Mixit Artist Biographies
Aparna Agrawal brings a sensibility from her South Asian heritage to her sculptures, installations, and works on paper. Viewers speak of the quiet, restraint, and longing in the gesture of her sculptures; the translucence, light, and color in her works on paper; and the collaborative and celebratory nature of her installations and sound works.
“The richness of color and bustling activity of life in India were unforgettable for me as a young girl,” Ms. Agrawal remembers. “I was surrounded by hand-made objects – paintings, textiles, jewelry, pottery, decorative foods – in our homes, outdoor terraces, and even on the streets. In India, these objects have long been valued as both an artistic expression and as part of everyday domestic life. I began making my own toys, games, crafts, and pastries for ever-present rituals. I remember the pleasure of using and creating with my hands, and it became my instinct.”
Ms. Agrawal has received a New England Foundation for the Arts grant for works on paper, and her work is in multiple private collections. She has worked at the Boston Museum of Fine Arts, been an artist-in-residence in various schools and museums and currently teaches visual art in an independent school. Ms. Agrawal attended the University of Michigan and the School of Museum of Fine Arts. She resides in Cambridge, MA with her husband and son and maintains at a studio at the Vernon Street Studios in Somerville, MA.
Jan Arabas has always been interested in the natural world. When she discovered Japanese Sumi-e painting and monotype printmaking she found a way to set down on paper the forms of plants and animals that she finds most compelling—horses running at speed and spruce trees reaching for the sun. Birds and lotuses, stags and sweet gum seeds, have captured her imagination over the years and inspired large-scale installations of experimental prints and drawings.
Arabas’ mural sized prints have won her fellowships from the Artist’s Foundation and the National Endowment for the Arts along with numerous juror’s awards and purchase prizes. Her work is in the collections of museums and universities across the US. She received her BA in Studio Art from Binghamton University and a diploma from the School of the Museum of Fine Arts Boston. She teaches drawing, electronic imaging and printmaking at Middlesex Community College.
A trip to Cambodia as a Fulbright Hays Scholar in the summer of 2010 and a National Endowment for the Humanities award to study Southeast Asian art at the East West Center in 2011 have led to a new focus on the art and cultural traditions of the Ramayana in Arabas’ recent work. She is currently working on collaboration with a Khmer artist that will lead to a book on the shadow puppet theater of Cambodia and to an installation based on the masked dance tradition.
Peggy Badenhausen is a painter and printmaker. She received the B.A. degree from Newton College in Massachusetts, and studied at the Tyler School of Art in Rome and in Philadelphia, where she earned the M. Ed. degree. She has been active in arts organizations in Massachusetts and in Ohio; and has twice been a visiting artist at the American Academy in Rome, Italy.
Her frequent sojourns in Italy, beginning with graduate study in Rome in 1967, have been a major influence. In her work, the surface arises from a many-layered palimpsest like the accumulated layers of an ancient city’s history. Her imagery comes from the interplay of geometry and improvisation, architecture and landscape, music and dance.
Work by Peggy Badenhausen is in the permanent collections of the Fogg Art Museum, Boston College, the DeCordova Museum and Sculpture Park, and Oberlin College, as well as in private and corporate collections in the USA, Canada, Europe, Japan, and India. She is represented by Soprafina Gallery, Boston and by Andrea Marquit Fine Arts, Boston.
Thaddeus Beal left the practice of law in the mid-1980s and went to art school as an antidote. Postmodernism – newly arrived in Boston – was the last thing a recovering lawyer needed. After a brief stint as an abstract expressionist, he abandoned self-referential narrative and turned to the infinite. He immersed himself in non-linear physics and a search for wholeness that is always on the lookout for beauty.
“His work defies easy categorization. His images might suggest, at first glance, strong connections to minimalism. Yet…there is a ‘maximal’ aspect – a cosmic effulgence one associates with Hubble telescope photos or the mysterious marking of trace particles images from a laboratory cloud chamber. There is nothing minimal about references to fractals and complexity theory in the intricate marking on the layered surfaces of [his] paintings.
“Despite the cool, cerebral aspect of the images, there is the implicit human presence. One feels drawn to their warmth, as to graffiti or prison-cell markings…messages communicated with a certain urgency. This…is the attraction of Beal’s art – it reconciliation of the esoteric with the immediate; the concrete with the arcane. These images penetrate past our defenses to engage our elemental nervous system and at the same moment our highest mental considerations. Beal’s work holds out to the responsive viewer a chance to slow down, to reconsider what we take for granted and to experience our visual field as one continuously emerging with mystery and meaning.” *
Beal has won three Massachusetts Cultural Council fellowships and one New England Foundation for the Arts fellowship. His work is in the collection of the Museum of Fine Arts, Boston. In Boston, Beal in represented by Soprafina Gallery.
* Bruce Herman, Gallery Director [and brilliant artist], The Gallery at Barrington Center for the Arts, Gordon College, Wenham, MA, catalogue essay for one man show, 2009
Kim Berman is an Associate Professor in Visual Art at the University of Johannesburg and Executive Director of Artist Proof Studio (APS); a community- based Printmaking Centre in Newtown, South Africa. She received her BFA from the University of the Witwatersrand, South Africa in 1981 and her MFA from the School of the Museum of Fine Arts/ Tufts University, Boston, Massachusetts in 1989.
She initiated the Paper Prayers campaign-HIV/AIDS awareness through the visual arts from 1997, which operates out of APS as a successful income generating activity and learning program to support HIV positive women. Kim Berman received government funding in 2000 to implement a national poverty alleviation program, Phumani Paper, which still supports 10 small enterprises in hand made paper and crafts in seven provinces in South Africa. She has lectured and exhibited widely in South Africa and internationally. She completed her PhD at the University of the Witwatersrand; her thesis is entitled “Agency, Imagination and Resilience: Facilitating Social Change through the Visual Arts in South Africa” (2009).
Anne Bernard-Kearney grew up in France, the daughter of an Irish mother and a French father. She studied architecture and etching in Les Beaux-Arts of Paris from 1971 to 1978 when she graduated in architecture (DPLG).
She moved to Ireland in 1980, and joined the Graphic Studio Dublin where she printed until she moved to the United States with her husband and two daughters. She now lives in Boston where she shares her time between teaching French at Boston College and printing in Mixit Print Studio, Somerville, MA. She has had exhibitions in France, in Ireland, and participated in group exhibitions in the US.
Anne has also edited and translated six books into French (including the Nobel Poet, Seamus Heaney). One of her books, Lovers, Queens & Strangers: Strong Women in Celtic Myth (A.&A. Farmar‚ Dublin‚ 1999), a retelling of the stories of six Celtic goddesses with notes, is illustrated with five of her original etchings.
Stevie Black grew up in the woods of central New Hampshire steeped in a simple, Shaker-like philosophy at home and a strong connection to the land and its seasons.
His color sense was forged from the muted colors and long shadows of this landscape and his lifelong study of photography and Master prints; not from painting. In his print work, he adopts the forms and patterns of ornamental design; using them as the main vehicle for a more immediate, experiential, painterly exploration, rather than as a flourish on an otherwise functional object. Black received his BFA in Photography and Film Studies from Philadelphia College of Art (now University of the Arts) and worked commercially as a Cibachrome printer for galleries, museums, ad agencies and fine artists throughout much of the 80s.
He showed in many group and solo exhibitions, including at the Port of History Museum in Philadelphia and was a prize winner in a Print Club Photography Exhibition and other groups shows. In the 90s, he transitioned his art practice to being mainly about drawing, painting and installation using a limited palette and the mark-making of written language as his subject. He was a member of Vox Populi Gallery in Philadelphia and had a solo show there before returning to New England. In 2003, Black enrolled in a mixed-media printmaking course and SMFABoston with Catherine Kernan and began an intensive exploration into printmaking across many styles and processes. He joined Mixit Print Studio shortly thereafter.
Black continues making prints and other works on paper while he transitions his professional life to a career in surface and textile design. This summer will mark the second season he and his partner will be a part of the Rocky Neck Art Colony in Gloucester, MA, as they open Aquatro Gallery with their partner.
Robin Z. Boger abandoned art classes as soon as it was legally possible (9th grade in Duluth, MN) and limited her picture taking to family snapshots until she turned 50 and returned to school at the New England School of Photography. In the intervening years she raised three wonderful children and pursued a career in business and social science, receiving a B.A. from Oberlin College, an M.A. from Duke University, and an M.B.A. from the University of Chicago where she also passed her doctoral exams at the Comparative Education Center. Her primary focus was education and economic development in third world countries and her research was supported, in part, with two N.D.E.A. Title IV Fellowships.
She worked at Yale University, Abt Associates, Inc., the (Massachusetts) Executive Office of Economic Affairs, The New England Life Insurance Co. and Shawmut Bank.
In her art she continues to examine social memories and cultural norms and makes extensive use of photographs, both her own and found images. She is also interested in close seeing, using a macro lens to photograph nature, and in the exploration of various processes involving photography, digital manipulation, and printmaking.
