ANCHOR GRAPHICS
A PROGRAM OF THE ART + DESIGN DEPARTMENT AT COLUMBIA COLLEGE CHICAGO
VOLUME 5 NO. 1 SUMMER/FALL 2011
JESSICA TAYLOR CAPONIGRO
BAD LUCK TO YOUR MOTHER (DETAIL)
INSTALLATION
2011
ON THE COVER:
DAN MACADAM
FORT #3
SCREEN PRINT
23” X 23”
LETTER
FROM THE DIRECTOR
DAVID JONES, EXECUTIVE DIRECTOR
OF ANCHOR GRAPHICS.
Dear fellow print enthusiasts,
Anchor Graphics is entering its 21st year and things aren’t the same as they once were. We
have been a program of the Art + Design Department at Columbia College for over five years
now and we are still evolving.
We have re-launched our subscription series that initially ran through the 1990s with a new
focus on notable artists of color under the name Columbia Multiples. Our inaugural print will be
with Margo Humphrey. We worked with her several years ago, and you may remember a piece
about her in a previous issue of our newsletter. More on the subscription series can be found
in the recent events section of this issue. If you would like to join, I hope you will contact us.
This last spring we participated in Art Chicago. We made some new friends and received many
compliments from visitors who said that they were always impressed by the quality and caliber
of our prints. We are planning to continue attending this and other art fairs in the future.
Hopefully we will be bringing our prints to a town near you very soon.
Our summer Artist-in-Residence program is getting into full swing. Our first artist was China
Marks. While Ms. Marks claims she is no printmaker (but studied a bit of printmaking years
ago) we watched her push the boundaries, make new discoveries and redefine the parameters
of her work. After all of these years we are still excited by the residency program and are very
thankful to the Illinois Arts Council whose funding partially supports it.
We have had the pleasure of working with some really amazing interns over the past two
semesters. Thank you Lindsay Kummerer, Zoraida Castiblanco, Hunter Doyle, Quincy
Bingham, Aaron Smith, Shannon Gallagher, and Sarah Bogosh. We hope you got something
out of your time at Anchor and we appreciate your efforts. Over the years I have been told by
more than one intern that they have learned more during their semester with us than they
have in all their years at school. During hectic days, it can be difficult to slow down to teach
and coach, but in the end it’s very satisfying to work with such intelligent and motivated young
people.
Once again Chris Flynn and James Iannaccone have made the place it is today. From all of
us, we hope that you will continue reading and enjoy more information on these undertakings
as well as our recent print project with Saya Woolfalk. Should you find yourself in downtown
Chicago, please drop in and say hi.
Sincerely,
David Jones
Executive Director
EVENTS
RECENT
WH EN A FT ER C O M ES
BEFO R E: PH I L I P C H E N AND
T O M A S V U EXH I BI T I ON
PHILLIP CHEN
SHOOTING THE DEVIL
(AFTER ABU’L HASAN)
RELIEF ETCHING
46” X 31”
TOMAS VU
FLATLAND
SILKSCREEN, LASER ENGRAVED
PAPER AND WOOD VENEER WITH
HAND COLORING ON PAPER
35” X 46 1/2”
2008-2009
The prints of Phillip Chen and
Tomas Vu collapse time, creating an incongruous space where
linear knowledge is replaced by
a state of simultaneity. Drawing
from personal experience, written history, and the imagination
their work incorporates long
departed traditions, objects and
landscapes, along with futuristic
totems, positioning all firmly
within a contemporary context.
The push and pull of yesterday,
today, and tomorrow are encompassed in the very materiality
of the work, constructed using
computer-controlled laser cutters combined with old-school
hand printmaking. Their work
is a schematic diagram of the
past, present and future folded
into the singular image of each
print. This exhibition was curated
by Anchor Graphics and was on
display at the Averill and Bernard
Leviton A+D Gallery, January 13–
February 12, 2011.
SGCI CONF E R E NCE
Anchor Graphics’ staff was on
hand at the newly renamed
Southern Graphics Council
International Conference in St.
Louis, March 16–19, 2011.
Anchor’s master printer Chris
Flynn demonstrated registration
techniques for combining photopolymer and traditional intaglio
plates; administrative assistant
James Iannaccone chaired a
panel featuring Sonnenzimmer
and the Little Friends of
Printmaking, talking about how to
start a business screen printing
posters for rock bands; and
director David Jones displayed
some of our latest creations at
our publisher’s table.
