ADDITIONAL ARTISTS

at the Ecole des Beaux Arts. He began his professional career as a printmaker in 1947 and started using the mezzotint medium by 1950. In the late 1960s, Avati was instrumental in the contemporary development of color mezzotints. His work is represented in the permanent collections of museums throughout the world including: the Musee du Louvre, London’s Victoria and Albert Museum, the Museum of Modern Art in Tokyo, the Metropolitan Museum, the Museum of Modern Art in New York, the Chicago Art Institute, and the Philadelphia Museum of Art.

He came to England in 1966, initially to study architecture with a firm in Oxford. He then decided to study art at Hammersmith College of Art. Balakjian took up a postgraduate degree in printmaking at the Slade School of Art in 1971 and after graduating began working at Studio Prints in 1973, just as it was establishing itself in Queen’s Crescent. By 1976 he became a full time partner, collaborating with other artists as well as continuing his own work, much of which is inspired by his Armenian and Lebanese culture and heritage. 

He was educated at the Pennsylvania Academy of the Fine Arts, Haverford College and he eventually earned a Ph.D. in Greek from the University of Pennsylvania. He initially taught Greek at Haverford and served as assistant professor of fine art at Swarthmore. Later, s he served the public schools of Wilmington, Delaware for eight years as director of art education.

In 1926, Barker discovered lithography and an ability to do on stone what he was doing with charcoal. In 1927, he met master lithographer, Bolton Brown, with whom he studied and became devoted to lithography. He was intent on recording the landscapes and farms of his native area. In 1934, he was given a solo show at the Smithsonian.

with his pencil and his camera. Mr. Chamberlain studied architecture at MIT but, influenced by years in France, decided he would prefer to record the picturesque rather than design it. He studied etching in Paris under Edouard Leon and later served as an assistant professor of architecture at the University of Michigan. He left this post to study etching with Malcolm Osborne. Chamberlain’s interest in the American scene led a position as official etcher for the Williamsburg restoration project in Virginia. His work has been reproduced in more than 40 books.  

by seeing a book on the work of master engraver, Yozo Hamaguchi and he learned the technique through his own experimentation.  He has been working in mezzotint since 1978 although he considers his primary artistic pursuit to be drawing and painting.

The artistic influences on Claassen have been C. D. Friedrich, Wang Wei and Ansel Adams. 

 He served as Principal Lecturer in Printmaking at Brighton College of Art from 1970-1989.  His paintings and prints have been exhibited since the early 1960s including numerous solo exhibitions in the UK, Scotland, Germany, the US, France and Norway. He wrote four books on printmaking, including Printmaking (Paul Hamlyn, 1970) and Exploring Printmaking for Young People (with Silvie Turner, Van Nostrand Reinhold, 1972). Daniels’ work is in the Museum of Modern Art, the Metropolitan Museum of Art, New York City; the Detroit Institute of Art; the Yale University Art Gallery, and the Victoria and Albert Museum, among others. His work has described by art historian Norbert Lynton as a “visual carnival.”

 in Florence, Italy and at the Royal College of Art in London where he studied with Malcolm Osborne and Robert Austin. He taught at the Kansas City Art Institute and became friends with Thomas Hart Benton. Like Benton, DeMartelly tapped into the American rural scene for his regionalist subject matter. Twelve of his regionalist lithographs were published by Associated American Artists. He later served as the longtime artist-in-residence at Michigan State University. 

he returned to Chicago where he worked as a sign painter and attended the Art Institute of Chicago. Always nomadic in nature, he traveled constantly to the four corners of the globe. He often generated needed income by falling back on his sign painting skills. In 1917, Hart and fellow artist, Jules Pascin, shared a Vieux Carre apartment in New Orleans, a city that inspired a few notable lithographs and many brilliant watercolors. In 1918, he had his first one-person show at Knoedler Gallery in New York. He was twice elected as President of the Brooklyn Society of Etchers.  

  He taught painting at the Art Institute of Chicago, the National Academy of Design and the Art Student’s League. He also served as a visiting artist at Dartmouth College.

he has lived and worked in Pennsylvania, which has provided the inspiration for many of his nocturnes.

The mezzotints and pastels by Jogo capture the silence and stillness possible in both rural and urban landscapes. With masterful use of the subtle tones, only possible with mezzotint, played against strong silhouettes and deep shadows, the artist develops evocative nocturnal settings. The soft, ethereal quality of the black and white provides a foundation on which the artist builds his multi-plate color mezzotints, allowing for a particular richness, depth and texture in the landscapes of rolling fields and open skies. The softness of his larger chalk pastels is a natural evolution from the mezzotint surface. Whether in the city or the country, Jogo’s landscapes create inviting spaces for pause and reflection.

