The Hand Magazine Issue #27 by The Hand Magazine

Issue 27, January 2020

$10

Chloe Alexander

Screenprint & ink

20” x 20”

Mohammad Barrangi Conference of the Birds

thehaplessprintmaker.com

26-32

8-9

Army of One

issue

CONTENTS

Interview with Josephine Sacabo

Anton Orlov’s Daguerrian Day Dream 54-55 Glossary *Cover Photo:

Bryan Kosciolek

Walk Now no.1

Screenprint

40” x 33”

bryankosciolek.com

Call for Entry 57

45-47

Dear Readers, Welcome to the 27th installment of The Hand Magazine! This year is we will be celebrating our 7th anniversary! We started this little magazine in April 2013 and put out the first issue that July. We are so excited for the new year. We are hopeful that it will be full of new and exciting things for us – and for you. We will be at SPE in Houston in March, we have an exhibition planned this summer, and we already have some great interviews and features lined up for the next couple of issues. So, things are looking up for 2020! Our first issue of 2020 features an interview with one of contemporary photography’s brightest lights. Josephine Sacabo spends her time between New Orleans, Louisiana and Mexico. She has been making her magical photographs based on literary inspirations for over 30 years. Her work is in a number of private collections as well as the permanent collections of the George Eastman House, New Orleans Museum of Art, the International Center of Photography, the Metropolitan Museum of Art, and la Bibliothéque Nationale, Paris, France. Josephine has worked in a number of processes but currently is working primarily in the photopolymer gravure process. We included several of the works from her most recent series of photopolymer prints, as well as work from previous series in which she shows her range and deftness at a number of photographic techniques. Her images are poetic – as befits their literary inspirations – lyrical, achingly beautiful to look at, and masterfully printed. She has been interviewed many times. We tried to ask questions that her new fans will want to know, but we also hope that longtime fans (like us!) will learn some new things and get to know Josephine a bit better as an artist and as a person. We are excited to have Josephine featured in this issue and we know you will love her work. We have two other smaller features as well. In the first, London-based Iranian printmaker Mohammad Barrangi shares some thoughts with us on his recent installation at the British Museum. The live installation was part of the museum’s exhibition highlighting Islamic Art’s influence on Western Art. Mohammad has been printed in The Hand before and we are thrilled to be able to share his newest work collaborating with the venerable British Museum. Our third feature is from San Diego, California-based artist, Anton Orlov. Anton has been practicing the dark arts of wet plate collodion and Daguerreotypy for many years. He is the owner of the Photo Palace, a bus that travels the US teaching and providing space for artistic educational opportunities wherever he goes. In this issue, Anton shares with us a brand-new body of work he is doing that delves into the color range and qualities of opalescence that the daguerreotype offers. The daguerreotype is a labor-intensive and finicky process. Anton’s work shows that he is a virtuoso of the process and we are excited to share his groundbreaking work with you here. There are about 60 other fantastic artists working in photography and printmaking included in this issue. We appreciate the opportunity to provide this space and encourage a community of creators to learn from one another, share their own interests, tell their stories, and inspire us all. Thanks for being here. We hope you enjoy this issue. Let’s join hands!

Audrey Mantooth (printed by BIG INK at Red Delicious Press, Aurora, Colorado), The Culling, Woodblock print, 36” x 60”, audreymantooth.com bigink.com

Adam Finkelston

Owner, Publisher, Co-editor adamfinkelstonphotography.com

James Meara

Co-editor, Lead Designer jamesemeara.com

The Hand: A Magazine for Reproduction- Based Art, (ISSN 2476-1427) is published quarterly in January, April, July, and October by The Hand Magazine LLC, 3950 W. 87th St., Prairie Village, KS, 66207. Application to mail at periodicals pricing is pending at Prairie Village, KS. POSTMASTER: Send address changes to: The Hand: A Magazine for Reproduction- Based Art, 3950 W. 87th Street, Prairie Village, KS. Copyright 2020, The Hand Magazine LLC. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without written permission of the copyright owner. The copyright for each image / article is held by the credited author. All other materials are the exclusive copyright of The Hand Magazine LLC

List of Artists Sandrine Aim – p. 14 Chloe Alexander – p. Contents & p. 36 Guillermo Alvarez – p. 10 Sally Annett – p. 43 Jen Bacon – p. 25 Jared Barbick – p. 22 Mohammad Barrangi – p. 8 & 9 Madeline Bartley – p. 6 Birdtrash – p. 35 Per Bjesse – p. 20 MiKayla Bond – p. 17 Radosław Brzozowski – p. 40 Samantha Buchanan – p. 33 Nancy Bundy – p. 19 Jesse Campbell – p. 11 Lyell Castonguay – p. 22 Wendy Constantine – p. 20

Sophia Cornet – p. 41 Laura D’Alessandro – p. 11 Brendan Devlin – p. 54 & 55 Susan de Witt – p. 32 Brandie Dziegiel – p. 23 Juana Estrada Hernandez – p. 37 Natalie Field – p. 42 Cristina Fontsare – p. 52 Mary Gordon – This page & p. 15 Dirk Hagner – p. 34 Brian Hitselberger – pp. 4 & 5 Raluca Iancu – p. 52 Thyme James – p. 12 Jamie Klimowski – p. 34 Clive Knights – p. 13 Bryan Kosciolek – Cover & p. 24 Andy Kraushaar – Inside Back Cover

Žilvinas Kropas – p. 10 Annie Lee-Zimerle – p. 49 Aaron Lelito – p. 43 Frank Lopez – p. 32 Audrey Mantooth – p. 1 Etta J. Martin – p. 51 Julia C. Martin – p. 43 Julie Moore – p. 53 Hannah Neal – p. 3 & Back Cover Angel O’Brien – p. 41 Nancy Kavanagh O’Neill – p. 53 Anton Orlov – pp. 45 through 47 Zoe Papini – p. 16 Elvia Perrin – p. 7 Hailey Quick – p. 24 Jenny Robinson – p. 18 Ilaria Rosselli Del Turco – p. 56 Rebekah Ryan – p. 48

