“ I enjoy the mystery of the final print, as it does not always reveal all the layers and processes that took place, but still records the journey between the work and the artist.”

“I sought out a method that allows me to use techniques and markmaking of print, but the approach of a painter.”

Artist and academic, Sage Dawson shares a tour of the printmaking studios at Washington University.

Visiting the Brooklyn studio of one of our long-time collaborators.

“I started to realize the possibilities of print as a way of communicating not just graphic information but more nebulous ideas too.”

“I use 3D scanning a lot within my practice to digitize objects as technological artifacts, enabling me to traverse through a digital container on screen and re-translate these movements back into prints.”

A small group of compelling printed works where wilderness is rendered in woodcut, resistance acted out through screenprint and views offered both inwards and outward.

A walk through Little Sparta is to encounter a constant sequence of fluctuations between narrow walkways and open expanses, thresholds between lush darkness and airy light.

“I became attracted to the balance of immediacy and the intervention of the press as a kind of mediator between myself and the plate.”

“Bridging painting and printmaking started with my interest in architectural rubbings. A quick and immediate way to record something and [create] this connection to a place that held layers of history and memory...”

“I enjoy the act of removing the paper from the plate after it has gone through the press…this moment where it bridges over to a rather sculptural work is the moment where it gets interesting for me.”

“Conservators understand the materials a work is made of, and we also aim to understand the intent of the person who made the work…”

“I like the mediation of the squeegee, and the way that it flattens, unifies, and simplifies…It removes me somewhat as the creator of the image, which feels like a good thing.”

Stepping into the virtual viewing rooms with writer Anni Irish.

Some favorite works that capture our current housebound quarantine mood.

“If I think about the way I work, there is usually some form of system in place, which allows the meeting of materials, images, footage and sound without my direct input…”

Community print space housed within one of Scotland’s foremost contemporary art centers.

“I like to turn the process on its head, by making a sculpture out of the processes of printmaking…”

Anni Irish shares her hot picks from Armory Week.

Contrasting models for how collections can be used and narratives be shared through the print-archive.