Anchor Graphics
@ Columbia College Chicago
V OLUME 2 N O . 2
SPRING 2008
ANCHOR GRAPHICS
COLUMBIA COLLEGE CHICAGO
our mission
Anchor Graphics @ Columbia College Chicago is a not-for-profit
printshop 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.
recent events
contents
2
2 letter from the director
david jones
3 2009 Southern
Graphics Council Conference
4 a few remarks
mark pascale
6 the science of safer etching
friedhard kiekeben
8 the music and the message
james iannaccone
10 upcoming programs
A prontoplate print by alain douglas Park dries during a recent worksh0p. Photo by James Iannaccone
support
Funding for Anchor Graphics is provided in part by contributions from individuals, the Illinois Arts Council-A State Agency, the Chicago
Community Trust, the Terra Foundation for American Art, the International Fine Print Dealers Association, the Oppenheimer Family
Foundation, the Packaging Corporation of America, Target, Blick Art Materials, and Jet Litho.
If you would like to make a donation to Anchor Graphics please contact us at 312-344-6864 or anchorgraphics@colum.edu.
On The cover: Cross Over By Margo Humphrey, 8 color lithograph & gold leaf, 11 1/4” x 14”
1
visiting artist sue coe talks with columbia college students about her lithograph still in progress.
Photo by James Iannaccone
Sue Coe
Artist and activist, Sue Coe, was at Anchor
Graphics in late November working on two
lithographs and a woodcut that continue her
ongoing investigation of human mistreatment
of animals. The two stone lithographs,
like much of her recent work, focus on the
long history of abuses suffered by circus
elephants. The woodcut illustrates and
reproduces the text of a poem written by
her sister, Mandy Coe, lamenting the death
of two extremely rare and endangered hen
harrier birds allegedly killed by England’s
Prince Harry on a hunting trip. These prints
will be editioned in early summer 2008.
Watch for more information in our next
newsletter. During her visit Sue Coe also
presented a lecture on her work as part of our
Scraping the Surface lecture series attracting
the largest audience ever for this series with
over 100 people in attendance.
New Prints: Autumn 2007
Columbia College’s [C]Spaces and Anchor
Graphics brought the International Print
Center New York’s New Prints: Autumn 2007
exhibition to Chicago. This group exhibition
gathered 50 of the finest prints created in the
past year by 40 artists from around the world.
The exhibition was on display in [C]Spaces’
C33 Gallery and Hokin Annex. A wide range
of printmaking mediums was represented,
from the traditional to the cutting-edge. Many
of the pieces pushed the fine art print in
new and unexpected directions. Highlights
included: Chuck Close’s 11 x 8 1⁄2 inch sheet
of paper watermarked with his trademark
self-portrait; Alex Dodge’s computer numerical
controlled engraving accompanied by an
executable computer virus; a larger-than-life
abstract human form printed in relief from
banyan tree aerial roots by Michele Oka
Doner; and William Kentridge’s photogravures
which when viewed through a stereopticon
reveal 3D effects. For more on the exhibition
see Mark Pascale’s article in this issue.
ANCHOR GRAPHICS
COLUMBIA COLLEGE CHICAGO
recent events
3
[ continued ]
David jones with a student
from dodge elementary during
a recent class visit. Photo by
from the Director
James Iannaccone
Letter
2
Greetings everyone!
On the way to the shop I had a revelation! I realized why I got into this art making. I really
enjoy making things. After a long drought of not working on my own projects, I realized
while printing, I was actually happy to be working at the press again. The act of working
with one’s hands, the physicality of bringing something to life is really satisfying.
So, welcome to the fourth issue of the Anchor Graphics Newsletter. I hope you enjoy it.
In this issue James Iannaccone writes about Margo Humphrey’s homage to Rahsaan
Roland Kirk, Friedhard Kiekeben shares his ongoing research into safe printmaking
practices, and Mark Pascale remarks on the nature of group printmaking exhibitions.
As we continue to celebrate prints and printmaking, the on going challenge is how to
create work with meaning in a world cluttered with images. I am drawn to the imagery of
our recent projects with Sue Coe, Laurie Hogin and Margo Humphrey because of their
sense of honesty and integrity. These artists as well as others we have worked with
all share a singular vision to put down on a surface something that speaks from the
deepest parts of themselves.
