Animal Print On view Februrary 18 - April 9 - SPRING/SUMMER 2O22 - Highpoint Center for Printmaking
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SPRING/SUMMER 2O22 Animal Print On view Februrary 18 – April 9 pg. 12
HIGHPOINT CENTER FOR PRINTMAKING PRESSTIME SPRING/SUMMER 2022 HIGHPOINTPRINTMAKING.ORG
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From Full Color Offset:
the Directors A New Pilot Program for Artists
Welcome 2022!
It’s a new year, one that will bring many changes, but with it much joy and gratitude.
The big news: as we enter our 21st year, Carla has announced her retirement. She will be
greatly missed at Highpoint after an impactful twenty-year career as its co-founder and
Executive Director.
In 2001, we founded HP to nurture the art of printmaking, support artists and to be
accessible to the community through programming and education. It is this combination
which makes Highpoint so unique.
We have had the amazing opportunity to help start and grow an organization that serves
so many: artists, youth and our community benefit from HP’s diverse programs. However,
we couldn’t have done it without you: the staff, board, members, partners, and funders
who have helped make these twenty years possible.
Thanks to this community, Highpoint will continue to further the art of printmaking in
exceptional ways as Carla moves on to her next adventure!
Highpoint is extremely excited to announce Offsetting Access is a yearly juried • Participate in at least one Highpoint
HP now begins a new era. Patty Wilder, whose four-decade career including interim a new pilot program, Full Color Offset! application-based access and support community event during the program
nonprofit leadership, strategic consulting, and work with arts organizations, will serve With the goal of fostering inclusion program for artists that already possess such as a cooperative exhibition, Free Ink
as HP’s Interim Executive Director until summer 2022, while our board conducts a search in Highpoint’s Artist Cooperative, we are a demonstrable level of printmaking Day, or artist talk
for the next Executive Director. Cole will continue in his role as Artistic Director and introducing this pilot program to provide knowledge and experience. Two selected
Master Printer. printmaking education, studio access, and printmakers will receive: Highpoint will be providing information
professional support to Minnesota artists • 12 months free access to the cooperative sessions about the Offsetting Access
We know that wherever Highpoint goes next, it will be with the same spirit in which it was from racial and ethnic communities that printshop at Highpoint (the shop supports program and instructions for applying
founded: with gratitude for our supporters, a passion for sharing the printmaking arts, and have thus far been underrepresented within intaglio, relief, lithography, screenprinting, beginning in March 2022. Please check our
a desire to bring our community closer together. HP’s cooperative printshop. This includes and monotype methods) website for updates.
but is not limited to people belonging to • Artistic mentorship
We look forward to seeing you at Highpoint in 2022! Indigenous communities, Asian and Pacific • Technical support, including personal
Island communities, the Somali diaspora instruction
and other African immigrant communities, • A $500 stipend The creation and implementation of these
the African American community, the • Free access to Highpoint adult initiatives has been an honest, lengthy, and
Latinx community, and other communities printmaking classes carefully considered process. Following
Carla McGrath Cole Rogers identifying as Black, Indigenous, or people of • Opportunity to show work in twice yearly initial consultations with a diverse group of
Executive Director Artistic Director and Master Printer color. The program will function through two co-op member exhibitions artists, other organizations, and Highpoint
initiatives: Offsetting Education, a program • Guidance and feedback during scheduled board members, a steering committee was
for artists without printmaking experience critiques with invited guests* formed for the purpose of designing this
and Offsetting Access, a program for artists • If an artist wishes to continue using the program. The steering committee consists
with prior printmaking experience. co-op following the completion of the of two Highpoint staff members and six
program, they can do so at a deeply BIPOC artists that are current and former
Offsetting Education is for artists who are discounted rate ($50/month for up to 3 members of Highpoint’s artist cooperative.
interested in printmaking but do not possess years) The steering committee will remain involved
prior printmaking experience. For these in the program by helping Highpoint to
artists we are pleased to offer enrollment in Artist responsibilities: evaluate its success. Many thanks to steering
any of our adult classes free of charge: • Adhere to cooperative printshop policies committee members Connor Rice, Nancy
• Highpoint will reserve two enrollment (procedures, health and safety) Ariza, Hend Al-Mansour, Maria Cristina
spots in each adult class for this purpose • Participate in scheduled critique sessions “Tina” Tavera, Ana Laura Juarez, and
COVER: • When necessary, priority will be given to • Participate in program evaluation with Jonathan Herrera Soto for their assistance
Justyne Fischer, Homeward Bound (detail), hand colored
woodcut on voile. Featured in HP’s upcoming exhibition
artists who have not participated in a class pilot program steering committee and commitment to helping us address
Animal Print. Learn more on page 12. within the previous 12 months members inequity within our organization.
HIGHPOINT CENTER FOR PRINTMAKING PRESSTIME SPRING/SUMMER 2022 HIGHPOINTPRINTMAKING.ORG
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Highpoint Editions
News
“I went with my Offsite Exhibitions of Note
husband and daughter Scottsdale Museum of Contemporary Art
to the Highpoint will present Brad Kahlhamer: Swap Meet,
February 26 – October 9, 2022. In addition
exhibit last weekend, to his drawings, paintings, and installations,
and it was one of this exhibition will feature a new series
of “Zombie Botanicals” made from dried
my favorite exhibits saguaro cactus parts and rock sculptures
I have been to at titled “Geologic studies / Mesa gardens”.
