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SCALE

noun: (a) the ratio between the size of something real and that of a model or representation of it: (b) a succession or progression of steps or degrees; a graduated series


SCALE noun: (a) the ratio between the size of something real and that of a model or representation of it: (b) a succession or progression of steps or degrees; a graduated series

Exhibition: August 1 - 22, 2015


Curator’s Statement

T

his exhibition seeks to explore the concept of “scale” in printmaking. How is work scaled? The approaches in this exhibition are varied. Some of the artists undertook the technical challenges of printing larger works directly. For others, scaling the works is achieved by printing in multiples and/or assembling pieces. The 21st century has seen a huge change in the art world’s perception of printmaking as an art form in its own right. The boundaries between painting and sculpture have become blurred and prints now often combine elements of both to create unique “one off ” impressions. Printmaking societies have also evolved, albeit more slowly; but now, adherence to the strict guidelines of acceptable techniques, common even a decade ago, are no longer the standard of judgment. The technical challenge of producing large printmaking works increases exponentially as the size of the works increase. Printmakers, whist often limited by the size of presses and equipment have always been a tenacious tribe of problem solvers. Experimentation and a willingness to work outside the perceived boundaries in order to get the desired results is often part of our daily experience in the studio and what we live for. Give us a technical problem and we will solve it. Monumental prints have actually been around for centuries. The 16th century master-printer, Albert Durer, created a massive woodcut, carving nearly 200 separate images, printed onto multiple sheets of paper. When pasted together “The Triumphal Arch of Maximilian I” was over 11 feet high. So, “Scale” is not exactly non-traditional. It is, however, challenging and unexpected. As curator for this exhibition, I drew from the wide and diverse membership of the Californian Society of Printmakers. I approached not only artists who were already working on a large scale, but also artists who were interested in pushing themselves and their work to create something especially for the exhibition. All of these artists encapsulate the contemporary view that printmaking is equal in concept, size and importance to any other art form. Hopefully this exhibition helps to extend the boundaries of “print” both literally and conceptually. Jenny Robinson, Curator & Printmaker Catalog Design by Michael Yochum Logo image courtesy of Karen Kunc Copyright 2015 by Arc Gallery


Featured Artists

Susan Belau Ellen Heck Karen Kunc Eileen Macdonald Michelle Murillo Jennifer Tancreto Tracy Templeton


Susan Belau

Formation etching and monoprint 84� x 36� $2000


Susan Belau

19th Avenue East etching 5” x 8” $ 350 unframed

1424 North etching 5” x 8” $ 350 unframed


Ellen Heck

Forty Fridas set of 40 copper etching plates & etching ink mounted on wood 55� x 44� (installation) $10,000


Ellen Heck

Anna as Frida copper etching 6” x 8” $ 400 unframed

Emily as Frida copper etching 6” x 8” $ 400 unframed


Ellen Heck

Catherine as Frida copper etching 6� x 8� $ 400 unframed


Ellen Heck

Davina as Frida copper etching 6” x 8” $ 400 unframed


Karen Kunc

Oscillation Shift woodcut 56” x 16.5” $ 2900 unframed


Karen Kunc

The Wanting Pool woodcut 54” x 18” $ 2900 unframed


Eileen Macdonald

State Series III Woodcut and pin pricks on cut paper 26 inches x 40 inches $3850 (framed)


Eileen Macdonald

State Series IV (detail) Woodcut and pin pricks on cut paper 26 inches x 40 inches $3850 (framed)


Michelle Murillo

Bromeliad: Recovery Sequence screen print on satin 16� x 70� $2950


Michelle Murillo

Between Recognition and Recollection I Screen print on aluminum leaf panel 32” x 32” $2950

Between Recognition and Recollection II Screen print on aluminum leaf panel 32” x 32” $2950


Jennifer Tancreto

We traveled over hills many of which were high steep and stony monoprint/digital print/suspended paper layers 36� x 46� $2400


