This four day workshop will focus on exploring the endless textural possibilities of collagraphic image-making.
Are you interested in learning how stone lithography works? Do you enjoy drawing and painting? This is a traditional printmaking focused class using an expedited layering process to build imagery.
Use recyclable plastic plates, water washable oil based inks, and an etching press to make drypoint prints.
Carl Nanoff, 2020 Hindsight, Lithography and monotype
Please join us for Highpoint’s 39th cooperative exhibition. Print’s on Ice will showcase 68 prints and printed objects recently made by 26 members of our artists cooperative printshop. These semi-annual exhibitions are a showcase the diversity of scale, technique, and content possible within printmaking.
Join us for the opening reception on Friday, December 10 from 6:30-9pm. Guests will enjoy 20% off the sale price of all co-op prints during the reception as well as during gallery hours Saturday, December 11.
Participating Artists:
Josh Bindewald
Kristin Bickal
Lynnette Black
James Boyd Brent
Pamela Carberry
Don Dickinson
Beth Dorsey
Gabi Estrada
Erik Farseth
Tyler Green
Nancy A. Johnson
Therese Krupp
Erin Leon
Jon Mahnke
Carl Nanoff
Austin Nash
John Pearson
Bethany Richards
Kurt Seaberg
Ruby Sevilla
Lila Shull
Nicole Soley
Cathy Spengler
Natalie Wynings
Use recyclable plastic plates, water washable oil based inks, and an etching press to make drypoint prints.
In this weekend workshop, students will explore drawing techniques designed to support them in making dynamic, engaging intaglio prints.
Learn to use water soluble materials and an etching press to make monoprints.
Learn to use water soluble materials and an etching press to make monoprints.
Use cut paper stencils, water washable oil based inks, and an etching press to make monoprints.
Use cut paper stencils, water washable oil based inks, and an etching press to make monoprints.
In this weekend workshop, students will explore the methodology of monotype printmaking, and will leave equipped to further their exploration in monotype printing using a variety of methods.
Comprising more than 325 published prints and multiples, plus hundreds of items of production material, this exhibition is the debut of the recently acquired Highpoint Editions 20 year archive at the Minneapolis Institute of Art.
Beth Dorsey
Frames 8 x 8 x (2). 1.
polymer photogravure and collage, 2021
This exhibition presents presents a suite of polymer photogravure prints made by Beth Dorsey that are based on photographs of venetian blinds and window frames. Features of the photographic images are isolated and used as abstract repetitive elements to create the work. These abstract prints have a graphic quality far removed from their origin.
This class will introduce the fundamentals of photolithography with a focus on hand-drawn imagery. The course will begin by highlighting examples of photolithography and the techniques and materials used to create hand-based positives.
Curated by Tanekeya Word and Delita Martin, this marks the first national exhibition curated by Black women printmakers highlighting the experimental prints of Black women printmakers.
Please join us at Highpoint for our first in-person reception in over a year! This event will feature an on-site food truck from our neighbors at World Street Kitchen, a cash bar (wine, beer, and non-alcoholic beverages available), and music as we come together to celebrate the exhibition of new work by members of our artist cooperative. We can’t wait to see you there!
For this exhibition opening, we will be transforming Highpoint’s classroom into an additional gallery where visitors can peruse (and purchase) many more prints made by our co-op artists all of which are shrink-wrapped and ready to take home.
As usual, we are offering a 20% discount on all co-op member artwork during this opening event and during our gallery hours (12 - 4pm) on Saturday, July 31.
Hot Off the Press features recent prints made by 31 members from Highpoint’s artist cooperative. These prints vary widely in technique and style but include everything from geometric abstraction to convincing realism. Examples of each of the traditional printmaking techniques; lithography, screenprinting, monotype, relief, and intaglio will be available to view and purchase.
Participants:
Megan Anderson
Levi Atkinson
Kristin Bickal
Josh Bindewald
Lynnette Black
Lynn Bollman
James Boyd Brent
Meg Bussey
Ben Capp
Pamela Carberry
Beth Dorsey
Louise Fisher
Sally Gordon
Tyler Green
Nancy Johnson
Monique Thouin Kantor
Therese Krupp
Erin Leon
Jon Mahnke
Carl Nanoff
Austin Nash
John Pearson
Sydney Petersen
Bethany Richards
Eileen Rieman-Schaut
Amy Sands
Kurt Seaberg
Cathy Spengler
Pamela Sullivan
Anda Tanaka
Clara Ueland
Nicole Soley, American Bride, woodcut
Nicole Soley utilizes contemporary and traditional printmaking processes to generate dynamic, multi-process prints. By creating cut out, printed, paper objects and inserting them into a printed background space, she synthesizes lived experience and research. Through layering many forms of printmaking and experimenting with paper colors, viewers interact directly with the artwork, interpreting both personal narrative as well as cultural critiques. Her most recent artwork, featured in this exhbition, emboldens the viewer to consider representations of consumption and change in generational values and ideals, while also exploring our impact on our communities and the land.
Nicole Soley is an artist residing in St. Paul, Minnesota. Soley has a Bachelors of Science in Art Education from Minnesota State University, Mankato and has been an Art Educator for four years. While teaching, she has also maintained an active cooperative membership at Highpoint Center for Printmaking. Her experiences in art making have illuminated printmaking as a space of empowerment.
