UWL Printmaker's Alumni

Realty or Reality?

2010-09-10T17:01:00.001-07:00

Since I am moving the the Portland area and I am totally immersed in searching for a house and studio I thought this appropriate for my first drawing.

News and Updates

2006-06-21T02:21:00.000-07:00

The Summer 2007 UWL-print alumni show is coming up. Please get your submissions to me by August 15.

---------------"Get to work slackers!"-----------------------------------

Signed Up Already:
Katherine the Great
Joel "Sparkey" Starkey
Aaron Farb

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If you didn't get a chance check out the online exhibit that Joel and his groupie print-lovers set up with the University of Albany head by Brian Lynch (another flawed friend).

While graduate printmaking students at Iowa, Brian Lynch and Joel Elgin, took a course in the Art Museum/ Gallery Theory and Practice. The Prof, who flunked them both had no clue that the future would allow for internet based exhibits. This exhibition brings together Elgin's students from the University of Wisconsin LaCrosse and Lynch's students from the University at Albany . We encourage the students from both institutions to comment on each other's images in order to create a dialog from the East to the Midwest. We encourage any reader/viewer who wishes further information on the exhibit or programs to comment under this post to LynchBaby or Beloved Prof Joel.

For further information on... Lynch please go to: http://www.lynchstudio.com/

Beloved Prof Joel: http://www.gracechosygallery.com/

Please visit the UWL Printfever blog to connect with current printmaking activity and to see the prints of UWL alumni: http://printfever.blogspot.com/

*Special thanks to BlogBitch Becca for her hours spent collecting and posting images.

ENTER HERE

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Dawn Demaske has birthed a blog click below:
Dawnatello

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Bonnie has just submitted some of her recent work that she is creating at New Mexico State University in the MFA program.

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Lost Hansen Brother (Lusty) has birthed a blog and on show are some of his prints from his trip to Barga, Italy.

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Congratulations to Katherine (the great) for getting hired at Hui Press to help print artists editions.

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Congratulations to Ben for his exhibition at Xen Gallery in St. Louis, Missouri.
Benjamin Stern - Topologies
Xen Gallery Opening
Friday / July 28th / 5:30-8:30 / Artist's Reception
Euclid McPherson Gallery Walk
Exhibition from July 28 - Sept 3

This body of work explores the landscape through the events that have occurred there. These topological studies are achieved by constructing a framework over the site and photographing in a detailed grid pattern. A passing of time is evident as the hundreds of photographs are fused into a single image as the finished piece.
Some of these photographs by Benjamin Stern will be seen in the upcoming movie "Bill" which is currently being shot in Saint Louis, Missouri starring Aaron Eckhart and Jessica Alba.

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Congratulations to Sara Piper (Viper) for getting into Marywood University, in Scranton Pennsylvania for her MFA!!!

Congratulations to the Lost Hansen Brother (Lusty) for getting into New Mexico State with Bon Bon for his MFA!!!

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PrintBeast (Viper)has birthed a blog.

Mary has birthed a blog.

Nels Johnson has birthed a blog.

Mary Haskins has
submitted her wonderful
work. Mary is currrently at
UW-L finishing off
her degree.
Good Luck, Mary

Kimmy Valentine,
Joel, and
Mandy have all birthed
their own blogs.
Check the Blog Roll
on the side bar

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Alumini newsletter

2006-06-21T00:03:00.000-07:00

The printmaking shop in the Center for the Arts is a popular homecoming spot for alumni of the program. “The result is the development of a printmaking alumni network that is strong and supportive,” explains Professor Joel Elgin. “Alumni help each other and strive to become mentors to our current printmakers.” Two who recently returned were Eric Hansen, ’04, left inset photo, and Misha Welch, ’03 (pictured with Elgin, right). Student Lucas Heineman (on the press) plans to graduate next year.

