Studio Visit Docuseries
Episode One | Dedicated to Wasting Time with Kevin Haas
This video marks the inaugural episode of a documentary series about the state of printmaking from the stories of 12 artists currently using print as their primary media of expression. Our 5086 miles road trip around the US to document the realities of contemporary printmaking starts in Moscow, ID. Beginning with printmaking artists and WSU professor Kevin Haas at his home studio.
About the artist:
Kevin Haas is an artist based in the Inland Northwest who works across printmaking, drawing, artist books, installations, and design. He earned his BFA from The School of the Art Institute of Chicago and an MFA from Indiana University, where he studied printmaking and digital media. Haas has received grants from ArtsIdaho and Artist Trust, from which he also received a fellowship in 2004. He has been an artist in residence at Anderson Ranch Arts Center, the Jentel Artist Residency, Open Studio Toronto, and the Frans Masreel Cetrum in Belgium. In Chicago, he worked at Anchor Graphics and Landfall Press and has since served as a collaborative printer for a variety of artists, often under the imprint Inland Editions. He is a professor at Washington State University and was the co-coordinator for the Rocky Mountain Printmaking Alliance 2018 Conference in Pullman, WA, and Moscow, ID.
Kevin Haas’ website
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Episode Two | Printmaking Call and Response with Mary Farrell
Welcome to the second episode of our docuseries about the state of contemporary printmaking from the stories of 12 artists currently using print as their primary media of expression. Our 5086 miles road trip around the US to document the realities of contemporary printmaking continues in Spokane, WA visiting professor Emeritus Mary Farrell at her home studio.
About the artist:
B.F.A. in printmaking from the Art Academy of Cincinnati in 1989. M.F.A. in printmaking from the University of Cincinnati in 1995. Mary has taught drawing and printmaking at Gonzaga since 1995. She received the Scholar of the Year award from the University(2001), Artist Trust Fellowship in Washington state(2000), Artist Trust Gap Grant in Washington state(2000, 1997). Her work is in many private and public collections including the Portland Art Museum, The City of Seattle Art Collection, The Jundt Art Museum in Spokane WA, and the China National Academy of Fine Arts, Hangzhou, China. Her work is primarily about locating larger meaning within fragments of the world around me, inspired by the human body and plant forms. “I think in terms of geography, topography and terrain as the place where the drawn mark traces the tension and connection between man and nature. I think in terms of landscape and contained gesture within the bounded space of the picture plane. And mostly, it’s about drawing.”
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Episode Three | Print Gods & Tiki Cocktails with Jim Bailey
Welcome to the third episode of this series about the state of contemporary printmaking from the stories of 12 artists currently using print as their primary media of expression. Releasing a new episode from this trip every month. Our 5086 miles road trip around the US to document the realities of contemporary printmaking continues in Spokane, WA visiting professor Jim Bailey in Missoula, MT.
About the artist:
James Bailey was born in New Jersey, and grew up in Minneapolis, MN. He earned his B.F.A. from the University of Minnesota and his M.F.A. from the University of Wisconsin-Madison and is currently an artist and Professor in the School of Art at The University of Montana. In 1998 he established Matrix Press, the publishing component of the print program, which brings in nationally recognized artists to collaborate in the production of limited edition prints and also founded the Annual Day of the Dead Steamroller Print Project now moving into it's eighteenth year. As an artist, James continues his research into both traditional and experimental approaches in printmaking. James has exhibited his work nationally and internationally in over 300 exhibitions and national print portfolios across 35 states as well as Estonia, France, China, Australia, New Zealand and Canada. His work can be found in numerous public and private collections including those of the Walker Art Center, New York Public Library, Jundt Art Museum, Boise Art Museum, Mesa Arts Center, Hillard University Art Museum and Sioux City Arts Center among others. James was interviewed for the full length documentary film on printmaking titled Midwest Matrix and he serves on the board for the Printmaking Legacy Project.
Episode Four | Shapeshifter Inspired by Nature with Ryan O’Malley
Episode 4 of this docuseries about the state of printmaking from the stories of 12 artists currently using print as their primary media of expression. We will release a new episode from this trip every month. Our 5086 miles road trip around the US to document the realities of contemporary printmaking continues into the harsh environment of Wyoming. We met up with Ryan O'Malley in Vedauwoo national park to talk about nature, art, resilience and Shapeshifters.