Mia, and we have A work by Rico Gatson is currently installed
been to many. There in LACMA’s Black American Portraits, on
view now through April 17, 2022. Check out
were many things I a curated exhibition playlist on LACMA’s
liked about it, but of website!
particular note was the A large-scale mural by Njideka Akunyili
emphasis on and really The Contemporary Print: Crosby was recently acquired for the
permanent collection and appears now in
20 Years at Highpoint Editions
excellent explanations Life Between Islands at the Tate Britain.
of how the prints are Minneapolis Institute of Art’s (Mia) recent The exhibition celebrates over 70 years of
Caribbean culture and its impact in the UK.
exhibition, The Contemporary Print: 20
produced...showing Years at Highpoint Editions, closed in
the progression of the early January. We are so grateful to have Julie Buffalohead was interviewed recently
on the podcast 5 Plain Questions, a podcast
been able to celebrate with so many of
prints was incredibly you — Highpoint Editions artists, exhibition that poses 5 general questions to Native
powerful. We also attendees new to Highpoint, and of course American artists, creators, musicians, writers,
movers and shakers, and culture bearers.
our enthusiastic supporters. We’re thrilled
loved the technical to say that over 8,500 people visited the
flipbooks and the exhibition! Andrea Carlson has been announced as
one of 37 artists participating in the second
According to Mia, visitors really
printing equipment. responded to the breadth and depth of edition of the Toronto Biennial of Art, taking
I just wanted to tell the exhibition, often noting how many place March 26 – June 5, 2022. This biennial
will explore the theme What Water Knows,
wonderful artists were represented and
you [all] a big BRAVO. how fascinating it was to get an in-depth the Land Remembers.
I needed that moment look at how prints are made. There were
Carlos Amorales’ prints Useless Wonder
also many visitors who commented on
of awe.” how proud they are to have Highpoint in Maps 1 and Useless Wonder Maps 2 will
the Twin Cities — one visitor remarked that be included in the upcoming exhibition,
— The Contemporary Print it was “always great to experience visual Strange Weather: Contemporary Art from
attendee innovation in our community.” the Collections of Jordan D. Schnitzer and
Didn’t get a chance to visit, or want to His Family Foundation. This exhibition, on
revisit the experience? The online catalogue view April 8 – August 14, 2022 at the Santa
raisonne, Highpoint Editions: A History Highlights from The Contemporary Print: 20 Years Cruz Museum of Art & History, creatively
& Catalogue, 2001– 2021 is available for at Highpoint Editions, Fall/Winter 2021 at Mia calls attention to the impact and history of
viewing on Mia’s website. forced migrations, industrialization, global
Thank you for your faithful support capitalism, and trauma on humans and the
of Highpoint — without you, this powerful contemporary landscape.
exhibition would not have been possible.
HIGHPOINT CENTER FOR PRINTMAKING PRESSTIME SPRING/SUMMER 2022 HIGHPOINTPRINTMAKING.ORG
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Education and Community Youth Summer Tales from
Programs Update Camps the Co-Op
Youth will spend one day of the week at
each of the partner centers: Northern
Clay Center, FilmNorth, Chicago Avenue
Fire Arts Center, Highpoint Center for
Printmaking, and Articulture. Registration
is through Northern Clay Center.
Membership discount applies to campers
who are members at any of the five partner
centers. Proof of full COVID-19 vaccination
is required for campers attending the 5
Centers camps.
5 Centers Camp: Present Intentions
Dates: June 20 – 24, 2022
Time: 9 a.m. – 3 p.m.
Ages: 9+
Still from a live demonstration video Student at Whittier International School shows Fee: $350 (Members receive 5% discount)
for Whittier International School off their water bottle decorated with a monoprint
made using a Highpoint art kit
Rediscover your current place and time
We would like to thank HP’s members and Mokuhanga Inspired Workshop for Youth Green Partners — Creative Clean Water through a lens of curiosity. Make the most of
funders. Because of you, all of Highpoint’s In December of 2021 we developed a youth Stewards Project your surroundings as you repurpose tools,
youth programming has been free of charge workshop with New Country School inspired Highpoint is excited to be working on use natural and found materials, and work in
for the entirety of the pandemic, and that by the traditional Japanese woodblock another project funded by Hennepin County a new medium each day to make amazing
continues. Thank you! printmaking technique Mokuhanga. Green Partners, the Creative Clean Water creations.
Students grades 7-12 carved blocks and Stewards Project. This project combines
Printmaking Art Kits used traditional Japanese brushes and inks printmaking art projects with environmental 5 Centers Camp: Perfect Imperfections
Originally created for a grant with Hennepin to create prints. The workshop was a huge education to promote environmental Dates: July 25 – 29, 2022
Erin Leon, The Bottles, drypoint intaglio, 2021
County Green Partners in the spring of success, and we are excited to be able to stewardship with fifth graders at Nellie Time: 9 a.m. – 3 p.m.
2021, these kits were designed to be offer this class to more partners in the future. Stone Johnson Elementary and Burroughs Ages: 9+
non-toxic and environmentally conscious. Community School. Partners include artist Fee: $350 (Members receive 5% discount)
Meet Erin Leon
Nearly everything not reusable is either and activist Sean Connaughty and Erin Rupp
recyclable or compostable. School partners of Pollinate Minnesota. Works made by Learning new skills can be difficult, and in My printmaking career began in 1990 at at Highpoint. Since then, I have created
included Lyndale Elementary, Mississippi students in this project will be displayed in this camp you’ll learn to not only embrace The Pennsylvania Academy of Fine Arts in a drypoint intaglio print every month as a
Creative Arts School, Whittier International our student exhibition, this spring 2022. your final creation but also the process to Philadelphia, Pennsylvania. My focus was in challenge to myself. Each of these prints
School, Nokomis Montessori and Dowling None of these programs would be get there. With every step as valuable as the woodcut printmaking under the instruction of focus on macro/microcosms or parts of a
Elementary. possible without our dedicated education final creation, you will create works to show Master Printer Dan Miller. I graduated from whole. This method of mark making has been
Highpoint also partnered with Mia to team and fantastic volunteers. A special off your new-found skills and the process the Maine College of Art in 1995 with a BFA my most intimate experience as a printer,
bring free art kits to the public. In summer thanks to our education interns, Ruby Sevilla of learning them, allowing the imperfection in Printmaking, where I studied under James given the time that goes into each piece.