F ISH T ANK E X HIB I TI ONS
Located next to Anchor
Graphics’ studio, the Fish Tank
presents small exhibitions of
print based work. Over the last
several months work was on
display by Kathleen Judge, Julia
V. Hendrickson, Jessica Taylor
Caponigro, and Dan MacAdam.
SCR E E N-P R INT T O L OWER YOU R
CAR B ON F OOT P RI NT
Over the past few months Anchor
Graphics has teamed up with
the Columbia College Recycling
Program to screen-print new life
into old t-shirts. Several events
were held aimed at promoting reuse by improving old or
forgotten items in participants’
wardrobes. There were multiple
designs and colors to choose
from with blank shirts from local
thrift stores available for a small
donation.
CLOCKWISE
FROM TOP LEFT:
SONNENZIMMER
THE NEW TYPOTHETAE
SCREEN PRINT
19” X 25”, 2011
POSTER FOR SGCI
CONFERENCE PANEL
PREPARING A CUSTOM
SCREEN PRINT AT
MANIFEST. PHOTO BY
ALLISON SHIMAN
MARGO HUMPHREY
THE HISTORY OF HER LIFE
WRITTEN ACROSS HER FACE
LITHOGRAPH, 1991
PUBLISHED BY TAMARIND
INSTITUTE
A R T C H I C A G O 2011
From April 28–May 2, 2011,
Anchor Graphics displayed
new work by published artists
and artists-in-residence at Art
Chicago. The annual international
fair of contemporary and modern
art brings together some of the
world’s leading emerging and
established galleries. Art Chicago
offered art enthusiasts a comprehensive survey of current and
historic work, from cutting-edge to
modern masters in a wide variety
of media.
C O L UM BI A M UL T I PL ES
S UBS C R I PT I O N S ER I E S
Columbia Multiples was founded
to advance the work of highly
notable artists of color by creating
opportunities for these individuals to create limited editions in a
professional studio. Editions will
be available to subscribers on an
annual basis with each member
receiving one multiple per year.
Our inaugural artist will be Margo
Humphrey, and the names of subsequent artists will be announced
in advance. Subscriptions are
limited to 30 individuals who
have the first option to renew for
the following year. In addition
to the current publication in the
series, members will also receive
special invitations to private
events and 20% discounts on
all other Anchor Graphics prints.
Memberships are $1,500 per
year with discounts for multi-year
subscriptions. Editions are valued
at $1,500 - $5,000. Proceeds are
used exclusively to fund opportunities for additional artists and
other print related programming
at Anchor Graphics. Don’t miss
this chance to collect influential, dynamic, provocative, and
extraordinary work being created
by artists of color today. Contact
us at 312-369-6864 to sign up!
M ANIF E ST 2 0 1 1
On May 13, 2011, Anchor
Graphics and Columbia College
printmaking students took part
in the school’s annual end of
the year celebration by screenprinting customizable posters.
Prints were made to order, with
their new owners participating
in the creative process through
selecting colors, design elements,
and animal imagery created by Art
+ Design major Maggie Sichter. By
the end of the day over 800 prints
had been pulled and sent off to
happy homes. Manifest is an
urban arts festival celebrating the
work and creativity of Columbia’s
students. The festival is free and
open to the public featuring live
music, art exhibitions, film screenings, theater performances, and
much more.
EDITIONS
ANCHOR GRAPHICS
Anchor Graphics invites artists from around the country to create limited edition prints. Our master printers work
in collaboration with the artists to help realize their vision. Both the artists and Anchor Graphics benefit from these
partnerships by sharing ideas and splitting editions. These prints are available for sale to the public, providing an
important source of revenue for Anchor’s programming. Recent editions include work by Industry of the Ordinary,
Jeff Elrod, and Saya Woolfalk (see article this issue).
RECENT
4
INDUSTRY OF THE ORDINARY
PARADISE OF THE ORDINARY
SUITE OF 4 LITHOGRAPHS WITH
SANDBLASTED GLASS AND ONE
DIGITAL PRINT
LITHOGRAPHS:
27 1/2” X 19 3/4”
DIGITAL PRINT:
80” X 25 3/4”
2011
JEFF ELROD
COCONUT ROCK
LITHOGRAPH
13 3/4” X 19 1/2”
2011
PUBLISHED BY P.R.I.N.T. AT THE
UNIVERSITY OF NORTH TEXAS
CHINA MARKS
DRAWING WITH FABRIC & PRINT
INTERVIEW BY SARAH BOGOSH
China Marks is an artist from Long Island City who creates drawings and one-of-a-kind books with fabric and thread.
