
    comprises 175 pounds of candies, wrapped in
    bright cellophane, an approximation of the body
    weight of a healthy adult male. Viewers are free to
    take pieces from the pile, and over the course of
    the exhibition, the work deteriorates, just as
    Laycock’s body did. The candies, however, may
    or may not be routinely replenished by the staff,
    evoking eternity and rebirth at the same time as
    they conjure mortality.
    Felix Gonzalez-Torres’s
    Portrait of Ross in L.A.
    1991

    View full-size slide

  21. Michael Asher
    Michael Asher
    Santa Monica Museum of Art
    2008
    Michael Asher (b. Los Angeles, 1943; d. 2012) spent his career responding to each gallery or museum space with site-
    specific works that illuminated the architectural or abstract qualities of the venue. When the Santa Monica Museum of Art
    (now the Institute of Contemporary Art, Los Angeles) approached the conceptualist in 2001 to mount an exhibition, he
    tapped into the history of the institution, recreating the wood or metal skeletons of all of the temporary walls that had been
    built for the 38 previous exhibitions. The result was a labyrinth of studs that effectively collapsed time and space, bringing
    multiple chapters of the museum’s history into the present. That work characterized his unique practice over more than 40
    years: In 1970, Asher removed all the doors of an exhibition space at Pomona College in Claremont, Calif., to allow light,
    air and sound into the galleries, calling viewers’ attention to the ways such places are usually closed off — both literally
    and metaphorically — from the outside world; for a 1991 show at Paris’s Centre Pompidou, he searched all the books filed
    under “psychoanalysis” in the museum’s library for abandoned paper fragments, including bookmarks; in 1999, he created
    a volume listing nearly all of the artworks that the Museum of Modern Art in New York had deaccessioned since its
    founding — privileged information rarely made public.

    View full-size slide

  22. Barbara Kruger
    When I hear the word
    culture, I take out my
    check book
    1985
    I Shop Therefore I Am
    1987
    Barbara Kruger (b. Newark, 1945) briefly studied at the Parsons School of Design in 1965, but her real education was in
    the world of magazines. She dropped out early on to work at Mademoiselle as an assistant to the art director, rapidly
    became head designer, and then switched to freelance, conceiving layouts for House & Garden, Vogue and Aperture,
    among other publications. Through these projects, Kruger learned how to command the viewer’s attention and manipulate
    desire. A close reader of Roland Barthes and other theorists focused on media, culture and the power of images, Kruger
    brought her professional life and philosophical leanings together in the early 1980s with her iconic works: agitprop images
    of terse, satirical slogans in white or black Futura Bold Oblique type on close-cropped images primarily from old
    magazines. They confront gender roles and sexuality, corporate greed and religion. Several of the most well-known indict
    consumerism, including 1985’s “Untitled (When I Hear the Word Culture, I Take Out My Checkbook),” in which the words
    slash across the face of a ventriloquist’s dummy, and “Untitled (I Shop Therefore I Am),” from 1987.

    View full-size slide

  23. Catherine Opie (b. Sandusky, Ohio, 1961)
    In this photo, the artist faces away from the viewer, confronting
    us with her bare back, on which a house — the kind a child
    might draw — and two stick figures in skirts have been carved.
    The figures hold hands, completing the idyllic domestic dream,
    which, at the time was just that — a dream — for lesbian
    couples. This work and others responded to the national
    firestorm surrounding “obscenity” in art. In 1989, Senators
    Alfonse D’Amato and Jesse Helms had denounced “Piss
    Christ,” a photograph depicting a crucifix submerged in urine
    by Andres Serrano, which was part of a traveling exhibition that
    had received funding from the National Endowment for the Arts.
    A few weeks later, the Corcoran Gallery of Art in Washington,
    D.C. opted to cancel a show featuring homoerotic and
    sadomasochistic photographs by Robert Mapplethorpe, whose
    exhibition at the Institute of Contemporary Art at the University
    of Pennsylvania had also received federal funding. In 1990, the
    N.E.A. denied funding to four artists because of their explicit
    themes of frank sexuality, trauma or subjugation. (In 1998, the
    Supreme Court ruled that the N.E.A.’s statute was valid and did
    not result in discrimination against the artists, nor did it
    suppress their expression.) By creating and exhibiting these
    works when she did, Opie openly defied those looking to shame
    queer communities and censor their visibility in art. “She is an
    insider and an outsider,” wrote the Times art critic Holland
    Cotter on the occasion of Opie’s 2008 Guggenheim midcareer
    retrospective. “[Opie is] a documentarian and a provocateur; a
    classicist and a maverick; a trekker and a stay-at-home; a
    lesbian feminist mother who resists the gay mainstream; an
    American — birthplace: Sandusky, Ohio — who has serious
    arguments with her country and culture.”
    Catherine Opie’s
    Self-Portrait/Cutting
    1993