of 2021, Mia, All My Relations Gallery, 4 and Gabi Estrada, as well as volunteer Kristin to become an integral component of the Cambronne, Master Printer, with a focus in Recently I was able to study photolithography
Sisters Market, and Highpoint partnered to Bickal. We would also like to thank our finished piece. intaglio. I became a key holder/printmaker under Grace Sippy in an adult class offered
make 200 art kits in conjunction with Mia’s community partners. These organizations, at Pickwick Press in Portland, Maine for 8 at Highpoint.
exhibition The Contemporary Print: 20 schools and community members are years. It was during this time that I began to My continuing goal is to create large
Years at Highpoint Editions. The kits were dedicated and put in a lot of work to work in a large scale format, concentrating scale, multi-layered prints utilizing the
distributed at 4 Sisters Market, and included collaborate with Highpoint to provide quality on highly detailed woodcuts and drypoint techniques that I learn and advance at
free tickets to the exhibition. In December educational experiences for all ages. plates of endangered and exotic species. Highpoint. As a member of the co-op, the
of 2021 we again partnered with Mia to During this period, I participated in Big Ink richness and depth of my work has improved
help design a Family Day where upwards as a contributing printer and worked as an and my prints continue to develop and
New Country School student prints
of 400 art kits were handed out to families. using Mokuhanga techniques
independent curator and artist in Brooklyn, evolve. Being a member of the co-op has
As of the time of this writing, Highpoint NY, Austin, TX and Portland, Maine. My also created new friendships and a network
has facilitated nearly 1,400 art kits, free of family and I moved to Minnesota and in May for me as an artist here in Minneapolis.
charge to students and participants! of last year, I became a co-op member
HIGHPOINT CENTER FOR PRINTMAKING PRESSTIME SPRING/SUMMER 2022 HIGHPOINTPRINTMAKING.ORG
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McKnight Printmaking Jerome Early Career
Fellowships Printmaking Residency
Savannah Bustillo, Untitled (in-progress monotype)
Josh Winkler, Pissing on Fire, color woodcut
Ryan Gerald Nelson, The imperative
to self preserve, screenprint
Sarah Evenson, Untitled (in-progress screenprint)
February marks the end of the 2021 In addition to their exhibition and opening Sarah Evenson, Ryan Gerald Nelson, semantic concept of assimilation (when unforgiving ecosystem than simply a stable
Fellowship year for Gaylord Schanilec and reception, there will be a public event and Savannah Bustillo have been doing phonemes are adjusted by the phonemes technological relic, Nelson points to the
Josh Winkler. Their exhibition will be on view featuring the fellows in conversation with research, preparing, and developing artwork that come before or after them, done often susceptibility of both the Image itself as
in Highpoint’s galleries through February 12. special guest Kim Todd (local author and since September 2021. The first in-progress in English). well as the structures and apparatuses that
It was an exciting fellowship year despite Associate Professor of English and Creative check in of the residency happened in mid- make the Image possible or not. Nelson
some pandemic limitations. In the intense Writing at the University of Minnesota). Kim November with Laura Wertheim Joseph Sarah has been using their experience contends that our new world has proven that
heat of August, Dennis Jon, Associate will moderate a discussion with the artists (curator at the Minnesota Museum of as a queer transgender artist to create the Image — highly compressed, politicized,
Curator at Mia made the trek to Stockholm, about the influence of the natural world American Art). In the coming months, the books, zines, prints, and pieces of writing venerated, even iconoclastic by nature —
Wisconsin to visit Gaylord’s woodshop, and on their personal research and practice as Gaylord Schanilec, Total Despair, relief artists will meet with guest critics three more that explore queerness, transformation, exists in a perpetual state of precarity: its
down to rural Nicollet County the following artists as well as their lives and outlook. The times before their exhibition opens in May. embodiment, and the subversion of visual constitution open to manipulation, its
day to Josh’s studio. In November, acclaimed discussion will take place Friday, February structural hierarchies. In making this work, meaning able to be rewritten many times
art critic Jerry Saltz came from New York City 11 from 7– 8 p.m. Please visit our website Savannah’s work focuses on the ways they are not interested in normalizing queer over, often simultaneously, and its existence
to conduct studio visits with both artists. for more information and to RSVP. language practices shape her identity as a and trans lived experience. Rather, their (digital or physical) certainly no guarantee.
queer second-generation bilingual Latina pieces are spaces in which queer joys are
woman. By taking small discarded objects, celebrated as strange, wild, and exuberant
sounds, and movements that seem silent sites of social change and bodily resistance.