She was an artist-in-residence at Anchor Graphics from June 5–25, 2011. During her stay, she was interviewed by
intern Sarah Bogosh. This is an edited version of their conversation. Audio of the complete discussion along with
video from China Marks’ lecture can be found on our website, colum.edu/anchorgraphics.
6
ANCHOR GRAPHICS
I’ve always
drawn, and I
never stopped
drawing.
Just because
I change
medium, why
would a drawing
become
something
else?
S A R A H B OGOSH: When did you realize that
you wanted to be an artist? Was there a
certain series of events that pushed you in
that direction?
C H I N A M A R K S : I guess there was. My
brother’s earliest memories of me were that I
was on the floor either reading or drawing. But
it never occurred to me that it was anything
other than what I did. I was very good at other
things and no one paid very much attention
to my art making. That didn’t bother me. I
didn’t expect any attention. I just kept doing
it. It really wasn’t until I was in college, when
an old acquaintance of mine wanted to take
a night course in sculpture at the local art
school. She asked me if I would come with
her to registration because she knew I wasn’t
afraid of those “arty” types. I went with her,
and within two minutes it was obvious that it
interested me. By the middle of the semester
I had enrolled as a full time student at the
Kansas City Art Institute. I can’t say that my
parents were thrilled, but that’s how it started.
S B : So you focused on sculpture when
you were in school. How do the types of
processes that you learned then influence
the work that you are making now?
C M : The way that you can describe my work
then and now is that it’s very hands on, process
directed work. For the work that I’ve done over
the past nine years, which is basically the
work that I represent myself with, I draw with
a power tool, which is an industrial sewing
machine. Even though I have no background
in sewing it seems like the most natural thing
in the world because I used machines and
tools when I was a sculptor and I end up with
work that has a dimensional quality to it.
SB : How do you usually develop and work
through the compositions of your pieces?
CM : I have boxes of prepared scraps of fabric.
They have fusible adhesive on the back. On a
day when I’m going to begin composing I set up
a temporary table and I go through my boxes.
I pull out a hundred or so scraps that appeal
to me on that day. I just begin playing with
them to see if they suggest anything. When I
see something I like I fuse it together with an
iron and continue to work on it. Eventually I
find a ground fabric for it and I begin to sew it
down. Sewing is the transformative agent and
the truth-teller, because as soon as I start,
I think, “What was I doing?” In the process,
the composition can change dramatically.
Heads can change or disappear, bodies can
disappear, any number of things can happen.
SB : How do you determine when the piece
is finished?
CM : When I can’t stand to work on it another
moment! I never take my work to the point
where everything is perfect. I’m not even sure
that is possible. But I’ve learned that things
don’t have to be perfect. They have to read,
they have to have an impact. Of course one of
COLUMBIA COLLEGE CHICAGO
7
ARTWORK (LEFT TO RIGHT):
AS I AM
PHOTOPOLYMER INTAGLIO PRINT
PAPER SIZE: 11” X 15”
IMAGE SIZE: 6 3/4” X 8 7/8”
2011
BRIGHT RIDER
PHOTOPOLYMER INTAGLIO PRINT
PAPER SIZE: 15” X 11”
IMAGE SIZE: 8 7/8” X 6 3/4”
2011
LOVE WILL FIND A WAY
FABRIC, THREAD, SILK-SCREEN INK,
FUSIBLE ADHESIVE
38” X 53”
2011
PHOTO BY D. JAMES DEE
ARTWORK (PAGE 11):
BEAR’S DREAM
FABRIC, THREAD, SILK-SCREEN INK,
FUSIBLE ADHESIVE
34” X 34”
2011
PHOTO BY D. JAMES DEE
the problems I have with printmaking is that
it goes towards perfection to a much greater
extent than I do. It’s a great challenge for me,
but I understand that if I’m going to continue
to make prints that I have to learn to push
myself a little bit more in that direction.
S B : How do you feel that the presentation
of your books, as opposed to the single
drawings, changes the interactions and
ideas within the work?
