Travel
Schedule Exhibition
List Common Ground, an
international travelling exhibition from the American Print
Alliance, shows prints and artists' books that foster a vital
community among artists and the general public. The exhibition
demonstrates how these media engage popular audiences, address
topics that concern everyone, and translate between personal and
universal experience. Prints, easily transported and disseminated
simultaneously to multiple locations, and largely dependent upon
images rather than diverse languages to carry information, have
always brought ideas to the widest range of people and places.
Printed images, from Renaissance herbals to postmodern advertising
graphics, challenge limits and suggest interfaces between supposedly
disparate people. Prints exemplify the belief of Carol Pulin,
Director of the Alliance, that contemporary arts can encourage
individuals to cross conceptual boundaries.
Jennifer
Saville, Curator of Western Art at the Honolulu Academy of Arts,
selected thirty-five prints and artists' books by members of the
American Print Alliance councils. Some artists sought to cross the
lines established by tradition, lines between popular culture and
"fine art." Several artists addressed the philosophical separation
and recent re-merging of the arts and sciences, especially in
respect to environmental concerns and, of course, hand craftsmanship
working in concert with computers and high-tech imaging systems.
Created with many different techniques and showing a great variety
of styles, the sensitivity and the strength of these prints and
books are compelling. The artists' statements reveal the
exceptionally perceptive and expressive power of today's
printmakers.
Common Ground
travels through 2000 and will be shown at neighborhood arts centers,
small colleges and large universities from Georgia to California.
These diverse venues will draw audiences from academic institutions
and the community at large, from small towns and major metropolises.
Viewers can expect to enjoy the aesthetic experience and be
challenged by the ideas explored.
Contemporary
prints do more than depict scenes and events from different places
and cultures, they embody the concept of translation. That's obvious
in prints that borrow new technologies from the commercial,
scientific and industrial worlds. It's equally true in the
appropriation of images from other times to devise a new language
full of the resonance of associated meanings. Prints are the current
leaders of artistic expression because of their natural ability to
borrow and adapt imagery, fragment and layer, create narrative
sequences and use cultural icons. The major issues of today's world
are reflected in prints that reach wide popular and sophisticated
audiences. Common Ground demonstrates that the democratic art of
printmaking is the new public art of the coming
century.
Travel Schedule:
July 25 -
August 20, 1998 University of Georgia at
Athens Athens,
Georgia
January 10 -
February 14, 1999 Roanoke
College Salem,
Virginia
February 22 -
March 19, 1999 University of Southern
Colorado Pueblo,
Colorado
June 18 - July
17, 1999 Lankershim Arts
Center North Hollywood,
California
August 5 -
September 10, 1999 Western Oregon State
College Monmouth,
Oregon
September 29 -
October 29, 1999 Iowa Wesleyan
College 503 South Harrison St.,
Mt Pleasant, Iowa
February 28 -
April 10, 2000 Midland College,
McCormick Gallery 3600 North Garfield
#224LRC, Midland, Texas
May 2 - May 27,
2000 John & Betty Gray Gallery Northwest Print
Council 922 W. Main Street,
Portland, Oregon
June 5 - August
6, 2000 Bookwalter
Winery 894 Tulip Lane,
Richland, Washington
August 26 -
September 15, 2000 Arizona State
University Tempe,
Arizona
October 23 -
November 10, 2000 Montgomery
College Rockville,
Maryland
December 2000 -
January 2001 Gallery
41 41 Lake Street Owego, New
York
(To show the
exhibition at your school or arts center, please send an e-mail
request to printalliance@mindspring.com
or telephone 770/486-6680 noon-8 pm Eastern.)
Exhibition
List:
- Linda Adato,
New York
Chambers of
Negotiation & Compromise,
1997. Color hardground &
softground etching & aquatint, 19.5" x
15.75".
- Lea Barton,
Mississippi
Jesus Saves,
1997. Color screenprint, 17"
x 11".
- Christine
Blais, Québec
Enigma,
1995-97. Artist's book: color
lithograph with hand color, collage & copper leaf, each print
5.88" x 6", book 11" x 12" x 1".
- Marsha
Connell, California
Dream Vessels
#72: Veiled/ Unveiled, 1995. Color computer laser
print & collage, 8" x 13".
