ONE on ONE: A SURVEY OF CONTEMPORARY MONOTYPES & MONOPRINTS

ONE on ONE:

A Survey of Contemporary Monotypes & Monoprints

curated by Jen Dragon

Kleinert/James Center for the Arts

January 13 - February 26, 2023

Gregory Amenoff, UntitledXIV, 2017, oil monotype,, 23.5” x 25” printed at: Area 214, Ruby, NY

Gregory Amenoff is an American Modernist, well known for his use of organic abstraction.While he is primarily known as a painter, he also does extensive work with monoprints, aquatints, lithographs, and woodcuts. Amenoff works in the tradition of the great American nature painters using the landscape as the inspiration for his abstract imagery. According to Rachel Rosenfield Lafo, "Gregory Amenoff responds intuitively to stimuli in the natural world of landscape and atmosphere and the inner worlds of emotion and spirit."The natural forms in Amenoff’s imagery manifest the drama of environmental violence - storms, eruptions, earthquakes and wildfires reflecting the sublime turmoil of telluric emotion.

Along with a career as an architect, the artist Zoe Anderson creates abstract monotypes depicting visual spaces without representing a specific place or event. Beginning with small square plates, the artist achieves multiple effects by application of different colors and orientations. Using the chine collé throughout her monotype process, Anderson allows a narrative space to emerge and creates an environment where the viewer's eye can weave through the layers of pictorial space.Like Piranesi, Anderson manifests visual spaces that are fantastic alternatives to the buildings she has designed or ever imagined as an architect.

Zoe Anderson,Untitled1-111,2022, watercolor monotype , 29” x 10”, Mixit Print Studios, Somerville, MA

ZOE ANDERSON

CHRISTINE BENEMAN

Christine Beneman’s compositions have a percussive quality as it seems to fold space like origami. She has been widely exhibited, most recently at the Maine Jewish Museum in Portland. She has been included in recent exhibitions at the South Shore Art Center, Cohasset, MA,The Center for Contemporary Printmaking, Norwalk, CT,The New Hampshire Institute of Art, Manchester, NH,Washington Printmakers,Washington DC and the Center for Book Arts in NYC. Her work is in many public and private collections including the Portland Museum of Art, The NewYork Public Library, Colby College Museum of Art and the New Britain Museum of Art, among others.

Christine Beneman, UnderConstructionXVII, 2021, monoprint, 30” x 22” Peregrine Press, Portland ME

GREGORY CRANE

Gregory Crane’s monotypes bend space with intricate gestural mark making and vibrant, pulsating color. Out-buildings, garden walls, distant houses, growing plants, trees and undergrowth become articulate meditations on growth and form. Crane.has taught painting at School ofVisual Arts in NewYork City and is the recipient of two MacDowell Colony Fellowships. Gregory Crane's work has been reviewed in publications includingThe NewYorkTimes,The Philadelphia Inquirer, Art in America, Newsweek, House & Garden, Art & Auction, ART News, Art New England and Bomb Magazine. In NewYork, Mr. Crane has been represented by Hirschl & Adler Modern,The EdwardThorp Gallery, Cheryl Pelavin Fine Arts and Cross Contemporary Art and many others.

Gregory Crane, LineofPumpkins(top),BlimpsandBalloons-InMemoriam(bottom) 2021, monotype, Cheryl Pelavin Editions, NewYork, NY

Painter Ford Crull uses the expressive power of monotypes to explore personal and cultural symbols in a series of densely inked and vividly colored compositions. Crull uses identifiable images such as hearts, wings, crosses, and the human figure, as well as geometrical emblems and abstract forms whose meanings are less explicit.Words, in the form of cryptic, fleeting phrases, also animate Ford's pictorial world. He employs a myriad of symbols which variously imply a sexual unfolding, romantic suffering, occult wisdom, and transcendental release.These symbols coexist in a psychic atmosphere in which they overlap, dissolve, and reappear with a kind of furious insistence.There is a strong element of the diaristic in his work, with each painting serving as a kind of painterly journal of reflections and reveries, set loose from their origins in specific events. In a wider sense, Crull's monotypes constitute a kind of intensive search to wrest meaning from an anarchy of feeling. As meditations on emotional chaos, they enter into a world of competing impulses and simultaneous transmissions, seeking a resolution that is both cathartic and mysterious.

