Lisette Chavez was born and raised in the Rio Grande Valley, located in the southern tip of Texas near the Mexican border. It was there that she discovered a love of drawing at an early age. This development became the foundation of an enduring interest in lithography. She holds an MA degree in studio art from Texas A&M University, Corpus Christi and is currently pursuing a Master of Fine Arts degree with a specialization in printmaking at the University of Arizona, Tucson.
Catherine Chauvin uses printmaking to examine what is done to the environment in the name of progress. Currently her work uses fractured shapes to form landscapes – feeling like plates of the earth, ice floes and occasionally stone paths. These pieces sometimes use historical battle maps to pit imagined natural elements against each other – with the idea of exploring battles nature is fighting without human knowledge or ability to intervene.
Printmaking and teaching combine at the University of Denver, where Chauvin is an associate professor. After earning an MFA at Syracuse University, she trained at the Tamarind Institute and has since collaborated with artists such as Gladys Nilsson, Jaune Quick-to-See Smith and William Wiley in New Mexico, Texas and Anderson Ranch Arts Center in Colorado. These experiences as a collaborative printer and artist combine in several ways in her artwork and teaching.
Todd Christensen was raised in Circleville, Utah, home of Butch Cassidy, and spent his childhood years playing cowboy. He now resides in Las Vegas, New Mexico, where Billy the Kid served time in jail, and spends his adult years playing Associate Professor of Art at New Mexico Highlands University.
Rose Davies: Graduating from Art College at the end of the 70’s, I survived punk, post-modernism and the rise of Thatcherism with my belief in traditional art values and particularly drawing, intact. Graduating in printmaking, I continued to draw after leaving college, but like many other struggling young artists at that time I developed a secondary career, spending many years working with drug / alcohol dependent people, the homeless and those with criminal behaviour, in Wales and England. My work with severely damaged and excluded people has influenced me deeply and reflects my admiration for the beauty and resilience of the human body, existing within the often harsh conditions of the modern city. At the turn of the century, I started to move back into the arts, becoming an artist/member of Swansea Print Workshop, and collaborating with several artist collectives, Commensalis, 15hundred lives’ Elysium Artspace and 12:thirty four. I have spent the past two years working full time on developing my arts practice and building a body of work from my studio in the city centre.
Colleen Donohoe is a second year graduate student in printmaking at Arizona State University. Her work is currently concerned with connections between people and place.
Jill Fitterer grew up in Pittsburgh, Pennsylvania. Her mom was from San Francisco and was homesick for twenty years. For five separate summers, Jill’s mom loaded up the four kids and sometimes the dog and drove them in a blue 1970's Chevy station wagon or a red VW bus, the three thousand miles to California. Each trip she navigated a different route, sharing with her kids her sense of wonder and appreciation for big sky, open country and the occasional Motel 6 swimming pool. She also taught her kids how to body surf and float in the cold Pacific Ocean near Santa Cruz.
Jill didn’t know she was badly nearsighted and in need of glasses until she was nine. This may explain her myopic interest in the process of etching, collecting her hair or relishing in the details of a tiny moss forest on top of a stone fence. Jill is a passionate swimmer in a pool, but usually obsesses about sharks in the ocean. Being an artist is a way to connect to other human beings. Here is a list of influences and starting points for her work: awe, wonder, place, collection, emotion, documentation, memory, collective unconscious, wild animals, death, P.T.S.D., D.N.A., hair, ritual, mountain murder ballads, dementia.
An artist based in Boise, Idaho, Jill is an Associate Professor of Art at Boise State University, where she has worked since 2005. She founded the Rocky Mountain Printmaking Alliance to create a regional community of printmakers. She has an M.F.A. from California State University Long Beach and B.F.A. from Sonoma State University. Her work continues to be exhibited internationally and nationally.