Jennifer Tancreto

The route was good at first, although somewhat obstructed by manzanita bushes monoprint/digital print/suspended paper layers 36� x 46� $2400


Tracy Templeton

Lineage etching 59.5” x 36” $ 4895 (framed)


Tracy Templeton

Prolonged Absense etching 61.5� x 37� $ 4895 (framed)


Artist Statements & CV’s


Susan Belau

“Formation� reflects my continued interest in landscape and memory. Part of an ongoing series developed from drawings and photographs of rocks collected from the Central California Coast, this print simplifies form and color, and transforms the rocks’ strata into geometric shapes, light and shadow. Paper folded, printed, unfolded, and printed again mirrors the natural layering of rock as a physical and visual record of time.

http://susanbelau.com/


Education 1999 University of Nebraska – Lincoln M.F.A. Printmaking 1993 University of California, Santa Cruz B.A. Studio Art Solo & Two-Person Exhibitions 2013 2010 2007 2005 1999

Collected Terrains, San Marco Gallery, Dominican University, San Rafael, California, solo exhibition Grafted, Utah State University Nora Eccles Harrison Museum of Art, Logan, Utah Topsoil, Propeller, San Francisco, California Prints and Panels: Works by Susan Belau and Sara Tabbert, Tinhorn Gallery, San Francisco, CA Falling Floating: Pieces of Nature, Rotunda Gallery, University of Nebraska – Lincoln

Select Group Exhibitions 2014 88th Annual International Competition: Semi-Finalist, Online Exhibition, The Print Center, Philadelphia 15th International Triennial of Small Graphic Forms, Villa Gallery, Lodz, Poland 7th International Printmaking Biennial of Douro, Alijo, Portugal California Etchers Currents, Diablo Valley College Art Gallery, Pleasant Hill, California 2013 New Prints 2013/Autumn, International Print Center New York, New York Rocky Mountain Printmaking Alliance Juried Print Exhibition in conjunction with the 2nd RMPA Symposium: Public Gestures, Gittins Gallery, University of Utah, Salt Lake City, Utah Natural Inclinations: Marks and Mutations, China Brotsky Art Gallery Thoreau Center, San Francisco, California 2012 Ink, Kondos Gallery, Sacramento City College, Sacramento, California Inked Surfaces, Diablo Valley College Art Gallery, Pleasant Hill, California Lightscape/Darkscape: New Works by Kala Artists, Artworks Downtown, San Rafael, California 2010 Printing From Perception, Adobe Art Center, Castro Valley, California It’s Our Nature, Thoreau Center, San Francisco, California Dream Day Drawing, Southern Graphics Conference, Philadelphia, Pennsylvania Collections

Association Mouvement Art Contemporain, Chamalieres, France Fine Arts Museums of San Francisco, California Ford Foundation, San Francisco, California Georgia College and State University, Milledgeville Sheldon Memorial Gallery and Sculpture Garden, Lincoln, Nebraska Southern Graphics Council International Archive, Kennesaw State University, Georgia United States Library of Congress, Washington D.C. University of the Arts, Philadelphia, Pennsylvania University of Minnesota, Minneapolis University of Wisconsin – Parkside, Kenosha Women’s Studio Workshop, Rosendale, New York


Ellen Heck

Forty Fridas is a series of forty woodcut etchings depicting women and girls dressed up as painter/icon, Frida Kahlo. This project, while in some respects a very intimate collection of personal portraits, touches more broadly on themes of identity, the multiple, individuality and variation. With this portfolio, as with much of my current body of work, I am using the printmaking process to highlight these concepts, which are referenced both in the subject matter and the medium.

website: http://www.ellenheck.com | email: ellenheck@gmail.com | phone:(512) 971-7134


