Thursday, December 31, 2009

Printmaking Exhibition in Richmond, Virginia

Call for Entries DEADLINE: artspace National Juried Printmaking and Photography Exhibition 2010

Deadline: Friday, Jan 29 (2010)
at Artspace, Richmond, VA
Price: $25/3 Entries $30/4 Entries; $35/5 Entries
Age Suitability: 18 and up

artspace announces an open call to printmakers, photographers, and artists working with any photographic process to submit entries for the artspace National Juried Printmaking and Photography Exhibition 2010. The exhibition juror, Richard Waller, Executive Director, University of Richmond Museums, will award up to $1000 and a solo exhibition in artspace's Helena Davis Gallery.

For more details, visit or e-mail

Thursday, December 17, 2009

The besht has surely arrived! Michael Cohen’s prints showing at the Alpert’s Jewish Community Center was crazy! His talent and love for his Jewish community is present in every print he maid. Etching, lithography, wood cuts and silk screen are all of the areas where he succeeds. As his prints hanged in the hall, kids were walking by looking at them not knowing the process it took to make the prints but saying “that’s cool!” and that’s when you know you’ve succeeded, when it’s appealing enough for even those who know nothing about the process. Other artists get so caught up with the process but having such an unsuccessful result. I am proud to be working on my prints in the same place he did, using the same presses he did because it just makes me think of all the possibilities and great prints I can also produce. I especially liked the “Untitled Black” woodcut because it was so simply made yet such a powerful black and white print. His prints definitely tie in as being his art work they all have the same theme and style which can get boring after a while but in this case he manages to make each one a bit more different and a bit better than the other. His only sculpture piece was very interesting having glued pieces of Jewish men prints riding little bicycles on an actual bike wheel with a sign saying “please spin” which I obviously did. I would definitely recommend others to see his work!

-Adriana Gonzalez

Sunday, December 13, 2009

The Besht Has Yet To Come (& won't that be fine?)

What better place to celebrate the 3rd night of Hanukkah than at the Alpert Jewish Community Center for Michael (CSULB Printmaking BFA Alumni) Cohen's opening? I'll venture that the exhibition is largely printmaking & I have word that the newest Cohen will also be in attendance, snug in Mom's embrace.

Friday, December 11, 2009

Roxanne's Card

Thanks to everyone who signed Roxanne's card! She loved it!


Wednesday, December 2, 2009

Example of an AH 365 Paper

The Strength of the Message

As I circled around the Posters, Prints, and Propaganda exhibit at the Riverside Art Museum for the third time, I began to realize why some prints affected me more than others. It was due to the strength of their message. If an artist seeks to communicate their message effectively, they must first, choose an image and composition that will capture their audience’s attention, and secondly, they must convey their idea clearly enough to cause the emotional impact they intend. In other words, a successful image is one that does not go "in one eye and out the other," but rather, one that invites the viewer to understand and participate in its essence.

The collection of seventy prints at this exhibit, which displayed a wide range of subject matter and printmaking techniques, were well-organized into six different sections. The first section consisted of woodcut and linoleum relief prints, the second, consisted of etchings and engravings, and the third, illustrative lithography. The fourth section, which I found most interesting, consisted of various types of prints and posters used for advertising and propaganda. The fifth section displayed a few ‘community and education’ prints, and the sixth section consisted of personal prints, titled "Art for Art’s Sake." These prints were made by a diverse community of artists such as Leonard Baskin, William Bradley, Joseph Mugnaini, Hiroshige, and Salvador Dali. But the artist whose message spoke most strongly to me was the German Expressionist, Kathe Kollwitz.
Kathe Kollwitz’s reductive woodcut titled The Widow may have seemed to be one of the most humble prints in the exhibit due to its poor frame, relatively small size, solitary use of black ink, and economically simplified figure, but it was, in fact, one of the most powerful. It is through Kollwitz’s abandonment of naturalism, through her process of stripping her subjects down to raw emotion, that enables her to effectively communicate her message to her audience. And it is by her raw, expressionist style that her intended emotional impact is amplified.