Ford Crull, Hybrids, oil monotype Cheryl Pelavin Editions, NewYork, NY

PEGGY CYPHERS

Peggy Cyphers,InfinityFossil, 2022, mixed media monoprint 15” x 12”

American Image Art, Katonah, NY

Peggy Cyphers is inspired by the artifacts of nature, Her imagery abounds with historic botanical and animal engravings floating among the phenomena of abstract experimentation and an enthusiastic exploration of materials. Her overarching aesthetic concern has always been the interconnectedness of all beings to the earth and to each other. Peggy Cyphers' work can be found in many important collections including the National Gallery, the Library of Congress, theWomen’s Museum and the Smithsonian Institution inWashington, D.C.and the Cedar Rapids Museum of Art, Cedar Rapids, IA. She is the recipient of many grants including National Endowment for the Arts, Peter S. Reed Foundation,The Elizabeth Foundation, National Studio Award, and PS.1. Residency awards includeYaddo, Art Omi,Tong Xian Art Beijing, Santa Fe Art Institute, ISCP,Triangle & Clocktower/P.S.1.

MAXINE DAVIDOWITZ

Maxine Davidowitz had a successful career as a magazine creative director, working on iconic titles such as Parents,TV Guide and Redbook, garnering many awards for her work. until 2008, when she turned her focus to her fine art practice. Davidowitz' paintings and prints have since received honors at many regional juried exhibitions, and she has been awarded residencies at the Cill Rialaig Project in Ireland and the Brush Creek Foundation for the Arts inWyoming. Her work is in many private collections throughout the United States. The Convergence series of monoprints are an exploration of the fluid, organic forms and vivid hues created by a three-step process of overlapping layers of translucent shapes. Created using thin paper masks over the inked plates, they form voluptuous areas of color that subtly evoke the human form, the natural world and the human experience.

Maxine Davidowitz,ConvergenceI-II,11” x 11” Convergence III, 16” x 16”, 2022, collagraph monoprint, Woodstock School of Art,Woodstock, NY

Katie DeGroot has been painting trees and their cast off limbs, for many years, celebrating their individuality and adaptivity as survivors. As a watercolorist, DeGroot seeks to convey an arboreal resilience and adaptivity to surrounding conditions growing into strange shapes, producing oddly shaped branches, becoming contortionists to get to sunlight, bowing to the will of other larger trees. DeGroot's trees grow in context to each other and their neighbors, adapting as best they can to their situation.While Katie DeGroot's artwork has been grounded in observation, her paintings are grounded in contemporary ideas and concerns as well as an interpretation of the objects’ personality.These objects, leaves, stems, trunks and berries allow DeGroot to explore surrealism and abstraction along with pursuing the pure visceral pleasure of painting.

Katie DeGroot,EightLeaves, 2022, watercolor monotype, 14” x 11” Skidmore College, Saratoga Springs, NYcourtesy:GalerieGris,HudsonNY

MARY ANNE ERICKSON

MaryAnne Erickson is a lifelong artist who has been dedicated to documenting the demise of the American roadside culture of “Mom and Pop” establishments. Her painting technique is most frequently described as photorealistic however, her monotypes often have a fluid, gestural mastery.Agraduate of Art Center College of Design (Pasadena,CA), Erickson lived in NewYork City for 15 years, working as a graphic artist and painter. Her work has appeared on movie posters, book and album covers, and publications includingThe NewYorkTimes, NewYork Magazine,The Boston Globe, Interview, Glamour, Cosmopolitan, Ms., National Lampoon, HBO and Warner Home Video covers.

Mary Anne Erickson,FreeWheeling, 2014, watercolor monotype, 17.5” x 24” Woodstock School of Art,Woodstock NY

MB FLANDERS

MB Flander's previous work as a graphic designer informs nearly every aspect of her printmaking. She creates monoprints using etched copper and plexiglass plates, wooden blocks, hand cut stencils, Chine-Colle, and color pigments- in short,an open-ended and flexible kit of parts.

