I will be showing some of my latest vinyl cover screen prints at an upcoming group art show at Gallery Black Lagoon in Austin, Tx. There are more details below and a Facebook event here.

Opening Reception: Friday June 22, 7-10pm
The Austin Series Vol. 2
Processed Repeat

Printed works & photography by -
Misha Maynerick Blaise, Joolie Bracken, Emily Burns, William Cauthern, April Davis, Johnny Dimas, Sara Fields, Annalise Gratovich, Carol Hayman, Valérie M. Horne, Carolyn Hulbert, Jennifer Litterer, Dan Machold, Kelly MacNiven, Clark Reed & Jo Ann Santangelo.

Exhibit through July 1st. On view Saturdays & Sundays 1pm-5pm.

Always free admission

Gallery Black Lagoon
4301 A Guadalupe Street (corner of 43rd & Guadalupe)
Austin, Tx

Plague Mask
Micron Pen
9″ x 12″ on Bristol Paper

Kingfisher
Micron Pen
7″ x 7″

North American Wildflower
Graphite
7″ x 7″

Pictures from my visit to the San Antonio Zoo.

Bluejay
Gouache, India Ink and Micron Pen
9″ x 12″ on Vintage Music Sheet

The Issue of Accepting Prints as Works of Art
Printmaking is one of the rare artistic practices that is involved with updating specific terminology and developing guidelines so that artists will be able to use standardized procedures to identify their works. But why the necessity for a Code of ethics for Original Printmaking? The norms for authenticating prints that are currently practiced appeared gradually throughout history, and were sometimes initiated by artists who found various identification solutions to counteract forgers or indicate their techniques and the logic of their creative process. But it was more often publishers who imposed such norms so that prints would be recognized as works of art and would interest new collectors. Some applications have stimulated lively debate, and today, modifications that must be applied in answer to the evolution of the practice still provoke discussion among interested parties of differing opinions. It is important to understand that some artists will always be slightly in advance of the rules, and that their works will constantly pose the necessity for revising the code of ethics so that it can be applied to the most innovative work. In creative fields, freedom reigns and modes of experimentation are in no way circumscribed, which is why the most avant-garde works regularly break down the codes of identification and the borders between genres. A static code of ethics would ultimately not correspond to the practice of the art.

Continue reading »