MATRIX PRESS: 20 Years of Collaboration
Jundt Art Museum, Spokane, WA
August 28, 2020 - January 3rd, 2021
Curatorial Statement:
Matrix Press has been printing and collaborating with artists for over 20 years. This retrospective exhibition includes a culmination of some 80 prints representing 26 artists created at MATRIX Press by nationally recognized artists over the course of the past twenty plus years showcasing a broad range of artistic and technical approaches to the print. All the work was printed by student assistants in collaboration with the artists and printmaking faculty at the University of Montana-Missoula.
The artists selected over the years cover a wide range of ages, genders, backgrounds, experiences and artistic visions. Some had extensive printmaking backgrounds, while others were newly tuned into the medium. Some of those represented are considered pioneers and masters of their discipline.
Artists represented in this exhibition include those who have continued the activist tradition of printmaking such as Richard Mock- best known for his cutting political prints that appeared in the New York Times Op-Ed section from 1980-1996, Miriam Schapiro- one of the pioneering artists in the Feminist Art movement as well as new generation feminist artist Christa Carleton to Tom Huck- known for his intricately cut woodcuts inspired by the likes of Albrecht Durer.
Colorful abstractions by Arizona artist John Armstrong show a softer approach to the medium with whimsical forms which reference the landscape, while Monika Meler’s abstract architectural forms diffuse into their surroundings. Chicago artist Tony Fitzpatrick utilizes 50’s style tattoo art in his color etchings, while Canadian artist Peter Von Tiesenhausen’s boat forms float mysteriously on metallic fields.
The exhibition also highlights the work of 8 Indigenous artists who explore both traditional and contemporary themes in their work including Washington artist Joe Feddersen, Melanie Yazzie, Jason Clark and Lillian Pitt . Many of these residencies were made possible through a collaboration between MATRIX press and the Missoula Art Museum with additional support from the Warhol Foundation. Each of these artists represents a unique, beautiful and thought provoking personal vision reflecting their cultural heritage, beliefs and iconography. The works included highlight a range of visual expressions, from large scale woodcuts talking about climate change, to lithographs expressing protest, resistance and resilience. Additional works in the exhibition explore myths and legends while other works investigate cultural patterns found in beadwork or basketry. Artist Jason Clark notes that the work is completely contemporary, it’s looking toward the future… and yet you can see the roots of the past, you can see the roots of each culture in these prints.
Additional prints by well know Spokane artists Mary Farrell and new comer Reinaldo Gil Zambrano round out the exhibition.
-James Bailey, Director-MATRIX Press
Matrix Press has been printing and collaborating with artists for over 20 years. This retrospective exhibition includes a culmination of some 80 prints representing 26 artists created at MATRIX Press by nationally recognized artists over the course of the past twenty plus years showcasing a broad range of artistic and technical approaches to the print. All the work was printed by student assistants in collaboration with the artists and printmaking faculty at the University of Montana-Missoula.
The artists selected over the years cover a wide range of ages, genders, backgrounds, experiences and artistic visions. Some had extensive printmaking backgrounds, while others were newly tuned into the medium. Some of those represented are considered pioneers and masters of their discipline.
Artists represented in this exhibition include those who have continued the activist tradition of printmaking such as Richard Mock- best known for his cutting political prints that appeared in the New York Times Op-Ed section from 1980-1996, Miriam Schapiro- one of the pioneering artists in the Feminist Art movement as well as new generation feminist artist Christa Carleton to Tom Huck- known for his intricately cut woodcuts inspired by the likes of Albrecht Durer.
Colorful abstractions by Arizona artist John Armstrong show a softer approach to the medium with whimsical forms which reference the landscape, while Monika Meler’s abstract architectural forms diffuse into their surroundings. Chicago artist Tony Fitzpatrick utilizes 50’s style tattoo art in his color etchings, while Canadian artist Peter Von Tiesenhausen’s boat forms float mysteriously on metallic fields.
The exhibition also highlights the work of 8 Indigenous artists who explore both traditional and contemporary themes in their work including Washington artist Joe Feddersen, Melanie Yazzie, Jason Clark and Lillian Pitt . Many of these residencies were made possible through a collaboration between MATRIX press and the Missoula Art Museum with additional support from the Warhol Foundation. Each of these artists represents a unique, beautiful and thought provoking personal vision reflecting their cultural heritage, beliefs and iconography. The works included highlight a range of visual expressions, from large scale woodcuts talking about climate change, to lithographs expressing protest, resistance and resilience. Additional works in the exhibition explore myths and legends while other works investigate cultural patterns found in beadwork or basketry. Artist Jason Clark notes that the work is completely contemporary, it’s looking toward the future… and yet you can see the roots of the past, you can see the roots of each culture in these prints.