In this print, ‘the widow’ stands alone; a monolithic figure engulfing the entire space. The sparse background behind her is left white, with minimal chatter from the woodblock. Her entire body, apart from her hands and face, is clothed in a flat, black dress, defined only by its simple contour edge. Thus, her hands and face are the sole vehicles through which Kollwitz expresses her grief and loss. The widow’s unkept hair adds to the expression of her despair, as a stray strand mimicks a black tear flowing down her cheek. Her large, rough, working hands appear to be embracing something very precious, as her downcast, mournful face gently caresses it. However, the object of her embrace is left undefined, enveloped in the black shadows of her dress. Perhaps she is taking comfort from the coat of her dead husband, or perhaps she is embracing her new-born child whose father has been taken by the war. Or maybe she is grasping onto the limp form of her beloved, who has slipped away from her forever. Or maybe her embrace is empty, and she is clinging to the memories of a life when all these things were hers. It seems it was Kollwitz’s intent to leave the object of the widow’s embrace "unseen," in order to make the woman’s loss universal. By doing so, her message speaks to a wide audience, to anyone who has ever lost something dear to them. All they need do is "fill in the blank," and then they too become The Widow.
The reason I connected most with Kathe Kollwitz’s work in the Posters, Prints and Propaganda exhibit was because she did not make her prints for "the sake of art," she made them for "the sake of the people." Her message was stronger than that of a pretty landscape, or an abstract riddle to interpret. She used her artwork to speak for the impoverished, working-class people of her time - to give them a voice in a socially unjust world. And this is what I too, hope to do, someday.

Saturday, November 28, 2009

Winter Art Sale

The 2009 Winter Art Sale opens December 6th at 4pm. The Printmaking department will be in the Werby Gallery, along with Photo and Illustration. We've got great piles of wonderful things to sell, and on Wednesday some of the printmaking majors will be doing live screenprinting of their artwork on t-shirts and paper.

Saturday, November 21, 2009

Printing Drypoints!

To somewhat paraphrase a Janis Ian song:
"If I had boots like Leighann's
I'd be so very rich
I'd hire a dog to scratch me
every time I got an itch.
I'd buy a thousand Cadillacs
with longhorns in the front
drive one 'til the ashtray filled
then haul it to the dump."

Friday, November 20, 2009

Special Collections

The CSULB library has a wonderful collection of prints, and you can set up a time to see specific works if you contact Kristie French in advance.

Special collections can be found here:

To view the images they have, click on the link "Images in the Fine Arts Archive."

Thursday, November 19, 2009

Dirk Hagner's Exhibition

I just wanted to remind you that Dirk Hagner's exhibit "The Hungry Eye" opened last week and hope that you will have an opportunity to see it. It covers 10 years of work of his wonderful work and features over 100 prints; a tour de force of printmaking -- so do not miss it if at all possible.

A hardcover book of the exhibit with an essay by Peter Frank is also available.

Due to budget related issues the gallery's hours have been severely truncated. The opening days are Tuesdays through Thursdays from 11 am to 2 pm and Tuesday evening from 5 pm to 7:30 pm. For more info you can contact assistant Cindi Orr at or call (909) 594-5611 extension 4328. The gallery is located on the campus of Mt. San Antonio College, located at 1100 N. Grand Avenue, Walnut, CA 91789. The exhibit runs from November 12 to December 10, 2009.

Hope you can make it there!

Wednesday, November 11, 2009

Vinita Voogd Lecture at Saddleback College

Vinita Voogd will talk about her work in room FA 101 of the Art Department, at Saddleback College, 28000 Marguerite Parkway, Mission Viejo, CA, on Tuesday, 11/19/09, from 3 - 4 PM. Park in lot #12, off of the Theatre Circle (just not in a staff or faculty space). For directions, go to

Tuesday, November 10, 2009

Winter Art Sale Meeting

Are you a printmaker at CSULB or have you made prints at CSULB? Do you want to sell some of them?

Come to the Art Sale Meeting for Print! 4pm in the middle room of the printshop in FA1 on Tuesday, November 10th (today) and we shall discuss the event.

Sunday, November 8, 2009

How to make a drypoint on Plexiglas

Here's a rather straightforward drypoint print that has been watercolored by Aussie artist Juli Haas, titled - Mother from 2005. I think that it has much in common with Sir John Tenniel's wood-engraving of Alice's Duchess, especially in its frighteningly intense aspect.

If you visit the above link, you can watch this gal (sadly, not Juli Haas) drypoint away with her very sharp & heavy tool. FYI - "Perspex" is Brit speak for Plexiglas. Diamond tipped tools are best, with carbide-steel running a close second. Too bad that drypoint plates have a limited short life. The best prints are the very first ones, & the plate will only hold up for about 10 - 15 impressions.