    View full-size slide

  24. MULTIPLE ONES
    Contemporary Perspectives in Printmedia
    Hunterdon Art Museum
    Clinton, NJ

    May 12 - September 2, 2018

    Kwan Fong Gallery and William Rolland Gallery

    California Lutheran University

    Thousand Oaks, CA

    August 22, 2019 - October 23, 2019

    Museum of Contemporary Art
    University of North Florida

    Jacksonville, FL

    April 30 - August 30, 2020

    Curated by Sheila Goloborotko

    View full-size slide

  25. Ruthann Godollei
    Sheila Goloborotko
    John Hitchcock
    Rebecca Gilbert
    Andrew Kozlowski
    Swoon
    Lauren Kussro
    Samantha Parker Salazar
    Marliee Salvator
    Guen Montgomery
    Justin Barfield
    Eszter Sziksz
    Andrew Raftery
    Vanessa B. Cruz
    Florence Gidez
    Brandie Grogan
    Jill Parisi
    Mizin Shin
    Nathan Meltz
    Shawn Bitters
    Politics
    Imaginary and Fictional
    Spatial and Structural Changes
    Collections and Treasures
    Time
    The sculptural prints in this exhibition
    have been created with simple and
    complex rules. The works deal with
    politics, the imaginary, the fictional,
    spatial and structural changes,—and
    time.

    As you look at the works in this
    exhibition, make a list of the rules you
    believe artists used for composing their
    work.

    View full-size slide

  26. SHEILA GOLOBOROTKO

    Sistema: Screenprinted handcut Mylar variable dimensions, 2016
    Opalka Gallery

    View full-size slide

  27. Sheila Goloborotko

    Sistema: Screenprinted handcut Mylar, Variable Dimensions, 2016
    Lufrano Gallery
    SHEILA GOLOBOROTKO

    Corrientes: Handcut aluminum, variable dimensions, 2016
    CENTRO CULTURAL ATARAZANAS PIEDRA MÚCARA

    View full-size slide

  28. Sheila Goloborotko

    Sistema: Screenprinted handcut Mylar, Variable Dimensions, 2016
    Lufrano Gallery
    SHEILA GOLOBOROTKO

    Sistema: Screenprinted handcut Mylar, variable dimensions, 2016
    Centro Cultural Atarazanas

    View full-size slide

  29. Sheila Goloborotko

    Sistema: Screenprinted handcut Mylar, variable dimensions, 2016
    Opalka Galery

    View full-size slide

  30. Sheila Goloborotko

    Sistema: Screenprinted handcut Mylar, Variable Dimensions, 2016
    Lufrano Gallery
    Sheila Goloborotko

    Sistema: Screenprinted handcut Mylar, variable dimensions, 2016
    Kwan Fong Galery

    View full-size slide

  31. Sheila Goloborotko

    Sistema: Screenprinted handcut Mylar, variable dimensions, 2016
    Lufrano Gallery

    View full-size slide

  32. Sheila Goloborotko

    Sistema: Screenprinted handcut Mylar, variable dimensions, 2016
    Opalka Gallery (left) / Kwan Fong Gallery (right)

