{"id":70,"date":"2021-04-23T14:12:38","date_gmt":"2021-04-23T19:12:38","guid":{"rendered":"https:\/\/exhibitions.lib.udel.edu\/problem-solving-highlights-from-the-experimental-printmaking-institute\/?page_id=70"},"modified":"2024-07-30T16:37:50","modified_gmt":"2024-07-30T21:37:50","slug":"large-side-gallery","status":"publish","type":"page","link":"https:\/\/exhibitions.lib.udel.edu\/problem-solving-highlights-from-the-experimental-printmaking-institute\/home\/large-side-gallery\/","title":{"rendered":"Large Side Gallery"},"content":{"rendered":"\n
\"Photograph<\/a><\/figure>\n\n\n\n
<\/div>\n\n\n\n
\n
\"Photograph<\/a>
#7, #8<\/figcaption><\/figure>\n\n\n\n
\"Photograph<\/a>
#8, #9<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

7.
John E. Dowell, Jr. (b. 1941)
2B+C\/Tomorrow<\/strong>
1983
Offset lithograph
Museums Collections, Gift of Brandywine Workshop, Philadelphia, PA  <\/p>\n\n\n\n

Philadelphia-native John E. Dowell Jr. has been a professional photographer, painter, and printmaker for over four decades. Between 1970 and the early 1990s, a driving force in Dowell\u2019s art was his endeavor to interpret jazz music visually. In a 2004 interview, he said, \u201cI became aware that in jazz music, it was not just the notes but the intervals between them that become important.\u201d 2B+C\/Tomorrow<\/em> evokes time and music through its sparse articulation of marks in various sizes and colors across the blank space of the paper. <\/p>\n\n\n\n

<\/div>\n\n\n\n

8.
Sam Gilliam (b. 1933)
1981-82 An Installation \u2013 Large <\/strong>
1981
Silkscreen
Museums Collections, Gift of Brandywine Workshop, Philadelphia, PA  <\/p>\n\n\n\n

Although Sam Gilliam is best known for his\n\u201cdrape\u201d paintings \u2013 unstretched canvases colored with vibrant pigments and then\nhung as three-dimensional, site-specific installations \u2013 his printmaking\nexperiments have produced some of the most compelling works of his fifty-year\ncareer. In the 1980s, he collaborated with artists at the Brandywine Workshop\nto create works such as 1981-82 An\nInstallation \u2013 Large <\/em>and Untitled<\/em>.\nThe assemblage techniques and the layered manipulation of color and abstract\nforms in Untitled <\/em>prefigures the work\nthat Gilliam would pursue during his tenure at the EPI. <\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\"Photograph<\/a>
#9, #10<\/figcaption><\/figure>\n\n\n\n
\"Photograph<\/a>
#11,#12<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

9.
Sam Gilliam (b. 1933)
Untitled<\/strong>
1987
Assemblage
Museums Collections, Gift of Brandywine Workshop, Philadelphia, PA  <\/p>\n\n\n\n

<\/div>\n\n\n\n

10.
Sam Gilliam (b. 1933)
Barnett II<\/strong>
2007
Serigraph, etching, and lithograph
Museums Collections, Gift of Experimental Printmaking Institute, Lafayette College<\/p>\n\n\n\n

Although Sam Gilliam is best known for his drape paintings \u2013 unstretched canvases colored with vibrant pigments and then hung as three-dimensional, site-specific installations \u2013 his printmaking experiments have produced some of the most compelling works of his fifty-year career. The assemblage techniques and the layered manipulation of color and abstract forms in Untitled <\/em>prefigures the work that Gilliam would pursue during his tenure at the EPI.<\/p>\n\n\n\n

Sam Gilliam first visited the EPI in 1997 and renewed his interest in printmaking that combines diverse media and methods within a single work of art. He reprised his techniques for cutting, folding, ripping, and remaking works on paper in \u201cBarnett,\u201d a portfolio of seven prints he made at the EPI in 2007. The two works shown here are the first and last prints in that series. They combine serigraphy, etching, and lithography through layers of collage, folds, colors, and handprints. As the series progresses sequentially, the prints expand into the final form seen in Barnett<\/em>.<\/p>\n\n\n\n

Gilliam\u2019s additive process of printmaking exemplifies the problem solving that takes place at the EPI. In a 2016 interview, Gilliam remarked, \u201cIf you are concerned about whatever it is you want to do, you dream about it. You wake up in the morning and you\u2019ve got a solution. You work it out. There is always tomorrow.\u201d[2]<\/sup><\/p>\n\n\n\n

\n\n\n\n

[2] Jennifer Samet, \u201cBeer with a Painter: Sam Gilliam,\u201d Hyperallergic<\/em> (March 19, 2016). Accessed online on May 7, 2018: https:\/\/hyperallergic.com\/284543\/beer-with-a-painter-sam-gilliam\/<\/a><\/p>\n\n\n\n