Congratulations to our 2022 McKnight Printmaking Fellows! and insignificant, she reemphasizes them Jerome Early Career
to show both the strength and trauma in Ryan’s body of work visually and Printmakers Exhibition
We are pleased to announce our 2022 McKnight Printmaking Fellows, Amy Sands and marginality. A key aspect she explores is conceptually investigates his own
Nicole Simpkins! We look forward to sharing additional details about their practice in the relationship between “authenticity” developing theory of the Image by breaking May 13 – June 11
the coming months. Thank you to review panelists Willie Cole and Nicola Lopez for their and race. The body of work she is creating down and depicting different stages of
commitment to the selection process. during the residency continues exploring the metamorphosis of the Image as it Opening reception and artist talk
these dynamics, including research into the traverses a myriad of mediated landscapes. Friday, May 13 6:30 – 9 p.m.
history of racist phraseology and teaching By presenting the Image as being more
practices, historical shibboleths, and the analogous to a biological organism in an
HIGHPOINT CENTER FOR PRINTMAKING PRESSTIME SPRING/SUMMER 2022 HIGHPOINTPRINTMAKING.ORG
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Spring/Summer 2022
Adult Classes
Stone Lithography with Sharpie Flats Beginning Intaglio Carborundum Collagraph Workshop Sampler Sessions
Dates: Tuesdays; March 1, 15, 22, 29 and Dates: Tuesdays; May 24, 31 and June 7, 14, 21, 28; 6 – 9 p.m. Dates: Saturday and Sunday; May 7-8, and Dates: Select Thursdays, Spring/Summer 2022, 6 – 9 p.m.
April 5, 12, 19; 6 – 9 p.m. Saturdays: June 4 and 25; 10 a.m. – 1 p.m. May 14 – 15 10 a.m. – 4 p.m. Ages: 16+; for beginner students
Saturdays: March 26 and April 16; 10 a.m. – 1 p.m. Ages: 18+ Ages: 18+ Cost: $30 per course
Ages: 18+ Cost: $335 Cost: $275 Class size: 10 students max
Cost: $350 Class size: 8 students max Class size: 8 students max Registration deadline: One week prior to each class
Class size: 8 students max Registration deadline: May 13 Registration deadline: April 29 Instructors: Highpoint staff and experienced co-op members
Registration deadline: February 25 Instructor: Josh Bindewald Instructor: Sarah Shallbetter
Instructor: Lila Shull Sampler Sessions are introductory, hands-on workshops for those
Intaglio techniques can be used to create images that beautifully This four day workshop will focus on exploring the endless textural interested in exploring the basics of printmaking. Classes take place
Are you interested in learning how stone lithography works? Do combine line, value, and texture. Favored by figurative and abstract possibilities of collagraphic image-making. Carborundum collagraph in the evening, and have no prerequisites. Workshops begin with a
you enjoy drawing and painting? This is a traditional printmaking artists alike, intaglio can wonderfully translate the hand of whoever is a versatile plate-making process that offers a wide range of demonstration with most of the class period used for exploring the
focused class using an expedited layering process to build imagery. employs it. This class will serve as an introduction to all the basic creative freedom toward developing rich tones and dimensional print process learned. Materials included with class fee. Each class
We will learn a quick and effective technique to add layers of color techniques of intaglio printmaking using copper plates. Drypoint, surfaces within one’s prints. Working directly on an acrylic plate using will have an overflow session if the first fills. Please call or check the
to a print through a lithographic process that uses Sharpie markers. line etching, aquatint, and soft ground will be covered along a mixture of carborundum grit and acrylic medium, this painterly website for updates.
We will learn introductory lithography skills on limestone, each class with plate preparation, proper inking and wiping techniques, and process invites experimentation. Students will be introduced to a
session will be a continuation of adding additional color layers. registration for multiple plate prints. Participants can expect to variety of materials and techniques to create prints of astounding Thursday, April 21: Contact Paper Screenprint
Inspired by the theme of “home”, in a six-week time frame you can create a small edition of a two-plate, two color intaglio print and richness. Be prepared to let your imagination flow! In addition to Use contact paper and acrylic ink to make screenprints.
expect to complete one or two sets of editions. We will explore gain an applicable understanding of the fundamentals of intaglio introducing additive and reductive collagraph techniques, students
Thursday, May 12: Watercolor Screenprint
T-bar registration, ink transparency, color mixing, etching strength printmaking. will learn how to ink and wipe plates, operate the press, and more.
Learn to use water soluble materials to make screenprints.
and gum Arabic processing. This class is for the individual who wants Each student will receive 2 small copper plates that they will use This workshop is suitable for all skill levels, and will span two
to work fast, enjoys using color, and is interested in learning a new to develop their image. All other necessary materials are provided — consecutive weekends. Thursday, June 2: Gelatin Monotype
technique. All skill levels are welcome, with the workshop pace set though students may wish to purchase additional or different paper Use gelatin plates, cut paper stencils, acrylic paints, and hand
for beginners. to try during the class. About the Instructor: Sarah Shallbetter was born and raised printing tools to make monotypes.
The first meeting of this class (Tuesday, March 1) will introduce in Minneapolis, Minnesota and recently returned after nearly a
Thursday, July 28: Polyester Plate Lithography
students to the process of graining a lithographic stone. Stone About the Instructor: Josh Bindewald has been a staff member quarter-century stretch on the East Coast. Shallbetter is a printmaker,
Learn the basics of lithography and print a small edition using an
graining is a fundamental part of the lithographic process and we at Highpoint for nearly 10 years, where he is the Director of Artist photographer, and multi-dimensional artist. As a member of The
etching press.
want to ensure that students learn this as part of the class. Students Programs. He has an undergraduate degree in Studio Art with a Boston Printmakers, she has worked with a multitude of artists and
will then schedule time between March 2 and March 15 to come to printmaking concentration from the University of Wisconsin-Stout printmaking studios. She received her BA in Studio Art from the Thursday, August 4: White Line Relief
Highpoint and prepare their stone during our regular business hours and an MFA in printmaking from Bradley University. Josh has University of Minnesota-Twin Cities with a concentration in ceramics Carve a relief block and hand print multiple painted colors.