This page: Mary Gordon, Afternoon Dune, Monotype, 14” x 11”, mary-gordon.com

Josephine Sacabo – pp. 26 through 31 Brooke Sauer – p. 38 Maddi Schachtel – p. 21 Lydia Selk – p. 16 Sara Silks – p. 50 Liz Stafford – p. 42 Cindy Steiler – p. 39 Robbie Steinbach – p. 52 DorRae Stevens – p. 51 Lynda Harwood Swenson – p. 14 Darick Taylor & Margete Griffin – p. 48 Sal Taylor Kydd – p. 50 Meadow Treadwell – p. 51 Holly Veenis – p. 44 Joyce Ellen Weinstein – p. 49 Jane Wiley – p. 44 Gretchen Woodman – p. 43

Hannah Neal Annalise Natasha Gratovich No. 3 Bromoil 10” x 8” hannahnealphoto.com

Brian Hitselberger Curse

Monotype, print collage on rag paper 30” x 22.5” brianhitselberger.com

Call It Sunshine, 30” x 22.5”

Unriddle, 24” x 18”

Second Hand, 30” x 22.5”

Oracle, 24” x 18” Brian Hitselberger

Monotype, print collage on rag paper brianhitselberger.com

Washed Out, But Still Holding, Watercolor, screenprint, ink, marker, graphite, and conte, 30” x 42”

Integration, Woodcut on muslin, 4” x 4”

Aura and Structure, Watercolor, screenprint, collage, ink, and pastel, 42” x 30” Madeline Bartley madelinebartley.com

Bridge, Intaglio, 21” x 27”

Blanks 7, Intaglio, 27” x 21”

Apron 3, Solarplate etching, 25” x 35”

Brocade, Intaglio, 27” x 21”

Slate 3, Solarplate etching, 25” x 53” Elvia Perrin elviaperrin.com

i g n a r r ad Ba

m m a h Mo

e c n e r e Conf

s d r i B of �e

Mohammad Barrangi Fashtami is an Iranian-born artist now based in London. His work draws on Persian imagery and narratives. He creates relief prints on paper that are pasted in place to create mural-sized works that combine drawing, printmaking, collage, and installation. Mr. Barrangi was invited to demonstrate his technique at the British Museum in London, Nov. 14 through 17, as a part of the public programme of events which sat alongside the museum’s exhibition, “Inspired By The East: How The Islamic World Influenced Western Art”, which is now open through January 26th, 2020. Mr. Barrangi’s installation is titled, “The Conference of the Birds”, or, “Mantiq-o Teyr”, in Persian. The work draws inspiration and imagery from the great epic poem of the same name, by the revered Sufi poet, Farid ud-Din Attar of Nishapur. The poem tells the story of a gathering of birds seeking to find their leader. To find their true leader, they seek the advice of the Simorgh, a mythical bird common to Persian literature. The name, “Simorgh”, literally means ’30 birds’. The word is a portmanteau of the Persian words “si” for “30” and “morgh” for “bird”. In the story, the birds seeking to find their leader become unified as a group. The story is a popular metaphor in the Sufi tradition. The story parallels the birds’ dangerous journey as a metaphor for self-discovery and finding the inner self through detachment, death, love, knowledge, poverty, and wonderment. The story has been illustrated many times by Persian writers and artists, as well as contemporary artists throughout the Middle East. Mr. Barrangi’s arrangement puts the story in a new light, as every telling of the story draws from the history of the original story and the contemporary time and place in which it is told. ‘If Simorgh unveils its face to you, you will find That all the bids, be they 30 or 40 or more, Are but the shadows cast by that unveiling. What shadow is ever separated from its maker? Do you see? The shadow and its maker are one and the same, So get over surfaces and delve into mysteries.’1 The Hand Magazine: What does the story of, "The Conference of the Birds", mean to you personally? Mohammad Barrangi: Actually, I want to portray human freedom and searching for God to achieve peace. So, all my characters are flying up, searching for God and perfection regardless of knowing that God is in their own reflection. THM: How did you feel about the opportunity to make a work of art at the British Museum? MB: Having a live installation gave me a great sense of closeness to the audience while sharing my feelings and thoughts with them. And this makes me proud. I believe that I should look forward with positive energy. Attar of Nishapur (1145 – 1221), The Conference of the Birds, edited and translated by Sholeh Wolpé, W.W. Norton & Co. (2017)

*All images © The Trustees of the British Museum. Thanks to the British Museum and ADVOCARTSY Los Angeles See more of Mohammad’s work at: mobarrangi.com

advocartsy.com

AMORFO

Silver gelatin pinhole images by

Žilvinas Kropas & Guillermo Alvarez 10

www.dodho.com/dimensions-amorfo-by-zilvinas-kropas-guillermo-alvarez/

Jesse Campbell Metamorphosis

Cyanotype toned in black tea 10” x 6.5” thepreraphaelitepleasaunce.com

Laura D’Alessandro Quixotic Heart Photo Construction 14” x 11” lauradalessandro.com

Untitled, Screen print, 15.75” x 15.75”

After Klimt, Screen print, 7.8” x 7.8”

Nates, Screen print, 7.8” x 7.8”

Thyme James thymejames.com

Understudy for The Daughters of Mnemosyne 1

Understudy for The Daughters of Mnemosyne 2

Understudy for The Daughters of Mnemosyne 3

Understudy for The Daughters of Mnemosyne 4

Clive Knights

Hand-burnished monotype prints 6” x 6” ea. cliveknights.com

Mending, Collage of two cyanotypes and monotype printing on archival watercolor paper, 12.6” x 10.2

Exploding Ideas, Collage of two cyanotypes and ink on archival watercolor paper, 12.6” x 10.2