Jogo has been awarded the Strathmore Award for Watercolor Excellence from the Butler Institute of American Art, purchase awards from the Pratt Graphics Center, DeCordova Museum, North Carolina Print and Drawing Society, the Print Club of Philadelphia, and the University of Wisconsin.

In my case, as with so many others, the beginning of the story was equally fortuitous: Knowing I was about to spend a year abroad as an exchange student, my mother gave me my first camera, saying I would probably want to take pictures while I was away. Neither of us realized how important that little Instamatic camera would turn out to be, and now, 47 years and over a hundred thousand images later, I present the different portfolios shown here as a reflection of the work I have made since back then in 1970. One by one, my favorite films and papers have been driven from the market by digital media, but I remain loyal to this day to analog photography, and the originals of all of these images were made with real film, either color slides or black-and-white negatives. 

He studied art at Columbia University with William Merritt Chase and Kenneth Hayes Miller. He wrote and illustrated many books with his woodcuts and wood engravings. A leading figure of America’s left, Kent was very popular and well collected in the former Soviet Union. His wood engravings depict a stylized and idealized art deco image of man.

he decided to specialize in the drypoint printing process in La Main d’Or Studio in Paris. Many of his early works are inspired by the Iranian landscape. Contrary to the practice of other etchers, Mathieux-Marie works with a steel plate, not a copper plate, because he believes steel is more resistant.

Mostly self-taught, his first prints were large New England landscapes reminiscent of the painter-etcher school of American Art. Around 1890 he started to produce prints of New York City and by the time of his death, the number totaled over ninety images. He was a master technician in the field of etching, reworking many of his plates to get the exact feeling he was seeking. Mielatz was a member of the New York Etching Club and was elected an Associate Member of the National Academy in 1906. He succeeded James David Smillie as the etching teacher at the National Academy, a position he held for 15 years. According to Wilson’s Index of American Print Exhibitions, 1882-1940, he was involved in nine group exhibitions including the New York Etching Club, The Brooklyn Society of Etchers, and posthumously, at the Victoria and Albert Museum in 1929.

He determined, however, to become an artist while on a visit to Italy in 1907 and went to Paris to study painting in 1908. He became a regular exhibitor at the Royal Academy from 1909 on and The Connoisseurs, his most famous print, was chosen for illustration in Fine Prints of the Year for 1924. In the late 1920’s, he turned to line engraving at the suggestion of Robert Sargent Austin and he went on to become a full member of the Royal Society Painter-Etchers and Engravers in 1931.

colored pencil drawings present subjects with a quiet focus that are intensely rendered with almost microscopic detail. As Professor of Printmaking at Herron School of Art and Design, Indianapolis, visiting lecturer and guest artist at numerous universities, Morrison is very involved in the world of printmaking, specifically stone lithography. He is exhibited widely, and his work is included in numerous public collections including The Whitney Museum of American Art, The Corcoran Gallery of Art, The Smithsonian American Art Museum, The Nelson-Atkins Museum of Art, and the Portland Art Museum, to name a few.  

whose emotive work is inspired by quiet moments. His signature pieces involve the molding of natural and artificial light in dramatic ways to draw attention to expression and emotion. Highly inspired by cinema, his photos often tell an open-ended story. The intentional use of color further draws the viewer into the feeling and mood of each photograph he takes.

I am drawn to quiet moments. I believe this pull originated from attempts at self-preservation when I was a young boy living in neighborhoods that were difficult. At the age of 7, I built a sanctuary in my room. In this small space, I placed a red tent on my bed and surrounded it with a moat of stuffed animals that served as my protectors. My imagination soared in this beautiful, safe haven. The feeling of loneliness was replaced by the comfort of solitude. Here is where I found my quiet moments. To this day I still look for the glimpses of quiet when the world is turbulent. Creating imagery is the only way I’ve ever known how to share my story with others. 

since the early 1960s, painting it as it is and avoiding idealization. He is as interested in pattern and composition as he is in the body itself. He creates still life-like, visually complex arrangements by entangling his models with pieces of furniture, colorful rugs and blankets, and an assortment of objects, like a decoy swan or a whirligig. Pearlstein’s work is in over seventy museums collections in the United States, including the Art Institute of Chicago, the Cleveland Museum of Art, the Corcoran Gallery of Art, the Hirshhorn Museum and Sculpture Garden, the Kemper Museum of Contemporary Art, The Metropolitan Museum of Art, the Museum of Modern Art and the Whitney Museum of American Art, among others.