In March of 2009, Columbia College Chicago will host the Southern Graphics Council
Conference centered on the theme of “Global Implications.” We are in the midst of
planning for this event, which will showcase prints made by artists from around the
world, as well as discussions and presentations relevant to art making in both local and
global communities. We expect over 1,000 people will attend the conference and we
hope you will be able to join us as well.
This is an exciting time for us as we find new ways to mesh our work with the education
of the students at Columbia College and expand the opportunities we can offer to
individuals exploring the printmaking medium. To all of the people who have generously
donated to Anchor Graphics’ recent annual campaign thank you very much. You have
helped make our special programming possible.
Sincerely,
Photo by jo atkinson
2009 Southern
Graphics Council Conference
Global Implications
March 25–28, 2009
Printmaking is the art medium most responsive to changing technologies, but also
retains many otherwise-obsolete techniques. As print artists, we find ourselves
uniquely situated: we employ the latest digital imaging tools and centuries-old
techniques for hand mark-making. We make exquisite, precious objects and
democratic gestures. We are able to share our imagery and processes with anyone
anytime--and also create community, dialog and collaboration in our own shops.
As our world becomes increasingly interdependent, local practices are at once
threatened, celebrated, worthy of preservation and dangerously divisive. As
printmakers, our medium is likewise evolving, it’s borders increasingly permeable.
Our traditions are a source of strength, but also a source of isolation. We now
realize that our resources are limited, that what is done in one location will
probably affect someone, somewhere else.
Our community of supportive souls is part of a world in which time has become
compressed: digital files can circle the world in seconds, and new technologies
change the nature of exchange. Prints can be made and exhibitions can be
mounted in ways that break away from sterile white walls to including installations,
graffiti prints and paste-ups on city streets, ‘zines and comics, even work that
exists only in cyberspace.
The 2009 Southern Graphics Council Conference, hosted by Columbia College
Chicago, will examine the “Global Implications” of the interdependence of our
local cultures.
David Jones
Executive Director
The Display Case
Anchor Graphics has started to hang mini
exhibitions of print based work in its Display
Case located in the hallway between Anchor
and Columbia College’s Student Printshop, on
the second floor at 623 S. Wabash. The first
three exhibits have featured print portfolios
by students, staff, and visiting artists of the
Printmaking Department at Gray’s School
of Art, Robert Gordon University, Aberdeen.
Upcoming exhibits will include prints
created by students at Chicago’s Harold
Washington College as well as other Chicago
area printmakers.
Calls for proposals for panels, demonstrations, print portfolios, exhibitions and
events can be found at:
www.colum.edu/globalimplications
Proposal deadline is April 25, 2008.
Cast plastic sculptures by joanne vena
The Multiple in 3-Dimensions
In its never-ending efforts to help expand
the concept of the multiple Anchor offered
its first ever 3-D class last fall. “Plastic
Casting: The Multiple in 3-Dimensions”
taught various methods of casting objects
and small sculptures out of resin using
silicone molds. Varying editions and the use
of objects as elements in installations were
also discussed. Visit our website for a list of
upcoming classes and workshops.
Workshops,
Demonstrations,
and Tours
Anchor Graphics has continued to partner
with arts, education, and social organizations
to provide youth and adults with opportunities
to learn about fine art printmaking through
workshops, demonstrations, and shop
tours. Visiting organizations in the last few
months have included the School of the
Art Institute of Chicago, the Illinois Arts
Education Association, the Harris Center
for Early Childhood Education, Grand Valley
State University, Chicago Academy for the
Arts, Arkansas State University, Rockford
College, the Young Women’s Empowerment
Project, and W.E.B. Dubois Pre-College. Thank
you all for helping us to spread the joys of
printmaking.
4
ANCHOR GRAPHICS
COLUMBIA COLLEGE CHICAGO
from Left:
Beauvais Lyons
Association for Creative Zoology:
Mazosorbedae, 2007
Lithograph. Edition: 20
28” x 22”
Printed by the artist
Published by the Hokes Archives
Lothar Osterburg
Flat Earth, 2007
Photogravure. Edition: 8
22 1/2” x 30”
Printed and published by the artist
a few remarks
B y m ar k pasca l e
Trenton Doyle Hancock
Untitled, 2007 – From the Fix Portfolio
of 18 prints
18 etchings with aquatint, chine collé and
silkscreen. Edition: 30
16” x 14”
Printed by Randy Hemminghaus
Published by the Brodsky Center
room for example. In this aspect of the
practice, prints can easily gain the scale
and importance of painting and sculpture.