Sandrine Aim sandrineaim.com

Lynda Harwood Swenson Sticks and Stones 1 and 2 (Lapidation)

Cyanotype photogram with image transfer on vellum 22” x 32.5” lyndaharwoodswenson.com

Sun Trail, Monotype with chine collé, 12.5” x 13.5”

Big Red, Monotype, 20” x 15”

Tumble Dry, Monotype with chine collé, 12” x 9” Mary Gordon

mary-gordon.com

From The Night, Linocut on paper, 11” x 9”

E-Money, Linocut on paper, 11” x 9”

Zoe Papini

zoepapini.com

Untitled, Mixed media analog collage, 13.5” x 7.5”

Magic, Mixed media analog collage, 9” x 7” Lydia Selk

instagram.com/lydiafairymakesart

MiKayla Bond Cancer In A Young Woman Woodblock print 24” x 18” instagram.com/mikayla_Jo_bond

Installation view

Structure #1 Hidden Lines Fragile Frameworks,

Structure #2 Hidden Lines Fragile Frameworks

Drypoint on Japanese paper, 60” x 40”

Jenny Robinson jennyrobinson.com

Tracks: Red Dust #1

Mine Shaft: Red Dust #3

Roof: Red Dust #5

Nancy Stalnaker Bundy

Gicleé prints on vellum with gold leaf backing 5.5” x 5.5” ea. nancybundy.com

House on the Hill, Oban

Italian Chapel Wendy Constantine Photogravure 7” x 7” wendyconstantine.com

Icelandic Farm

Chimney Remnants Per Bjesse

Medium format analog photo, silver gelatin prints 10” x 8” instagram.com/perbjesse

Burnin’ Down The House!, Lithograph with thirteen screen printed layers 30” x 22”

It Wasn’t Supposed To go Down Like This

The House Is On Fire, So Let Us Warm Ourselves

Lithograph with eight screen printed layers 30” x 22”

Lithograph with six screen printed layers 30” x 22”

Maddi Schachtel

instagram.com/maddigabriel

When The Forest Stops Singing, Listen To The Breeze

Dangers To The North Atlantic Right Whale

Woodblock print on Shin Torinoko white paper 27” x 17.5”

Woodblock print on Rives BFK grey paper 22” x 20”

Jared M. Barbick jmbart.org

Lyell Castonguay Printed by BIG INK at 3S Artspace, Portsmouth, NH Migration 22

Woodblock print 36” x 24” lyellcastonguay.com & bigink.org

Brandie Dziegiel Swamp Totem

Woodblock print 70” x 40” brandiedziegielart.com

Bryan Kosciolek Fulton Street Screen print 40” x 33” bryankosciolek.com

Nest, 20” x 16”

Keeps Coming Backc To Me, 20” x 16”

Hailey Quick

Lithographs haileyq.myportfolio.com

100719 no 1

092219 no 1

Jen Bacon

Cotton base unique silver gelatin prints 11” x 7” jenbacon.com

Josephine

Sacabo

Images infused with personal meaning and place, Josephine Sacabo creates images inspired by poetry and turn of the century photography techniques. Using the words of Rilke, Baudelaire, Vincente Huiobro and others as an illuminating spark, she combines these wtih breathtaking tinytypes, photogravures, and other darkroom techniques. The artist takes time to discuss her work. Las Almas

When did you first decide you wanted to be an artist? Is there a particular moment you remember vividly?

It was never a decision as such. When I was young I loved poetry in particular and then I was an actress for several years and finally ended up as a photographer – quite by accident really. How do you think your experiences in theater have influenced or helped you as a photographer?

I don’t really see much of theatre in my photography. One of the things I loved immediately about photography was that it involved my vision but not my person as such. That I found very liberating. But your work is so dramatic and has a such a strong narrative quality. I’m surprised to hear you say that! It makes sense that you not being the subject could be freeing. But things like staging, storytelling, posing, your sense of gesture and expression, light… when I learned you had a background in theater, I thought it made a lot of sense. Well, that’s interesting. You prefer to be the director now. That makes sense too.

Yours is one of those reactions that never occurred to me but once I heard it, it seemed so true. I just had never seen it that way. You’ve mentioned a number of different writers as inspiration. Who are some of your favorites? How do they inspire you? How do you jump that gap from the written word to visual?

Writers are a huge influence on my work. It usually starts with my reading something that feels like it goes to the core of my being and I think “what would that sentence or phrase or character look like.”? Then I set about trying to express the same thing without the words. The first time I worked from a text was from Baudelaire, the French 19th century poet. I was reading a book of his prose poems about wandering around in the streets of Paris (Spleen de Paris) and I realized that I was doing somewhat the same thing wandering around the French Quarter in New Orleans gathering images and impressions from the vibrant life I found there.

Juan Rulfo, the Mexican novelist, was also very important to me. His novel, “Pedro Páramo”, inspired a large body of work that I did – images of Mexico as seen through the eyes of Susana San Juan, one of the main characters in the book. In the book there’s a sentence that says “but what was the world of Susana San Juan? That was something Pedro Páramo would never come to know.” I felt immediately like I did know and could show it in images. It remains one of my favorite books. The most exquisite poetry created from the simplest language. Other writers that have been invaluable to me are Sor Juana Ines De La Cruz, Clarice Lispector, Rilke, Proust and on and on. You are influenced heavily by your surroundings in New Orleans and Mexico; and you are influenced a great deal by poetry and literature. The concept of “magical realism” is strong in Mexican literature and would be an apt term to describe your work, in my opinion. Do you feel connected to that particular style or are you influenced by the concept of magical realism?

That’s definitely one possible reading of my work, however I never thought of it as such. I love, “100 Years of Solitude”, by Garcia Marquez, which more or less defines that strain in Latin American literature; but it never inspired any of my work really. My favorite Latin American writers don’t really fit in that category exactly – they are evocative in a different way that I can’t easily categorize because each one is so different and yet so powerful – Juan Rulfo, Jose Donoso, Sor Juana Ines De La Cruz, Clarice Lispector.