Kevin Haas grew up in the rust belt of the Midwest, inspired by the abandoned industrial areas of St Louis, Chicago, and Gary, IN. He earned his BFA from The School of the Art Institute of Chicago and a MFA from Indiana University where he studied printmaking and digital media. He is currently a Professor at Washington State University where he coordinates the printmaking area. Since 1995 his work has been featured in solo and group exhibitions across the US and in Canada. He has been included in exhibits at OHGE Ltd. and Davidson Galleries in Seattle, the Jundt Museum in Spokane and Deluge Contemporary Art in Victoria, BC. He is a recipient of the Artist Trust Fellowship and the Seattle Print Arts: Larry Sommers Fellowship, and was an artist in residence at the Frans Masereel Center in Belgium in 2010 and 2012.
Nyla Hurley is currently pursuing a Master of Fine Arts degree with an emphasis in printmaking at the University of Arizona-Tucson. She holds a Bachelor of Fine Art degree in Graphic Design from the University of Wyoming. Her work is influenced by her love for American history particularly the American West, a love which she attributes to growing up in California's Salinas Valley and in the mountains of Wyoming.
Carrie Kaser grew up in Western Colorado and has lived in American Samoa, Rhode Island, New York, and New Mexico. She studied art and lithography at the Tamarind Institute, Rhode Island School of Design, University of New Mexico, and University at Buffalo where she completed an MFA in Visual Studies. Her artwork is grounded in her love of drawing and narrative. Her recent work explores ideas related to technology, media, and the changing perception of time, while also addressing the stillness and beauty of the natural world, untouched by human technology and infrastructure.
Carrie’s work has been shown nationally and internationally at venues including the Bauhaus in Weimar, Germany, University at Buffalo Art Gallery, Mouseprint Gallery in Montreal, and recently, the Fort Lewis College Art Gallery. She has taught printmaking classes since 2004 at a variety of educational institutions including the University at Buffalo and University of New Mexico. She currently maintains a small workshop and studio practice in Albuquerque, New Mexico where she lives with her husband, dog, and two cats.
Jack Metcalf performs a diverse art practice, but it’s rooted in drawing. Jack draws, but sometimes with a CNC router. Printmaking, web, architecture, video, animation, chorography, musical composition, script, stage design, analytical philosophy - these are his tools. Drawing is home base. Jack is interested in offering free interdisciplinary experiences in the community for non-artists and artists alike, where the spectators become participants.
Jack has implemented his work in assorted environments, while working with a vast array of professionals - public printing events, parades, fashion shows, window displays, events at the Missoula Art Museum, constructing playhouses for the Boys and Girls Club, collaborating with dance collectives, utilizing the local college radio station, spontaneous performances, published articles, creating internet memes, a homemade boat race, etc.
Jack is currently an adjunct professor at the University of Montana, where he teaches foundations.
M.F.A. – University of Montana, 2013
B.F.A. – East Carolina University, 2004
Adam Montoya was born and spent most of his life in Salt Lake City, Utah where he studied printmaking at the University of Utah and is currently a graduate student at Arizona State University. The American West’s various strange landscapes and histories play a deep part in his art. Now in Arizona, he hopes to continue his investigations into spirit, matter, memory and place.
Amy Nack is a printmaker and cut paper artist. After receiving a BFA in Printmaking from Boise State in 2008, Amy founded Wingtip Press, Boise’s community printmaking studio/workshop. In additiion to teaching and directing workshops at Wingtip Press, Amy is currently pursuing an M.A. in Art Education at Boise State University. She aserves as Artist in Residence at St. Alphonsus Cancer Care Center and as a Teaching Artist for the Idaho Commission on the Arts. www.wingtippress.com
Kathy Puzey was born in Logan, Utah. Currently, she is working as the Assistant Printmaking Professor at Utah State University. Before returning to Logan, Kathy acted as the Printmaking Studio Manager at Anderson Ranch Arts Center in Snowmass Village, Colorado. Her work has been exhibited both nationally and internationally. She earned her Bachelor of Fine Arts from Utah State University in 1997 and her Master of Fine Arts from the University of Nebraska-Lincoln in 2001.