- Rosemary
Feit Covey, Virgina
Sanctuary 1,
1987. Wood engraving, 6"; x
4".
- S.L. Dickey,
Mississippi
His Name is
Nobody, 1996. Color screenprint, 26"
x 16".
- Susan Mackin
Dolan, Colorado
Sacred Memory,
1997. Digital photoetching
with hand color, 7" x 8".
- Aline
Feldman, Maryland
Rainheld City,
1997. Color white-line
woodcut, 32" x 24".
- William
Fisher, Florida
Dissertation
Physique, 1995. Color monotype &
screenprint, 30" x 22".
- Donald
Furst, North Carolina
421 Nights:
Receive, 1995. Color sandblast
mezzotint, 4" x 5".
- Lynn Gorton,
North Carolina
Es Esto America?/Is
This America?, 1995. Color screenprint, 15"
x 20".
- Jerril Dean
Green-Kopp, California
Burning Churches,
Burning Questions, 1997. Etching &
aquatint, 24" x 17.5".
- Bob
Hainstock, Nova Scotia
A Domesticated
Nature, 1997. Color intaglio
collagraph, 19.5" x 27".
- Art
Hazelwood, California
Shovelling,
1990. Woodcut, 9.5" x
5.5".
- Shireen
Holman, Maryland
Memories of my
Father, 1997. Artist's book: color
woodcut & screenprint on handmade paper, 15" x 11" closed, 15"
x 23" open.
- Su-Li Hung,
New York
Walking Shadow,
1974. Color woodcut, 11" x
11".
- Diana
Kleiner, Argentina
Iguol y Diferente
XIII, 1997. Artist's book: etching
& photogravure on handmade paper with collage, 4" x 12" x
12".
- Ann
Klingensmith, Iowa
The Gift,
1993. Color reduction
woodcut, 24" x 18".
- Odile
Loulou, Québec
Identité
Francoquébec, 1997. Color woodcut, 26" x
10".
- Kathryn
Maxwell, Arizona
She Danced into His
Heart, 1994. Color screenprint, 15"
x 11".
- Rebecca
Marsh McCannell, Oregon
Vacant Chair,
1993. Lithograph, 7" x
11".
- Robin
McCloskey, California
Bicycle,
1996. Color photoetching,
aquatint, drypoint & monotype, 18.5" x
17.5".
- Kay
McCrohan, Maryland
Wholly American
Family, 1995. Artist's book: color
lithograph, 15" x 9" closed, 15" x 17" open.
- Bert Menco,
Illinois
Manipulation,
1996. Color etching &
aquatint, 24" x 18".
- Hanne
Niederhausen, Florida
The Blues,
1993. Etching with chine
collé, 17.5" x 23.5".
- Andrea
Ondish, Indiana
till death do us
part ..., 1994. Woodcut, 11" x
8".
- Anna Marie
Pavlik, Texas
Re-orientation,
1996. Color etching with
chine collé, 18" x 24".
- Kathryn
Reeves, Indiana
Grammar Class,
1997. Aquatint &
softground etching with hand color, 9" x 12".
- Laura Ruby,
Hawaii
Landed Committee š
Annexation, 1993. Color screenprint, 20"
x 26".
- Stephanie
Smith, Georgia
Lesson in
Communication, 1996. Color lithograph, 11"
x 14".
- David
Smith-Harrison, California
La Puerta II [The
Door], 1997. Etching &
aquatint, 16" x 18".
- Bill N.
Thompson, Texas
Signals,
1996. Color screenprint, 9"
x 11.5".
- Caroline
Thorington, Maryland
July 4th Picnic on
the Mall, 1989. Lithograph, 20" x
16".
- Art Werger,
Georgia
Lead Astray,
1991. Color etching &
aquatint, 23.38" x 17.75".
- Jared
Wickware, Hawaii
Windmill Party,
1995. Engraving, 6" x
9".
|
Lea
Barton Jesus Saves ©
1997
Susan Mackin Dolan Sacred
Memory ©
1997
Donald Furst 421 Nights:
Receive ©
1995
Diana Kleiner Iguol y Diferente XIII
[Same and Different] ©
1997
S.L. Dickey His Name is
Nobody ©
1996
William Fisher Dissertation
Physique ©
1995
|