(Mon – Fri, 9 a.m. – 5 p.m.). taught courses at Bradley University and Illinois Central College in and went on to study at the School of the Museum of Fine Arts.
Thursday, September 1: Screen Filler Screenprint
addition to numerous workshops and adult classes at Highpoint and Her work embraces elements of daily life and snapshots from the
Learn how to use drawing fluid and screen filler to print a small
About the Instructor: Lila Shull questions how our imaginations are other venues. He primarily works with screenprinting and intaglio world around her. Shallbetter has exhibited across the United States
edition.
rooted in and reacting to our ever-evolving sense of place through processes but remains a “dedicated dabbler”. and internationally. Her works can be found in private and public
the objects we choose to carry with us. Lila has taught printmaking collections including the Boston Public Library Print Collection.
courses in every major printmaking concentration.
Lila received her BFA
To register for Adult classes, call Highpoint at
from Winthrop University
612.871.1326 or email info@highpointprintmaking.org.
in Printmaking/Painting
Registrations are finalized upon receipt of payment, which can be made
and MFA in Printmaking
via phone or in person. Proof of vaccination or negative Covid-19 test
from the University of
required. Highpoint members receive 10% off classes. One free space
Tennessee, Knoxville
is available in each class to veterans; first come first served.
(2019), and has shown
work both nationally
We offer two free spots in each adult printmaking classes to people
and internationally. She
from underrepresented racial and ethnic groups, including but
is currently a remote
not limited to: Indigenous communities, Asian and Pacific Island
Lecturer in Applied Design
communities, the Somali diaspora and other African immigrant
at Appalachian State
communities, the African American community, the Latinx
University.
community, and other communities identifying as Black, Indigenous,
or people of color. Please contact us to register.
Lila Shull, Welcome to Elyria, Nevada!, lithograph Josh Bindewald, Ten Year (state 2), intaglio Sarah Shallbetter, Brooklyn NY, collagraph
(drypoint and spit-bite aquatint) with chine collé, 2021
HIGHPOINT CENTER FOR PRINTMAKING PRESSTIME SPRING/SUMMER 2022 HIGHPOINTPRINTMAKING.ORG
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Upcoming Gallery Hours:
Monday – Friday, 10 a.m. – 4 p.m.
Threshold
Exhibitions Saturday, Noon – 4 p.m. Gallery
Santiago Rojo, Vivir Mejor, Laser print on debris, 2016
For the Record:
Oaxacan Artists from Pocoapoco
June 17 – July 16, 2022
Opening reception: June 17, 6:30 – 9 p.m.
Johanna Mueller, Curse and Release, Hung Liu, New Old World Symphony – Blue Foot, Frankie Palmer, Primary, screenprint, 2020 In June, we welcome Pocoapoco to
wood engraving, collage, colored pencil color aquatint, spit bite aquatint, and softground etching.
Courtesy of Paulson Fontaine Press the gallery! Pocoapoco is an arts and
cultural organization approaching creative
practice as a means to further exploration, Eileen Rieman-Schaut, looking into the cosmos, Benjamin Merritt, Came Out Swinging
intaglio, 2022 (Under Half-Lit Fluorescents) #3, intaglio
opportunity and connection between (mezzotint and etching), and monoprint
individuals, cultures and communities.
Based in Oaxaca, Mexico, their residency
Animal Print ACCESS/PRINT & LOOK/SEE 2022 and programs bring together local and Eileen Rieman-Schaut Benjamin Merritt
On view February 18 – April 9, 2022 On view: April 15 – May 7, 2022 international artists and creative thinkers Imaginary Landscapes Came Out Swinging (Under Half-Lit
Opening reception: February 18, Opening reception: Friday, April 15, 2022, across all fields, offering a platform for On view through April 2, 2022 Fluorescents)
6:30 – 9 p.m. 5:30 – 8 p.m. fundamental reflection, creation and April – June 2022
dialogue. This series of prints depicts imagined
The human relationship to animals is Featuring painterly monotypes, We are excited to announce the return of Pocoapoco is pleased to present works landscapes, some of which are loosely based This series of prints was printed over several
simultaneously beautiful, problematic, and crisp woodcuts, ultra-faithful realism, and ACCESS/PRINT and LOOK/SEE annual by eight Oaxacan multidisciplinary artists on real places. One of the images was made months between the Ox-Bow School of Art
above all complex. Animals are revered, decorative stylization, variety is a defining (and student exhibitions. These exhibitions will whose varying mediums and perspectives by impressing birch bark into soft ground; a in Saugatuck, MI and Highpoint Center for
respected, feared, ignored, disregarded, exciting) aspect of this exhibition. This show showcase artwork created by artists who demonstrate the critical and widespread landscape printed directly from part of the Printmaking.
and adored. We identify with animals; we features over 45 prints made by 33 artists participated in our ACCESS/PRINT teen presence of printmaking in Oaxaca. Utilizing landscape.
