Featured Prints

POST HISTORIC SCREENPRINT NO.1 & NO. 2: Post Historic Screenprint No. 1 & No. 2 are Michael Heizer’s most recent editions with Durham Press. Initially conceived during a 2000 session at Durham Press, Post Historic Screenprints No. 1 & No. 2 were completed after several trips to Heizer’s studios in Nevada last year. The prints build upon the imagery and themes that have concerned Heizer throughout his career. Like many of his sculptures, these screenprints are inspired by ancient forms — stones, tools, and the architecture and planning of pre-Columbian sites — as well as Minimalist abstraction.

For pricing and availability on Michael Heizer prints, please contact Gwyneth Fearnhead, [email protected]

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EMPEROR TWIST AND EMPRESS SHOUT: Polly Apfelbaum’s two new editions engage a similar diamond and zig-zag pattern on a more intimate scale. Twist and Shout continue to explore variations in color and shape though an “intuitive but structured process.” The development and realization of this process has resulted in a prolific year of collaboration, and this new body of work represents Apfelbaum’s most ambitious and challenging prints to date.

For more information on Polly’s prints, visit her In the Studio page.

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ARCHITECTS OF THE FUTURE: Chitra Ganesh’s first portfolio of prints with Durham Press combines woodblock, screenprint and gold-leaf to create a visual language of 60s and 70s science fiction that portrays traditional Indian epics, history and mythology. The portfolio of four prints form a nonlinear narrative of “unforeseen desire and untimely loss” that occur in an alternate world in an imagined past and a distant future.

For more information on Chitra’s prints, visit her In the Studio page.

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MRS. S. KEITA: Hurvin Anderson has been making prints at Durham Press since 2009 using both silkscreen and woodblock processes. Mrs. S. Keita is Anderson’s second project completed at the press. This series of 8 screenprints depicts a figure set against a variety of multi-colored backgrounds. Characteristic of Anderson’s work, figuration and abstraction are merged, drawing the viewer’s attention to the visible and the omitted; juxtaposing areas of detailed, naturalistic renderings with broad areas of flat color.

For more information on Hurvin’s prints, please visit his In the Studio page.

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LOVE ALLEY 4: Color & Black are Polly Apfelbaum’s two latest edition prints with Durham Press. The prints were created in July of 2012, during one of Polly’s visits to the Durham Press woodblock studio. Apfelbaum works with several woodblock motifs here at the Press, which she has dubbed “Love”, “Dogwood”, “Wave” and “Rainbow”, according to their shape. “Love” refers to the flower shaped blocks, all of which are hand drawn by Apfelbaum and then transferred onto a wood sub-straight and carefully cut out. After Apfelbaum selects her palette the blocks are inked in the different colors, and Apfelbaum creates her composition, adjusting, moving and manuevering the blocks into position for a trial proof. Once Apfelbaum has made several trial proofs, she selects the one which is most successful, and that becomes the final print that is made into an edition.

Love Alley 4 – Short Film

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LARVA, BUBBLE AND THREAD: This is the title as well as a list of material inspiration for Emil Lukas’s latest monoprints at Durham Press.  Lukas creates the “Larva” imagery using actual live larvae, which he manipulates to create patterns in ink. The patterns are then transferred on to silkscreens, which are layered one on top of another and printed over different colored grounds  to make the final prints. The “Bubble” prints take their cue from actual bubble wrap. The familiar pattern of the ubiquitous packing material is burned onto an etching plate. The plate is then hand inked with a myriad of different colors, and run through the press to make these beautiful one of kind prints. Lukas’s “Thread Paintings”, made from colored thread wound repeatedly around wooden frames, are very similar to these “Thread” prints.  Using the same wound thread technique to make the negatives, multiple silkscreens are made and printed in numerous colors to build layers of depth and space into the prints. Each of these prints is a monoprint, meaning they are unique works of art. The prints are being sold as groupings or as individual prints.

Emil Lukas has been working with Jean-Paul Russell at Durham Press since 2000.

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SURFACE TENSION: Ray Charles White, a renowned photographer who studied under Ansel Adams, has been working with Jean-Paul Russell at Durham Press for over twenty years. Surface Tension was started in 2004, as an ongoing series of variant prints. Photographic images of water were screen printed with enamel ink onto anodized aluminum panels. The combination of translucent ink applied over tinted reflective aluminum imbues the final work with a shimmering light that is akin to water itself. Every part of this process is painstaking; printing onto aluminum requires a completely sterile environment, as well as precise screen pressure. Once the individual panels were made, the artist arranged them into different sets of colors and configurations. The sets pictured above are all currently available and represent the last of this unique edition.

 

For more information on these sets of prints, please contact us directly.

For more information on Ray’s working process please visit his “in the studio” page

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