The color monotypes on display for Observations are the results of my experimenting with a working method that is new to me. They are executed by working up an image in oil-based ink on a sheet of glass that is 59 x 35 x 5/16 and transferring the image to full sheets (22 x 30) of printmaking paper by hand rubbing the back of the paper. I rely on a studio assistant to help with much of the cumbersome handling of full sheets of dampened paper, heavy glass and large improvised rollers. The result, as the name monotype suggests, is a one-of-a-kind work. The rest of the pieces in the show, roughly half, are watercolors.
What I find interesting is that despite the two very different media, displayed side-by-side, it is surprisingly hard to tell which is which. The work was done during roughly the same time period and I think the show hangs together as a unified body of work. Not unexpectedly, the subject matter throughout remains consistent, mostly landscape featuring rural scenes from the time I have spent living in Virginia and Colorado. A little surprisingly though, given the fact that the monotype medium doesn’t lend itself readily to time-consuming detail, the range of realism is also fairly consistent. Some watercolor passages do display a capacity to be more focused than the monotypes, which by contrast lean towards an energetic spontaneity at times. One unintentional, but welcome quality of this set of monotypes, is the diffused airiness of their light, a trait they may have acquired as a result, at least in part, to their having been hand rubbed onto slightly textured western papers rather than the thinner smooth-surfaced oriental papers more commonly used with hand rubbed prints.
Monotypes – Cultural Discoveries through Color and Repetition
March 4-29, 2015
Kristine DeNinno, winner of the 2014 National Small Works juried exhibition and a new member of the gallery, is exhibiting a series of prints at WPG through March 29.
In a series of multilayered monotypes, she invites the viewer into an abstract space immersed in varying layers of texture, color and form. The prints are large in scale and leave much room for the observer’s own narrative and interpretation.
Kristine describes her approach: “I am fascinated with the manipulation of a two-dimensional surface to create a dialogue with three-dimensional space. The qualities of form, depth, and materiality of painting, design, and drawing inform each of my prints.”
In addition to being a busy studio artist, Kristine is deeply committed to her work teaching in local community settings. In the photo shown here she can be seen with students at THE ARC Community Center, a year-round museum outreach program that works with D.C. youth and families. (On the corner of the table you can see her little printing press she travels with.)
Kristine, who has also worked for several years in the field of Interior Design, holds a BA in Studio Art and is completing her Master’s degree in Teaching from the Corcoran College of Art and Design/GWU.
More information about the exhibit can be found on our web site.
Gallery hours are Wednesday through Sunday, 12-5.
Pauline was invited to exhibit her Legacy work at the Holocaust Museum, Houston October 30th 2014 through June 14th 2015.
The exhibit Birthrights Left Behind displayed in the Museum’s Central Gallery is dedicated to her late husband and her children who lovingly continue to support her in this endeavor.
As Pauline began her Legacy work, she wanted to avail the full richness and variety of print media and wanted the prints to perform a twofold function. First to bear witness to her subjects and their stories by memorializing them and also to simultaneously express the bitter fact that our human impulse to know and remember our past can never be completely fulfilled. Determined to create a permanent impression with her audience, Pauline uses her prints full of tenderness, caring and humanity balanced with pathos and grief to ask the question “Is it possible to shape the future through memories of the past?” Inspired by memory drawings, journal sketches, artifacts and family tales told by the Holocaust survivors of her late husband’s family, Pauline has created art that leaves sweet, yet haunting memories making her visions a reality. By incorporating images from photographs and other documents into her etched prints, she develops a story. “I believe that creating images of people now gone or maybe never known, renews their lives and gives substance to their memory.”
Two days before the reception Pauline was asked to participate in the Museum’s Docent Training program which required talking about her art in detail to the Museum’s ninety five docents. For the artist the experience was a great refresher tool, going back to why one does the art to begin with, the actual creation and what message the artist would like their audience to take home. The evening of October 30th was a beautiful reception served by a Danish chef followed by Pauline’s presentation in the Museum’s auditorium. The Director, staff members and Museum donors were present and went out of their way to make the artist feel at home. Pauline has been invited back, possibly in May, for a program that is in conjunction with Syracuse University students.
On Dec. 3, eleven WPG members and two guests gathered at the Washington Printmakers Gallery in Georgetown to hear a talk by Dan Welden, the inventor of Solarplate Etching, an innovative and safer alternative to traditional etching and relief printing. Dan was in town to teach a weekend workshop at Pyramid Atlantic–luckily he had time in his schedule to provide us with a private “mini lecture” in Georgetown. Dan gave a fine, generous and informative talk about the new and improved Solarplate product, and showed two portfolios: one a collection of about 20 artists working with Solarplate, and another portfolio of his own work. The works were vibrant and varied. Some prints were extremely photographic and monochrome and others loose, abstract and colorful.
Two members of WPG, Pauline Jakobsberg and Marion Osher, attended the workshop on Friday and Saturday, which allowed them to become familiar with the new plates and methods. On Friday, Dan demonstrated some techniques such as using a grease pencil on glass, which transfers to a solar plate, and results in an image resembling a lithograph. Saturday the class participated in a “loosening up” exercise on the plate which turned into a beautiful print by the end of the day. Pauline and Marion observed that there are many approaches to using the plates and much more to learn.
Dan will be teaching at Provincetown, MA and Omega Institute in Rhinebeck, NY this summer. For more information about solarplate intaglio, please visit: www.solarplate.com
Dan has also offered WPG members a show in Long Island along with preparation for a portfolio for which he could give assistance in plate developing and printing in his nearby studio. We look forward to this exciting opportunity!
From October 26th to November 8th 2014, Melbourne meets New York in the Joint Exhibition of Intaglio Prints under the title 40° 42’ N / 37° 48’ S at the National Arts Club in New York City. Matina Marki Tillman will participate with “Depicta,”one of her solarplate etchings of real or imagined graffiti preserving messages nearly lost in the human landscape. In this particular print the messenger (Greek “angelos”) appears with his comment on a New York City street. The exhibition was sponsored by the New York Society of Etchers, with juror Dr. Sean Corcoran, Curator of Prints and Photographs, Museum of the City of New York. “Depicta” will also be shown at the Washington Printmakers Gallery in the upcoming November member’s exhibition.
Earlier this fall, Matina participated in another New York City show, the Hudson Valley Art Association’s 82nd Annual Juried Exhibition, where her print “Arabesque” was selected for the Perry Alley Memorial Award. The show took place from September 20th to the 26th at the Salmagundi Club Gallery on 5th Avenue in New York. This annual juried exhibition strives to preserve the character, craftsmanship, and respect for the natural form, color and design which distinguish fine arts, and encourages artists’ participation with a wide variety of media.