Additional prints by well know Spokane artists Mary Farrell and new comer Reinaldo Gil Zambrano round out the exhibition.
-James Bailey, Director-MATRIX Press
The Nature of Collaborative Printmaking /
The story of printmaking was originally one of collaboration between many different artisans, from the traditional Japanese woodblock printing (mokuhanga)-a collaboration between publisher, artist, carvers, printers and papermakers-to early European print studios based on a guild system. Often in such studios, an artist would draw an image onto a block of wood, and then turn the block over to master carvers and printers whose job it was not to translate the image, but to carve it as accurately as they could. Sometimes referred to as facsimile woodcuts, these early relief prints established the role of printer as primarily that of a technician. By the mid-1940’s, print studios were cultivating an evolution of this role from pure technician to a true collaborator in the artistic process.
Printmaking is not merely a set of methods and tools; it is at heart a communal effort of creative collaboration and studio dialogue. The role of the master printer is to be a facilitator, evaluating an artist’s body of work, and making suggestions as to how images and ideas might translate into the media of print. The master printer works closely beside the artist to help achieve the artist’s artistic vision. Each artist comes in with certain ideas, and through the process of printing a visual synergy of new ideas and aesthetics emerge that transform and offer up new possibilities-a cross pollination of concepts and styles that the artist must continually respond to in a dynamic way. The master printer makes it clear to all of the artists that at the end of the day, the work they create needs to be authentic to the themselves.
The story of printmaking was originally one of collaboration between many different artisans, from the traditional Japanese woodblock printing (mokuhanga)-a collaboration between publisher, artist, carvers, printers and papermakers-to early European print studios based on a guild system. Often in such studios, an artist would draw an image onto a block of wood, and then turn the block over to master carvers and printers whose job it was not to translate the image, but to carve it as accurately as they could. Sometimes referred to as facsimile woodcuts, these early relief prints established the role of printer as primarily that of a technician. By the mid-1940’s, print studios were cultivating an evolution of this role from pure technician to a true collaborator in the artistic process.
Printmaking is not merely a set of methods and tools; it is at heart a communal effort of creative collaboration and studio dialogue. The role of the master printer is to be a facilitator, evaluating an artist’s body of work, and making suggestions as to how images and ideas might translate into the media of print. The master printer works closely beside the artist to help achieve the artist’s artistic vision. Each artist comes in with certain ideas, and through the process of printing a visual synergy of new ideas and aesthetics emerge that transform and offer up new possibilities-a cross pollination of concepts and styles that the artist must continually respond to in a dynamic way. The master printer makes it clear to all of the artists that at the end of the day, the work they create needs to be authentic to the themselves.
Special Thanks /
I would like to acknowledge and give special thanks to the Missoula Art Museum who continues to collaborate and lend its support to MATRIX Press. To date Matrix Press and the Missoula Art Museum have collaborated on ten artists, including Miriam Schapiro (1999); John Armstrong (2009); Joe Feddersen (2014); Melanie Yazzie (2014); Sara Siestreem (2016); Molly Murphy-Adams (2017); John Hitchcock (2018); Duane Slick (2018); Lillian Pitt (2019) and Corwin Clairmont (2020). I'd also like to acknowledge the wonderful and on-going support we have received from the Jim and Jane Dew Visiting Artist Program at the University of Montana. They have supported out program from the beginning along with many other artists over the years, that have come in and influenced whole new generations of artists.
I also want to give a special thanks to the Jundt Art Museum, for their generous support in providing this exhibition opportunity and for their support in collecting works by Matrix Press artists in addition to sharing their wonderful print collection and knowledge with our students all these years, and a special thanks to Karen Kaiser, Curator of Education at the Jundt who collaborated so tirelessly on this project.
I would like to acknowledge and give special thanks to the Missoula Art Museum who continues to collaborate and lend its support to MATRIX Press. To date Matrix Press and the Missoula Art Museum have collaborated on ten artists, including Miriam Schapiro (1999); John Armstrong (2009); Joe Feddersen (2014); Melanie Yazzie (2014); Sara Siestreem (2016); Molly Murphy-Adams (2017); John Hitchcock (2018); Duane Slick (2018); Lillian Pitt (2019) and Corwin Clairmont (2020). I'd also like to acknowledge the wonderful and on-going support we have received from the Jim and Jane Dew Visiting Artist Program at the University of Montana. They have supported out program from the beginning along with many other artists over the years, that have come in and influenced whole new generations of artists.
I also want to give a special thanks to the Jundt Art Museum, for their generous support in providing this exhibition opportunity and for their support in collecting works by Matrix Press artists in addition to sharing their wonderful print collection and knowledge with our students all these years, and a special thanks to Karen Kaiser, Curator of Education at the Jundt who collaborated so tirelessly on this project.
A beautiful 60 page color catalog was published to accompany this exhibition.
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