Art in Re­view In Color at 333 Mon­tezuma Arts

Pasatiempo - - CONTENTS - — Michael Abatemarco

Mas­ter printer Ma­rina An­cona opened her Brook­lyn print shop 10 Grand Press in 1999 on the site of a for­mer sewing fac­tory. Since that time the busi­ness has ex­panded to in­clude a lo­ca­tion in Santa Fe. An­cona’s press is an in­de­pen­dent shop for var­i­ous print­mak­ing tech­niques, in­clud­ing in­taglio, re­lief print­ing, and pa­per lithog­ra­phy. But it’s the mono­type that emerges as the strong­est print type rep­re­sented in In Color, a se­lec­tion of works from 10 Grand Press’ archives that in­cludes artists from the East Coast as well as New Mex­ico.

Bas­ing an ex­hi­bi­tion on the use of color in print­mak­ing does not mean that each print on dis­play is alive with vi­brant, strik­ing hues and rich color pal­ettes. While these terms de­scribe some work in the show, such as An­gela Dufresne’s mono­type of Ger­man ac­tress Hanna Schygulla, a painterly com­po­si­tion dom­i­nated by a vivid deep blue hue, other works — such as Emily Roys­don’s Ec­static Re­sis­tance

(Schema), a silkscreen, and Ni­cole Eisen­man’s un­ti­tled wood­block print, a por­trait of a cry­ing fig­ure ren­dered in muted tones with lin­ear traces of pink — make more min­i­mal use of color.

An­cona, who cu­rated the ex­hi­bi­tion, keeps ex­am­ples of her own art to a min­i­mum, pre­fer­ring to show­case the works of oth­ers. As a mas­ter printer, though, she col­lab­o­rated with many of the artists on their print­mak­ing projects, and her hand is present through­out the show. The same is true for her eye, which tends to­ward works in ab­strac­tion and works that ex­hibit an un­com­mon use of ma­te­ri­als or form. In Color shows not only the adapt­abil­ity of color use in print­mak­ing tech­niques but also the ver­sa­til­ity of the print­mak­ing medium it­self. The most pro­nounced ex­am­ples are the con­struc­tion prints of Kay Har­vey. Har­vey’s pieces — from a se­ries of new works — in­cor­po­rate col­laged el­e­ments and re­pur­posed ma­te­ri­als that ex­tend be­yond the borders of the un­der­ly­ing base prints and give them a sculp­tural com­po­nent. They have an affin­ity in that re­gard with the prints of Ital­ian artist Nino Caruso, also in the show, an artist with a modernist aes­thetic whose in­ter­est in sculp­tural shapes and forms trans­lates to his mono­types. Kath­leen McCloud, who like Har­vey is based in Santa Fe, shows a free-hang­ing piece in the shape of an ar­ti­cle of cloth­ing. The print, Honey Suit, a hy­brid mono­type and wood­cut, seems to ref­er­ence the plight of the dis­ap­pear­ing hon­ey­bee.

The show draws not only from a sta­ble of artists known for their print­mak­ing but also from artists who pri­mar­ily work in other medi­ums. Kath­leen Morris, for in­stance, whose un­nerv­ing mono­type

Aura has an affin­ity with 19th-cen­tury sym­bol­ist art, is first and fore­most a painter. Santa Fe’s Noel Har­vey is a mul­ti­me­dia artist who does print­mak­ing as well as paint­ing, jew­elry, and pho­tog­ra­phy. Her Orange and Seafoam Whale Bones so­lar-plate print ex­em­pli­fies her prac­tice of mak­ing flat two-tone prints of pho­to­graphic sub­jects and al­low­ing the tones to dif­fer­en­ti­ate the var­i­ous el­e­ments within the com­po­si­tion. Brook­lyn-based Car­rie Moyer, a painter and print­maker, con­trib­utes an ef­fec­tive and in­trigu­ing use of color in her un­ti­tled land­scape from 2012. The print is a moun­tain scene, a styl­ized ren­der­ing of the color changes of moun­tain flora from base to sum­mit. Here, as in Noel Har­vey’s work, the col­ors dif­fer­en­ti­ate forms: ob­long and amor­phous shapes that over­lap and in­ter­sect with one an­other.

In her se­lec­tion, An­cona has cre­ated an ex­hibit that em­pha­sizes color as a crit­i­cal com­po­nent in con­vey­ing vis­ual in­for­ma­tion. She avoids con­tem­po­rary ex­am­ples of Op art, choos­ing in­stead more sub­tle, con­cep­tual works aimed at the head rather than works that fool the eye and are, by their na­ture, more sen­sory. The ex­hi­bi­tion, orig­i­nally sched­uled to close early in Au­gust, has been ex­tended through the end of that month.

IN COLOR, 333 Mon­tezuma Arts, 333 Mon­tezuma Ave., 505-660-1555; through Au­gust

Top, Car­rie Moyer: Un­ti­tled ,2 012, mono­type; be­low left ,K ay Har­vey: Un­ti­tled (de­tail), 2016, con­struc­tion print; bot­tom right ,E rica Svec: Dean Street ,2 012, wood­block se­ries

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