Cheers! Roxanne

Friday, November 6, 2009


Congratulations to both Rosalie and Bryan for receiving awards at the LAPS Student Invitational reception this Thursday evening. Here is a group photo that documents the presence of the CSULB Printmaking department in this exhibit.


Oh, Michael and Paul are missing from the photograph.

Thursday, November 5, 2009

6:00pm-9:00pm, tonight, 11/5/09, Saddleback College's Art Gallery Hosts -
Artist's Reception
20th National Print “Student Members” Juried Exhibition
with the Los Angeles Printmaking Society
In conjunction with the Los Angeles Printmaking Society’s 20th National Print Exhibition the Art Gallery of Saddleback College with host the “Student Members” work of the LAPS juried exhibition. On display will be a large variety of prints featuring all forms of printmaking techniques including: woodcut, linocut, lithography, serigraphy, etching, dry-point, mezzotint, aquatint and monotype.
Free Parking in lot #12 for the Opening Reception
Exhibition runs until 11/25/09, Gallery Hours: Monday, Tuesday, Wednesday, noon to 4 PM; Thursday evenings, 4 to 8 PM; & Saturday, 11/14, 10 - 2 PM.
A special congrats to CSULB artists: Filiz (soft-ground etching), Paul (screenprint), Rosalie (2 screenprints!), Takumi (2 etchings), Brian (really big etching), Michael (drypoint), Aaron (collagraph) & Salvadore (2 monotypes!) - go forth & represent!

Monday, November 2, 2009

LAPS 20th National

LAPS 20th National Exhibition

LAPS 20th National Exhibition

Show runs until January 3rd at Barnsdall Park Municipal Art Gallery, 4800 Hollywood Blvd.

Saturday, October 31, 2009

Hollyhock House Tours - Barnsdale Art Park

If you should venture forth to the opening of the 20th LAPS National this Sunday, 11/1 @ the Barnsdale Art Park (4800 Hollywood Blvd.) - do take the time to also tour Frank Lloyd Wright's fabulous Hollyhock House, located just across the way from the gallery. Wright, who died in 1959, built this home for iconoclast Aline Barnsdale, & due to its sharp angular planes, it looks rather like a Mayan temple. Tours for this structural wonder take place on Sundays @ 12:30, 1:30, 2:30 & 3:30 PM. The cost is $7.00 for adults, but well worth the price of admission. I recently did just that (see the "squinty" photo above) & had the good fortune to speak with an elderly woman on the tour, who had stayed in Wright's Imperial Hotel in Tokyo (sadly since demolished to rubble). Wright was often quoted as saying that he "...came to realize that the reality of a building was not the container but the space within." However, I think in all of Wright's dwellings I've had the good fortune to visit, both are equally exquisite, save for the kitchens...not so much.
Having also made the pilgrimage to Taliesin in Wisconsin, I was fascinated to read the back story on it recently in T. Coraghessan Boyle's book - "The Women." Boyle lives in a Frank Lloyd Wright home near Santa Barbara, & is the author of many other engaging books ("Drop City," "Talk Talk" & "The Inner Circle") that are consistently wonderful. As far as I am concerned, the man has yet to take a literary misstep.

Call for Entries - Images of the Virgin of Guadalupe


::: presents the 2009 VIRGEN DE GUADALUPE ART EXHIBITION :::


1) jpeg images of work and/or description of piece if in progress

2) dimesions of work submitting

3) date, medium, and title of work submitting

Thank you - we are looking forward to this year's celebration!
If you have any further questions please feel free to contact me @ 310.678.7403

jennifer gutierrez morgan

Wednesday, October 28, 2009

This Weekend: Shows At Home and Abroad

The LAPS 20th National Printmaking Exhibition opens to the public on November 1st, from 2 till 5pm. If you come early at 1, you can attend a tour of the Robert Blackburn show. Camilla Taylor (i.e. author of this post) has a collagraph in this show, along with many other local and national printmakers.

Gretchen Jankowski, a printmaking graduate student, is having her MFA show on the 1st in the Gatov gallery on the CSULB campus.

Paul Kaloper, a printmaking undergrad, is having his thesis show as well in the Werby. Reception hours are from 5pm till 7pm.

If you can't make it to the reception, the gallery hours for the CSULB galleries as well as the schedule for the rest of the semester can be found here.

