10 August-31 October 2016
Based on the oldest demarcated wine region in the world – the Douro and winner of two heritages of humanity granted by UNESCO is world renowned both for its vineyard landscape and for the archaeological heritage of the Côa Valley. Here is the largest sanctuary of Paleolithic engraving of the world, but the Douro is also in the contemporary scene one of the biggest events of graphic art in the world, creating a strength and dimension that goes beyond the borders of the country and is projected for infinite horizons.
Pursuing this aim and ambition achieved, the Biennial of Douro has overcome the challenges of interiority, the economic crisis, the cultural crisis, the engraving crisis itself and it has kept alive the assumptions of the art and the autonomy of the printmaking in the context of the contemporary art. To this end, have contributed the traditional printmaking and its secular alchemy, but also, the renewed trend of digital printmaking and the new media at their disposal, in order to give it the autonomy it needs to survive. The open field to the printmaking by the new hybrid languages and nontoxic techniques , have designed it impact in an innovative way and with the vitality so long desired in its fields.
The Curator, Nuno Canelas
Monotype Guild of New England Fourth National Monotype|Monoprint Juried Exhibition
One hundred works of art from one hundred contemporary printmakers and artists throughout the United States will be on view at the Attleboro Arts Museum during The Monotype Guild of New England’s Fourth National Monotype/Monoprint Juried Exhibition. The exhibition will showcase the diverse range of traditional and innovative techniques being used in creating monotypes and monoprints today, and will be on display from April 6th – May 7th, 2016. My print, Tilatopia #6, a 22″ x 30″ woodcut/monoprint is included in this exhibition.
“It was an exciting experience for me to go through the nearly 650 entries for the Monotype Guild of New England’s national show. I was delighted to discover a very broad array of approaches submitted to what I can no longer call a monotype exhibition. Rather, what I have selected for this exhibition are examples of ‘singular impressions.’ There are many examples of monotype here; however, most of the artists who entered work relied on relief, intaglio, lithography and ink-jet rung through a variety of other process to make one-of-a-kind prints. These, it seems to me, not only broaden the scope of work in this exhibition, but enliven it as well. Including a variety of approaches and showing them together allows viewers to assess what is singular about each of these…”
Andrew Stevens, juror, Curator of the Department of Prints and Drawings, Chazen Museum of Art, University of Wisconsin-Madison
|Flatbed Press and Gallery Presents|
PRINTAUSTIN: THE CONTEMPORARY PRINT
JANUARY 9 – FEBRUARY 14, 2016
|Presented in conjunction with PrintAustin, The Contemporary Print is a survey of the traditions and innovations of contemporary printmaking happening today. Juried by Mary Heathcott, Director of Blue Star Contemporary Museum in San Antonio, Texas, selections for the exhibition may embrace non-traditional or digital output, while utilizing traditional print media as their primary technique.
Artists include: Marissa Angel, Justin Barfield, Kristen Bartel, Diana Behl, Adrienne Butler, Silas Breaux, Craig Cameron, Ryan Cronk, Beth Fein, Andrea Ferrigno, Kylie Ford, Brandy González, Kat Hartley, Zach Ingram, Sara Langworthy, Jon Mahnke, Steve Mizel, Sean P. Morrissey, David Nelson, Kelsea Nichols, Johnny Plastini, Carey Rasmussen, Nicholas Ruth, Sarah Serio, Merrill Shatzman, Allison Valdivia, Melissa Walter, Vivian Wang, Yishu Wang, Micheal Weigman, Ian J. Welch, Art Werger, Mimi Williams, Jack Wood, Ken Wood, and Cameron York.