The printmaking area of the university’s art department is growing and finding much success.Twelve of our graduates have recently received, or are currently earning, the master of fine arts degree at prestigious graduate institutions in this country and in Europe,” says Professor Joel Elgin. In addition, Elgin says students are exhibiting their work throughout the country, most recently at the University of Miami. One reason for the success is an international component. Elgin has taken dozens of students to Ireland where the printmakers prosper from the experience. This summer, he has arranged for 12 printmaking students to study at the International Studio for Color Etching in Barga, Italy. It’s an opportunity for students planning to pursue graduate-degree printmaking programs. Elgin says graduates return to campus to visit, trade stories and check in on the print shop. When courses are in session, they bring back graduate work and speak to current students. “The result is the development of a printmaking alumni network that is strong and supportive,” explains Elgin. “Alumni help each other and strive to become mentors to our current printmakers.” Current students are sending prints to Matt Raboin, ’02, who is in the Peace Corps in Tansania. Raboin is giving the artwork to village families. Elgin, who has taught at Ivy League colleges, says his current students rank above many of his earlier students. “The students at UW-L are a truly extraordinary group,” he notes.

Printshop Fall 2005 Photos

2006-06-20T10:29:00.000-07:00

Alumini Student List

2006-06-19T19:42:00.000-07:00

I need help filling in the names I've missed or don't recognize!!!!

Spring 2001
Fall 2001

Spring 2002
Kim Van Someren- University of Washington-Seattle (MFA Printmaking)
Matt Raboin

Fall 2002
Andrew Basler- Colorado State University /University of Wisconsin-Madison
Jessica Wittrock

Spring 2003
Dawn Demaske- Minneapolis College of Art and Design (MFA Printmaking)
Misha Welch- Maine College of Art and Design (MFA Printmaking)
Bonnie Schetski- New Mexico State University (MFA Printmaking)
Ben Stern- (MFA Photography)
Joel Starkey- Kansas State University (MFA Drawing)
Anna Mountain
Marti Boisen

Fall 2003
Aaron Farb
Mandy Foley- California College of Art (MFA Printmaking)
Paula Bockenfeld
Brandon Weaver

Spring 2004
Peggy Koenig- Camberwell College (MA Printmaking)
Ashley O'Neal
Ursula Arnold
Angela Erato
Kristin Henkemeyer
Liz Stader

Fall 2004
Amy McFadden

Spring 2005
Fall 2005
The Lost
The Great
Justin Kemp

Spring 2006

Eric Hansen

2005-10-01T13:31:00.000-07:00

Summer 2006 Exhibit

2005-06-20T18:16:00.000-07:00

Dawnatello

"Reflection #1"
Photography

"Reflection #2"
Photography

Delaware

"Karl"
Photography

Joel Elgin

Brú na Bóinne.
The Winter Solstice at Newgrange:
Eastern Stone Basin

Aaron Farb

"Silent Saranade"

"Portrait Rays"

Mandy Foley

Binocular Antiquity #2
Monotype

Binocular Antiquity #2
Monotype

Mary Haskins

Haus

Syminbu #1

Syminbu #2

Nels Johnson

"Cranes Viscocity"

"Traditional Abstraction"

"Traditional"

"Korean Characters"

Peggy Odin

The Big Smoke
30x30cm
intaglio- line etch, aquatint, simultaneous
colour

detail
intaglio- line etch, aquating, multiple plate
detail of larger print

Jazz With A Double Bass
30x30cm
intaglio- line etch, aquatint, simultaneous
colour

Sarah Piper

"Death with the King and Death with the Poor Devout Man"

"The Jewish Doctor's Tale"

Summer 2005 Exhibit

2005-06-20T18:15:00.000-07:00

Dawn Demaske

"Roots 3"
Intaglio: etching

Joel Elgin

The Birds of Clíona Cébha: The Gold Headed Bird (detail)

(5" H X 7" W). Intaglio: Drypoint, line etch, aquatint, softground, chine cole', simultaneous color, multi plate color, mono – print, selective wipe, extensive scraping and burnishing. Printed on Arches Cover white.

Mandy Foley

"The Hunted"
Lithograph

Nels Johnson

"Ponte Del Diablo"
Lithograph

Peggy Odin

"London"
Intaglio

Bonnie Schetski

"Untitled"
Intaglio

Kim VanSomeren

"Compoself 4- Dry"
Intaglio: etching/aquatint,
softground, chine colle. 2004

Delaware

2005-06-20T18:10:00.000-07:00

"Karl"
Photography

Dawn Demaske

2005-06-20T18:09:00.000-07:00

Reflection #1

Reflection #2

"Roots #1"

"Roots #2"

"Tree #1"

"Tree #3"

Aaron Farb

2005-06-20T18:04:00.000-07:00

"Silent Seranade"

"Portrait Rays"

Joel Elgin

2005-06-20T18:03:00.000-07:00

Print Fever Blog

Brú na Bóinne.
The Winter Solstice at Newgrange:
Eastern Stone Basin

The Birds of Clíona Cébha: The Gold Headed Bird (detail)

(5" H X 7" W). Intaglio: Drypoint, line etch, aquatint, softground, chine cole', simultaneous color, multi plate color, mono – print, selective wipe, extensive scraping and burnishing. Printed on Arches Cover white.