Japanese Screen

The Swan

How would you describe the work you make?

Subjective. My responses to what I’m given in the world and the people around me. It’s always amazing for me to hear what other people see in what I do – different people’s reactions to my work. Sometimes I can hardly recognize what’s being described to me as my photographs. But the essential communication is there and that is really important to me – a connection has been made. I love that. You bring up two ideas that I’d like to ask more about: 1) the idea that artwork is subjective, and 2) that your images can provoke conversations. You just said it amazes you to hear other people’s interpretations of your work. Did you always feel that way? I sometimes feel that younger artists – myself included, and sometimes my students – feel that they have somehow failed if people don’t “get” their work. Were you always so open to other readings of your work?

To answer question two; for me, ‘getting it’, is connecting to it. I don’t think one can predetermine a response without knowing the history or the inner life of the person responding. I’ve had people tell me things like “ I didn’t know you’d met my Mother” after seeing a show of mine when of course I hadn’t! Naturally, when someone responds as though they’d read your mind or tuned in to conversations you’d had with yourself (or in my case with my cats sometimes) then it’s magical. And to answer question one, I think of subjective just as being true to oneself as much as possible; in one’s responses or experiences as well as in one’s expression of them. I’m not saying, “this is what’s there”, I’m saying, “this is what I saw”. That’s what I mean by subjective.

Sudeks Trees

Calas and Grapes

Dreamer

Your various bodies of work seem to be conversations between you and your subject. Is making art a way of learning or exploring for you? What kinds of conversations do you have – with yourself or others – while you are making your work? What kinds of questions are you asking?

I think those kinds of conversations come later. I usually chat with my subjects about the general parameters of what I’m after - context, characters, etc. But then the mood gets light, which I love. Then that conversation becomes an unspoken one and we work with what’s present there in the room - the changing light, the different poses, and a lot of laughter.

How do you make your images? Do you work primarily in the darkroom and then move to digital?

I started out shooting in film and at a certain point making collages of negatives in the darkroom and silver gelatin prints. Then I started shooting at times with a digital camera and scanning the images and collaging them on my computer. Around that time the brilliant Mark Nelson showed me how to make digital positives which I could use to make my photogravures. I also worked for a while making tintypes – wet collodion. But photogravure – which was taught to me by Katherine Brimberry at Flatbed Press – is what works best for my images. I still sometimes shoot medium format film as well as digital, but it always ends up a photogravure.

What drew you to the photogravure process? Do you have a different interaction or connection to the work because of the process of making a plate and printing it, as opposed to working in a different way?

The first time I made a photogravure with Katherine I realized that it looked exactly how I had been trying to make my silver gelatin prints look in the darkroom for 30 years! Needless to say, I was thrilled. The whole process of making a plate, mixing the ink colors, choosing the paper- all of that is thrilling to me. Its not quick or easy really, but incredibly satisfying. And I get to work in the light in my beautiful studio space. Oh, I agree completely, I think the photogravure process creates a cohesiveness with the collage elements. I’ve created some photopolymer prints of collage images both digital and scanned, and found the same results. Sometimes, seeing the edges of the combined pieces is essential, adding to how they communicate; and then other times it’s good to create an image more unified.

Óyeme Con Los Ojos

What would you suggest for someone who’s never explored the technique?

Try it!!!!! It is very flexible and there are all kinds of things you can do with it, including printing on all sorts of different surfaces and gorgeous hand-made papers, etc. I’m interested in how you made the transition from your earlier work, which was more photo-journalistic approach to where you’re working much more introspective and subjective. What inspired you to work differently and how did this change your approach?

I began my work in the US as a street photographer, following along the same lines of the work I had been doing in France – very much influenced by Cartier-Bresson. Working on the streets of the French Quarter in New Orleans, where I live; I was amazed at the richness of the life on those streets. It was in fact a sort of sanctuary for all kinds of people and activities. The picturesque elements seemed infinite to me at first – musicians, fortune tellers, tap dancers, strippers, eccentrics of every sort. And I was able to capture a lot of this life with a fresh vision.

Claustro

The Ascending Facade

Juana Invents a Window

And then with time, and I mean years, as I looked more closely at my subject matter, I began to see the darker side emerge more and more. It was there all along, I’m sure, but I was so taken by the novelty I didn’t see it. Once I became aware of it, I became reluctant to contribute to it by making images of it. I began to feel as though all I was doing as a photographer was acknowledging the despair I saw around me and then shouting it from the rooftops of magazines and galleries. I felt very strongly that it was not for me to “hold a mirror up to reality” but rather to try and find another dimension. I felt I couldn’t find beauty anywhere and became really despondent. And it was at this point that my work did a 180-degree turn. I decided to try and make something beautiful and put it out there – for myself and others, to the best of my ability. If we must suffer, I thought, then it must be in us also to console.

That is a beautiful and powerful sentiment. And quite refreshing actually! I have copies of your books, and they are calming, comforting, and inspiring to look through. Can you describe your studio space? What kind of atmosphere do you feel most creative in? I have the most beautiful studio I can imagine having. I had a smaller studio in the French Quarter which I probably would have stayed in forever since it was also very beautiful, but my landlord decided he wanted it for himself so out I went. I knew I could never find anything like it again that I could afford in the French Quarter, so I went driving around in the adjacent neighborhood. As I was driving past a beautiful old brick warehouse, I saw a small handwritten for sale sign in the window with a phone number. I called it and the owner opened the door and let me in to a fabulous, huge somewhat derelict space with really tall tin ceilings and beautiful light and I fell in love completely. The man gave me a great deal and I bought it and fixed it – the décor being just for daydreaming – a space where I could go and be moved and inspired. The only practical consideration was a well functioning bathroom. The rest of it, a fantasy land that reminds me a little of Havana – which I love. I feel most creative in spaces that have a strong sense of history, spaces on which time has left its imprint.