personify them using their traits to reflect from across the United States, and includes mentorship program, as well as prints print as an opportunity to unite their practice The prints featured in this exhibition The print’s content, which form a longer
our behavior metaphorically. While we treat work from renowned artists such as Hung Liu created by K-12 students who worked with and voice, the artists in this exhibition span more than ten years of creativity. Some poem, imagines the personification of
certain species like products, we share our and Nicole Eisenman, as well as work from Highpoint over the past year. connect around a shared desire to critique of Eileen’s earliest sugarlift aquatints from chronic pain as someone knocking at the
homes (and lives) with others. Assembled Midwestern artists such as John Hitchcock, ACCESS/PRINT: A free mentorship and communicate the rapid transformations a decade ago share the walls with prints door, slowly budging inward, invading one’s
according to a single thematic rule, this Emily Arthur, and Oscar Gillespie. Curated by program that hosts 8 –10 outstanding of their territory, city, and home. For the made within the last 6 months. Juxtaposed space. The prints themselves, which feature
exhibition of prints surveys the complexity Josh Bindewald, Director of Artist Programs at teen artists each school year. Each teen Record challenges the limits of the medium together, they demonstrate Eileen’s progress text writhing outward from the platemark
of our relationship with animals — it’s not Highpoint. receives over 70 hours of studio access and stemming from possibilities provided by with intaglio processes and the use of color. and onto the borders of the print, reflect the
just laudatory pet portraits! Each featured instruction in the printmaking arts to create language, playing with the translation and intrusion referenced in the poem. The prints
image contains an animal, animals, or animal a body of work that they can be proud of. definitions of print from English (printmaking use poetry, but also the logic and material of
imagery as a major component. Beyond LOOK/SEE: This year will feature work — an artistic process) to Spanish (grabado printmaking, to show a poetic reflection on
that, variations on the theme represent from 5th grade students at Burroughs — recorded or engraved). Based in Oaxaca’s the intrusion of pain into everyday life.
all manner of our interspecies interaction Community School and Nellie Stone comprehensive, historical and often quite
ranging from commentary condemning Johnson Community school as part of an fluid relationship to the discipline, this
the commodification of living creatures to environmental education program developed exhibition allows artists and viewers alike to
reverential depictions of companionship. with funds from Hennepin County Green reexamine their relationship to the practice
Partners. of printmaking.
HIGHPOINT CENTER FOR PRINTMAKING PRESSTIME SPRING/SUMMER 2022 HIGHPOINTPRINTMAKING.ORG
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Highpoint’s Current Members:
Thank you!
As of January 15, 2022
Christopher Scott Massey and Margot and Alex Rosenstein Samuel and Cynthia Orbovich Pamela Sullivan Camille Tilley Jocelyn Hale and Glenn Miller
Dirk Nicholson Richard Scott and Larry Redmond Anda Tanaka Jerry and Margarite Vallery Charitable Fund of The
Rachel and Michael McGarry Dale Vanden Houten Mason Riddle Tina Tavera Bethany Whitehead Minneapolis Foundation
Carla McGrath and Cole Rogers Christopher Stevens Michael and Tamara Root Noelle Worstman Jody Williams John and Laura Taft Charitable
Lisa Michaux David C. Warner Martha Ruddy Natalie Wynings Karen Wirth Gift Fund of The Minneapolis
Laura and Charles Miller Frank and Frances Wilkinson Chip and Trish Schilling Ivan Zassavitski Katherine Wolf Foundation
Timothy and Deborah Moore Marc Schwartz Marni Kaldjian Maran Wolston Julia Kaemmer Fund of HRK
Carl and Patricia Nanoff First Edition ($100 – 249) Patty Scott and Ray Newman Sara Tonko Katharine L. Kelly Revocable Trust
Todd Norsten and Leslie Cohan Colleen Sheehy Keisha Williams Foundation and Corporate Donors Longview Foundation
Gary and Christine Park Fred Aden and Hal Chader Michael Sommers and Susan Haas Jodie Ahern McKnight Foundation
Collector Members ($1,000+) Lucy Mitchell Anne and Bill Parker Rebecca Alm Cathy and Mike Spengler Hend Al-Mansour Acheson Peterson Louise Fund Mersky Family Foundation
David Moore, Jr. and Leni D. Moore John Rasmussen and Tom Arneson Justin Terlecki Christopher Alday Addicks Hoch Fund Minnesota State Arts Board
Darren Acheson and Sheila Morgan Megan McCready Megan and Erik Bakke Sigurd and Sissy Ueland Margaret Anderson Kelliher of The Minneapolis Foundation Nivin and Duncan MacMillan
Dr. Carol Brooke Peterson Lyz Nagan and Doug Powell Paul and Mary Reyelts Rebecca Biderman and David Fraher Andrew and Megan Ulland Ron and Terry Barczak Andrew Duff Charitable Fund Foundation
Lynne Allen Wendy Nelson James Rustad Josh Bindewald and Sarah Guse Martin and Lora Weinstein Julie Baugnet Art and Martha Kaemmer Fund Park Family Charitable Fund
Celita and Eric Levinson Sandra Nelson and Larry Lamb Jan Shoger and Tim Lloyd Lynn Bollman Josh Winkler and Rachel James Kristin and Jim Bickal of the HRK Foundation Peravid Foundation
Jeanine and Zachary Holden Stuart and Kate Nielsen Jeffrey and Helene Slocum John Briel and Bojan Manojlovic Ellen Wold Nancy and Patrick Bolan Blanks Family Fund Peregrine Capital Management