Perinotti received his MFA in Photography and Related Media from Parsons, School for Design in New York in 2017 where he was awarded the Dean’s Merit Scholarship for Academic Achievement. Perinotti is currently represented by BA Contemporary Art in Buenos Aires, Argentina and has exhibited in Buenos Aires, Miami, New York, Japan, Los Angeles, Hong Kong and Amsterdam. Perinotti’s work is held in numerous collections, including the Museo Nacional de Bellas Artes, Museo MACRO de Rosario and La Casa de la Cultura in Buenos Aires, as well as private collections around the world. In 2019, his work was featured in the exhibition and online auction Boys! Boys! Boys!, which will culminate in the publication of a book in collaboration with the Elton John AIDS Foundation.

In my work the viewer comes across subjects in found and created situations alike. It is always a difficult question to answer who these subjects are; in the most general sense I would best describe my subjects as lovers, friends and fellow artists. My subjects don’t necessarily act as my friends in the photographs, I usually don’t photograph them as friends. They are impersonators of their own and my ideas for an image. I see my subjects as accomplices in the creation of images and not mere means to an end. There is, of course, a component of desire to possess somebody which informs the partiality of my selections. While I do direct my subjects in a certain way, it is equally vital for a component of chance to be present; I try to make my subjects loose inhibitions in front of the camera while at the same time remaining aware of the whole practice. In my work the viewer comes across subjects in found and created situations alike. It is always a difficult question to answer who these subjects are; in the most general sense I would best describe my subjects as lovers, friends and fellow artists. My subjects don’t necessarily act as my friends in the photographs, I usually don’t photograph them as friends. They are impersonators of their own and my ideas for an image. I see my subjects as accomplices in the creation of images and not mere means to an end. There is, of course, a component of desire to possess somebody which informs the partiality of my selections. While I do direct my subjects in a certain way, it is equally vital for a component of chance to be present; I try to make my subjects loose inhibitions in front of the camera while at the same time remaining aware of the whole practice. try to respect the image each of my subjects has of themselves; I try to capture my subjects in a place in between this image they have of themselves and their true pure self. In my life I have connected with people who have a similar approach to life; who take seriously what is commonly thought of as alternative or a phase in their lives and who are comfortable with it. I am covering the range of my sensitivity. I am an archivist, gathering not only community experiences but also sights of metropolises, architecture, nature and quotidian life. I am in search of a present-day interpretation of landscape, still life and sexuality. 

Her work explores the relationship between the female form and the natural world. Focusing on the female form as a visual component that mirrors nature, creating a comparative dialogue.

 in photographic education as a consultant and examiner but his chief interest has always been in the photograph as art. He has taught photography at the Coventry College of Art, the Derby College of Art and was course leader in Photographic Studies at the Derbyshire College of Higher Education. Sadler’s photographs are in the Victoria & Albert Collection, the Museum of Film and Photography in Bradford and the Center for Creative Photography founded by Ansel Adams in Tucson, Arizona. He currently serves as chair of the contemporary photography group of the Royal Photographic Society.

at Stourbridge School of Art before moving to London. In London he studied at South Kensington and Westminster Schools of Art, mastering the techniques of mezzotint, aquatint and etching.  

Short exhibited at the Royal Academy between 1885 and 1904. He won two gold medals for engraving at the Paris Salon in 1889 and 1900. Soon after this he became a teacher of etching and was professor of engraving at the Royal College of Art between 1913 and 1924. He was elected a member of the Royal Society of Painter-Etchers and Engravers (now the Royal Society of Painter-Printmakers) in 1885, becoming its President between 1910 and 1938. Short was Master of the Art Workers’ Guild in 1901and an Associate Member of the Royal Academy in 1906, where he became Treasurer from 1919 until 1932. He was knighted in 1911 and was elected a member of the Royal Institute of Painters in Watercolours in 1917.  

Short lived and worked in London and Sussex for most of his life. He was considered one of the leading figures in the field of etching and engraving in the early 20th century, responsible for reviving interest in mezzotint and aquatint techniques.

His projects are diverse but the work most personally revealing to be found in both his Conemen and MythosLogos projects. The main focus of these is informed by his perception of the world as a truly mythic and interconnected place.