Institutions and Awards: 2014 International Print Biennale, Victoria & Albert Museum Acquisition Prize 2014 International Print Biennale, Northern Print Residency Prize 2010-11 Elizabeth Greenshields Foundation Grant Recipient 2009-14 Artist-In-Residence at Kala Art Institute, Berkeley, CA 2008 The School of the Art Institute of Chicago, Chicago, IL B.F.A. Printmaking, Painting 2006 Brown University, Providence, RI B.A. Philosophy Honors, Graduation Speaker Year of Study at Paris-Sorbonne IV (2004-2005) Selected Exhbitions 2015 2014 2013 2012 2011

Facing History: Contemporary Portraits, Victoria & Albert Museum, London, UK Scale, ARC Gallery, San Francisco, CA Pictures from a Trip, Groveland Gallery, Minneapolis, MN 35th Anniversary Show, Wally Workman Gallery, Austin, TX Transformation, Pyramid Atlantic Gallery, Silver Spring, MD Connections, Wally Workman Gallery, Austin, TX – solo show Attachments, Davidson Galleries, Seattle, WA – solo show Girls, Groveland Gallery, Minneapolis, MN – two person show with Duncan Hannah Altered States, ARC Gallery, San Francisco, CA Out of the Woods, Guenzel Gallery, Fish Creek, WI Artists at Work, Cleveland Museum of Art, Gallery One, Cleveland, OH New Prints/New Narratives, IPCNY, New York, NY Summer Shorts, Groveland Gallery, Minneapolis, MN Floating World: The Influence of Japanese Printmaking, Sun Valley Center for the Arts, Ketchum, ID Selections by the Jealous Curator, Fig House, Los Angeles, CA Pacific States Biennial, University of Hawaii, Hilo, HI– purchase award Mary Cassatt and the Feminine Ideal in 19th-Century Paris, Cleveland Museum of Art, Cleveland, OH 9th National Print Exhibition, Turner Print Museum, Chico, CA – juror’s award Variations, Wally Workman Gallery, Austin, TX – solo show New Year, New Artists, Groveland Gallery, Minneapolis, MN On View, Kala Gallery, Berkeley, CA Rivers, Wally Workman Gallery, Austin, TX Contemporary Classics, Groveland Gallery, Minneapolis, MN Selections from Kala, Mills Building, San Francisco, CA

Special Collections The Victoria and Albert Museum The Cleveland Museum of Art Swope Art Museum The Elizabeth Greenshields Foundation Hawaii State Foundation of Culture and the Arts Dartmouth University Library


Karen Kunc I conceptualize on the energy of the forces that shape the world, and such invisible cycles of nature as weather, migration, erosion, are major content influences. My work captures energy in generative carving of wood blocks for “exuberant” nature-based abstractions, lyrical and poetic, and graphically powerful. My idiosyncratic language of biomorphic abstraction inevitably refers to the natural world, our precious resources, and the powerful forces that have shaped our environment from eons past, or in a cataclysmic instant, to manmade impact of today, and the scientific revelations and imaginings of the invisible forces that drive all things, included human desire, avarice, our drive for nurturing and destruction. All are part of a ‘sense of place’, from my own local landscapes, to the expansive wonders of the universe. I reflect on immensities, distances, growth patterns, which wander into meanings of vulnerability, powerful forces, and precarious balances. Such ideas as the translation of information into visually imaginative images intends to tantalize and provoking an awareness of the timeless sense of life’s ebb and flow, revealed in contemplation on ‘what is out there’. I mean for my work to generate in the viewer a poetic tracking of my observations of the world, my visual inventions with pseudo-scientific or metaphoric concepts, to appreciate the variety and range of expression and skill that transcends the media of woodcut print, but is enhanced by my process and need for printed qualities of richness, material transformation, authority, mystery. Constellation Studios; 2055 ‘O’ St., Lincoln, NE 68510 402-429-8239 cell; kkunc1@unl.edu; http://www.karen-kunc.com


Karen Kunc is Cather Professor of Art, University of Nebraska – Lincoln, NE Select Exhibitions 2015 2014 2013 2009