    View full-size slide

  33. SHEILA GOLOBOROTKO /VANESSA B. CRUZ

    Synaesthesia, Video Animation, 2017
    Kwan Fong Gallery

    View full-size slide

  34. SHEILA GOLOBOROTKO /VANESSA B. CRUZ

    Synaesthesia, Video Animation, 2017
    Kwan Fong Gallery

    View full-size slide

  35. SHEILA GOLOBOROTKO /VANESSA B. CRUZ

    Synaesthesia, Video Animation, 2017
    Kwan Fong Gallery

    View full-size slide

  36. SHEILA GOLOBOROTKO /VANESSA B. CRUZ

    Synaesthesia, Video Animation, 2017
    MOCA Jacksonville (top), UNF Recital Hall (bottom)

    View full-size slide

  37. JOHN HITCHCOCK (left) /JUSTIN BARFIELD (floor)

    SHEILA GOLOBOROTKO/VANESSA B. CRUZ (center) / MARILEE SALVATOR (right)

    Kwan Fong Gallery

    View full-size slide

  38. JUSTIN BARFIELD

    Scrap Pile: Paper, Rust, Wheat Paste, Variable Dimensions, 2014.
    Kwan Fong Gallery
    JUSTIN BARFIELD

    Scrap Pile: Paper, rust, wheat paste, variable dimensions, 2014.
    Kwan Fong Gallery

    View full-size slide

  39. JUSTIN BARFIELD

    Scrap Pile: Paper, rust, wheat paste, variable dimensions, 2014.
    Kwan Fong Gallery

    View full-size slide

  40. JUSTIN BARFIELD

    Scrap Pile: Paper, Rust, Wheat Paste, variable dimensions, 2014.
    Kwan Fong Gallery

    View full-size slide

  41. JUSTIN BARFIELD

    Scrap Pile: Paper, Rust, Wheat Paste, variable dimensions, 2014.
    Kwan Fong Gallery

    View full-size slide

  42. MARILEE SALVATOR

    Growth Patterns: Etching, screenprint and wood, variable dimensions, 2017
    Kwan Fong Gallery

    View full-size slide

  43. MARILEE SALVATOR

    Growth Patterns: Etching, screenprint and wood, variable dimensions, 2017
    Kwan Fong Gallery

    View full-size slide

  44. MARILEE SALVATOR

    Growth Patterns: Etching, screenprint and wood, variable dimensions, 2017
    Hunterdon Art Museum

    View full-size slide

  45. MARILEE SALVATOR

    Growth Patterns: Etching, screenprint and wood, variable dimensions, 2017
    Kwan Fong Gallery

    View full-size slide

  46. MARILEE SALVATOR

    Growth Patterns: Etching, screenprint and wood, variable dimensions, 2017
    Kwan Fong Gallery

    View full-size slide

  47. JOHN HITCHCOCK

    America, America: Inkjet on fabric flags, variable dimensions, 2019
    Kwan Fong Gallery

    View full-size slide

  48. JOHN HITCHCOCK

    America, America: Inkjet on fabric flags, variable dimensions, 2019
    Kwan Fong Gallery

    View full-size slide

  49. JOHN HITCHCOCK

    America, America: Inkjet on fabric flags, variable dimensions, 2019
    Kwan Fong Gallery

    View full-size slide

  50. JOHN HITCHCOCK

    The Protector: Screenprint on CNC cut wood, variable dimensions, 2017
    Hunterdon Art Museum

    View full-size slide

  51. ANDREW KOZLOWSKI

    Variable Collection: Vinyl cut, variable dimensions, 2019
    William Rolland Gallery

    View full-size slide

  52. ANDREW KOZLOWSKI

    Variable Collection: Vinyl cut, variable dimensions, 2019
    William Rolland Gallery

    View full-size slide

  53. ANDREW KOZLOWSKI

    Variable Collection: Vinyl cut, variable dimensions, 2019
    William Rolland Gallery

    View full-size slide

  54. ANDREW KOZLOWSKI

    Variable Collection: Vinyl cut, variable dimensions, 2019
    Hunterdon Art Museum

    View full-size slide

  55. ANDREW KOZLOWSKI

    Variable Collection: Vinyl cut, variable dimensions, 2019
    Hunterdon Art Museum

    View full-size slide

  56. ANDREW KOZLOWSKI

    Variable Collection: Vinyl cut, variable dimensions, 2019
    William Rolland Gallery

    View full-size slide

  57. ANDREW KOZLOWSKI

    Variable Collection: Vinyl cut, variable dimensions, 2019
    Hunterdon Art Museum