But, this is not necessarily what the IPCNY
sets out to foreground. They are motivated
by the possibility that, because prints are
generally portable and exist in multiples, it
is quite easy and fast to disseminate them.
Thus, we have in Chicago an exhibition
that was chosen last fall for the IPCNY,
while another installment of the show is
being readied in New York City. Despite
the instantaneous transmission afforded
by computers and the internet—another
aspect of printmaking—there is no
substitute for seeing the thing, feeling the
thing, appreciating the thing in front of you.
Given the remarkable range of techniques
employed by the exhibiting artists, including
some I haven’t heard of or prefer not
to know more about, it behooves the
sensate person to be there looking at the
stuff. I for one would never have guessed
the crazy veracity of Lothar Osterburg’s
photogravure Flat Earth. I had seen it
reproduced in a magazine and wondered
if indeed it was “special,” but seeing it
is a thrilling visual experience. Likewise,
Beauvais Lyons has been using/abusing
printmaking’s reproductive properties to
propagate invented cultures—often right
down to the faked foxing of a sheet of an
alleged late-19th century book page toned
along the edges to appear darkened by
years of exposure to acid binding materials.
This is to say nothing of the crazy animal
inventions that the bookplates purport to
illustrate. I have to remind myself whenever
I see one of these images of Lyons that I
am not watching unused outtakes from the
film Napoleon Dynamite (a “Liger” is just
about my favorite animal). No, it’s much
deeper than that, and it wouldn’t be so
comprehensible without seeing the
original in the flesh, which I repeat is
something that multiple originals excel
at—they can circulate rather effortlessly,
and frequently be in more than one place at
the same time.
Mark Pascale is the Associate Curator of Prints and
Drawings at the Art Institute of Chicago. He originally
Chuck Close
Watermark Self-Portrait, 2007
presented these remarks at the opening reception
Light and shade watermark, abaca and cotton
for the International Print Center New York’s New
fiber pigmented with carbon black
Prints: Autumn 2007 exhibition on display at Columbia
College’s [C]Spaces January 16–February 22, 2008.
11 3/4” x 9 1/4”
Edition of 35
Co-published with Dieu Donné Press
and Dieu Donné Papermill
Light and shade watermark developed
by Crane & Company
On the occasion of the opening of New Prints: Autumn 2007 exhibition from the
International Print Center New York (IPCNY), I was asked to make some remarks. This
is an ambiguous thing to ask of someone, but the more I thought of it, the more sense
it made. How can you make broad comments on a group exhibition that you haven’t had
anything to do with selecting? There is no stated theme or focus, except that these are
works that have been made in the very recent past, and artists and publishers submitted
the work to the IPCNY for consideration.
Not having a theme or curatorial summary is an aspect of group print exhibitions that
can be their curse. Nevertheless, it is a characterization of many such exhibitions—often
called juried exhibitions—and I have been involved with selecting quite a few over the
years. In print, I have wondered whether or not such displays served any purpose,
whether educational or otherwise, but overall I concluded that, for obvious reasons, they
are valuable both to the exhibiting artists as well as the public. The exhibiting artists
have their work seen by a broad cross section of the public. Sponsoring institutions,
especially those with an educational mission, serve their immediate student community
as well as interested visitors not necessarily connected to the institution (here, Columbia
College).
The IPCNY was founded expressly to make prints accessible to the public, to celebrate
through exhibits, lectures, and publications the broad spectrum of printed art in history,
with an emphasis on art of our time. Anyone who knows even a small amount about
printmaking must thank and congratulate the good folks at IPCNY and the donors who
keep them going, because prints have always been a hard sell. Even after centuries of
existence as media in which artists may conceive original visual statements, people in
all walks of life have trouble comprehending what makes a multiple image “original.”
To this day, it is galling for me to show
Durer, Rembrandt, Goya prints to classes
in the Art Institute of Chicago’s Glore Print
and Drawing Study Room, only to have
someone ask incredulously “So, these are
the originals??!!” Yes, they are, because
as I have been pointing out, the artist
designed or drew the work, transferred
it onto the plate, block, stone, or stencil
and then printed it so that there would
be many impressions of the same image.
