“Brazilian Rainforest”

We are pleased to announce a new color woodcut by Hiroki Morinoue.

Morinoue first observed the Brazilian rainforest in 1997 when the exhibition he designed, The Kona Coffee Story: Along the Hawai’i Belt Road, was shown in Sâo Paulo.

In this new print, the artist  honors the rainforest in Brazil. The Amazon is home to an estimated 16,000 tree species and is the world’s largest rainforest.  But in the last 40 years at least 20% of it has been destroyed.

“Brazilian Rainforest” is an eleven color woodcut printed from eight woodblocks carved by the artist.

ENRIQUE CHAGOYA: NEW LITHOGRAPH

We are very pleased to announce Enrique Chagoya’s new lithograph “Everyone is an Alienìgeno”.
I am a US citizen and I no longer hold a Legal Alien card, but it is still a reminder of the political and xenophobic borders in many places in the world. Humanity shares the same genome and we are all the same species with great ethnic and cultural diversity. For me such variety enriches our lives in many ways. In this print I am using my sense of humor to eliminate stereotypes and help others to see all human beings with many beautiful differences.

CLAIRE SHERMAN: NEW LITHOGRAPHS

We are very pleased to announce the release of two new Claire Sherman lithographs, “Tree and Water” and “Underbrush”.

Tree and WaterUnderbrushSherman’s paintings and prints propel the viewer into a claustrophobic and unstable world through a perspective that shimmies between representation and abstraction. Her works reference idealistic visions of the sublime, while the medley of imagery presented eliminates the need to identify the actual places – these works do not seek to portray a specific view or experience. They address the ubiquity of imagery we associate with the genre of landscape, nullifying a sense of particularity.

John Newman: New Prints

We are pleased to announce four new John Newman lithographs, “Head First”, “Second Head First”, “A small monument to Heliotropism” and “Looking through to ‘Light and lace-maker”.

A small monument to HeliotropismLooking through to Light and lace-makerThese prints are both specific in formal design and yet elicit a wide spectrum of responses – they ask to be interrogated, mediated upon, and, marveled at.

“The looking through, the rainbow roll, the spatial ambiguity in “A small monument for Heliotropism” and “Looking through to ‘Light and lace-maker” are as much a consequence of lithography as they are of rendering a fictional space where the image of a sculpture appears.”

“A SINGLE JOY OF SONG”

A Single Joy of Song is Betty Woodman’s last print. We began discussing this project with her in 2016. She sent a large three part study that would make a wonderful woodcut. Betty made plans to come to Shark’s Ink. to begin work on the triptych but had to postpone the visit. We picked up the project again in November 2018 while Betty was in Italy. She said we should start cutting woodblocks and proofing colors. We sent her proofs in Italy and had numerous phone calls and emails as the work progressed. She was pleased with the way the print came together.
Betty returned to New York and we were close to finalizing the woodcut when she went into the hospital and died January 2, 2018. We received permission from her son Charlie Woodman and the estate to make the final changes we had discussed with Betty and to complete the edition.

A Single Joy of Song is a twenty-color woodcut/lithograph with chine collé hand printed on white Thai Mulberry and white Rives BFK paper from fourteen woodblocks and three lithographic plates approved by the artist. A Single Joy of Song has been printed in an edition of 30, plus proofs, 27 x 70½ inches and is estate stamped “WOODMAN”.

CU ART MUSEUM ACQUIRES SHARKIVE COLLECTION

University of Colorado Boulder press release

A world-renowned and historically important collection of artistic prints that has captured the imagination of artists and art lovers worldwide has officially found a home at the University of Colorado Art Museum in Boulder.

The Sharkive is a distinguished collection comprising more than 40 years of printmaking collaborations between renowned artists and Shark’s Ink of Lyons, Colorado. The nearly $1.35 million acquisition is made possible by donations from many arts patrons; the College of Arts and Sciences; and $750,000 from the Kemper Family Foundations, UMB Bank.

“The Sharkive embodies the strength and vitality of the arts today and is a treasure for the entire community,” said University of Colorado Chancellor Philip DiStefano. “Through this significant acquisition, we are ensuring the long-term preservation of Shark Ink’s innovative legacy and providing a learning resource for our students.”

The Sharkive adds to more than 8,500 objects in the museum’s collection, and represents the wide range of materials used in the creation of art. While a full-scale exhibition of the Sharkive isn’t scheduled until 2021, a few limited-edition prints are on view this month, and patrons, students and staff will be able to make an appointment to view works in the museum’s collection study center, or online, in coming months.

“We are beyond thrilled to have acquired this amazing visual feast that demonstrates incredible technical skill, collaboration and creativity. We want to celebrate the donors who made this possible,” Museum Director Sandra Firmin said. “The collection represents Colorado’s cultural heritage and will strengthen our state’s increasingly influential position as a hub for the creation and study of contemporary American art.”

The collection covers the printmaking process from beginning to end, including over 700 signed limited-edition prints and more than 2,000 related materials including artist studies, trial proofs, unique proofs with paper alternatives and artist and printer’s notes and correspondence.

The Shark story
In 1976, master printer Bud Shark and his wife, Barbara, opened Shark’s Lithography in downtown Boulder as a creative destination where more than 160 artists from the United States and Europe collaborated and inspired each other in printmaking. The couple relocated the studio to Lyons and renamed it Shark’s Ink in the late 1990s.

Notable artists who have worked with the studio include: John Buck, Enrique Chagoya, Red Grooms, Jane Hammond, Robert Kushner, Hung Liu and Betty Woodman.