    View full-size slide

  58. REBECCA GILBERT

    Shine: Reduction woodcut mounted on foam core, 15” x 120”, 2012
    William Rolland Gallery

    View full-size slide

  59. REBECCA GILBERT

    Shine: Reduction woodcut mounted on foam core, 15” x 120”, 2012
    William Rolland Gallery

    View full-size slide

  60. REBECCA GILBERT

    Shine: Reduction woodcut mounted on foam core, 15” x 120”, 2012
    William Rolland Gallery

    View full-size slide

  61. REBECCA GILBERT

    Raise Bed Fortune Patch: Photo etchings, 24” x 36” x 36”, 2010-12
    Hunterdon Art Museum

    View full-size slide

  62. REBECCA GILBERT

    Raise Bed Fortune Patch: Photo etchings, 24” x 36” x 36”, 2010-12
    Hunterdon Art Museum

    View full-size slide

  63. REBECCA GILBERT

    Raise Bed Fortune Patch: Photo etchings, 24” x 36” x 36”, 2010-12
    William Rolland Gallery

    View full-size slide

  64. MIZIN SHIN

    How Things Are Made Vol.1 / Virtual City_1000: Handprinted woodcuts, variable dimensions, 2017
    William Rolland Gallery

    View full-size slide

  65. MIZIN SHIN

    How Things Are Made Vol.1: Handprinted woodcuts, variable dimensions, 2017
    William Rolland Gallery

    View full-size slide

  66. MIZIN SHIN

    How Things Are Made Vol.1: Handprinted woodcuts, variable dimensions, 2017
    William Rolland Gallery

    View full-size slide

  67. MIZIN SHIN

    How Things Are Made Vol.1: Handprinted woodcuts, variable dimensions, 2017
    William Rolland Gallery

    View full-size slide

  68. MIZIN SHIN

    How Things Are Made Vol.1 / Virtual City_1000: Handprinted woodcuts, Variable Dimensions, 2017
    William Rolland Gallery

    View full-size slide

  69. MIZIN SHIN

    How Things Are Made Vol.1 / Virtual City_1000: Handprinted woodcuts, variable dimensions, 2017
    Hunterdom Art Museum

    View full-size slide

  70. MIZIN SHIN

    How Things Are Made Vol.1 / Virtual City_1000: Handprinted woodcuts, variable dimensions, 2017
    William Rolland Gallery

    View full-size slide

  71. LAUREN KUSSRO

    We Held to Each Other so Tightly, We became as One: Screenprint and monotype,
    threads, beads, variable dimensions, 2013
    William Rolland Gallery

    View full-size slide

  72. LAUREN KUSSRO

    We Held to Each Other so Tightly, We became as One: Screenprint and monotype,
    threads, beads, variable dimensions, 2013
    William Rolland Gallery

    View full-size slide

  73. LAUREN KUSSRO

    We Held to Each Other so Tightly, We became as One: Screenprint and monotype,
    threads, beads, variable dimensions, 2013
    William Rolland Gallery

    View full-size slide

  74. LAUREN KUSSRO

    We Held to Each Other so Tightly, We became as One: Screenprint and monotype,
    threads, beads, variable dimensions, 2013
    William Rolland Gallery

    View full-size slide

  75. LAUREN KUSSRO

    We Held to Each Other so Tightly, We became as One: Screenprint and monotype,
    threads, beads, variable dimensions, 2013
    William Rolland Gallery

    View full-size slide

  76. LAUREN KUSSRO

    We Held to Each Other so Tightly, We became as One: Screenprint and monotype,
    threads, beads, variable dimensions, 2013
    William Rolland Gallery

    View full-size slide

  77. JILL PARISI

    Celestial: Etchings on Yushuki handmade paper, variable dimensions, 2015
    William Rolland Gallery

    View full-size slide

  78. JILL PARISI

    Celestial: Etchings on Yushuki handmade paper, variable dimensions, 2015
    William Rolland Gallery

    View full-size slide

  79. JILL PARISI

    Celestial: Etchings on Yushuki handmade paper, variable dimensions, 2015
    William Rolland Gallery