Her work has been seen at the Center for Contemporary Printmaking in Norwalk, CT., where she won Honorable Mention in a Miniature Prints Exhibition as well as in an Annual Members’ Exhibition, and in the Frogman’s 25th Anniversary Print Portfolio Exhibition at the University of South Dakota.
Prilla Smith Brackett uses landscape to convey ideas. She is known for probing “varied landscapes to reveal hidden beauty and hard truths. Her work celebrates nature and reminds us of its fragility in the face of encroaching industrialism. Whether painting Central American jungles, New England old growth forests, or expansive mid-western skies, Brackett animates her subjects with an emotional depth. Her latest series, Dreams of Home, merges landscape with memory and nature with artifice, heightening the work’s emotive power.”
Brackett’s solo exhibitions include “Uncertain Balance,” at the National Academy of Sciences in Washington DC, “Remnants: Ancient Forests & City Trees” which traveled to 8 venues in the northeast and Midwest, and “Marking a Year” at the DeCordova Museum & Sculpture Park. She won a 2012 Finalist award in painting from the Massachusetts Cultural Council. Residencies at the Virginia Center for the Creative Arts, the Ragdale Foundation, the Millay Colony for the Arts, and the Ucross Foundation, an Earthwatch Artist award in Madagascar, and a fellowship in painting at the Bunting Institute of Radcliffe College represent other awards. Brackett’s work is in collections such as New Britain Museum of American Art, the Fogg Art Museum at Harvard, the DeCordova Museum, the Art in US Embassies Program, and the National Museum of Women in the Arts.
Born in New Orleans, Brackett has social science degrees from Sarah Lawrence College and the University of California/Berkeley, and an MFA in drawing & painting from the University of Nebraska/Lincoln. She added printmaking to her practice in 2003, and lives and works in Boston.
Sandra Butler received her Masters degree from the Massachusetts College of Art and her B.F.A. with a concentration in Printmaking from the University of Massachusetts, Amherst. In 2008 she co-founded Abrazos Press, a professional teaching and print studio in Somerville, MA, mainly for monotype, woodcut, drawing, and lithographic processes. She is also a member of the Eclipse Mill Artists Association in North Adams, MA, where she is establishing a live/work studio space in a refurbished textile mill.
She is currently a member of the visual art faculty at Milton Academy. She has also taught at the Massachusetts College of Art and Design, among other institutions. She received a Visual Artists Grant from the Somerville Arts Council and a Horizon Fund grant for study in the arts, and has held residencies at the Vermont Studio Center and Penland School of Arts and Crafts in North Carolina. Exhibitions include a solo show at the Sandra & Philip Gordon Gallery, Boston, MA and inclusion in numerous juried group shows including the 50th Annual National Print Exhibition at the Hunterdon Museum of Art in Clinton, N.J., the 29th Bradley National Print and Drawing Exhibition in Peoria, IL, The Cambridge Art Association’s National Prize show, The Creative Arts Workshop in New Haven, CT and the Eclipse Mill Gallery in North Adams, MA. Recently her work was shown in the 6th Annual Lithographic Symposium in Tidaholm, Sweden. Her work is in many private and public collections in the greater Boston area.
Rachel Atkinson Chapman is an artist and an art teacher. Her paintings, prints, and drawings explore her interest in everyday objects, textile and pattern design, Americana, and color.
Rachel attended Wesleyan University and Mount Holyoke College as an undergraduate and received a BA in Studio Art. She did post-baccalaureate work at the Corcoran School of Art and received her Master’s degree from the Massachusetts College of Art and Design with a focus in Printmaking. She has exhibited work in Washington, DC and throughout New England and has hung countless student art exhibits. Until 2010, Rachel taught art in the Winchester schools. She is currently a stay- at-home mother.
Andrea Connor (b. 1982) grew up in Massachusetts. Connor received her BFA from Pratt Institute in 2004 and began working as a printmaker for Brand X Editions in New York City. There, under the tutelage of master printmakers, she learned how to draw hundreds of silkscreen separations before moving to Boston to establish a studio practice of her own. Once in Boston, Connor joined the Mixit Print Studio.
Connor received her MFA from the New York Academy of Art in New York City in 2009. She continues to make prints and drawings and show her work in New York and Boston. She currently lives and works in New York.
Bevil Conway is an artist, an Associate Professor of Neuroscience at Wellesley College, and a Lecturer on Neurobiology at Harvard Medical School. His research examines the neural basis for visual behavior, with a particular focus on color, and investigates the relationship between visual processing, visual art and art practice. His artwork explores a range of topics and themes including the limits of visualization, cultural metamorphosis, and concepts of beauty and the sublime.
Bevil, a native of Zimbabwe and a transplant first to Canada and then to Cambridge MA, did his undergraduate at McGill University, a Masters of Medical Sciences at Harvard Medical School, and a PhD in Neurobiology at Harvard University working with Margaret Livingstone and David Hubel. Bevil has held fellowships from the Harvard Society of Fellows, the Alexander von Humboldt Foundation, and the Radcliffe Institute for Advanced Study at Harvard. His research has been supported by grants from the Whitehall Foundation and the National Science Foundation.
Conway has authored over two dozen articles and one book, Neural Mechanisms of Color Vision (Kluwer, 2002). In addition, he has written and lectured on the intersection between visual neuroscience and visual art, including talks at Harvard’s Mind Brain and Behavior Institute, M.I.T., the Columbus College of Art and Design, Lyme Academy of Fine Art, the Electric Power and Research Institute, the Metropolitan Museum of Art (NY), and the Brooklyn Museum of Fine Art (NY). His research is widely cited in the research literature and has been reviewed in the popular press by the Boston Globe, the New York Times and Scientific American. In addition, his artwork has been published in several books, including Vision and Art (Abrams, 2002) and Brain and Visual Perception (Oxford University Press, 2005), and is held in collections at the Fogg Museum (Cambridge, MA), and in many private collections in Canada, America, South Africa and the United Kingdom.
Philippa Edwards Cully was born in London, England in 1970 and currently lives and works in Southern Vermont. She received a BA/BFA combined degree from Tufts University and the School of the Museum of Fine Arts in Medford and Boston, MA.
While at the Museum School, she focused primarily on printmaking and was thrilled with the physicality and unpredictable nature of the etching process. While other students seemed to be moving towards digital imagery and computer generated art, Philippa found her path in the hands-on process of creating images on metal. Through her instructor Catherine Kernan, Philippa was introduced to Mix It Print studio in Somerville, MA, and found the professional atmosphere of the studio a wonderful environment to continue her printmaking explorations.
Philippa has always used imagery from the natural world as the basis of her work. Starting with sketches created in plein air or from the large collection of shells, dried plants, and rocks that decorate her studio, she transforms these images as they evolve from sketch to copper plate to paper. She uses tracing paper and various grounds on the surface of the metal to etch aspects of each image onto the surface of multiples plates. In the printing process, these many plates are then printed in altering sequences and colors to develop prints that are based on the natural world, elevated and infused with layers of complexity and feeling.
Memories are the catalyst for Bree Curtis’ art making. Focusing on imagery rooted in the natural elements she encountered through her years spent in Western, MA and Deer Isle, ME, she employs simplified lines and shapes to suggest their essence, and uses textures, layers, and colors to create depth to highlight their complexities.
Bree Curtis received her BA in Studio Art from Clark University. She then attended Massachusetts College of Art to pursue her passion for art education where she earned her Master of Science in Art Education. While much of her professional focus has been on art education, her ongoing practice of printmaking continues to grow and her work with children both inspires and guides her art. Bree currently teaches elementary art in Natick, MA.
K.E. Duffin printed at Mixit Print Studio from 1995 to 2003, concentrating on etching and dry point. Inspired by the natural world and ancient art, she creates, through various printmaking processes, scale-independent patterns and textures that suggest organic forms and invite the play of imagination. Her current work brings together the ancient Japanese art of suminagashi—printing from an ink painting that floats on water—and drawings that evoke medieval marginalia, miniatures, bestiaries, and the Netherlandish tradition of the fantastic.
Duffin received a BA and PhD in the history of science from Harvard before studying printmaking and painting at the School of the Museum of Fine Arts, Boston.
Duffin has been awarded a Massachusetts Cultural Council Grant and a Berkshire Taconic Artist’s Resource Trust Grant for work in the cliché-verre medium, which combines aspects of painting, printmaking, and photography.
Although a native of Illinois, Carlyn Marcus Ekstrom has lived in Massachusetts for over forty years. She has shown her work in New England and abroad at the art museum in Eskilstuna, Sweden. Her work is represented in corporate and university collections in New York, New England, Florida, and Sweden. Marriot Hotels, Ameri-Suites Hotels and Ritz Carlton hotels have many commissioned works for their hotel suites. She recently returned to printmaking after receiving a grant from the Boston Printmakers to work at Mixit Print Studio.
Carlyn holds a B.A. degree from Vassar College, studied painting at Avery Graduate School of the Arts, Bard College and has an M.S. in art education from the Massachusetts College of Art where she wrote her thesis on inner images and art making. She has been a museum educator at the Danforth Musem of Art and has lectured at New England colleges and area associations. She has been an artist in residence at several Massachusetts public and private schools at all grade levels and has taught in many adult education centers, including the New Art Center, Newton, the Arlington Center for the Arts and Kendall Center for the Arts, Belmont. She has been a drawing teacher at the Shady Hill School, Cambridge.