MB Flanders starts with background environments on copper plates and wood blocks filling the plates with marks deriving from many inspirations such as parts of Roman letterforms, pieces of mathematical symbols indicating actions, and notations found on technical and architectural drawings. Some marks suggest map making, others indicate speed, and some represent gestures, movement and measurement.

MB Flanders,MappingProjectI-IV, 2022, woodblock, chine-colle monoprint, 12” x 12” each Mixit Studios, Somerville MA

DEBORAH FREEDMAN

Deborah Freedman creates metaphoric landscapes in the tradition of the 19th Century Hudson River School painters and the early 20th Century artists who added symbolism and abstraction to their depictions. Her work is increasingly influenced by the environmental changes in the Hudson Valley and beyond. Freedman frequently includes a small body of water situated near her property in the Catskill MountainsWhile the pond appears unchanged over time, what had been an idyllic landscape has become disturbed, a metaphor of the impact of political and climate change.The paintings and prints of the pond are an investigation of an oneiric landscape that is threatened.The pictorial space is warped or disturbed echoing the artist’s disquiet about the instability of our environment - as if there is a hole in the world that needs to be healed.This pond appears and reappears in series informed by catastrophic events such as 9/11 and hurricane Irene.

Deborah Freedman, StillWaters4(top),StillWatersI(bottom) 2022, monotype, Oehme Graphics, Colorado Springs, CO

Randy Garber, UntitledI(top),UntitledII(bottom) 2022, drypoint, stencil, collagraph monotype 14” x 27” Mixit Studios, Somerville MA

Randy Garber is a recipient of many artist awards and grants including ones from theTraveling Fellowship from the School of the Museum of Fine Arts,TheWynn Newhouse Foundation, Somerville Artist Council, Puffin Foundation and St. Botolph Foundation. Her work can be found in museum, corporate, and private collections includingThe Boston Museum of Fine Arts, the Decordova Museum, the Boston Athenaum,The Boston Public Library, the Children's Hospital, Karp Cancer Research Building, and the Governor Baxter School for the Deaf in Portland, ME. Recent exhibitions of Garber's work include the Decordova Museum, Boston Convention Center, and the Dishman Art Museum.

Randy Garber works eclectically, with a passion for using traditional printmaking and painting techniques to express her intensively researched contemporary concerns and concepts. Randy Garber currently teaches drawing and printmaking at the Massachusetts College of Art and Design.

MICHEL GOLDBERG

After many years as a practitioner of graphic design, including heading up his own design firm in NewYork City, Michel Goldberg now dedicates himself exclusively to pursuing his lifelong interest in drawing, printmaking and sculpture. Born in Paris, France, Michel is a graduate ofThe Pratt Institute and the High School of Music and Art in NewYork City. Goldberg worked forWill Burtin, one of the foremost information designers of the 20th Century, in graphic and exhibition design and for Clarke &Way (TheThistle Press) in limited editions and fine binding.The artist was a member of the faculty atThe Pratt Institute where he taught Graphic Design andVisual Communications as well as at the Longboat Key Center for the Arts- a division ofThe Ringling College of Art & Design - where he taught printmaking. Michel Goldberg’s drawings, monotypes and sculptures have been exhibited most recently in a solo exhibition at the Mary G. Hardin Center for Cultural Arts (Gadsden, AL), at the Brik Gallery (Catskill NY) and in numerous group exhibitions in NewYork City, NewYork State, and Florida.

Michel Goldberg,Atmospherique#1, 2022, oil monotype,, 29” x 44”

Painter, printmaker, and public artist, Goldman has been described as “an artist of vision and precision”1; “one of this country’s most exciting watercolorists”; and “a true cognoscenti of the medium.”3 Her 60,000+ terrazzo installation at Boston’s Logan Airport is noted as one of the area’s most successful public art endeavors.4

Goldman received her BA from Smith College and her MFA from the University ofWisconsin. She has taught at Massachusetts College of Art and Design, the University of California Los Angeles, Rice University, and the University of Hartford, and also been a visiting artist at Harvard University and Artist Proof, South Africa.