Tuesday, October 27, 2009

Study study study

Brian B's studying setup for the midterm:

Saturday, October 17, 2009

Kitty Gal (She's So Cute)

Please put this one in your appt. book (old school) or on your Blackberry...I-Phone? Jenny Schmid is coming as the Visiting Artist for the Printmaking Area this Weds., 10/21. Her lecture starts at 5:00 PM in the University Theatre, & she'll be selling a brand new book about her work following the talk. I'll lay odds she'd be more than happy to autograph one for you!
As for this linoleum-cut print, to quote the Masters of Reality: "Don't she have class, don't she have style?" Titled "Kitty Gal (She's So Cute)" it measures 18 x 24" in size, & was being sold through Cannonball Press. Sadly, it's now SOLD OUT, but Cannonball does have other equally great images by Jenny on their web-site.

Friday, October 16, 2009


Corpse drawing from history of prints and drawing

Thursday, October 15, 2009

Corita: Serigraphs and Watercolors

Up until April 10th, the "Sister Corita Kent Retrospective" promises to deliver visual excitement & ideas for those of you who lean towards graphic design. Added bonus? It's in LA's own Catholic Cathedral of Our Lady of the Angels - so you can expiate your sins (if you are so inclined). The location is to be found at 555 West Temple Street, 213/680-5200. While there, be sure to see the tapestries (based on actual people) depicting saints of various ethnic backgrounds & ages, designed by John Nava & the sculpture above the entrance by Robert Graham. You can see from the photo why this 3rd largest Cathedral in the world is also called "Our Lady of the 101." It is walking distance from here to MOCA, & easy to get to via the Blue Line, should you eschew the somewhat questionable pleasures of driving on the freeways.

Wednesday, October 14, 2009

Kara Walker x Victor Hugo

After spending quite some time browsing through the overwhelming archives of prints and drawings in the Metropolitan Museum of Art I came upon a 2005 print by Kara Walker entitled “Harper's Pictorial History of the Civil War (Annotated)” and a drawing from the mid 1800s by Victor Hugo the famed literary icon. Both of these pieces have strong political stances, however, they are both executed with such vision that they could stand as strong visual works outside of their political commentary.

Walker's offset lithograph with silkscreen appeared to incorporate appropriated imagery which was confirmed with a bit of research by the Leroy Neiman Center for Print Studies on the Columbia website, where Walker teaches. This print is devoid of color which would appear to be staying true to both the appropriated source material and Walker's vocabulary of using silhouettes in her work. The absence of color here also reinforces the political narrative on several levels. The most obvious of which is the fact that the civil war had a great deal to do with race and class issues. The lack of color also enables the message to come through in greater clarity and have a more jarring impact. Her use of the graphic silhouette on top of the traditional wood engraving acts as a bold stamp on to this historical print.

This stamp is the artist's voice shouting what the original is missing. It's the unheard voice of the oppressed for which the civil war was of incredible significance. The use of an anonymous graphic silhouette instead of a character that features more detail allows the viewer an easy access point to engage with subject matter that could easily become too difficult and alienate its audience before they have the chance to fully take in the message. The title of this piece (or more specifically the title of the portfolio that includes this and 14 other prints) is also an important element that serves to deliver important information and context in an efficient and discreet manner.

The ink drawing by Victor Hugo immediately caught my eye and I was further intrigued because I was unaware of his output as a visual artist. The drawing is made with brush and what appears to be brown ink on paper. With this drawing, Hugo exhibits a phenomenal sense of design and an efficient, expressive and confident command of the brush as a tool. One of the first things that struck me about this drawing was the sense of atmosphere and the creative use of expressive marks in the rendering of the image. The composition and design of the image along with the marks come together to deliver a strong emotional impact that is undoubtedly inspired by the turbulent political climate that Hugo lived in and his views, that lead him into exile from his native France for almost twenty years. Again, as in Walker's print, the use of graphic silhouettes allow us to bear witness to something that otherwise could be considered to graphic or macabre. In this drawing it also serves to convey a different emotion than if the hangman was closer to the viewer and in more detail, an emotion that hits closer to despair and isolation than shock and awe. The birds that are flying away from the hanged man also add to this emotion, but also serve to add depth in the narrative as if they could be the liberated soul of a martyr.