Danette English has been making prints and two-dimensional work for over twenty years. Her work explores the relationships formed from the interaction of color and space. Her work is concerned with metaphors that speak of personal experiences.
She earned her MFA degree from Tufts University and The Museum School. She has taught at the Museum School and Massachusetts College of Art. She currently teaches Art in the Belmont Public Schools. Her work is in numerous private and corporate collections.
She has exhibited her work locally at the Provincetown Art Association and the Clark Gallery. Her work has been included in exhibitions at the Fuller Museum, the Lyman Allen Art Museum and the Berkshire Museum. She is the recipient of a fellowship from the NEA/New England Foundation for the Arts and the Somerville Arts Council.
In 2006, after living in Boston for 25 years, artist and educator Marty Epp-Carter pulled up roots and relocated to Greenville, South Carolina. Anxious to settle into the arts community in her new hometown, Epp-Carter started teaching at the Greenville County Art Museum until she began studying for her MFA in Printmaking in 2007. She received that degree from Clemson University in 2009 and was hired as an adjunct art instructor at both Anderson University and Clemson. Epp-Carter worked for these institutions until the fall of 2011 at which time she was hired in her current position as full-time faculty at the South Carolina Governor’s School for the Arts and Humanities teaching Printmaking and Drawing.
Epp-Carter also keeps an active studio practice in the Far West End in Greenville, where she continues to make her prints, drawings, and sculpture, all of which deals with the collision of nature, consumerism, chaos and control.
Tamar Etingen’s works as a painter, installation artist, printmaker, theatrical set designer and set painter have consistently investigated the use of layering to create and enhance the illusion of space. Her sculptures and installations have mapped concepts of the layering of ecosystems and the interface between industrial society and botanical biodiversity. Her enduring interest in botany stems from her childhood in California and her studies in pursuit of her degree in Landscape Architecture. Her current involvement in Gelatin Plate Printmaking is fueled by the medium’s unique sensitivity to plant material and its ability to produce detailed, multi-layered, luminous imagery. She has exhibited sculpture, installations, paintings and prints at universities, galleries and museums on both the East and West coasts and in New Mexico. She holds a MFA from Vermont College of Fine Arts and a Bachelor of Landscape Architecture from the University of California Berkeley. Her public art commissions include a 12 print series, “The Aesthetics of Science”, purchased by the Microbiology Department of the University of Maine Orono, architectural metalwork installed in Maranacook Middle School, Readfield, Maine and sculpture purchased by Colby College, Waterville, Maine. She has taught printmaking classes, workshops and teaching residencies at Boston Museum of Fine Arts, Curry College, the University of Maine’s campuses at Orono and Farmington. Ms. Etingen is represented by Amara Gutierrez Rodriguez, Madrid / Los Angeles.
Phyllis Ewen usually works in 3-dimensions: mixed media wall installations, sculptural drawings, and relief collage. But printmaking has been a parallel activity. She has been interested in printmaking since first working in oil monotype with Artist’s Proof in 1981 and has continued to print in tandem with her other work. During the 1990s, Ewen printed at Mixit Studios, making monoprints with shaped wood plates and in 2000 began making multi-plate woodcuts as part of a portfolio for Proof in Print. She was responsible for arranging for the portfolios to be shown in Havana, Cuba in 2003: a group exhibition of 75 prints from the U.S, and South Africa. Her prints are in the collections of the Boston MFA, the DeCordova Museum, The Boston Public Library as well as many public and private collections in the U.S., London, and Cuba. Phyllis Ewen is a founding member of the Brickbottom Artists Building in Somerville where she has her studio.
As most of my studio work is solitary, it has been wonderful to share the space at Mixit Studio with other printmakers from time to time. The camaraderie is a joy. Cathy and Jane are always giving of their expertise and seeing what other printmakers are doing is inspirational and supportive.
Karen Crowley Falkoff was born in Somerville, Massachusetts, attended parish schools, Brandeis University and Catholique Universite de Louvain. She is the daughter of Susannah Sonnenberg and Lawrence Crowley. She is married to Phillip Falkoff and has four children: David, Sarah, Nicholas and Catherine.
Beth Galston’s architectural-scale environments are based on the interplay of light and space. For over twenty years she has built a diverse body of work including sculptural installations and objects, large scale public sculptures and collaborative multi-media performances. Whether outdoors, in a gallery or in the theater, her sculptures create a sense of place, a moment of magic and transformation.
Beth was born in Los Angeles and lives in Carlisle, MA. She received a Master’s degree in environmental art from MIT’s Center for Advanced Visual Studies, where she was also a Fellow for five years. She has recently created large-scale installations for the Provincetown Art Museum, MA; Boston Sculptors Gallery, MA; and Cynthia-Reeves Projects, NYC, where she is represented. Currently, she is working on public art commissions for the City of San Antonio, TX and Music City Convention Center in Nashville, TN.
Galston is the recipient of numerous awards, including a two-year fellowship from the Bunting Institute, Radcliffe, an NEA InterArts award, a Massachusetts Artists Fellowship in Sculpture, and residencies at Yaddo, MacDowell, and Sculpture Space, Inc. She was a nominee for the 2010 James and Audrey Foster Prize at the ICA/Boston. Her ‘Serpentine Fence,’ a 120-foot long sculpture made of stainless steel, metal mesh, and lights, in Jamaica Plain, MA, received the 2011 Design Award from the Chain Link Fence Manufacturers Institute.
Randy Garber’s studio practice is divided between her studio in Somerville, MA and the Mixit Print Studio, where she is a Partner, also in Somerville, MA.
She works eclectically, with a passion for using traditional printmaking and painting techniques to express her intensively researched contemporary concerns and concepts. Partially deaf since infancy, Garber’s work visually explores the liminal space between silence and sound and how we decipher meaning from codes, language and images.
She has had three solo shows of installation work in the past two years: Reverberations (with a catalogue) at the Opalka Gallery at the Sage Colleges of Albany; Listening at the Bromfield Gallery in Boston, MA, and Made in Translation (with catalogue) at the University of Michigan, Ann Arbor. Other recent exhibitions of Garber’s work include the Decordova Museum, the Danforth Museum, the Tamarind Art Gallery, NYC, Boston Convention Center, and the Dishman Art Museum, Texas. She received an MA in English Literature and a Masters of Landscape Architecture from the University of Wisconsin-Madison. She received a Diploma in Studio Arts from the School of the Museum of Fine Arts, Boston.
A recipient of many artist awards and grants including ones from the Puffin Foundation, St. Botolph Foundation, Somerville Arts Council (2 times) and the Wynn Newhouse Foundation, Garber’s work can be found in museum, corporate, and private collections including The Boston Museum of Fine Arts, the Decordova Museum, the Boston Athenaum, The Boston Public Library, the Children’s Hospital, Karp Cancer Research Building, Cell Signaling, and the Governor Baxter School for the Deaf in Portland, ME.
Randy Garber is a published author of articles about printmaking that appear in Communication Arts and Contemporary Impressions: the Journal of Contemporary Printmaking. Her work has been on the cover of Art New England and reviewed in many publications including Art New England, Contemporary Impressions, The Boston Globe, The Boston Phoenix and others.
Randy Garber currently teaches Printmaking at the Massachusetts College of Art and Design and Drawing at Curry College. You can find more information about her at www.randygarber.com or contact her at firstname.lastname@example.org
Adrienne Ginter, originally from rural New Hampshire, received a BA in English Literature and a BFA in studio art from The University of New Hampshire. She went on to graduate with a MFA in painting from Boston University in 2008. She has been featured in numerous group exhibitions in the New England area including the Alpha Gallery and GASP gallery in Boston, MA. She has also been featured on the Boston Young Contemporaries poster and as cover art for the UNH magazine. Adrienne currently lives in Boston, has her painting studio in Newton, and is a member of the Mixit Printmaking Studio in Somerville.
Jane Goldman’s response to the visual world was formed by growing up in North Texas, where the overwhelming physical facts are light, flatness and air. Working from both free association and direct observation, she is compelled by the way light and shadow create meaning in the way things look; and is equally interested in looking within to depict incorporeal works of imagination.
Painter, public artist and printmaker, Goldman has been described as “a true cognoscenti of the (watercolor) medium.” Her 60,000 square foot terrazzo floor at Boston’s Logan Airport is noted as one of the area’s most vibrant public art installations. Goldman is also a well-known printmaker, with works on paper in hundreds of public and private collections.
Goldman has a BA from Smith College and an MFA from the University of Wisconsin. She has taught at Massachusetts College of Art, the University of California Los Angeles, Rice University, and the University of Hartford; and has been a visiting artist at Harvard University, the University of Wisconsin, Smith College, Wellesley College, and Artist Proof Studio, South Africa. For six years she chaired the St Botolph Club Foundation, which gives grants to emerging and distinguished New England artists.