Andrew Rice recently completed his MFA at the University of Utah and is currently maintaining an active studio practice out of the Poor Yorick Studios. He works are dark, comprising of a sole subject marooned on a bleak, urban landscape. Working with intaglio, screenprint and more recently, relief prints he seeks to investigate that dichotomy between a person and the spaces they inhabit, focusing on how they can both protect and distance. www.andrewriceart.com
Mark Ritchie received the B.F.A. from the University of Kansas, Lawrence, Kansas, and then spent a year in Cardiff, Wales at South Glamorgan Institute of Higher Education and in Aberdeen, Scotland at Peacock Printmakers before attending Indiana University, Bloomington, Indiana, where he earned the M.F.A. degree in Printmaking. Following graduation he served as an Artist-in-Residence for the Georgia Arts Council in schools and briefly in a prison. After teaching at universities in Georgia and Texas he accepted a position at the University of Wyoming, Laramie,Wyoming where he is a Professor in the Department of Art. He exhibits nationally and internationally, but prefers the quiet, windy solitude of Wyoming as a place to live and work.
Marilee Salvator received her BFA from Illinois State University, Normal, IL in 2000 and her MFA degree from University of New Mexico, Albuquerque, NM in 2004. She has taught printmaking and design at University of New Mexico, Albuquerque, NM, University of Manitoba, Winnipeg, MB and received tenure at Bloomsburg University. She recently began a new position as an Associate Professor of Art and the Printmaking Coordinator at Metropolitan State University of Denver.
Marilee Salvator’s work has been exhibited in over 70 solo and group exhibitions throughout North America, South Korea, China, Poland, Italy and Romania.She has served as a visiting artist at University of New Mexico, University of Nevada at Reno, California State University at Long Beach and Manitoba Printmakers Association. Her work is included in over twenty-five public collections including JCI University, Jiangxi China, Tama Art University, Tokyo Japan and Sakimi Art Museum, Okinawa Prefecture, Japan.
Salvator’s work draws inspiration from repetitive mark making, biological forms, and plant life. The work is a formal exploration of shape and pattern. She is fascinated by nature and biology. Cells are of particular interest to her. She is intrigued by their ability to reproduce, mutate and spread uncontrollably. To the untrained eye, cells can be seen as beautiful forms/shapes, interesting patterns. However, to a specialist these forms mean so much more including the spread of unwanted disease and death. She finds it fascinating how something so detrimental as cancer, can look so beautiful under a microscope. In our world, things often appear one way, but upon closer examination, are completely different.
Dominic Thorburn is Professor and Chair of Fine Art at Rhodes University, Grahamstown, South Africa. Born and educated in Cape Town he was awarded his MFA in 1993 from Rhodes University where he presently heads the Printmedia Section, and is director of the Fine Line Press & Print Research Unit. Thorburn was the recipient of a Fulbright Scholarship in 1992 that granted him a sabbatical at the renowned Tamarind Institute, University of New Mexico, where he completed a Professional Printer Program. First prize in a major national art competition rewarded him in 1994 with a year’s residency at the Cité Internationale des Arts, Paris, France. In 2008 Dominic was awarded an Amnesty International Social Change Award in recognition of his extensive advocacy and community engagement within the arts. He has travelled widely and presented papers on diverse aspects of printmaking at numerous international conferences and is widely published. In addition Thorburn has exhibited extensively both within South Africa and globally and is broadly represented in museum, corporate, and private collections. Prof Thorburn is a member of the Impact Conferences Steering Committee and was co-convenor of the 3rd Impact International Printmaking Conference held in Cape Town, South Africa in 2003.
Rossitza Todorova. Originally from Bulgaria, Todorova immigrated to the United States in 1991. She received her Bachelor of Fine Arts Degree from the University of Nevada, Reno in 2005 and her Master of Fine Arts Degree in Drawing from the Herberger Institute for Design and the Arts, School of Art at Arizona State University, Tempe in 2013. Todorova’s drawings and prints are in the permanent collections of the University of Arizona Art Museum in Tucson, Arizona, the Nevada Museum of Art in Reno, Nevada, the Churchill Arts Council in Fallon, Nevada, the Southern Graphics Council International Collection, and the Painting and Sculpture Museum in Istanbul, Turkey, as well as numerous private collections. Todorova’s work is featured in the 2013 Lark Crafts publication “500 Artists Books: Volume 2.”