Cliona Cebha is escorted by three birds, one blue
with a crimson head,
one crimson with a green head, and one speckled
with a gold head, which
eat from magic apples and heal the sick with
their sweet songs.

Haus

2005-06-19T18:11:00.000-07:00

Syminbu #1

Syminbu #2

Mary Haskins

2005-06-19T18:10:00.000-07:00

Mandy Foley

2005-06-19T18:09:00.000-07:00

Print Freak Blog

Binocular Antiquity #2
Monotype

Binocular Antiquity #2
Monotype

Nels Johnson

2005-06-19T18:08:00.000-07:00

Print Geek Blog

After a nearly four decade career as a railroad engineer for the BNSF railroad, I am retraining myself for a full time retirement career as an artist. My mediums of choice are intaglio, lithography, moku hanga (japanese woodblock), and photography.

"Cranes Viscocity"

"Traditional Abstraction"

"Traditional"

"Korean Characters"

"Alpine Cabin"
Lithograph

"Ancient Door"
Lithograph

"Back Street"
Lithograph

"Barga"
Lithograph

"Ponte Del Diablo"
Lithograph

"Vespa Planter"
Lithograph

"Roofs of Dubrovnik"
Lithograph

"Traditional Music"
Lithograph

"Birch"
Lithograph

"Water Lilies"
Lithograph

Sara Piper

2005-06-18T18:05:00.000-07:00

Death with the King and Death with the Poor Devout Man

The Jewish Doctor's Tale

Peggy Odin

2005-06-18T18:04:00.000-07:00

The Big Smoke
30x30cm
intaglio- line etch, aquatint, simultaneous
colour

detail
intaglio- line etch, aquating, multiple plate
detail of larger print

Jazz With A Double Bass
30x30cm
intaglio- line etch, aquatint, simultaneous
colour

"London #1"
Etching

"London #2"
Monoprint

"Untitled"
Etching

Bonnie Schetski

2005-06-18T18:00:00.000-07:00

Ben Stern

2005-06-18T05:58:00.000-07:00

Photographic Topologies: Investigations of Place by: Benjamin Stern
Spring begins in Wisconsin when the snow starts to melt off the fields, and the
streams flood their banks. During these times, I remember running up and down the hill by my house as the cars occasionally drove by. Spring was the time I tried to control the floodwaters in an attempt to keep a consistent water level in the stream. I created dams of leaves and dirt all the way up the street in an attempt to prevent the water from running into the stream. No matter how hard I tried to hold the water back, I never succeeded. When I look back at the things I once did in my childhood and compare them with larger events occurring in today’s society, I start to understand and question people’s and my own interactions with the environment.
Humans have always tried to control and manage the land to some degree, and photography has played a large role in the effort. Throughout the evolution of photography, photographers have been using the camera to record sites and events and show them to groups of people. Due to the reproducibility of a photographic image and the ability for the image to be widely recognized by culture, many individuals and institutions have employed this influential tool to project their points of interest.
I feel that landscape images throughout history have helped define for us what a landscape is. In the United States, landscape images were used in the 19th century to justify westward expansion, aid in the development of the railroad, and draw investors to the “untamed” land. Photography also influenced the passing of laws to protect areas of land from being stripped and altered for other uses. In addition, photography has been used to document cities as they expand into the deserts, fields and woodlands. Landscape photographs have allowed for the aestheticization of the land, as well as investigation of its history. These investigations and processes of photography still continue today. Since photographs are everywhere, our cache of visual information is continually updated. Images we see daily shape our ideas and influence our thoughts. I choose locations to photograph by investigating the evidence of human interaction within the spaces I select to observe. My investigation is based on the arrangement of these spaces and apparent changes through time. In order to document locations in the landscape with extreme detail, I use a grid method that is similar to the arrangement of longitude and latitude lines that map the earth. Hundreds of close-up images of the chosen area of land are combined, creating the exact photographic reproduction of the site. Apparent in the images is evidence of human interaction revealed through marks on the surface of the land. The topological approach to photography gives us insight into how land has been used, organized, and controlled through time. Land use is something we all take part in on a daily basis, but is not necessarily something we think about all the time. The spaces I am investigating show how I have interacted with the land, as well as make reference to the interaction with land by other individuals. They can give us insight into human values, priorities, and other interests in the land. Through the topological studies of an area, one cannot only read the landscape for events that have occurred there, but they can also start to understand the people that have inhabited the areas. J.B. Jackson, a critic of modern architecture, refers to this type of landscape as "vernacular landscape." I am interested in the vernacular landscape and what the marks reveal about human interaction with it.

