what goes on in your head, and print it! Figurative or literal,
from the subconscious or the intellect, an outpouring of emotions
or a carefully plotted intrigue, you're the impresario. Images
might freeze a moment in a psychological spotlight, play out
a narrative or capture the swirl of lights as the curtain rises.
Entertain with comedy, melodrama, classical tragedy, off-off-Broadway
or indie style. Let paper be your script and your stage. Whatever
the scene or subject, be original and dramatic!
A. Stewart, founder and director of Amity Art Foundation, Connecticut,
was invited to jury this travelling exhibition for the American
Print Alliance. He wrote about the experience for Contemporary
Impressions, vol. 12 #1 (Spring 2004):
of the Mind” as the theme for a portfolio exhibition
of prints said much to the artists and gave scope and latitude
to be creative, expressive and communicative. For me, a lifelong
collector of prints acting as juror, it provided a guide for
selections, deciding which of all the wonderful submissions
should appear on this stage.
I first heard the phrase “theater of the mind” a
long time ago, referring to radio programs in which only words
and sounds created whatever the mind could imagine. Images,
stories and theater came to life using only one of the senses,
the sense of hearing.
The printmakers for this exhibition were limited to one sense,
the sense of sight, to create their images, stories and theater.
With the charge to view “what goes on in your head,”
the artists were given a stage for drama, comedy, tragedy –
not for a static image, but one that is dynamic, conveys motion
and change, and tells a story or perhaps two. Not just a pretty
picture, not just a well-pulled print, but a communication of
ideas, emotions and thoughts with a beginning, a middle and
Thus I was
to be less an art critic and more the theater critic. Now, the
cast is set. With program in hand, let the curtain go up and
the play begin.
twenty prints from the three hundred and fifteen that auditioned.
I attempted to put aside any prejudices for particular media
or artists. A lifelong collector, of course I know some of the
artists and I own art from more then a few. Personally, I prefer
traditional media, realistic images and editioned prints rather
than monoprints. My task, however, was to come to the theater
with an open mind and choose what played best on the stage before
I have had a rich theater experience with each of the prints
chosen. I congratulate the producers and directors of each and
apologize for any plots I have created that were not intended
or ones that I missed in the viewing. May the audience for this
exhibition have as much joy as I did in these presentations.
I am most appreciative to have been the juror and look forward
to seeing the show “on the road,” touring for several
years of great theater.
Alliance encouraged submission of original prints in any technique
and style. Entry was free. Each artist is a member of an Alliance
council or subscriber to Contemporary Impressions.
twenty prints selected for Theater of the Mind are
each framed 16 x 20”, so the exhibition will fit nicely
in a small gallery – or, appropriately, a theater lobby!
The works, most quite colorful, represent a full range of printmaking
techniques: etching, aquatint, mezzotint, photogravure, linocut,
woodcut, collagraph, lithograph, screenprint, monoprint and
inkjet. The show has some images with nudes, so is appropriate
for colleges and art centers that don't have young children
cutting through the gallery to get to classes. To schedule it
for three weeks to two months between now and December 2006,
the curator or gallery coordinator may write to the Alliance
at email@example.com or telephone 770/486-6680 noon-8
p.m. Eastern. The exhibit fee of $300 includes the venue's share
of crating, shipping and brochures. A venue's only other expenses
are on-site insurance; staff time to unpack, install and repack;
publicity – usually a postcard as well as newspaper notices,
and an event. We encourage a talk, demo, workshop or educational
event open to the public rather than simply an opening reception.
24 - November 13, 2004
University of Delaware
Department of Art Gallery, Recitation Hall
November 12 - December 31, 2005
North Georgia College & State University
North Bank Artists Community Project
North Bank Gallery
- June 2006
University of Miami
Coral Gables, Florida
January 12, 2006 - February 23, 2007
Dunedin Fine Art Center
Anderson, April's green endures,
2002. Etching, softground etching, aquatint, drypoint (one
color), 15.75 x 11.75”.
Ann Chernow, All Women Take to Men Who Appear
to Be Wicked, 1999. Etching, aquatint, photogravure
(one color), 12.38 x 9.88”.
Liz Chalfin, Goodbye, come back,
2002. Monotype (color), 10 x 8”.
David Clark, Terry's Gift, 2002.
Mezzotint, 7 x 5”.
Edward Foss, Harlequin Looking On,
2002. Etching, aquatint (color), 8 x 10”.
Richard Hellman, Inner Eye, 1998.
Softground etching, aquatint, scraping, 9 x 9”.
Susan Hoffman, Theater Female IV,
2003. Etching, embossing, calligraphy (one color), 20 x 16”.
David K. Holt, Ironworker, 1999.
Linocut, 11.12 x 8.25”.
Kenneth Kerslake, The Event, 2001.
Photoetching, aquatint (color), 7.88 x 5.88”.
Rosemary Lane, Uplifted, 2003. Etching,
hand coloring, 11 x 14”.
Sharri LaPierre, Psyche & Her Sisters,
2003. Woodcut, inkjet, chine collé (color), 10 x 10”.
Bert Menco, Contortionists, 2002.
Drypoint, chine collé (color á la poupée),
14.75 x 4.12”.
Sharon Augusta Mitchell, The Year of The Locust,
1999. Mezzotint (color), 14 x 11”.
Anna Marie Pavlik, Ode to Ink, 2000.
Etching, chine collé, 9.25 x 6.25”.
Laura Ruby, Kanaka-Kauwa, 2003.
Screenprint (color), 8 x 12”.
Stephanie Smith, Making Histories,
2003. Reduction woodcut, linocut, collage (color), 14 x 11”.
Leslie Sobel, Blue Dancer on Red II,
2000. Digital inkjet print (color), 9.38 x 14”.
Raymond St. Arnaud, On the Advent of Blue,
2002. Digital inkjet print (color), 12.12 x 19”.
Caroline Waloski, I Need a Sense of Reality,
2000. Etching, aquatint, gold mica, monoprint (color), 9 x
Ross Zirkle, Lone Wolf II, 2003.
Waterless lithograph (color), 9 x 7”.
Goodbye, come back
Harlequin Looking On
Theater Female IV
The Year of the Locust
Anna Marie Pavlik
Ode to Ink
On the Advent of Blue
Lone Wolf II