Sometimes the artist manipulated each
impression by hand, so that they created
a series of unique or variable multiples. In
addition to the practice being time honored
and making good business sense, it also
allows an artist to save what they have done
and rework it later. Many artists choose
to do this. Printmaking, therefore can be
economical—to own and to make.
Beyond the commercial aspects of
printmaking, there is the possibility of
stretching an artist’s ideas. So many prints
made today conceive of the entire project
or edition being one thing—a wallpapered
Maria de la Providencia Casanovas
Sleep and Candies 1, 2006
Photo etching. Edition: 13
17” x 24”
Printed and published by artist
5
The
Science
of
Safer
Etching
B y Fr i e d h ar d K i e k e b e n
COLUMBIA COLLEGE CHICAGO
I must have absorbed my dad’s interest in chemistry
and this combined with a natural curiosity about the stuff of
printmaking. Was there an alternative to acids and solvents?
What do you get when you cross a lemon and iron chloride? Can
you etch with salt? It wasn’t so much that I wanted to meddle
with the history of printmaking, just some of the ingredients.
Many are preoccupied with healthy living and I wanted to apply
similar principles to healthy working. Meeting other innovative
printmakers who were already developing ideas and practice in
line with safer printmaking, galvanized my own experiments.
And here comes the science:
Metal salt etching comprises two kinds of processes for the
entire spectrum of metals suitable for intaglio printmaking and
etched sculpture. The Edinburgh Etch contains the reddish
ferric chloride and it etches the warm colored metals: copper
and brass. The Saline Sulfate Etch, based on copper sulfate,
etches the silvery metals: zinc, mild steel, and aluminum.
Both these salts have been used for centuries but what had
been overlooked is that their potential for etching is not fully
harnessed when used without a catalyst. In fact, I would argue
that this knowledge remained unexplored because metal salts
were judged as if they were acids. But metal salts do not
corrode metal through the destructive and harmful processes
that typify acid etching. By contrast they owe their etching
properties to electrical attraction in which atoms of the metal
plate are elegantly removed by the metal compounds that are
dissolved in a salt solution. Today we know that this is an
electrical kind of chemistry, which is more akin to the workings
of a battery than to the corrosive action of strong acids.
In 1997, I developed the catalyzed version of ferric chloride
known as the Edinburgh Etch in which a small addition of citric
acid literally dissolves the sedimentation of the iron salt. Thus
creating a much more potent, yet safe, mordant. This process
has since been adopted throughout the printmaking world and
etchers have likened its crisp biting characteristics on copper to
Rembrandt’s more harmful Dutch Mordant solution.
Friedhard Kiekeben
Blast
Intaglio type print
Soon after this research was published in Printmaking
Today the electro etching expert, Cedric Green, noted that the
Edinburgh Etch is ideal for etching copper but that a solution
based on copper sulfate, the Bordeaux Etch, should be used for
a safe zinc etch. Eva Figueras has presented evidence that such
a process was used as far back as Goya. However, for a number
of historical and technical reasons it did not catch on. Intrigued,
I introduced copper sulfate into my own research program. Trials
showed that a straight copper sulfate solution makes a good
mordant for zinc but not for aluminum and consumes a large
amount of copper sulfate crystals.
I realized that once again the right catalyst would accelerate
and improve the efficiency of the etching process. As before I
ALL IMAGES BY
Friedhard kiekeben
clockwise from Left:
Shatter, 2002
etched brass object
Field of vision, 2000
Digital prinT
“It wasn’t so much that I wanted to
30’ x 20’
Tinflowers, 2002
meddle with the history of printmaking,
Etched zinc object
just some of the ingredients.”
systematically introduced different ingredients to the process and
monitored their effects, quantities and by-products. I had a pretty
good idea that due to its conductive effect in water, simple cooking
salt (sodium chloride) might be the key ingredient. Much time was
spent researching the perfect ratio of salt to sulfate. The addition
of an exactly equal quantity of salt to copper sulfate dramatically
increases the speed, quality and longevity of this new etching
solution, the Saline Sulfate Etch. This solution now provides a
universal etching bath for all three silvery metals: zinc, aluminum
and mild steel. It will no doubt become an extremely useful method
in the repertoire of printmaking and in my own work it has enabled
me to etch large-scale aluminum sculptures.
