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Travel Schedule Exhibition List Visualize what goes on in your head, and print it! Figurative or literal, from the subconscious or the intellect, an outpouring of emotions or a carefully plotted intrigue, you're the impresario. Images might freeze a moment in a psychological spotlight, play out a narrative or capture the swirl of lights as the curtain rises. Entertain with comedy, melodrama, classical tragedy, off-off-Broadway or indie style. Let paper be your script and your stage. Whatever the scene or subject, be original and dramatic! John A. Stewart, founder and director of Amity Art Foundation, Connecticut, was invited to jury this travelling exhibition for the American Print Alliance. He wrote about the experience for Contemporary Impressions, vol. 12 #1 (Spring 2004): “Theater of the Mind” as the theme for a portfolio exhibition of prints said much to the artists and gave scope and latitude to be creative, expressive and communicative. For me, a lifelong collector of prints acting as juror, it provided a guide for selections, deciding which of all the wonderful submissions should appear on this stage. I first heard the phrase “theater of the mind” a long time ago, referring to radio programs in which only words and sounds created whatever the mind could imagine. Images, stories and theater came to life using only one of the senses, the sense of hearing. The printmakers for this exhibition were limited to one sense, the sense of sight, to create their images, stories and theater. With the charge to view “what goes on in your head,” the artists were given a stage for drama, comedy, tragedy – not for a static image, but one that is dynamic, conveys motion and change, and tells a story or perhaps two. Not just a pretty picture, not just a well-pulled print, but a communication of ideas, emotions and thoughts with a beginning, a middle and an end. Thus I was to be less an art critic and more the theater critic. Now, the cast is set. With program in hand, let the curtain go up and the play begin. I selected twenty prints from the three hundred and fifteen that auditioned. I attempted to put aside any prejudices for particular media or artists. A lifelong collector, of course I know some of the artists and I own art from more then a few. Personally, I prefer traditional media, realistic images and editioned prints rather than monoprints. My task, however, was to come to the theater with an open mind and choose what played best on the stage before me. I have had a rich theater experience with each of the prints chosen. I congratulate the producers and directors of each and apologize for any plots I have created that were not intended or ones that I missed in the viewing. May the audience for this exhibition have as much joy as I did in these presentations. I am most appreciative to have been the juror and look forward to seeing the show “on the road,” touring for several years of great theater. The Alliance encouraged submission of original prints in any technique and style. Entry was free. Each artist is a member of an Alliance council or subscriber to Contemporary Impressions. The twenty prints selected for Theater of the Mind are each framed 16 x 20”, so the exhibition will fit nicely in a small gallery – or, appropriately, a theater lobby! The works, most quite colorful, represent a full range of printmaking techniques: etching, aquatint, mezzotint, photogravure, linocut, woodcut, collagraph, lithograph, screenprint, monoprint and inkjet. The show has some images with nudes, so is appropriate for colleges and art centers that don't have young children cutting through the gallery to get to classes. To schedule it for three weeks to two months between now and December 2006, the curator or gallery coordinator may write to the Alliance at director@printalliance.org or telephone 770/486-6680 noon-8 p.m. Eastern. The exhibit fee of $300 includes the venue's share of crating, shipping and brochures. A venue's only other expenses are on-site insurance; staff time to unpack, install and repack; publicity – usually a postcard as well as newspaper notices, and an event. We encourage a talk, demo, workshop or educational event open to the public rather than simply an opening reception. Travel Schedule: October 24 - November 13, 2004 University of Delaware Department of Art Gallery, Recitation Hall Newark, Delaware November 12 - December 31, 2005 North Georgia College & State University Dahlonega, Georgia April 2006 North Bank Artists Community Project North Bank Gallery Vancouver, Washington May - June 2006 University of Miami Coral Gables, Florida January 12, 2006 - February 23, 2007 Dunedin Fine Art Center Dunedin, Florida top of page Exhibition List: Judith Anderson, April's green endures, 2002. Etching, softground etching, aquatint, drypoint (one color), 15.75 x 11.75”. Ann Chernow, All Women Take to Men Who Appear to Be Wicked, 1999. Etching, aquatint, photogravure (one color), 12.38 x 9.88”. Liz Chalfin, Goodbye, come back, 2002. Monotype (color), 10 x 8”. David Clark, Terry's Gift, 2002. Mezzotint, 7 x 5”. Edward Foss, Harlequin Looking On, 2002. Etching, aquatint (color), 8 x 10”. Richard Hellman, Inner Eye, 1998. Softground etching, aquatint, scraping, 9 x 9”. Susan Hoffman, Theater Female IV, 2003. Etching, embossing, calligraphy (one color), 20 x 16”. David K. Holt, Ironworker, 1999. Linocut, 11.12 x 8.25”. Kenneth Kerslake, The Event, 2001. Photoetching, aquatint (color), 7.88 x 5.88”. Rosemary Lane, Uplifted, 2003. Etching, hand coloring, 11 x 14”. Sharri LaPierre, Psyche & Her Sisters, 2003. Woodcut, inkjet, chine collé (color), 10 x 10”. Bert Menco, Contortionists, 2002. Drypoint, chine collé (color á la poupée), 14.75 x 4.12”. Sharon Augusta Mitchell, The Year of The Locust, 1999. Mezzotint (color), 14 x 11”. Anna Marie Pavlik, Ode to Ink, 2000. Etching, chine collé, 9.25 x 6.25”. Laura Ruby, Kanaka-Kauwa, 2003. Screenprint (color), 8 x 12”. Stephanie Smith, Making Histories, 2003. Reduction woodcut, linocut, collage (color), 14 x 11”. Leslie Sobel, Blue Dancer on Red II, 2000. Digital inkjet print (color), 9.38 x 14”. Raymond St. Arnaud, On the Advent of Blue, 2002. Digital inkjet print (color), 12.12 x 19”. Caroline Waloski, I Need a Sense of Reality, 2000. Etching, aquatint, gold mica, monoprint (color), 9 x 5.75”. Ross Zirkle, Lone Wolf II, 2003. Waterless lithograph (color), 9 x 7”. top of page

Liz Chafin Goodbye, come back © 2002        Edward Foss Harlequin Looking On © 2002      Susan Hoffman Theater Female IV © 2003      Sharon Augusta Mitchell The Year of the Locust © 1999    Anna Marie Pavlik Ode to Ink  © 2000    Raymond St. Arnaud On the Advent of Blue © 2002          Ross Zirkle Lone Wolf II © 2003