October 30 - Decenber 18, 2004
 

All artists enlist whatever technical means is necessary to reveal the fruit of their inspiration. As in years past, the 2004 edition of Colorprint USA features work from a broad spectrum of American printmaker/artists. The prints in this exhibition include narrative images, whimsical images, spiritual images and images which reflect the traditional role of prints as a means of commentary on social and political concerns. As always Colorprint USA includes prints by established artists as well as the works of young and emerging artists. The show is the result of two years of looking at prints, which involved considerable travel. It is also partially the result of the Director having participated in several of the very popular exchange portfolios which have become a major part of American printmaking. Because the show is intended to provide a teaching experience, a wide variety of methods used in the making of prints is represented. Woodcut, lithograph, screenprint, etching, engraving, drypoint, laser relief printing and digital imaging all found their way into the mix. Made by the hands of artists who have mastered these ways of printing, the show is a varied visual representation of the texture of printmaking in both ideas and execution. Nearly forty artists, from numerous states, have been included in the 2004 edition of Colorprint USA.
 



Lynwood Kreneck, Director

Colorprint USA

  IMAGE CREDITS
Top Row:(left to right)
Brett Anderson, Wasteland Behemoth [2003] color woodcut
Shawn Dickey, Le Homme Automatique [2002] 3-d screenprint
2nd Row:
David Dubose, Room with 7 Steps [2003]  screenprint
E.C. Cunningham, Faith Limited by Humanness [2001] lithograph
3rd Row:
Michael Barnes, Good Pet [2001] lithograph
David Morison, Penland Forest Icon [n.d.] lithograph
Bottom Row
Rosemary Lane, The Edge of Transformation [2002] laser woodcut
Valerie Leuth, Programmable Do-Gooders [2004] intaglio

Funding for Landmark Arts exhibitions and arts programming is provided in part through generous grants from the Helen Jones Foundation and The CH Foundation.