It is incredibly difficult to pick a favorite out of these two as they are both so strong in their own way, however, when forced to pick one I think it would have to be the Victor Hugo drawing. I'm a sucker for great atmosphere in art and this drawing is no exception. I also love the efficiency and speed in which it appears to have been produced, this gives the piece a raw, visceral and expressive quality that is so often lost in the refinement process. I also find it interesting that he did these personal drawings as a release and only later decided to publish them as an act of charity in the form of children in need whom he would invite to dine with him. It is also of intrigue to me to see the drawings of people who primarily work in other artistic mediums and how they can be evidence of how their minds work and why they are drawn to those mediums. This drawing shows us how literary Hugo was even when he chose not to use any words at all.

-rob brown

Tuesday, October 13, 2009

Our Own CSULB Gallery Director, Kiel Johnson

The Mark Moore Gallery says:

"Following up his 2008 inaugural solo show with Mark Moore Gallery, Kiel Johnson invites us to step inside his compellingly prolific imagination with several new drawings and a large-scale sculptural installation.

Deviating from his trademark cardboard medium, Johnson presents an altogether different exhibition born of obsessive personal inventory and astute social commentary. Publish or Perish illustrates the rapid expansion of globalized communication and the subsequent dichotomy of a retracted sense of interaction despite a heightened sense of interconnectivity. Using the printing press as the overarching figure of information's evolution, Johnson constructs a type of archival environment that denotes the transformation of our personal relationships to the tangible, the local and the sentimental. Johnson's distinctive fascination with mechanization and fine intricacies is embodied in both his construction of an "autobiographical" printing press, and his meticulous ink renderings, which demonstrate the compulsive human need to produce, document, proliferate and authenticate histories – much like the artist himself."

The Mark Moore Gallery is located at 2525 Michigan Avenue, A1, in Bergamont Station 310/453-3031 Exhibition Opens Sat., 10/17, 5 - 7 PM, and runs from 10/17 - 11/14, Open Tues. - Sat., 11 - 6 PM.

Sunday, October 11, 2009

"An Eye-Opening Way of Looking at the Bible..."

For those of you planning on writing about R. Crumb's upcoming exhibition, opening on the 24th of this month, you'd be wise to pick up today's LA Times (Sunday, 10/11) as there is a review by David L. Ulin titled:
"R. Crumb Depicts a Biblically Graphic Beginning" that starts on pg. E10 of the Arts & Books Section. Save it for the research rewrite portion, & (if you can hold off & not be tempted) wait to read it until after you turned the 1st part of the paper in. Ulin quotes Crumb as saying: " I approached this as a straight illustration job, with no intention to ridicule or make visual jokes."

Thursday, October 8, 2009

Sweets & Treats - Prints by Wayne Thiebaud

Yummy! This woodcut, titled "A Slice of Cream Pie with Cherry," is one of many tasty prints by San Francisco artist Wayne Thiebaud on view until 11/2 at The Norton Simon Museum in Pasadena. Although minimalist & almost shorthand in style, this print from 1964, has much to recommend it...without the damages of consuming "the real deal."

Tuesday, October 6, 2009

Monday, October 5, 2009

Shepard Fairey's "Hope" for Obama

I recently went to the "Posters, Prints and Propaganda" Exhibit at the Riverside Art Museum and was surprised to see Shepard Fairey's "Hope" for Obama in all its glory.


Sunday, October 4, 2009

Linda Lyke Exhibition

These images appear to be monotypes, but please call the gallery to be certain if you're thinking about basing your Term Paper for AH 365 on them. The gallery's phone # is: 626/799-5551, & they are located @ 306 Hawthorne, in South Pasadena. The show runs until 10/25 & gallery hours are Th - Sat
3 - 6 PM & Sun 2 - 5 PM.
I put the gallery link in the "favorites" listings, so you can see more of Linda's work, along with the work of my friends Nick Capaci & Jonde Northcut.

Sunday, September 27, 2009

Paintball Pop Art, Marilyn Monroe

Paintball Pop Art Marilyn Monroe - Watch more Funny Videos

What it would be like if Andy Warhol and Jackson Pollock collaborated with paintball guns...