C M: My drawings are about simultaneity and
my books are sequential. I would say that
is the difference. And whoever looks at the
books has some control over how quickly
they process whatever it is that I present. The
reader is in control perhaps more than the
viewer is. In fact the reader can choose not to
open the book at all.
S B : How do you decide whether to add text
to a drawing?
C M : I have always occasionally used text
in my drawing. But in the spring of 2009 I
was walking my dog when I came across a
broken umbrella. It was big, it was black,
and it was covered in white text. Because
one of the requirements of process is that
you have to be open to chance, I took it
home. Then it occurred to me that I had
several silk screens with text on them that I
had made years earlier. If I printed those on
fabric, along with the umbrella I would have
a store of letters and words that I could use.
That Fall I made my first totally text based
book. A year later after I finished my 3rd text
based book, Pressing Questions, I started a
new drawing that seemed strange. I realized
that the reason it was so strange was that
I had started with text instead of an image.
Somehow that changed everything. I resolved
to do a whole series of drawings that involved
text in new ways. For the foreseeable future,
my work will have text in it.
S B: Do you have any recurring themes and
symbols that you tend to work with?
C M : To a certain extent, my work deals with
issues of control and power. I think if you
were to ask someone else about my work you
would probably get a more objective answer. If
you think about what I’m using, these scraps
of pattern from every culture. Some are over
2,000 years old, some are computerized and
produced digitally, and everything in between.
These are all aspects of our civilization and
our world. In my drawings I reflect and refract
them into something new. Some of it is kind
of accidental. For a while I was using a lot
of Asian women. People thought that it was
some kind of reference to my name but it was
just that they were derived from floating world
prints that were out of copyright, so they could
be used in patterns on fabric.
S B : How do the printmaking processes
you’re using now relate to your drawings?
C M : I don’t think about it at all. What I was
interested in and really excited about was that
fact that the work I have made here exists
only because I came here. I never would have
done it otherwise. If I had not come here in
June of 2011, to Anchor Graphics, to print,
none of this work would exist. I just think that’s
incredible!
SB : When most people think about drawings
they envision marks made with a pencil or
pen on paper. But you refer to your sewn
pieces as drawings. What do you think
constitutes a “drawing?”
CM : The first reason I call these things drawings
is that I’ve always drawn, and I never stopped
drawing. Just because I change medium, why
would a drawing become something else?
I’m primarily a linear artist. A line is enough
for me. If you look at the backs of my current
fabric drawings you see that they are intensely
linear. The line is what organizes them. I think
of them as drawings for that reason.
SB : What was the best piece of advice you
were ever given about living and working as
an artist?
CM : I don’t know if I got advice or if it was simply
modeled for me when I was an undergraduate,
but the key is to show up and do the work.
Don’t wait for ideas or inspiration. Making and
doing will generate imagery, concepts, and all
kinds of other good things. The key is to do
that on a regular basis in order to form the
habit of coming into the studio and working.
8
ANCHOR GRAPHICS
K
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SAYA W
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ART AND AN
BY JAMES IANNACCONE
THE ANTHROPOLOGIST (LEFT) AND THE ARTIST (RIGHT), 2008.
TWO COLOR PHOTOGRAPHS, 8” X 10” EACH
MONIKA JAMAK, PHOTOGRAPHER, OLAN MILLS PORTRAIT STUDIO, KMART
A N T H R O P O L O G Y is a broad field of study
encompassing all of human kind and is an
excellent example of how the humanities,
social sciences, and natural sciences can work
towards cooperative ends. Anthropologists are
interested in both variations and universals
in human experience. They compare cultural
traditions across geography as well as over
the passage of time. Anthropology attempts to
provide a holistic account of human phenomena leading researchers to study a particular
subject in extensive detail. Study of a particular group of people can take anthropologists
into the field, traveling to a specific community
to do ethnographic research.
Ethnographers often take part in the
events they study as a way to increase their
understanding of local behavior, an activity
known as participant observation. But according to Gary Alan Fine’s article “Ten Lies of
Ethnography” this often requires researchers
to bend their ethics. Being an ethnographer
and sociologist himself, Fine does not condemn this practice, but argues that it is inherently based on partial truths. Fine asserts that
there can be no absolute objectivity since
research will always be presented from a
particular person’s perspective. Everything is
open to interpretation or misunderstanding,
and ethnographers will frequently miss some
aspects of what they are trying to record.