You work quite a bit with your husband, who is a poet, correct? Can you talk a bit about what it means to you to have a creative partner like that?

We worked together on a book called, “Nocturnes”, and it was a beautiful experience. Both of us experiencing the night in our different mediums. Now we work on our separate tasks but there is a profound respect for each other’s efforts, and we are both so grateful to be able to do what we most love in life. What kinds of things do you like to do when you are not making art?

Walk in nature, read, cook for friends, be with my grandchildren who never cease to amaze me, and spend a lot of my time with my animals. And I love to be in Mexico whenever I can. I love food and the history of food. Do you have any specialties or family favorites? Where did the recipes come from?

I tend to make the same things over and over and I usually improvise on the recipes. James and I both teach. I have two more questions along those lines. 1) What advice would you give to art students? And 2) What advice would you give to art teachers?

This is the advice I have given students before that I really believe in. Basically, BEWARE OF FASHION! Very difficult to do if you’re trying to become part of the art scene, but which so often replaces authenticity in a work of art.

There is great pressure in the art world for artists to “reflect their times” - for their work to be relevant to the fashions of the great Now. But that Now and its fashions are over in a flash and then there’s a new Now and another and another until Now ends up being a voracious open-mouthed monster that has to be fed non-stop. And what we lose in the process is the witness of the individual imagination - the most reliable one of all. In fact, each one of us is the Now no matter what. Our impressions, our sincere responses to our world, our skills and courage, our loves, are the measure of who we are, and we are what constitutes our times. Watch, listen, care, then take what you need and go! To your studios, or the woods, or the city, or wherever your heart leads you. And there create your Now. If we go about our work the other way around, we risk ending up with a very fashionable rack of gloves without hands, to borrow a beautiful metaphor from Kandinsky. Powerful words. Thank you for that! Anything else you want to talk about or that you’d like our readers to think about?

I think we could use a lot more compassion. I think it would be great if we as artists could spend more time contributing to making that happen, however one chooses to go about it. I think it’s urgent. So true! That is a wonderful thought. I agree completely. I hope our readers take that to heart. Thank you so much, Josephine. It has been such an honor to speak with you. Best wishes, happy adventures, and please keep making your stunningly beautiful work for us to enjoy. Take care!

For mor on Josephine’s work, visit her website: josephinesacabo.com

Nocturnas Aves

Susan de Witt Disembodied With Leaves

Polymer photogravure with chine collé 15” x 11” susandewitt.net

Frank Lopez Skyliner Ride, State Fair of Texas 32

Unique Polaroid photocollage 10.5” x 16.5” franklopez.com

23.43670, Monotype on mixed media, 30” x 22” x 3”

Ray Bend 1.0, Monotype on mixed media, 22” x 22” x 3”

Ray Bend 1.2 (side angle view), Monotype on mixed media, 22” x 22” x 3”

Samantha Buchanan samantha-buchanan.com

Rare Specimens

CMYK screen print and lithography 22” x 30”

Multi-Portal Kit CMYK screen print 30” x 21.5”

Jamie Klimowski

jamieklimowskiart.format.com

Tempora Mutantor II

Tempora Mutantor I Dirk Hagner

Letterpress and relief etching 15” x 11” dirkhagnerstudio.com

Edifice, 14” x 11”

Shaman, 12” x 9”

Giraffe Ladder Face, 14” x 11”

Broken Obelisk, 14” x 11” Birdtrash

Screen prints birdtrash.com

Bestowed, Screen print, 13” x 14”

The Binds That Untie Us, Woodcut, 24” x 48” 36

Chloe Alexander

thehaplessprintmaker.com

No Hay Un Lugar Peor Que Aqui, Mezzotint, 9” x 12”

Que Arias Tu Series, Lithograph, 12” x 12”

Lo Que No Los Enseñan, Intaglio, cut paper, hand coloring, 27.5” x 19”

Juana Estrada Hernandez juanaseemyprints.weebly.com

Daydream, 41” x 29”

Smitten, 41” x 29”

Easy Like Sunday Morning, 41” x 29”

Daydream, 29” x 41”

Brooke Sauer Cyanotype brookesauer.com

All Too Brief (with detail), Toned cyanotype on fabric, 10’ x 16’ x 1’

Rag Pile (with detail), Toned cyanotype on fabric, 7’ x 10’ x 3’

Cindy Steiler cindysteiler.com

Bystrzyca 2, 13” x 19”

Tykocin, 13” x 19”

Kościół Mariacki, 19” x 13”

Radosław Brzozowski 40

Resinotypes radoslawbrzozowski.com

Sophia Cornet Her Self

Mixed media collage 11” x 14” instagram.com/s.a.cornet

Angel O’Brien Madonna Della Strada

Gum bichromate over platinum with gold gesso 8” x 8.75” 5x7angel.com

Tearing Ourselves Apart

Uncivilization Natalie Field

Archival pigment prints 33” x 33” ea. nataliefield.photography

Untitled No. 3 from “To The End and Back”

Untitled No. 4 from “To The End and Back” Liz Stafford

Gum bichromate over platinum / palladium prints 12” x 12” ea. liz-stafford.com

Sally Annett Yemeni Tree Red Horizon Linocut on Fabriano paper 11.7” x 8.3” sallyannett.com

Aaron Lelito The Garden of Omitted Words Archival pigment print, pen and ink 18” x 12” instagram.com/runic_ruminations