About the artist:
Ryan Ryan O’Malley is an artist, educator, event organizer and traveler based in Corpus Christi, Texas. He works in a variety of media with focus on the expansive realm of printmaking. His love of people and process is explored in his ongoing body of work Shapeshifter. Transmuting traditional and technology-driven techniques, O’Malley contrasts their static and dynamic properties and navigates the spaces between precision and imperfection; between the ephemeral, and perpetual. As an artist, educator and member of the Outlaw Printmakers, his work has been included in numerous national and international exhibitions, publications, and portfolios. He has shown internationally including Canada, Estonia, Russia, Japan, France China, Mexico, Italy, Latvia and Iran. His expertise is included in Printmaking: A Complete Guide to Materials and Process, Second Edition, by Fick and Grabowski and his work is in numerous collections including the Mint Museum of Art and the U.S. Library of Congress. O’Malley’s commitment to education includes serving as Professor of Art and Graduate Coordinator at Texas A&M University – Corpus Christi.
Episode Five | Being Resilient & The Collaborative Printing with Gregory Santos
Episode 5 of this docuseries about the state of printmaking from the stories of 12 artists currently using print as their primary media of expression. We will release a new episode from this trip every month. Our 5086 miles road trip around the US to document the realities of contemporary printmaking continues with the vibrancy of Denver, Colorado. We met up with Gregory Santos at the Art Gym to talk about his path to becoming a master printer.
About Artist:
Gregory Santos (b. 1979, New York) is an abstract artist and professional printer specializing in lithography and screen printing. In 2015 he relocated from NYC to Denver, CO., where his studio practice is based out of Art Gym Denver. Gregory is currently the Printmaking Director at Art Gym Denver and was the the Chair of Mo'Print from 2016-2020. As a collaborative printer he’s made editions for artists: Tony Ortega, Gigi Chen, Dinh Q. Lê, and Sanford Biggers. He’s also printed editions for Cecily Brown, Jill Moser, Guillermo Kuitca, Robert Kushner, Mickalene Thomas, and Helen Frankenthaler. Gregory created Mixed Grit in January 2019. Through this project he’s printed crayonstone lithographs for: Craig Zammiello, Ali Norman, Ash Armenta, Todd Herzberg, Jessi Hardesty, Annalise Gratovich, Reinaldo Gil Zambrano, Sage Perrott, Bryn Perrott, Tanja Softić, Rachel Shelton, and others. He completed the Printer Training Program at the Tamarind Institute for lithography and holds a Master of Arts degree from New York University as well as a Bachelor of Fine Arts degree in printmaking from Syracuse University.
Episode Six | Challenging the Status Quo with Carlos Barberena
Episode 6 of this docuseries about the state of printmaking from the stories of 12 artists currently using print as their primary media of expression. We will release a new episode from this trip every month. Subscribe to the channel and activate notifications so you don't miss the new releases coming up! Our 5086 miles road trip around the US continues with the vibrancy of Chicago, IL. We met up with Carlos Barberena at his home studio "Bandolero Press"
About Carlos: Carlos Barberena (b.1972) is a Contemporary Nicaraguan Printmaker best known for his satirical relief prints and the use of images from pop culture, as well as from political and cultural tragedies. In his art, Barberena has consistently reflected on the cycles of repression and resistance and its relationship to the Diaspora in which he has lived, throughout dictatorship, revolution, erasure, renewal, hope, dictatorship and repression. His prints center these types of life experiences occurring far beyond his country. He creates to counteract the great silence around repression occurring globally believing we are all intimately connected to it. He seeks to demystify the “foreign” experience, to bridge the distances that life across any border or wall produces, but also, the difference in the content of these experiences. He creates to bring awareness to the interconnectedness among them, focusing on injustices of social, political, economic and environmental injustice. At time he evokes with satirical images, at others, through the mundane, unseen things people carry: memories, attachments, relationships and traumas. In each he highlight the myriad cycles of oppression and struggle. Barberena has exhibited individually in Costa Rica, Estonia, France, Mexico, Nicaragua, Spain and The United States of America, his work also has been shown in Art Biennials, Museums, Galleries and Cultural Centers around the world. He has received various awards, most notably “The Elizabeth Catlett Memorial Award” 2021 MAPC Juried Exhibition, University of Iowa; “DNSPE Purchase Award 2022” Bradbury Art Museum, Arkansas State University, Jonesboro, AR; – Second Prize Winner – in the “9th Annual Art Competition” at the Bridgeport Art Center, Chicago; “SPARK Grant Award”, Chicago Artist Coalition and the Joyce Foundation; “Cross Currents: Intercambio Cultural, Chicago – Havana, 2017-2019”. MacArthur Foundation International Connections; “National Printmaking Award 2012” given by the Nicaraguan Institute of Culture, Managua, Nicaragua; “Parchemin d’Honneur”, 8 Triennale Mondial de l’Estampe et de la Gravure Originale, AMAC, Chamalieres, Auvergne, France, “Revueltas Award” for Visual Arts 2019, Pilsen Fest, Chicago, and the award- poster for the Ecology and Human Rights in Banana Plantations in Costa Rica, given by GEBANA in Berlin, Germany. Website: https://www.carlosbarberena.com/