Raised on a secluded ranch in rural central Idaho Cerese Vaden’s early life was an anachronism. Butter churning, making bread, gathering eggs and feeding bum lambs were among the weekly chores. Avid reading and family trips across the country allowed her to recognize the microcosm she lived in, but not until post graduate school did she learn to truly appreciate that microcosm. Jobs in house painting, cake decorating, floral design, greenhouse gardening and advertising supported her educational and artistic pursuits. Her longest lasting job (as an associate professor at the University of Arizona) came shortly after pursuing an MFA in studio art. She misses the butter churning, and even the bum lambs.
As a printmaker, painter, and sculptor, Melanie Yazzie’s work draws upon her rich Diné (Navajo) cultural heritage. Her work follows the Diné dictum “walk in beauty” literally, creating beauty and harmony. As an artist, she works to serve as an agent of change by encouraging others to learn about social, cultural, and political phenomena shaping the contemporary lives of Native peoples in the United States and beyond. Her work incorporates both personal experiences as well as the events and symbols from Dine culture. Her early work focused on depictions of the harsh realities of Native peoples (i.e., racism, identity conflict, poverty, abuse, etc.) to bring to Native issues to the forefront, but more recently she is making work with a positive twist. Due to personal health issues and trying to live a calmer life style, she is focusing on quiet and balance, her work is reflecting this shift. Her work is informed and shaped by personal experiences and tries to tell many stories about things both real and imagined. The history of Native America and Native peoples includes forced assimilation and cultural genocide that has occurred due in great part to government boarding schools. Native youth and communities today are burdened with the consequences of this history and by an educational system that prioritizes knowledge foreign to Native community’s indigenous knowledge.
Ms. Yazzie uses her travels around the world to connect with other indigenous peoples. Her visits to New Zealand, the Arctic, the Pueblos in the Southwest, and to indigenous peoples of Russia, these travels have been the impetus for continued dialogue about Indigenous cultural practices, language, song, story-telling, and survival.
Ms. Yazzie has exhibited widely, both in the United States and abroad. One of the most recent exhibitions titled, Mappings: Selected Recent Works of Melanie Yazzie, in 2012 featured twenty-four new paintings at the O’Sullivan Art Gallery at Regis University in Denver, Colorado. The paintings depict prayer, ceremony, and ritual, including images of ceremonial foods. For the Diné people, these paintings represent a stronger, more direct connection to the intimate aspects of ceremonial life and life routines. IN the fall of 2012 she had 6 solo exhibitions in the following locations: Westtown, PA, Davis, CA, Reno, NV, Hastings, New Zealand, Helskini, Finland and Tenerife, Spain. She was also artist in residence in October 2012 at Crow’s Shadow Institute in Pendleton, OR.
Her works are in the Phippen Art Museum, The Australian National Gallery and the Museum of Art, Rhode Island School of Design, Print Collection, Providence. She has been reviewed in Focus Magazine, Santa Fe, the Los Angeles Times, New Zealand Herald, and she is mentioned in Printmaking in the Sun by Dan Welden and Pauline Muir, Native American Art in the Twentieth Century by W. Jackson Rushing III, and The Lure of the Local: Sense of Place in a Multi Centered Society by Lucy Lippard. She has had over 150 group and solo exhibitions combined. Yazzie makes prints, sculptures, paintings, and mixed media works. Her work can always be found at the Glenn Green Gallery in Santa Fe, New Mexico.
Ms. Yazzie is an associate professor and head of printmaking in the Department of Art and Art History at University of Colorado, Boulder, Colorado. She considers a global impact in her work, striving to create safe, non-toxic methods of printmaking where toxic chemicals are commonly used.