    View full-size slide

  80. JILL PARISI

    Celestial: Etchings on Yushuki handmade paper, variable dimensions, 2015
    William Rolland Gallery

    View full-size slide

  81. SHAWN BITTERS

    Yellowstone Dawn: Screenprint, gouache, and plexiglass, 27.5 diameter x 12”, 2017
    William Rolland Gallery

    View full-size slide

  82. SHAWN BITTERS

    Yellowstone Dawn: Screenprint, gouache, and plexiglass, 27.5 diameter x 12”, 2017
    William Rolland Gallery

    View full-size slide

  83. SHAWN BITTERS

    Yellowstone Dawn: Screenprint, gouache, and plexiglass, 27.5 diameter x 12”, 2017
    Hunterdon Art Museum

    View full-size slide

  84. SHAWN BITTERS

    Yellowstone Dawn: Screenprint, gouache, and plexiglass, 27.5 diameter x 12”, 2017
    William Rolland Gallery

    View full-size slide

  85. SHAWN BITTERS

    Yellowstone Dawn: Screenprint, gouache, and plexiglass, 27.5 diameter x 12”, 2017
    Hunterdon Art Museum

    View full-size slide

  86. NATHAN MELTZ

    Are You Ready for that Great Atomic Power? Part 6: Screenprint, variable dimensions, 2018
    William Rolland Gallery

    View full-size slide

  87. NATHAN MELTZ

    Are You Ready for that Great Atomic Power? Part 6: Screenprint, variable dimensions, 2018
    William Rolland Gallery

    View full-size slide

  88. NATHAN MELTZ

    Are You Ready for that Great Atomic Power? Part 6: Screenprint, variable dimensions, 2018
    William Rolland Gallery

    View full-size slide

  89. NATHAN MELTZ

    Are You Ready for that Great Atomic Power? Part 6: Screenprint, variable dimensions, 2018
    William Rolland Gallery

    View full-size slide

  90. NATHAN MELTZ

    Are You Ready for that Great Atomic Power? Part 6: Screenprint, variable dimensions, 2018
    William Rolland Gallery

    View full-size slide

  91. BRANDI GROGAN

    Excel: Screenprint on reclaimed wood, 28” x 18.5” x 3”, 2018
    William Rolland Gallery

    View full-size slide

  92. BRANDI GROGAN

    Excel: Screenprint on reclaimed wood, 28” x 18.5” x 3”, 2018
    William Rolland Gallery

    View full-size slide

  93. BRANDI GROGAN

    What is the Meaning of All This: Screenprint on reclaimed wood, 22.5” x 18” x 3”, 2018
    William Rolland Gallery

    View full-size slide

  94. BRANDI GROGAN

    What is the Meaning of All This: Screenprint on reclaimed wood, 22.5” x 18” x 3”, 2018
    Hunterdon Art Museum

    View full-size slide

  95. FLORENCE GIDEZ

    Endangered Architecture: Screenprint, illustration board, acrylic, 23” x 24” x 16”, 2019
    William Rolland Gallery

    View full-size slide

  96. FLORENCE GIDEZ

    Endangered Architecture: Screenprint, illustration board, acrylic, 23” x 24” x 16”, 2019
    William Rolland Gallery

    View full-size slide

  97. FLORENCE GIDEZ

    The Last Resort: Screenprint, illustration board, acrylic, 26” x 18.25” x 216.5, 2018
    Hunterdon Art Museum

    View full-size slide

  98. FLORENCE GIDEZ

    The Last Resort: Screenprint, illustration board, acrylic, 26” x 18.25” x 216.5, 2018
    Hunterdon Art Museum

    View full-size slide

  99. FLORENCE GIDEZ

    The Last Resort: Screenprint, illustration board, acrylic, 26” x 18.25” x 216.5, 2018
    Hunterdon Art Museum

    View full-size slide

  100. ANDREW RAFTERY

    The Autobiography of a Garden: Engraving transfer-printed on glazed white earthenware,
    12.5” diameter each, 2009-20016
    Hunterdon Art Museum

    View full-size slide

  101. ANDREW RAFTERY

    The Autobiography of a Garden: Engraving transfer-printed on glazed white earthenware,
    12.5” diameter each, 2009-20016