189th Annual Exhibition: The Depth of the Surface, National Academy Museum, New York, NY Fertile Ground: Midwest Printmaking Traditions, Swope Art Museum, Terra Haute, Indiana Mokuhan Zomeki/What Happened in Japan?, University of the Arts Museum, Tokyo, Japan 8th Biennale Internationale d’estampe Contemporaine de Trois-Rivières, Quebec, Canada 2nd Bangkok Triennale International Print & Drawing Exhibition, Bangkok Art & Culture Center, Thailand International Print Triennial-Krakow, Contemporary Art Gallery, Krakow, Poland Blocks of Color: A Century of American Woodcuts, Zimmerli Art Museum, Rutgers, New Brunswick, NJ

Select Solo Exhibitions 2015 2013 2010 2009 2008

Constellation Studios, Lincoln, NE Gallery 101, Lamar Dodd School of Art, University of Georgia, Athens, GA Art Zone Gallery, Cairo, Egypt Kaiku Gallery, Finnish Academy of Fine Art, Helsinki,Finland Davidson Galleries, Seattle, WA Ruffin Gallery, University of Virginia, Charlottesville,VA

Selected Collections:

Museum of Modern Art; Cleveland Museum of Art; Fogg Art Museum, Harvard University; Hyndai Art Center Gallery, Ulsan, Korea; Joslyn Art Museum, Omaha; Library of Congress, Washington, DC Milwaukee Art Museum; American Art Museum, Smithsonian Institution; Reykjavik Art Museum, Iceland Walker Art Center Library Collection;; Omaha Steaks.

Selected Awards: 2013 2013 2009 2007 1996

Fulbright Fellowships to Bangladesh Best of Show Award, Art of the Book 2013, Museum of Contemporary Art. Calgary, Canada 2nd Bangkok Triennale International Print and Drawing Exhibition, Thailand Fulbright Fellowships to Finland Southern Graphics Council International Printmaker Emeritus Award Fulbright Fellowships to Finland National Endowment for the Arts Fellowships

Residencies:

Nagasawa Art Park, Japan Virginia Center for Creative Arts Oregon College of Art and Craft Anderson Ranch Art Center, Colorado Robert Blackburn Printmaking Workshop New York Venice Printmaking Studio, Italy Malaspina Printmakers Society, Vancouver, BC, Canada


Eileen Macdonald

Basic tools, materials and laborious processes have been at the core of my practice for several years, my primary interest being the physicality of obsessive mark making to manipulate and transform surface. My background in printmaking, specifically mezzotint and etching, led me to experiment with treating paper in the same way that I might treat a copper plate. My recent work investigates my interest in landscape formation, residue left on landscape, and the practical use and aesthetics of maps. I’m interested in our need to navigate three-dimensional space in two-dimensions. Excavating paper, and the somewhat unpredictable process of pin prick punctures transforms the paper’s surface emphasizing tension and fragility, and deconstructs what we might once have understood as navigable space.

http://www.eileenmacdonald.com/


Education 2002 Southern Illinois University, Carbondale, Illinois MFA 2-D Art - Printmaking 1997 Duncan of Jordanstone College of Art, Dundee. Scotland BA - Fine Art Printmaking (honors) Current Employment 2002-

Professor, Dept of Art & Art History, California State University, Chico, CA

Select Exhibitions 2014 2013 2012 2010 2009 2008

Strata, Fresno City College Gallery. Fresno, CA Altered States, Arc Gallery, San Francisco, CA Unearthed, Auburn University, Montgomery. AL Landscape as Metaphor: from Arcadia to Dystopia, Turner Print Museum. CSU Chico. CA. Artist-In-Residence Exhibition, Nelimarkka Museuo, Alajarvi, Finland. 5陋 Bienal Internacional de Gravura do Douro, Municipios de Alijo. Alij贸, Portugal The Stream of International Prints, Anyang Albaroshija Gallery, Hong-Ik University. S. Korea Control_Shift_Option: Contemporary Drawing, Space 301. Mobile. AL Contemporary Drawing and Works on Paper, Center for Contemporary Art Sacramento. Sacramento, CA. USA