Additionally, if those being observed know the
research goals they may alter their actions
to show themselves in a better light. In such
cases it is necessary for ethnographers to
conceal their true intentions. Moreover, as a
participant the researcher will always have an
effect on the interactions being studied.
10
ANCHOR GRAPHICS
Saya Woolfalk’s art takes Fine’s concerns
to an extreme by using a factual mode of
presentation to develop a fictional world. The
all-encompassing field of anthropology is one
inspiration for Woolfalk’s all-encompassing
artistic production.
Drawing on folk traditions, Woolfalk uses
sculpture, installation, painting, performance
and video to activate and re-imagine symbolic
and ideological systems through collaboration, play and masquerade. Participants in
Woolfalk’s projects collectively craft narratives
as she creates objects, bodies, and landscapes to immerse the viewer in the logic of
another place. She has worked with students,
curators, neuroscientists, biologists, and yoga
practitioners to shape the contours of her
work. Along the way her projects become a
repository for the dreams and ideas of the
many people who participate in producing
them. Each project builds on the last as
she attempts to approximate in a parallel
space and time how things might come to
be. Through her projects Woolfalk constructs
multiple temporalities: the present, the future,
and the future of the future. This structure
allows for her to capture and present large
amounts of information.
Woolfalk’s future of the future is a land
called No Place, constructed for the investigation of human possibilities and impossibilities.
No Place was brought into existence through a
film created with anthropologist Rachel Lears
titled Ethnography of No Place. The mythological world is comprised of half human, half
plant beings called No Placeans that live complex lives with elaborate social relationships.
They have a detailed life cycle, which includes
rituals and rites of passage that allow them to
transform their gender and color. The life of
the No Placeans is one of flux and change, and
when they die they are absorbed into the landscape. Woolfalk and Lears filmed as documentarians, recording the No Placeans performing
rituals in costumes Woolfalk created.
Musing on Woolfalk’s ideas of a perfect
future, Ethnography of No Place has a direct
connection to Thomas More, widely known
for introducing the word utopia into the
English language. The word comes from the
name More gave to the island described in
his book A Truly Golden Little Book, No Less
Beneficial Than Entertaining, of the Best State of
a Republic, and of the New Island Utopia, commonly referred to simply as Utopia. The name
Utopia was derived from the Greek words ou
meaning “no” and topos meaning “place”,
with the suffix ia, together meaning “no-placeland,” possibly an allusion to its unattainable
harmony. Ironically, More fell victim to the
uniquely dystopian times of Henry VIII, after
becoming embroiled in religious conflicts that
would end with his head on a pike.
More’s Utopia recounts the observations
made by the fictional Raphael Hythlodaeus in
the New World after traveling as part Amerigo
Vespucci’s real life expeditions of discovery.
Utopia reports Raphael to be one of the men
Vespucci left at Cabo Frio in Brazil. Raphael
then pushed on to find the isle of the book’s
title, where he spent the next five years living
with its people. In spite of its connections to
real events, the book is a work of fiction that
essentially takes the form of a cross-cultural
comparison. It contrasts the turbulent existence of European nations with the order and
rationality of Utopia. In Utopia there is no private property, men and women are given the
same education, and contrary to the clashes
that ensnared More, there is almost complete
religious tolerance.
More used fiction as a means of freely
discussing controversial matters. Though its
purpose was different, its form followed in a
popular tradition of pseudo anthropologies
authored by explorers of the time. Rather
than just adding a touch of truthfulness to
More’s story, Amerigo Vespucci may indeed
have been an inspiration. Vespucci’s voyages
exploring the east coast of South America
became widely known in Europe after letters
attributed to him were published. Scholars
debate whether the letters are authentic or fic-
COLUMBIA COLLEGE CHICAGO
ABOVE:
A ROSETTA STONE OF EMPATHIC MOVEMENT AND BIOLOGY
LITHOGRAPH
28” X 22”
2011
OPPOSITE PAGE:
RITUAL OF THE EMPATHICS
PERFORMANCE
DURATION 30 MIN
2009
COURTESY OF UNIVERSITY AT BUFFALO ART GALLERY
11
12
ANCHOR GRAPHICS
ETHNOGRAPHY OF NO PLACE - CHAPTER 1: SELF AND LANDSCAPE
COLLABORATION WITH RACHEL LEARS
VIDEO, DURATION 30 MIN
2008
tionalized accounts. In either case, a few years
after their publication most of Europe knew
about the continent named for the feminine
Latin version of Vespucci’s first name.
