Curtis Bartone's work explores how human beings perceive, define,
and mythologize wilderness and our fragmented view of our place in the environment.
His recent pieces combine various perceptions of the natural world, ranging
from non-objective, scientific views to Judeo-Christian ideas of mankind’s
dominion over “every living thing that moveth upon the earth” to “pagan” views
of natural occurrences as codes or messages to be deciphered. Bartone fuses
Renaissance painting, 17th-century Dutch still life, 19th-century scientific illustration, literature, and collections
in natural science museums, with a contemporary aesthetic informed by
photography and mass media. His work has been shown in 21 solo exhibitions and
in more than 80 group exhibitions in several countries. He has received
numerous grants and awards, including two Illinois Arts Council Grants, and has
been awarded several residencies--most recently, the Emmanuel College Artist
Residency in Boston for the summer of 2016. There, he will be creating a suite
of etchings based on the ten plagues of Egypt. Currently, Mr. Bartone resides
in Savannah, Georgia with his wife and seven cats. He splits his time between
making prints and teaching printmaking at the Savannah College of Art and
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David Avery continues to exploit the constraints inherent
in traditional black and white line etching in his studio in San Francisco for
his own suspect purposes. Over a period of thirty plus years he has developed a
painstaking technique allowing him to create these intricately detailed
etchings which involve influences ranging from Albrecht Durer and Francois
Rabelais to Max Klinger and Alfred Jarry. His work has been included in over
200 competitive and invitational exhibits which have occasioned several awards,
and he is included in the collections of the Library of Congress, the Fogg
Art Museum at Harvard University, the Nelson-Atkins Museum of Art, the New York
Public Library, the Achenbach Foundation for the Graphic Arts, and the Stanford
University Library among others. In addition, his work has been noted in the
New York Times, the Boston Globe, and most recently was reviewed in the
July 9 - August 15, 2021 Opening Thursday, July 8th, 2021
Artists in the Paper Boats Portfolio:
Florence Alfano McEwin, Mary Sherwood Brock, Lise R Drost, Aunna Escobedo, Beth Fein, April Flanders, Sherry Jankiewicz, Gesine Janzen, Irena Keckes, Catherine Kernan, Carolyn Liesy, Hilary Lorenz, Martyna Matusiak, Kerry McAleer-Keeler, Stephanie Mercado, Bill Pangburn, Jennifer Anderson Printz, Mumu Wang, Cathy Weiss and the artists of Mono Grafico Colectivo, including Marianne Sadowski, Kay Brown, Nguyen Ly, Don Newton, Beth Peterson, and Victor Rosas.
The Paper Boats Portfolio was sponsored by Los Angeles Printmaking as part of the 2020 SGCI conference that has now been re-scheduled for the 2023 SGCI in San Juan, Puerto Rico, with a stop visiting the Scuola Internazionale di Grafica, Venice, Italy in May, 2022.
All LA Printmaking members, both students and artist members, may join the Paper Boat Flotilla going to Venice in 2022! Stay tuned for the CALL for ART coming in August 2021.
Exquisite Corpse is a collaborative approach to making Art first used by the Surrealists to create bizarre and intuitive writing and drawing. The LA Printmaking membership, both Student and Artist members, are invited to get creative and collaborate in this project this summer!
Join us February 1st, 2020 from 1PM-3PM For or a Gallery Walk through with participating artists followed by a Panel Discussion on "Migration and Art” with Pavel Acevedo, Marianne Sadowski and Phumilelele Tshabalala
Included in this exhibition is a special preview of PAPER BOATS, a small flotilla will be on view in preparation for LA Printmaking on view at SGCI 2023 in San Juan, Puerto Rico.
The ImMigration Project, back from an exciting installation in Venice Italy, in October 2019 currently comprises 145 artists from all over North America and Europe!