Gretchen Woodman Printed by BIG INK at 3S Artspace, Portsmouth, NH Eden’s Last Apple Woodblock print 60” x 40” gretchenwoodman.com &

bigink.org

Julia C. Martin Fade Photolithograph 11” x 9” juliacmartin.com

Jane A. Wiley She Danced Until It No Longer Mattered

Gum bichromate over cyanotype from sandwiched negatives 7.1” x 10” janewiley.com

Holly Veenis Maine Collection

Handmade book and cyanotypes 2 7/16” x 5 1/8” x 3 15/16” veenisphotography.com

Daguerrean Day Dream – Visual Symphony in Four Parts by Anton Orlov Discovery. Facing new experiences and ideas every day, it is our choice whether to be open to them. While interpreting freshly presented information, we draw our own connections, establish patterns, attribute meaning, and assign weight. These combine in our minds and give each of us custom prisms, through which we view things material and ethereal. I see the sacred sanctuary we reserve for dreams and fantasy as a place of utmost importance; a place where deeply personal free association, loosely tethered to the sum of all those discoveries and prisms, is seen in its raw distilled form. I’ve always paid close attention to this playground of imagination, and employed photography to record its influence on my perception of reality and self. I scoured the world of photography for nearly 30 years, hoping to find an adequate way to translate my visions into image format. I finally found this potential in the visual syntax offered by the daguerreotype and its many unexplored facets. I was immediately drawn in by the opalescent effect, with its lush and varied color pallet. Possibilities afforded by this iridescent quality, combined with a nearly holographic appearance of image particles, prompted me to zealously pursue daguerreotypy. Each daguerreotype is a one-of-a-kind object. It is as unique and precious as a single dream or a lifetime of one artist. To fully appreciate their depth and beauty, one must hold them in hand, spend time in their presence, feel their weight, watch the colors change as the plate is moved. A still image of a daguerreotype, represented in print or on-screen, is akin to a note scribbled in a half-asleep state while recalling a lucid dream experience. When handed to someone else, those scribbles are a far cry from the awe of infinite freedom allotted by such experience. Late in 2018, I began experimenting with dormant aspects of the daguerreotype. New fertile technical ground, seeded with potential, awaited. By June, my search began to yield colorful fruit, while inspiration kept feverishly tossing a wide range of fresh ideas my way. Separate bodies of work seemed to grow alongside each other, but all were tied strongly with an underlining silver thread. Each plate became a note in a daguerrean symphony, grouping themselves into visual melodies. Here before you, is a selection of but a few of those notes.. - Anton Orlov For more images and a more detailed explanation, please visit my blog: http://thephotopalace.blogspot.com

Breath In, 3rd Movement

Output, 3rd Movement

Ship #5, 2nd Movement

Head In The Clouds, 3rd Movement

Branch Energy, 3rd Movement

Third Eye Door, 3rd Movement

Any Colour In Theory, 1st Movement

Head In The Clouds, 3rd Movement

Rebekah Ryan Role Reversals

Lithograph 15” x 12” rebekahryan-art.com

Stop Ticking, 16” x 12”

Urgent Call, 12” x 16” Darick Taylor & Margete Griffin

Photographic transfer prints on Japanese rice paper monolithprints.com

Joyce Ellen Weinstein Watching

Etching, aquatint, and drypoint 18” x 24” joyceellenweinstein.com

Annie Lee-Zimerle Untitled, from the “Perfect Wife” series Monoprint and screen print on paper 13” x 19” annieleezimerle.com

Poetry Is The Breath, 5” x 3.5”

Miscellaneous Memories, 7” x 5” Sal Taylor Kydd

Mixed media with resin saltaylorkydd.com

Ecology Study, Rain Forest 1

Ecology Study, Rain Forest 2

Toned chemigram on silver gelatin paper 20” x 16”

Chemigram and mordançage on silver gelatin paper 20” x 16”

Sara Silks

sarasilks.com

Meadow Treadwell Crockett House

DorRae Stevens Agave

Polymer photogravure 8” x 5.5” dorraestevens.com

Carbon print 10” x 8” instagram/m.e.treadwell

Etta J. Martin Little White Dress

Archival pigment print 13” x 19” ettajphotography.wixsite.com/website

Robbie Steinbach Venice, The Mirage

Solarplate etchings, artist book 8” x 8” robbiesteinbach.com

Cristina Fontsare Gabriela at Ten

Polaroid Fp 100c black and white 8.5” x 10.8” cristinafontsare.com

Raluca Iancu Magnolia Blooms Lithography 15” x 18” ralu.ca

Nancy Kavanagh O’Neill Dignity

Encaustic, mixed media, hand-colored photo on mulberry paper with wax 6” x 6” x 7/8” nkophoto.com

