Amy Firestone Rosen
March 18 - April 22, 2011
OPENING NIGHT RECEPTION
Friday, March 18, 2011
7:00 p.m. until 10:00 p.m.
"Fine Print" showcases the work of Joe Chesla and Amy Firestone Rosen; two printmakers who create monoprints using very different techniques. Working with traditional methods, Rosen creates monoprints using waterless lithography and seriography. With a nod to Jim Dine's robes, Rosen uses women's vintage slips as the subject of her work. By contrast Joe Chesla creates process directed, "mineral" prints incorporating nontraditional techniques to impregnate fine printmaking paper with a recording of the corrosive process of metal. He takes this process one step further by adding dissolved salt to the mineral bath, which re-crystallizes on the paper diffusing and distracting from the underlying imagery. Finally, encaustic techniques enrich the visual depth and physical presence. Both artists create prints which are one of a kind. "Fine Print" is on view March 18 to April 22, 2011 with an opening reception Friday, March 18, from 7-10PM.
ABOUT THE SGC INTERNATIONAL CONFERENCE
The show's opening coincides with the SGC "Cherokee Night," one of several events organized by the Sam Fox School of Design and Visual Arts at Washington University. PHD Gallery will be among several venues guests will visit on Cherokee Street. Carmen Colangelo, Dean of the Sam Fox School of Design, states on the web site, "Without question, the annual SGCI Conference is one of the most significant gatherings of printmakers worldwide--and a considerable undertaking... After more than a year of planning, we are ready and excited to have the printmaking community descend upon St. Louis and reunite to enjoy the extensive program of conference exhibitions, lectures, demos, and events. We also have planned special events to help you experience the diversity of our local arts community and the city."
The conference theme Equilibrium addresses printmaking's timeless ability to absorb constant change and to balance complementary forces within the shifting landscape of the field. Printmaking is synthetic and integrative, a complex set of fluctuating relationships between makers, materials, means of production and distribution, critical discourse, contemporary art, and popular culture. These forces create a dynamic equilibrium, even as the field of printmaking is challenged from within and without. For more information see these links:
2011 SGC INTERNATIONAL CONFERENCE
2011 SGC INTERNATIONAL CONFERENCE - FRIDAY EXHIBITIONS
ABOUT THE ARTISTS
Joe Chesla received his MFA from Utah State University and has exhibited internationally. He worked as a preparator at The Walker Art Center in Kansas City, and as head preparator at Kemper Museum of Art in Kansas City. Chesla is also the recipient of numerous awards including Utah State University Arts Grant and Utah Arts Council Grant, John Morgan Fellowship, and the George B and Marie Eccles Caine Art Scholarship. He is a Professor at St. Louis Community College--Meramec, and heads the sculpture department where he coordinates the sculpture program.
The artwork of this internationally exhibited artist reveals the hidden beauty of natural order and organic process. What remains is a collaboration between Artist and Nature. His aesthetic blends craftsmanship and technical expertise with the eastern sensibilities of balance, harmony, and simplicity. For "Fine Print," Chesla creates mineral infused "rust" and "salt" monoprints. By exposing specially treated fibrous paper to the natural processes of oxidization the artist collaborates with an organic process to create unique "prints".
Amy Firestone Rosen earned her BFA from the University of Kansas and continues her education with coursework at Washington University in St. Louis and the University of Missouri St. Louis. She has worked more than two decades as a graphic designer but became interested in printmaking in the last ten years because she was fascinated by the element of surprise in the medium. Her monoprints of women's slips are reminiscent of Jim Dine's robes but have a feminist twist.
"In my Slip Series, I was drawn to vintage slips because they are so uniquely feminine, though very few women even wear them anymore. I went on an obsessive journey to find the perfect vintage slips. With these garments, I formed rigid sculptures with glue and newspapers. On the inside I used India ink drawings and waterless lithographic prints. These were fused in a collage fashion. Backlit photos were taken of the slip sculptures. These were collaged with collected pieces of my artwork. Waterless lithographs and silk screens were created from these images."
~Amy Firestone Rosen