Episode Seven | The Importance of Print Collectives with Rene Arceo
We continue our journey around the US, documenting the current state of printmaking. We stayed in Chicago a little longer than planned after Carlos Barberena showed us how vibrant is the printmaking culture in the City of Wind. We met with René Arceo at his studio "Arceo Press" for a chat about collaboration, collectives and the importance of print. Today we speak to Rene Arceo: In Arceo's words: My first experience participating in a print portfolio was in 1983; while studying at the School of the Art Institute of Chicago, I took my first printmaking class with David Holtzman. All class participants created a print to share with everyone else in the form of a portfolio. In 1990 Tomas Bringas, an artist from Durango, Mexico, suggested to a group of Chicago printmakers that they compile a print portfolio. All class participants created a print to share with everyone else in the form of a portfolio. In 1990 Tomas Bringas, an artist from Durango, Mexico, suggested to a group of Chicago printmakers that they compile a print portfolio. Thus, "El Canto del Papel" was born of the labor of seven artists: Nicolas de Jesus, Gerardo de la Barrera, Tomas Bringas, Carlos A. Cortez, Arturo Barrera, Carlos Villanueva, and myself. The images created were inspired by a set of poems by Duddley Nieto. Within the year, this group decided to develop the Taller Mexicano de Grabado (The Mexican Printmaking Workshop, now Casa de Cultura Carlos Cortez) in the Pilsen/Chicago neighborhood. Rene's website: https://arceopress.com/#home
Episode Eight | Hoofprints and Collaborating with Fancy Artists with Gabe Hoare
We continue our journey around the US, documenting the current state of printmaking. We stayed in Chicago a little longer than planned after Carlos Barberena showed us how vibrant is the printmaking culture in McKinley Park. We met with Gabe Hoare of Hoofprints for a chat about collaborating with so many different artists from around the Americas. Gabe Hoare works primarily in sculptural installation and assemblage, transforming print-based works into interactive environments. He creates ritual objects that are both sacred and silly, affirming belief whilst simultaneously poking fun. After receiving his BFA from the University of Florida, Gabe went on to assist artists at Robert Blackburn Printmaking Workshop and Tandem Press, including Eddie Martinez, Sam Gilliam, and Suzanne Caporael. His work has been featured at venues including the Milk Factory and Co-prosperity Sphere. Hoofprints editions website: https://www.hoofprintchicago.com/ Sponsor: https://www.speedballart.com/ Rgzprints: www.rgzprints.com
Episode Nine | Familia Print Shop with Benjamin Muñoz and Hugo Ivan Juarez
We continue our journey around the US, documenting the current state of printmaking. After a long drive, we finally arrived to Dallas, TX. At The neighborhood of Goldmark, Ben and Hugo founded "Familia Press" a community-oriented printmaking studio. About the artists: Benjamin Muñoz: is a Dallas-based artist whose primary focus is printmaking. His work is often reflective of his heritage, upbringing, and current surroundings. Muñoz stacks the imagery in his work to symbolize the idea of everything in life being dependent on what came before it. A largely self-taught artist, Muñoz has had several solo exhibitions throughout the United States and his artwork is in several museums and private collections across the United States, such as the Mexic-Arte Museum and the National Museum of Mexican Art. website: https://www.benjaminmunoz.com/about-n... Hugo Ivan Juarez: I pursued an artistic career simply because I found joy in doing it. Art then became a gateway for the furthering of my education. In 2020 the Museum of Modern Art in Fort Worth held a Mark Bradford exhibition. In his artist talk with the museum he mentioned the idea of separating what you do as an artist with what you do to pay the bills. He also said that, eventually, it is possible to bridge those two ideas, but it is a very slow process. While in Dallas and more specifically during the day I work for my father as a Yardero. The time I have outside of manual labor is spent progressing my career as an artist. I recently graduated from the School of Art Institute of Chicago.