Julie Moore Snow Berries

Double-plate photopolymer gravure, printed a la poupée 5” x 5” julie-moore.com

Glossary of Processes Acrylic gel transfer - A transfer process whereby a laser copied image is placed in contact with a substrate that has been coated with acrylic gel medium. After drying, the backing of the paper copy is wetted and rubbed off to reveal the image transfered to the substrate. Anthotype - A photographic process that uses natural dyes, such as those found in berries, flowers, and other plant parts. Also sometimes called a “chlorophyl print” as it uses the natural chlorophyllic dyes, which fade in UV light, relative to their exposure, when painted onto a sheet of paper and exposed to UV light with a transparent positive. Exposures can take several weeks. Aquatint - An intaglio printing process using a fine dust-like particle as a resist so that when the plate is etched, a fine texture is created on the plate. Archival pigment print- A digital print using pigmented ink laid down on a surface using an inkjet printer with nozzles. The most common type of digital print for exhibition. Also called, “inkjet print”, “giclée, and ”pigment print”. Bromoil - A photographic print that starts with a silver gelatin print. The print is bleached to create a matrix. The matrix is then inked using lithographic ink to build the image back up. “C-print” or Chromogenic print - Also called a dye-coupler print, Type C or “C-print” (if made using a negative), and Type R or “R- print” if made using a transparency. Chromogenic prints use light sensitive silver- based paper with three layers of dyes. The paper is exposed either with a regular enlarger or with a digital machine using lasers or LED lights. Both digital and regular chromogenic prints use light-sensitive paper processed in RA-4 chemistry. The difference is in how the image is exposed to the paper. Chemigraph - Similar to a chemigram, a chemigraph is a silver gelatin print using a negative in combination with a unique mix of photographic chemicals that are painted on the paper to create a variety of effects. Chine-collé - A printmaking process using tissue or thin paper between the ink layer and the main substrate. Usually used in etching but can be used with other printmaking processes. Collagraph - A printmaking process that essentially uses a collage as a plate. The collage is usually made of various textured materials upon a thick card or board, which, when inked up and run through a press, impart their unique textures ontot he paper. Copperplate photogravure - See “Photogravure” Cyanotype- Also called a “blue print”. A contact printed photographic process using ferric ammonium citrate and potassium ferricyanide to create an iron-based emulsion. The emulsion is applied by hand to paper and exposed using a transparent negative to UV light. The UV light reacts with the iron to create a blue print. The print can be toned using tannic acid or a number of other substances. Daguerreotype - The first commercially successful photographic process. A daguerreotype, named after its inventor, Louis Jacques Mande Daguerre, is made on a highly polished silvered plate sensitized with iodine and developed with mercury vapor. Drypoint - An intaglio printmaking process that is simply direct etching by hand onto a plate using a sharp utensil. The etched lines are inked and transferedto paper using a press. Dye contact print - A unique process by which a UV sensitive dye is painted onto paper, then contact printed using a large format negative. Engraving- A printmaking term used to describe an intaglio process by which the artist makes marks directly on the plate by hand, as with a needle, burin, rocker, or other tool. Etching- An intaglio printmaking process that uses a strong acid to cut into unprotected areas of a metal plate. The plate is coated with ink and wiped off to leave ink in the cut areas of the plate. The plate is then passed through a printing press and the image transferred to paper. Gicleé print - A French term meaning, “to spray”, a “gicleé” print denotes any print made from a digital printer with a nozzle, such as an inkjet print, also called, “archival pigment print”. Ground - A wax-like substance (actually asphaltum) used as a resist to coat plates for etching. The ground can be etched into, exposing the plate for etching in acid. It comes is hard, soft, liquid and balled varieties.

Gum Bichromate- Or, “gum printing”. A contact printed photographic process using gum arabic mixed with pigment (usually watercolor pigments) and light- sensitive dichromates (usually ammonium or potassium). The emulsion is coated on the paper and exposed to negatives under UV light. Multiple colors can be built up using different pigments. Negatives are color balanced to accommodate these different colors. Heat sublimation transfer - A image transfer process that uses a hot press to transfer an image from a special sublimation paper to another surface. So called because the ink, when heated, goes through a sublimation process, that is, it goes from a solid to gas state (skipping the liquid state) as it transfers to the surface and embeds itself into the fibers of the fabric or paper. Image transfer- Any of a number of techniques for transferring an image from one substrate to another. Usually from an archival pigment print made on a transparency, then transferred using alcohol gel (hand sanitizer), Mod Podge, or some other binder or solvent. There are a number of techniques for different surfaces and original print types. Instant film - Any of a range of films that rely on packets of chemicals incoporated into the film stock. The most famous of these is Polaroid film, but also, Fuji, Instax, Impossible, and others. Intaglio- A printmaking term used to describe processes that involve ink settling into a cut or etched area of a plate; in essence, the opposite of relief. See “engraving”, “etching”, “mezzotint”. Letterpress - A printmaking technique using raised metal or wooden plates to create relief prints. Linocut - A relief printing technique that uses a linoleum block instead of wood. Lithograph- A printmaking process that uses a block of stone as a plate. An image is applied to the stone using wax or oil- based crayons. After the image is applied, the stone is treated with an acid and gum arabic mixture. The stone is then coated in ink, however, the acid/ gum arabic mixture allows the parts of the stone not covered in wax to repel the oil- based ink, thus leaving the ink only on the original drawing. There are many versions of lithography that do not use a stone, but use the same basic, “oil and water don’t mix” concept. Lith print - Not related to a lithograph, a lith print uses a slow developer on silver gelatin prints to yield a variety of effects, colors, and tones depending on the paper, developer, developing time, and other factors. Mezzotint - A kind of intaglio print that uses an etched plate and a rocking tool to work the plate from dark to light, rather than the other way around, which is more common. It is very labor intensive and requires many hours of building up layers of tone. Mokulito - A process similar to lithography, but done on a wood matrix rather than a stone. Monoprint- A printmaking term for a one- off print. Similar to a monotype; the distinction being that a monoprint is taken from a plate that includes some features, i.e. etched or engraved areas, while a monotype is taken from a plate that is completely featureless. Monotype- A printmaking term for a one- off print. There are many different ways to create a monotype, but essentially an image is applied to a clean plate- usually copper or zinc, but possibly Plexiglass or even thin Mylar or acetate - and then transferred to another surface via a press or hand- pressed technique. The term could also be used to refer to any one- of- a kind image made with a printmaking technique. Photogram- A photographic print made by placing an object or objects directly on a light sensitive substrate, exposing directly to light, developing and fixing. The result is a kind of “reversed shadow” of the object. The technique can be used with many different paper processes and in combination with negatives.