Goldman has received various grants and fellowships for her work, including fellowships from the Ballinglen Arts Foundation in Ireland, the Oberpfalzer Kunstlerhaus in Germany, and the Cité des Arts in France. Goldman is represented by Soprafina Gallery, Boston; Stewart & Stewart Fine Arts, Michigan, and McGowan Fine Arts, New Hampshire. Her work is included in the permanent collections of the Bibliothèque Nationale de Paris, the Peabody-Essex Museum, the Brooklyn Museum, the Boston Museum of Fine Arts, the Library of Congress and many other public and private collections.

Jane Goldman,OntheEdge, 2019 - 22, watercolor monotype,,22” x 40”

BRANDON GRAVING

Brandon Graving,Today:HereII, 2023, embossed viscosity monoprint on handmade St Armand paper with lithographic ink, graphite, glass and additional media, 39” x 36”, Gravity Press, North Adams MA

Brandon Graving is known for her deeply textured large scale monoprints which often include a sculptural component, furthering the visceral impact of these unique works. She is credited with having made one of the largest monoprints ever created by a single artist, measuring 10.5’ by 32’. Originally from New Orleans, Graving spent years of travel research in Africa, Costa Rica, theYucatán and Belize before she became the Gallery Director and later MasterPrintmaker at the Contemporary Artists Center of Massachusetts. In 2007, she founded Gravity Press Experimental Print Shop featuring specialized platton presses including one huge machine measuring 5’ by 11’.With this innovative equipment, Graving has developed many experimental techniques while maintaining a practice of creating archival works as she pushes boundaries of size and extreme embossing with inky viscosities and thickly textured surfaces.Throughout her career, Brandon Graving has received many prestigious awards including the Pollack-Krasner Foundation Award and has recently been given a “Spark” Lifetime Achievement Award from UL College of the Arts where she earned her BFA. Her works are in many collections including the New Orleans Museum of Art,The Metropolitan Museum in NewYork and the Library of Congress. She divides her time between Gravity Press, working with other artists as their MasterPrintmaker, and making her own sculpture and monoprints and currently has artworks on display in multiple international exhibitions

JUDY HABERL

Judy Haberl merges the disciplines of sculpture, photography, printmaking and installation, with a deep interest in the evocative potential and history of objects within a culture. She embraces a cross-media approach in her work. Food culture, photoluminescence, mystery and cultural phenomenology are persistent subjects along with a passion for materials. Haberl received her BA from University of Northern Colorado and her MFA in Painting and Installation fromTufts/School of the Museum of Fine Arts, Boston. Judy Haberl is the recipient of awards and grants including -The George A. and Eliza Gardner Howard Foundation Fellowship from Brown University, LEF New England, General FundVisual Artist Award, Massachusetts Cultural Council Fellowship and Massachusetts College of Art Faculty Fellowships.

Judy Haberl, Dusk#15,#10,#4,#16, 2022, Akua inked botanicals, fibers with watercolor & acrylic pigments on mixed rice & mulberry fiber paper, 24” x 15” each, Mixit Print Studios

The spontaneity of monotype printmaking has been an important part of the art practice of painter, Catherine Howe. Inspired by the exuberance of flowers in vases, her gestural brushwork depends on the intensity of the moment and the manifestation of perfection. Ms. Howe’s recent experimentation with monotypes has led to printing on silk and then mounting the silk to a canvas backed stretcher, creating an art object that is a hybrid of painting and printmaking, with a uniquely luminous glow and texture.

Catherine Howe,SilkMonotype(OrangeVioletBouquet),2021,acrylic ink on Habotai silk, wooden stretcher, canvas backing, 48” x 36” , courtesy:WinstonWächter Fine Arts

CATHERINE KERNAN

The premise that human memory and the experience of spaces are dynamic, mutable, interactive, and recur in ever-evolving cycles of repetition and variation underlies most of Catherine Kernan's work.The artist works in an abstract, improvisatory way, drawing on internalized experiences in a painterly process of controlled accident. Using large-scale woodblocks in unorthodox ways as a transfer tool, Kernan build images by laying down ink, removing ink, and many viscosity rolls layer by layer, without predicting the outcome, but always keenly in tune with the medium. Catherine Kernan has degrees from Cooper Union and the University ofWisconsin/Madison. She has been a partner in professional studios since 1982, and is a founding partner of Mixit Print Studio.The Print Club of Cleveland, the Print Club of Rochester, and the Flint Institute of Art have commissioned her editions. She authored "Singular and Serial:Contemporary Monotype and Monoprint", 2019.