Goldman’s work has been exhibited widely in the U.S. and abroad. She has received grants from the Massachusetts Council on the Arts, MacDowell Colony, Yaddo, and the Virginia Center for the Creative Arts. She has also received residency fellowships from the Ballinglen Arts Foundation in Ireland, the Oberpfalzer Kunstlerhaus in Germany, and the Cite des Arts in Paris. Her work is included in the permanent collection of the Bibliotheque Nationale in Paris, the Brooklyn Museum, the Boston Museum of Fine Arts, the Fogg Art Museum, the Cleveland Museum of Art, the Peabody Essex Museum, and the Library of Congress.
Peter Haines grew up in Columbus, Ohio. He attended the University of Colorado, earning a BA in 1965—psychology and anthropology, areas that have subsequently influenced his art making. He received a Diploma from the School of The Museum of Fine Arts, Boston in 1974. In 1980, the school awarded Haines a Traveling Fellowship, the largest amount given at that time.
In 1978, Haines cast his first bronze, which has been his primary medium. He works additively, usually in wax. After casting, the rough bronzes are meticulously carved, refining the shapes to “true” forms. Haines is a co-founder of the Vermont Gentlemen’s Foundry, a low-tech facility built in the woods of Vermont by four friends to cast their own work.
Haines’ approach to printmaking is that of a sculptor with an interest in shapes and negative space. Prints expand the domain of color exploration beyond what is possible in bronze.
In 2003, Haines made a bronze and also a marble for a park in Fuzhou, China. In 2008, he returned to China as a speaker at the International Sculpture Conference in Changchun. In 2008, he carved a two-meter-high black granite sculpture for a park outside of Seoul, South Korea.
Haines has displayed a large bronze at the DeCordova Museum Sculpture Park in Lincoln, Ma and at The Grounds for Sculpture in Trenton, NJ. He has participated in fifty group shows. Solo exhibition venues include Impressions Gallery, Boston; Laumeier Sculpture Park, St. Louis; Victoria Munroe Gallery, New York; Keny Galleries, Columbus, Ohio; The Columbus College of Art and Design, Ohio; and the Boston Sculptors Gallery (of which he is a founding member).
Nona Hershey’s work is included in numerous public collections around the world, including the Metropolitan Museum of Art, NY; Library of Congress; Fogg Museum; Yale University Art Gallery; Minnesota Museum of Art; Crakow National Museum; and the Calcografia Nazionale, Rome. She has participated in over 100 Print Biennials and Group Exhibitions internationally. Numerous solo exhibitions include those at Mary Ryan Gallery, New York, NY; Dolan/Maxwell Gallery, Philadelphia, PA; Galleria Il Ponte, Rome, Italy; Miller Block Gallery and Soprafina Gallery, Boston.
She has had residency grants at the Asillah Forum Foundation, Morocco;the Ballinglen Arts Foundation, Ireland; the Ucross Foundation, WY; Virginia Center for the Creative Arts; Vermont Studio Center, and twice at the MacDowell Colony, NH. She taught at Tyler School of Art in Rome, Italy for 12 years and at Temple University’s Tokyo program for one year. She was a recipient of a Massachusetts Cultural Grant in 2004 and a Somerville Arts Council Grant in 2008. Since September 1993, Ms. Hershey has been Professor and Coordinator of the Printmaking Department at Massachusetts College of Art and Design in Boston.
Throughout his career, Joel Janowitz has investigated the ways in which pictorial space can carry meaning and psychological charge. By painting in series with a range of subjects including swimmers, greenhouses, quarries, cafes, and most recently bridges, he has focused on developing these images into evocative spatial and rhythmic encounters. Janowitz has been committed to representational painting not as an end in itself, but as a means to coax the viewer to experience the emotional and visual complexities of seemingly ordinary spaces.
Cate McQuaid, art reviewer for The Boston Globe, wrote, “[Janowitz]…evokes what the eye lights on and rushes past, but in stopping that action he lets us dwell in the lushness of what we might have ignored in real life. This technique builds up wonderful rhythm, countering stillness with motion, clarity with fog. For the viewer, the effect is like quickly swinging from grogginess to mental keenness and back.” (“Seeing Life’s Lushness Through Blurred Lines,” The Boston Globe, Nov. 11, 2005).
Joel Janowitz received his B.A. from Brandeis University where he studied painting with Philip Guston and drawing with Michael Mazur. He was awarded an M.F.A. in Painting from the University of California, Santa Barbara. Janowitz has exhibited widely with over thirty solo exhibitions. His work can be seen in numerous public collections including the Whitney Museum of American Art, The Brooklyn Museum, The Museum of Fine Arts, Boston, and Harvard University’s Fogg Museum.
Boriana Kantcheva, originally from Bulgaria, has lived and worked in the Boston area for over 17 years. She has received a BFA from Massachusetts College of Art and an MFA from School of the Museum of Fine Arts and Tufts University joint degree program. She has worked as an assistant teacher at the Carpenter Center for Visual and Environmental Studies in Cambridge where she has received several Harvard University Certificate of Distinction in teaching awards. She currently works for the newly opened Maud Morgan Arts Center. Boriana has exhibited her work in Boston and recently in New York City. She is represented by NK Gallery in Boston, MA.
Charlotte Kaplan began studying printmaking at the Massachusetts College of Art and Design about ten years ago. At the time she was teaching drawing at the Boston Architectural College and practicing architecture. Her original field is economics, which she studied at New York University. After graduation Charlotte worked for the Office of Economic Opportunity in the South Bronx, New York. Since then, her politics have informed all of her work.
Charlotte continues to teach at the Boston Architectural College and take classes at Massachussets College of Art and Design. She is currently working on combining intaglio printing with alternative photographic methods. Most of her work reflects the past in both technique and subject matter.
Charlotte has traveled widely and has continued her art studies in courses and workshops at local museums and art organizations. She has completed public art commissions and has shown her work in the New England area. Charlotte lives and works in the Brickbottom Artists Building in Somerville, Massachusetts.
A native of Newton, Massachusetts, Amy Kaufman received her B.A. from Brandeis University, where she learned printmaking from Michael Mazur, and her M.F.A. from University of Pennsylvania. She continued her studies at Massachusetts College of Art and School of the Museum of Fine Arts, Boston. She has worked at the Metropolitan Museum of Art and Art New England magazine.
Kaufman has participated in workshops with Eric Fischl, Wolf Kahn, Larry Rivers, and Lois Tarlow. She is also a Corporate Artist of the DeCordova Museum Corporate Program as well as a member of the Monotype Guild of New England; School of the Museum of Fine Arts, Boston’s Medici Society; and juried artist member of the Cambridge Art Association and the Cape Cod Art Association.
Kaufman’s art is in many collections nationwide. In Massachusetts, her art is represented at Left Bank Gallery and Diana Levine Fine Art. She has received awards and has exhibited extensively in museums and galleries, including the Provincetown Art Association and Museum and the Philadelphia Museum of Art. Recently, Theodore Stebbins, Curator of American Art at Harvard University’s Fogg Museum, juried her art into the CAA Northeast Prize Show; Arthur Dion, Director of Gallery NAGA, juried her art into the CAA 66th Annual Members Prize Show; and Howard Yezerski, of the Howard Yezerski Gallery, juried her art into the CAA Red exhibition. Her art was featured on TV NECN Dream House: Elderly Home and in Dream Home/08 at the Boston Design Center. You can see her paintings in the Hollywood movie Bride Wars with Kate Hudson and Anne Hathaway directed by Gary Winick. Look for her art in this year’s annual Southern New England Home magazine. Visit www.kaufmanart.com
Catherine Kernan is a painter and printmaker. She is co-founder, and partner of Mixit Print Studio. Kernan is currently also Director of Maud Morgan Arts, an art center in Cambridge.
Kernan is represented by Soprafina Gallery in Boston, Jason McCoy Gallery in New York, and Dolan Maxwell in Philadelphia. She teaches non-toxic printmaking with water-based materials and a wide range of techniques. Her teaching credits include: Anderson Ranch, MassArt / Art New England, MakingArtSafely, and the Center for Contemporary Printmaking, the School of the Museum of Fine Arts Boston, Wellesley College, the Rhode Island School of Design, Mass College of Art, and Pine Manor College. Her residencies include the Ballinglen Arts Foundation, Ireland; Anderson Ranch; MacDowell Colony; and the Virginia Center for the Creative Arts.
Catherine Kernan’s work is in the collections of, among others, the Boston Museum of Fine Arts, Cleveland Museum of Art, Achenbach Foundation for Graphic Arts, Boston Public Library, Grunewald Collection, New York Public Library, Library of Congress, Detroit Institute of Art, and the Fogg Art Museum.
Marcia Lloyd’s current work is based on elements she picks up whose texture, shape, structure, and color catch her attention. She notices the patterns of growth in living forms— as parts emerge, develop and recede. Continual, subtle transitions of life forms evoke memory and reveal time. Her interest is in searching for intrinsic relations among the countless variations beyond the apparent differences or similarities in the original sources.
Marcia is a graduate of Brown University and the University of Pennsylvania. She is Professor Emerita at the Massachusetts College of Art and Design and also, has taught courses at The School of the Museum of Fine Arts, Harvard and the University of Massachusetts, Boston. Her work is in many public and private collections. She has been a resident of the MacDowell Artist Colony, a recipient of the Boston Sister-City Travel Grant to Hangzhou, China, and received fellowships from the Massachusetts Artists’ Foundation and the National Foundation for the Arts.