Select Collections

Nelimarkka Museuo, Alajarvi, Finland. Printmaking Museum of Douro, Alij贸, Portugal Contemporary Arts, Mesa Art Center, Mesa. AZ The Turner Print Museum, California State University, Chico. California. USA California State University, Sacramento Archive and Special Collections, California. USA

Residencies 2014 2012 2012 2005

Waaw. Saint-Louis, Senegal Nelimarkka Museuo, Alajarvi, Finland Glasgow Print Studio, Glasgow UK Venice Printmaking Studio. Venice. Italy


Michelle Murillo In my studio practice I work across traditional and innovative media. I utilize a broad spectrum of processes and materials to expand the vocabulary of printmaking and the multiple in an interdisciplinary context. My work can be broadly understood as archiving: the lost, found, re-membered and collected. Through this work I seek to create a visual language that expresses the intricacies of memory. Memory connects our past and present, and it is my hypothesis that memory is a narrative of the past that can also function as a compass in the present. I have referenced film, its structure and formal aesthetics to inform my understanding of how narratives can be expressed. Film employs sound, dialog, and imagery in a temporal format to recount narratives, which poses the question: can filmic aesthetics and methodologies be applied to static visual images to convey facets of memory? Because I have chosen to work within a strictly visual medium the content must be arrived at through formal and structural considerations such as scale and composition. Employing modular formats suggests the fragmentary nature of memory and linear compositions approach the visceral unfolding and retrieval of memory.

http://www.michellemurillo.net


Education 2006 2003

Master of Fine Arts, Printmaking, University of Alberta, Edmonton, Canada Bachelor of Fine Arts, Painting, Boston University, Boston, Massachusetts

Academic and Professional Appointments Present Co-Chair and Assistant Professor, Printmaking Program, California College of the Arts, Oakland & San Francisco, CA Executive Board Member, SGC International Executive Board Member, Kala Art Institute, Berkeley, California 2014 Co-Chair, Bridges SGC International Conference, San Francisco Bay Area 2012-14 President, California Society of Printmakers Recent Exhibitions 2015 2014

A Measure of Time, (Solo Exhibition) Bullseye Projects Gallery, Emeryville, CA Textile Conversations in Glass, San Jose Museum of Textiles and Quilts, San Jose, CA 11th Annual Represented Artists Exhibition, Los Angeles Center for Digital Art, Los Angeles, CA 50 Years, Fine Arts Gallery, University of Alberta, Edmonton, Canada Global Print 2015, Lamego and Douro Museum, Alijo, Portugal Circumference, SGC International Conference, Knoxville, TN Douro Printmaking Biennial, Douro Museum, Alijo, Portugal Convergence, 808 Gallery, Boston University, Boston, MA Beyond Printmaking 4, Landmark Arts, Texas Tech University, Lubbock, TX Redefining the Multiple, Gary Francis Fine Art, Alameda, CA MAC@20 Part II, McKinney Avenue Contemporary, Dallas, TX Re/Appropriate, Market Street Gallery, San Francisco, CA Infinite Mirror; Images of American Identity, International Arts & Artists, traveling nationally through 2015

Artist Residencies 2015 2014

Guanlan Original Printmaking Base, Guanlan, China Taller 34, San Juan, Puerto Rico Bullseye Glass Resource Center, Emeryville, CA

Lectures | Presentations | Workshops 2015 2014

Workshop, Bullseye Glass, Emeryville, California And the Beat Goes On‌, Panel Presentation, San Jose Institute of Contemporary Art, San Jose, CA Artist Talk, Bullseye Projects Gallery, Emeryville, CA Demonstration: Digital Decals for Glass, Bullseye Glass, Emeryville, CA Visiting Artist Lecture, Boston University, Boston, MA Visiting Artist Lecture, Dartmouth, Hanover, NH