"hunting stand"
Photography
Nov. 2005

"ice fishing hole"
Photography
48” x 120”
Feb. 2006

"racetrack"
Photography
46” x 72”
Aug. 2005

"work shop"
Photography
44” x 72”
Oct. 2005

Kim VanSomeren

2005-06-17T18:01:00.000-07:00

Kim's Blog

Men in Helmets Getting to their Gardens
16 color reductive woodcut, intaglio etching, aquatint, softground
11"x 12"

Untitled
16 color reductive woodcut, intaglio etching, aquatint, softground
11"x 12"

The Summoned Horses Heads

9"x 9"
16 color reductive woodcut, intaglio etching, aquatint

First Came the Seen
17 color reductive woodcut, intaglio etching, aquatint, softground
11"x12"

The day is coming when a single carrot, freshly observed, will set off a revolution. (Paul Cézanne)I am fascinated by the mundane. Deep inside that which is banal,there is a golden nugget; this could be visual, audible, odorous, oreven sensual. In order to fully understand this kind of cocoon, I find it necessary to study, restudy, and become that which is mundane.For instance the chicken. What pilots this ball of feathers? Who andwhat orchestrates these "ladies" in their gossip sessions? What is the leading cause of death in the chicken species?I am not interested in revealing something as it is, but rathershowing what that thing is in terms of what it could be and what it islike (feels, resists, weighs, what it bounces like). With this in mind, I become aware of the levels within things, this only to imaginethe husking of these layers in the event that the core might be feltbut not ever truly found. These things are felt through experimentingwith tools and materials, and through salvaging a lost idea.My work begins with tools and materials. It does not twig from anapkin sketch, a rough drawing, or a color wash. Within a given work,I troubleshoot, scratch-out, tear-out, smear, and assimilate what mistakes are made. These are the things cannot be changed; they arethat which bring character to the work. I am interested in thewanderings the work takes; how my manner of working changes from dayto day is reflected in the work. I am ceaselessly amazed by processes within printmaking and consumedby methods, which involve the roughing or hands, the staining offloors, and the scarring of teeth. The decisions made within thecourse and context of my prints and drawings therefore revolve primarily around physical work/manual labor. As I am not whollyinterested in the inflexible perfection of the time-honored print, Iam captivated by the evidence of labor, process, and its seams.
_________________________________________________________
Image: To Wave a Dead Chicken
intaglio etching, handcoloring, shellac
9"x 14"
2005

"Compoself 1- Fresh"
Intaglio etching/aquatint,
softground, chine colle. 2004

"Compoself 2- Bloat"
Intaglio etching/aquatint,
softground, chine colle. 2004

"Compoself 3- Decay"
Intaglio etching/aquatint,
softground, chine colle. 2004

"Compoself 4- Dry"
Intaglio: etching/aquatint,
softground, chine colle. 2004

"B-22"
Reductive Woodcut, 2004.

Joelisms

2005-06-14T18:21:00.000-07:00

"grab your handy dandy notebooks you all"

"it's a great day to be a baby"

"rush over here student types"

"you bastards"

"the shop of blood, sweat, and tears"

" I do NOT believe in personal space"

"SHUT that door!"

"Are you excited?" (in reference to pulling a print for the first time...)

"symphony of values" - used to describe the darks and lights of any piece of artwork

"Maysure"...instead of measure. "Playsure"...instead of pleasure.

"this is the best crop of babies ever"

"Get to work you slackers!"

"Get out of that room!"

"Today is going to be the greastest day of your life"