Like the dispatched Raphael, Woolfalk
has continued her investigation beyond her
initial arrival in No Place. She imagined how
this future of the future could be brought into
being, and developed the temporality of the
present with A Ritual of the Empathics. It is a
modern dance piece made in collaboration
with the Theatre and Dance Department at
the University of Buffalo. The Empathics are a
group of women who try to conjure No Place
into the present through a combination of
ritual and scientific inquiry. Their collective
actions are informed by what seem to be
contradictory positions of semi-religious mysticism, and a desire to understand through reason and observation. So that the Empathics
could carry out their studies, Woolfalk created the Institute of Empathy at Real Art Ways
in Hartford, Connecticut. Again performance,
dance and costumes were on view, this time
within the context of a fictitious research institution that was part natural history museum
and part science lab.
Woolfalk gathered imagery from the
Institute of Empathy into A Rosetta Stone of
Empathic Movement and Biology, a lithograph
she created with Anchor Graphics. The lithograph, like the original Rosetta Stone, is
divided into registers. Along the top is a series
of mugshot-like photographic images docu-
INSTITUTE OF EMPATHY
MIXED MEDIA INSTALLATION AND PERFORMANCE
DURATION 1 HOUR
2011
menting several Empathics complete with
ceremonial dress invoking distinctive plant
characteristics. At the center of the image
two Empathics are engaged in a ritual flanked
by diagrams illustrating changing physiology,
similar in appearance to homeopathic charts.
Along the bottom are pictograms of ceremonial movements and dance steps. It is interesting that plant imagery is so prominent in
Woolfalk’s work given the cross-pollinating
nature of her projects and the ever-present
attempts of the agriculture industry to construct a better world through the genetic
modification of crops.
However, Woolfalk’s aesthetic is more
straightforwardly traced to other sources. Play
was brought into her work by a text about toys
from Roland Barthes’ Mythologies. Barthes
describes children’s objects as a way for
them to begin to negotiate the challenges
of adulthood. The concept of play as a part
of learning to understand the world has provide Woolfalk with a method of exploration
to probe, question and examine our world.
Animated movies have also been a formative
influence on Woolfalk’s art, from the films of
Hayao Miyazaki viewed during childhood summers in Japan to Disney’s version of Alice in
Wonderland. Such films are studies of human
interaction within bizarre cerebral landscapes
that may only exist in the characters’ own
minds. Like the protagonists of Woolfalk’s
world, the characters of these films are constantly transforming with their surroundings.
As part of the videogame generation, playing
Super Mario Brothers and The Legend of
Zelda has had an impact as well, particularly on Woolfalk’s sense of temporal shifts,
as when moving from one level to the next,
or the simultaneous narratives of parallel
spaces. While living in Brazil, Woolfalk began
to see Carnival and other festivals as ways
of expanding her work into the adult realm.
Through Carnival traditions people use fantasy and masquerade to enact alternative narratives and overturn their daily lives.
Born to a Japanese mother and a
father who is half African-American and half
Caucasian, Woolfalk’s own experiences of
hybridized culture are dramatically present. Her work is absorbent and each group
Woolfalk works with will leave a trace on
its history and future. For Woolfalk, contact
hybridizes, and the more diverse the visions
contained within a project, the more it can be
an allegory for our blending world.
Saya Woolfalk graduated with an MFA from the School of the
Art Institute of Chicago in 2004. Since then she has been
an Artist-in-Residence at the Studio Museum in Harlem and
has received a fellowship from the Joan Mitchell Foundation
as well as a Brazilian Fulbright Commission. Woolfalk has
exhibited at PS1/MoMA; Deitch Projects; Contemporary Art
Museum, Houston; Contemporary Arts Center, Cincinnati;
the Museum of Contemporary Art, Chicago; Momenta Art;
Performa09; and has been written about on Art21’s blog.
She is currently working on a project for the Montclair
Art Museum that responds to the museum’s collection of
Native American Art.
UPCOMING
PROGRAMS
COLUMBIA COLLEGE CHICAGO
SUPER SALE!
