Art Lies, Volume 46, Spring 2005 Page: 48
120 p. : ill. (some col.) ; 28 cm.View a full description of this periodical.
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Michael Ray Charles, Black Cats Go Off, 1994
Etching and lithograph with linocut, blind embossment,
pouchoir and hand coloring
Edition of 50
30 x 22 inches
Image courtesy Flatbed Press4.
-Complex area, helped spawn another collaborative shop. In
1991 Kathleen Baker Pittman and Le Green opened Stonemetal
Press. Stonemetal is an open shop operating as a non-profit,
offering an ambitious program that includes contract printing,
classes in printmaking and the book arts, as well as an annual,
juried exhibition of prints. Collaborating artists have included
Luis Jimenez, Arlene Polite and Vincent Valdez.
Recent Developments
In the late 1990s, Mike Simms brought his Lawrence Lithography
Workshop from Lawrence, Kansas, to El Paso, establishing a
welcome if brief print bulkhead in the far west. Before moving
to Kansas City, Simms made several editions with one of the
state's finest artist/printmakers, Luis Jimnez.
The Print Research Institute of North Texas, officially
founded in 1993, has become increasingly respected for its
collaborations. P.R.I.N.T.'s founding director and master
printer is Tamarind-trained Catherine Chauvin, assisted
by student printers and administrator Natalie O'Brien. Like
Graphicstudio in Tampa and Tandem Press at the University
of Wisconsin, Madison, P.R.I.N.T. is only partially subsidized by
its host institution, The University of North Texas in Denton.
Print sales must furnish the rest of their operational budget,
but the university's support allows the shop to encourage art-
ists in experimental efforts without an overbearing concern for
the market. This approach is also similar to that of UT Austin's
G.A.P.P, but PR.I.N.T. has greater staff support and a facility
separate from the university's teaching labs.
P.R.I.N.T.'s goal is to invite established regional, national
and international artists, as well as emerging ones. Current
Visiting Artist Paul Booker [see page 58] from Dallas is work-
ing on an installation-oriented edition. Other artists who have
created editions with Chauvin include Enrique Chagoya,
Terry Allen, Helen Altman, Annette Lawrence, Dan Rizzie,
Jane Quick-to-See Smith and James Surls. Also in P.R.I.N.T.'s
collection are editions by Lynda Benglis and William T. Wiley.
P.R.I.N.T. has recently become a significant player in the Texas
print world and shows much promise for the future.
Several smaller shops have cropped up as well. Madcap
Press was established in Houston in late 2004 by Patrick and
Denise Masterson; Patrick is a Rhode Island School of Design
printmaking MFA and former printer at Flatbed. The shop,
located in The Houston Foundry, includes a lithographic press
and will soon add an intaglio. Two recent graduates of Karen
Kunc's MFA program at the University of Nebraska, Lincoln,
Kyle Olsen and Brian Curling, recently established their GO
Art Studio in Seguin, thirty minutes east of San Antonio.
It is a contract shop specializing in traditional processes, let-
terpress, and other fine-art services. New shops in the greater
Dallas area include Panic Press, associated with Gray Matters
Gallery, and 416 West in nearby Dennison.
A Few Conclusions
Although the aesthetic of the prints published, collected and
exhibited in Texas is now derived globally, there are certain
characteristics of the scene that are distinctly Texan. For
example, Janet Flohr of Hare & Hound points out that the pro-
fessional printmaking community in Texas tends to be coop-
erative and noncompetitive as compared to shops in the48 ARTL!ES Spring 2005
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Bryant, John & Gupta, Anjali. Art Lies, Volume 46, Spring 2005, periodical, 2005; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth228011/m1/50/: accessed April 24, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; .