    View full-size slide

  102. ANDREW RAFTERY

    The Autobiography of a Garden: Engraving transfer-printed on glazed white earthenware,
    12.5” diameter each, 2009-20016
    Hunterdon Art Museum

    View full-size slide

  103. JANUARY

    Reading Seed Catalogs
    APRIL

    Edging the Beds
    JUNE

    Training a Passion Vine
    NOVEMBER

    Digging Dahlia Tubers

    View full-size slide

  104. ANDREW RAFTERY

    The Autobiography of a Garden: Engraving transfer-printed on glazed white earthenware,
    12.5” diameter each, 2009-20016
    Hunterdon Art Museum

    View full-size slide

  105. ANDREW RAFTERY

    The Autobiography of a Garden: Engraving transfer-printed on glazed white earthenware,
    12.5” diameter each, 2009-20016
    Rolland William Gallery

    View full-size slide

  106. ESZTER SZIKSZ

    Scrap Pile: The Space Between Us (front): Screenprint, 6” x 9”, 2018
    William Rolland Gallery

    View full-size slide

  107. ESZTER SZIKSZ

    Universe (back): Screenprint, 12” diameter, 2018
    William Rolland Gallery

    View full-size slide

  108. ESZTER SZIKSZ

    Scrap Pile: The Space Between Us (front): Screenprint, 6” x 9”, 2018
    William Rolland Gallery

    View full-size slide

  109. ESZTER SZIKSZ

    Guardian: Video, screenprint on ice, 2014
    William Rolland Gallery

    View full-size slide

  110. ESZTER SZIKSZ

    Guardian: Video, screenprint on ice, 2014
    Hunterdon Art Museum

    View full-size slide

  111. ESZTER SZIKSZ

    Guardian: Video, screenprint on ice, 2014
    William Rolland Gallery

    View full-size slide

  112. ESZTER SZIKSZ

    Guardian: Video, screenprint on ice, 2014
    William Rolland Gallery

    View full-size slide

  113. SWOON

    Memento More E.V 2/12: Handprinted block print with coffee stain on cutout Mylar, 84” x 67”, 2018
    William Rolland Gallery

    View full-size slide

  114. SWOON

    Memento More E.V 2/12: Handprinted block print with coffee stain on cutout Mylar, 84” x 67”, 2018
    William Rolland Gallery

    View full-size slide

  115. SWOON

    Memento More E.V 2/12: Handprinted block print with coffee stain on cutout Mylar, 84” x 67”, 2018
    William Rolland Gallery

    View full-size slide

  116. SWOON

    Memento More E.V 2/12: Handprinted block print with coffee stain on cutout Mylar, 84” x 67”, 2018
    William Rolland Gallery

    View full-size slide

  117. SWOON

    Mini and the Sphynx: Handprinted block print with coffee stain on cutout Mylar, 84” x 76”, 2017
    Hunterdon Art Museum

    View full-size slide

  118. SWOON

    Mini and the Sphynx: Handprinted block print with coffee stain on cutout Mylar, 84” x 76”, 2017
    Hunterdon Art Museum

    View full-size slide

  119. GUEN MONTGOMERY

    Scrap Pile: Paper, Rust, Wheat Paste, Variable Dimensions, 2014
    Kwan Fong Gallery
    GUEN MONTGOMERY

    What Do We Deserve: Silver-plated object with selective tarnish removal, 12” x 4” x 2”, 2017
    William Rolland Gallery

    View full-size slide

  120. GUEN MONTGOMERY

    What Do We Deserve:
    Silver-plated objects with selective tarnish removal, variable dimensions, 2017
    William Rolland Gallery

    View full-size slide

  121. GUEN MONTGOMERY

    Parse Knives, Bowl:
    Silver-plated objects with selective tarnish removal, variable dimensions, 2017
    William Rolland Gallery

    View full-size slide

  122. GUEN MONTGOMERY

    To Each Their Own, Eventually, Parse Knives, Bowl:
    Silver-plated objects with selective tarnish removal, variable dimensions, 2017
    William Rolland Gallery

    View full-size slide

  123. GUEN MONTGOMERY

    Eventually, Sugar Bowl: Silver-plated object with selective tarnish removal, 4” x 5” x 3”, 2016
    William Rolland Gallery