Elizabeth Andrus and Michael Peterman and David Wilson Carolyn Swiszcz and Wilson Webb Herbert and Katherine Cantrill Elizabeth Wray and Gary Hittle Richard Bonk of The Minneapolis Foundation Prospect Creek Foundation
Dr. Roby Thompson Jennifer and Charles Phelps Carolyn Taylor Pamela Carberry and Brian Wynings Alexandra Buffalohead Bockley Brothers Family Fund of Pugsley Fund of the HRK
Bruce and Martha Atwater Brian Pietsch Nancy Warner Eduardo Ehrenwald Ben Capp the Minneapolis Foundation Foundation
Beth Bergman Charles Pohlad Christine Watkins Elizabeth Childs Supporting ($30 – 99) Keith Christensen Brent and Mitzi Magid Charitable R.E. Swager Family Foundation
Sally and Maurice Blanks Alan Polsky Sharon Zweigbaum Wendy and David Coggins Rick Cucci Fund Rehael Fund of the Minneapolis
Todd Bockley Thomas Rassieur and Barbara Sarah Crump Zac Adams-Bliss Elaine DeStigter Butler Family Foundation Foundation
Colleen Carey and Pamela Endean Steiner Limited Edition ($250 – 499) Thom Dahlgren Megan Anderson Mary Esch Cantrill Family Fund of Fidelity Ritz Family Foundation
Ben and Joanne Case Darin and Laura Rinne John and Linda Danielson Nancy Ariza Erik Farseth Charitable Rose Francis Foundation
Ellie Crosby John and Lois Rogers Mark Addicks and Tom Hoch Marjorie Devon Levi Atkinson Michael Ferut Carol and Aaron Mack Fund Rosemary and David Good Family
John Cullen and Joseph Gibbons Joanne and Jonathan Rogoff Zoe Adler Michael DiBlasi Megan Bakke Louise Fisher of Schwab Charitable Foundation
Toby and Mae Dayton Jeff Ross Roberta and Bradley Allen Beth Dorsey Jessica Bibeau Dorothy Goldie and Ralph Schwartz Cathy Ryan and Doris Engibous Sawmill Private Management
Megan Dayton Cathy Ryan and Doris Engibous Karl and Rosemarie Bethke Steven and Christine Dwyer Savannah Bustillo Eric Gustin Charitable Fund Scott and Sarah McMullin of
Martha Dayton and Thomas Nelson Joel Saiki James Boyd Brent Diana Eicher Craig Daniels Janie Hanson Chichi Steiner and Tom Rassieur Fidelity Charitable
Lisa and Pat Denzer Richard and Claudia Swager Margaret Bussey and Michael Jil Evans and Charles Taliaferro Claudia Danielson Susan Hensel Charitable Fund Steve Miles and Joline Gitis
Mary Lou Detwiler John and Laura Taft Sherman Anne Feicht Don Dickinson Janet Higgins Cochineal Charitable Trust Charitable Fund
Mary Dolan Clara Ueland and Walter McCarthy John and Claire Butler Kaitlin Frick Gabi Estrada Susan Huhn-Bowles Cornerstone Group Target Foundation
Siri Engberg and Marty Broan Jerry Vallery and Teresa Tarquino- Mary Ceruti and Jack Hecker Joline Gitis and Steve Miles Sarah Evenson David Jones and Marilyn Propp David A. Wilson Fund Thomas C. and Mary S. Detwiler
Gretchen and Doug Gildner Vallery Kristin Cheronis Toni Glotter Tyler Green Robert Kieft of the Minneapolis Foundation Fund
Rosemary and David Good Michael Walstrom and Kerri Blevins Jonathan and Jennifer Crump Heidi Goldberg Nancy A Johnson Orrin and Janie Kirschbaum David and Leni Moore Family Tim Grady and Catherine Allan
Sally Gordon and Gallen Benson Susan and Rob White Heather Delisle David Hartwell Mara Jones Marie Klepinski Foundation of the Minneapolis Fund of The Minneapolis
Elly Dayton Grace Margaret Wurtele Margaret Flanagan Denise and Marshall Hertz Monique Kantor Therese Krupp Foundation Foundation
Nina Hale and Dylan Hicks Kathleen Fluegel Dorothy J. Horns and Erin Leon Anne Landreman Dorothy J. Horns and Universal Framing
Nor Hall and Roger Hale Special Edition ($500 – 999) Joyce Gordon James P. Richardson Regina Levin Cyndi Maas James P. Richardson Family Wet Paint Inc.
Randy Hartten and Ron Lotz Jay Grimm Stephanie Hunder Jeremy Lundquist Mary McDunn Foundation of Schwab Charitable
Rob and Alyssa Hunter Carol and Judson Bemis Ann and David Heider Justin Israels Jon Mahnke Douglas and Maggie Nathan Dr. John C. and Searcy T. Lillehei
Jay and Cynthia Ihlenfeld Joe and Karen Besasie Wendy Holmes and David Frank Ann Jennings Mike Marks Dirk Nelson Fund of Schwab Charitable
Rob Jeddeloh and Peter Krembs Lynnette Black Kent and Eunice Kapplinger Jennifer and David Kennedy-Logan Emily Marsolek Julia Niessan Elizabeth Andrus Fund of the
David Johnson and Daniel Avchen John and Debby Christakos Anne Labovitz and Bill Gamble Kristin Kewitsch Benjamin Merritt Susan Nyhus Minneapolis Foundation
Gloria Kaull Joan Dayton Mari and Tom Lowe Martha and Michael Koch Austin Nash Margaret Palaskas Eric and Celita Levinson Fund
Katharine Kelly Kathy and Steve Gaskins Brent and Mitzi Magid Christine Kraft and Nelson Capes Ryan Gerald Nelson Gwen Partin of Fidelity Charitable
Lyndel and Blaine King Jocelyn Hale and Glenn Miller Jeff Mandel Josh Kreibich Sydney Petersen Carolyn Payne Four Fours Fund
Rebecca Lawrence and Mary Ingebrand-Pohlad Deborah McKnight Sarah and Jonathan Lebedoff Bethany Richards Natasha Pestich Frances and Frank Wilkinson Fund
Highpoint Center for Printmaking is a fiscal year 2022
Richard Thompson Thomas Johns and Kim and Tim Montgomery Harriet Lievan Eileen Rieman-Schaut Jeremy Piller of Schwab Charitable recipient of a general operating grant from the Minnesota
Searcy and John Lillehei Julie Gillette Johns Clarence Morgan David and Peggy Lucas Amy Sands Stephanie and John Potter Gaskins Larson Charitable Fund State Arts Board. This activity is made possible by the
Diane and David Lilly Sally Johnson Karl Nelson Charles Lyon, II and Rebecca Lyon Gaylord Schanilec Douglas Ross of Schwab Charitable voters of Minnesota through a Minnesota State Arts
Board operating support grant, thanks to a legislative
Nivin MacMillan Dennis Michael Jon Meg Nord and Paul Kaldjian Dan and Caroline Mason Kurt Seaberg Tariq Samad Greystone Foundation
appropriation from the Arts and Cultural Heritage Fund.