Ilana Manolson uncovers the overlooked edges of the natural world, capturing nature’s essence in shifts of light and color. She paints momentary impressions of nature as they unfold through the various seasons. Combining realist elements with fields of color abstraction, she often depicts her subjects on the verge of change as it swings its pendulum between order and disorder. In this new series of prints Manolson explores the connection between the natural world and the man-made world, where the boundaries blur between underground growth and the surface expression of human mark making.
Illana Monolson is a nationally recognized artist who has exhibited nationally and internationally. In the last few years, Ilana has won the prestigious Artists Fellowship from the Massachusetts Cultural Council, had solo shows a the Jason McCoy Gallery in New York, the Clark Gallery in Lincoln, MA, Endicott College in Peabody, MA, and was represented by the Nikola Rukaj Gallery at the Toronto International Art Fair. She has had numerous group exhibitions in the United States and elsewhere including South Africa, and has had her work selected by the US Embassy in The Hague and purchased by the US Embassy in Sarajevo. She recently served as the Distinguished Artist in Residence at the Rocky Neck, MA Art Colony and has been artist in residence at Yaddo and the Ballinglen Art Colony (Ballycastle, Ireland). She is a graduate of Rhode Island School of Design and began her career as a naturalist in the national park system in Canada. She has work in private, public and corporate collections in the United States, Canada and elsewhere including the Museum of Fine Arts, Boston, the DeCordova Museum (Lincoln, MA), the Boston Public Library, the Ballinglen Arts Foundation (Ireland), and the Danforth Museum (Framingham, MA).
Jesus Matheus has studied the art of printmaking intensively, both in Venezuela and Brazil. His paintings and drawings reflect this graphic background in their direct linearity and layers of texture and meaning. Influenced by modern Latin American artists such as Joaquin Torres Garcia and Constructivism, as well as by indigenous and pre-Columbian craft and folk art, Matheus executes geometric, minimalist pieces that maintain the warmth and richness of its historical foundations and becomes almost archeological in character. Critic Carlos Palacios writes, “Matheus is not interested in re-interpreting history, his visual references remain faithful to the originals and he only arranges them fragmentarily…” The result is drawings, paintings and installations that evoke a history culled from research in culture and ethnicity, expeditions throughout South America and, as always, personal experience.
Matheus has received many nominations and awards in his country of origin and abroad. In 2011, he was finalist of the Boston Foundation’s Brother Thomas Fellowship. Represented by Cecilia de Torres LTD, NY, ArtSolar Gallery, East Hampton, NY and Artepuy Gallery in Caracas, his work are part of several public and private collections in Brazil, Colombia, Mexico, Venezuela, Cuba, Puerto Rico, the United States, Spain, Switzerland, France, and Austria. Since 2005 he lives and works in Boston, Massachusetts.
Jackie Miller has been in love with black and white from childhood, so printmaking was a natural choice for her. Though some color occasionally works its way into her work, she never really takes that work quite as seriously as her work in black and white. In
her background in art history, she gravitates to black and white as well—the woodcuts of Kirchner and Nolde, the lithographs of Munch, the drawings of Schiele, and the wonders of Chinese painting and calligraphy.
Her BFA in printmaking is from Miami University in Oxford, Ohio, and her Master’s degree in History of Chinese Painting is from Harvard. She has published articles (as Jackie Reardon) in Oriental Art Magazine, and has presented papers at The New England East Asian Art History Seminar. She has exhibited,though not extensively, in various galleries in Massachusetts, Ohio, Colorado, and New Hampshire.
For thirty-five years she worked as the graphic designer for the Cambridge Public Library. She had a lot of fun playing with Photoshop, Illustrator, etc. all those years (and getting paid for it besides!), but she is delighted, in retirement, to have more time to devote to her first artistic love: printmaking. Jackie has been printing at Mixit Studio for almost twenty years, and looks forward to many more years at Mixit.
Chris Minidis began his career as a printmaker 20 years ago at the University of Michigan where he studied Fine Arts with a concentration in Printmaking. During later studies at RIT (Rochester Institute of Technology) he had the opportunity to study with Keith Howard, a key founder of non-toxic intaglio printmaking. And more recently Chris has had the opportunity to work with Catherine Kernan, the founder of Mixit Studio in Cambridge MA.
Chris currently teaches printmaking in the Fine Arts department at Gordon College in Wenham, MA. His prints have been exhibited in Los Angeles, Boston, Washington DC, and Virginia and he is the artist-in-residence at Maud Morgan Arts Center in Cambridge, MA.
Chris works full time as a web graphic designer, art director, animator, and designer.
Julia L. Murray discovered her visual lens through the viewfinder of her first camera and found no reason for the adventure to end there. She is excited about her ideas and finds clarity through the process of production. She earned her B.A. at St. Lawrence University where she studied printmaking, sculpture, photography and digital media.
Murray had the privilege of growing up in a visual environment overflowing with creativity and bursting pockets of learning. On occasion, her mother Lynne G. Murray brought Julia L. Murray to Mix It Print studio where, at age 7 she made her first print titled Bird. Nature has always been a primary element in Murray’s work and life as it is the core of life itself. She strives to learn as many processes as she can get her hands on, and continues to explore new mediums in search of light and depth in this world.
Lynne Geiger Murray is an Art Teacher and Artist who was raised in a small town outside of Philadelphia. The rural landscape and the experience of attending a country Quaker school inspired a connection with nature and a lifelong interest in education and art.
After studying Education at Wheelock College and working as a first grade teacher and elementary science educator, Lynne moved on to study Printmaking and Art Education at the Massachusetts College of Art. She currently teaches Visual Art in the Lexington Public Schools, and is an instructor in the Art Education department at Massachusetts College of Art and Design.
Lynne’s prints, layered with hard geometric shapes and textures, reflect an interest in organic botanical forms. She delights in combining the processes of printmaking, painting and collage, using a variety of papers and fabrics. The conversation between process and imagery runs through the layers of Lynne’s prints and defines her work.
Born in 1983, Benoni, Gauteng (Johannesburg), South Africa, Mongezii Ncaphayi first studied art formally in 2004 at the Ekurhuleni East College-Johannesburg, South Africa, graduating with a diploma in Art & Design. In 2006 he enrolled at the Artist Proof Studio – Johannesburg as a student and after completing his 3 years of studies he was employed as gallery assistant at Artist Proof Studio Gallery.
Throughout his studies, Mongezi has participated in a number of group exhibitions and public art projects. He has participated in a residency program with Netherlands artist Toon Verhoof. And in 2006 he collaborated with Kim Berman in the SASOL Wax Art Competition. Additional group exhibitions include shows at the Constitution Hill; ABSA Gallery; Boogertman+Partners and the Thompson Gallery. His work is included in numerous private and public collections, with a recent collection by Jack Ginsberg of The Ampersand Foundation and by the New Southern Hampshire University. Also in 2011 he was awarded a fellowship by The Ampersand Foundation to participate in an artist residency program in New York.
Born in New England, Anne Neely grew up in the country and it has been through nature that most of the inspiration for her work is filtered. Whether painting or printmaking, art for Anne Neely has been a visceral experience, using her artistic vision as a vehicle for discoveries in those mediums. In the late 70’s Anne Neely was introduced to printmaking at Old Dominion University in Norfolk, VA with Kenneth Daley as her teacher. Returning to New England she pursued her painting career for a decade and, in the early 90’s, was invited to work with master printer Bernard Toale (Rugg Road) making monoprints, which evolved into a series called “Breathing” and appeared in a solo exhibition at the DeCordova Museum, Lincoln MA in 1993. When the Rugg Road Studio closed, Neely began to work at Mixit Studio in Somerville and in 1998 worked closely with Catherine Kernan and Peter Pettengil on an edition of prints about mortality, called “Leaving” that were later on exhibit at the Duxbury Museum Complex. In 2002 she was commissioned by the Sonnabend family to make an edition print and worked with Maurice Sanchez at Derriere D’Etoile (NYC). Printmaking has continued to be an important place for exploration and oftentimes one can see how it has informed Neely’s paintings. A two time finalist in Painting for the Mass Cultural Council as well as a finalist for the Prix de Rome, Anne Neely’s work has been the subject of over 18 solo exhibitions in Boston, New England, New York, San Francisco and Ireland. Her work has been reviewed in Art News, Art in America, The New York Times, The Irish Times and the Boston Globe and she is represented in private and public collections including the Whitney Museum, The National Gallery of Art, The Brooklyn Museum and the Museum of Fine Arts, Boston. She lives in Jonesport, Maine and Milton MA where she holds the Lamont Teaching Chair in the Humanities at Milton Academy. Neely has also been a visiting artist at Harvard University, Mass College of Art, Colgate University, and Maine College of Art to name a few. Anne Neely is represented by Lohin Geduld Gallery, NYC.
Elisabeth Nicula is a Somerville-based printmaker, painter, and graphic designer.