Ka’ila Farrell-Smith (Klamath Modoc)
Alien Invasion, 1492
Lithograph
Paper and image size: 30” x 22.25”
Collaborating master printer: Judith Baumann
2018
Edition of 18
Highpoint is extremely excited to welcome a selection of prints from The Crow’s Shadow Institute of the Arts archive. Crow’s Shadow is nestled within the Confederated Tribes of the Umatilla Indian Reservation at the foot of the Blue Mountains just outside Pendleton, OR. They are a non-profit organization offering a fully equipped studio for contemporary fine art printmaking, an artist-in-residency program, and workshops in Indigenous Arts.
Thank you to all who joined us for a virtual event with Crow’s Shadow Executive Director Karl Davis, Jim Denomie and Alex Buffalohead on May 20!
Click HERE for the Zoom recording
We’re honored to partner with Crow’s Shadow to present works from their illustrious body of work
Read more about the show here.
All images below are presented courtesy of Crow’s Shadow.
Jeremy Lundquist , Alarm Alarm #6, (Baton Rouge, LA) intaglio, 2021
Alarm Alarm is a series of progressive etchings that started with the exterior of a building not far from my home. The text on the side of the building says ‘Alarm Products’ in big bold blue letters. The first (and last) etching in this series is simply a remaking of that façade with Alarm stated twice. The repetition of the word alarm mimics an alarm itself. How many times will the alarm repeat before it is heard? How many times before it is heeded?
I continued the repetition of the alarm by seeking out other alarm and security companies across the country via Google Maps that had ‘Alarm’ in their name. In creating this series, my focus was not on the protection of property, as is the goal of these companies. Instead, while I surveyed these buildings and their signage, I was thinking of our collective perception of security.
Throughout this past year and before, there have been so many alarms and actions that are alarming. There are daily warnings in the form of the latest numbers of new COVID cases and deaths. The alarming repetition of injustice as minorities, especially black men, are killed by the very people sworn to protect. The alarm and horror of a mob storming the United States Capitol. These alarms are often not surprising and most have been sounded for years and years.
I hope the collected series of alarms encourages us all to consider what is being ignored while also questioning our relationship to security.
-Jeremy Lundquist
To read a review of Alarm Alarm written by Highpoint Editions artist Carolyn Swiszcz, click here.
Ronald Miller, Incident at Grand Central, relief
The history of print in in Nordic countries like Sweden is incredibly rich and the artform remains vibrant today through the support of organizations such as Grafiska Sällskapet (the Swedish Printmakers Association). Located in Stockholm, Grafiska Sällskapet has provided opportunities, information, resources, and mutual support to its members since its inception in 1910. Currently, Grafiska Sällskapet boasts a membership of close to 500 printmakers in Sweden and abroad!
The pandemic delayed our presentation of this exhibition and has minimized the additional programming we had planned. However, we are thrilled to be able to partner with Grafiska Sällskapet to exhibit a selection of prints made by its members, their first such exhibition in the United States. Compiled by Chairperson Anne-Lie Larsson Ljung, board member Bo Ganarp, and association member Maria Eriksson, the exhibition showcases 60 individual prints made by 34 of Grafiska Sällskapet’s members.
This exhibition features each traditional printmaking disciplines; lithography, intaglio, relief, monotype, screenprinting, and collograph. The show also includes examples of twentieth-century technical adaptations like acrylic engraving and photopolymer gravure.
As is typical with group shows, variety is the defining aspect of this exhibition. Image styles and content range from contemporary abstraction to the more traditional narrative naive. There is truly something for every type of print lover in this exhibition.
Thank you to Highpoint Cooperative Artist Nancy A. Johnson for telling us about Grafiska Sällskapet and thank you to Karen Nelson and Bruce Karstadt at the American Swedish Institute for helping us to spread the word about this marvelous show.
Mike Marks, Remainder, woodcut
This exhibition fills Highpoint’s galleries with a quantity of original collographs, intaglio, and relief prints made by 2020 McKnight Printmaking Fellow Mike Marks. Much of the featured work is recent, however because this McKnight Printmaking Fellowships are for mid-career artists, some older gems will also be on view.
Exhibition walk through and Q&A with Mike Marks
About the artist: Mike Marks holds a BFA in Drawing from the Cleveland Institute of Art, and an MFA in Printmaking from the University of Delaware. In 2016 he relocated to Minneapolis where he now lives and works. Mike’s prints are included in the permanent collections of institutions such as the Minneapolis Institute of Art, Museo do Douro (Douro, Portugal), Munakata Shiko Memorial Museum of Art (Aomori, Japan), Zuckerman Museum of Art (Kennesaw, GA), and the California College of Arts (Oakland, CA). Marks has been a resident artist at South Dakota State University, the University of Evansville, the Tides Institute and Museum of Art, Crooked Tree Arts Center/Good Hart Residency, Stone Trigger Press, and Acadia National Park. His work has exhibited both nationally and internationally. He recently received an Artist Initiative Grant from the Minnesota State Arts Board, during which he produced his most recent solo exhibition, No Trace (2020).
Mike’s work focuses on critical habitat and landscapes under duress, using printmaking as an analogue for the mechanisms that reshape the environments around us. The prints often incorporate an act of deletion in their image-making process, representative of Mike’s ongoing interest in unmaking one object in order to create another.
Cathy Ryan , URBAN OASIS (detail), screenprinting, letterpress, collage, digital photography, 2020
This book is about finding a place for reflection and renewal in an urban setting. It chronicles my thoughts and visual discoveries during a year of random visits to the Marjorie McNeely Conservatory in St Paul, a time spent sitting quietly in corners beneath soaring palms or walking slowly along a sheltered path in the Japanese garden.
-Cathy Ryan
