Category Archives: Exhibition
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.
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.
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.
Artist member Matina Marki Tillman will have prints on display in two national exhibitions during August and September.
“They don’t let Carmen dance,” a solarplate etching that carries on the artist’s series of charcoal drawings on vellum directly etched onto solarplates, is currently on display in the Northwest Area Arts Council’s Real People 2014, a show dedicated to the human figure and portraiture (Aug. 7 through Sept. 28). This recent work is the artist’s homage to the uncompromised female, as portrayed in two of her lifelong inspirations, Bizet’s opera, Carmen, and Kakoyiannis’ film Stella. Also this fall, “Arabesque,” the first of this series of etchings, will be hosted in the Salmagundi Club gallery in New York City for the Hudson Valley Art Association’s 82nd National Juried Exhibition running from Sept. 20-26.
“They don’t let Carmen dance” was also featured in the inaugural Washington Printmakers Gallery member’s exhibition at the new Georgetown gallery space in July. With the upcoming Hudson Valley show, prints from the “Arabesque” edition will be appearing in their sixth national exhibition in two years, including venues at the Customs House Museum in Clarksville, Tennessee; the Museum of Printing History in Houston, Texas; and the New York Society of Etchers national intaglio exhibition in New York’s National Arts Club gallery. This September, “Arabesque” will travel home to be included in the member’s show in WPG’s new gallery.
Emma Quander, our intern from the Maryland Institute College of Art (MICA), wrote the following reaction to our current exhibition Jambo, Tanzania by Marian Osher. This show will continue through Sunday, May 25.
From April 30 – May 25, Washington Printmakers Gallery (WPG) member Marian Osher presents her exhibition Jambo, Tanzania at WPG. Osher and her husband Chuck went on a safari last summer to Tanzania, Africa. She was inspired by the wildlife and the conversation her art can bring to preserving wildlife.
The exhibition is a collection of 50 colorful monotypes of the Tanzanian wildlife. Eighteen of the prints shown in the gallery are mounted on painted canvas. By presenting the prints on the warm color canvas it gives the show a gentle tone. Osher paints and draws her images on plates by using different water soluble media. She then embossed areas of the prints to create more depth. Her work is very painterly, giving off the feel of a watercolor and colored pencil. By giving a soft delicate look, Osher is able to show the beauty of the outdoors.
As I view the show, my being is instantly transported into the print, imaging the sun beaming down my face, the cool air blowing. Osher illustrates a variety of animals in the their natural habitat. I am able to feel the freedom, strength and wisdom of these animals unlike the ones you find in the zoo. I was mainly drawn to the print Herd of Wildebeest (v.e. 1/5). It embodies the importance of family and community. Herd of Wildebeest illustrates the strength these animals have by traveling in numbers. Osher’s monotype is drawn very expressively and softly, giving it a feel of calmness. The show highlights the importance of preserving this beautiful world and its wildlife.