For six years Catherine was Director of Maud Morgan Arts, an art center in Cambridge, MA offering classes, workshops, and exhibitions. Many private, public and corporate collections own Catherine’s work. Her residencies include: Scuola Internazionale di Grafica,Venice; Ballinglen Arts Foundation, Ireland; MacDowell Colony. In 2018 she received a grant from the Pollack Krasner Foundation.

Catherine Kernan,AgainsttheGrain#85(top)#69(bottom), 2021,Woodcut monoprint with offsets and viscosity role on thick Mulberry paper , 48” x 36” Mixit Print Studios

JENNIFER MARSHALL

Inspired by nature and 19th century botanical photography, Jennifer Marshall explores plant structure and image through monoprint. Her work documents and creates a new world for the plants she chooses. By manipulating the forms through the printing press, she arrives at complex configurations of color and space.The monoprints provide a new context for the way we see the natural world. Her work has been included in exhibitions such as Art Bank Program (US State Department), the International Print Center NewYork, Art Now Fair in Miami, EAB fair in NewYork, and the Baltimore Fair for Contemporary Prints and Editions. Awards include an Artist Residency Grant, FundacionValparaiso, Almeria, Spain.

Jennifer Marshall, BotanicalsII,2021, Collagraph on paper, 23.75” x 21.5” Jungle Press, NewYork City, NY

Kate McGloughlin, a twelfth generation resident of Ulster County, NewYork, is a celebrated painter and printmaker who currently lives and maintains a vibrant studio in Olivebridge, NY. She has been included in over 70 exhibitions in notable galleries and in four museums in the US, Japan, Scotland and Ireland, and is President Emeritus ofTheWoodstock School of Art where she teaches Printmaking, Landscape Painting and directs the newly renovated Printmaking Studio. As Co-Founder of Destination Arts CreativeWorkshops, Kate has led experiential art adventures for creatives all over Italy, Mexico, Scotland and South Africa.

Kate McGloughlin,,AshokanMessages(top),LonelyCove(bottom),2021,monotype, 8” x 10” Woodstock School of Art

DEBRA OLIN

Debra Olin, CosmicInclusion monoprints with collage, drypoint, stitching, 39” x 21” Mixit Print Studios

Debra Olin is a printmaker, living and working in Somerville, MA. She received her MFA from Massachusetts College of Art in 1980. Olin has shown in exhibitions across the U.S., Canada, France, Poland, Serbia, South Africa, and Cuba. Her work is in the permanent collections of the Boston Public Library,Temple Israel, Brookline, MA,YIVO Institute, NYC,The DeCordova Museum, Lincoln, MA and the Harvard Art Museum, Cambridge, MA. In 2004 Debra was awarded the Rappaport Prize, the largest public annual award to an individual artist in New England. In 2018, Olin received a grant from the BerkshireTaconic Artist ResourceTrust and in 2018 and 2022 a Massachusetts Cultural Council Finalist Award

EILEEN M. POWER

Eileen Power’s path to becoming an artist was a circuitous one. Although art was not a part of her formal education, she always believed she was an artist. It simply wasn’t possible to be one before taking an alternate path. After an interesting career, Eileen moved from NYC to Woodstock and studied printmaking and plein air painting under Kate McGloughlin at the WSA. Separately, in her home studio, she has been creating art made from everyday and discarded objects. Her sculptures have been exhibited at Kaatsbaan Cultural Park and in the 2022 exhibition “Shelter” curated by Melinda Stickney-Gibson for theWoodstock Byrdcliffe Guild. In 2021, Eileen was the recipient of the Robert Angeloch Printmaking Award from the Woodstock Artists Association and Museum.