Selected Collections

Boston Public Library, Boston, MA; Douro Museum, Alijo, Portugal; Kala Art Institute, Berkeley, CA; Library of Congress, Washington, DC; Guanlan Print Art Museum, Guanlan, China; Proyecto’ace, Print and New Media Center, Buenos Aires, Argentina; SGC International Archive, Kennesaw State University, GA; and Numerous private collections in the United States, Canada, South America, Europe and Asia


Jennifer Tancreto My studio practice is based on collecting, recording, and reconstructing. Collections include natural objects, photographs, journals, atlases, and margin notes. While mostly commonplace, the objects are tactile reminders of experience and place, both personal and social. Directed by the processes of printmaking and drawing, I dissect, recombine, and print over various elements and viewpoints to create new images and objects. The accidents and marks of the studio can be found in the images and they mingle with the found source material. The prints are records reflecting the creative overlap between gathering information and utilizing it, mimicking the dynamic construction of place through experience. My current collection of prints is related to a genre of Japanese books called meisho zue. Meaning “book of famous places�, the meisho zue functioned as guidebooks to famous places and views throughout Japan. Places were both real and imagined and the books included prints, poetry, lists, and descriptions. The images produced for the books were landscapes intended to describe a place in its entirety and readers to visit and recreate the indicated position. Utilizing the structure and function of the meisho zue form as a model, I visited and photographed a series of views. The views were chosen based on a collection of source material that included photographs, maps, journals, and historical records regarding specific sites associated with two emigrant trails utilized in the early 1850’s to cross into California. From the information I created a series of layered monoprints. http://jentancreto.weebly.com/


EDUCATION 2015 2009

M.F.A., with distinction, California State University, Chico. B.F.A., Printmaking, California State University, Chico. B.A., Art History, California State University, Chico.

SELECT SOLO EXHIBITIONS 2015 From here you can see. University Art Gallery, California State University, Chico, CA. 2014 What Remains. M Street Art Complex, Fresno, CA. 2011 Polyautography. Laxson Fine Arts Gallery, California State University, Chico. SELECT EXHIBITIONS 2015 Trending. JayJay Gallery, Sacramento, CA. Isson Tanaka Memorial Museum, Amami City, Japan. Contemporary Art Center’s 26th Annual Juried Show. Alios Gallery, Las Vegas, NV. 33rd Invitational Members Show. 1078 Gallery, Chico, CA. 2014 First Impressions. Mesa Contemporary Arts Museum, Tempe, AZ. Arts Visalia North American Print & Drawing Exhibition. Arts Visalia, Visalia, CA. Future MONCA: Growing a Northern California Collection. 1078 Gallery, Chico, CA. 2013 Lasser Mansion. Bidwell Mansion State Historic Park, Chico, CA. 26th Annual McNeese Works on Paper Exhibition. Abercrombie Gallery, McNeese State University, Lake Charles, LA. - W. Gedge Gayle Purchase Award. 3rd National Juried Monotype & Monoprint Exhibition. The Barrington Center for the Arts, Gordon College, Wenham, MA. West Coast Biennial: Juried Art Exhibition. Turtle Bay Exploration Park, Redding, CA. The Department of Art & Art History Faculty Exhibition. University Art Gallery, California State University, Chico, CA. 2012 Exchange/Recall: A Critic-Artist Exchange. BSO Gallery, California State University, Chico, CA. Summer Stock 2. 1078 Gallery, Chico, CA. Sustenance. Karshner Hall, Humboldt State University, Arcata, CA. 31st Invitational Members Show. 1078 Gallery, Chico, CA. 6th Biennial Juried Print Exhibition. Northern Arizona University Art Museum, Flagstaff, AZ. 2011 Conditional. BSO Space, California State University, Chico. 1st Annual Miniprint Exhibition. BSO Space, California State University, Chico, CA. 2D for the Show. 1078 Gallery, Chico, CA. COLLECTIONS

McNeese State University, Lake Charles, LA. Janet Turner Print Museum. Chico, CA. Mesa Contemporary Arts Museum at Mesa Art Center. Tempe, AZ. Museum of Northern California Art (MONCA). Reed Applegate Collection. Chico, CA.