According to a safety evaluation by Dr. Paul Craig and Dr. Paul
Rosenberg at the Rochester Institute of Technology.“Both the Edinburgh Etch and the Saline Sulphate Etch are mild and much safer
than the traditional nitric acid bath for etching of metals, especially
if proper precautions are taken and when exhausted materials are
disposed of properly. The simple addition of measured quantities
of crystalline lemon juice (citric acid) and cooking salt (sodium chloride) respectively, produces an etching environment safer and more
effective than the traditional nitric bath and that’s the science.”
Friedhard Kiekeben is Professor of Printmaking at Columbia College Chicago where
the discussed etching processes are in use. More information on the Edinburgh Etch
and the Saline Sulphate Etch can be found at www.nontoxicprint.com.
7
8
ANCHOR GRAPHICS
Images by Margo Humphrey
The Music and the Message
B y J a m e s Iannacc o n e
“Now there’s the black cross, the green cross, the white cross, the double cross, the criss-cross, and the
lost cross. And the cross gets awful heavy at different times, but one is supposed to keep on going on and
carrying the cross on his shoulder, because you ain’t supposed to let no cross cross you up.”
— Rahsaan Roland Kirk, “Old Rugged Cross”
Born and raised in Oakland, California, Margo Humphrey
took to art at a young age and her mother nurtured her artistic
talents. This early interest never waned as she went on to earn
a BFA in painting and printmaking from the California College of
Arts and Crafts. Later she would become the first African American
to graduate from the Fine Arts Program at Stanford, where after
studying under renowned printmaker Nathan Oliveria, she would
receive her MFA in printmaking, graduating with honors and
distinction. However, her education did not come easy and it tested
her dedication to art. But the quality of her work saw her through,
helping her to receive grants and fellowships to assist with the cost
of her education.
Since then Humphrey has gone on to become a highly regarded
artist and printmaker. Her work often reflects the influences of
contemporary African-American experience through its psychological
vantage point and its strong spiritual content. Her use of pattern
and color mimic those found in African textiles and sculptures, but
seen through a uniquely American filter. As equally pertinent to her
work is the Binney & Smith eight pack of color crayons she used in
her youth. She is perhaps best known for her lithograph “The Last
Bar-B-Que” done at the Tamarind Institute. This print is a reworking
of the traditional theme of the Last Supper where Christ and the
apostles are all depicted as African-Americans. In addition, chicken
and watermelon are elevated to ceremonial status and take their
place on the table along with the conventional bread and wine of the
Eucharist. Through this print Margo is simultaneously challenging
racial stereotypes and the assumptions of religious dogma. It is a
work Margo has described as, “The rewriting of a history of cultural
division into a new history of togetherness.” In contrast to its
charged content the print appears to have been drawn with a certain
whimsical humor. This light heartedness allows for the imagery of
the lithograph to flow into the viewer’s consciousness in a nonconfrontational way that adds to its covert message. This notion
of being whimsical while challenging common ideology is similarly
reflected in the music of Rahsaan Roland Kirk, who is memorialized
in Margo’s latest series of lithographs done with Anchor Graphics.
Kirk was born Ronald Theodore Kirk in 1936. He went blind at
the age of three due to poor medical treatment and, like Humphrey,
(from Left to right):
was drawn to his art form in his youth. At
16 he dreamed he saw himself playing
three saxophones at once, a feat he would
later master and which would become a
signature example of his showmanship
during concerts. Subsequent dreams
would compel him to switch two letters
in his first name to become Roland and
later add Rahsaan. In 1975, Kirk suffered
a major stroke, which led to partial
paralysis. Despite the use of only one arm,
he continued to perform and record, an
incredible accomplishment for a saxophone
player. A second stroke in 1977 resulted in
his death.