<\/div>\n\n\n\n

11.
Sam Gilliam (b. 1933)
Barnett <\/strong>
2007
Serigraph, etching, and lithograph
Museums Collections, Gift of Experimental Printmaking Institute, Lafayette College<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\"Photograph<\/a>
#12,#13,#14<\/figcaption><\/figure>\n\n\n\n
\"Photograph<\/a>
#14,#15<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

12.
Kevin Cole (b. 1960)
Silent Dreams for Nia<\/strong>
2011
Embossment
Museums Collections, Gift of Experimental Printmaking Institute, Lafayette College<\/p>\n\n\n\n

At first glance, these two works by the artist and art educator Kevin Cole seem worlds apart. His Silent Dreams for Nia <\/em>is an embossed print that is entirely without color and that consists of a single piece of paper pressed through raised and recessed dies to create a pattern. Dreams over Memories <\/em>from his Tie Series<\/em>, by comparison, is a three-dimensional sculpture constructed by cutting and weaving woven strips of brightly colored, richly embellished prints. In these works, made nearly twenty years apart, the artist explores and revisits questions about how various media can be manipulated to create projections into space.<\/p>\n\n\n\n

Printmaking is traditionally a two-dimensional artistic process, but in Dreams over Memories<\/em>, Cole uses prints to construct abstract sculptures. During his tenure at the EPI, Cole explored other printmaking methods for creating three-dimensional art. The embossed surface and abstract forms in his Silent Dreams for Nia<\/em> prompts the viewer to examine the print from different angles and in varying light. The print becomes near-sculptural in its embodiment of space beyond the flat surface of a sheet of paper. The two works share a common visual language in the expression of forms across three-dimensional surfaces and in each work, Cole has disrupted the traditional category of printmaking, but to radically different ends.<\/p>\n\n\n\n

<\/div>\n\n\n\n

13.
Kevin Cole (b. 1960)
Dreams Over Memories (Tie Series)<\/strong>
1992
Offset lithograph and collage
Museums Collections, Gift of Brandywine Workshop, Philadelphia, PA  <\/p>\n\n\n\n

<\/div>\n\n\n\n

14.
Benny Andrews (1930 \u2013 2006)
Sorrow<\/strong>
1994
Offset lithograph and collage
Museums Collections, Gift of Brandywine Workshop, Philadelphia, PA  <\/p>\n\n\n\n

<\/div>\n\n\n\n

15.
Benny Andrews (1930 \u2013 2006)
Blues Player<\/strong>
2006
Etching
Museums Collections, Gift of Experimental Printmaking Institute, Lafayette College<\/p>\n\n\n\n

In these two\nprints by Benny Andrews, the artist explores themes of spirituality, suffering,\nand grief. In Sorrow<\/em>, Andrews\nmanipulates the lithographic process to evoke his memories of the sparse\nlandscape of rural Georgia, where he was born. Andrews is responding to a long\nartistic tradition of presenting a figure in mourning as an icon of sorrow, but\nthat tradition is reimagined here to reflect the experiences of\nAfrican-Americans in the Deep South. Blues\nPlayer <\/em>reprises the imagery of the graveyard and the artist\u2019s talent for\ndrawing translates beautifully in the etched print, which prioritizes line over\nthe modeling of form. <\/p>\n\n\n\n

Andrews moved to New York City and rose to prominence as an artist in the 1960s. In 1969, he co-founded the Black Emergency Cultural Coalition (BECC)<\/a>, an organization that protested the Harlem on My Mind<\/em> exhibition at the Metropolitan Museum of Art. The show purported to explore the history of Harlem in the twentieth century, but included no works of art by black artists. Andrews led a group of seventy-five artists who picketed the exhibition with signs that read, \u201cHarlem on Whose Mind?\u201d and who called out practices of racial exclusion at other institutions such as the Whitney Museum of American Art and the Museum of Modern Art. <\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\"Photograph<\/a>
#16,#17<\/figcaption><\/figure>\n\n\n\n
\"Photograph<\/a>
#18,#19<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

16.
Allan L. Edmunds (b. 1949)
HFA V<\/strong>
2004
Serigraph and collage
Museums Collections, Gift of Experimental Printmaking Institute, Lafayette College<\/p>\n\n\n\n

HFA V <\/em>was produced as part of the \u201cFamily Album\u201d series that Allan L. Edmunds\nbegan in the 1980s and expanded during his residency at the EPI in 2004.\nEdmunds layers photographs from his own family archives with his mother\u2019s\nhandwritten notes and the resulting print exemplifies his collaborative and multimedia\nmethods, his narrative style, and his use of varied mark-making techniques. <\/p>\n\n\n\n