Tracy Templeton Much of my early work chronicled the abandoned rural homesteads that characterize the Canadian prairie where I was raised. My images capture the subtle changes wrought by time, the unremarkable gaps between events, and what is left at the end. Memories reemerge as evocative fragments of actuality in the present and invite reflection on the past. Without succumbing to nostalgia or sentiment, remembering, observing, and creating become part of the active production of the work. Throughout my process I ask the question common to any journey: “From here to where?” My primary medium is photo-etching utilizing digital positives transferred to plates with photopolymer films. I approach my work without any preconceived outcome. The photographs I begin with act mainly as immediate visual records that are manipulated throughout the photo-etching process. During the production I have the opportunity to alter and reduce the photo imagery, simplifying it and simultaneously broadening its’ meaning by drawing attention to the essence of the subject. I adjust the digital image through Photoshop, then draw and scratch into the positive. Once transferred to the plate and etched, I work the image extensively by hand, enabling me to explore the copper’s physicality through material resistance and tactile awareness. I have discovered that throughout my work, what might be mistaken as technical artificiality, does in fact become the catalyst for the very organic process of seeing and feeling. Consequently the reworked image reveals the deeper complexities and the profound, but intangible, results of experience. 913 S Sheridan Drive, Bloomington, IN, 47401 Phone: 541-292-3866 | Email: tltprints@hotmail.com | Web: http://tracytempleton.com


Associate Professor; Head of Printmaking and Director of the Venice program at Indiana University, Bloomington. Education

University of Alberta, Edmonton, AB, Canada, Printmaking, MFA University of Regina, Regina, SK, Canada, Printmaking & Painting (Distinction, Riddell Award in Fine Arts), BFA

Recent Solo Exhibitions 2015 2015 2014 2009 2009

The Space Between, Lila Gallery, Buenos Aries, Argentina New Work, Project Ă ce, Buenos Aries, Argentina Somewhere In Between, Duke University, Louise Brown Gallery, Durham, NC, USA Tracy Templeton: Printworks, Inkubator Press Gallery, Kansas City, MO, USA Finding Home, Taube Museum, Minot, ND, USA

Recent Group Exhibitions 2015 Resonance-Canadian Printmaking Exhibition (Canadian National Exhibition of Printmaking) hosted by Beijing Shengzhi Space Culture Co. Ltd , Beijing, China 2014-15 Formative Impressions, KCPA International Printmaking Exhibition, 8 Pacific Nations, touring – Jincheong Printmaking Museum, Seoul Museum of Art, international venues 2014 Pacific States Biennial National Printmaking Exhibition, University of Hawaii at Hilo, Campus Center Gallery, Hilo, HI, USA 2013 Contemporary Prints from Canada, USA, and Japan, Awasaki Museum, Yokahama, Japan Contemporary Prints, Art Space Eumeria, Tokyo, japan 2012 Yunnan Print International, Yunnan Province, China Locating Spirituality and From Objects to Icons, SNAP Gallery, Edmonton, AB, Canada 2011 IMPRINT: City of Northern Lights, Academy of Art, Warsaw, Poland Canadian Printmaking, IDB Cultural Center, Washington, DC, USA 2010 Penang International 2010, Penang State Museum and Universiti Sains Malaysia School of the Arts, Penang, Malaysia 2009 Krakow International Triennial, Galeria Sztuki Wspolczesnej, Opole, Poland Selected Collections