Elisabeth’s work focuses on the arrangement of forms, color, and emptiness; she aims to create a balance of these elements to convey an impression of boundaries, opposing forces, and unexpected commonality. Outer space, mathematics and machinery, cells and microorganisms—sums and all their component parts—are continuing sources of inspiration.
Elisabeth has a bachelor’s degree in philosophy from Duke University in Durham, North Carolina and pursued further study in painting and printmaking at the School of the Museum of Fine Arts, Boston.
She makes etchings and woodcuts at Mixit Print Studio in Somerville.
Debra Olin is a printmaker, living and working in Somerville, MA. She received her MFA from Massachusetts College of Art in 1980. Olin has shown in exhibitions across the U.S., Canada, Serbia, South Africa, and Cuba. Her work is in the permanent collections of the Boston Public Library, Temple Israel, Brookline, MA, YIVO Institute, NYC, The DeCordova Museum, Lincoln, MA and the Fogg Art Museum, Harvard University. In 2004 Debra was awarded the Rappaport Prize, the largest public annual award to an individual artist in New England.
Ted Ollier was born in the north, lived in the south, and now resides in the northeast. He has been a photographer, graphic designer, bass player, typographer, web pioneer, informational leaf blower and armchair philosopher. He has also worked a variety of day-jobs, the details of which are not terribly important.
He holds degrees from the University of Texas, Texas State University, and the Massachusetts College of Art and Design. At present, he is a printmaker and conceptual artist working in the Boston community of Medford. He is active at the Mixit Print Studio and teaches letterpress and design at the Bow and Arrow Press in Cambridge.
His concerns are with data and its interaction with the consensus reality, and how that reality is affected and changed by that data. Oftentimes the simplest visual representation of a dataset is enough to engage the interactor in ways far beyond the naïve reading of that information. Although the didactic element of information transfer is always present in his work, his true focus is on revelation and enlightenment, and the joy of finding a previously unnoticed detail in the landscape of life. He lives with Bettina, a molecular biologist; Raster, a flame-point Siamese; and Hopper, a chow/shar-pei mix.
Jean Pascoe was born in New York, NY, and grew up in its suburbs and on Cape Cod, where seeing open space lost to development was an early influence. She majored in studio art at Smith College and continued her studies at the Art Students’ League and through many later workshops and courses, including at the Rhode Island School of Design and the School of the Museum of Fine Arts, Boston. She studied printmaking with, among others, Leonard Baskin, Seong Moy, Peter Scott, Annie Silverman, and Catherine Kernan.
Her recent work focuses on change, loss, and endurance of natural forms in the face of human pressure. Incorporating landscape, sky, plant, and animal elements, it celebrates what is passing. ”
Nancy Popper is a printmaker living in Cambridge, MA. She earned an undergraduate degree from Bard College, and a graduate degree from Mass College of Art, as well as a certificate in printmaking from the Institute d’Arte in Venice, Italy. Her prints have appeared as illustrations in several publications, including the New Yorker Magazine and the Boston Globe Magazine. She has exhibited locally, most recently at 13FOREST Gallery in East Arlington, as well as in New York and Japan. Her work hangs in numerous private and public collections, including City Hall in Kanazawa, Japan, and the Office of Cultural Affairs at Boston City Hall. She teaches drawing, painting, printmaking and ceramics to children at the Decordova Museum, the Maud Morgan Visual Art Center, and at the Advent School in Boston.
Wendy Prellwitz’s abstracted landscapes are focused on water imagery and coastal light –inspired by her connection to bays, creeks and rivers. Her monotypes, oil paintings and watercolors are informed by growing up with watery views on the North Fork of Long Island, and painting outdoors along the rocky coasts of Mohegan Island and Ireland. In her work, Wendy intends to evoke a sense of fluidity and movement, from ripples observed up-close to the beauty of an infinite, vast sea. Painting and drawing had been the core of Wendy’s artistic life – until she began working with monotypes at Mixit print Shop. Her prints began as an extension of her painting sensibility and evolved into more experimental work combining woodcuts and white ground etching with ink viscosity layers on monotypes.
During 2011 Wendy exhibited monotypes at the Soprafina Gallery in Boston, McGowan Fine Arts in Concord NH, and at art sites in Riverhead, NY; she also showed watercolors at the Chandler Gallery’s Small Works and Maud Morgan faculty shows, in Cambridge. In recent years, she has exhibited monotypes at the Lenz Winery on Long Island, in “The Unique Print”, a group show at the Concord Art Association in Concord, MA, and paintings plus prints in a 2- person show at Whitney Artworks in Portland, Maine. Museum shows include “Eire / Land” at Boston College’s McMullen Museum, and “Morning, Noon, and Night” at The Long Island Museum in Stony Brook, New York.
Wendy was awarded a Fellowship from the Ballinglen Arts Foundation in 1998, and continuing fellowships from 2000 to 2007, to live and paint along Ireland’s west coast in County Mayo. She also received a Grant-in-Aid from the St Botolph St Foundation in 2002, which funded a painting trip to Rome. She attended the Rhode Island School of Design and the School of the Museum of Fine Arts in Boston. She teaches at the Maud Morgan Visual Arts Center in Cambridge, MA, co-founded her architectural firm Prellwitz/Chilinski Associates in 1981, and lives in Cambridge, Massachusetts and Peconic, New York.
Ron Rumford received a BFA in painting and drawing from University of Arts, Philadelphia in 1984 and attended Tyler School of Art Rome Program that year. In addition to Mixit Studio, he has made prints at the Ballinglen Arts Foundation, Brandywine Workshop, Philadelphia, Littleton Studios, North Carolina, and Graphic Studios, Dublin.
He has exhibited in New England at McGowan Fine Art, Concord, New Hampshire, Pepper Gallery, Boston, and Schoohouse Galleries, Provincetown, Massachusetts, and, in London, England, and extensively throughout the US and in the Republic of Ireland.
His prints are in the permanent collections of the Ballinglen Arts Foundation, Cleveland Museum of Art, Print & Picture Collection, The Free Library, Philadelphia, New York Public Library, Palmer Museum of Art, Philadelphia Museum of Art, the Watson Gallery at Wheaton College, and Woodmere Art Museum.
Anne Russell returned to printmaking and painting/drawing in 2007, after a long hiatus. In the mid-1980’s she had a brief but enticing introduction to etching and monotype while a student at the School of the Museum of Fine Arts in Boston, and recently has learned much more through experimentation, the generously-shared knowledge of fellow studio printers, and workshops with Joel Janowitz, Catherine Kernan and Liz Shepherd.
Anne is a member of the Art Associations of Cambridge, MA; Concord, MA; and Provincetown, MA, as well as the Monotype Guild of New England. She participates regularly in members’ and regional/national juried exhibits. Recent exhibit locations include: SMFA, Boston; Copley Society of Art, Boston; Bromfield Gallery, Boston; South Shore Art Center, Cohasset; Fitchburg Art Museum; Somerville Museum; Cambridge Art Assocation; Concord Art Assocation; Provincetown Art Association/Museum; Peabody Historical Society.
Observation has always been a point of departure for the work of Susan Schmidt. Factory buildings, amusement parks, textile machinery and garden statuary have all been engaging subjects. More recently Schmidt has turned her observation to the everyday routines, interactions and contradictions within the family. Her prints and artists’ books involve both close scrutiny of the figure and the desire to tell a story. The stories concern the transitions of childhood, and often interweave traditional fairytales themes with contemporary narratives.
Schmidt experiments with the printmaking process by layering, recombining, and recycling images. Ideas emerge during the process of printing and, as multiples, prints lead her to the sequential forms of the series and artist’s book.
Susan Schmidt is an Associate Professor of Visual Art at The College of the Holy Cross, Worcester, MA. She works at Brickbottom Artists Building and occasionally at Mix It Print Studio, both in Somerville, MA. Her work has recently been in exhibitions at the Danforth Museum of Art; climate / gallery, New York City; and a traveling exhibition of members of the Boston Printmakers. She received her M.F.A. degree from the Pennsylvania State University and after graduation received an Artist in Residence Grant, Artist in the Schools Program from the National Endowment for the Arts and the Pennsylvania Council on the Arts.
Lori Schouela is a painter and mixed media artist. Her undergraduate studies include a BFA from Syracuse University, a Diploma in Studio Arts and completion of the Fifth Year Program at the School of the Museum of Fine Arts, Boston. Exhibitions include M.I.T, Mandala Exhibition, The Boston Printmakers North American Print Biennial, The Arsenal Center for the Arts Print Exhibition, Concord Arts Association Print Exhibition, Bromfield Gallery 2010 solo exhibition, Bromfield Gallery, 2010 Group Exhibition, The Danforth Museum” Off the Wall” 2010, Danforth Museum “Community of Artists” 2011. The artist recently had an exhibition of her mixed media collages at Bridge Gallery, Lower East Side, New York City. Lori has been reviewed in Artscope Magazine May 2008, artMatters Magazine Spring, 2009 issue, Metrowest Daily News 2010, 2011 and Southend News 2010. She is presently working on an upcoming show in New York City. Permanent collections of her work are both in the United Sates and in Canada.