Eileen M. Power,TheDivineFeminineI(top)#TheDivineFeminineII(bottom),2022,collagraph monotype on grey Arches BFK paper,22” x 30””Woodstock School of Art

WENDY PRELLWITZ

Wendy

Educated atThe Rhode Island School of Design andThe School of the Museum of Fine Arts, Wendy has exhibited in New England, Long Island, and beyond for 30 years. Collections include the Long Island Museum and the Boston Public Library as well as private collections. She was awarded a fellowship from the Ballinglen Arts Foundation to paint in Ireland, a grant from the St Botolf Club to paint in Rome, Italy and honored with the Spirit Award from Maud Morgan Arts, to commemorate her co-founding of the city-wide Cambridge art center and her continued service there.

Prellwitz, Radiance#1, 2022,Ink monotype, , 18” x 12” Mixit Print Studios

SUSANNA RONNER

Susanna Ronner has been a life-long artist since before her graduation from the High School of Music and Art (NYC) and her subsequent painting, drawing and ceramics studies at Hunter and Goddard Colleges. Ronner earned her BFA with high honors in Graphic Design at the University of Illinois and after moving to San Francisco, worked with esteemed graphic studiosVanderbyl Design and Akagi Design. In 1989, she opened her own office,Susanna Ronner Design inWoodstock, NY

In 2017, Susanna Ronner discovered monotype printmaking, merging collage and printmaking into her art practice. Ronner's approach is un-premeditated, allowing for the spontaneity of shapes and forms to lead her on a visual journey of discovery.

Susanna Ronner,ShapeConversationi,ii,iii, 2022,Monotype/Moveable Collagraph • 12” x 14.5” plate on Rives BFK,Woodstock School of Art

RHODA ROSENBERG

Originally from Philadelphia, Rhoda Rosenberg credits her Russian Jewish family as influential to her work. Family ties throughout her life have been the subject of many of her books and prints. After receiving a certificate from the Pennsylvania Academy of Fine Arts, Rosenberg graduated with a BFA in printmaking fromTemple University and with an MFA in printmaking from the Museum School where she has taught since her graduation in 1981. She has also been a visiting artist and taught at Artists Proof in Johannesburg, South Africa. She has been the recipient of many awards, exhibited nationally and internationally and is in many collections.

Rhoda Rosenberg,JournalPages, 2022,Inked monotype collagraph on handmade paper • 11” x 8” Mixit Studios, Somerville MA

Joanne Simon, a Londoner living in Boston, began her formal art training at the University of the Arts London-Wimbledon College of Arts, and received her Master of Fine Arts degree from Bezalel Academy of Arts and Design in Jerusalem.

Her inspiration comes from topical issues, such as climate change and politics, and timeless themes, such as hope, love and resilience. Her imagery conveys optimism and the promise of a better future.

With repeated passes through the press, her monotypes explore texture, depth and hue, often deliberately extending the image beyond the plate’s impression, expanding the compositional plane. Drawing upon historical symbology, classical imagery, the fragility of flora and fauna, and combining a range of printmaking techniques, a delicate line, multi-layered color palette, and balance, her works can be read as visual commentary on our time.

Joanne Simon,Can'tArguewiththeEmpire, 2017, collagraph monotype, 33” x 24.5” Mixit Studios, Somerville MA

Photos: ©John Kleinhans, 2023

Photos: ©John Kleinhans, 2023

Photos: ©John Kleinhans, 2023

Photos:: ©John Kleinhans, 2023

Photos: ©John Kleinhans, 2023

Photos: ©John Kleinhans, 2023

Photos: ©John Kleinhans, 2023

ThecuratorwouldliketothankthestaffattheWoodstockByrdcliffeGuild:

Catherine O’Neal, President

Ursula Morgan, Executive Director

TheWoodstock Byrdcliffe Guild Exhibitions Committee

Gabriella Kirby, Systems Administrator

William Noonan, Installation

Meagan Daly, Byrdcliffe Gift Shop

Susanna Ronner Design, Banners and Graphic Design

John Kleinhans, Installation Photographs

Catherine Kernan, Exhibition Advisor

Catalogue Design: Jen Dragon