Live performances were the hallmark of
Kirk’s music. They were often surrounded
by a vaudeville atmosphere, where virtuoso
improvisation was offset with comic banter
and political expounding. Kirk was capable
of amazing musical feats like using circular
breathing to hold an endless note or
playing several horns simultaneously to
create harmonies with himself. Many of
the instruments he used for performances
were rare or no longer widely used, some
were home-made, and others were found
objects such as alarm clocks, whistles,
sirens, or a section of a garden hose he
called “the black mystery pipes.” Such
found instrumentation was used in the early
jazz of Jelly Roll Morton and Fats Waller and
later would be reproduced electronically by
the samples and synthesizers of hip-hop
and club music. This is but one example
of the timelessness that can be found in
Kirk’s music. His style carried elements
of jazz’s earliest history in New Orleans,
through swing and bebop, to the abstract
free form of the 1970s. When asked about
his music, Kirk modestly stated that he was
only trying to emulate the sounds he heard
in his head.
In addition to playing music, Kirk used
the stage and his recordings as a platform
to address black politics, civil rights,
and current affairs as well as racial and
economic injustice. He participated in
protests against TV show hosts like Merv
Griffin who were unwilling to hire nonwhite musicians. Records incorporated his
spoken commentaries on Richard Nixon
and Watergate. His song “Volunteered
Slavery” was adopted by members of the
black nationalist movement and his version
of Burt Bacharach’s “I Say a Little Prayer”
was heard as a eulogy for the then recently
murdered Bobby Kennedy.
Kirk’s political leanings were inevitably
bracketed by humor and puns, and the use
of strange instruments and sound effects in
his music lends to the same levity of social
All Crossed Up
7 color lithograph
14” x 11 1/4”
Cross Over
8 color lithograph & gold leaf
11 1/4” x 14”
Double Cross
8 color lithograph & gold leaf
14” x 11 1/4”
Bright Moments
6 color lithograph & gold leaf
11 1/4” x 14”
consciousness found in Margo Humphrey’s
prints. It’s this similar sensibility that has
led to Humphrey’s fondness for Kirk’s
music and her recent series of lithographs
that pay him tribute. Titled after lyrics from
Kirk’s songs “Old Rugged Cross” and
“Bright Moments,” the four prints exhibit
similar use of vivid color and pattern as her
earlier work but in this context they take on
the vitality and improvised rhythms of Kirk’s
music. She uses repeated and layered
images to construct visual versions of Kirk’s
auditory collages and humorous language
games while capturing the energy and
abandonment of his performances.
Margo Humphrey currently teaches at the University
of Maryland. She has been widely exhibited and has
work in the collections of major museums including
the Museum of Modern Art in New York, the Museum
of Modern Art in Rio de Janeiro, and the Victoria and
Albert Museum in London. For more information on
purchasing this suite of prints contact Anchor Graphics.
Anchor Graphics
@ Columbia College Chicago
623 S. Wabash Ave., 2nd Floor
Chicago, IL 60605
312-344-6864
anchorgraphics@colum.edu
upcoming programs
www.colum.edu/anchorgraphics
Busted Amp
June 26–July 23, 2008
Along side Chicago’s robust music scene
is a vibrant and thriving set of designers
and artists producing its show posters,
t-shirts and album covers. This group
exhibition will feature a selection of fine
art prints by some of the leading screen
printers associated with Chicago music.
You have seen their work for your favorite
bands, now come see what they do for
themselves. Curated by Anchor Graphics
and on exhibit at the A+D Gallery located
at 619 S. Wabash in Chicago.
Publishing Projects
Artist Residencies
Anchor Graphics will be working with
Art Spiegelman, MacArthur Binion,
and Phyllis Bramson on limited edition
prints over the next year. Watch future
newsletters for more information on
these projects.
Anchor Graphics is proud to present its
2008 Artists-In-Residence. Each artist
will be in the shop from two to three
weeks working on projects with the
assistance of Anchor’s staff. Artists
will present a lecture on their work and
host a reception at the end of their
residencies. Lectures and receptions will
take place at Anchor Graphics and are
free and open to the public.
Scraping the Surface
Lecture Series
Our lecture series will return starting
this summer with six more discussions
of the multiple’s past, present, and
future. Lectures being scheduled include
Lea Rosson Delong on the lithographs
of Grant Wood, James D. Sullivan on
poetry broadsides from the 1960s,
Jim Sherraden from Hatch Show Print
on the history of this Nashville based
letterpress founded in 1879, and others
to be announced.
Nicholas Conbere, March 5–20
Amanda Burk, April 1–19
John Jacobsmeyer, May 19–June 7
Lauren Kussro, June 9–27
Joel Feldman, August 5–September 1
Amanda Knowles, September 1–20