Episode Ten | Frank Rose and the value of print work "Hecho A Mano"
We continue our journey around the US, documenting the current state of printmaking.We have arrived to Santa Fe, New Mexico. At Canyon Road, we visit the "Hecho A Mano" Gallery and its owner Frank Rose. Hecho a Mano primarily showcases New Mexican and Mexican artists working in the mediums of printmaking, ceramics, and jewelry. We came here to check the extensive collection of vibrant prints from Oaxaca and to get to know more about why printmaking in Oaxaca is so prominent. Hecho a Mano website: https://hechoamano.org/
Episode 11: Andrew Rice & the dichotomy of protection and isolation in print
We continue our journey around the US, documenting the current state of printmaking. Now making our way into the Rocky Mountains, we visited Salt Lake City, in the State of Utah to talk with Andrew Rice. Andrew Rice is a printmaking artist and professor at University of Utah where he specializes in intaglio, screen printing and relief printing incorporating new technologies into the matrix making process. About Andrew's work: "The pieces in my recent body of work are collages comprised entirely of old comic book imagery. Most of the books were from my childhood and likewise the pieces in this body of work have a definite sense of nostalgia. I am drawn into the youthful optimism the comic book imagery holds. This idea of the future we were promised. A future that never came. I relate the collage pieces to my work as a printmaker in a lot of ways. Through The layering, the texture building and the meticulous cutting and placing, the act of making feels a lot like making a print. In its own way, it is a form of print “making.” I am making a new piece of original work out of an edition, working backwards from what my printmaker self is trained and familiar with. It is not as important to me at the moment to make my own, unique marks, but rather use a visual catalog that already exists to create a new piece. An author, or poet rarely creates a new word, but can still tell an entirely original story with the words available in their language. I am looking at the collage in a similar way. Use the images that are already at my disposal to tell a new, but familiar story".
Andrew Rice website: http://www.andrewriceart.com/
Andrew Rice' Instagram: @purplehat
Episode Twelve: Jill AnnieMargaret & the expression of printed matter
Professor Jill AnnieMargaret is the head of the Printmaking area at BSU. She mentors students for careers as professional artists by establishing a rigorous curriculum that fosters students’ artistic vision and technical proficiency while providing contemporary and historical context of artistic pursuits. Professor AnnieMargaret founded the Rocky Mountain Printmaking Alliance in 2009. Engaged printmaking students are presented with local, regional and national leadership opportunities through Service Learning, symposium planning and implementation as well as printing for visiting artists such as Mark Dion, John Hitchcock, Laura Berman and Ellen Scott. Rooted in existential questions regarding the nature of memory and human emotion, her work explores the effects that trauma has on memory, the brain and how it stores in the body. Side effects of trauma; repressed memory, reliving vs. recalling, dissociation, hyper-reactivity and hyper-vigilance are used as visual strategies in her recent work. Branches of related ideas include: dreams, night terrors, the subconscious, the after-life, spirit, death and near death experience. These themes are woven throughout her oeuvre from her M.F.A. thesis exhibition, Walking in a Wing’s Shadow (2004) to the projects: The Dream Tree, Presence- Absence, Lillie Mae Cane, Shed, Hairstory-Herstory and most recently the performance and shadow puppet theater, Bloom. As an artist and a maker, her work creates physical manifestations of formless, abstract ideas. The physicality of materials and labor-intensive hand-processes establish parallel metaphors while working. These metaphors are often relayed visually in the final work through repetition, the multiple, embossment, shadows and silhouettes. Her work has been exhibited in Argentina, Japan, Italy, Finland, Portugal, India, South Korea as well as many locations across the United States and internationally.