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| Jane Mattingly - Art Contributor for modaustin.net writes a regular blog regularmain.com focusing on Texas Artists. |
| Special "EYE" to Watch by June Mattingly // regularmain.com Flatbed Press in an exhibition at the Austin Museum of Art . Flatbed Press receives well-deserved attention for its contributions to printmaking at the Austin Museum of Art through February 12 “Advancing Tradition: 20 Years of Printmaking at Flatbed Press,” in respect of a distinguished printmaking workshop in Austin, is a timely event to show the significance of this medium in a more affordable price range, of course depending on the reputation of the artist, matching paintings in creative aesthetics and technical skill. |
| Julie Speed - “Women's Studies,” 2005, gouache on chine colle polymer gravure etching, 15 x 19 inches, edition of 40 |
| Yours truly opened her gallery in 1979 concentrating on prints by stellar artists such as Robert Motherwell, Sol LeWitt, Robert Rauschenberg and Frank Stella. The gallery represented Universal Limited Art Editions (ULAE) on Long Island, Crown Point Press in San Francisco, Landfall Press in Chicago, Tyler Graphics outside New York and Petersburg Press in New York and London. It continued to inventory prints until the gallery closed eight years later. For its show of 12 Jasper Johns prints it collaborated with Castelli Graphics in New York. |
| The exhibition at AMOA is comprised of two parts in order for the public to fully appreciate Flatbed’s contributions and the artists who have made prints at this press during the past 20 years. It starts its national tour here and consists of fifty original prints created at Flatbed Press. In the second part, Collections Selections shows works in other media by several of the Flatbed artists drawn from the Museum’s collection installed next to that artist’s print to experience how it compares and contrasts with its original creation. A selection of tools and print matrices are exhibited alongside the prints in an effort to make the technical aspects of printmaking more accessible. |
| The exhibition focuses on three key aspects of this dynamic, contemporary process: the uniqueness and diversity of printmaking, the combination of technical innovation and experimentation with traditional equipment and processes, and the crucial role of collaboration between artists and master printers. |
| John Alexander, “Strange Fish,” 2003, lithograph, 30 1/2 x 20 inches |
| Peat Duggins, “Untitled,” 2009, aluminum-plate lithograph, 19 x 30 inches |
| The most used printmaking techniques today are monotypes, etchings, aquatints, lithographs and silkscreens. The unique qualities of these processes make each print an original, not a reproduction of another work of art. Fine, collectible prints and books are published in a limited edition, preferably of not more than 75. |
| James Surls, “Night Vision,” 1990, woodcut, 40 x 77 inches |
| The artists featured are nationally and internationally recognized. A diversity of Texas artists includes: John Alexander, Terry Allen, Michael Ray Charles, Peat Duggins, Trenton Doyle Hancock, Billy Hassell, Luis Jimenez, Mary McCleary, Melissa Miller, Celia Munoz, Linda Ridgway, Robert Rauschenberg, Andrea Rosenberg, Margo Sawyer, Laurence Scholder, Julie Speed, James Surls, Liz J. Ward and Sydney Yeager. |
| Melissa Miller “Anima,” 1996. Etching, white-ground, spite-bite, and sugar-lift aquatints with chine-collé |