30% OFF ALL PRINTS
PUBLISHED BEFORE 2005
ENDS AUGUST 31, 2011
Just because the economy sucks
doesn’t mean you can’t buy art.
Anchor Graphics is in the midst of
its first ever sale and it’s a big one,
with 30% off of prints published over
a 15-year span. All prints published
between Anchor’s founding in 1990
through the end of 2004 are on sale.
We are offering prints by over 50
artists with hundreds of dollars
in discounts.
ANCHOR GRAPHICS
EXHIBITION
RIVERSIDE ARTS CENTER
SEPTEMBER 9–OCTOBER 15, 2011
RECEPTION: SEPTEMBER 10, 3 – 6 PM
New prints from our publishing and
artist-in-residence programs will be on
view. Don’t miss this chance to see
several of Anchor Graphics’ newest
and awesomest projects in person!
THE FISH TANK EXHIBITS
The Fish Tank continues to bring
young innovative print artists to the
fore. Here’s what’s on deck.
TEN X TEN (A PROJECT OF SPUDNIK
PRESS AND HOMEROOM)
AUGUST 12 – OCTOBER 1, 2011
ANNA AUSTIN
OCTOBER 7 – NOVEMBER 26, 2011
KRISTINA PAABUS
DECEMBER 2 – JANUARY 28, 2011
EDITIONS/ARTISTS’ BOOK
FAIR IN NEW YORK CITY
KATHLEEN JUDGE
FEBRUARY 3 – MARCH 31, 2012
NOVEMBER 3 – 6, 2011
ARTISTS-IN-RESIDENCE
Anchor Graphics will be exhibiting
new work at the Editions|Artists’ Book
Fair at 548 West 22nd Street in New
York City. This will be the first time we
have attended this fair and we are
really excited. If you happen to be in
town be sure to check it out!
Anchor Graphics’ artist-in-residence
program is running at full pace.
Stay tuned for receptions, lectures,
and new work from theses artist
throughout the summer, winter
and spring.
JENNIFER YORKE & ANNE ROECKLIEN
AUGUST 1 – 20, 2011
KATRINA ANDRY
AUGUST 22 – SEPTEMBER 11, 2011
ABOVE:
CANNONBALL PRESS
HARD TIMES, INSTALLATION DETAIL
WOODCUT ON CUSTOM TENTS, PRINTS
ON PAPER IN BACKGROUND, 2009
TARYN MCMAHON
OCTOBER 31 - NOVEMBER 21, 2011
LENORE THOMAS
DECEMBER 1 - 22, 2011
KORE LOY WILDREKINDE-MCWHIRTER
MARCH 18 - APRIL 8, 2012
CANNONBALL PRESS
EXHIBITION
AVERILL AND BERNARD LEVITON
A+D GALLERY
JANUARY 12 - FEBRUARY 18, 2012
RECEPTION: FEBRUARY 2, 5 – 8 PM
Since 1999, Brooklyn based artists
Martin Mazorra and Mike Houston
have been producing high quality,
affordable letterpress, relief and
screen prints under the moniker
Cannonball Press. More recently
they have expanded their repertoire
to include large scale, collaborative,
print infested sculptures and
installations using bold graphics
formed from minute detail and a
surrealist-punk vision. Such work
has taken them around the world
and back again while adding a
new chapter to the rich history of
printmaking - namely the scruffy,
musky, pirated hillbilly chapter.
Curated by Anchor Graphics.
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ANCHOR GRAPHICS
A PROGRAM OF THE ART + DESIGN DEPARTMENT AT COLUMBIA COLLEGE CHICAGO
623 S. Wabash Ave., Room 201
Chicago, IL 60605
312 369 6864
anchorgraphics@colum.edu
colum.edu/anchorgraphics
MISSION
SUPPORT
Anchor Graphics is a not-for-profit fine art press that brings together,
under professional guidance, a diverse community of youth, emerging
and established artists, and the public to advance the fine art of
printmaking by integrating education with the creation of prints.
Anchor Graphics is a program of the Art + Design Department at
Columbia College Chicago.
Anchor Graphics is funded in part by contributions from individuals,
the Illinois Arts Council - A State Agency, the Packaging Corporation
of America, and the Art + Design Department at Columbia College
Chicago. If you would like to help support Anchor Graphics please
contact us at 312-369-6864, or donate online at colum.edu/
anchorgraphics.