Sarah B. Shallbetter has been a practicing artist since 1997 and her work has been included in many exhibitions locally and internationally. Shallbetter is originally from Minneapolis, MN and currently lives in Somerville, MA. She holds a BA from University of Minnesota and has pursued further studies at UMass-Dartmouth, Eliot School, and the School of the Museum of Fine Arts, Boston. Artist awards include study grant to attend workshop at Haystack Mountain School of Crafts and an artist-in residency fellowship from the Vermont Studio Center.
Liz Shepard is a sculptor and printmaker. In both her 2-D and 3-D imagery, she frequently appropriates furniture, which she cuts up or otherwise interferes with to convey domestic disruption. She sometimes uses architectural remnants, such as doors, to construct dreamlike staircases. While natural disaster was one motivation for flying chairs and piles of objects, these images also call to mind lives that have been disrupted by events as large as war or as intimate as the upheaval that accompanies tragic illness. Her prints merge computer generated imagery and traditional printmaking techniques producing darkly uncanny images.
She graduated with a MFA from the School of the Museum of Fine Arts/Tufts University where she twice won the Boit Award. Her prints are in the collections of the Museum of Fine Arts (Boston), Edinburgh (Scotland) College of Art, Syracuse University, the collections of Percussion Software and Cell Signaling Technologies as well as numerous private collections.
Painter and printmaker Mary Sherwood attended the Boston Museum School (BFA and Diploma) in 1979 and, after moving to Los Angeles in 1990, she received an MFA in painting from UCLA in 1992. In 1980, after graduating from the Boston Museum School with a Traveling Scholarship award, she founded Artist Proof Cooperative Print Studio in Cambridge, the first open print studio in Boston to focus on monoprint as an artistic technique. Artist Proof was honored in 2000 by the Boston Public Library with an exhibition and catalog Proof in Print: a Community of Printmaking Studios for its contribution to the painterly print. While an artist in Boston, she received a Visual Artist Fellowship from the NEA and a Printmaking Fellowship and Painting finalist award from the Artist Foundation in 1986. In the 1980s she was part of the leadership that guided Boston’s artist housing issues to the attention of public officials and spearheaded the development of 1140 Washington Street in the South End, which is now the hub of a major arts center for Boston’s South End.
In Los Angeles she has continued to work in printmaking, as a teacher and adjunct professor and as an active board member of the Los Angeles Printmaking Society. Exhibitions of note have been Boston Now at the ICA in Boston in 1986 and exhibitions at LACE ( Los Angeles Contemporary Exhibitions), Jan Baum Gallery, and recently the Los Angeles Printmaking Society’s 20th National Exhibition at the Los Angeles Municipal Art Gallery, which included her curatorial project “Connections; LA Printmaking 1962-1973” (honored with an IFPDA grant) and an installation of her prints.
Heddi Vaughan Siebel’s current work collages together printmaking and experimental film and is inspired by a journal her grandfather Dr. John Colin Vaughan kept during the two years he was marooned in the Arctic on the failed Ziegler Polar Expedition of 1903. Heddi works with unconventional storytelling focusing more on her grandfather’s adventure as he may have felt it—as a hybrid accumulation of remembered, imagined and experienced fragments—rather than one, true story. In 1998 on a Fulbright Foundation Award she traveled to Arctic Norway and Svalbard with a backpack of supplies and painted 70 oil paintings and interviewed descendants of the Ziegler Expedition. Since then she has researched and worked with the many archival materials left by the expedition including the first 35mm films shot in the Arctic regions and large format photographs by expedition commander Anthony Fiala, and the journals of many of the 39 men.
Heddi studied at Middlebury College, Rhode Island School of Design (BFA), and Yale University where she received her MFA. She has been on the faculty of Wellesley College and the Massachusetts College of Art and Design, and a visiting Lecturer at Harvard University, Rhode Island School of Design, and Boston University. Her prints and paintings have been exhibited nationally and internationally. In addition to the Fulbright Scholar Award, she is the recipient of a Berkshire Taconic Foundation grant in printmaking, a Filmmaker-in-Residence Fellowship at WGBH in Boston, and a 2005 LEF Foundation Moving Image Award. Her prints and paintings are in private collections, and the permanent collections of the Museum of Fine Arts, Boston; the DeCordova Museum and Sculpture Park, Lincoln, MA; the Boston Public Library; and the Yale Art Gallery.
Robert Siegelman, a native New Englander, works in Printmaking, Drawing, Artist’s Books and Photography. While many of his prints have been the product of experimentation with the medium, the underlying concepts for the work is to use printmaking itself as a personal drawing tool. Early prints are noted for their whimsy and a sense of the lyrical. Later prints range from the nearly ephemeral to large, bold and gestural. All of his work references the autobiographical. His newest letterpress prints are made from scanned pages of his private journals. Siegelman’s work has been described as having a “raw grace”, and “the most instinctive kind of drawing possible.”
He holds a diploma, and a Fifth Year Certificate, from the School of the Museum of Fine Arts, Boston. He teaches at the Museum School and the Eliot School in Jamaica Plain, MA. He also leads workshops and consults with artists privately. For many years he co- directed Art In Amsterdam, a workshop and residency program for artists and art students from around the world.
Siegelman’s work is in many important collections including the Boston Public Library, MIT, the Harvard University Art Museums, The Danforth Museum of Art, The Art Complex Museum, The DeCordova Museum, and the Museum of Fine Arts in Boston.
Annie Silverman is a relief printmaker and book artist who printed at Mixit Studios from 1994-2005. In 2008 with Sandra Butler and Nina Wishnok, she formed ABRAZOS PRESS, a small teaching and professional studio in Somerville, MA. She teaches artists books and relief printmaking as a part-time instructor at Massachusetts College of Art and Design in Boston. Her work has been exhibited nationally and internationally, most recently in at the Grafik Galleri in Næstved, Denmark, where she had both a solo exhibition and a teaching residency and at Clo’ Ceardlann in County Donegal, Ireland.
Her woodblock and polyester plate lithographic artist book about bees, Associative Miscellany, was exhibited in Kyoto, Japan as part of the Moku Hanga Printmaking Exhibition in 2011, and it will be part of the Southern Graphics Council’s Traveling International Exhibition, which will begin its three year tour at the SGC Conference in New Orleans in Spring 2012.
Annie Silverman enjoys creating print installations and using the material of her woodblock and polyester plate lithographic prints in three-dimensional formats as books and toy theaters. She has exhibited her printed theaters at the Bi-annual Great Small Works Toy Theater Festival in the NYC area. In 2010, she exhibited Teatro Sopriani, a theater housed in an accordion and filled with polyester plate lithographic prints of accordion players including the artist herself, her teacher Evan Harlan as a young boy, and Gloria Steinhem ,at St. Anne’s Warehouse in DUMBO, Brooklyn, NY.
Erin Smith’s imagery derives from her fascination with the stories innate in the human-made. Through close observation of the quotidian, she coaxes the poetic quality of otherwise overlooked aspects of life to the surface. Her work hinges on metonym: using the small and intimate to extrapolate from it weightier, more sublime narratives.
Born in New Hampshire, Smith received her BA with Honors in English Literature and Studio Art from Wesleyan University in Connecticut (2006). After interning at an artist’s residency in Southern France, she initiated her art career in Boston, pursuing her work for three years at the Mixit Print Studio. She exhibited in group and solo shows in Boston, Provincetown, and Portsmouth, NH, and intermittently traveled to residencies, including Oxbow (Saugatuck, MI), Kala Institute (Berkeley, CA), and Vermont Studio Center (Johnson, VT). Ms. Smith moved to Montreal in 2009 to complete her MFA degree with a focus on printmaking at Concordia University. While there, she has developed an integrated practice of writing, book arts, mixed-media/print installation, and silverpoint drawing.
Mary Spencer was born a twin in May, the month of Gemini, in a shoe town in upstate New York. She can recall stunning moments of pain and beauty: the yellow aftermath of a tornado sparing the Susquehanna Valley by skipping over the hills, a bee sting on her nose, countless sunnies caught in summer lakes and a lone hummingbird near Niagara Falls.
Working very intuitively she waits for human or natural forms to suggest themselves and then paints or draws from memory with occasional references to photos or life models.
Mary Spencer received her BS from Nazareth College of Rochester, New York and her MFA from Cranbrook Academy of Art, Bloomfield Hills, Michigan. She taught at Sheridan College of Applied Arts and Technology in Oakville, Ontario, Canada. She was a proofer and then journeyman dot-etcher working with wet etch and dry photo-masking techniques for Boston area printing companies.
Spencer has received an ART Grant, a Natick Cultural Council Grant, a Massachusetts Artists Fellowship in Drawing, the Blanche E. Coleman Award and Fellowships to Yaddo, The Millay Colony for the Arts and the Virginia Center for the Creative Arts. She is represented by Fountain Street Fine Art, Framingham, Massachusetts.
Dorothy Thompson is a painter and printmaker whose connection with Mixit Print Studio goes back to the early 1990s. She has worked in etching, monotype, and carborundum prints, as well as oil and watercolor. A retrospective of her work was held at the Concord Art Association in 2010. She has also curated several print and painting exhibitions at the Danforth Museum, the Fitchburg Museum, the Newburyport Art Association, and the Concord Art Association. She is the author of Hyman Bloom (Chameleon Books, 1996), a biographical study of the painter.