“We’re really thrilled about it,” said Bud Shark, a former visiting artist at CU Boulder. “From the very beginning when we started putting work into an archive CU was our first thought and our first choice for where we would like it to go, partly because I had had a close connection with CU when we first moved to Boulder.”

“We really wanted it to be in a learning institution, accessible for students to study and look at and hopefully be inspired by.”

A seed is sown
Walter Dietrich, former chairman of the CU Art Museum Advisory Board and former deputy director of the Kemper Museum of Contemporary Art in Kansas City, and his wife, Sheila Kemper Dietrich, spearheaded the fundraising effort.

“When considered as a whole, this is a very monumental collection for the art world in general, and for printmaking specifically. It really is quite a coup for the university to be able to acquire, and house, and make the most of it for students, the community, Colorado and the art scene at large,” Kemper Dietrich said. “There is really no print collection this comprehensive, quite frankly, anywhere.”

Kemper Dietrich said the Sharks’ willingness to be engaged with students and ongoing education around entrepreneurship and the arts makes the acquisition that much more special.

“There is the additional opportunity to tap the brains of these very talented people who created a business,” she said. “You often think of being an artist as a struggle. The Sharks brought passion and the ability to make a livelihood in Lyons, Colorado. It’s remarkable.”

Prints made in collaboration with Shark’s Ink are in numerous private and public collections around the country, including: the Museum of Modern Art, the Metropolitan Museum of Art and The Whitney Museum of American Art in New York City; the Library of Congress and Smithsonian in Washington, D.C.; the Art Institute of Chicago; the Kemper Museum of Contemporary Art in Kansas City; and many others.

“Colorado is an important cog in the American art wheel,” wrote Mark Pascale, curator of prints and drawings at the Art Institute of Chicago, in a letter supporting the acquisition. “And so, the time is right to transfer the cultural patrimony produced by one of your adopted gems, Bud Shark, to an educational facility with the desire and bandwidth to protect, interpret, and make it available to a broader public.”

The Ghosts of Borderlandia

We are very pleased to announce the publication of a new Enrique Chagoya lithographic codex The Ghosts of Borderlandia.

“The imagery in this codex refers to the borders that people build between themselves. In The Ghosts of Borderlandia, people’s eyes are hidden behind a wall or underground to symbolize the lack of sight that borders create. The invisible borders create stereotypes that dehumanize the “other” and creates an “us vs. them” context. There are physical and invisible borders. They may be between social classes, genders, religions, ethnicities and cultures. Viewers may discover some recognizable artists and stereotypical characters in front and behind the wall.” Enrique Chagoya

The Ghosts of Borderlandia is an eleven color lithograph with chine collé, printed from nine plates. The plates were made from mylars hand drawn and painted by the artist and xerox copies of found material. The codex has been printed on handmade Amate paper with white Thai Mulberry chine collé, 15 x 80″ in an edition of 30, plus proofs.

New John Buck woodcuts

We are very pleased to announce the publication of two new John Buck woodcuts, “Moscow on the Seine” and “Cannonball Creek”.

"Moscow on the Seine"
“In “Moscow on the Seine” an unknown person in a bear skin strolls across a background of Russian political and historic figures and architectural sites. Among the images, a bare-chested Putin rides a horse that tramples a man while a woman offers Putin a crown. Buck was inspired by an illustration of the Russian holiday, Maslenitsa, a celebration that dates to the 18th century.
“Moscow on the Seine” is a fourteen color woodcut printed from four woodblocks and one pochoir stencil on white Thai Mulberry paper in an edition of 15, plus proofs. The print measures to 28¾ x 46 inches.
"Cannonball Creek"
The American Bison, or buffalo as it is commonly known, symbolizes wild nature and western culture. Buck’s “Cannonball Creek” depicts the toll taken on native peoples, the land and wildlife they depended upon. From railroads to pipelines, we see in this print a tragedy on a staggering scale motivated by unrestrained resource exploitation for commercial purposes and misguided U.S. Indian policy.
“Cannonball Creek” is a six color woodcut printed from three woodblocks on white Thai Mulberry paper in an edition of 15, plus proofs. The print measures to 25½ x 40¼ inches.

“Ocean View Wind Patterns, Camden Maine”

Yvonne Jacquette is well known for her images of urban landscapes at night as seen from a high perch. She also creates compelling images of the landscape and the sea from the air or atop hills or mountains. Her newest print is a view of the Maine coastline seen from Northeast Point. She depicts the wind patterns on the water and sailboats moored near Camden.

Ocean View Wind Patterns, Camden Maine has been printed in eleven colors from ten aluminum plates hand-drawn and painted by the artist in an edition of 30, plus proofs, on White Rives BFK paper, 24 x 33¾ inches.

“Ultimate Metallic Suit”

We are pleased to announce the new publication Ultimate Metallic Suit by Teresa Booth Brown.
The artist describes this project:
In painting, collage, and printmaking, I provoke moments when representation and abstraction become unstable or collapse altogether, when two dimensionality becomes three, when solid becomes fluid, when the familiar becomes strange.
I set myself the challenge of structuring a tension between the conceptual and the concrete into each piece. Fragments of photographic imagery pull the viewer into moments of recognition while flat, geometrical fields of color insist on the materiality of the ink, paper and its composition.

Ultimate Metallic Suit is a four color lithograph with digital collage and chine collé printed from four aluminum plates made from the artist’s drawing/painting on mylars. The edition of 20, plus proofs, has been hand printed on white Rives BFK paper 30 x 22″. Archival pigment prints on white IJ Niyodo paper were printed by Infinity Editions, Arvada, CO, and hand-cut and collaged.

Shark's Ink