PrintWorks Exhibition at CCA, March 19-28

In anticipation of the SGC International conference in the San Francisco Bay Area (and the 1400 registered participants), my colleague Nance O'Banion (co-chair of the program with Michelle Murillo) and I have been curating PrintWorks: CCA Faculty and Alumni, one of three printmaking exhibitions with the umbrella title Deciphering the Print. The show has been installed in the College Ave Galleries (5241 College, at Broadway in Oakland, CA) and was being lit as I left after class on Tuesday.

Wednesday, March 19, the gallery will be open from 11am to 7:30pm. I will be there from about 5:30pm - 7:30pm, during which time the Synthesis exhibition in the Oliver Art Center will have a reception and The Osaka Exchange show in IPW will also be open. Friday, March 28, the three galleries will be open all day as well, with food trucks parked on campus, I hear. Hours: March 19-22, W 11am-7:30pm, Th 11-6, F 11-6, Sat 11-6; March 25-28, T/W/Th 11-6, F 11am-5pm.

Here is a glimpse of the show. 
A full-color catalogue of PrintWorks: CCA Faculty and Alumni of all the 50+ works, artists' statements and bios is available from Amazon. (Along with Star 82 Review 2.1, working on the catalogue has kept me busy since January.)

Welcome to PrintWorks!

Val Britton's piece Radiant Stormfield really anchors the space.
Michelle Murillo's glassworks In the Letters are on the two pedestals.
Kathleen Larisch's Gull hangs at the left.

Another view of Val Britton's piece and Michelle Murillo's glassworks.

Carole Jeung's untitled monotypes grace the wall.
Imin Yeh's 50 Cent Prints! machine is a refurbished sticker/tattoo machine
loaded with small prints from the participants and others. 
The prints may be purchased for fifty cents each. Forget doing laundry, buy some art!

Nance refers to the very southmost gallery as the "quiet room."
It's a nice place to contemplate nature prints and prints in natural colors.
Tomoko Murakami's screen Yusaifu #19 - Soaring into the Night
looks wonderful backlit (see the catalogue): it's really in blues and purples.
Betsy Davids's palm leaf book, inscribed on actual palm leaves 
Rain Water and Red Earth may be read while sitting at the low table.
KC Rosenberg's Bold Journeys, A California State Series: 
Homestead Acts 1 & 2 hanging at right.

The opposite end of the quiet room. 
My piece Woods in the City is on the right.
Greg Piatt's Bottle Print #420, far left.
Cianna Valley's amazing installation, center.
Val Britton's piece, as seen through the doorway.

out of the mind by way of the hands, in through the eyes and out again
Cianna Valley's amazing piece.
There's an etching of the scene, top right.
She has made just about everything here.
The plants are made of paper.
The roll of bills under the glass bottle are intaglio as well.
Tiny dioramas in the hollowed-out eggs.

View through the doorways to the other two rooms.
Ben Ilka's lithograph A Lo Hecho, Pecho on the left.
Kate Klingbeil's pin piece Digital Letdown (Seduced by the Stone) on the heart:
the pieces are stone lithographs, monotypes, and watercolors.
Lisa Kokin's altered book Sew Not in Anger on the pedestal.
Marsha Shaw's screenprint, Cecile on the right.

In the third room, the people room.
Amber Fawn Keig's lithograph on the left.
Nance O'Banion and Casey Gardner's book with volvelles, HereSay.
Another view of Lisa Kokin's book.
Brian Schuck's screenprint portraits of his professors Betsy Davids and Jack Ford.
Marsha Shaw's two screenprints on the right.

In the room with Kate's  heart 
we find a wall piece The Slingshot Forest from Arielle Coupe with tiny etchings!
And two larger mezzotints from Abe Kummerow: 
Necroguardian III and Lizard Black Paragon.

Here, too, an installation by Erik Madsen that invites the question:
Did that ball come out of that tube and bounce on the
floor, hit the wall and land? 
Or was that the creative energy that bounced,
leaving the ball in its place?

Please do visit us and see all this creative energy!