Beijing Shengzhi Space Culture Co. Ltd; Gilkey Center for Graphic Arts, Portland Art Museum, Portland, OR; International Graphics Museum of Egypt, Cairo, Egypt; Istanbul Museum of Painting and Sculpture, Istanbul, Turkey; MacKenzie Art Gallery Permanent Collection, Regina, SK, Canada; Museum of Biella, Biella, Italy; Sakima Art Museum, Okinawa, Japan; Saskatchewan Arts Board, Regina, SK, Canada; Tokyo Art Museum, Tokyo, Japan; University of Alberta Print Collection, Edmonton, AB, Canada; Universidad de Guanajuato, Guanajuato, Mexico; Varna Graphics Gallery, Varna, Bulgaria


The California Society of Printmakers The California Society of Printmakers (CSP) is a non-profit 501(c) arts organization which promotes the practice and appreciation of fine art contemporary printmaking in the West. Our mission is to support both the integrity of traditional printmaking and provide a home for artists exploring new directions in contemporary print methods. Currently, the CSP has a membership of nearly 250 artists, and welcomes new members each spring and fall. Though the majority of our members live and work in Northern California, membership is open to printmakers throughout the world.

SERVICE The CSP provides support for its members and serves the greater community by: * Sponsoring print exhibitions on a local, national and international level. * Arranging educational activities for the public and technical workshop for members. * Publishing an annual professional journal: The California Printmaker. * Offering members and the public the opportunity to collect artworks at a modest rate. * Maintaining an archive of fine art prints and print-related matter. * Providing general printmaking information and resources through this website http://www.caprintmakers.org/


About the curator

Jenny Robinson is an artist originally from London. She studied for her BFA in printmaking in the United Kingdom. She currently resides in San Francisco, where she maintains a studio at the Hunters Point Shipyard artist colony. She is a regular visiting artist at universities around the country as well as a regular Artist in Residence at the Kala Art Institute. She is represented by the Davidson Gallery in Seattle, Warnock Fine Arts in Palm Springs, Vertical Gallery in Chicago and the Kala Art Institute Gallery in Berkeley. Her work is in many collections, including the Library of Congress Graphic Arts Collection, Washington DC; the Achenbach Fine Print collection, San Francisco; and, the Ashmolean Museum, Oxford UK. She has exhibited extensively, including several recent solo exhibitions on the West Coast. She is a member of the California Society of Printmakers, the Royal Society of Painter Printmakers (RE), London and the Los Angeles Printmaking Society (LAPS). Jenny is a passionate proponent of printmaking and its place in the art world. http://jennyrobinson.com/


A

rc Gallery & Studios was established to showcase and promote emerging and established artists and art organizations in the San Francisco Bay Area. Since establishing Arc in 2010, the Gallery and Project Gallery have provided exhibition opportunities for over 500 mostly local artists. Our artist studios are the working home for 12 outstanding local artists. Additionally, our complex houses Kearny Street Workshop, a local multi-disciplinary Pan-Asian arts organization and our gallery has hosted numerous exhibitions for local arts organizations. Our goal has been to foster community and to provide an arc between our vibrant Bay Area its communities and Bay Area art enthusiasts, collectors and business communities. Arc Fine Arts Consulting is a natural extension of those efforts. As consultants, we are uniquely qualified to build bridges between these communities. Collectively, the partners share over fifty years of experience in art galleries, art consulting, art nonprofit volunteering & management, and art-related academic training. Our extensive experience and personal involvement with local art organizations, in particular, has allowed us to build an unrivaled network of relationships with artists here in the San Francisco - Bay Area. We are blessed with some of the most prestigious art schools in the country. On a per capita basis San Francisco boasts a higher percentage of working artists than any other city in the country. The opportunity for local collectors and businesses to build collections which tap into and support these communities is unparalleled. Arc Fine Arts is singularly dedicated to fostering those connections. http://arc-sf.com http://arcfinearts-sf.com arcstudiossf@gmail.com

SCALE  

SCALE noun: (a) the ratio between the size of something real and that of a model or representation of it; (b) a succession or progression...

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