    View full-size slide

  124. RUTHANN GODOLLEI

    Infusion (Drink Me, for Flint): Laser cut stencil, sandblasted glass apothecary jar,
    adulterated water, letterpress label, 6” x 6” x 3”, 2017
    William Rolland Gallery

    View full-size slide

  125. RUTHANN GODOLLEI

    Infusion (Drink Me, for Flint): Laser cut stencil, sandblasted glass apothecary jar,
    adulterated water, letterpress label, 6” x 6” x 3”, 2017
    Hunterdon Art Museum

    View full-size slide

  126. RUTHANN GODOLLEI

    Caution Tape (for Philando Castle): Screenprint on plastic ribbon, variable dimensions, 2017
    Hunterdon Art Museum

    View full-size slide

  127. RUTHANN GODOLLEI

    Scrap Pile: Paper, Rust, Wheat Paste, Variable Dimensions, 2014
    Kwan Fong Gallery
    RUTHANN GODOLLEI

    Caution Tape (for Philando Castle): Screenprint on plastic ribbon, variable dimensions, 2017
    Hunterdon Art Museum

    View full-size slide

  128. RUTHANN GODOLLEI

    Caution Tape (for Philando Castle): Screenprint on plastic ribbon, variable dimensions, 2017
    William Rolland Gallery

    View full-size slide

  129. RUTHANN GODOLLEI

    Caution Tape (for Philando Castle): Screenprint on plastic ribbon, variable dimensions, 2017
    Hunterdon Art Museum

    View full-size slide

  130. RUTHANN GODOLLEI

    Caution Tape (for Philando Castle): Screenprint on plastic ribbon, variable dimensions, 2017
    William Rolland Gallery

    View full-size slide

  131. SAMANTHA PARKER SALAZAR

    Rising (v.3): Handcut monotypes on paper, paint, vinyl, PEX pipe, variable dimensions, 2015
    William Rolland Gallery

    View full-size slide

  132. SAMANTHA PARKER SALAZAR

    Rising (v.3): Handcut monotypes on paper, paint, vinyl, PEX pipe, variable dimensions, 2015
    William Rolland Gallery

    View full-size slide

  133. SAMANTHA PARKER SALAZAR

    Rising (v.3): Handcut monotypes on paper, paint, vinyl, PEX pipe, variable dimensions, 2015
    William Rolland Gallery

    View full-size slide

  134. SAMANTHA PARKER SALAZAR

    Rising (v.3): Handcut monotypes on paper, paint, vinyl, PEX pipe, variable dimensions, 2015
    William Rolland Gallery

    View full-size slide

  135. SAMANTHA PARKER SALAZAR

    Rising (v.3): Handcut monotypes on paper, paint, vinyl, PEX pipe, variable dimensions, 2015
    William Rolland Gallery

    View full-size slide

  136. SAMANTHA PARKER SALAZAR

    Rising (v.3): Handcut monotypes on paper, paint, vinyl, PEX pipe, variable dimensions, 2015
    William Rolland Gallery

    View full-size slide

  137. SAMANTHA PARKER SALAZAR

    Rising (v.3): Handcut monotypes on paper, paint, vinyl, PEX pipe, variable dimensions, 2015
    William Rolland Gallery

    View full-size slide

  138. SAMANTHA PARKER SALAZAR

    Rising (v.3): Handcut monotypes on paper, paint, vinyl, PEX pipe, variable dimensions, 2015
    William Rolland Gallery

    View full-size slide

  139. SAMANTHA PARKER SALAZAR

    Rising (v.3): Handcut monotypes on paper, paint, vinyl, PEX pipe, variable dimensions, 2015
    William Rolland Gallery

    View full-size slide

  140. SAMANTHA PARKER SALAZAR

    Scrap Pile: Paper, Rust, Wheat Paste, Variable Dimensions, 2014
    Kwan Fong Gallery
    SAMANTHA PARKER SALAZAR

    Rising (v.3): Handcut monotypes on paper, paint, vinyl, PEX pipe, variable dimensions, 2015
    William Rolland Gallery

    View full-size slide