<\/div>\n\n\n\n

17.
Allan L. Edmunds (b. 1949)
Irving Fryar<\/strong>
1997
Offset lithograph
Museums Collections, Gift of Brandywine Workshop, Philadelphia, PA  <\/p>\n\n\n\n

The artist Allan L. Edmunds is the founder\nand executive director of the Brandywine Workshop, a Philadelphia arts\norganization established in 1972.\nEdmunds\u2019 acclaimed work as a printmaker complements his professional efforts to\nensure the creation, documentation, and preservation of work by culturally\ndiverse American artists. <\/p>\n\n\n\n

Irving Fryar <\/em>is an example of the offset lithographic techniques he developed\nthrough experimentation and collaboration with John E. Dowell Jr., whose work\nis also on view in this gallery. The print exemplifies Edmunds\u2019 style in its\nincorporation of photography, computer-generated images, and painterly strokes\nof color.<\/p>\n\n\n\n

<\/div>\n\n\n\n

18.
John E. Dowell, Jr. (b. 1941)
The Bridge<\/strong>
2004
Serigraph
Museums Collections, Gift of Experimental Printmaking Institute, Lafayette College<\/p>\n\n\n\n

Philadelphia-native John E. Dowell Jr. has been a professional photographer, painter, and printmaker for over four decades. Between 1970 and the early 1990s, a driving force in Dowell\u2019s art was his endeavor to interpret jazz music visually. In a 2004 interview, he said, \u201cI became aware that in jazz music, it was not just the notes but the intervals between them that become important.\u201d[3]<\/sup> Philadelphia Song<\/em> evokes time and music through its sparse articulation of marks in various sizes and colors across the red background of the print.<\/p>\n\n\n\n

During his residency at the EPI, Dowell experimented with serigraph techniques to produce prints such as The Bridge<\/em>, which, like Philadelphia Song<\/em>, evokes sound. In this case, city sounds are made visible through the layering of a photograph of bridges crossing the Chicago River with a heavily worked frame and painterly marks made directly over the image. The print combines the aerial city views that characterize Dowell\u2019s recent work with his painterly approach to experimental printmaking.<\/p>\n\n\n\n

\n\n\n\n

[3] Kim Sajet and Howardena Pindell, The chemistry of color: African-American artists in Philadelphia, 1970-1990 <\/em>(Philadelphia, PA: Pennsylvania Academy of the Fine Arts, 2005), 54.<\/p>\n\n\n\n

<\/div>\n\n\n\n

19.
John E. Dowell, Jr. (b. 1941)
Philadelphia Song <\/strong>
1981
Color intaglio
Museums Collections, Gift of Paul R. Jones<\/p>\n","protected":false},"excerpt":{"rendered":"

7.John E. Dowell, Jr. (b. 1941)2B+C\/Tomorrow1983Offset lithographMuseums Collections, Gift of Brandywine Workshop, Philadelphia, PA  Philadelphia-native John E. Dowell Jr. has been a professional photographer, painter, and printmaker for over four decades. Between 1970 and the early 1990s, a driving force in Dowell\u2019s art was his endeavor to interpret jazz music visually. In a 2004 interview, […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":47,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"page-exhibition.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-70","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/exhibitions.lib.udel.edu\/problem-solving-highlights-from-the-experimental-printmaking-institute\/wp-json\/wp\/v2\/pages\/70"}],"collection":[{"href":"https:\/\/exhibitions.lib.udel.edu\/problem-solving-highlights-from-the-experimental-printmaking-institute\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/exhibitions.lib.udel.edu\/problem-solving-highlights-from-the-experimental-printmaking-institute\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/exhibitions.lib.udel.edu\/problem-solving-highlights-from-the-experimental-printmaking-institute\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/exhibitions.lib.udel.edu\/problem-solving-highlights-from-the-experimental-printmaking-institute\/wp-json\/wp\/v2\/comments?post=70"}],"version-history":[{"count":23,"href":"https:\/\/exhibitions.lib.udel.edu\/problem-solving-highlights-from-the-experimental-printmaking-institute\/wp-json\/wp\/v2\/pages\/70\/revisions"}],"predecessor-version":[{"id":204,"href":"https:\/\/exhibitions.lib.udel.edu\/problem-solving-highlights-from-the-experimental-printmaking-institute\/wp-json\/wp\/v2\/pages\/70\/revisions\/204"}],"up":[{"embeddable":true,"href":"https:\/\/exhibitions.lib.udel.edu\/problem-solving-highlights-from-the-experimental-printmaking-institute\/wp-json\/wp\/v2\/pages\/47"}],"wp:attachment":[{"href":"https:\/\/exhibitions.lib.udel.edu\/problem-solving-highlights-from-the-experimental-printmaking-institute\/wp-json\/wp\/v2\/media?parent=70"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}