Brendan Devlin, Moon, Palladium print, 6” x 9”, beedevphoto.com

Photogravure - A traditional photogravure is done on a metal plate. A sheet of carbon tissue is used in between the plate and a phototransparency. The image is exposed, creating a carbon-based image on the plate that can be etched in acid like a traditional etching. The plate is then inked an printed. In contemporary practice, a photopolymer print (see below) is often called a “photogravure”. Photolithograph - A printmaking process that uses a image transferred onto either stone, aluminum plate, or even paper, then inked and printed as you would a lithograph. Photopolymer etching / photo intaglio - Similar to a photogravure, except the image is transfered onto a thin metal plate coated with a light-sensitive polymer. The plate is exposed to UV with a transparency, with the polymer hardening where light hits it. The plate is then etched using regular water, which washes away the unexposed- and hence softer- polymer. After hardening in another UV exposure, the plate can be inked and printed liek any intaglio plate. Pinhole camera - A camera that is usually handmade and often made from simple materials. Usually it is just a simple box that has been modified to be light tight. The image is taken through a small pin hole rather than a lens. Planographic print - A print in which the ink is transfered to the surface or plane of a plate before it is transferred to the substrate - as in screen printing, monoprinting, and lithography - as opposed to intaglio or relief printing. Platinum/ palladium print- A photographic process using platinum(II) and palladium in combination with ferric oxalate to create the emulsion. After sensitizing the paper, a UV exposure is made by contact printing with a negative. The exposed print is then developed in ammonium citrate, fixed, and rinsed. As platinum gives more contrast and palladium adds warmer tone, the proprtion of platinum to palladium in the sensitizing solution can give varying results. The process is considered to give the widest tange of tones of any contact printing process. Prints can also be toned to give further variants. Also called, “platinotype”, “palladium print” or “platinum print”, depending on the predominance of one metal over the other. Polaroid - See “instant film” Post-digital woodcut - The term “post-digital” refers to a number of ways a piece of wood or other material can be etched or carved. This includeslaser cutters, CNC routers, and other programmable cutting machines. Reduction woodcut - A woodcut that uses one block to create a multicolored print. With each successive color, the artist carves away or reduces the amount of surfacce space that gets inked. Relief - A printmaking term used to describe processes that involve ink remaining on the raised surface of the print; in essence, the opposite of intaglio. See. “woodblock”. Resinotype - A photographic process that uses a gelatin solution and potassium dichromate to sensitize the paper. The image is exposed using a positive, then a mixture of crushed pigment and resin powder is spread over the paper, adhering to the sticky gelatin and creting the image. The image can be washed and retouched and fixed to create a velvety or glossy finish. Salt print - A very early type of print - actually, the first to be used to print a photographic negative - invented by William Henry Fox Talbot in 1839. Paper is firrst coated with a salt water solution and then with a solution of silver nitrate to create a light sensitive emulsion. the paper is exposed and developed in another salt water bath before being fixed in sodium thiosulfate. Screen print- Also called a silkscreen or serigraph. A photo/ printmaking process that uses light-sensitive emulsion to create an image on a screen mesh. The sensitized screen is exposed with a positive image to UV light, which hardens the emulsion in specific areas. The unhardened emulsion is washed out, leaving those areas of the screen open. Ink can then be pushed through the open parts of the screen to print the image. Serigraph - See “screen print”. Silkscreen - See “screen print”. Many screens used in screen printing don’t actually use silk as the screen matierial. A “silk screen” implies that silk is used, and that the silk helps the printer achieve greater detail. Silver gelatin print- A photographic print using a paper coated with silver nitrate suspended in gelatin as an emulsion. This type of paper is more sensitive to light than other hand- coated emulsions, giving the artist the ability to use an enlarger to create enlarged positive prints of negatives. Also sometimes called, “Gelatin silver”. Solarplate gravure - Solarplate is a brand of photopolymer gravure. See “Photopolymer gravure”. Stone Lithography - (see “Lithography”). With so many other versions of the lithographic process, many printmakers specify that their prints are truly made using a “stone” or “litho”-graph. Sugar lift - A form of aquatint etching that uses a solution of sugar and water painted onto the plate with a brush. It is used primarily to create painterly, brush stroke- like effects on an etching. Van Dyke Brown- A photographic process using both silver nitrate and ferric ammonium citrate. The emulsion is applied by hand to paper and exposed using a transparent negative to UV light. The light reacts with the iron and silver to create a brown print. Wet plate collodion- A photographic process that uses collodion as a substrate to accept silver nitrate, thus sensitizing the plate. The plate is placed into a camera, and the plate is exposed, developed and fixed while the silver/ collodion emulsion is still wet. There are three main types of wet plate collodion plates: 1) An ambrotype is a positive image made on glass. The image is backed using some type of black substance- ink, asphaltum, or black fabric, for example. 2) A glass negative can be made and then contact printed using a wide variety of hand- coated photographic processes, traditionally, albumen. 3) A tintype is a positive image made on a piece of metal. Traditionally tin was used, but modern practitioners usually use aluminum. Therefore, these plates are sometimes called aluminotypes or ferrotypes, referring to the aluminum substrate. Other substances can be used as the substrate, such as Plexiglass (called a “Plexitype”), agate (called an “agatype”), or any number of other “-types”. Woodcut / woodblock- A relief printing technique using carved wood blocks as the printing plate. The ink is rolled onto the raised surfaces of a carved block and paper is placed on top. The ink transfers to the paper. See “relief print”

Brendan Devlin, Galactic Center, Palladium print, 6” x 12”, beedevphoto.com

Immigrant Plants: Bay

Immigrant Plants: Rosemary

Immigrant Plants: Olive Ilaria Rosselli Del Turco

Mezzotints 5” x 5” ea. ilardt.com

Andy Kraushaar Canada Goose Gum bichromate 8.25” x 12”

NEXT CALL FOR ENTRY: Issue #28 (April 2020) Submissions Due February 29th The HAND Magazine is always seeking entries for future issues There is NEVER A THEME The HAND Magazine is printed in color, however, black and white/ monochrome images are still accepted and will be reproduced accordingly. The due date for entries for Issue #28 is February 29th, 2020 The HAND Magazine is a magazine for reproduction-based arts: We will consider any and all techniques that incorporate photographic and/ or printmaking techniques. The cost for submission is $15 (more outside the US) and includes a copy of the issue, which you will receive whether or not your images are selected for publication Artists may submit up to 5 images per entry fee. Send all submission material to: thehandmagazine@icloud.com For the required submission file specifications, payment information and submission forms, visit the website: www.thehandmagazine.space, and click on the “Current Call For Entries” page. Back Cover: Hannah Neal, Aara Krumpe No. 1, Bromoil, 10” x 8“, hannahnealphoto.com

28 L.L.T.T.H.

LLJ