Thursday, September 24, 2009

Lithography Exhibition in Pasadena

The Color Explosion: Nineteenth Century American Lithography from the Jay T. Last Collection
Oct. 17, 2009–Feb. 22, 2010
Boone Gallery

They will also have a couple of workshops on Saturdays where they will be teaching Litho, and the people taking the workshop will be making a couple of prints.
Printing workshop: Color Explosion Oct. 10 and 17 (Saturdays) 9 a.m.–2 p.m.
Join artist Melissa Manfull for a hands-on workshop in color lithography, from the history of this revolutionary printing technique to contemporary applications. Using non-toxic plate lithography and a small press, students will create two color lithographs using techniques practiced in historic stone lithography. A tour of the exhibition "The Color Explosion: Nineteenth-Century American Lithography from the Jay T. Last Collection” is included. Members: $145. Non-Members: $165. Registration: 626-405-2128.

Under the category of "It's a small world..." Melissa Manfull was a former BFA student in Printmaking at CSULB. If you peruse the earlier posts, you can see examples of her work from an exhibition she had recently in LA.
You can go here for more into.

Tuesday, September 22, 2009

"Posters, Prints & Propaganda"

The screen-printed image above was made by Tony Ortega in 1990 at Self-Help Graphics, here in Los Angeles. Titled: La Frontera de Aztlan, it depicts a facet of Latino culture in LA, & combines political, religious & social messages together in one brightly wrapped package. This exhibition, features 70 prints, & runs until 10/31/2009.

Saturday, September 19, 2009

Mt. San Antonio College Art Gallery

This exhibition features pgs. from various artists' sketchbooks, including those of one of my former students, Cassandra Simon. The show is currently open & runs until 10/15. For general info call: 909/594-5611, ext. 4328. Gallery hours are: T - Th, 11 - 2 PM. On Tues. it then opens again from 5 - 7:30 PM. Sat., 9/26 & 10/10, it will be open from 11 - 2 PM. The address is: 1100 North Grand Avenue, Walnut, CA

Tuesday, September 15, 2009

Eunkang Koh's Talk

Well it seems to me that you might not want to miss Eunkang Koh's talk this PM @ 5:00 in CSULB's FA-1 (Printmaking Lab), but in case you can't make it - she's giving a repeat performance tomorrow at Whittier College. That talk will be at 5:15 PM, in the Greenleaf Gallery. For more info on her exhibition at Whittier, go to their web-site:
We are so proud of Eunkang, as she's now the Head of the Printmaking Program @ the University of Nevada, Reno! She was born & grew up in Seoul, where she got her 1st degree in printmaking at the prestigious Hong-ik University, & we were lucky enough to have had her as a grad student @ CSULB. The etching I posted here is titled: "Slaughter," with watercolor, 12 x 12".

LA County Museum Conversations

The tickets for both of these talks are free, but you have to either phone or email to reserve them @ the box office. The phone # is: 323/857-6010 & the email address is:
FYI #1 - I'd call quickly, as they've been available since 9/1 & may be going fast.
FYI #2 - Both of these artists make prints, although in Kruger's case the term can be applied very loosely.

Filiz keeps her stone well hydrated!

The voice on this little video "speaking in tongues" is mine - I couldn't for the life of me figure out how to edit the sound out...sorry!
FYI: Filiz is printing this image for a 2010 calendar that the Black Dolphin printmakers (under Camilla's guidance) are working to put together.

Monday, September 14, 2009


The Bible Illuminated: R. Crumb's Book of Genesis
October 24 - February 7, 2010

For all of you in the History of Prints and Drawings....Who more interesting to write your paper about eh? Well I didn't Find any more info about the traveling show but I did stumble across Those bible illustrations we were talking about in class and they are pretty classically crumb I know I'm going to see this! There is also artist talks and what not going on in November be sure to check out the site!

<3 Melissa

Saturday, September 12, 2009

Friday, September 11, 2009

2009 CSULB MFA Open Studios

What an impressively handsome gathering (if I do say so myself)! Hope that some of you got a chance to visit with Camilla T, Brian B, & Christian W, in their respective studios on Sunday & took a long hard look at their wonderful work. No? Well you're in luck - Camilla's having a show that opens this Sunday, 9/13 in the Dutzi Gallery from 5 - 7 PM @ CSULB. Brian B. & I are in an exhibition way up north in Aptos with the rather fusty title: "Printed." Now I don't really expect any of you to make that long trek, but I hope we can show Camilla some home town solidarity & appreciation. RS


Calender of Art Exhibitions at THE HUNTINGTON for Sept/ Oct 2009!

Artillery Magazine

This is "killer text on art" magazine includes large articles on printmaking

World of Washi Newsletter

Here is lovely Bonnie holding the World of Washi Newsletter and membership. This is a newsletter about Prints and Paper. Enjoy