Jennifer Martin Jim and Jane Kaufman Brian and Julia Palmer Bill and Mary McGill Ruby Sevilla John Saurer and Christie Hawkins Harlan Boss Foundation for the Arts
Damu McCoy and Nicole France Michelle Klein John Pearson and Earl Gutnik Heather McQueen Lila Shull Emily Shapiro Hennepin County Green Partners Funding provided in part by a grant from the Minnesota
State Arts Board, through an appropriation by the MN
Sarah and Scott McMullin Ricka and Joshua Kohnstamm Elizabeth Redleaf Aaron Merrill and Masami Kawazato Grace Sippy Rae Spencer Jane and Jim Kaufman Fund of the
State Legislature, a grant from the National Endowment
Don McNeil and Emily Galusha Reid and Ann MacDonald Michael Robins Sarah Nettleton Nicole Soley Sheila Summerfield Minneapolis Foundation for the Arts, and private funders.
Bob and Mary Mersky Aaron and Carol Mack Thomas and Mary Rose Donald and Nancy Nord Alysia Steingart Lucy Thompson Jerome Foundation
912 West Lake Street
Minneapolis, Minnesota 55408
612.871.1326
highpointprintmaking.org
ADDRESS SERVICE REQUESTED
Mission: Highpoint Center for Printmaking is dedicated to advancing the art of printmaking.
Its goals are to provide educational programs, community access, and collaborative publishing
Carla McGrath
opportunities to engage the public and increase the appreciation and understanding of the
printmaking arts.
Education Fund
Non-discrimination policy: Highpoint Center for Printmaking provides equal opportunity
and access to its facilities and programs to all individuals regardless of race, national origin,
color, gender, age, beliefs, sexual orientation or disability in admission, access or employment.
Thank you to the supporters of the Carla McGrath Education Fund,
in honor of her 20 years of service as HP’s co-founder and Executive
Interim Executive Director Artistic Director & Master Printer
Patricia Wilder Cole Rogers Director. It is because of your generosity that our educational and
community programs will continue and flourish.
Board of Directors Zoe Adler Michelle Klein
Colleen Carey (Chair) Rebecca Lawrence Carol and Judson Bemis Rebecca Lawrence and
President Associate General Counsel
Cornerstone Group D.A. Davidson
Joe and Karen Besasie Richard Thompson
Sally and Maurice Blanks Jennifer Martin
Jerry Vallery (Vice Chair) Sarah McMullin
Todd Bockley Sarah and Scott McMullin
Category Advisor VP Apparel Sourcing
Newell Brands Target Alex Buffalohead Lucy Mitchell
Colleen Carey and Pamela Endean Kim and Tim Montgomery
Neely Tamminga (Treasurer) Jennifer Phelps
CEO Director
Mary Ceruti and Jack Hecker Clarence Morgan
DISTILL Burnet Fine Art & Advisory John Cullen and Joseph Gibbons Sheila Morgan
Mae, Toby, Scott, and Joan Dayton Monica and David Nassif
Michelle Klein (Secretary) Cathy Ryan
Chief of Staff Printmaker and Book Artist Martha Dayton Stuart and Kate Nielsen
Minneapolis Institute of Art Siri Engberg and Marty Broan Michael Peterman and
Keisha Williams
Alexandra Buffalohead Curatorial Dept. Assistant
Kathleen Fluegel David Wilson
Arts and Cultural Engagement Manager & Artist Liaison in Contemporary Art Sally Gordon and Gallen Benson Jennifer and Charlie Phelps
NACDI • All My Relations Gallery Minneapolis Institute of Art Elly Dayton Grace Alan Polsky
David W. Johnson Jocelyn Hale and Glenn Miller Thomas Rassieur and
Human Resources Randy Hartten and Ron Lotz Chichi Steiner
Target Rob and Alyssa Hunter Darin and Laura Rinne (Wet Paint)
Mary Ingebrand-Pohlad Cole Rogers
Highpoint Center for Printmaking is a fiscal year 2022 recipient of a general
Rob Jeddeloh and Peter Krembs Cathy Ryan and Doris Engibous
operating grant from the Minnesota State Arts Board. This activity is made David Johnson and Daniel Avchen Carolyn Swiszcz and Wilson Webb
possible by the voters of Minnesota through a Minnesota State Arts Board
operating support grant, thanks to a legislative appropriation from the Arts and Dennis Michael Jon Neely Tamminga
Cultural Heritage Fund.
Katharine Kelly Cindy Theis
Funding provided in part by a grant from the Minnesota State Arts Board, Amy and Mitch Kern Jerry Vallery
through an appropriation by the MN State Legislature, a grant from the National
Endowment for the Arts, and private funders.
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