Julia Talcott has an MFA in printmaking from the Cranbrook Academy of Art in Bloomfield Hills, MI. and has worked as a digital illustrator and artist since 1985. She currently teaches relief printmaking techniques at the Arsenal Center for the Arts in Watertown, MA and the Maud Morgan Center for the arts in Cambridge. Creator of the 1996 Christmas stamp for the US postal service, she has received 4 certificates of design excellence from Print Magazine. She has shown her work in various group shows both in the Boston area and nationally. Her work is in private, museum and corporate collections.
Kent Vienot: Explorations of journeys and growth, both personal and organic, are continuing themes in my printmaking. I am interested in deconstructing iconic images of maps and flags, symbols of home and heritage, which are filled with underlying meaning and structure, and which help guide and define who we are. A math teacher by vocation, I am drawn to using geometry and form to organize compositions, often employing multiple plates and multiple layers to show connections and stages throughout the journey. I studied at the Museum School in Boston and the Massachusetts College of Art, finding the iterative nature of printmaking rewarding. Through Mass Art workshops in Bennington, VT, I discovered Akua inks, which are well-suited to non-toxic exploration of images and their ghosts. I often use chin colle and collage materials, such as atlases, street maps, and even high school mathematics notebook pages, which add to the layered and personal nature of my prints.
Jamie Wainright: I received my Masters of Fine Arts and Masters of the Arts from the University of Wisconsin, Madison in Printmaking in 1979. I had traditional training in lithography and intaglio printmaking. I have always been interested in the wonderful tactile surfaces that you could achieve in using layers of etching. By manipulating inks and plates, I achieve rich and dimensional surfaces in my works of art.
As my work progressed I included the use of cut papers and layered old prints combined with several layers of ink and images create my imaginary landscapes. I use vibrant colors with transparent inks and dyed papers. Water-based inks have provided a fantastic palette for my printmaking. My professional experience includes: 1983 to present full Professor of Art, Westfield State University, Westfield, Massachusetts. Since 2008 I have been the Chairperson of the Art Department. I am a free-lance graphic designer/ Illustrator/copyright images for The Darlene Sisters (published by White River Press, Amherst, Massachusetts 2011.
My work is in the permanent collections in: Mint Museum, Charlotte, North Carolina; Wiggins Gallery, (Boston Public Library, Boston, Massachusetts; Autentica Restaurant, Hadley, MA; Zone Art Gallery, Springfield, Massachusetts; Elvehjem Museum of Art, University of Wisconsin, Madison, Wisconsin; University of Wisconsin Memorial Union of Collection, Madison, Wisconsin; Museum of Fine Arts, Boston, Massachusetts; Brooklyn Museum, Brooklyn, New York; Machall Erdman Inc, Madison, Wisconsin; Achaback Foundation, Boston, Massachusetts; Memorial Library, University of Wisconsin; Grunwald Center for Graphic Arts, U.C.L.A, Los Angeles, California; IBM Corporation, Chicago, Illinois; General Motors Company, Detroit, Michigan; Morgan, Brown & Joy Law Associates, Boston, Massachusetts; University of Wisconsin Department of Art, Madison, Wisconsin; Hart, Shaffner & Marx, Chicago, Illinois; Illinois Bell Telephone Company, Chicago, Illinois; and Kelly Lardie Graphic Design Firm, Montreal, Canada.
Karen Walter works primarily with abstract forms on paper using inks, etching processes, found papers, egg tempera paint, tinted charcoal, pastel and colored pencils within a restricted range of monochromatic and grayed-down earth colors. Although she works in a relatively small format, for the past ten years she has often organized the small units in large arrays that grow into organic shapes as much as ten feet high and thirty feet wide. She is interested in the way a series of marks and the relationships among different kinds of marks establish mood and suggest a range of associations to places, bodies, and landscapes.
Ms. Walter graduated Cum Laude with a B.A. in studio art and art history from Framingham State College. After which she studied printmaking with Peter Scott at the School of the Museum of Fine Arts. Her work is in the collections of the Boston Public Library and the DeCordova Museum along with numerous private collections and she is currently represented in Massachusetts by Studio 21 South. Ms. Walter has received two professional development grants from the Massachusetts Cultural Council and her work is reproduced in a number of publications including “Proof in Print: A Community of Printmaking Studios”, “Sumi”, which was a collaboration with poet Christopher Mattson, and “Driftwood,” a book of poetry by Lo Fu.
Ms. Walter was trained in paper conservation by Brigitte Boyadjian, a Conservator in private practice, and has been employed since 1998 at Harvard University as a Senior Paper Conservation Technician for Special Collections in the Harvard Libraries.
Lori Warner pushes the limitations of paper and form in printmaking by combining recognizable imagery with gestural marks of color to represent and explore details found in nature. Warner has found inspiration from a bird’s nest, an old hand built boat, images of the Lascaux caves, density of fog, impact of erosion on a landscape and old family photographs. These simple visuals serve as a starting point and develop by her layering and covering paper and ink, a process that adds to the emotional and physical dimensionality of her work. Traditional printmaking processes are used in repetition on a singular print.
Lori Warner is an educated printmaker in Lithography, Intaglio, Screen Printing and considered a master printer in Monotype. While an undergraduate, she studied Photography as a double major, graduating with the highest honors from RISD and receiving the award for Excellence in Printmaking. Upon graduating, Warner was hired in photography and digital media, specializing in photoshop. This work experience where she viewed pixellated images influenced her unique style of weaving prints.
Warner has received national recognition for her printmaking work from Vermont Studio Center, Artist’s Grant and Fellowship Award; Boston National Historic Parks, First Place Award; Yale University – Smilow Center, Eleven-piece Print Commission; CWOS – I-95 billboard and marketing initiative, Slater Museum of Art, Second Place Award; University of Hawaii Printmaking Biennial, among others. Warner is represented by Soprafina Gallery, Boston and is owner of Lori Warner Studio / Gallery in Chester, CT.
Jane Wilson was born in Scotland and has lived about an equal number of years in the UK and the United States.
She received a BA in History of Art from Cambridge University. After working in arts administration and bookbinding and conservation, she completed the Diploma Program at the School of the Museum of Fine Arts, Boston, MA in 2010.
Drawing on paper has always been her primary medium, and intaglio printmaking has become a way to continue to experiment with drawing by introducing new processes and materials.
The basis for her imagery is landscape and natural forms. Sampled and reworked, they provide the raw material for compositions that aim to create tension and drama.
Nina Wishnok has always been interested in the relationship between inner and outer life; dichotomies such as emotion and intellect, chaos and control, and finding balance between these extremes. Taking forms and objects from the physical world as her subject matter, she explores the fluid boundary between literal and abstract, particular and general.
Printmaker and Graphic Designer, Wishnok received her B.A. from New York University and her Graphic Design Certificate from Massachusetts College of Art. She has also studied art and design at the DeCordova Museum School, the School of the Museum of Fine Arts, Massachusetts College of Art, RISD, and Santa Reparata International School of Art in Florence, Italy.
She has received various grants and fellowships for her work, including the Saint Botolph Club Foundation, Anderson Ranch Arts Center (where she was a 2006 Artist in Residence), and the Massachusetts Cultural Council.
Exhibitions include: Mokuhanga: Dialogue and Dialect, International Woodblock Print Exhibition, Kyoto, Japan; 6th International Lithographic Symposium, Litografiska Akademin, Tidaholm, Sweden; Solo shows Placeless Space, Carol Schlosberg Gallery, Montserrat College of Art, Beverly MA and Trace, Essex Art Center, Lawrence, MA; Los Angeles Printmaking Society’s 19th National Print Exhibition, Los Angeles CA; The Dictionary Project, Brickbottom Gallery, Somerville, MA; The Alphabet Show, Essex Art Center, Lawrence MA; Drama of Scale: Prints from Mixit Print Studio at the Carney Gallery, Regis College, Weston, MA; The Boston Printmakers’ North American Biennial, Boston, MA.
After many years of working in art-related businesses—as a stylist and designer for large corporations and as owner, designer and manufacturer of hand-made ceramic tiles, working with architects and designers around the country—Valda Zalkalns is now again making more personal art.
She lives on the banks of the Charles River — which has become an inspiration for her work (Earth Art) focused especially on the ice of the winter-frozen river with birds gathering and dispersing — symbolizing the fragile and ephemeral nature of our experience. She is interested in the passage of time and the marks it leaves both in her installations on the river ice and in our lives.
Photography: © Robin Z. Boger with the exception of the following images: Kim Berman, Anne Bernard Kearney, Lei-Sanne Doo, Philippa Edwards Cully, Andrea Connor, Rachel Atkinson Chapman, Marty Epp-Carter, Tamar Etingen, Karen Crowley Falkoff, Joanne Kao, Peter Haines, Ron Rumford, Sarah Shalbetter, Annie Silverman, Robert Siegelman, Erin Smith, Mary Spenser, Dorothy Thompson, Jamie Wainright, Lori Warner, Nina Wishnook, Valda Zalkalns.